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brawltogethernow · 3 years

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@mirrorfalls submitted: Came across this while searching for James Bond’s scrambled-eggs recipe (long story). Your thoughts?

But did you find James Bond’s scrambled eggs recipe?

In this article, Scocca laments his inability to find accessible, lighthearted superhero comics suitable to read with his young son, while also demonstrating a mysterious aversion to looking at DC and Marvel’s lines of comics for children, which is where the accessible, lighthearted superhero comics suitable for reading with young children are. He wants his elementary schooler to be able to safely have the run of all superhero media so he doesn’t have to touch the yucky baby books.

This is not an industry-wide crisis. This is just one dude who got paid to write an article where he accidentally exposed one of his personal hangups.

The child headed toward the trade paperbacks of Marvel and D.C. superhero titles on the side wall […] a few steps in front of me. […] Is he with you? a clerk asked me. I said he was. You know, the clerk said, we have a kids’ section. The clerk gestured backward, at a few shelves near the entrance. I said, Thanks, we know and tried throwing in a little shrug, as the kid kept going.

You can’t just turn a seven-year-old child loose in a comic-book store to look at the superhero comic books. […] My seven-year-old really wanted to see that last Avengers movie […] that is, he wished it were a movie he could see, but he understood that it was, instead, a movie designed to scare and sadden him—a movie actively hostile to people like him.

They have a children’s section. Because comics are a medium suitable for stories for everybody, and they are sold in comic book shops, which have sections, like bookstores. You can use this organization to find books that you know in advance are suitable for children. What goes in that category is determined by industry professionals. This area will be bigger the bigger the shop is. These comics are not lower quality that titles from the main lines. They are actually slightly better-written on average.

Your local comic book shop has considerately wrapped Empowered in a plastic bag, so your child will not be drawn in by a colorful superhero and accidentally read a graphic scene. If you think your kid might find a memoir about internment camps upsetting, it is your job to notice them picking up They Called Us Enemy and read the blurb on the back before you let them have it. This comic adults are meant to read is in a comic book shop because that is where comics are sold. Not every public place is supposed to be Disneyland.

Movies have ratings systems. If you do not want your child to watch a PG-13 movie, you will find that most superhero cartoons are for children. They are about the same characters. Some are quite good! I really enjoyed Earth’s Mightiest Heroes. Your child may like Avengers Assemble. At least I think that’s right. I’m always mixing those titles around.

This is a deeply weird bias for Scocca to casually demonstrate, because he identifies in the article that real childishness is striving for empty maturity.

He compares an old comic,

[…]a 1966 Spider-Man comic in which Spider-Man meets, fights, and defeats the Rhino; participates in a running argument between John Jameson and J. Jonah Jameson about his heroism; buys a motorcycle; breaks up with his first girlfriend, Betty Brant; flirts with Gwen Stacy; and reluctantly agrees to let Aunt May take him to meet her friend Mrs. Watson’s niece, Mary Jane.

and a new comic,

[…]a 21st century comic book in which Thor, brooding in a Katrina-destroyed New Orleans, beats up Iron Man. He also yells at Iron Man a lot about some incomprehensibly convoluted set of grievances, including involuntary cloning, that he believes Iron Man perpetrated against him while he was dead(?), and then summons some other Norse god from the beyond somehow for reasons having something to do with real estate. I think. Where the 1966 comic is zippy and fun and complete, the whole contemporary one is muddled and lugubrious and seems to constitute a tiny piece of a seemingly endless plot arc—simultaneously apocalyptic and inert.

and concludes that the edgier comic is actually less mature. This is true. (This is not news about mediocre comics.)

It also has nothing to do with either comic being child-friendly, the article’s nominal thesis, except in the sense that ASM #41 (yes, I eyeballed that from that summary, yes I am just showing off now) is better written, making it more everyone-friendly. It also has practically more space dedicated to word balloons than art and is about a college student juggling girl problems and a part-time job with a tyrannical boss. But the immature one, as Scocca points out, is dour.

These are both teenagery issues, separated only by quality. It’s true that lots of new comics published by the big 2 are bad in the specific way Scocca describes here, taking themselves too seriously and hauled down by associated stories instead of buoyed by them. Some are not! Some titles from these companies’ main continuities are zippy, contained, and child friendly. Give your child The Unbeatable Squirrel Girl! Or if you like vintage comics so much better, why don’t you…buy some?

The books on the kid’s rack are good and fun and totally suitable for parents to read with their children without wanting to scoop their eyeballs out. Scocca cites the Batman ‘66 comics as the brightly colored, tightly written all ages solution to his problem about sharing superhero stories with his son. My local comic shop stores this title in the kid’s section. I am glad that Scocca’s does not, as he seems to have a peculiar aversion to looking for comics to read with his son there.

Scocca cites Spider-Man: Into the Spider-Verse as a superhero movie he could watch with his kids. (I was surprised when this line made it sound like he has several. I don’t want to assume the other one isn’t in this article because they’re a girl, but I very much am assuming that.) Great! Go to the kid’s section and look for Marvel Adventures: Spider-Man. It’s a fun, zippy title directly inspired by ITSV where Miles, Gwen, and Peter superhero together. It’s much more tightly written than most of the various Spider-Verse comics, which are ambitiously messy ubercrossovers. You may not want to give those to children because they include murder and so on, but also you just have the choice between the two as an adult reader deciding how much continuity you want to deal with. Adventures is one of the only titles I would buy on sight before corona. The kid comic rack is a reliable place to take a break from How Comics Get Sometimes regardless of how old you are.

This article makes me feel quarrelsome. Maybe it’s that it doesn’t seem like exploration of a single idea so much as a loosely grouped bundle of things to kvetch about. Maybe it’s that the experience of getting into superheroes that Scocca describes experiencing, projects his seven-year-old son will experience, and from which he extrapolates a metaphorical microcosm of the history of the genre is completely alien to me.

Comic books [and] comic-book movies—are […] trapped in their imagined audience’s own awful passage from childhood to adolescence. A seven-year-old has a clean […] appreciation of superheroes. They like hero comics because the comics have heroes: bold, strong, vividly colored good guys to fight off the bad guys and make the world safe.

But seven-year-olds stop being seven. […] They become 13-year-olds, defensively trying to learn how to develop tastes about tastes.

The 13-year-old wants many things from comics, but the overarching one is that they want to prove that they’re not some seven-year-old baby anymore. They want gloomy heroes, miserable heroes, heroes who would make a seven-year-old feel bad. (Also boobs. They want boobs.)

Not because of the boobs line, although that does illicit an eyeroll that this gloomy thinkpiece is fretting over preserving the superhero experience of little boys who resemble the little boy the writer was while casually dismissing everyone else. I was one of those unlikable little seven-year-olds with a college reading level and the impression that maintaining it was the crux of my worth. I only read Books - distinguished media you could club someone with. I have a formative memory of pausing, enraptured, in front of a poster for Spider-Man 3, preparing to say that it looked pretty cool, and being beaten to the punch by my mother making a disparaging comment about how the movie was trash. It wasn’t out yet, but it was a superhero movie. That meant it was for loud, brainless children.

That was the total of my childhood experience with superheroes, excluding being the unwilling audience to incessant renditions of “Jingle Bells, Batman Smells” that left me wondering why in god’s name Batman’s sidekick was named Robin. I certainly never visited a comic book shop. I got into TvTropes, which got me into webcomics, which got me following David Willis, who got me into Ask Chris at ComicsAlliance, which led to me rewarding myself for studying like a demon for the AP tests with three volumes of Waid’s Daredevil, pitched as a return to the character being colorful and swashbuckling. I was seven…teen.

This is of the same thread as Scocca’s point that immaturity is running from childish things. It leaves me baffled that he doesn’t follow that maturity is embracing them.

I will disclose here that while I think it was dumb I had to overcome my upbringing’s deeply embedded shame associated with enjoying arbitrarily defined lowbrow media and children being childish, I think it’s fine that I was allowed largely unchecked access to technically age-inappropriate content. In my limited experience, content small children are too young for is also content they’re too young to understand, so it kind of just bounces off of them, and what actually ends up terrorizing them is unpredictable collages of impressions that strike out at them from content deemed perfectly child-friendly. I would not forbid a seven-year-old I was in charge of from seeing an MCU movie unless I had a reason to believe that specific child would not take it well. These are emotionally low-stakes bubblegum films. It will probably be easier to socialize with other kids if they have seen them.

But then, when I picture being in charge of a hypothetical child, I usually imagine this being the case because they are related to me, and the pupal stage in my family strongly resembles Wednesday Addams. ALL children love death and violence, though, right?? This isn’t a joke point. I know it looks like a joke point.

The MCU thing seems especially weird in light of the article’s particular focus on Spider-Man, which is the kiddie line of the MCU, even if they refused to waver from their usual formula enough to get a lower rating. Though I am more inclined to describe it as “preying on the young” than “child-friendly”.

(MCU movies are increasingly dubious propaganda, but I would not judge them in front of a child who wanted to watch them for that reason, just in case this led to them partaking of them without me the second they were old enough to and then they grew up to run a blog about them while our relationship suffered because they didn’t feel like it was safe to talk to me about their interests…Mom.)

I tried to overcome the philosophy of letting anyone read anything while compiling this handful of mostly-newish superhero recs for the road that anyone can read. (Handily, I have been in spitting distance of being hired as a comic shop clerk enough to have thought about it before):

For actual children:

Marvel Adventures Spider-Man (the new one is reminiscent of ITSV, the old one is more like 616) any DC/Archie crossover, Archie’s Superteens The Unbeatable Squirrel Girl (for bookish children who think they’re too good for comics and adults afraid of the kid’s section) Teen Titans Go (even if you hate the show) Superman Smashes the Klan

For teens:

Ms. Marvel Young Avengers (volume 2) Unbelievable Gwenpool Batman: Gotham Adventures Teen Titans Go (the tie-in comic based off the old show was also called this)

Here are a bunch of relevant C. S. Lewis quotes.

#me every time i read a comic book article by a rag not exclusively about comic books: i know more than you.#marvel #spidey #DCU #MCU critical #mirrorfalls #asks answered #submission #unearthed this and bashed it out in one sitting ... i have not been working on it since you sent it last year XD

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batboyblog · 3 years

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Books I’m looking forward to in 2021

Well, 2020 sucked in a big way and one of the ways it sucked was that a lot of books that were meant to come out got pushed back, so here are some upcoming books in 2021 I hope to be reading

January 5, 2021

Be Dazzled by Ryan La Sala

Who's ready to sparkle?? Project Runway goes to Comic Con in an epic queer love story about creativity, passion, and finding the courage to be your most authentic self. Raffy has a passion for bedazzling. Not just bedazzling, but sewing, stitching, draping, pattern making--for creation. He's always chosen his art over everything--and everyone--else and is determined to make his mark at this year's biggest cosplay competition. If he can wow there, it could lead to sponsorship, then art school, and finally earning real respect for his work. There's only one small problem... Raffy's ex-boyfriend, Luca, is his main competition. Raffy tried to make it work with Luca. They almost made the perfect team last year after serendipitously meeting in the rhinestone aisle at the local craft store--or at least Raffy thought they did. But Luca's insecurities and Raffy's insistence on crafting perfection caused their relationship to crash and burn. Now, Raffy is after the perfect comeback, one that Luca can't ruin. But when Raffy is forced to partner with Luca on his most ambitious build yet, he'll have to juggle unresolved feelings for the boy who broke his heart, and his own intense self-doubt, to get everything he's ever wanted: choosing his art, his way.

January 19, 2021

A Complicated Love Story Set in Space by Shaun David Hutchinson

Black Mirror meets What If It’s Us in this gripping, romantic, and wildly surprising novel about two boys lost in space trying to find their way home—while falling in love—from the critically acclaimed author of We Are the Ants. When Noa closes his eyes on Earth and wakes up on a spaceship called Qriosity just as it’s about to explode, he’s pretty sure things can’t get much weirder. Boy is he wrong. Trapped aboard Qriosity are also DJ and Jenny, neither of whom remember how they got onboard the ship. Together, the three face all the dangers of space, along with murder, aliens, a school dance, and one really, really bad day. But none of this can prepare Noa for the biggest challenge—falling in love. And as Noa’s feelings for DJ deepen, he has to contend not just with the challenges of the present, but also with his memories of the past. However, nothing is what it seems on Qriosity, and the truth will upend all of their lives forever. Love is complicated enough without also trying to stay alive.

