#the dub script here is just so fun--and does so well at making the dialogue *work* and sound natural in english | Explore Tumblr Posts and Blogs

rist-ix · 2 years

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Hey Rist! How've you been? I'm curious. How would you rank Valtor's different voices for the 3 versions(RAI, 4Kids & Nick)? I was looking at S3 of Winx Club (I missed Valtor lol) & I was curious abt his voices for the different versions. So, I watched a bit of S3E5 in all 3 and ranked them from most to least fave. I ranked them: 1) Nick, 2) RAI, 3) 4Kids. Nick's version is so.. so Valtor, 4Kids seems a bit (a lot) too extra, and Rai's version is a bit (just a bit) gruff. What do you think, Rist?

That’s actually pretty much the same as I remember liking them, but my memory has failed me before so I’m editing a crappy little compilation together. And there's really only one scene I could have used for that without losing y’all’s respect. (Fair warning tho the audio trails over scene cuts occasionally so there's some weird jump cuts with sudden noise, but whatever)

From your worst to your best we have:

4Kids Valtor

Ignoring the dollar-store-James-bond music at the beginning, I quite like Valtor's theme here. The ominous cembalo cords remind me of cheesy old fantasy-horror movies and black castles during very dramatic lightning storms, and I honestly feel like the pompous, dramatic 4kids voice fits very well for that. By itself I feel like it’s far too over the top (which is generally 4kids motto), and also my least favorite of the three, but it does have a certain unapologetic arrogance going for it. It might not rank well for me compared to the other ones, but it’s still authentic and fun. Peak gay vampire energy here.

Something I noticed is the pretty big dialogue change here, where he states that he's warning bloom out of an “old, long forgotten curtesy”. I tend to dislike changes from the original script, but honestly? That’s such a cool detail. I feel like that adds a lot to his character pretty early one, no matter if he genuinely means it or is just baiting Bloom.

Rai Valtor (also known as Cinélume)

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You are absolutely right, very deep voice. I am looking respectfully 👀👀👀

Compared to 4kids, this Valtor is a lot more subdued. The voice acting is EXCELLENT, the little chuckle he gives when he recounts what people say about him is peak Valtor, pure irony and ridicule. I tend to forget him a lot, if I’m being honest, because he's not as notable as ExtraDramaQueen-4Kids!Valtor, and not as radically different as the Nick version, but he is still very much a very interesting middle ground between them. If I’m being completely honest he's actually my favorite of the three, now that I think about it. His dialogue is closest to the original and I tend to imagine this voice when I write fanfics, and even if you can’t hear it in this example, he's got a really memorable way to speak when he's pitting the Trix against each other or trying to soothe their egos. There's something really manipulative, threatening in his tone sometimes, no matter which lines he gets.

But it is a close call with your number 1.

Nick Valtor

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(First of all, Bloom's voice is somehow stealing the show for me here. In the beginning she really sounds like she's scared, in pain, and she's got that rough edge to her tone when she's angry. I don’t usually bother with the nick dub, but damn. Maybe I should.)

I’m not exaggerating when I say that this Valtor is easily the most refined of the three. More subdued, like the Rai version, but not as deep as either of the previous two. It sometimes reminds me of Macaque from The Monkey Kid, and that’s a huge compliment. This Valtor has a quiet, insidious danger to him that is subtle yet very present. He says “I'll do what needs to be done” and you don’t doubt it for a second. There's that weird blend of lighthearted indifference in his voice which makes him distinct from the others, and it helps to emphasize that he's completely different from Darkar and the Trix: he analyzes and understands his enemies in a way that basically guarantees him victory, no matter the opponent. I wouldn’t say I like it more than the Rai Valtor — this one could use a little more drama and pomp — but he's objectively the highest quality here.

But what’s this?

It’s GermanDub!Valtor with a steel chair!!!

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Shut up I’m totally right about this one the god of voice acting told me so

I am not taking criticism!

My boy my king my one true love, it’s the slightly raspy, cutting and incredibly heinous voice of my childhood dub! He may be speaking a bit faster to fit all those long german words into such a short shot, but he pulls it off MAGNIFICENTLY. Similar to Nick's it’s not as deep as I’d imagine from seeing his face, but he has a harshness to his words that does not speak of subtle threat but of open hostility, clad in polite words. He's here for a fight, no matter with whom, and while he may not get that on this day he leaves no doubt that eventually, he'll wipe the floor with them. His voice influenced me a lot during Sparked, even if I didn’t really imagine it when he had dialogue. Just the character of it is such a vibe, this slightly impatient thirst for violence he somehow manages to pour into his long game.

10/10.

#winx club #winx valtor #asks #sparxshipping #I almost didn’t recognize u eden I was so used to your dark blue profile pic lmao #god this made me so nostalgic #but voices aside it’s so interesting how they changed the dialogue sometimes and made completely different choices for what’s important #the Winx club dubs are their own science at this point

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theharpermovieblog · 9 months

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#HARPERSMOVIECOLLECTION

2023

I re-watched Jesus Shows You The Way To The Highway (2019)

I've talked about this film before, but I think it deserves another review this year. It's so weird and just so fun and should be beloved by weird film enthusiasts.

A dwarf employed by the CIA who is planning to retire for a better life with his true love, gets trapped in a virtual reality world known as Psychobook.

Madrid born director Miguel Llansó makes his films in Ethiopia. He is an experimental director with an insane style, which is clearly an uncompromised vision.

This film's use of 1970's and 80's film techniques, along with truly strange stop motion sequences, an unlikely casted hero, and a truly bonkers script and execution, might make it my favorite discovery of the 2010's.

The film is, as it's listed on Google, an action/thriller. It's about a CIA operative after all. But, it's also a fever dream, science fiction film and a comedy. The basic idea behind it seems to be to recreate a B-level action film through the filter of a wild dream, or just to be as strangely imaginative as it possibly can. And, in the strange B-films department it does not disappoint. You've never really seen anything like it.

Llasnó's so intentionally made every choice here. This film is so specific in every way. From The dubbed dialogue, to the look of the virtual reality world of "psychobook", to the look of the technology and the very odd choice to make Batman a major villain. These choices can seem like a grab bag of nonsense, and in some ways they are, but it's used as effortless world building.

This movie has the CIA, a virtual reality world, Batman as the president of Ethiopia, Stalin, aliens, Jesus, and that's only really scratching the surface of it's ridiculous energy.

On top of that it has a weirdly engrossing little spy story, a little romance, and never once takes itself too seriously.

Now, this is obviously not for everyone and it might be too weird for most. You gotta love B-movies and the attempt at absolute independent insanity to be in on the joke. But, this is another one that I highly recommend for anyone like me who loves anything that is able to stand out and be different, as well as embrace what makes outdated techniques so amazing.

Gather your friends and watch this movie. It deserves to be more popular and should absolutely have cult movie status.

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lokiondisneyplus · 3 years

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Holy crap. Look at Kate Herron's shirt. When the Loki director pops up on Zoom, she's donning the most glorious image anyone will see since we laid eyes on Alligator Loki: A Teletubby wearing the Loki horns. Are the Teletubbies Loki variants? Sure, why not!

"I got it on Instagram," Herron says. "There's an amazing comic book artist and he designed it. He made it into a T-shirt for me because I saw it and was like, 'That's incredible. Can I get it for the press junket?'"

Herron, no big deal, just pulled off an MCU miracle. Entering a mammoth franchise with, notably, some of Sex Education's best episodes under her belt, the director deftly brought a plot involving multiverses and Richard E. Grant in a cape and superhero mumbo-jumbo to brilliant, beautiful life. Following Loki's tear-jerking, mind-bending finale, the series has been dubbed by critics and fan's alike as one of Marvel's best efforts—which is no small feat. Of course, we needed to ask Herron how she stuck the landing. Following the most epic finale you, me, or any Teletubby can remember, Herron talked to Esquire about the Miss Minutes jump scare, filming the finale's introduction of He Who Remains, and why she won't return for Season Two of Loki.

ESQ: How are you doing?

KH: I'm good. I think I feel very relieved that I don't have to sit on the secret of He Who Remains anymore, It was a very big secret to hold, but for an important reason, right? Because it's such a good character to be launching. So yeah, I feel good.

ESQ: Loking back at your old interviews, you have such a good poker face when you're avoiding spoilers, but you're also incredible at giving aggregator crumbs.

KH: I play a lot of board games, so you need to be quite good at strategy and poker faces so people can't always read your hand. So I think weirdly board games have prepared me more for working with Marvel than anything else.

ESQ: I have to start with the Miss Minutes jump scare. What went into the decision to make her a memeable, creepy apparition in that moment?

KH: I love horror, and my executive, Kevin Wright, knew that. Me and him were talking about Episode Six and I remember that he was like, "Oh, maybe you could do something creepy of Miss Minutes." And I immediately was like, "We have to do a jump scare!" Because I haven't got to do a good jump scare in anything yet and I really wanted to, because a lot of my friends are horror directors. I was like, "I can't let them down." So I was really excited to have a shot at doing a jump scare. And Miss Minutes, it was really fun testing it because we'd kind of bring different people into the edit, me and Emma McCleave, the editor, and we'd just play it for them, watch them, and check that they were jumping when we cut it.

ESQ: One thing that I think is getting missed in all the craziness is that we see a peak moment of the love story between Loki and Sylvie. Where does the finale leave the companionship that they found in each other?

KH: When I started the show, that was always in the DNA of it—that Loki was going to meet a version of himself and they were going to fall in love. And that's honestly what drew me into the story, because I directed Sex Education. I love stories about self-love and finding your identity and your people. Loki is such a broken character when we join him, and seeing him go on this amazing journey with all this growth and finding the good points of himself in seeing her—I think that was very beautiful. It's also paying respect to the fact that Sylvie's in a very different place to him. She hasn't had the Mobius therapy session. She even says, in Episode Five, "I don't know how to do this. I don't have friends." You really feel for her because she has been on the run and her whole life has been this mission.

It's almost funny because these characters are thousands of years old, but it's almost teenage the way they both talk about their feelings for each other. I think everyone can relate to that, right? In any new relationship, there's always that kind of awkwardness and like, "Oh God, am I too keen? The important thing was the hope—like when Sylvie and him kiss, I think it is genuine and it is coming from a place of these feelings they have for each other. Obviously she does push them through that door, but for me it was a goodbye and it was with heart. But it's kind of a goodbye in the sense of like, I care about you, but I'm going to do my mission because that's where I'm at.

ESQ: I would pay for you to direct the Sex Education episode where Otis falls through a portal into the multiverse, into the main MCU.

KH: He really looks like a Loki as well, which is so funny. I always thought that. I was like Asa does look like a Loki. It didn't come to pass or anything, but it would be interesting to do a Sex Ed-Marvel crossover. I wonder who all the different characters would be within the MCU, but it would be quite funny.

ESQ: You're right, he could pull off a teenage Loki.

KH: Yeah, like a teen or a very young ’20s, maybe. But it was just funny because I was like, "Oh yeah, he looks a bit like Tom." I wonder how they could do it. I'm sure they'll find a way to do a crossover anyway.

ESQ: Can you just take me back to filming with Jonathan Majors? And you capturing him in such a compelling, quirky, scary way—I'm sure your direction was such a big part of that.

KH: I was just so excited because Jonathan is an actor that everyone was so excited about. He's like a chameleon in everything he does and he's so talented. I just feel as a director so lucky to have worked on this because I feel like I've got to work with some of the best actors out there. And when you're with Jonathan, you know you're in the presence of just someone really magnificent. For me as a director, it's giving him the space to play and feel safe. Because we filmed it all in a week, but it was a lot to film in a week. So I think it was really about creating a space where he could have fun and find this character because he's going to be playing him for a long time.

ESQ: What went into the decision to introduce us to the good guy first?

KH: I remember in the script, he comes up the elevator and it was so casual. I was like, "Oh man, that's so fun." And then Jonathan, when he plays it, he's relaxed. And I the thing he used to talk about a lot was that this is a character who's been on his own for a long time. Because at the beginning, we introduced him in a space in the universe that feels like this very busy, loud place, but actually, when we see the Citadel, he's surrounded by the Timeline and he's very isolated. Even in his costume with [designer] Christine Wada, for the idea of his outfit, he's a character who's existed for multiple millennia. So it's like, OK, let's pull from lots of different places so you can't necessarily pin down which time or which place he might be from. Also the fact that his clothes look comfy. They were like pajamas because he's living at home. He loved the idea of the office [being] the only finished part of the citadel and that the rest of the citadel was like this Sunset Boulevard kind of dusty, dilapidated space. And just again showed that he probably just keeps himself to his office. All those elements definitely fed into Jonathan's performance in terms of balancing the extrovert, but also the introvert of someone that would be living by themselves and only talking to a cartoon clock.

ESQ: It really is incredible how you pull a nail-biting finale with this battle of wits and dialogue.

KH: It was really exciting because I feel like Episode Five was a lot of fun because we got to play into all the joy of the different versions of Loki, but also just the fact that it was our big usual Marvel third act, right? Like it was where our big spectacle was as they were fighting this big monster. But I love that our finale bookends, right? We began with a conversation and we ended with one.

ESQ: I also loved that there was no end-credits scene—I think it makes the ending that much more impactful. Was there ever an end credit scene on the table, or any kind of a stinger?

KH: I think no, because weirdly, we never went after the kind of mid-credit sequences. I think we always just were thinking just of the story and where we knew we wanted it to end. For example, Episode Four, originally Loki was deleted and then we went straight to him waking up. And it was only in the edit I was like, “I think it'd be really cool actually. We should move that scene to mid-credits because then we'll really feel like Loki has died." Because if I watched that moment and then it went to the credits, I'd be like, "What?!" And then when we were talking about the best way to talk about Season Two, we were like, "Okay, well, let's do that like a little mid-credits at the end because that is exciting to confirm it in that way." I'd say we found both of those in the edit just because we wanted to kind of do it right and have a fun nod to something that Marvel does so well.