February 2, 2021

Yesterday Is History by Kosoko Jackson

Weeks ago, Andre Cobb received a much-needed liver transplant. He's ready for his life to finally begin, until one night, when he passes out and wakes up somewhere totally unexpected...in 1969, where he connects with a magnetic boy named Michael. And then, just as suddenly as he arrived, he slips back to present-day Boston, where the family of his donor is waiting to explain that his new liver came with a side effect—the ability to time travel. And they've tasked their youngest son, Blake, with teaching Andre how to use his unexpected new gift. Andre splits his time bouncing between the past and future. Between Michael and Blake. Michael is everything Andre wishes he could be, and Blake, still reeling from the death of his brother, Andre's donor, keeps him at arm's length despite their obvious attraction to each other. Torn between two boys, one in the past and one in the present, Andre has to figure out where he belongs—and more importantly who he wants to be—before the consequences of jumping in time catch up to him and change his future for good.

February 9, 2021

As Far As You'll Take Me by Phil Stamper

The author of The Gravity of Us crafts another heartfelt coming-of-age story about finding the people who become your home--perfect for fans of Becky Albertalli Marty arrives in London with nothing but his oboe and some savings from his summer job, but he's excited to start his new life--where he's no longer the closeted, shy kid who slips under the radar and is free to explore his sexuality without his parents' disapproval. From the outside, Marty's life looks like a perfect fantasy: in the span of a few weeks, he's made new friends, he's getting closer with his first ever boyfriend, and he's even traveling around Europe. But Marty knows he can't keep up the facade. He hasn't spoken to his parents since he arrived, he's tearing through his meager savings, his homesickness and anxiety are getting worse and worse, and he hasn't even come close to landing the job of his dreams. Will Marty be able to find a place that feels like home?

March 9, 2021

Fragile Remedy by Maria Ingrande Mora

Sixteen-year-old Nate is a GEM—Genetically Engineered Medi-tissue created by the scientists of Gathos City as a cure for the elite from the fatal lung rot ravaging the population. As a child, he was smuggled out of the laboratory where he was held captive and into the Withers—a quarantined, lawless region. Nate manages to survive by using his engineering skills to become a Tinker, fixing broken tech in exchange for food or a safe place to sleep. When he meets Reed, a kind and fiercely protective boy that makes his heart race, and his misfit gang of scavengers, Nate finds the family he’s always longed for—even if he can’t risk telling them what he is. But Gathos created a genetic failsafe in their GEMs—a flaw that causes their health to rapidly deteriorate as they age unless they are regularly dosed with medication controlled by Gathos City. As Nate’s health declines, his hard-won freedom is put in jeopardy. Violence erupts across the Withers, his illegal supply of medicine is cut off, and a vicious attack on Reed threatens to expose his secret. With time running out, Nate is left with only two options: work for a shadowy terrorist organization that has the means to keep him alive, or stay — and die — with the boy he loves.

April 6, 2021

The Sky Blues by Robbie Couch

Sky’s small town turns absolutely claustrophobic when his secret promposal plans get leaked to the entire school in this witty, heartfelt, and ultimately hopeful debut novel for fans of What if it’s Us? and I Wish You All the Best. Sky Baker may be openly gay, but in his small, insular town, making sure he was invisible has always been easier than being himself. Determined not to let anything ruin his senior year, Sky decides to make a splash at his high school’s annual beach bum party by asking his crush, Ali, to prom—and he has thirty days to do it. What better way to start living loud and proud than by pulling off the gayest promposal Rock Ledge, Michigan, has ever seen? Then, Sky’s plans are leaked by an anonymous hacker in a deeply homophobic e-blast that quickly goes viral. He’s fully prepared to drop out and skip town altogether—until his classmates give him a reason to fight back by turning his thirty-day promposal countdown into a school-wide hunt to expose the e-blast perpetrator. But what happens at the end of the thirty days? Will Sky get to keep his hard-won visibility? Or will his small-town blues stop him from being his true self?

April 27, 2021

The Nobleman's Guide to Scandal and Shipwrecks by Mackenzi Lee

Return to the enchanting world of the Montague siblings in the finale to the New York Times bestselling and Stonewall Honor-winning series, featuring a teenage Adrian Montague as he desperately seeks the now adult Monty and Felicity—the older siblings he never knew he had. The sole heir to his family’s fortune, Adrian Montague desperately wants to be free—from his father’s high expectations; the grief of losing his beloved mother; and the constant war being waged inside his mind. Adrian was diagnosed with hysteria at a young age and it’s always been kept a secret. But when he has a breakdown at his engagement party, the public learns Adrian’s worst fear: he might not be fit to run the Montague estate. Thankfully, Adrian is given an opportunity to avoid the impending scandal: a trip to the Caribbean to claim the last of his mother’s possessions. But along the way, Adrian discovers another secret lurking in his family tree. He is actually the youngest of three children—his sister Felicity and brother “Monty” went missing over a decade ago. Now Adrian has the chance to find them and offer to pass the estate back to the rightful heirs. Adrian expects to win his long-lost brother over with the promise of wealth and inheritance, while dreaming of a quiet life where Adrian doesn’t feel like a burden to anyone. But when Adrian finally tracks him down, Monty refuses to return home. The only thing he can convince Monty of is to accompany him across the ocean as an act of tribute to their mother, hoping that during the voyage he can persuade Monty into taking the weight of inheriting the estate off his shoulders. When they reach their destination, Adrian and Monty find something hidden in their mother’s belongings—a clue pointing to a valuable artifact that could potentially save the Montague siblings from a curse that threatens their lives. But to retrieve it, they must chase an infamous myth through the wild sugar fields of Barbados to the haunting streets of New Orleans to mysterious uncharted islands off the edge of the map.

May 4, 2021

Meet Cute Diary by Emery Lee

Felix Ever After meets Becky Albertalli in this swoon-worthy, heartfelt rom-com about how a transgender teen’s first love challenges his ideas about perfect relationships. Noah Ramirez thinks he’s an expert on romance. He has to be for his popular blog, the Meet Cute Diary, a collection of trans happily ever afters. There’s just one problem—all the stories are fake. What started as the fantasies of a trans boy afraid to step out of the closet has grown into a beacon of hope for trans readers across the globe. When a troll exposes the blog as fiction, Noah’s world unravels. The only way to save the Diary is to convince everyone that the stories are true, but he doesn’t have any proof. Then Drew walks into Noah’s life, and the pieces fall into place: Drew is willing to fake-date Noah to save the Diary. But when Noah’s feelings grow beyond their staged romance, he realizes that dating in real life isn’t quite the same as finding love on the page. In this charming novel by Emery Lee, Noah will have to choose between following his own rules for love or discovering that the most romantic endings are the ones that go off script.

May 11, 2021

Thanks a Lot, Universe by Chad Lucas

A moving middle-grade debut for anyone who’s ever felt like they don’t belong.

Brian has always been anxious, whether at home, or in class, or on the basketball court. His dad tries to get him to stand up for himself and his mom helps as much as she can, but after he and his brother are placed in foster care, Brian starts having panic attacks. And he doesn’t know if things will ever be “normal” again . . . Ezra’s always been popular. He’s friends with most of the kids on his basketball team—even Brian, who usually keeps to himself. But now, some of his friends have been acting differently, and Brian seems to be pulling away. Ezra wants to help, but he worries if he’s too nice to Brian, his friends will realize that he has a crush on him . . . But when Brian and his brother run away, Ezra has no choice but to take the leap and reach out. Both boys have to decide if they’re willing to risk sharing parts of themselves they’d rather hide. But if they can be brave, they might just find the best in themselves—and each other.

May 18, 2021

May the Best Man Win by ZR Ellor

A trans boy enters a throw-down battle for the title of Homecoming King with the boy he dumped last summer in ZR Ellor's contemporary YA debut. Jeremy Harkiss, cheer captain and student body president, won’t let coming out as a transgender boy ruin his senior year. Instead of bowing to the bigots and outdate school administration, Jeremy decides to make some noise—and how better than by challenging his all-star ex-boyfriend, Lukas for the title of Homecoming King? Lukas Rivers, football star and head of the Homecoming Committee, is just trying to find order in his life after his older brother’s funeral and the loss long-term girlfriend—who turned out to be a boy. But when Jeremy threatens to break his heart and steal his crown, Lukas kick starts a plot to sabotage Jeremy’s campaign. When both boys take their rivalry too far, the dance is on the verge of being canceled. To save Homecoming, they’ll have to face the hurt they’re both hiding—and the lingering butterflies they can’t deny.

June 1, 2021

The Ghosts We Keep by Mason Deaver

Perfect for fans of Adam Silvera and Becky Albertalli, this book will rip your heart out before showing you how to heal from tragedy and celebrate life in the process. When Liam Cooper's older brother Ethan is killed in a hit-and-run, Liam has to not only learn to face the world without one of the people he loved the most, but also face the fading relationship with his two best friends. Feeling more alone and isolated than ever, Liam finds themself sharing time with Marcus, Ethan's best friend, and through Marcus, Liam finds the one person that seems to know exactly what they're going through, for the better, and the worse. This book is about grief. But it's also about why we live. Why we have to keep moving on, and why we should.

The Witch King by H.E. Edgmon

To save a fae kingdom, a trans witch must face his traumatic past and the royal fiancé he left behind. This debut YA fantasy will leave you spellbound. Wyatt would give anything to forget where he came from—but a kingdom demands its king. In Asalin, fae rule and witches like Wyatt Croft…don’t. Wyatt’s betrothal to his best friend, fae prince Emyr North, was supposed to change that. But when Wyatt lost control of his magic one devastating night, he fled to the human world. Now a coldly distant Emyr has hunted him down. Despite transgender Wyatt’s newfound identity and troubling past, Emyr has no intention of dissolving their engagement. In fact, he claims they must marry now or risk losing the throne. Jaded, Wyatt strikes a deal with the enemy, hoping to escape Asalin forever. But as he gets to know Emyr, Wyatt realizes the boy he once loved may still exist. And as the witches face worsening conditions, he must decide once and for all what’s more important—his people or his freedom.

The (Un)Popular Vote by Jasper Sanchez

Vaseline on the teeth makes a smile shine. It’s a cheap stunt, but Mark Adams knows it’s optics that can win or ruin an election. Everything Mark learned about politics, he learned from his father, the congressman who still pretends he has a daughter and not a son. To protect his father’s image, Mark promises to keep his past hidden and pretend to be the cis guy everyone assumes he is. But when he sees a manipulatively charming candidate for student body president inflame dangerous rhetoric, Mark decides to risk the low profile he assured his father and insert himself as a political challenger. One big problem? No one really knows Mark. He didn’t grow up in this town, and he has few friends; plus, the ones he does have aren’t exactly with the in-crowd. Still, thanks to countless seasons of Scandal and The West Wing, these nerds know where to start: from campaign stops to voter polling to a fashion makeover. Soon Mark feels emboldened to get in front of and engage with voters—and even start a new romance. But with an investigative journalist digging into his past, a father trying to silence him, and a bully front-runner who stands in his way, Mark will have to decide which matters most: perception or truth, when both are just as dangerous.

The Darkness Outside Us by Eliot Schrefer

Two boys, alone in space. After the first settler on Titan trips her distress signal, neither remaining country on Earth can afford to scramble a rescue of its own, and so two sworn enemies are installed in the same spaceship. Ambrose wakes up on the Coordinated Endeavor, with no memory of a launch. There’s more that doesn’t add up: Evidence indicates strangers have been on board, the ship’s operating system is voiced by his mother, and his handsome, brooding shipmate has barricaded himself away. But nothing will stop Ambrose from making his mission succeed—not when he’s rescuing is his own sister. In order to survive the ship’s secrets, Ambrose and Kodiak will need to work together and learn to trust one another… especially once they discover what they are truly up against. Love might be the only way to survive.

Jay's Gay Agenda by Jason June

There's one thing Jay Collier knows for sure—he's a statistical anomaly as the only out gay kid in his small rural Washington town. While all his friends can't stop talking about their heterosexual hookups and relationships, Jay can only dream of his own firsts, compiling a romance to-do list of all the things he hopes to one day experience—his Gay Agenda. Then, against all odds, Jay's family moves to Seattle and he starts his senior year at a new high school with a thriving LGBTQIA+ community. For the first time ever, Jay feels like he's found where he truly belongs, where he can flirt with Very Sexy Boys and search for love. But as Jay begins crossing items off his list, he'll soon be torn between his heart and his hormones, his old friends and his new ones...because after all, life and love don't always go according to plan. From debut novelist Jason June comes a moving and hilarious sex-positive story about the complexities of first loves, first hookups, and first heartbreaks—and how to stay true to yourself while embracing what you never saw coming.