ESQ: Is there anything you can tell about the future of the story you've told here—or even where you personally would like to go with the studio or otherwise going forward?

KH: Yeah, so I'm just on for Season One. So I'm so proud of the story we told. I mean, it was amazing getting to set up the TVA and take Loki on this whole new journey. And I mean, I think we've left so much groundwork for his character, and as people see in the comics, there's so much more to be delved into. And I just am excited honestly to just see where all the characters go. Like, who is B-15? What did she see in those memories and where did Ravonna go and where is Loki? I think for me, we've set up these questions and I look forward to seeing them being answered as a fan in the next season.

ESQ: Absolutely. Well, can we please work on the Asa Butterfield Loki?

KH: I will call him and I'll be like, "You want to do some crazy Marvel crossover?"

#Kate Herron #loki #season 1 #director #interview

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jenxwp · 3 years

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‘A Necessary Evil’ NZ script

Hey guys! We are finally up to the last episode of the Destiny-Quest-Necessary Evil arc, and boy, are we going out with a bang. Until I started reading through this script I didn’t realise how this story must have evolved! There are so many differences, so this post is going to be long.. #sorrynotsorry.

No, honestly… clear your calendar for the day and grab a coffee because we are going for a ride.. but if you stick with me it will be WELL worth it. 🤯

So first off, a little bit about this script. This one is special to me because it was used on-set in New Zealand and I don’t have many like that. How do I know? The two ring binding on the left is the main give-away along with the fax detailing. The script has seen better days, but considering its 25 years old and been around New Zealand and made its way across the seas to Australia- I think it’s going good!

Who is Russell? Well that’s a mystery I have been trying to work out for many years. I have spoken to people who worked on set and it is still an enigma.

At the top of each page you can see that the document was faxed from LA through to New Zealand on November 8th 1996. I have covered up the number- not sure if it’s still active, but I don’t know international numbers and better safe than sorry!

Interestingly, the shooting schedule for this episode was from November 26th to December 5th with 8 shooting days allocated. Whether this changed because of Lucy’s accident I am not sure, but these are the dates I have on my season 2 main unit production schedule. With this script, I am not sure if it is a final copy because it is annotated ‘2nd draft’. Scripts will go through many versions before the final, but I would have thought because the writers are in LA, only the final would have gone to NZ. But then again the script is dated November 22nd.. which is weeks AFTER it was faxed. Ok there is some voodoo shit going on here. AND if shooting was to begin on the 26th, SURELY it was finalised by the 22nd… but then again.. *I* am a last minute kinda gal so I can’t really judge.. and... Argh! Help! If anyone has a ‘shooting draft’ for this episode, please give me a shout-out- we can compare!

I have digressed. Alright, first up- the teaser. It is so different to what we end up with on screen:

Interestingly, instead of having the dialogue between Gabrielle and Ephiny regarding the ‘Amazon parades’, we have some friendly banter between Xena and Gabrielle about sleeping in late and sleeping in trees. It’s good light-hearted fun.

In the script, Velasca has a lot more meaty dialogue. Which to be honest, I am glad they reduced. Statements like “gift from the gods… to MAKE A GOD” is so much more powerful compared to what is written above. That’s my opinion, but it’s so interesting to read what was originally intended. There was also much more emphasis on Xena being injured in this initial battle which is brought up many times in this script.

The next scene after the intro is also so different to what we saw! I am just going to leave this here...

I have mixed feelings about this. I do feel like the conversation with Xena and Gabrielle is forced, and to be honest, what we got on screen was more genuine. Those two can convey more in one look than 5 pages of dialogue.

Moving on.. Callisto and her pet rat in the Labyrinth of the Gods!

Hear me out. I am glad this changed. I am one of those ones that enjoys Hercules. Let me make clear that I don’t like Sorbo… but I grew up watching the action back-2-back and I will still watch it on occasion. Xena is 10000% times better than Hercules, but I just love the entire WORLD that they create- X:WP, H:TLJ, and Young Hercules. So I like the seamless continuity.

This next one is interesting because this replaces the scene where the Amazons ‘offer’ up Ephiny at night time. I do like the original…

Next up is a bit more of an explanation why they are going in a hole to retrieve Callisto.. continuity.. heh 😄

BUT. I don’t like the implication that Gabrielle would leave Xena? I know it was in jest but I really just don’t think given the circumstances they would joke about that. Or am I being overly analytical?

Down into Callisto’s tomb…

I just wish we saw Xena break off a stalagmite… meanwhile we have Gabrielle and a rabbit up top.

(gifs from @aphroditexwp)

‘Nuff said.

Next up we have a real change from the screen. In the script, Velasca destroys a temple to Demeter, not Artemis.

Artemis makes sense… goddess of the Amazons. Lets stick with the latter shall we?

Now this bit is good. In this script, the manner in which Xena tells the story of Cirra to the villagers and Callisto’s reaction is very different to what we see. Callisto is much more involved.

I would like to have seen how this played out. I greatly admire Hudson’s acting of Callisto because she is such a loose cannon. You never know how it will be portrayed. But that look she gives in the episode- that almost robotic moment; it just makes the scene for me and we would NEVER have got that with this dialogue. So is it greedy of me to want both?

So the scene in the ‘mountain arena’ (as I am going to dub it) isn’t too different, but since Callisto gets blown into pieces I feel it is worth visiting:

Following on from this, we also have SUCH a different campfire scene:

I have reservations about how good a ‘general’ Callisto would have been. I think she was much more impulsive and wouldn’t have sat around discussing tactics. She definitely wouldn’t have discussed things on the same level as Xena. I know these differences are dealt with in the scene but I really just don’t see it. I would love to know what others think of this because maybe I am bias… NOTHING could be beat the campfire scene between Gabrielle and Callisto.

I wasn’t going to include this next snippet because I know this post is already very long but… Chariot!!

Alright. Here we are. The penultimate fight. Buckle up. THIS IS SO DIFFERENT. Lets read:

… so XENA is the one on the rope bridge telling GABRIELLE to cut the ropes! AND SHE DOES! I am just shook.

Okay, final scene back in the Amazon village:

What do you prefer? The Wizard of Oz version or the ‘Less-Wizardy’?

I do really like the imagery of Velasca and Callisto imprisoned like flies in amber, but I am unsure if CGI at the time would have done it justice. The gutteral screams and laughs really get you in the feels in that closing scene. But from what I remember, I think there was intentions to have Velasca resurrected from the lava like Callisto was at some point. At least it was left open and I would have loved her return. Imagine if she came back after the 25-year time jump with no understanding of ANYTHING between Season 2 and Season 6. That would have been fun.

Alrighty guys, if you’re still with me, THANK YOU. Its been an epic one. You deserve a stiff drink.

Until next time xo

#xena #Xena Warrior Princess #script #xenites #production materials #new zealand #lucy lawless #renee o'connor #hudson leick

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kaiowut99 · 3 years

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5D’s Episode 29… With an “Uncut” Dub?! (Re-Edited 4Kids Dub/Japanese OST)

“A Looming Threat! The Dark Signer Ushio?!”/”Good Cop, Bad Cop”

Everybody listen!

Well, after over 2.5 years now (...welp), this little mini-project is finally wrapped up! (Well, not totally, as I realized I have to go back and fix a few things for consistency, but y’know) It’s been neat editing these to throw the Japanese OST back in, and while I might do a few clips here/there now for fun, unless 4K/Konami Cross Media decide to flub up more episode uploads without their dub OST, I probably won’t be doing more full episodes. (Need to work on finalizing my GX subs finally, haha.)

But in case this is still the first you’re hearing about my mini-project here, let’s get you up to speed:

So, the official Spanish YGO channel on YouTube flubbed a few uploads of the 5D’s dub such that they ended up uploading a few episodes of the English dub instead of the Latin American dub (21-29)–but with none of 4Kids’s background music! Which meant that I could swoop in and re-insert the original Japanese soundtrack (which I did by matching each track to how it was looped in the episode), but I wanted to do more by also tweaking the dub itself so that not only was it matching the original footage, but the dialogue was more in line with the original dialogue timing-wise (since I couldn’t salvage much of what they changed). Hence, the “dubbed uncut” gimmick here. To this end, I’ve also used dialogue from Duel Links where applicable, or even borrowed audio from other episodes with the vocals isolated to lend to that effect.

Check out the masterpost of episodes here!

Check out this episode’s WIP videos! WIP #1 WIP #2 WIP #3

This was an interesting one to work with, and I was looking forward to it because of the Jack/Carly scene at the end over Jack Battle; it was also neat working in OSTs like Ceremony off Sound Duel 2 and mesh it with the dub, while recreating some of the OST tweaks they did (like speeding up Carly’s theme or sputtering Rua/Ruka Battle 2 as Jack calls Carly out lol). Dialogue-editing-wise, this wasn’t as bad as 28, thankfully, as most of the dialogue was more or less adapted well, though I still did need to grab dialogue from other sources to cover for some dub fails, and I did grab audio from episode 30′s dub for the preview. I also translated the “Road of the King” poster shown in four scenes (two outside the gala that happens and two inside as Godwin talks), using the dub’s “Atlas Rising - The Rise of Jack Atlas” name. And since this is the last episode I’m working on, I thought it’d be cool to make use of Mark de Groot’s awesome Last Train - A New Morning English cover to really channel more of that “what if uncut” energy (just a shame no solid English CROSS GAME cover exists, but hopefully my eventual full translation when I post it will help that along). Full breakdown below, if you’re curious.

So, yeah... Enjoy, folks! Now that these are all done, I’ll be focusing more on my finalizing my GX subs and looking into finally reuploading my 5D’s sub/dub comparisons onto a new site, though this has made me want to revisit my 5D’s!DBZ Kai project occasionally, lol (I do want to see about using TheMilkman’s reduced-filler cut of Kai, though, as I thought it was a much more streamlined way to watch the show, but we’ll see). I do have ideas for clips to create later on, but for now, enjoy these and think of what could have been (and could still be if we ever miraculously get a redub...)~

*cracks knuckles*

So, in the Noteworthy Cards section, the twins’ dialogue is still all from Duel Links, as I stitched together a “What will this Monster be?” line for Luna to match Ruka’s line, and recycled the “You get to see!” edit I used in 27 for Leo.

For the cold open, I tweaked Trudge’s dialogue to remove more of the “working together” fluff from the subplot they added (I removed the more overt mentions in 28 since I couldn’t edit around it).

*cue Last Train*

In Carly’s scene with the officer, I recreated the Carly Nagisa theme as used here, which was pitched and sped up by nine seconds, and replaced the one officer’s line about her needing to go outside with Carly gasping (since the officer was originally silent). Once outside, I used a mix of lines from 27 and Duel Links to stitch together a better line about her fortune matching the original more, then did so again over the transition shots to the Road of the King/Atlas Rising red-carpet event (where the dub inserted a commercial break).

At said red-carpet event, I used a Duel Links line to make Carly’s “Angela! Didn’t see you!” line after bumping into Angela “No way! Angela!” to match the original.

Once the ROTK/Atlas Rising gala starts, I used the Japanese audio from the transition to it to after Godwin steps down the stairs to remove dub!MC’s added lines, then shortened Goodwin’s lines hyping up the movie so it all finished while he was onscreen, using the Japanese audio as the audience clapped. When Yusei and Jack start hearing the movie on their TV screens, I used Duel Links lines to make Jack’s movie dialogue match what was said in those scenes originally (and the dub was inconsistent), and after Angela calls bull on the movie’s “Jack was born in the Tops” narrative, I kept the reporters prodding Godwin in Japanese with a subbed line because of how 4Kids edited them such that they kept speaking in turns within a shorter scene. As Carly looks up at the movie before running off, I used a Duel Links line for Jack in the movie, and as she talks with Misty, I shortened Misty’s (fluffed in the dub) foreshadowing line to Carly to match the flaps.

I didn’t edit the scene with Yusei and Trudge much, and then as Carly bumps into a reporter outside Jack’s hospital, I wanted to remove the cameraman’s “We’re still live!” (since he was originally quiet, and you wouldn’t talk over a live shot like that lol) but the reporter’s “I’ll show you sorry” line overlapped with it, making a clean cut hard. When Carly makes it inside, I shortened her (fluffed in the dub) line about her costume working, then as Trudge walks in, I switched to the Japanese audio to remove his “only doing this to get close to Goodwin” dub-only line, and kept the dub’s Dark Signer birthmark SFX as it appears on Trudge (since the JP version seems to just use the regular Signer one for it).

After the eyecatch, I used the Japanese audio as Mikage peels the apple (since Mina was humming), then switched to it again after Jack says he wants to be alone to deal with the dub cutting Mikage’s bow and removing Mina’s “call me if you need... anything” line). Once Jack’s outside with Carly and possessed!Trudge walks up to them, I redid the Dark Signer birthmark SFX and the glowing right after to remove the dub’s added zoom-in SFX, then after Jack gasps, I switched to the Japanese audio to remove the dub’s added flashback-transition SFX. As Carly flashes back to possessed!Dick’s dueling in 28, I added in the “whooshing” SFX and recycled some SFX from 28 to remove “Wipe his mark clean!” from possessed!Dick’s dialogue and adding "Blizzard Strike!!” from my edit in 28 to it, also recycling Yusei’s yelling/groaning to keep Carly quiet--her on-screen “A glowing mark like Yusei” line right after is recycled from 28 (Carly’s original line was “That glowing on his arm...”). Used Japanese audio as Ushio activates his Disk, then stitched together a “You’re a Dark Signer?!” line for Jack to replace his “I seriously doubt [I’ll be the first to fall]” line to Trudge. I vocal-isolated Carly’s “Yusei won” line after Jack asks when Yusei’s happened and put it just before he does, replacing Carly introducing herself (which doesn’t happen originally until just before the last turn), and using the Japanese audio for the SFX as Jack looks determined. I used a Duel Links line to cover Jack using Carly’s name just before he has her use his Duel Disk, and then the duel starts.

I recycled a Trudge “It’s my move” line from later to remove his “Let’s cut the conversation” line (I did what I could to remove how conversational they made possessed!Trudge) over the 4000 LP shots, and then I vocal-isolated parts of Carly’s excited lines about dueling with Jack to remove the dub’s flashback-transition SFX (which they used over a vision...), recreating the Rua/Ruka Battle 2 theme playing here and the sputtering that happens when she declares her turn only for Jack to correct her and say it’s his, lol. I vocal-isolated Jack dialogue from later in the series to use a proper Vice Dragon effect explanation over Jack’s trash-talk line to Trudge, then did the same for a Carly line in 37 to fix an error where she mentions Vice Dragon having 2400 ATK (as I thought it’d sound better than “twenty-hundred” lol). I shortened Carly’s and Jack’s (fluffed-up in the dub) lines about his being a “once-great duelist,” then recycled some Trudge laughter to cover for his “Hey, has-been!” line; as Carly sends cards to the Graveyard for Warm Worm’s effect, I redid the Graveyard-sending SFX to remove her “That’s how this works” line and the dub’s add-on to that SFX, adding on a Jack “What’s going on?” thought per the JP script. As Carly reacts to having to send more cards per Shield Worm’s effect, I switched to the JP audio as the split-screens happen and the cards are sent to use those SFX.

As Carly declares another turn but catches herself, I used an “It’s my turn!” line from Jack to remove his “Let me see my cards” line, then tweaked Carly’s line to fix an error where she has Strong Wind Dragon take out Shield Worm in a “direct attack” so it’s “take out Shield Worm and attack!”; I vocal-isolated the resulting “Dimwit!” and “Did I mess up?” lines from Jack and Carly to remove the dub’s split-screen SFX. As Trudge brings back Shield Worm with Regretful Rebirthborn, I moved his line about its effect so it started while he was onscreen per the JP script, also removing his “you and your little assistant” fluff, and I vocal-isolated Jack’s “Not as sorry as Trudge is going to be” thought to remove the dub’s added zoom-in SFX, using part of the JP audio to use that SFX, and then using the JP SFX as Carly sends the cards to their Graveyard. Having removed Jack’s fluff here as there was a dub commercial break inserted, I tweaked a Duel Links “From my hand” line to use before he declares his Twin-Shield Defender summon, using the JP audio for the summon itself.

I moved Trudge’s “It’s my turn then” a second or two earlier, then used the JP audio after he summoned his Worm Tokens as the split-screens and counter fly-ins happen, then vocal-isolated part of Trudge’s line after to remove the dub’s split-screen SFX, and I used the “chaos” part of one of Trudge’s Duel Links lines to try and fix the dumb “Dark Tuner Chaos-Rogue Catastrogue” error (which I do 2-3 more times), using the JP audio as Chaos-Rogue’s summoned. I moved Jack’s “What’s this Dark Tuning business all about?” line a second or two later to remove his use of Carly’s name, then used the JP audio from where Chaos-Rogue starts tuning to the Worm Token glowing to remove Carly’s added line about Dick Dark Tuning, and used the JP audio as Dark Diviner/Pitch-Dark Zumwalt’s summoned. I redid the SFX as Carly sends cards to the Graveyard per Chaos-Rogue’s effect to move part of Trudge’s line attacking with Dark Diviner earlier (since 4Kids cut a second or two from this shot), and then vocal-isolated part of Trudge’s line about Dark Diviner’s effect to remove the dub’s split-screen SFX. I switched to the JP audio as Carly sends cards to the Graveyard after as I moved Trudge’s line a bit to shorten it, then after Carly shields Jack from the attack, I vocal-isolated part of his line to Trudge to remove the dub’s split-screen SFX and used a Duel Links line to extend his dialogue (which 4Kids shortened); I also vocal-isolated Trudge’s line after to remove the dub’s split-screen SFX.

As Carly apologizes to Jack, I used a “Well?” from Duel Links for him to remove his guessing Carly’s name now that she properly introduces herself, and then vocal-isolated their lines as they start their turn to remove the dub’s split-screen SFX. I used the JP audio after they draw, then again when they activate Mind Trust, vocal-isolating part of Jack’s line to remove the dub’s split-screen SFX and stitching together various lines to extend Jack’s explanation of its effect by adding a mention that it’s a Tuner with half the Level of the Monster he releases that he’s adding to his hand (4Kids cut this short and he just says “to pull a weaker Monster”). I added a whoosh as the screen goes up Strong Wing Dragon to match the original audio, then as Dark Resonator’s summoned, I used the JP audio as the ATK counter flies in (but at a lower volume, since 4Kids moved Jack’s dialogue about the summon to during the summon itself, since Jack’s lips weren’t moving when he originally said them while onscreen), and stitched together a “Dark Resonator tunes with Twin-Shield Defender” line to remove the “tune-up” line, using Duel Links lines for Jack’s Exploder Dragonwing chant. I vocal-isolated part of his explanation of its effect to remove the dub’s split-screen SFX, and then his line having Exploder Dragonwing attack to remove his “Of course [I still have it], I only lost yesterday” line to Carly, using his Duel Links “King Storm!!” shout for its attack, and switching to the JP audio as the attack hits and causes the explosion.

As Trudge comes to, I added a Duel Links grunt over a second of lip-flaps that the dub cut, then no real dialogue edits to Carly’s and the reporter’s lines as she runs out with Jack. Then, as Goodwin meets up with Yusei, I edited his “It’s time I told you the whole truth” line to match the flaps, adding a vocal-isolated “You see” from 26 just before “It’s time I told you the truth,” and used the JP audio after Yusei gasps looking to where he points to end the episode.

In the Preview, as mentioned, I used dialogue vocal-isolated from episode 30 to recreate the JP dialogue, though I did want to use Crow’s “Ready! Set! Duel!” from Duel Links but it wasn’t working too well, so I stuck with his “Time to ride!” from 30 that hopefully still sounds good.

*phew*

#yugioh #yugioh 5ds #yugioh 5d's #ygo #ygo 5ds #ygo 5d's #5D's #my work #5Ds dub uncuts #yu-gi-oh 5D's #yu-gi-oh 5ds #yu-gi-oh! 5ds #yu-gi-oh! 5d's #[i'm nothing if not a perfectionist even for a mini-project lol]

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arbitrarygreay · 3 years

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Our Promise: A Brand New Day

So I finally got to watch Brand New Day (and rewatch Liz) courtesy of Tubi. THERE ARE MAJOR SPOILERS IN THIS POST. Overall, a good continuation of the series themes (the tension between artistic passion and social mores), and quite interesting to see how the band's traumatic history continues to have reverberations in the present, even as fewer people have actually met the ruinous seniors in question. There were some parts of the Mirei storyline that didn't breathe, and they seemed to have cut an entire storyline around Motomu, so those parts could have fared better in a show format, but a show format would also lose the intense focus exercise of Liz and the Blue Bird, as well as, UGH, stretching out the Shuichi storyline over time. Which, by the way, was an extremely muddled effort. At least they did demonstrate that these two do have fun with each other, but Kumiko, girl, you are not into it. There's zero reason to make excuses about waiting, or the appropriate time to kiss. You are just not into it. And in the breakup scene, did she imply that he should wait until after competition season of the third year!? lol. And since competition season got cut short, shouldn't that open up space now, or is she going to pull college exams as an excuse, because SHE IS NOT ACTUALLY INTO IT? If she was, she wouldn't have compartmentalised Reina and Shuichi into "music" and "not-music." He's a section-or-grade leader! We literally see a case where Shuichi stopping to be a good trombone senpai gets in the way of Shuichi and Kumiko interacting, so it's established that Kumiko is incapable of connecting with him in a music context the way she does with Reina, and it's her choice to do so. Shuichi is ready and able. Honestly, there's not even a "bisexual Kumiko" reading here. The execution comes across that she's simply not into him as a romantic prospect, and I went into the film willing to grudgingly support the het if they made a case for it. Like, if this is REMOTELY what Japan's het teenage dating looks like, no wonder their birth rate is in the toilet lol. Kumiko and Reina wear matching bikinis at the pool lol. H!E franchise ranking: Liz >>>>> S1 >= Asuka arc > Brand New Day > S2 NozoMizo arc One of the things that really stood out to me was how the different aesthetic styles impacted the effectiveness of the dub in BND vs. Liz. BND not only follows more anime conventions, but it forces most of the layered subtext of the characters to be carried by the voice acting, layers that it doesn't seem that the dub director seems to have picked up on. First of all, Erica Mendez is NOT a good match for Kumiko, at all. Erica's good with bombastic extroverts like LWA's Akko. Kumiko needs to be someone who flies under the radar most of the time. Laura is too flat and muted as Reina. Doesn't capture her casual haughtiness, the ambition. (To be fair, Christina Vee and and Courtney Shaw weren't able to make Kumiko and Reina pop in their brief moments in Liz, to where I didn't even realize they were different VAs.) The clearest indictment of the dub director is Christine Marie Cabanos's Kanade, who does well with Kanade's big dramatic moments of upset, but fails to convey her manipulative layer in the first half of the film. Everyone else is pretty good! Sarah Anne Williams and Megan Harvey are still excellent standouts as Natsuki and Yuuko. No wonder they were weren't recasted from Liz. Reba Buhr captures Asuka's charisma in her seconds of screentime. Kayli Mills rescues Midori from the moeblob pile into actual humanity! In contrast, though, Liz is such a focused tonal exercise that many of its elements make it easier for the dub actors to find the layers. Every line has more time to breathe, but the script style is also more naturalistic dialogue to begin with, since they're chasing an atmosphere instead of narrative beats. In addition, all of the layers are there in the visuals, so the VAs aren't so dependent on the dub director pointing out the nuances they should capture. Finally, the arteeeestic cinematography of Liz means that much of the dialogue is not beholden to lipflaps, lol.

#hibike! euphonium #hibike euphonium #sound euphonium #liz and the blue bird #category: anime

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matt0044 · 4 years

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The Anime Community has a FUNimation Problem. Full Stop.

In Prison School’s seventh episode, Anzu Yokoyama’s dialogue with Shingo Wakamoto has her calling out his attempt at talking to a woman and kicking starting a fairly obligatory romantic subplot. The English Dub, up to that point, had all the hallmarks of FUNimation’s script writers playing off the already existing comedic aspect of the title. Some disapproved while other embraced it.

However, the dub would go a step further by having Anzu’s emasculation of Shingo involve a reference to the then ongoing Gamergate controversy. If anybody knew of the movemen then, you’d know this wasn’t a good idea. Every geek and their mother took offense to it right out the gate, claiming that it was FUNimation “shoving politics” where they don’t belong and insulting their fans.

To play devil’s advocate, Prison School as a whole is all about young men being integrated into a formerly all-girl school with all the sleazy shenanigans that the title’s become infamous for. It’s already pretty provocative in terms of visuals and how it pushes the envelope on its fan-service element. Something the dub team were keen to embrace with all of the dialogue reflecting this tone.

Yet Tyson Rinehart was raked over the coals for what was suppose to be an edgy joke for the sake of it, not unlike a lot of Prison School’s humor. Bare in mind that it within was one scene in the seventh episode out of a twelve episode Anime. We don’t get any other references to Gamergate like Anita Sarkeesian or the like in any other scene of any other episode. It’s just... this.

Yet even now when the line was redubbed to remove the reference for the home release, you’d think that this one line is all the dub is. That it’s akin to Shin Chan or Ghost Stories where the dub team wrote their own story and made jokes out of every kind of current event controversy because that’s what gets the lulz. Yet, again, it was just one scene in one episodes out of the twelve.

Of course, the cycle seemed to begin again with Miss Kobayashi’s Dragon Maid which had a more... small scale kerfuffle in regards to the titlular human character claiming that, “I’m not into women or dragons.” Ironically, Jamie Marchi claimed she wrote that line since something like, “But I’m a woman,” came across as homophobic to her. However, I wrote my piece on all that.

What really got the wider community all up in arms was in regards to the character of Quetzalcoatl AKA Lucoa, specifically a single scene where she and Tohru exchange dialogue for less than ten seconds at most over her more conservative attire. Lucoa is pretty much THE fanservice character with breasts big enough to nearly suffocate a little boy in his sleep. Yes, that did happened.

Lucoa explains her more conservative attire as feeling uncomfortable with everybody looking at her in her other revealing outfits with the official subtitles by both Crunchyroll and FUNimation at the time. The dub would take it a step further so to speak by having her claim that she changed clothes because of “pesky patriarchal standards” getting on her nerves, something a tad different.

Well, I say, “different,” in the sense of what she’s referring to in regards to why she changed her clothes. The sub has it come out to “everybody” in a general sense like men, women and children alike while “patriarchal” is more specific in referring a societal phenomenon. However, that’s not what fans got in a tizzy over. The word, “patriarchal,” is the real focal point for this scene’s controversy.

It’s not secret that this word is thrown around most Feminist circles to the ire of geeks who “just wanna have fun” and hearing this word alone set off all the alarms. Like with Prison School, FUNimation was accused of trying to push a political agenda using Anime as Lucoa’s line was spread across the community.