July 6, 2021

Any Way the Wind Blows by Rainbow Rowell

In Carry On, Simon Snow and his friends realized that everything they thought they understood about the world might be wrong. And in Wayward Son, they wondered whether everything they understood about themselves might be wrong. In Any Way the Wind Blows, Simon and Baz and Penelope and Agatha have to decide how to move forward. For Simon, that means deciding whether he still wants to be part of the World of Mages -- and if he doesn't, what does that mean for his relationship with Baz? Meanwhile Baz is bouncing between two family crises and not finding any time to talk to anyone about his newfound vampire knowledge. Penelope would love to help, but she's smuggled a cursed American Normal into London, and now she isn't sure what to do with him. And Agatha? Well, Agatha Wellbelove has had enough. Any Way the Wind Blows takes the gang back to England, back to Watford, and back to their families for their longest and most emotionally wrenching adventure yet. This book is a finale. It tells secrets and answers questions and lays ghosts to rest. Carry On was conceived as a book about Chosen One stories; Any Way the Wind Blows is an ending about endings. About catharsis and closure, and how we choose to move on from the traumas and triumphs that try to define us.

July 13, 2021

Flash Fire by TJ Klune

Flash Fire is the explosive sequel to The Extraordinaries byUSA Today bestselling author TJ Klune! Nick landed himself the superhero boyfriend of his dreams, but with new heroes arriving in Nova City it’s up to Nick and his friends to determine who is virtuous and who is villainous. Which is a lot to handle for a guy who just wants to finish his self-insert bakery AU fanfic.

September 21, 2021

Under the Whispering Door by TJ Klune

Under the Whispering Door is a contemporary fantasy with TJ Klune's signature "quirk and charm" (PW) about a ghost who refuses to cross over and the ferryman he falls in love with. When a reaper comes to collect Wallace Price from his own funeral, Wallace suspects he really might be dead. Instead of leading him directly to the afterlife, the reaper takes him to a small village. On the outskirts, off the path through the woods, tucked between mountains, is a particular tea shop, run by a man named Hugo. Hugo is the tea shop's owner to locals and the ferryman to souls who need to cross over. But Wallace isn't ready to abandon the life he barely lived. With Hugo's help he finally starts to learn about all the things he missed in life. When the Manager, a curious and powerful being, arrives at the tea shop and gives Wallace one week to cross over, Wallace sets about living a lifetime in seven days. By turns heartwarming and heartbreaking, this absorbing tale of grief and hope is told with TJ Klune's signature warmth, humor, and extraordinary empathy.

#Gay books #YA books #Trans books #rainbow rowell #Mackenzi Lee #Shaun David Hutchinson #tj klune #2021 #books #reading list #recommendations #Sci Fi #magical realism #urban fantasy

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multiverseforger · 3 years

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In November 2013, Marvel Comics announced that Kamala Khan, a teenage American Muslim from Jersey City, New Jersey, would take over the comic book series Ms. Marvel beginning in February 2014. The series, written by G. Willow Wilson and drawn by Adrian Alphona, marked the first time a Muslim character headlined a book at Marvel Comics.[2] However, Noelene Clark of the Los Angeles Times noted that Khan is not the first Muslim character in comic books, which include Simon Baz, Dust and M.[3] The conception of Kamala Khan came about during a conversation between Marvel editors Sana Amanat and Stephen Wacker. Amanat said, "I was telling him [Wacker] some crazy anecdote about my childhood, growing up as a Muslim American. He found it hilarious." The pair then told Wilson about the concept and Wilson became eager to jump aboard the project.[4] Amanat said that the series came from a "desire to explore the Muslim-American diaspora from an authentic perspective."[5]

Artist Jamie McKelvie based Khan's design on his redesign of Carol Danvers as Captain Marvel and on Dave Cockrum's design of the original Ms. Marvel.[6] Amanat requested that the design "reflected the Captain Marvel legacy, and also her story and her background."[7] Amanat stated that Khan's costume was influenced by the shalwar kameez. They wanted the costume to represent her cultural identity, but did not want her to wear a hijab,[8] because the majority of teenage Pakistani-American girls do not wear one.[9] Amanat also stated that they wanted the character to look "less like a sex siren" to appeal to a more vocal female readership.[8]

Marvel knew that they wanted a young Muslim girl, but stated that she could be from any place of origin and have any background. Wilson initially considered making her an Arab girl from Dearborn, Michigan but ultimately chose to create a Desi girl from Jersey City.[10] Jersey City, which sits across the Hudson River from Manhattan, has been referred to as New York City's "Sixth borough".[11][12][13] It therefore forms an important part of Khan's identity and the narrative journey of her character since most of Marvel Comics' stories are set in Manhattan. Wilson explains, "A huge aspect of Ms. Marvel is being a 'second string hero' in the 'second string city' and having to struggle out of the pathos and emotion that can give a person."[14]

The series not only explores Khan's conflicts with supervillains but also explores conflicts with Khan's home and religious duties. Wilson, a convert to Islam, said "This is not evangelism. It was really important for me to portray Kamala as someone who is struggling with her faith." Wilson continued, "Her brother is extremely conservative, her mom is paranoid that she's going to touch a boy and get pregnant, and her father wants her to concentrate on her studies and become a doctor."[4] Amanat added,

As much as Islam is a part of Kamala's identity, this book isn't preaching about religion or the Islamic faith in particular. It's about what happens when you struggle with the labels imposed on you, and how that forms your sense of self. It's a struggle we've all faced in one form or another, and isn't just particular to Kamala because she's Muslim. Her religion is just one aspect of the many ways she defines herself.[2]

First appearance of Kamala Khan from Captain Marvel #14 (August 2013) by Kelly Sue DeConnick and Scott Hepburn

In the series, Khan takes the name Ms. Marvel from Carol Danvers, who now goes by the alias Captain Marvel. Captain Marvel writer Kelly Sue DeConnick revealed that Khan actually made a brief appearance in Captain Marvel #14 (August 2013) saying, "Kamala is in the background of a scene in Captain Marvel 14 ... She is very deliberately placed in a position where she sees Carol protecting civilians from Yon-Rogg."[15] According to Wilson, Khan idolizes Carol so when Khan acquires superhuman abilities, she emulates Danvers.[14] "Captain Marvel represents an ideal that Kamala pines for. She's strong, beautiful and doesn't have any of the baggage of being Pakistani and 'different,'"[4] Wilson explained. "Khan is a big comic book fan and after she discovers her superhuman power – being a polymorph and able to lengthen her arms and legs and change her shape – she takes on the name of Ms. Marvel," Amanat elaborated.[16] Khan is one of several characters who discover that they have Inhuman heritage following the "Inhumanity" storyline, in which the Terrigen Mists are released throughout the world and activate dormant Inhuman cells.[17]

In the series' first story arc, Khan faces off against Mr. Edison / the Inventor, an amalgam of man and bird. Wilson created the Inventor to be Khan's first arch rival in order to mirror Khan's own complexity. Wilson characterizes the Inventor, and the overall visual look of the opening story arc as "kooky and almost Miyazaki-esque at times", owing to the art style of illustrator Adrian Alphona, which balances the drama of the threats which Khan faces with the humor of Alphona's "tongue in cheek sight gags." During the storyline, Khan also teams-up with the X-Man Wolverine against the Inventor. Because Wolverine is dealing with the loss of his healing factor during this time, Khan is placed in the position of having to shoulder much of the responsibilities, as Wilson felt this was a role reversal that would subvert reader expectations that Wolverine would take the lead in such a team-up.[18]

At the 2014 San Diego Comic-Con International, writer Dan Slott announced that Khan would team-up with Spider-Man beginning in The Amazing Spider-Man #7 (October 2014) during the "Spider-Verse" storyline. Slott characterized Khan "the closest character to classic Peter Parker,"[19] explaining, "She's a teenage superhero, juggling her life, making mistakes, trying to do everything right."[20]

Beginning in June 2015, Ms. Marvel tied into the "Secret Wars" crossover event with the "Last Days" storyline, which details Khan's account of the end of the Marvel Universe. Wilson explained, "In the 'Last Days' story arc, Kamala has to grapple with the end of everything she knows, and discover what it means to be a hero when your whole world is on the line."[21] In the storyline, Khan rushes to deal with the threat in Manhattan. However, Wilson revealed, "She will face a very personal enemy as the chaos in Manhattan spills over into Jersey City, and she will be forced to make some very difficult choices. There will also be a very special guest appearance by a superhero Kamala—and the fans—have been waiting to meet for a long time."[22]

In March 2015, Marvel announced that Khan will join the Avengers in All-New All-Different Avengers FCBD (May 2015) by writer Mark Waid and artists Adam Kubert and Mahmud Asrar, which takes place in the aftermath of "Secret Wars".[23] A second volume of Ms. Marvel starring Khan by Wilson, Alphona and Takeshi Miyazawa is also debuted following "Secret Wars" as part of Marvel's All-New, All-Different Marvel initiative.[24] Amanat said,

By the time this new launch comes around, it will have been almost two years since the premiere of Ms. Marvel—and boy, has Kamala Khan been through a lot since then. She's been slowly coming into her own, dealing with the challenges of navigating adulthood and being a super hero. But her training is over now and it's time for the big leagues; the question is can she handle it? ... As much as Kamala has a right to be there—it's still a bit of a culture shock. Dreaming of being an Avenger and then suddenly being one is a lot to take on for someone of her age. So, she'll be a little awestruck, a little overly ambitious.[25]

In March 2016, Marvel announced that Ms. Marvel would tie into the "Civil War II" storyline by releasing a promotional image illustrating a rift between Khan and Danvers.[26] "While "Civil War II" may have initiated this rift, we've known for some time that Kamala would eventually need to separate herself from her idols. Her journey centers around self-discovery and identity, and a part of that exploration includes separating yourself from those you put on pedestals. The rift between Carol and Kamala doesn't really have to do with right and wrong. It has to do with growing up and realizing that you perceive the world differently from even the ones you love," Amanat elaborated.[27]

In July, Marvel announced that Khan will join the Champions, a team of teenage superheroes who split off from the Avengers following the conclusion of "Civil War II". The team, featured in a series by writer Mark Waid and artist Humberto Ramos, consists of Khan, Spider-Man (Miles Morales), Nova (Sam Alexander), Hulk (Amadeus Cho), Viv Vision, and a teenage version of Cyclops. Waid said, "The first three are the kids who quit the Avengers proper. That was an easy get. Those three, in and of themselves, form a nice little subteam. Their dynamic is great. They all show up in each other's books, and even though they have their arguments and stress points, clearly they're good together."[28]

In August, Khan made an appearance in Moon Girl and Devil Dinosaur #10 by writers Amy Reeder and Brandon Montclare. In the issue, Khan acts as a mentor to Moon Girl (Lunella Lafayette) who is also a young Inhuman that suddenly came into her powers. Amanat stated that Khan sees much of herself in Lafayette and by teaching her, Khan learns much about herself.[27]

In November, Marvel announced that Khan will join a new incarnation of the Secret Warriors in a series by writer Matthew Rosenberg and artist Javier Garron that debuted in May 2017. The team, formed in the wake of the "Inhumans vs X-Men" storyline, also includes Quake, Karnak, Moon Girl, and Devil Dinosaur. Rosenberg stated that there is some conflict and friction amongst the team members explaining, "Ms. Marvel and Quake are really fighting for the soul of the team in a lot of ways, while Moon Girl will continue to really do her own thing. They will all be tested and challenged, they are superheroes after all, but they are going to do things their way."[29]

In March 2017, Marvel announced that Khan would team-up with Danvers in a one-shot issue of the limited anthology series, Generations by Wilson and Paolo Villanelle. Wilson stated that the issue would explore Danvers' and Khan's mentor–student relationship, but "at its heart, [it] is about growing up, and a big part of growing up is discovering that your idols have feet of clay – and forgiving them for their flaws as you gain an adult understanding of your own."[30]

In December, Ms. Marvel began the "Teenage Wasteland" story arc, as part of the Marvel Legacy relaunch. Wilson said, "Since the events of 'Civil War II', there's been friction between Kamala and her mentor, Captain Marvel. In this arc, we're exploring how complicated legacies can be when they're passed from generation to generation ... She's questioning a lot about herself and her mission. Her friends end up stepping into some very important—and unexpected—roles. So in a sense, the arc is really about a bunch of chronically under-estimated teenagers who pull together to fight evil."[31]

Ms. Marvel #31, the 50th issue of Ms. Marvel featuring Khan was released in June 2018. To mark the occasion, Marvel brought in additional collaborators for the issue including writers: G. Willow Wilson, Saladin Ahmed, Rainbow Rowell, and Hasan Minhaj; and artists: Nico Leon, Bob Quinn, Gustavo Duarte, and Elmo Bondoc.[32]

Beginning in March 2019, Khan headlined a new series titled, The Magnificent Ms. Marvel, written by Ahmed and illustrated by Minkyu Jung. Wilson stated that she had been planning her departure from the series for over a year, stating that she originally anticipated that the series would only last for ten issues and was excited by the fact that she had written 60 issues. Ahmed said the new series will have much wider scope, "while still maintaining that intimate tone that people have loved about it."[33]

In July 2020, Marvel announced that Khan would star in an original graphic novel, published in conjunction with Scholastic and aimed at younger readers. The book will be written by author Nadia Shammas. An illustrator has not yet been named.[34

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spectrumed · 3 years

Text

8. book

I decided to start writing a book. A novel, it’s going to be fiction. It’s a big project. I dread big projects. I don’t feel as if I am ever able to complete them. It’s going to be left unfinished, why do I even bother? So many projects that I’ve started and never finished. I get an idea, then I can’t make myself do the actual work to make it a reality. Why do I think I can write a book when I can barely read books without becoming distracted and doing something else instead? I give up too easily. But, then again, do I really have it in me to produce something that is good? That people would want to read? Insecurity creeps in, telling me that I will fail. I fear failure. Of course I do, who doesn’t? Whenever people say that their greatest fear is failure, all I wonder is who out there is not afraid of failure? Is there someone out there with so much confidence that they absolutely do not in any way fear failure? Even narcissists technically fear failure, it is what leads them to such ridiculous overcompensation, putting on the facade of bravado to mask their actual dire sense of insecurity. Do not fall for the scams, no person is truly without self-doubt. (Well, I guess maybe psychopaths, but there’s a whole lot of things amiss with them.)

Ever since I was a kid, I’ve entertained myself by coming up with stories, fictional universes that I would populate with characters of my own invention. When I was a kid, what I really wanted was to become a comic book writer and artist. Well, in between other gigs I imagined would suit me, including at one point wanting to be a “singing farmer,” as I put it. Still, I’ve always returned to fiction and storytelling. There’s something about creating a world that lets you so fully distract yourself from all the stressful daily hullabaloo that goes on around you. Escapism, it’s fun, it’s therapeutic, I think. There’s a reason why humans have been telling each other stories for millennia, since even before we lived in houses. Back when we were all huddled around the fire, wearing our best comfortable animal furs, sharing tales of the hunt. Your uncle who once took part in killing a mammoth, the impressive beast nearly gorging him with its big tusks. How clever he was when he noticed that the mammoth had one leg weaker than the others, and used that to his advantage. How the entire hunting party banded together to bring the behemoth down, getting all that meat to feed their families with for months! Stories make you feel good. Like as if you have something to celebrate, even when you might be starving due to the more recent hunts not having gone as well. Damn that saber-tooth tiger that killed your uncle…

Storytelling is linked to acting. Both with acting and with storytelling you have to commit. Whatever you are doing, whatever role you are performing, you have to sell it. You may be on stage talking about that time you went scuba diving with your future wife, and how you encountered an oyster with the most magnificent pearl inside, and how you made a ring for the pearl and used it when you proposed to her. You have to sell it. You have to get the audience laughing, gasping, crying, going “aww,” feeling as if they were there with you that day. Of course, they don’t know it is all just lies. You made it up. It’s all fiction. But you committed, so they won’t ever know. Storytelling is a gift to others, people will appreciate you if you tell good stories, but you’re also kinda deviant. Even if it’s technically based on a true story, you’ve certainly added your embellishments. You’re a trickster, a devious individual. No wonder actors have historically been seen as dubious folks. They come into town, romances all the young women and men, telling them big tales of their lives on the road, and they can’t possibly know if you are telling the truth or not. You may just be lying. You probably are lying. Let’s be honest, you’ve probably not told a single true thing in your life.

I am bad at the hustle. No, I can talk quite well, and I can keep people’s attention for a long while. But I can’t be a huckster. Going out there, putting myself on the line hoping people will swallow my bullshit. I can’t really avoid speaking from my heart when I do speak. Or when I write, as I happen to be doing now. This blog has so far been thoroughly candid in places, in such a way I may come across like I’m at a confessional. Not that I have much evil to confess, but I can’t help but be transparent. I can’t flip into different kinds of personalities, each with its own schemes and plots, being some master manipulator, someone who you can never figure out what they're truly up to, or what they truly want. No, what I am is clearly written on my face. I’ve got one self, and it is the one before you. He’s hairy, and tall, and a bit of a dork. I am happy to talk to you, to engage with you, but I won’t be anyone but myself. I am me. I hope that’ll do.

Of course you are familiar with all those pick-up artists that plagues the internet. Or well, not just the internet. Go into any old-fashioned bookstore (where they store books on paper, not in digital code,) and you are bound to find some sleazy book written by a sleazy guy about how to sleazily seduce women. Those books don’t want you acting like me. According to them, seduction is all about manipulation. To figure out the very right thing to say to get women to fawn all over you. They don’t want you to be sincere, telling the truth as you see it. Nah, you gotta keep that stuff bottled up, deep down inside your soul, because most likely, your true self is ugly. It’s interesting how you can get little details from these pick-up artists depending on the sort of things they say, the tips they provide. The fact that all of them seem to harbour this festering misogyny is no big surprise, but every so often, you get these little glimpses of these people’s true worldview, one where power is everything, true love is a fallacy, and happiness is a lie manufactured by Hollywood to make us all into docile consumers. No wonder the “red-pill” so often leads to people taking the “black-pill.” First hucksters will lure you in, telling you that they’ve got the secret as to how to be a success, then when they’ve got you isolated, they reveal to you how truly misanthropic and bleak their actual beliefs are.

I am fascinated with cults, for much of the same reason why I am fascinated with storytelling. What is a cult leader if not just a great storyteller? They’re something like the modern day shaman, capable of spellbinding people with their weird idiosyncratic way of speaking. High-functioning people with autism are often said to have an idiosyncratic way of speaking. No, I am not suggesting that cult leaders are all somewhere on the spectrum, though it wouldn’t surprise me if some famous cult leaders did turn out to have been on the spectrum. However, for an autistic person to become a cult leader, I think they would have to be a true believer, and not some fraud just looking to scam others. Ultimately, no autistic person would want to surround themselves with people unless they truly do believe it is essential, to like, save mankind from damnation or something. It’s the difference between sincerity and insincerity. It is difficult for autistic people to be insincere, as insincerity requires a lot of social skills that autistic people struggle with. Having to juggle all these balls in the air, making sure you keep the big lie going, that you remember to change your behaviour depending on who you are speaking to in order to keep them from figuring out that you’re a bullshitter. Hollow people are great at being insincere. People like L. Ron Hubbard, the founder of the highly profitable cult that is Scientology, was at his core a hollow individual. He had no problems twisting the minds of the people around him, because he never felt a need to be sincere. If an autistic person were to become a cult leader, I can guarantee you that it wouldn’t be a profitable cult. Nah, autistic people aren’t in it for the money, we’re all about keeping it real.

Being a sincere person, surely I should be able to write a novel and make it feel earnest. Like it was delivered with passion, because I wouldn’t be able to write anything that wasn’t true to myself. Well, I do hope so. Having something I’ve made be referred to as genuine is something I see as a great compliment. I’m a student of art history, I’ve made some “serious” art before, I know how terrible art can be when it is not delivered with good faith. Sure, some art is cynical, or ironic, but even then, it tends to come from a real place. Good artists, even when they’re fully armed with the dada mindset, must believe in what they are doing. Whether they are doing it for a laugh or not, that’s irrelevant. Even if all you wish is to be silly and make something that is comical, you have to believe in what you are creating. Or else people won’t bother engaging with it. Why look at a painting by someone who is just interested in making money? Insincere artists do exist, and they can end up becoming quite successful, but ultimately, history won’t be kind to them. Damien Hirst comes to mind, heard he's into NFTs now.

Sure, I don’t like insincere people. Does that make me a bigot? Like, it’s not as if they can help themselves. It’s just who they are, spineless maggots with no soul. It doesn’t mean we have to hate them. No, no, no... I am just generalising. Don’t go thinking there’s just two kinds of people in the world, the sincere and the insincere. It’s not a binary. Most people are both, just like with introverts and extroverts, humans are complex. But there are definitely those that decide to feed into their insincere side, realising that it is often the key to success. Through insincerity, you learn to let go of self-doubt, you stop worrying so much about what others think of you, because you are never truly yourself. If they hate you, then so what? They don’t actually hate you, they just hate a role that you are playing. So what if you seduced that woman, made her feel as if you were the perfect match, then you ghosted her and completely forgot about her? It’s her fault for falling for your tricks. You were clearly just playing the game, being a super-seducer, she should have known better. By embracing insincerity, it’s like gaining a superpower. No longer do you have to care about the impact you have on others, no longer do you have to worry about what it means to be a social human being making choices that affect the others around you. Because you’re not the person they think you are. Actually, you’re not quite sure you’re the person you think you are… Who are you?

I’ve got the plot all laid out in my head for the novel. It’s going to be based in the fantasy world that I’ve been working on for the last few years. I’ve been working on this world for almost half a decade now, come to think of it. Why do I keep feeling as if I am never able to keep to a project, when I’ve clearly been working on a massive project all this time? Sure, it’s all just in my head, but it’s not as if most people have the kind of patience to keep going back to a single big project, even if it is just in their head. Not once, while thinking about my fantasy world have I been distracted and started thinking about cute puppies, instead. And you know how difficult that is. Maybe I am too hard on myself. Maybe I will finish this book, and maybe people will want to read it. Maybe it will even get a minimal number of angry reviews, like, I may get a book published without some folks trying to harass me into committing suicide for daring to think I can write. Some people may even be enthusiastic, blowing up my ego with great praise. Maybe someone will come along and tell me that they want to buy the rights to make my book into a movie or a television series. Maybe I will get rich? Maybe I will get famous! Woo! Success here I come!

Well, no, here I go being insincere. That’s not what it’s about. I should be writing this book because I want to write it. Because I want to prove to myself that I am able to write it. Sure, it’s not as if there’s not a little brain goblin inside my mind whispering sweet nothings about how one day I might turn out a real respected author. One with real fans that gets to do big book tours talking about how brilliant I am, how brilliant my work is, and how brilliant things are going for me. I am not going to pretend I don’t have the same aspirations for success that others have. Inside of me you will find the same greedy piglet of an ego hungry for more adoration and more validation that you will find in any person. Humans don’t know when to quit, we always want more. But I am at least safe knowing that I will never debase myself, descending to the same depths as those inhabited by soulless grifters who go through life abusing the trust of others in order to get by. I’m sincere, in the end. I always turn out sincere, in the end. I am a good boy.

And I am also really sexy. I don’t think I’ve mentioned this before on this blog, but I am really, REALLY, sexy. Like, you wouldn’t believe it. Oh, I am so hot. And if you follow and subscribe and hit that bell, I will teach you how you can be just as sexy as I am! And buy my book! And my merch! And my new single! And of course, my new cryptocurrency, by the name of “autism-coin.” It’s going to be a real success on 4chan, let me tell ya!

#neurodivergent #neurodiversity #autism spectrum disorder #autism #aspergers #mental health

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celestialalpacaron · 4 years

Note

Plsss more jaspinel! I love them two! I’m begging ya 🥺

GOD I WOULD LOVE TO 😭😭😭 but sadly atm I’m juggling between 8 big projects I’m working on, including the Diamond Spinel AU comics, plus working two part time jobs and being a full time student, so I barley have time to draw what I want except between my breaks between my classes. Maybe I’ll find some time to draw those two again because I still love them so much TuT I hope y’all understand if my comics and art work are delayed 🙏🏼🙏🏼🙏🏼💕

#asks

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the-master-cylinder · 4 years

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SUMMARY Colin Childress (Jeffrey Combs), a highly successful comic book artist who gains inspiration from a mystical book of horrific drawings, inadvertently summons an evil spirit into his basement studio. Decades later, his house has become a small art institute run by the stern Mrs. Briggs (Yvonne De Carlo). One night, comely student Whitney Taylor (Debrah Farentino) goes rooting around the sealed boxes in the cellar and releases the supernatural forces trapped there.

PRODUCTION CELLAR DWELLER was shot at Empire’s Italian studios, it was produced by Bob Wynn. Sergio Salvati was the cinematographer, According to Albert Band, head of production for Empire, the film was cast with video actors to spur cassette sales. The cast includes Pamela Bellwood, Deborah Mullowney (Debrah Farentino), Vince Edwards and Yvonne De Carlo. The film is a homage to the horror stories of the old EC comics. The story revolves around a female art student who so admires the old comic book that She seeks out the home of the artist to study there. The creator of the comic book died 30 years before under mysterious circumstances involved with black magic. He had drawn peils in his strips from which a hideous creature eventually materialized and it is still around and still hungry. De Carlo plays a character who eventually turns into the creature.

The script, written by Don Mancini, had been around Empire for years. Buechler had prepared some early pre-production art concepts for it before making TROLL for Empire in 1985. Once he accepted Empire topper Charles Band’s offer to direct the film he went through six re-writes of the script.

The challenge of trying to make a movie with decent acting, a good Story, and some fine FX in an amount of time considerably less than what the average filmmaker is allotted these days appealed to Buechler. Buechler even sped things ahead by shooting with two cameras simultaneously, thus ensuring better coverage and production value.