By now, I’d like to be frank in how this all feels overblown. Using a word that’s common in the Social Justice lexicon can stick out but the idea that it turns the dub into political propaganda never made sense to me. I mean, it’s one thing the entire scene was rewritten to recite some kind of feminist manifesto but it only mentions the “patriarchy” and... that’s about it for this one scene alone. :/

I’d bring up “My First Girlfriend’s A Gal” but I feel like the points I made with Prison School largely apply here. However, I feel like some fans are hypocritical in how they claim that the dub’s dialogue is “inaccurate” when most enjoyed the dub for how it nearly went full Ghost Stories. Many felt that the dub was spicing up an otherwise by-the-numbers Ecch Fest that people would’ve written off. :P

Yet along came Episode 7 and the usage of the words of “SJWs millenials” among others was enough to make the dub “propaganda” in the eyes of many. Despite the fact that the script does convey the spirit of the original with the cafe manager trying to get the female cast into reading smut to nerd without their consent. What does that matter when the dub uses terms like “cuck?” :/

What about the voice acting? Doesn’t matter. Anzy referred “Gamergate.” That’s all that matters about Prison School’s English dub now and forever.

How well does the dialogue hold up on the whole? Doesn’t matter. Lucoa mentioned the “patriarchy.” That’s all that Maid Dragon’s dub amounts to.

Is it enjoyable in any way aside from said foibles? Doesn’t matter. The mention of “SJW millennials” in that one scene has now tainted the dub. Oh, the shame.

Starting to get the picture? I don’t want to be the guy who says dubs should go off doing as they please with not consideration for what the original’s narrative was trying to convey. Even if the occasional liberty can be intriguing, it’s always better for an English dub to keep the story in line with their source material. I, of course, type this for those who actually approach any dub in good faith at all. :/

The problem comes when the examples described above are weaponized by those who never had good faith in dubs and/or had it out for the likes of FUNimation to begin with. It’s not about discussion. It’s about propping up their bias of dubs being trash at best and trying to falsely villainize a company for making mistakes that ultimately amount to a handful of off-sounding dialogue.

By all means, discuss how those like FUNimation could improve on things such as where their streaming services are available region by region. Discuss how dubs like Danganronpa and Phoenix Wright recast the characters from the VAs in the games. Discuss how good or bad their script writing can be when it leans more loosely. All this fearmongering and vitriol does nothing but poison the well.

But weren’t these choices in adaptation politically motivated? Hell no? There’s a different between humor made in fairly poor taste and trying to brainwash your audience into believing, what, that women have problems? It’s not propaganda when you recognize it right away. And while Tyson Rinehart and Jamie Marchi responded rather rudely to the backlash... can you blame them with all of this?

I say this not to “kiss up” to FUNimation. Much as I admire their script adaptation process like the nerdy nerd I am, there can be times where I do feel they might’ve missed the mark. Particularly with their earlier dubs of the Dragon Ball franchise where they were borderline 4kids. However, dubs such as Fairy Tail and My Hero Academia are modern examples of how far they have come.

This mentality of holding grudges over fairly small potatoes that personally offend you gets us nowhere. I mean... isn’t it like the stereotypes SJWs are known for. A piece of media does something offensive, however big or small, and is deemed problematic forever by purity crusaders. Can’t we take a joke? It honestly gets to the point where I kind of have to quote Anzu Yokoyama here:

“Do you have a stick up your ass or are your one of those Gamergate creepshows?”

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howdoyousayghibli · 4 years

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A Soapy Sub-Plot Diminishes the Otherwise Brilliant From Up on Poppy Hill

In his excellent series, Movies with Mikey, Mikey Neumann asks a question about Jurassic Park II: Can one stupid scene ruin a great movie? When that little girl defeats a previously terrifying velociraptor with “gymnastics,” it undermines their power to scare the audience and spotlights a character the audience already doesn’t like. But does that erase any and all good qualities the rest of the movie has?

This question is terribly relevant to From Up on Poppy Hill, a 2011 film directed by Gorō Miyazaki. The son of Hayao Miyazaki, Gorō also directed the disappointing Tales from Earthsea. In Poppy Hill, he appears to have learned some lessons from his previous experience; the movie is enjoyable, moving, and packed with some of Studio Ghibli’s best dialogue yet.

This brings us back to Mikey’s question: Can the inclusion of a subplot that is in poor taste, hackneyed, and unnecessary ruin an otherwise fantastic film? Let’s just say this review’s going to have a hefty Spoiler Zone.

There’s plenty to talk about before we get there, though. Set in1963, Poppy Hill tells the story of two teenagers, Umi and Shun. Umi is uber-responsible, essentially running a boarding house for her Grandmother while also studiously attending school and keeping an eye on her younger sister. She doesn’t have much choice in the matter; her father died while serving in WWII, and her mother is studying in America.

Shun has a more normal home life, but is deeply involved in “the Latin Quarter,” a massive, old, and dilapidated building that houses innumerable school clubs (all of which are apparently boys-only). The major plot thread of the movie concerns attempts by, you know, Big Business or whoever to demolish the Latin Quarter and build a shiny new facility in its place. The facility would still be for the students, so it’s not a matter of losing their place; it’s a matter of losing the historical building itself.

While Umi’s extreme competence and selflessness endear her to the viewer, the Latin Quarter steals the show whenever the characters visit. I always think it’s bogus and pretentious when people speak of a city or location as “another character, really,” but they’d probably say it about the quirky clubhouse. I’d still disagree, though. The Latin Quarter is such a fun locale because of the many well-written actual characters inside it. The lavish details of the building itself don’t hurt, of course, but it’s really the clubs themselves that bring it to life.

A big part of that comes from some of the best, let’s call it, “background dialogue” of any movie I’ve seen. Neither Umi nor Shun are particularly funny, but the large cast of unnamed Latin Quarter club members are consistently hilarious throughout the movie. At the risk of doing the original screenwriters a discredit, I’m tempted to lay some of this success at the feet of Kathleen Kennedy and Frank Marshall, who oversaw the production of the U.S. dub. Both also worked on the dubs for Ponyo and Arrietty, were also excellently localized. Whoever deserves the credit, the movie is much richer for it.

Now, I’ve said that Umi and Shun aren’t especially funny, but that doesn’t mean they aren’t compelling. Just like the club members who populate the Latin Quarter, the protagonists are endearing because they both feel like they have lives outside of this movie. In different ways, Umi and Shun are both competent and passionate people, avoiding the “waiting for the plot to start” feeling that comes from less fully realized characters. Umi in particular has a moving emotional arc, made all the more powerful by how much of her growth, while inspired by those around her, seemed to come from decisions she made on her own.

Clearly, there’s a lot to love about From Up on Poppy Hill. The fly in the ointment shows up as Umi and Shun grow closer. It’s only natural that the movie would introduce some form of conflict into the story of their relationship, but the chosen form of that conflict leaves a bad taste in your mouth. It’s something of a twist and happens a good bit into the movie, so I’ll only discuss it directly in the Spoiler Zone, but the long and short of it is that it was a poor choice, it doesn’t give our protagonists anything interesting to do, and it took me about 10 seconds to think of an alternative that would involve minimal differences to the rest of the story.

You may recall that Gorō’s previous directorial effort, Tales From Earthsea, showed some promise but was ultimately weighed down by its failures. You may wonder if Poppy Hill is in a similar situation; fortunately, although the Bad Subplot does detract from the movie, the ratio of good to bad here is wildly better than in Earthsea. This time around, the strengths outweigh the blunders, and I recommend it to any Ghibli fans — I just wish the recommendation didn’t have to come with an asterisk.

Up Next:

It’s The Wind Rises! It’s currently Hayao Miyazaki’s most recent film (no release date for How Do You Live? yet) and I’m very excited for it.

Stray Notes:

Maybe my favorite of the many great background lines in the clubhouse: “How can we make archaeology cool again?” “We can’t.”

woooaaaah floor potato storage

Ghibli knows how to cut away from a joke (and not dwell on it)

Wow they’re really hitting the old vs new thing hard

Artist girl is an enormous mood

Lil Umi and her flags OH NO

Urinal conversation huh

“It’s like a cheap melodrama” YEAH KINDA MY MAN

Ah yes, rice goop

Giant Philosophy Man is great

Chairman guy has a great voice

That explosion was magnificently animated

Spoiler Zone

So, Umi and Shun are growing closer and like 5 seconds from making out when they discover that Umi’s late father is also Shun’s birth father, who gave him to Shun’s adoptive parents when he was still just a baby. They’re actually brother and sister! Who doesn’t love a good incest subplot?

Besides being soapy and gross, it just doesn’t make for a good story. It’s an automatic shutdown; you can’t even root for them to “overcome” this obstacle and still end up together, because … incest. While you could say there’s something to watching them learn to interact with each other non-romantically, it just kind of torpedoes their part of the movie for a bit.

I say for a bit, because of course this subplot is resolved the only way it possibly could be: Oops, they actually aren’t brother and sister! Herein lies the other part of the problem — the resolution has nothing to do with the efforts of Umi and Shun. Like I said, it doesn’t really work to have them trying to “solve” this problem, so they’re simply informed at the end of Act 3 that Umi’s dad took baby Shun from another dude, who died, and gave him to Shun’s birth parents.

Action is artificially injected into this story by having the not-so-star-crossed pair race across town so they can meet a sailor who knew their parents before his ship leaves. While I understand that they’d want to meet this man, they both seemingly know all the important bits — i.e., that they aren’t related — before they talk to him, which makes the sense of urgency feel very forced. I say “seemingly” because for reasons unknown, we only see Umi learn this crucial information. We never see Shun learn it, and we never see the two of them talk about it. Presumably, what should’ve been a climactic moment happened off-screen.

All the narrative problems aside, it’s also just gross whenever the scripts ties itself into knots to make incest a concern. It was bad in Speaker for the Dead, it was bad in the trailer for that stupid theme park show, it’s bad in every other comedy anime, and it’s bad here.

I can only assume that this was their way of having the relationship reflect the theme of the past affecting the present? But they could’ve just as easily introduced conflict through a revelation that Umi’s dad was somehow responsible for the death of Shun’s dad: it makes the past a barrier between them, puts them in a place to work at not letting the past actions of others affect their future, AND at no point does anyone have to say, “wait, don’t worry, it’s actually not incest!” Wins all around!

#from up on poppy hill #poppy hill #studio ghibli #ghibli #Goro Miyazaki

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llama-milk-for-the-egg-nog · 4 years

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Thoughts on Mulan (2020)

Ok so I had heard some stuff beforehand about this movie, but I didn’t wanna let that tint my experience too much, though it kind of did in the form of noticing western influence on certain things. Here’s a list of thoughts more or less in chronological order. First I wrote these in a notebook, and now I’m putting them here.

The beginning sequence reminds me so much of Kung Fu Huslte

though honestly it might just be that stephen chow’s movies are pretty much the extent of chinese-made media that I watch

Rosalind Chao is here, I’m a Keiko O’Brien stan so she reminded me of DS9

Fa Zhou saying something about “emissary” also reminded me of DS9

The music where the rourans first attack is cool I guess

idk if the brass made the music of the imperial city sound kinda western or what, but it certainly did sound militaristic (which I guess it’s supposed to)

Why does mulan have a little sister instead of a little brother? to add more female characters to the story? she doesn’t really do much though

After mulan’s whole childhood sequence, it cuts to a shot of the witch in the desert, which if you didn’t already know the story, might make it seem like mulan grew up to be the witch

although this makes some sense too bc the movie likes to compare them

the witch twists into a hawk (?), neat!

I saw people earlier comment about both men and women in china (and other parts of the world) keeping their hair long, so when mulan’s hair fell out of place in the matchmaker scene it made me notice that both the men and women also wear their hair up, which in turn causes the part of the movie later when mulan emerges after the avalanche to make way less sense since how would they know she’s a woman?

ok this is the thing I’m upset about, its a small thing but still, Why don’t we get to see the sword form?? If you remember in the animated version, her father does this straight sword form. (It’s a real form, not just made up for the animated movie). So I was like “ok maybe mulan will do it later” and then it NEVER HAPPENED. (possibly she did it during the “make a man out of you” training sequence, but the odd camera angels and quick cutaways make it impossible to tell)

I also had heard earlier that the script was not subtle at all,,,y’all were right

oh look, a phoenix

mulan: “the phoenix”

yes, we know

Commander Donnie Yen Tung’s entrance is iconic

BAHAHFHDSK mulan’s reaction to seeing naked men skjfdk

uh oh,,only 40 minutes in and the forced romance is already upon us

although, in retrospect, the way they resolved it at the end didn’t make me cringe that much

I’m a slut for butterfly kicks

the scene where mulan bathes in the lake has a much more predatory undertone now, especially now that Ling, Chien Po, and Yao are missing

the trio made the scene funny in the animated movie

can the not-Li-Shang-love-interest Honghui please leave Jun/Mulan alone?? ffs

speaking of no Li Shang, I liked the Donnie Yen mentor character half better than the Honghui half

Honghui kind of comes off as a simp ngl

what’s with the witch’s makeup/outfit? are they based on something?

speaking of outfits, awhile ago, I saw a really cool doll alteration video for mulan 2020

Commander Tung’s monologue/ mulan’s and the army’s training sequence about Chi where the words “Tranquil as a forest, but on fire within” are spoken is actually my favorite part of the whole movie. As much as I would have liked a musical remake, I think they translated the visual elements and the words together well in a way that was different enough from the animated version, but still satisfying to watch (at least for me).

They also integrate the music of Reflection here really well imho. In the animated version, there’s a point where mulan modulates to a higher key, but the live action version doesn’t do that, which further pushes it away from sounding like disney’s classic musical theatre style. They also changed a few of the notes, and I think the overall changes to Reflection in this part of the movie really improve this montage.