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One of the reasons Buechler sails through projects like Cellar Dweller the way he does, and the principal reason he found the time to make the film in the first place, is that he hired a dynamite team to back him up.

I’ve got the best crew in the world,” Buechler boasts. “We’re in the business of making monsters for the motion picture screen that are believable, and one of the reasons we do it well is because everyone has the opportunity to follow a character through its various stages of development. When you take an assembly line approach to this sort of work, you often sacrifice momentum and spontaneity.”

John Criswell, MMI’s shop foreman in charge of all things mechanical, likens working at MMI with being in “a big clubhouse. That’s what the atmosphere is like. You have a real good opportunity to try many different things, and I get to travel a lot.” Still, Criswell has nothing on his boss, who seems to be continuously jet-hopping from location to location, back and forth, successfully juggling four or five jobs at a time.

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“As time goes on,” notes Buechler, “I have to delegate a great deal of work because there’s just so much coming in. Most of the time I sculpt 90 percent of what’s happening here.

“We changed the monster into a more Lovecraftian creature,” said Buechler. “The creature now has more personality, he’s more a character. We also dropped a number of other fantasy characters that did nothing to further the story.”

Buechler, a former comic strip artist before starting his effects company, Mechanical & Makeup Imageries (MMI), admitted being a fan of the old EC Comics. The comics in the film are used as an integral part of its structure.

Buechler called the film’s titular creature “a cross between a werewolf and a vampire.” Buechler’s design was mechanized by John Criswell and worn by Michael Deak during filming. The script also called for one character to lose an arm, and for a zombie that enlivens the film’s climax. “nothing too complicated.” according to MMI staffers.

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Buechler downplays the film’s gore angle. “I’ve never done a slasher picture and I never wanna do one,” he said. “I think that it vou do something graphic it should explore psychological terror or deal with fantasy. It should not be a gratuitous exploitation of murder.”

“Mike’s a tall guy,” notes Buechler. “He’s probably about 6-foot-4. In the movie, wearing the suit with the mechanical head, and because of the way we photographed him, he looks more like 8-foot.”

John Foster, now production manager at MMI, was at the time responsible for the understructure of the costume worn by Deak. The Comic book scenes have been intercut with live action for the most graphic gore scenes in order to get an anticipated R-Rating when the picture is submitted to the MPAA. The strips were drawn at MMI by Foster, under Buechler’s supervision. The covers and additional interior art by famed artist Frank Brunner.

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CAST/CREW Directed John Carl Buechler

Produced Bob Wynn Charles Band

Written Don Mancini

Music Carl Dante

Debrah Farentino – Whitney Taylor (credited as Debrah Mullowney) Brian Robbins – Phillip Lemley Vince Edwards – Norman Meshelski Cheryl-Ann Wilson – Lisa Jeffrey Combs – Colin Childress Pamela Bellwood – Amanda Yvonne De Carlo – Mrs. Briggs

CREDITS/REFERENCES/SOURCES/BIBLIOGRAPHY Cinefantastique v18n02-03 (March 1988) Fangoria#71

Cellar Dweller (1988) Retrospective SUMMARY Colin Childress (Jeffrey Combs), a highly successful comic book artist who gains inspiration from a mystical book of horrific drawings, inadvertently summons an evil spirit into his basement studio.

#80sFilms #80sHORROR #BAND #EMPIRE

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smudgeandfrank · 5 years

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Hi! It's been a while since you stopped your Undertale comic. But I still don't understand why you left it unfinished?

Hello there! It has been a while so let me reiterate why I stopped.

1. I really don't have time to work on it anymore. I'm the one who does every part of the comics I make, sketching, inking, coloring, lighting, writing, editing, and format. Doing all of this alone is extremely time consuming and along side my other projects that had to take priority, commissions, freelance projects, my original comic, comic cons, and two part time jobs on top of my art, it all became too much for me to juggle.

2. Stress from people's expectations. Even though there were many people who were willing to wait for new pages there were many who were not. I was getting flooded with comments and messages to hurry up with the next page everyday... that gets to you after a while. And with time between pages getting longer and longer those comments were getting more frequent and frustrated.

3. I honestly fell out of love with working on the comic. When all of these things came together I found myself not enjoying anything to do with making the comic. It was a great project that helped me meet some amazing followers but I realized in order for my art, and myself, to grow and for me to be happy with what I was creating again I had to move on.

Hope this clears things up a bit. I'm still planning on making a summary for what was going to happen soon... so at least there's that.

#asks #Reminiscence

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zak-animation · 5 years

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Overview

An intensive and productive week on the course, I wanted to put a focus on the narrative research essay task and balance this academic written nature of the project with the medium of stop motion animation. Additionally, I took the time to develop my skills within Maya: re-attempting the Flying Saucers task at home and playing around with the animation workspace. Whilst I was unable to make any significant progress on my digital metamorphosis project and the animated sketchbook assignment, I instead took the time to undertake extensive research into my chosen film of Into the Spider-Verse, alongside producing a range of stop motion iterations and preparations for the ‘box lift’ task.

As a result, I’ve been able to make a series of stop motion animations that go beyond the limitations of the brief, adding a sense of narrative and interaction between off-screen characters and am confident that I’ll be able to begin work on the first draft of my essay next week. With juggling several projects at a time, as I am now, it’s important to be able to focus on particular assignments. Splitting my time between these briefs has been difficult, but I feel like I’m working to strike a balance between my ambitions for each assignment and the limited time I have left.

Narrative Research This week, I was able to decide on an analytical direction for my essay and gather a range of research sources in preparation for the drafting process. My initial idea was to analyse the plot of Into the Spider-Verse, exploring how the creators not only presented an updated take on the Hero’s Journey storyline, but also told a refreshing new version of the classic Peter Parker Spider-Man origin story we all know.

Despite this, I realised that the film’s use of this hero narrative is nothing ground-breaking or particularly new. Rather, what makes Into the Spider-Verse rather of academic study is the animation and visual language: an experimental, alternative approach to animated filmmaking, which is already making waves in the industry. Instead of taking a theoretical approach into my chosen film, I began researching into the comic-inspired aesthetic and crisp, stuttery style of CG animation.

The film represents a ‘break-through’ in animated storytelling, pilling compositional and aesthetic inspiration from it’s comic book source material, adapting dynamic storytelling poses and graphic printing techniques to the animation. In my research for this essay, I wanted to take a look behind the scenes and how this new visual language came to be. Looking through the Art of Into the Spider-Verse book, and trawling through countless interviews, online articles and really anything I could find on the process and film itself led me to the work of visionary Alberto Mielgo, the 2012 Disney experiment Paper Man and how the filmmakers created the signature ‘crunchy’ animation style.

Having completed this extensive research into my chosen film, I’ve reached a place where I’m ready to begin the drafting process. With my own question and a range of research sources ranging from the academic literature of Paul Wells to videos breaking down the animation process of Into the Spider-Verse, next week I will begin writing my essay. My aim is to have a completed draft ready for my individual tutorial, in which I will likely be reducing the word count.

Digital Principles This week, I put a major focus on other projects - taking the time to produce iterations and further develop on the other tasks. As a result, I didn’t really have time to make any significant progress or development in this project.

Stop Motion This week, we were given our second stop motion exercise: to animate a character lifting up a box. With this task, I’m considering all of the basic principles of animation: specifically timing, anticipation and follow through - additionally to staging the sequence properly.

To begin the week, I took the time to prepare for this week’s stop motion task in a depth I’ve never really done before. Producing my own reference footage and sketching from this has allowed my poses to have an authenticity to them, and I was able to act out a range of characters and situations in the process. Having this additional research and preparation in the filmed reference has given me a solid understanding of the action I will animate.

For my first attempt at this task, I experimented with working from this live-action reference. Whilst this allowed me to see the filmed reference poses directly in Dragon Frame, this method of working also posed several problems - and ultimately resulted in a lacking first iteration. The armature’s movement jolted from one pose to another, the staging of the sequence was ineffective and the timing of the motion was simply wrong.

My main take away from the initial attempt was to consider the posing of my armature more - take the time to make sure the pose is correct, and easily understood by the audience. A second idea was to exercise some restraint on the movement and timing: to take multiple frames with little movement, as stillness can be just as effective as motion. On the flip side of this, I also wanted to explore how to create a fast motion, considering making larger moves between frames to believably communicate a quick movement.

With this in mind, I hired out the Stop Motion Studio in my own time and developed on the task, producing two more attempts. In comparison, these were much more successful and interesting than my first test. Taking the time to develop upon the tasks set in the workshop has allowed me to produce stop motion outcomes of a far higher quality and ambition as it lifts the pressure of time off my shoulders. With my own schedule, I was able to really get lost in the work, and allow me to present a more ambitious attempt at character performance and begin to hint at a narrative beyond simply the action itself.

Next week, we will be exploring a more complex stop motion sequence: having a character walk on screen, and visibly change their expression and emotion. In preparation for this, I will begin recording my own live action reference to get a better understanding of the movements and posing and produce a few storyboard iterations of the sequence.

Animated Sketchbook This week, I put a major focus on other projects - taking the time to produce iterations and further develop on the other tasks. As a result, I didn’t really have time to make any significant progress or development on this project.

Digital 3D This week, I took it upon myself to develop upon the previous Flying Saucer task, downloading Maya to use at home and rebuilding the sequence from scratch, using a more planned-out approach. With a humorous direction (the sheep is too heavy for the UFO, which then crashes), I sketched out quick, loose ideas for the sequence. Alongside these preliminary sketches, I also explored Pixar’s approach to the task, Lifted, which also presents a light-hearted take on an alien abduction. With this, I knew I wanted to follow a comical direction that works to effectively subvert the audience’s expectations.

Overall, this represents a far more exciting and successful response to the task. Through iterative development and my own perseverance with Maya, I have been able to challenge myself to create an ‘engaging, successful’ CG animation that puts a new, comic spin on the farm animal abduction’ plot in this short sequence. Something I am going to put a focus on is iterative development on my practical exploration: this was the main point in the feedback of my previous unit, and it’s something I’m constantly considering moving forward. Here, iterations have allowed me to explore and further flesh out this simple CG sequence, and complete an animation (that, whilst simple in composition) demonstrates my new understanding of Maya as an animation and modelling program.

Additionally, we were also set a new task within Maya: taking the focus away from animation, were challenged to explore the modelling potential of the 3D software. Firstly, we were introduced to the Modelling workspace - as we explored the various tools to edit and change an existing shape. This provided us with a range of tools, allowing us to extrude, edit and bevel surfaces of shapes in order to create new, more exciting ones.

Initially, I struggled with this process: but after spending time trying to get to grips with the extrusion tool and asking for feedback, I was able to get a basic understanding of the modelling process and produced a pencil in response. It’s not exactly visually impressive or appealing, but I see the value in this task as a way to introduce the basic foundations of more complex 3D modelling.

The final task was a little more demanding: in the limited time remaining, we were to produce a 3D radio. After experiencing several technical difficulties with the program, I managed to create a basic box-radio following the steps described by our tutor. What I’m finding is the luxury of time with learning these processes: the sessions, whilst helpful, are ultimately too short and fast-paced for me to properly grasp an understanding of the Maya processes. I am somewhat struggling with the modelling side of things, however, I want to develop this understanding and take the opportunity to explore the digital learning world of Linkedin Learning, something our tutor suggested in the session.

In my own time, I managed to complete the radio and add some colour - adding life to the object that I couldn’t really see beforehand. I’m also interested in the potential of rendering this object and seeing how it could move too. Perhaps it squashes and stretches whilst listening to music? It’s a small motion, but I feel like it would be a good independent development of this session and a way for me to add an understanding of the basic principles to my Digital 3D work.

#ba1b:weeklysummary #ba1b:introtostopmotion #ba1b:introto3d #ba1b:narrativetheory #ba1b:animatedsketchbook #ba1b:digitalprinciples

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rhys-ravenfeather · 2 years

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More on Myth City (and my stories in general)

First of all--yeah, I’m on a bit later today. Just got back from a counseling appointment because goodness knows I needed to get some stuff off my chest.

Now, that being said, like I said, I had kind of an epiphany yesterday at work, after spending most of the morning pushing myself to work on a Myth City page that I ended up scrapping because it didn’t look good to me, just to meet a self-imposed deadline. I started this comic for fun. Well, for fun, and with the agreement to myself that it was a way of practicing my art. But with the way I was pushing myself to get this and that done--’oh, I HAVE to finish inking and coloring it today, so I can finish it up and get it posted by tomorrow!’, it felt more like a chore than something I was doing because I genuinely wanted to. After all, no one is making me work on this comic but me, and it’s not even something I’m really in love with anymore anyway.