Compared to the Spiderman where they changed the notes from harmonic minor to (normal) minor (idk if that’s the real term I’m not actually a music major) in the MCU opening sequence, the note changes in Reflection don’t actually upset me.

my brain: oh look!! flowers!! cool! whooshhhh (honestly I couldn’t even tell if she was doing flowers right in the first part of the movie until here)

Mulan/Jun is gonna marry Commander Tung’s daughter? Yeah girl!! Get it!

oh look at me I’m a rouran and I gotta turn around on my moving horse to shoot arrows let me just swoOP

1:01:56 WHY ARE YOUR FINGERS IN FRONT OF THE HILT oh ok they fixed in the next shot but its still annoying

Unsubtle phoenix imagery not subtle

I guess I was warned about it :/

oh look its my fav interval a major 7th, I wonder if that’s supposed to be like “the last step before rebirth/the octave” bc of how Jun “dies” after the witch throws a weapon that gets stuck in her chest binding

at least she’s not using ace bandages or smth but idk much about binding

WHY ARE YOU THROWING OFF ALL YOUR ARMOR WHEN YOU’RE GOING INTO BATTLE? ACCEPTING AND PRESENTING YOURSELF AS WHO YOU REALLY ARE DOESN’T MEAN YOU HAVE TO TAKE OFF YOUR ARMOR

ok I know it was so she would be visually distinguishable from the other imperial soldiers, but still

the soldiers doing the turtle thing with their shields reminds me of the “we irritating 😂😂😂” meme

brass to signify that mulan is going to have a heroic moment (causing the avelanche) seems western to me. Idk much about traditional chinese instruments but it seems like they could use more of those.

Guys,,,I’m so fucking stupid I- .... it took me an hour and ten minutes to register the Lucky Cricket stand-in character,,,excuse me,,,,

the scene where mulan saves hongui and puts her hand over his heart gives me r*ylo vibes and I hate it

the witch, 1:14:40: “🎵yes I~ am a girl like you~🎵”

damn the music even reminds of the barbie movie a bit

The emperor’s voice reminds me of the mentor character from Kung Pow Enter the Fist which in itself was a western guy making fun of old cheesy martial arts movies (and how movies sometimes have a white male protagonist when they’re deadass set in asia and everyone else is asian)

the mentor characters voice was dubbed into english (and you can tell) but to me the emperor’s voice also kinda sounds like that

I’m disappointed that we didn’t get some kind of scene like the part in the animated verison where Mulan leads Ling, Chien Po, and Yao to cross dress to help save the emperor.

to me, that scene in the animated ver. is a reminder that it isn’t shameful for men to act/dress feminine

in general the animated version, to me, sends the message that it is ok to have both feminine and masculine traits, and that they don’t undermine each other or your identity, so they should all be embraced as a part of one’s personality (which tbh really helped me as a young kid)

the 2020 ver,, just doesn’t really send that message, instead its more broad like “be true to yourself”

I’m a slut for butterfly kicks

the witch taking an arrow for mulan really didn’t do it for me tbh, it made her seem a little wishy washy

like, I get that she wanted acceptance/validation, and that a part of her was glad that mulan found that for herself, but what about the rest of her motivation? Isn’t a desire for power or something what separates her from mulan?

Unsubtle phoenix imagery and dialogue is unsubtle

The music playing during the Mulan v. Khan duel reminds me of Duel of the Fates

actually the setting of the duel and other things really remind of of the Maul v. Ahsoka duel from Clone Wars s7

damn I really wanna watch the Maul v. Ahsoka duel cause the fight choreo is just,, so much more interesting

aww! Cricket is alive!

Around 1:34:39 , the music does not feel like it should be building up to Reflection here. At this point, I think the melody had been reprised too many times and was getting to be overused (I still like it in the training sequence though).

I was happy to see Ming Na Wen!

Mulan is going home and ugh! Honghui! Don’t you know she’s betrothed to Commander Tung’s daughter? smh. homewrecker simp.

the matchmaker reminds me of Baron Harkonnen (Dune)

cheezy credits song is cheezy, even cheezier because they reprised reflection again

#mulan's hair falling out of place in the first matchmaker scene reminds me of when my hair fell out of place during a comp lol #I love watching the sword form bc I learned it when I was younger #I basically forgot it tho :/#'impossible'#<insert 'it's not impossible just hard!'> quote here #mulan's experiences in the sleeping camp make me grateful I don't have a roommate tbh #mulan 2020 #the character keiko obrien is Japanese but Rosalind Chao is Chinese

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thejackalxi · 5 years

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Archangel Raphael Theory

So, after reading up a bit on the Crowley!Raphael theory, here's how I've come to view it.

Firstly, in the series we always see Michael, Gabriel, and Uriel together. They are 3 of the 4 main archangels. Raphael is the fourth, yet Sandalphon is among their group? This allows the theory some soft (or strong for some) foundation for the theory.

(UPDATE ON THIS POINT: There are so many different lists and interpretations of which were the first batch of archangels. Sandalphon IS an archangel and works closely with Metatron. He is the angel patron of mercy and music.)

Second, I believe that because the Almighty had the entire thing planned out from the beginning like a prewritten script or novel and is simply watching her plans play out, she intended an angel and a demon work together to stop the apocalypse, but they had to be unique of both groups. Crowley and Aziraphale both hold love and respect (in their own ways) for the earth and the organic lifeforms on it, and are unafraid to bend the rules of their respectable sides. No other demon or angel is shown to be like this in the whole of the series.

Third, I believe when Archangel Raphael questioned the future well being of Earth and its creation and perhaps questioning the banishment of Lucifer and his other fellow angels (however this presumed scene and dialogue would play out), it earned him fallen angel sentencing, but before he fell, Raphael was torn in two by the Almighty. Aziraphael, the goodness of Raphael, and the newly dubbed Crawly, the darkness and rebelliousness of Raphael. As a demon, Crowley remembers is fall from grace but both share different memories as Raphael, however, Aziraphale believes these scenes he can recall had to have been from dreams and Crowley does not remember the name Raphael as himself. The name was blurred in their minds.

Fourth, the biggest argument for those not for this theory say Raphael was not associated with the creation of stars. Crowley, in the series stated while going through pages of an astronomy book, "Beautiful nebula, I helped build that one." As one of the 4 top Archangels it is quite probable that he lent a hand where he was needed in the construction of the universe, or perhaps he simply wanted to help that particular project. It is never explicitly said that Crowley was once some great star cluster master, just that he helped with one nebula, though maybe more. Archangel Raphael is associated with quite a few things, but his main associations are HEALING and PROTECTION OF TRAVELERS.

Fifth, consider the line when Aziraphale suggests he inhabits Crowley while the angel was discorporated. What if he did do this and the intermingling of their ethereal spirits fused back together to reform Raphael. The sudden realization of who they had always been, who they were meant to be together. Aziraphale's "dreams" confirmed to be memories, and the name Raphael suddenly being made clear like a mist dissipating quickly from the bright rays of the sun.

Sixth, imagine the sibling quarrels between Gabriel, Michael, Uriel, and Raphael. I am unsure if the archangels know that God split Raphael, but Aziraphale's name "Azi from Raphael" makes the other angels look down on him. He's not only seen as a young, lesser angel assigned to a basic and all too temporary earth assignment, but he was named after Raphael, almost as if he were named as a byproduct from a stubborn archangel who had the audacity to question the Almighty.

Seventh, the image of what I imagine Raphael to look like. (Raphael is almost always depicted as a red head, but just picture it) Green eyes, long strawberry blonde hair and a perfect blend of Aziraphale and Crowley's faces...

If you focus on one particular being, you can see them, but you can see traits of the other as well.

IN CONCLUSION,

I can understand those who don't like this theory and that's completely fair. It takes Terry Pratchett and Neil Gaiman's joint collab of "starting with a single character and splitting them into two" very literally to the narrative, but it is a fun concept to play with. It's only a theory, but I believe BOTH Aziraphale and Crowley are/were Raphael together.

#ineffable husbands #good omens #crowley #aziraphale #crowley!raphael #fan theory #fusion #archangel raphael #is crowley the archangel raphael

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duhragonball · 5 years

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Dragon Ball Z Movie 12: Fusion Reborn (3/6)

So Janemba’s messing with King Yemma, cutting off his authority over the boundary between the living and dead. Yemma knew this would have dire consequences for the universe, and we see that manifest on Earth, where dead people are suddenly back from the grave. For example, this family is at a cemetary to visit their grandfather’s grave, only to find him alive and well in his burial clothes no less. He’s not a ghost or any other sort of apparition either; he has feet and everything.

Elsewhere, an older man named Romeo has a similar experience at the grave of his deceased lover, Juliano. Or Julianne? I don’t know. You’d think they would have called her “Juliet” to play in with Romeo, except in the play they both died young. Here, Romeo survived, and he’s and old man.

But Julianne hasn’t aged at all in the past sixty years since her death. It kind of makes for an awkward reunion.

Incidentally, Romeo has a crucifix, so this marks the first official appearance of Jesus Christ in Dragon Ball. We’ve seen crosses and the name “Jesus Christ”, but this is an actual image of the Son of God Himself. “But Lord, why are there no footprints in the sand during the most difficult parts of the journey?” “Because that was when I Instant Transmissioned you, lol.”

Speaking of crosses, here’s Dracula, and I guess he was dead, until he came back today. But he still has a wooden stake in his heart, which... okay why does he want it removed if it’s not killing him? Why can’t he just take it out himself? Also, if Janemba’s powers are causing dead people to come back to life, shouldn’t Dracula turn back into a human?

Meanwhile, some horde of invaders on horseback marches through traffic. I think these are supposed to be Mongols, but I dunno.

They kind of get their thunder stolen when a second army of tanks shows up, let by Adolf Hitler. I mean, it’s not quite Hitler. His uniform is bright purple, and the real Hitler wouldn’t be leading a battalion of tanks into action. But this movie never bothers to give him a satirical name, like “Dunkoff Shitler” or “Adenoid Hynkel” or whatever. So I just refer to this guy as Hitler. Same as that vampire from a minute ago.

In any event, this guy’s obvious resemblance to Hitler is why his scenes were edited out in several countries, which have laws against depicting Nazi imagery. For what it’s worth, the movie doesn’t really lose much with these scenes taken out.

Also, there’s just straight up zombies running around, which I don’t really understand, since Hitler and Julianne are fully alive. But that’s the chaos of Janemba for you. He’s not purposely doing any of this. This is just the result of him cutting off King Yemma’s power to regulate the dead.

But don’t worry, folks, Gohan’s here and he’ll save the day, right after he finishes eating.

Goku may be dead, but his legacy lives on in his sons, Gohan and Goten. Chi-Chi doesn’t mind doing all the dishes from the boys’ meals, but she does miss her husband at times like these.

So Videl offers to help with the dishes, but Chi-Chi’s like, no way, you’re a guest in this house.

But somehow we end up with Videl doing the dishes in the next scene. This is one of my favorite animations in this movie. With the sound effects, I could watch a loop of this all day.

Chi-Chi is impressed, so she tells Videl that she’ll make a fine wife.

And Videl’s all “Marriage? Gawrsh!” This is adorable. She’s so worked up that she drops a dish.

But Chi-Chi doesn’t mind, because she still thinks Videl is cut out for married life. In the manga, Chi-Chi wants Videl to marry Gohan so she can get a chunk of that sweet, sweet Mr. Satan fortune, but in this movie, I almost feel like she’s proposing to marry Videl herself. “Marry me, Videl, so I may never have to wash a dish again!” “Wh-what about Gohan?” “What about Gohan?”

Then Videl breaks more dishes, but before she can clean them up, she gets a call from the Satan City Police, who inform her that the dead have risen and are overrunning the town. Also, they ask her to contact Great Saiyaman. Videl’s like “No problem, I’m at his house now. I think his mom is coming on to me.”

“Stay away from my mom, Videl.”

Meanwhile, in Otherworld, Goku and Pikkon’s championship match is interrupted when a giant crystal sprouts out of the ring.

The Grand Kai believes the disturbance is coming from King Yemma’s domain, and he sends Pikkon to investigate. But Goku doesn’t want him to go, since that would mean he’d win the tournament by forfeit. So the Grand Kai orders Goku to go with Pikkon, and that works out, since Goku can teleport there.

When they arrive, they find everything all messed up.

Yemma somehow contacts them from within the barrier around his domain, and he points out Janemba on the roof.

Pikkon tries to ask Janemba to cut the shit, but Janemba either won’t cooperarte or he can’t understand him. When Pikkon loses his patience, Big J flicks him into one of those floating jellybeans he made.

This catches Goku’s interest, and now he’s happy that they left the tournament for this, since Janemba seems like an even greater challenge.

Janemba seems to agree to tangling with Goku, so he suggests that Pikkon see to Yemma while Goku lures Janemba to hell, where he’ll be out of the way.

I’m not sure if there were already jellybeans in hell, or if Janemba brought a bunch down with him.

Otherwise, Hell has experienced its own bizarre changes. I’m not entirely sure what’s changed, since we only saw it twice in the entire run of the anime up until now, but I’m pretty sure all those humanoid-looking figures weren’t there before.

Janemba grabs a few and turns them into mini-clones of himself.

Goku thinks they look cute until they all start ganging up on him.

Fortunately, Goku can just beat them away with a few roundhouse kicks, and they all vanish. The bad news is that the big Janemba won’t be that easy.

Back on Earth, Gohan’s having tons of fun clobbering zombies.

Videl’s doing pretty well against them too, but the real question is: Why is this happening, and how do they stop it? Gohan isn’t sure, but he’s confident that it’ll all work out with the two of them together.

Videl’s charmed by his answer, but then--

Some jagoff intrudes on their moment.

Oh look, it’s this asshole. Yeah, Frieza’s back and he’s in this movie too, along with Dracula, Hitler, and Jesus. For those of you keeping score, that means Steel Ball Run, Hellsing, and Resurrection F were all inspired by this movie.

Frieza is surprised that anyone on Earth knows him by name, so Gohan unmasks to reveal that he was the kid with the bowl-haircut on Namek.