There have even been times where I’ve toyed around with the idea of cancelling the comic because of that, and how stressful it can be sometimes. But at the same time, I don’t really want to--partly because, seeing as some of the characters started out as muses in my FNAF AU (Maverick, Parker, etc.), and how I just love ALL my characters, it just felt kind of...wrong? Just up and ditching them like that. But my other, bigger reason for not wanting to ditch the comic is because, well...I kind of feel like I owe it to myself to see it through to the end.

I started this comic a little over three years ago, when I wasn’t at a good point in my life, and in a way it feels like if I just up and scrap it, it would have been all for nothing. Heck, with the fact that things have become even more uncertain since 2016/2017, in a way working on the story has kind of become one of the only ‘real’ constants in my life. So I finally decided...I’m going to continue this comic and see it through to the end...but I’m probably going to start taking it on a more case-by-case basis. I already agreed with myself that the story is going to end up being a LOT shorter than I originally planned, and for now, I’m going to keep working on a new page every other week until Volume 2 is finished (after Chapter 8). And depending on how things go, Volume 3 will likely be the last one...and honestly? I’m fine with that. Like I said, part of the reason I started this story was for art practice, and hopefully by the time I get around to my next story, Weird World, I’ll be at a point, both in my artistic skill, and just my overall well-being, that I’ll be...probably not an expert, but fully confident in my artistic skill from beginning to end.

I am, however, going to be canceling In-Between, the short story I had originally planned to do, well, in-between Myth City and Weird World. Given that it was pretty much just going to be a side thing serving as a prequel to both stories, it isn’t like I was really OBSESSED with the story, anyway.

But hey! That just means that I get to introduce you guys to the Weird World characters earlier than I’d originally planned...I figure, after finishing up Volume 2 of Myth City, I can draw the main WW characters while figuring out Volume 3 of MC, to give you guys some content while the story is on hiatus.

But yeah, again, I’m not going to force myself to do anything--I still have (technically TWO) jobs, and real-world responsibilities to take care of. Also, like I said, I gave myself burnout once in highschool juggling a bunch of projects at once...not. Fun.

N E way, gonna get back to blogging now...

#rhys-ravenfeather signing in #just an fyi...#yeah like i said i'll TRY to give you guys two myth city updates week after next to make up for not doing one today but i make no promises

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upontheshelfreviews · 6 years

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Sigh, poor package features, why does nobody like you? Why is it that internet reviewers and Disney critics and fans always seem to give you the shaft? Is it the minimized animation budget? The effort towards story and character that was forcibly driven towards wartime propaganda over actual films? The deviation of a traditional three-act structure in favor of a string of unrelated shorts woven together by a loosely connecting theme or narration? Well in a manner of speaking, it’s a combination of all three. For one thing most people I know prefer to sit down and enjoy a movie that has one uninterrupted story. And yes there are a good number of films, great ones, in fact, that play around with how the story is presented, but as of writing there’s yet to be an audience or even a filmmaker clamoring for an animated equivalent of something like Pulp Fiction.

In theory.

And of course the major factor in all this is the time period in which these movies were made. I’ve already talked about this in my review of The Adventures of Ichabod and Mr. Toad but for those not on the uptake, THERE WAS A FREAKING WORLD WAR WHILE THIS WAS GOING ON. Disney couldn’t afford to do something on the scale of Pinocchio or Fantasia or even Dumbo because his best animators were A, drafted out to fight, B, struggling to work with what little resources they had when the government was also pushing them to remind the public to buy bonds, or C, kicked out because of the disastrous animators’ strike of the early ’40’s. Projects with linear narratives that were considered big scale like Alice in Wonderland, Peter Pan, and Lady and the Tramp were put on hold for virtually a decade. The best they could do was package a bunch of fun little shorts together because releasing them individually wouldn’t bring in as much desperately needed revenue as a full feature would.

And who says these shorts are bad? I don’t! At worst they’re fluffy little time fillers, but at their best they can hold their own with the big leagues of Disney animation. Again, going back to my Ichabod and Mr. Toad review, Disney’s Legend of Sleepy Hollow is the first thing I and a good many others think of when the story comes to mind. I also have the advantage that a lot of people today sadly don’t in that I grew up with virtually all of the package feature shorts in one way or another, either through individual VHS releases or on the Disney Channel as part of shows like Mouse Tracks, Donald’s Quack Attack, or the DTV music videos. It would be years until I saw them all as they were meant to in order as one full film, but blame Disney themselves for that. It’s a Catch-22 situation when it comes to their forgotten films; Disney sees there’s not much public interest in these old movies and so holds out on releasing them for as long as possible, while the public notices Disney never getting around to releasing these movies and think it must be because they’re not worth their time. So nobody wins and we all get smothered under another avalanche of Frozen dvds.

“FROZEN??!!! FROZEN FROZEN FROZEN!!!!!”

“No! Go home! You’re drunk!”

As of writing there’s only two – count ’em, TWO – Walt Disney Animated Classics that have yet to be released fully on Blu-Ray, and they’re, you guessed it, package features. “Make Mine Music” and “Melody Time” to be precise. You wanna know how old the dvds for them are? The advertisements that play before the main menu are for The Tigger Movie and The Little Mermaid 2. That’s THE YEAR 2000. NEARLY TWENTY YEARS AGO. And the only reason why today’s feature “Fun and Fancy Free” got on blu-ray is because the higher ups at Disney decided to combine it with Ichabod & Mr. Toad. So now we have a package blu-ray of two package features (three if you count The Reluctant Dragon which is also on there). It’s Package-ception, if you will. BWOMP.

“She’ll get around to the actual review any minute now, folks.”

Back to the topic at hand, World War Two was finally winding down and the country was in a state of elation from having their boys return home after tearing the Axis powers a new one. Walt Disney had ideas for two full-length features, one inspired by a short story by Sinclair Lewis (I’d say based on but it barely resembles the tale that’s printed) and the other a take on Jack and the Beanstalk starring Mickey Mouse. Neither of them were able to get the treatment he wanted due to story issues and because the first thing to go during wars and Republican administrations is money for the arts. So he compromised by bringing them both into one movie with each of them sharing a half. Looking back I would have loved to have seen what an hour-length or even 75 minute version of Mickey and the Beanstalk would have been like because for all its flaws I enjoy it that much, and I’m tired of holding my breath waiting for Disney to do SOMETHING with “Gigantic”. Bongo on the other hand, I can’t see as anything other than a short, but that’s not a jab at its quality. Yet how do both stand up as a feature? Does it live up to what its title promises? Let’s find out.

After the main title song (which sounds like the opening theme of a variety show from that decade), we get Jiminy Cricket from Pinocchio going about his merry way in somebody’s house singing “I’m a Happy Go Lucky Fellow”. This was actually a deleted song from Pinocchio meant to be sung by Jiminy, so it’s good to hear it sung here. It proves the old adage about ideas at Disney is true; things are never thrown away, just put aside for someone to find and use later.

Wait, that book, is that…Darkman?! Whoever owns this library has good taste.

After startling a goldfish who resembles Cleo from Pinocchio, Jiminy concludes the fish suffers from too much anxiety and tries to reassure her by showing her a newspaper full of headlines that amount to “doom imminent, we’re all gonna die” (ah, the New York Post never changes). He explains that everyone’s been playing Nostradamus for years saying the world is going to end tomorrow but you can’t go around thinking like that. Que sera sera, whatever will be will be, you get the idea. I get where Jiminy’s coming from, I truly do, but it’s hard to back up his philosophy when he’s using real current problems as examples to ignore.

See what I mean?

Jiminy runs into a hungry cat and hides out in a child’s playroom where he bumps into a sad-looking doll and teddy bear. Assuming that all toys must be like his buddy Pinocchio he takes on the role of conscience yet again and tries to help them with their problems.

“Lemme guess, you’re wishing to become a real girl, right?” “No, I’m just disheartened by the extreme gender stereotyping that are enforced through children’s playthings and the psychological ramifications that are passed down with every generation.” “Swell!”

Jiminy’s prognosis is that these two depressed toys are in desperate need of some music and fun to cheer them up. So he whips out a record of Dinah Shore reading and singing the story of Bongo the Bear.

“The main character of the piece we’re about to watch, obviously.”

“No, I mean who the hell is Dinah Shore?”

“Ah. Gotcha.”

Dinah Shore was a popular big band singer of the 1940’s and one of the first female artists of her day to make a successful solo career for herself. She appeared on multiple popular radio shows, was a Chevrolet spokeswoman, won a total of nine Emmys for her various television shows and specials, and was romantically linked with stars ranging from Jimmy Stewart to Burt Reynolds. And remember Pee-Wee’s Christmas Special? She’s the woman who keeps popping in singing an endless rendition of The Twelve Days of Christmas that goes over the end credits.

This wasn’t Dinah’s first contribution to a Disney package film as she had lent her pipes to the titular song of the “Two Silhouettes” segment in Make Mine Music the year prior. She does fine as the narrator of this section, though there’s one teensy problem I have which I’ll get to eventually.

The record begins with Dinah Shore saying this is a story about three bears.

No, Ms. Shore spells it out for us – a girl bear, a big mean bear who wants to be her mate, but mostly of Bongo, a bear born and raised in the circus who’s the star of the show. Had this story turned out the way Walt originally envisioned, it would have been something of a crossover-sequel of Dumbo with the titular elephant and the catty matriarchal troupe of pachyderms providing cameos. I assume this fell through due to Dumbo’s salary demands being a little too far out of Walt’s price range.

You know the war’s hit you hard when working for peanuts puts a crunch on your budget.

Bongo puts on his impressive act of juggling on a unicycle while on a high wire before making a spectacular dive. But we’re also privy to what happens when the show is over; no sooner does he back out of the tent from his curtain call than he’s manacled, hosed down, tossed into a cage and hauled off to the next state for a literal rinse and repeat. He’s the circus’ main draw, but he’s treated worse than, well, an animal.

And people wonder why Ringling Bros. went out of business.

In between shows the miserable Bongo dreams of a life of freedom out in nature. We’re supposed to feel immediate sympathy for Bongo based on what we see and because Dinah Shore tells us to, but the abuse is edited so quickly and played off almost comically. They’re aiming for Dumbo’s level of emotion but we had time to get to know Dumbo and develop a connection with him. We saw him be happy, we saw him bond with his mother, we saw him befriend Timothy; almost all of that happened before he was thrust into heart wrenching drama. We barely know anything about Bongo apart from he’s a talented circus performer who’s more like a prisoner than a celebrity. Did he have a good childhood? Was his family in the same line of circus work? Does he have a favorite color?

One day the call of the wild is too loud to ignore. He escapes thanks to a very flimsy lock on the door of his train car (you think between that and how the staff treats him they’re purposefully setting up an opportunity for him to vamoose) and soon he’s zooming down the mountain on his unicycle. For the next several minutes Bongo explores his new forest surroundings and befriends the usual bevy of Disney fauna. Dinah Shore underscores Bongo’s laid back euphoria with “Lazy Countryside”, an easygoing and pleasant tune.

Unfortunately after night falls Bongo is quick to learn that the bare necessities of life will not come to you, at least not right away. Between the incessant chatter of nocturnal animals and insects keeping him awake and a storm threatening to cut his newfound life short, Bongo spends the night and most of the following morning cold, alone, and starving. His attempt at fishing like a bear should doesn’t go as hoped, but it does catch the eye of our story’s love interest, Lulabelle.

Voted “Most Likely to Awaken A New Generation of Furries” in the ’47 Disney yearbook.

I love Bongo’s reaction to seeing Lulabelle for the first time; an unmoving incredulous expression on his face as he tries to wake himself up from this vision, all the while Dinah Shore says “I must be dreaming! It’s too good to be true!” about three dozen times. The two flirt for a little while before we’re spun into the next musical number called, you guessed it, “Too Good To Be True”. It’s cute, but the floating on pink clouds, the hearts everywhere, the little cupid bears flying around, it all seems somehow familiar…

“Do the Care Bears countdown, and send a wish on to the aiiiiir…”

The song itself is nice, but there’s one that always springs to mind which I prefer. My introduction to the story of Bongo was not through a full viewing of Fun and Fancy Free or even a tape of this segment, but through DTV. See, the Disney Channel launched around the time MTV was a massive success, and wanting a little of that to rub off on them the company commissioned a series of interstitials comprised of clips from their shorts and animated films edited to classic pop, rock and blues hits and called it DTV. They basically predated the kind of fanmade music videos you see on YouTube. It was popular enough that there were even a few hour-long holiday specials built around them (mainly Valentine’s Day and Halloween). I bring this up because one of the first DTV videos I remember watching and am still fond of is Marvin Gaye and Tammi Terrell’s “Ain’t No Mountain High Enough” set to a few mountain-climbing themed shorts but primarily scenes from Bongo. And darn it, it cuts through the corniness and simply works. The imagery and overall sappiness of “Too Good To Be True” evokes every single vapid and thoroughly unsubtle Valentines Day product that is churned out en masse that time of year. No, wait, it’s not Valentines Day level of beating you over the head with glamorized romance. It’s Defcon 5, people – it’s LOVE DAY.

So Bongo and Lulabelle are happily in love, but it would make for a pretty dull short if it ended right here. Looks like we’re gonna need some more conflict to get the ball rolling. Enter our third bear, Lumpjaw, whom Dinah Shore describes as “the roughest, toughest, meanest bear with murder in his eyes”.

Meh, typical cartoon bear, he’s not so scar –

AHHHHH!! I TAKE IT BACK! I TAKE IT BACK!!

Lumpjaw is jealous that this newcomer is making moves on “his” girl, and since Bongo doesn’t know how to fight like an ordinary bear he starts getting the crud kicked out of him until Lulabelle intervenes – and slaps him silly herself.

Bongo believes Lulabelle must hate him and is completely oblivious to her and the other bears watching the spectacle waiting for him to hit her back. You see in this movie, the law of the forest dictates that bears show love by hitting each other repeatedly.

“She hit me…and it felt like a kiss…”

And oh I can already hear the wailing of “this promotes abusive relationships” through my computer screen. First off, I KNOW firsthand what an abusive relationship is, and it is more than just physical violence. That doesn’t condone violence, not one iota, but emotional/psychological abuse play a part in it as well, and Bongo is at least quick enough to recognize the smacking as what it should be, an unwarranted act of aggression that is entirely the slapper’s own fault. Second, give the kids you put this on for some fucking credit. Children’s entertainment is not one size fits all. Some might internalize this backwards logic of “hitting means love”, but others may ignore it completely. If you’re concerned that they might act out this kind of violence after watching this, just sit them down and talk to them about it instead of assuming the worst and convincing your neighborhood to toss their dvds into the nearest dumpster fire. Even if you tell them something as basic as “this is only how bears show they love each other but not how people do” they’ll be more apt to listen. Speaking of, there is some truth to this fact as bears in the mating season can get territorial and violent, hence all emphasis on the slapping. As ridiculous and horribly dated as this whole concept of this plot point is, I’ll give the story men credit that they didn’t pull it entirely from their asses.

Lulabelle doesn’t understand why Bongo isn’t hitting her back and since they can’t talk it out because the only method of communication is the narrator providing inner monologues, the usual romantic misunderstanding ensues. You know how I feel about this blasted cliche, so there’s no point dwelling on it. She tries to give Bongo one more chance with another slap, but he ducks and she hits an eager Lumpjaw instead. The other bears congratulate the two on their forthcoming nuptials while Bongo sulks off.

Then comes our next musical number performed for the half-happy couple by the tribe of bears, “Say It With a Slap”. It sounds like something you’d hear in the Country Bear Jamboree, from the background yodeling to the square dancing bridge to the subject matter being hilarious for the time and for Southerners but awkward and uncomfortable by today’s modern sensibilities. Also as far as ritualistic courtship dances go I’m more fond of the Finnish Fish Shlapping Dance myself.

Watching the festivities from afar Bongo finally puts two and two together and races back to Lulabelle. Since Bongo can’t fight Lumpjaw on the big guy’s terms he faces him like a smarter than the average circus bear and pummels him good with his unicycle. I’ll give the sequence this, it’s the most entertaining thing in this half of the picture. Maybe if this story had focused more on Bongo learning to adapt to the wild bear lifestyle and finding a middle ground between that and his circus upbringing rather than dawdle on love montages and countryside imagery this could have been a more interesting short.

The two wind up on a log on a river, and since this is an animated movie they quickly find themselves at the edge of a waterfall. Lumpjaw goes over but oh no, Bongo’s gone too – oh wait, no he isn’t, yaaaay. The bears celebrate, Bongo becomes a willing participant in Lulabelle’s masochism tango, and they live slappily ever after.

The record ends and Jiminy is pleased to see the toys are now smiling. Thrilled that he’s got two inanimate objects buying into his well-intentioned dime store philosophy, Jiminy is about to go on his way when he spies a birthday party invitation lying about and uses that as an excuse to invite himself. I’d make a complaint here about Jiminy being a gate crasher but it’s something he’s done since Pinocchio; hell, that movie kicked off with him hopping into Gepetto’s workshop uninvited looking to spend the night and messing with some of the toys there as well so nothing has changed between then and this movie.

At the house across the way is the party in question being held for Luana Patten, a Disney child star who’s also appeared in Melody Time, So Dear to My Heart, and Song of the South, usually alongside future Peter Pan Bobby Driscoll. The host is a popular ventriloquist of the day, Edgar Bergen, and his two dummies, little wiseacre Charlie McCarthy and bumbling bumpkin Mortimer Snerd. In fact, they’re the ONLY ones there. Just tell yourself Luana’s parents had to go out for the night and Bergen’s a family friend who’s babysitting and it makes this scene slightly less questionable. When Jiminy shows up, Bergen is doing one of his ventriloquism tricks for little Luana with a literal hand puppet.

This early version of Lamb Chop’s Play Along is WEIRD.

Now this scene is something that irks a lot of people, and I understand why. Bergen is often touted as the man who popularized ventriloquism but here you see his lips constantly moving. In this kind of act what impresses people is that you’re making your puppet appear to be talking WITHOUT making it obvious that you’re the one who’s doing it. The fact that his popularity got started on the radio, where NOBODY could see him pulling this off is especially baffling. I suppose what Bergen lacked in innate talent he made up for with a good sense of comic timing and his fairly likable if simple characters. Speaking of, Charlie and Mortimer are odd to be sure, and I see why some find them off-putting with their big unblinking eyes and noticeable slits around their large mouths, but personally speaking I’ve found certain Muppets to be much creepier than these dummies. Despite all this, I can’t hate the guy or his weird looking puppets or their questionable placement in this movie.

And you wanna know why?

Because if it wasn’t for Edgar Bergen, we wouldn’t have Jim Henson.

I kid you not.

Henson was a huge fan of Bergen as a child, and it led to him wanting to become a puppeteer. I think we all know how that turned out. It’s enough that as a way of showing his appreciation to Bergen he gave him and Charlie McCarthy a cameo in The Muppet Movie and dedicated it to him after his passing.

Bergen decides to regale the company with the story of Jack and the Beanstalk. When you think about it, Jack and the Beanstalk is a hard tale to tell, not because it’s been done so many times before but because there’s so few good versions out there. Let’s get one fact straight, Jack is a TERRIBLE main character. He makes a stupid decision that nearly plunges his destitute family into further poverty, then cons and steals from an innocent housewife no less than three times and kills her husband in cold blood when he’s caught. It takes a lot to make you want to root for him, and lord knows people have tried. The Faerie Tale Theater version added a backstory where the giant was the one responsible for killing Jack’s father and stealing his family’s treasures in the first place. HBO’s Happily Ever After series and The Henson Company’s made for TV movie explored Jack’s morality by having him learn greed makes him as much of an all consuming monster as the giant. The Gene Kelly television special and the animated Japanese version both added a cursed princess in need of rescuing; the latter also went for straight out weirdness just for good measure. And then there’s the Sondheim musical Into The Woods, which told the story best by forcing Jack to face the consequences of his actions when the giant’s widow finds another beanstalk and climbs down for revenge.

So how does Disney make their version one with no questionable morals or character motives? By having their three main stars Mickey Mouse, Donald Duck and Goofy star in it, of course (if you haven’t already gotten that before). There were tons, and I mean TONS of story ideas that were tossed around when this was being developed as a full-length feature which I would have loved to have seen in the final product. One version would have had Honest John and Gideon from Pinocchio be the ones who swindle Mickey into buying the magic beans. Another one had Minnie be the queen of Happy Valley (proving that not all animated queens who don’t have ice powers have to be evil) and had her give the beans to Mickey as a way to return the dried up Happy Valley to its former glory. There were lots of gags and and creative visual concepts about the land of the giants and what would happen when the main trio got there. For a time the hen that laid golden eggs, a staple of the original story, was a part of it, and she would have been played by the now relatively obscure character of Clara Cluck! Unfortunately everything had to go when the war started and the budget got slashed. And that’s not the only thing that went with it. This short would be the last time Walt Disney would provide Mickey’s voice as his smoking habit was beginning to affect his performance. After this he would pass the torch to the studio’s sound effects wizard Jimmy McDonald.

Bergen opens the tale in the magical land of Happy Valley and we see Luana imagining it in her mind as he builds on details like babbling brooks, lush farms and a splendorous castle overlooking it all. And in that castle lives the key to Happy Valley’s success, a magical singing harp (Anita Gordon). She sings the lovely “My What a Happy Day”. I really like this song; some have told me it’s the sound of blandness, but I can’t hear them over the innocent joy it infuses me with. Maybe it’s the fact that I grew up with this particular short that makes me enjoy it so much. My VHS copy had the story narrated by beloved Wonderful World of Disney character Ludwig Von Drake with bookends featuring him and Herman the Bootle Beetle, and I watched it all the time. It was my childhood.

According to Bergen the song of the Harp casts a spell of prosperity and happiness over the land, which admittedly raises one potent question: The enchanted prosperity I can get but is the happiness a side effect, or is it enforced like that one Monty Python skit where everyone in that Happy Valley has to be happy all the time or else?

Of course the story would go nowhere if it was constantly this happy which leads into my favorite exchanges between Bergen and Charlie:

Bergen: It was too good to last – Charlie: I knew there was a catch. Bergen: For one day – Charlie: They built a schoolhouse.

Out of the blue an enormous shadow creeps over the valley like a storm cloud (complete with actual thunder and lightning too) and snatches the Harp from the castle. Without the Harp’s music Happy Valley decays into a barren wasteland that no amount of song can salvage.

And Lord knows they’ve tried.

We check in on Mickey, Donald and Goofy, three starving farmers with nothing to their name but a dried up cow, a crust of bread they have to slice paper thin, and a solitary bean. It’s a darkly comic sight, one made even more tension-filled and humorous when it’s filtered through the narration…

…in the Von Drake version.

Yeah, while we’re on this topic I might as well go into why I prefer the one with Von Drake narrating over the original. The main problem I have with Bergen is the same I have with Dinah Shore’s voiceover in the Bongo section, yet by comparison Shore is barely a nuisance. You want to know what that is?

BERGEN.

NEVER.

SHUTS.

THE HELL.

UP.

Everything he adds to the proceedings is already plain to see before us, and when he isn’t talking about the current action on screen or trading barbs with Charlie McCarthy he’s going into what the characters must be thinking or feeling at that moment. It’s not like film is a visual medium where we can draw our own conclusions based on what we’re viewing and our prior knowledge of the characters, oh no, we have to be told everything like we’re children. Oh wait, we don’t, because I watched the Von Drake one when I was a child and I knew what was going on without him telling me every five seconds! The Von Drake edition knows when to clam up and let what’s happening speak for itself. It allows this half of the movie to breathe and lets us take in some good atmosphere and music where there was once constant voiceover. On top of that, Von Drake’s delivery hits all the comic beats while Bergen’s is rather dry. The original Mickey and the Beanstalk from Fun and Fancy Free has cleaner scene transitions as well as moments that were edited from the Von Drake edition since that was taken from television, but half the charm comes from Von Drake and Herman; that and the previously mentioned amount of narration makes their take the superior version.

“Wow…I never realized how much I needed to say all that.”

“Felt good, didn’t it?”

“You have no idea, Cynicism.”

Anyway, caught between starvation pangs and an omnipotent voice incessantly stating the obvious, Donald finally snaps and attempts to make a sandwich out of the plates and cutlery. Goofy and Mickey bring him back to his senses, or so it would seem.

Ah, I knew this movie was lacking something – nightmare fuel!

Mickey spies the axe conveniently hanging on the wall has gone missing nearly too late. Outside Donald is making his moves on the cow.

Heeeeeeere’s ducky!!

For many people this is one of the scariest moments in Disney cinema. While I’m not inclined to agree I can surely understand. His slow descent into madness is framed almost like a psychological thriller. Plus, we all know Donald’s had a temper before but we’ve never seen him flat-out attempt murder…almost.

I’d like to point out that in the picture on the left the gun is going off in a crowded theater. Unfortunately the timelessness of Disney’s films doesn’t always apply to their early shorts.

Mickey and Goofy intervene in the nick of time and the story fades back to the puppet party. Charlie is all up for Donald murdering the cow to survive and lists a number of increasingly gruesome ways to pull it off over Luana and Mortimer’s distressed protests. Ok, NOW I think I understand why everyone is terrified of Charlie McCarthy. The kid’s a little wooden sociopath.