Videl’s completely smitten here. “Wow, he’s wayyy dreamier than his mom!”

So Frieza’s decided to kill Gohan as revenge for Goku defeating him. You’d think he’d be mad about Future Trunks killing him, but he was friends with Gohan too, so it still works. The part that doesn’t work is this punk-ass bitch running around in Movie 12 like it’s still Movie 3.

So Frieza sics a surprise army of henchmen on Gohan to soften him up. Of course, it makes perfect sense that all the top Frieza soldiers would be here, and that they’d still be loyal to Frieza, but there’s also a lot of Movie 1-5 henchmen too, and most of them don’t even know Frieza. Still it’s not hard to believe that they could be persuaded to join his side.

But Bojack seems pretty hard to swallow. Out of everyone in this scene, he’s definitely stronger than Frieza ever was, so why isn’t he calling the shots here?

Anyway, waves of henchmen, Frieza’s invincible, what will Gohan do now?

FREE-ZA FREE-ZA FREE-ZA FREE-ZA

Hadou ooana GALAXY Yudan wana PARASITE

FREE-ZA FREE-ZA FREE-ZA FREE-ZA

Obienaku wa warera min

DIE!DIE!DIE!

So yeah, everyone sees Gohan END Frieza with one fraggin’ punch, and they all turn chickenshit and run away. Even Bjoack, I guess, which only makes sense, because Gohan punched a hole through him in Movie 9.

Videl’s like “Wow, it’s kind of weird how all of these dead people came back to life, and presumably we can’t kill them again because they’d just come back, and yet Frieza was the only jerk in this whole movie who got exploded and stayed dead from all of this.”

Then Gohan does his victory poses, and Videl swoons off-screen. In the dub, they changed the ending dialogue to suggest that Gohan and Videl made out shortly after this scene, and Goten and Trunks saw it. It’s not in the Japanese script, but come on. How was Videl not al over this dude after this? We know it happened.

Meanwhile, Mr. Satan is punching zombies someplace else, and he’s pretty pleased with how well he’s doing, except there’s no one around to watch him in action, so he moves on to find his grateful public.

Fortunately, he won’t run out of zombies anytime soon.

Meanwhile, Goten and Trunks are helping out by gathering the Dragon Balls, They find the seventh one on a golf course.

But Goten gets hit with a golf ball while he’s there. Irritated, he decides to hide the ball to get payback on whoever sent it his way.

But he hides it in the hole, so the golfer thinks he made a hole-in-one and he’s sobbing with joy. This doesn’t have much to do with the movie, but what’s great about Fusion Reborn is that you can expand on almost any scene and make it part of the wider story. Maybe this guy’s a dead Frieza Soldier who got the call to mobilize and he said “Fuck that, if I’m alive, I’m gonna hit the links one last time.” Or maybe he’s just a regular dude, but the lady there is his dead wife, who’s come back to tell him that the accident wasn’t his fault, and it’s okay for him to move on with his life. Or they’re both alive, but the golf course gets destroyed by Cell during his epic battle with Tiencha.

Back at Capsule Corp. Gohan summons Shenron. For some reason, in the dub, she tells him he’s “the only one who can,” and I’ve never understood that. Maybe she means that Gohan’s the only one who understands the crisis well enough to make the right wish to Shenron, but she could still call the Dragon. She’s done it before several times.

It’s funny how this is the first time Goten and Trunks have seen Shenron, even though the plot of Movie 10 was them gathering Dragon Balls specifically to see Shenron. That’s how big a disappointment Movie 10 was. Meanwhile, Movie 12 is so awesome that it pays off ideas from other movies.

Videl might have wished for a handsome BMF with cool shades...

But Shenron can’t grant a wish that’s already come true. Let’s just pause here to drink in this majestic shot of Casual Friday Great Saiyaman.

...

Nice.

I’m just gonna put it here again. It’s great.

So Gohan explains the situation to Shenron and asks him to put all the dead people back where they belong, which Shenron says is a simple task.

But then he says he can’t do it after all. Goten complains, and Trunks silences him before Shenron can take offense.

Now, in the dub, Shenron gives a more thorough explanation. He can move the dead back where they belong, but with King Yemma out of commission, there’s nothing to stop them from simply coming back. I think that logic is strongly implied in the subtitles, but it’s not quite so clear. In any case, this is beyond Shenron’s power. It wouldn’t be if Yemma were on the board, but if that were the case, there’d be no need to involve Shenron in the first place.

So that leaves everyone feeling pretty dejected. The problem lies in Otherworld, and if Shenron and Gohan can’t fix it, then they’re out of options.

And while they ponder what to do next...

...Shenron awkwardly asks if there’s anything else he could do for them while he’s here.

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momijis-sunglasses · 5 years

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so in my post-first-two-episodes-of-furuba glow, I went home and watched the first episode of the 2001 anime again.

hoo boy.

it was FASCINATING.

it’s definitely become a little more common for the same story to receive multiple adaptations. but here we have two first episodes that cover the exact same chapter in the manga, end on the same story hook, and even have plenty of similar shots. but the overall impression and tone is incredibly different between the two. and it’s so revealing for why i’m optimistic about the new anime and have big issues with the 2001 adaptation.

SPOILERS

-the 2019 anime has the huge benefit of knowing the entire story. starting out with a flashback to the bond first being created between god and the animals is a great idea. it gets a hint of the supernatural in there early for new viewers, and it’s giving you a visual metaphor (the ropes aka literal bonds) of one of the key themes of the series. the new anime is being made with the awareness of the rest of the series, and that’ll improve things so much. they’re already really teasing the hat, and even kyo’s beads. it’s nothing too overt, just little nudges at the viewer that serve as a fun thing for existing fans and ways to tease the mystery for new fans.

-the scene where Tohru first finds the house and meets Shigure have very, very similar scripts between both versions. and I wish I had the new version in front of me right now because I can’t provide specific examples of why this is -- but I was left with a much more natural impression from the new version. the directing is just better. I think the 2001 anime has the problem of being too abrupt constantly. it’s like nothing’s given room to breathe. in the new anime, there’s a really nice transition into a flashback (lots of flashbacks in this episode haha) using the wind chime at Shigure’s to one at Tohru and Kyoko’s apartment. and actually going into the apartment gives the whole flashback a better sense of place. this is also where it starts being really apparent how much more static the old anime is. i do think they generally did the best with what they had, but there are more pans over still frames and the characters expressions are usually flat. the new anime is 1000% more dynamic.

-which also contributes to the comedy! there’s the same funny “what do you have in there, a dictionary?”/”two dictionaries” gag in both, but it lands better in the new anime. it’s more background chatter than anything, actually, so it feels more like incidental funny dialogue. like these people just banter and bug each other on the reg. the 2001 anime makes everything more slapstick and over the top, and 2019 tones it back to something more naturalistic. which i’m happy about, because when i think fruits basket, i think dry humor more than anything.

-also! eric vale! i’ve never blamed him for this, but his performance is sooooo much better in the new anime. he was definitely a newer voice actor (like a lot of the cast) when the 2001 anime came out, but I blame a lot of the issues I had with his performance before on the voice directing. there are so many times in the old episode where Yuki sounds straight up creepy. i don’t know if they were going for mysterious, but they didn’t get there that’s for sure. he’s more regular and a bit suave in the new one, which makes sense for this part of the story. yuki’s just like.. a huge improvement between these two versions. I always felt like the director of the 2001 anime didn’t get Yuki at all. like he thought he was actually a prince and also just wanted to make a cool character so girls would swoon and buy merch or w/e. I just want Yuki to get his due as a character, dammit!

-if you haven’t watched the original in a while and have hulu or netflix, fire that shit up because the transition to school is sooooo bad. first the prince yuki fanclub and their weird chant thing... and then uo and hana’s introduction is also super abrupt and we’re just firing through these scenes real fast. the new one has the same events happen, but again, it’s more natural. no weird chant! the prince yuki club has just cornered tohru in a hallway and are berating her. a boy even walks past and is like, “yikes, bullying.” because it totally is! the timing on uo and hana to the rescue is a lot better. and i think because of that, it allows the comedy more time to develop so that’s it’s actually funny and not just confusing. also all three of them feel more like comfortable friends. like we’re witnessing their usual dynamic. since the 2001 director was always going for comedy, it almost feels more like an interrogation in the old version.

-THIS! CHANGE! IS SO IMPORTANT! so the 2001 anime races through tohru telling us why she’s living in a tent. lightspeed. we have time for the prince yuki fan club chant, but we can’t spend too much time establishing the drama of the situation. in the 2001 anime, we transition to a literal slideshow basically recreating panels from the manga while tohru monologues over it about how her mom died in an accident but she wound up with her grandpa and he asks her to go live with a friend for a while. we all know the story. the new anime, on the other hand, transitions to an actual flashback, not a still image, of tohru as a kid balancing a checkbook while she explains how her dad passed away and her mom had a tough time all by herself. it’s really sad! and it’s so much more effective to show her as an actual kid worrying about money stuff and making dinner. they also showed a heap of blood instead of a car hitting a wall to represent kyoko’s death, which... woof. and then we get an actual scene of her grandpa asking her if she can stay with a friend. which, again, gives us more time to actually feel the situation she’s in. but also works so well because he phrases it as an option for her. he says he’s worried she won’t be comfortable stuffed into a small house with a ton of people so she might be happier staying elsewhere for a while. and then tohru, OF COURSE, takes that consideration and goes to live in a tent. the transition (which is different between the two) to tohru cleaning up a storm at her job was also a moment of genuine, sweet comedy.

-yuki talking to tohru on the way home is kind of interesting, since the two adaptations treat it in kind of opposite ways? in the 2001 anime there’s that ~mysterious~ music while he tells her random zodiac facts and then silent tension (which I actually quite like) when he gives her that enigmatic “it’s not that i don’t like all cats” look. in the new one it’s a more normal conversation? like they’re just chatting. and then it turns when she realizes there’s something more to it and the music got pretty intense and there’s A Moment. i think it’s less outright sinister in the new one. seriously, i’m waiting for 2001 yuki to start monologuing about his master plan to take over the earth any time.

-shigure laughing at tohru’s tent is straight up funnier in the new one. the timing is better. also his continued laughter and yuki’s little “oh you’re done now?” was really well handled. that joke falls flat in the old version.

-and i don’t know how they do it because, again, these episodes have the same runtime and cover the same material, but this whole scene definitely feels like it takes it’s more time in the new anime. it’s not overstaying it’s welcome or anything. it’s punchy and funny and i loved seeing the characters play off each other. but even shigure opening the door to reveal the gross kitchen is given more of a beat to it, so you have a second to laugh. and him hearing the dog howling isn’t the most awkward thing you’ve seen anymore.

-since we’ve had more time to understand tohru’s situation and even her mom (kyoko is finally allowed to be herself and not Cliche Dead Mom!) through flashbacks in the new anime, tohru clawing at the dirt to get the picture of her mom is actually pretty heart-wrenching. you get it more. everything she has in the world is in that tent and she doesn’t have anything but pictures to remember her mom by. this is what i’m so excited about in the new anime. if you give more time to build motivations and drama, because you understand that’s important to storytelling, then the emotional parts will hit that much harder

-tohru telling shigure about the day her mom died! I've always loved this scene, because it's one of the few times Tohru actually opens up to someone (who's not Kyo :P)about feeling crappy. amazing what a fever can do. these two scenes are so interesting, because they're actually really similar. we get the exact same info, and some of the shots of tohru lying on the futon are basically identical. but once again, the 2001 anime does a lot more telling us what happened. some shots are obvious budget-saving measures, like an extended shot of the paper wall/door with tree shadows waving. (what room are they supposed to be in?? for some reason, I always thought that was the kitchen) (actually the reason was all the rats are behind that door) (you KNOW there are rats in that kitchen) the 2019 anime, on the other hand, goes back to those old reliable flashbacks. we get a repeated (and longer) shot of kyoko going out the door, and you realize as the scene goes on and tohru explains she didn't even wake up to see her leave that morning, that it's an imagined scene or a memory of another day. which is... oof. make me feel all those feelings, please. we also get more actual kyoko dialogue, which is always a good thing.

-I also love yuki showing up after she's fallen asleep, having overheard anything, and saying he could've left the sohma compound to live in a tent. uh, I mean, I love it in the manga and the new anime. I won't put this on the original production staff and more on the original English dub, but oh boy is yuki kind of petulant and whiny in that scene. he sounds very petty and jealous and I don't like it. he's definitely envious of her to a degree (and beating up on himself), but he's also pretty in awe I think. ANYWAY I felt the new dub fixed this, so I wasn't like, what's your problem, dude?

-yuki and the rats is still weird lol (honestly being able to "communicate" with their animal is dropped so damn fast in the manga. I only like it for the payoff of the birds running away from kureno.)

-actually, one of the only things I prefer in the 2001 anime is tohru waking up to her mom's photo right next to the futon. I love the idea of yuki setting it up there real quietly while she sleeps, knowing it's the thing she was most worried about. so cute! but one point for the new dub: i'm assuming tohru says "oka-san" when she wakes up. since it's three syllables and zoomed in on her mouth they've changed(?) it to "I miss you" in English and just stab me right through the heart why don't you!!

-it seems like everyone's saying this, but that staircase scene! it's not even really a scene. but I love it! a cramped little switchback-y staircase. this show is making me feel like i'm IN shigure's house. it's also shot cool, and the reveal of kyo in the tree is great. I love that it's not pointed out so obviously, and he's just there. (it'd be hard to miss him though)

-then of course we end on kyo jumping through the whole damn roof (he really blasts through it in 2019 haha) and everyone turning into animals. no huge differences, but I want to fast forward a little to talk about kyo. jerry jewell may be the member of the returning cast who sounds the most "similar" to his old rendition of the character, HOWEVER. there's a huge change in acting and vocal direction. it might seem like a small change, but it's not! it's really big! in the 2001 anime he jumps through that roof and says a punny line (it would take kyo 6 months to come up with that lbr) and rah-rah rages through the next few episodes when he's not acting sheepish. now he sounds much less like he's just angry and more like he BLURTS things. a thought comes into his head and BLURT it's out of his mouth. because of the increased range in emotional expression on all their faces, we can see that he seriously feels guilty and conflicted about being mean to tohru. like there is some depth there to be mined. it's so much more obvious that the people around him can easily push him to the point of blowing up, and that he doesn't feel in control of himself. I give major props to the animation team, the anime director, and the dub director (I would trust Caitlin Glass with my actual life at this point) for pulling this off. because it seems subtle! but it really is a big difference!

I used to be a pretty staunch believer that we DID NOT need another anime adaptation of fruits basket. I know a lot of people wanted it, but I really never did. I love the manga so much, and think it's masterfully done. after the original anime, I didn't want more of it. mostly, because I didn't trust anyone to do it right. a lot of the changes made by the original anime may seem "small" to many people, but what makes furuba so great to me IS all those tiny nuances. change a tiny detail, and you may have changed the whole feel of a scene or an important interaction. the manga is pretty quiet, for most of it's run. little moments build up to create a big, beautiful tapestry. so I was happy reading my manga over again and not worrying about anyone else ever touching it to bring it to moving color.

so i'd say I was likely to be a harsh judge. and I was really, REALLY impressed with what they accomplished. i'm sure there'll be some decision I disagree with later. they'll cut some scene I love or i'll disagree with the emphasis on something somewhere. but they've really built up a lot of goodwill with me. I LOVED watching these characters on screen and seeing them interact. seeing them all eat around the table together felt like coming home. like settling down for another furuba reread.

and it's all the stuff above that made me feel that way. seemingly little tiny details and differences. again, we're talking about the exact same story! it's told with almost the same lines and the same characters and many of the same jokes. but it really felt different, because of small changes. and a much better understanding of what furuba is.

#fruits basket #furuba #fruits basket spoilers #furuba spoilers #text #a mountain of text i can't be stopped

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chiseler · 4 years

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“You Devilish Mummy!”: Mexican Horror in America, 1958-1963

Rosa Arenas

For some people, Cinqo de Mayo means a nacho party platter, a cooler full of Corona, plastic sombreros and a pinata filled with stale butterscotch discs. For a few of us, though, Cinqo de Mayo means one thing and one thing only: Aztec mummies. The sad part of it is that it might actually make much more sense than the nachos.

After Tod Browning and his crew left the set at the end of the shooting day while working on 1931’s Dracula, they were replaced by director George Melford and a Mexican cast and crew. Using the same sets, the same cameras, and a translated version of the script, they worked all night to shoot the Spanish-language version of the film. Those who have seen both tend to agree that the Spanish version is the superior of the two. The cinematography is more vibrant and less stage-bound than the Browning version, the atmosphere is richer (possibly because they were shooting at night), and most important of all, the Mexican Dracula (Carlos Villar) smolders with a sexual energy and menace Bela Lugosi, great as he is, lacks.

Prior to the mid-’50s, most American audiences would probably be surprised to learn that Mexico even had its own film industry. That’s when low-budget producers from Sam Arkoff on down recognized the economic advantages of snapping up the US distribution rights to existing foreign genre pictures. It made perfect sense. You didn’t need to hire any directors or cameramen or gaffers. There were no actor hissy fits to smooth over. All you needed to do was dub in some English dialogue that more or less made sense, fit the action on the screen, and approximately matched the actors’ lip movements. Or maybe not, whatever. Sometimes you might want to bring in an editor to try and rearrange a few scenes so the picture and dialogue’ll make more sense to the kids at the drive-in, but even that wasn’t always necessary. Come up with a snappy English title, Americanize some of the actors’ names, and you’re good to go. The important thing is these films could be picked up for a song, and minus a few minor expenses everything they brought in was gravy.

Suddenly US theaters were full of sci-fi, horror, and westerns from Italy, Japan, Spain, and yes indeed, Mexico. Low-budget distributor K. Gordon Murray quickly established himself as the king of marketing Mexican horror cheapies to American audiences, handling films like The Man and the Monster, The Brainiac, Curse of the Doll People, and a whole lotta movies with “Aztec Mummy” in the title. It would be nice to say these films have complex and thought-provoking storylines, that the acting is strong and subtle, that the cinematography is dazzling and the special effects on a par with any major American studio at the time, but that would really be pushing it. A lot of the films were just slapdash, flat-footed remakes of popular American films but with cheaper sets. A few of them do stand out, though, in that even the dubbed and edited versions remain uniquely Mexican, even if they do seem to tell the same story over and over again. And some of them are just plain nuts.

Genre director Rafael Portillo and screenwriter Alfredo Salazar were best known for their Aztec Mummy and wrestling pictures, and in 1958 topped even Santo Meets Dracula with La momia azteca contra el robot humano, translated as The Aztec Mummy Against the Humanoid Robot or, more simply, The Robot Meets the Aztec Mummy.

As the opening narration assures us, the film is based on an “actual experiment” conducted by two scientists from “The Los Angeles University” and verified by witnesses who “signed sworn statements with a notary public” so “there is no question about this story’s authenticity.”

Please keep that in mind.

The film is told mostly in flashback and through voiceover, which is generally a sure sign you’re watching a heavy-handed bit of editorial butchery. The same sort of thing was done regularly to the US versions of Toho films, usually with a mind toward simplifying the story.

Okay, a psychiatrist (Ramón Gay) is mocked by his colleagues when he presents a paper about past life regression, so he storms home and hypnotizes his wife Flora (Rosa Arenas). We slip into a low budget flashback within a flashback as we learn Flora was once an Aztec maiden on schedule to be sacrificed when she runs off with a warrior. The village priests find them, bring them back, and bury the warrior alive after placing a curse on him. Then they fit the old Flora with a gold bracelet and breastplate inscribed with directions to the location of “the secret Aztec treasure.” Then they cut out her heart, which may say something about the effectiveness of that breastplate.

Returning to the first flashback, we learn the evil Dr. Krupp had spied on the experiment and now wants in on it. Nevertheless the good doctor decides for some reason that the best way to prove his theory is to find the bracelet and breastplate, so they all go looking. Lucky for them they find a secret passage under the pyramid that I guess is in their backyard. Moments later they find the ancient temple, the skeleton of the old Flora, and the breastplate which they take home with them. The fun doesn’t last long, though, as the warrior’s mummy shows up at the house, grabs the breastplate, grabs Flora, returns to the temple, and prepares to cut out her heart again. At this point we’re about six minutes into the film.

Then it turns out, see, that Dr. Krupp is really a sinister underworld figure known as The Bat, and...oh screw it. Over the course of the rest of the film we get gangsters, a shootout, hypnotism, a mad scientist, a pit full of rattlesnakes, that mummy again, some Aztec rituals, a few vanishing bodies, a police investigation, a stolen corpse, a stolen brain, and a stolen “machine that uses radium,” together with lines of dialogue like, “oh, you devilish mummy!” and “continuing our search we hurried to the snake pit.” Eventually we even get a robot there near the end (though it’s more of a reanimated corpse wearing a metal suit festooned with some blinking lightbulbs),and it has a brief and slow wrestling match with the mummy.

And all of it, believe it or not, is crammed into a zippy 65 minutes. No, it’s not a particularly good film as the term is traditionally used, but it is a fascinating one. As crazy as it all gets, as big as some of the plot holes and lapses in logic may seem, the craziest thing of all is that you can’t really criticize it for any of that given that it’s, y’know, based on a true story.

Robot Meets the Aztec Mummy is a pretty extreme example of what was coming out of Mexico at the time. Other genre pictures were no less strange, maybe, but a little more sane.

Three years after Bert I. Gordon’s Attack of the Puppet People and 25 years after Tod Browning’s The Devil Doll, Benito Alazraki released his 1961 film Muñecos infernales, better known in the States as Curse of the Doll People.

An archaeologist interested in ancient rights and such and her physician husband (Ramon Gay again) visit an art collector friend who regales them with the exciting tale of his recent trip to Haiti. While there, see, he and two friends witnessed a secret voodoo ritual that included human sacrifice. For all the crazy goings on though, the art collector couldn’t take his eyes off the idol the voodoo priests were worshipping. He thought it would make a fine addition to his collection, so the next day he went back and stole it.

(Given that the story is not told in flashback, just by some guy sitting in an easy chair, I’m tempted to think the whole Haiti angle was an invention of the screenwriter for the American version. Maybe the producer was a little tired of Aztecs by this point.)

It’s not hard to guess that stealing a revered idol from a voodoo temple is not without its repercussions, and sure enough before you know it the children of all the men on the Haiti trip start receiving new dolls in the mail. Real nice, realistic-looking ones too. None of the parents seem a bit concerned by the arrival of anonymous gifts for their children, merely handing the dolls to the tykes and sending them off to bed. After a few cuts to an oddly Mexican-looking Haitian voodoo priest, well you guessed it. the dolls start coming to life and knocking off the parents in ways that can’t easily be traced back as the work of an evil dolly.

The one surprise here is given the budget, the special effects (midgets in doll clothes on oversized sets) are really, really good. Better than Bert Gordon’s, even. It’s just too bad the story around them doesn’t have a bit more zing to it. It’s a little flabby and obvious. Still, you start to get the sense a pattern is developing.

El baron del terror (released in the States as The Brainiac in 1962), directed by Chano Urueta, marked a bit of a break from the simple revenge plot. Oh wait, no it didn’t. But it was still a break from the standard storyline.

As the film opens it’s 1661, a comet has appeared in the sky, and an evil baron (Abel Salazar) is being burned at the stake by Inquisitors for practicing black magic. As evil barons are so wont to do when finding themselves in circumstances like that, he places a curse on all those who condemned him, vowing he would return in 300 years when the comet reappears and kill off all their descendants. The Inquisitors, for some reason, don’t seem terribly concerned by all this and go ahead and burn him anyway.

Cut to three hundred years in the future and true to his word the comet has reappeared and so has the baron, who starts snuffing people who didn’t even know they were related to Inquisitors. Yes, it’s a plot we’ve seen how many times already? But the Brainiac, as the title might hint, does offer a twist or two. First, before he kills his victims the Baron transforms into a kind of hideous horned demon monster (the doll special effects were better). Then during the murders he sucks out his victims’ brains, which he keeps in a big salad bowl in the kitchen. When he lures someone over to his apartment and confirms their identity, all he needs to do is excuse himself to the kitchen for a moment, have a spoonful of brains, and shazam. No more descendant and more brains for the baron.

A year later Ueueta returned to more standard form with La cabeza viviente, aka The Living Head. Here again he opens with a long prologue in which he went to some pains to at least give the illusion of historical accuracy. When a great Aztec general dies, not only is he buried, but so are a few of his servants and a high priestess to help him on his way in the afterlife. That those others weren’t quite dead yet doesn’t seem to matter much. It’s all quite a big to-do.

Cut to 450 years in the future, as an incredibly bad archaeologist and two assistants stumble upon the tomb. First they completely destroy the mummy of the high priestess and shrug it off. Then when he finds the invaluable Ring of Death, the archaeologist immediately announces that he’s going to give it to his daughter, “who likes ugly things like that.” Then after reading aloud the very clear curse that will befall anyone who desecrates the tomb, the trio scurry’s off with the general’s mummified head and the mummy of his servant (the one still clutching the knife). Do they then deliver them to the museum where they can be properly cared for and kept in carefully climate-controlled environments? Well, almost: he brings them back to his apartment and keeps them in the living room.

Yeah, it’s not really hard to see where this is headed. The daughter starts wearing the Ring of Death and gets a little kooky in the head . Then the servant and head come to life and all three of them (the daughter carrying the head) go tracking down the desecrators in order to cut out their hearts.

“I know what you’re thinking,” a police inspector says after the first murder. “But I don’t believe in legends. Or in superstitions either. All I know is that this is a very difficult case.”

That’s the real killer in The Living Head. Even more so than most, the dubbing is miserable, with most of the lines either being non-sequiturs, or so plainly obvious and logical they come out sounding like non-sequiturs. I get the feeling sometimes that the voice actors they brought in were never given scripts, simply shown the film and told to make it up as they went along.

Ah, but this is merely a taste of what’s out there in terms of Mexican horror. We haven’t even considered the Santo pictures yet, and there are hundreds of those. I’m not sure if the likes of Robot Meets the Aztec Mummy would really enrich anyone’s appreciation or understanding of Mexican independence, but there are doubtless lessons to be learned here. Namely, should you happen to find some neat stuff in a sacred temple next time you’re in Mexico, for godsakes just leave it there, no matter how cool it is. Those Aztecs mean business.

by Jim Knipfel

#Jim Knipfel #The Chiseler #Robot Meets the Aztec Mummy #Brainiac #The Living Head

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mst3kproject · 5 years

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The Incredible Petrified World

When choosing episodes that never were, it is always tempting to just pick crap movies I enjoy watching, like Lady Frankenstein or The Giant Claw, and ignore the unwatchable bilge – but this blog is about films that were or should have been on MST3K, and they riffed their way through quite a bit of unwatchable bilge over the years, from The Robot vs the Aztec Mummy to dreary dubbed Hamlet. I would therefore be sadly remiss if I neglected truly wretched movies entirely, and so we come to The Incredible Petrified World. It’s a Jerry Warren movie that serves very well to emphasize that Teenage Zombies might be his best work, and it stars John Carradine from The Unearthly and Phyllis Coates from Invasion USA. It’s also one of the most difficult movies I’ve ever had to sit through, right up there with Invasion of the Neptune Men, so brace yourselves because this is gonna hurt.

A Dr. Wyman (evidently this is before the Blood Beast ate his brain) has invented a special deep-diving bell, and it’s time for its first test in the Caribbean. The expedition consists of three scientists and a reporter – the former are two identical-faced men and a brunette, and the latter is a blonde. Don’t expect me to remember their names. Halfway down, the cable snaps and they plummet to the seafloor… but when they come to, they realize there’s light in the windows. They’ve somehow entered a series of underwater caverns, which are inexplicably full of air and light! After wandering around eating up time I could have spent watching a better movie, they encounter a man in a fake beard who says he’s been down there for fourteen years. For some reason this guy decides to kill them all, but at the last minute a volcano erupts, squashing him so everybody else can be rescued.

Interspersed with all this are scenes of Wyman’s brother and his collaborators, helping in the search for the missing scientists and building their own diving bell for a follow-up mission. These parts seemed weirdly disconnected from the rest of the movie, and I wondered if they were shot and added later because somebody thought the movie was going to be too short. But then at the end, all these characters appear together on the rescue boat. I guess the writing just sucked.

Oh, man, fuck this movie. It really is the dumbest, dullest thing imaginable. The whole thing is just a bunch of scenes that wander across the screen but never amount to much, so in that spirit I’m going to make a bunch of observations and not worry about whether they add up to a review. Here goes.

The actual beginning of the movie is some footage of an octopus fighting a shark, while a narrator tells us that the sea is the wildest and most hostile place on earth… although his words aren’t nearly so poetic. In fact, the narrator sounds like he’s reading the script aloud for the first time, while wondering if he remembered to lock his car. He drones on and on about the things that lurk in the depths while we see dull footage of fish swimming around for nearly four minutes. I already want to turn this off and go do something fun, like sweep the floor. Even worse, none of this has a crumb to do with the rest of the movie, which is set not at the seafloor, but in a cave, where there are no sharks or octopodes.

The diving bell looks about as solid as a beach ball and is significantly bigger on the inside than the outside. Everything in it is controlled by two switches on the wall and an oscilloscope. The dialogue is at pains to note that the second bell, the one built by Wyman’s brother, is identical to the first. This means they can use the same set.

All these undersea caverns have nice level floors for the characters to walk on, which is good because the women wore heels for their descent into the murky abyss. At one point they encounter an Australian perentie lizard, which is only seen in a cutaway because it’s stock footage from the other side of the world. I don’t know how long they’re supposed to have spent wandering around in the caves but since the search was eventually called off it must have been a couple of weeks at least. Despite this, nobody’s clothes get dirty. The women’s hair and makeup always look perfect, and the men never need to shave. Come to think of it, how does Beard Guy know he’s been down there for fourteen years? He’s in a fucking cave. There’s no day or night to pass the time, and he doesn’t wear a watch.

Beard Guy apparently tells the characters that he and Mysterious Skeleton were sailors on a ship that sank, and that’s how they ended up in here. The two men suspect that he isn’t telling the truth. It turns out Beard Guy is the one who killed Mysterious Skeleton, although it never tells us why – maybe he’s just crazy, or maybe he got really hungry one day. If there’s a dark truth to how he ended up in this place, however, the audience never learns what it is.

Much of what we see is just filling time. One of the guys says they can make fishing spears out of some of the equipment they had in the diving bell, and then we have to watch them do it. There’s a bit where a guy back on land is driving somewhere, and we hear a news broadcast on the search, which is fine, but then we also have to listen to the weather report as well. Characters wander through rocks, and then wander back through the same rocks shot from a slightly different angle.

There is an attempt at subplots. The blonde woman is the bitchy one and the brunette is the nice one. The former has just broken up with her boyfriend and threw his engagement ring into the ocean. One of the men confesses his love to the latter. Both of these ideas come out of nowhere, are given three or four lines, and vanish into the mist, never to be heard from again. Beard Guy, whose ‘beard’ looks more like a stuffed animal glued to his face, tries to rape the blonde while the men are gone. Since the movie was made in the fifties he doesn’t get very far before he is buried by falling rocks. If this had happened so the men could heroically save her, it would have annoyed me, but the utter pointlessness of the scene we did get is worse.

The erupting volcano is exactly like the erupting volcano in The Land that Time Forgot, in that the volcano only exists to end the movie at an arbitrary point. At least it’s not here to steal the happy ending this time. Footage of the actual eruption is upside-down for some reason, maybe because we’re under the ground. What sense does that make? Did the writer think the earth is hollow and volcanoes on its inner surface point down instead?

The dialogue is unsalvageable. There’s an entire conversation between John Carradine and some other guy about why the cable broke on the first diving bell, and not only is everything they say nonsense, they can’t even make it sound like anything but. Characters on Star Trek talk complete bullshit all the time, but at least they mostly sound like they believe in it. John Carradine and his co-star have absolutely no idea what they’re saying, and don’t care enough to try. Something about making the diving bell too strong.

It pretty much goes without saying that The Incredible Petrified World doesn’t have anything to say. The entire story, insofar as it goes, is completely without point or plot. It barely even has a premise. Various characters take turns moaning and wailing about how they’re gonna be down here for the rest of their lives, but then they recover and get on with things after all. The men discuss survival strategies and the women complain. Nothing develops. The blonde supposedly has an arc, in that at the end she says “my life will be changed from here on out”, but this is the most told and least shown character development of any movie ever.

It’s a complete mystery to me why anyone bothered making this movie. Most movies have something going on: they want to tell a story, to examine an idea, to showcase an actor, to sell soundtrack albums, to leech money from nostalgic fans of an old cartoon… sometimes these ambitions are cynical but they’re still there. Even really, really, legendarily bad movies have goals. Foodfight wants you to buy name-brand instead of generic. Manos: the Hands of Fate wants to prove it’s not as difficult or expensive to make a movie as Hollywood would have you believe. The Hottie and the Nottie wants to convince you that Paris Hilton can act. All these movies are miserable fucking failures but you can tell what they were going for.

The Incredible Petrified World isn’t even going for anything. It just takes some bad actors, stands them in front of the camera for a few minutes, and then lets them go home. There is literally nothing beneath the surface, and the surface is so insubstantial it barely counts. It’s movie dark matter, adding to the mass of the universe but otherwise completely fucking inert.

#mst3k #reviews #episodes that never were #the incredible petrified world #poor john carradine #fuck this movie #60s #non hamlet reviews that mention hamlet

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ellawritesficssometimes · 6 years

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Why Hetalia isn’t racist + why it doesn’t promote Japanese imperialism/nationalism

Before I start, it’s important to get a few points out of the way given that many of the misinformed critiques of Hetalia have been made by people who haven’t read the original source material (i.e., the manga).

There’s a difference between historical situation and promoting a horrid ideology. Just because a series depicts war and Nazis doesn’t mean that they’re inherently glorified. Of most importance is that Hetalia promotes peace and reconciliation in spite of depicting war.

The wars that are depicted are general and the atrocities are deliberately glossed over. This is necessary because Hetalia is comedic in nature.

Hetalia is based on stereotypes, good or bad. While some of the jokes are admittedly offensive, no nation is singled out nor are any specific nations made to be superior in comparison to others. Every character is made fun of for their stereotypes. Its humour isn’t meant for everyone.

Hetalia is satire. It mocks war and nationalist sentiments rather than promoting it.

The dub is not canon. That includes many of the insensitive jokes that Funimation scripted.

The anime itself is unrepresentative of the manga. It can only cover so much material. Don’t judge a manga by its anime just the same as you wouldn’t judge a book by its cover.

It’s also important to note that Seychelles has always been dark-skinned in the manga, unlike in the anime where she was drawn as pale-skinned. However, I do concede that even in the manga, her skin should be darker [x].

Since I’ve already created many posts on this subject, here are some resources corroborating the above points: [x] [x] [x] [x] [x].

In addition, I’ve also found a scholarly article in a university publication that does a fantastic job of not only dismantling many of the misconceptions about Hetalia but also many of the baseless critiques that have been aimed toward it:

It’s a fair, level-headed piece that uses original source material to prove that Hetalia mocks and undermines sentiments of Japanese imperialism and nationalism while also demonstrating that it takes a definitive anti-war stance.

What I particularly like about it is that it acknowledges that some of Himaruya’s early choices were made in poor taste but is still able to substantiate the stance that this insensitivity isn’t supportive of racist sentiments.

It also shows artwork/content that glorifies Japanese imperialism and nationalism and then compares it to Hetalia.

Overall, it’s very well-written, sourced, and informed. Below will be a list of important quotes that I took from the article. I highly encourage for people to read the whole thing, as it breaks down a good amount of examples from both the manga and anime [x]. The article can be found through Google Scholar.

Source:

Sands, A. T. (2013). Belittling japanese nationalism in hetalia: axis powers. Humanities and Social Sciences Review, 2(3), 125-144.

Quotes:

“Hetalia does not portray violence or accurate portrayals of history; Hetalia is a collection of gags mocking militarism and stereotypes,” (125).

“Hetalia condenses history for comical effect but retains an anti-war sentiment by belittling wartime axis beliefs…In Hetalia, each character’s nation is targeted for ridicule through its stereotypes, and I argue the stereotypes are not intended to create a sense of racial inferiority,” (126).

“A close examination of plot, character development and imagery reveals a subtle disdain for nationalism, which purposes racism and false history,” (126).

“Manga and anime can be a good outlet for nationalists to use, but it can also be a tool to combat nationalism,” (128).

“For every Hetalia fan, there is another furious anime blogger appalled by it. As the battle over Hetalia’s purpose rages in anime and manga circles, academia has of yet not entered the discussion with earnest,” (129).

“Hetalia does gloss over almost all of the war, especially the darker parts of the war, but if you watch the whole show, it is easy to realize the show is not about WWII,” (129).

“Korea as an ‘other’ in Hetalia is not nearly as physiologically different from his Japanese counter part… Although Korea is not portrayed physically inferior to the Japanese, critics argue his immature personality and actions are racist. Himaruya’s choice to make Korea an immature teenager rather than an adult may not have been the most sensible of choices, but it was also necessary for him to create jokes tailored to Japanese stereotypes of Koreans, which he could then subvert…On some levels, the jokes are insensitive, and they are not politically correct,” (130).

The author also goes on to mention how inappropriate and weird some of the “sexually charged” jokes were, starting from page 131.

“In Hetalia, every nation has its moments when its actions are designed to make people laugh at it, and Japan is no exception. Rather than idolizing Japan, Hetalia’s representation of Japan is a socially awkward, emotionally repressed, and sometimes obsequious character to be laughed at. He is neither the proud solider in Sensoron nor the charismatic scholar of Kenkanryu…

If Japan’s character had been a fearless soldier immune to cultural gaffes, I would argue Hetalia would be purporting an idealized notion of the “self” in order to promote nationalism. Himaruya’s version of Japan, however, could not be farther from an “idealized self,” nor does he try to blatantly dichotomize or attack a perceived “other,” (132).

“Hetalia does have politically incorrect and at times racially insensitive caricatures. Gag comedy is based on jesting stereotypes and thus has to have some degree of politically incorrect imagery and character personalities. Neither in the original web comics nor in the anime version that followed it did Hetalia attempt to isolate Japan as the dignified “self” people should idolize. The “others” are often portrayed at the butt of the jokes, but each nation also has its turn to be the dominant character, even at the expense of Japan’s pride. Critics can dislike Hetalia for being tactless at times, but I argue their accusations of supporting malicious racism are based on curt examinations of the show, which do an injustice to Himaruya’s true intentions,” (133).

“Hetalia’s critics decry it for more than just its perceived racist notions; they also denounce it for its interpretation of WWII and other historical events, which lack acknowledgement for grievances against Japan. Gag-comedy constrains Himaruya to a small amount of time to touch on important historical events, such as China’s discovery of Japan, Russo-Japanese War, and WWII amongst others. The time constraints naturally appear as historical omission for the sake of defending the nations; however, Hetalia does not attempt to omit history to protect Japan’s pride, but rather it condenses history for comical effect,” (133).

“By mocking the tools and ideas of war and degrading it into a minute-long gag, Himaruya expresses his contempt for war and the foolishness of man to pursue it, thus creating an anti-war message rather than glorifying the imperial state as Kobayashi did,” (135).

Page 136: a good example of how the Axis were anything but glorified, season 1 episode 18.

“Himaruya may have glossed over the atrocities of war, but he did not glorify Japan,” (136).

“I believe that in season 4 episode 26, the final three fragments before the credits represent Himaruya’s sincere belief in the need for reconciliation amongst East Asian nations and Japan…Japan informs the viewer he wanted to wait until the last to show his final technique, and in a close up of Japan’s emotional face he proclaims, ‘But if you’re serious, I’ll get serious, too! My final secret technique: Expression of Regret!’…

“The simplicity of the idea that peace could be solved by a pair of underpants is the joke’s punchline, but I believe, underneath the surface, it represents a metaphor that the path to peace and reconciliation in East Asia is far simpler than assumed. For Japan, the path is regret,” (136-137).

“Himaruya is trying to make a comedy out of history. Hetalia does omit many historical facts, but it was never trying to be a serious historical discussion. When Hetalia condenses history for comical effect, the imagery and dialogue indicate the scene is solely a gag. Himaruya’s metaphors and cinematography suggest he views war as senseless. Rather than supporting right wing nationalism, Hetalia appears to be a satirical anti-war anime,” (137).

Conclusion:

With all that in mind, Hetalia may have had its faults—and still does to a far lesser extent—but it has never advocated for war, racism, or nationalist and imperialist drives. If anything, interpretations of the series have caused the exact division that Himaruya’s writings have long been opposed to.

#hetalia #aph Japan #aph South korea #aph Germany #aph Italy #italy looks like he's doing the whip in the gif #glad I cropped it that way

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