After some more blathering, Bergen gets the story back on track and tells us Mickey went to go trade the cow for some much needed vittles. But Donald and Goofy’s dreams of a Be Our Guest style feast are dashed when he returns home with nothing but a handful of beans. Donald goes berserk even after Mickey says they’re supposed to be magic and smacks them out of his hand where they fall into a hole in the floor. Yet as everyone sleeps that night, light from the full moon shines into the house, which is the very thing needed for the beans to work their magic. The whole sequence where the beanstalk grows through the entire house and raises it up to the sky is a highlight. It begins with an almost sinister air, the beanstalk crawling its way upward and silently through the dark like a snake, and the wonder and music constantly builds as it climbs higher towards the heavens. Every action matches with the music, and the animation is the best in the whole movie. I must say it always amazed me that Mickey, Donald and Goofy are able to sleep as heavily as heavily as they do through the whole ordeal, especially since they get shaken around so much and come close to falling so many times. Were the hunger pains that bad that they took a heavy dose of Ambien before turning in?

The three wake up that morning in a land in the clouds where everything towers above them (and apparently they’re totally fine with their house being destroyed). They venture to a nearby castle where the only clue as to who lives there is a set of footprints each the size of a ditch. While crossing the moat Donald angers a formation of dragonflies and one dive bombs them. On the tape I had it was immediately swallowed by a jumping fish and the ensuing splash washed the friends to shore. So imagine my surprise the first time watching it in full and seeing this was a full-blown action sequence of sorts with the dragonfly going after them repeatedly and their little vessel nearly sinking. I’m guessing it was cut for time but it’s kind of a neat part.

Mickey and crew climb up the enormous stairs and sneak in the castle under the door, and all the while Bergen does not stop talking. I’m almost tempted to put it on mute when the animated characters aren’t the ones who are speaking. They come across a giant table laden with enormous food and gladly help themselves. Goofy in particular gets in plenty of shenanigans involving a bouncy jello mold. The gorging is cut short when they hear the voice of the Harp coming from a locked chest. She informs them that she was kidnapped by the giant Willie.

Twenty-eight years of watching this…how did I not realize… There is no way that name could have been chosen at random!

Bergen tells us Willie is “a heartless monster” who stole the Harp because “he was cruel and selfish and didn’t care what happened to Happy Valley”. And I…he…I…

No.

NO.

Screw you, Bergen.

Screw you, screw your horrible narration skills, and especially screw your picking on my Willie!

“Ugh, there’s no way around that phrasing, is there?”

Again, going back to the Von Drake edition, they painted Willie in a much kinder light, one that’s more true to his character. He’s not the crude, gluttonous, overly violent thug like past giants. He’s big enough to pose a threat but he’s silly and very endearing, almost childlike at times.

Come on, does this even look cruel, selfish and wicked to you?

His goofy voice plays a part in it as well thanks to Billy Gilbert, the same actor who voiced Sneezy in Snow White and the Seven Dwarfs. At one point he even gets to do his trademark over-the-top sneeze. Willie does not seem at all like a cold-hearted brute who would leave an entire kingdom to rot for his own selfish pleasures. It’s highly likely he didn’t even know the Harp was needed for the land to thrive and was completely ignorant to the fact that Happy Valley was turning into Death Valley without her. That’s why it bugs me when he’s lumped into the group of Disney villains. Nearly every bad guy in the canon either openly embraces how evil they are or do what they do because they believe it is the right thing. Willie falls into neither category; most of his maliciousness is incidental rather than intentional. If you don’t believe me that he isn’t evil, look at how he’s portrayed beyond this movie. In a bout of perfect casting, he plays the friendly and jovial Ghost of Christmas Present in Mickey’s Christmas Carol. He’s also made positive appearances in shows like House of Mouse and Mickey Mouse Clubhouse. Maybe it’s just because I’ve always had an affinity for big tough looking characters who are really enormous marshmallows (wait until you see who my favorite character is when we get around to reviewing the American Tail movies), but I can never see Willie as a true villain, and that’s a good thing. So back off, Bergen. He may be a big galoot, but he’s MY big galoot.

What also separates Willie from the giants in most other adaptations is that he has the ability to change himself into anything he wants provided he says or sings the magic words “Fee Fie Fo Fum”. A common complaint with this new feature is that it’s completely unnecessary; his superpower is that he’s already big and strong, so why give him magic? I disagree. I like his transformations and think it adds something special to him. Walt purposefully wanted to create a combination of the traditional beanstalk giant and the shape shifting ogre from the fairy tale Puss in Boots to add more danger and intrigue to the story (as well as eliminate the moral quandary of making a side character a widow). In fact one has to wonder if this means Walt ever planned on doing an animated take on Puss in Boots someday. My only wish is that Willie’s powers were utilized more as it was originally planned in both his song and the first draft of the ending, where he’s shrunk down to normal size and becomes a member of Queen Minnie’s court.

Willie discovers Mickey hiding out in his sandwich and snatches him. But clever Mickey has already seen Willie showcase his powers through his introductory number and pretends to learn and be impressed by that fact after reading Willie’s palm. Willie is eager to show off and Mickey, spying a flyswatter nearby, asks if he could transform himself into a housefly. Willie is of course suspicious and would rather be something like a pink bunny but goes along with it anyway. The friends prepare to attack, but Willie does the old switcheroo and exposes them.

I’m guessing Mickey never bothered to actually read the original Puss in Boots story; there Puss convinces the shapeshifting ogre to turn into gradual bigger and fiercer creatures and then taunt him into becoming something small and helpless so he can dispose him. Sweat the small stuff immediately and the one you’re trying to trick will be on to you right away.

Willie captures his would-be murderers though Mickey escapes before he can get locked up with Donald and Goofy. Luckily they have an ally in the Harp, who sings Willie to sleep with the sweet lullaby “My Favorite Dream”. Mickey is able to sneak the key out of his pocket after almost waking him with an upturned box of snuff and rescues his friends. Donald and Goofy start making their way back to the beanstalk with the harp, but Mickey tries to buy them more time by tying up Willie’s shoelaces in case he wakes up. Unfortunately doing this does cause Willie to wake up and attack. There’s a surprised “Oh!” from Luana at this part that was left in on the Von Drake tape so for the longest time I assumed it was the Harp crying out in terror despite the fact that they sound nothing alike. Oops.

Mickey manages to outsmart Willie at every turn, mainly because the giant is so furious he conveniently forgot he can become anything and catch and crush Mickey like an insect at any second. The story abruptly ends with the three friends cutting down the beanstalk and Willie crashing to his death. We don’t even get to see the harp returned or Happy Valley restored or Mickey, Donald and Goofy sharing a victory high five. Mortimer’s not satisfied mainly because he’s saddened by Willie’s murder, and I don’t blame him. As if I need to repeat it, they do too good a job of making him likable that you don’t want to see him die. Bergen responds by reminding Mortimer that Willie is only a fictional character and gives him a crash course in fantasy vs. reality – one that is completely thrown out the window when the real Willie looks in on them.

So, sentient crickets and puppets are accepted as normal as well as a living giant that everyone once believed to be fictional…

This whole movie took place near Gravity Falls.

There is no other possible explanation for this.

Bergen has the appropriate reaction and faints, Mortimer takes comfort in knowing reality is an illusion and the universe is a hologram, and Jiminy figures maybe now is a good time to get the heck out of dodge before this crossover gets any stranger. So our odd little film comes to a close as we follow Jiminy tailing Willie as he terrorizes the downtown Los Angeles area in search of the mouse who made him homeless.

“Run!! It’s Godzilla!!” “It may look like Godzilla, but due to international copyright laws and the fact that this giant is so obviously a human whereas Godzilla is reptilian, it’s not.”

Well…that was something. Maybe not as spectacular or fully underrated as I remember, but it was something. The host parts are disjointed and don’t gel very well, even in comparison to the other package features. But the main draw at the time was less about the animation and characters and more about the celebrities that would be playing a part in it. Fun and Fancy Free basically predates the Dreamworks formula by about fifty years. Food for thought, huh?

As for my summary of the individual segments, Bongo is perfectly fine. Not amazingly humorous or gorgeously animated, but not poorly scribbled out or annoying, at least for the most part. It’s middle of the road entertainment that I don’t have much to complain about or praise. The worst I can say is that it’s as padded as my high school brassiere. Mickey and the Beanstalk, though? Never fails to give me the nostalgic warm and fuzzies. It’s a big adventure with a boatful of lovable characters and great songs. By all means though, seek out the version that has Ludwig Von Drake narrating. It’s available on dvd, and last time I checked it’s on Netflix too. It even comes with some of my favorite Mickey shorts like “Mr. Mouse Steps Out” and “Brave Little Tailor”. I know I’m not the only one who feels some connection to this part of film; whereas nobody remembers or bothers to reference Bongo, even in Disney media, there’s one or two mentions of Mickey and the Beanstalk in the Disney parks, primarily in Fantasyland. Also, take a look at these stills from the Animaniacs parody of the fairytale and tell me it wasn’t influenced by the Disney one in any way.

Fun And Fancy Free performed decently at the box office, though it was overshadowed at the time by Walt Disney’s infamous testimony at the House of Un-American Activities Committee. Now it’s merely a footnote in Disney’s history. When interviewed about the film years later, the animators openly admitted they didn’t want to work on it. Even Walt barely had anything to say about it in his interviews and biographies. It was merely an assignment they had to do in order to keep the studio afloat, hold on to their jobs, and get their mascot Mickey back in a starring role (the last one he’d really hold until Mickey’s Christmas Carol in 1983). Truth be told, the making of Fun And Fancy Free, which was included on the original VHS and DVD release, is more interesting than the film itself as a whole.

But at the end of the day, do I dislike this movie?

No, not really. I can’t call it one of my favorites, yet there are things I like about it that I wish they were allowed to expand upon. It’s an uneven film that does the best it can to be simply light and entertaining like its title. And I guess that’s why people are quick to harp (ahem) on it. Disney is capable of making great art. But just because it can doesn’t mean we should diss it when they to do something lighter and fluffier. Sometimes you need that shallow, pleasant bit of pure escapism to bolster your spirits. Do you think the animation team would have been able to get by after Walt if they didn’t make The Aristocats? Or begin recovering from the failure from The Black Cauldron without The Great Mouse Detective (which I don’t think is merely shallow filler at all, but I’m saving my thoughts for the actual review of it). I admire Disney for being able to shift gears and go from deeper subject material to goofy comic fun when need be.

In other words, when watching this particular film, just repeat to yourself “It’s just a Disney movie, I should really just relax”.

Thank you for reading. If you like what you see and want more reviews, vote for what movie you want me to look at next by leaving it in the comments or emailing me at [email protected]. Remember, you can only vote once a month. The list of movies available to vote for are under “What’s On the Shelf”.

If you want to support me and totally not get swindled into buying magic beans, please consider supporting my Patreon. It’s completely optional, you can back out any time you choose, and it comes with perks like extra votes and adding movies of your choice for future reviews. Special thanks to Amelia Jones for her contribution!

And a VERY special thank you to The Three CommentEARS for their insightful and entertaining commentary on this film which helped influence and inform this review. I’ve done some commentaries with them in the past for Pinocchio and the extended anniversary edition of Pocahontas, and they know their Disney stuff. Please go and check them out!

Caricature by Brian Slatky, 2017

June Review: Fun and Fancy Free (1947) Sigh, poor package features, why does nobody like you? Why is it that internet reviewers and Disney critics and fans always seem to give you the shaft?

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fragmentsofchaldea · 6 years

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Fragments of Chaldea Fan-Visuals Contest Official Post

To clear up a lot of confusion, I’ve finally gotten around to designing the full thing.

Can you draw with more skill than stick figures? Then you have a chance for a number of prizes!

As everyone likely knows by now, I come from the Film industry. I’m a screenwriter, and was never an ‘author’ until I took up the now-ambitious Fragments project. However, that had never quenched my interests that came from my other field: Visuals are awesome, and the Fragments Series could use some visuals.

Thus, as a curious way to sate that, I offer a “Fan-Visuals” contest to get the ball rolling. The rules will be straightforward and relatively simple, but split itno two categories.

Contest Rules

=== DEADLINE IS May 1st, 2018. ===

There is no submission limitation. You can submit as many entries as you want. Just remember, the better the overall quality, the higher your chance of winning one of the top three prizes.

No pre-made works allowed (Anything made before the contest was announced on 9 FEB 2018)

Obviously, plagiarism will be an automatic disqualification of that work and any other you submitted.

Submissions can be sent to: [email protected]

Uploading it to your account on an external site like DeviantArt, Tumblr, Pixiv, etc. is also okay! Just show me the link!

Entry Rules

KEY REQUIREMENT: The work must clearly depict something from Fragments of Chaldea.

Your absolute safest bet is to visually depict one of your favorite scenes that can be clearly ‘seperated’ from canon. Obviously this has some gray areas at times, but I’ll try and elaborate.

Example 1: You want to depict something from Their Guiding Light or Redemption from Sin. Be careful about choosing a scene that happened in canon: This enters a gray area. For example, just showing the scene where Fou jumps on Merlin’s face in RFS, or the Lion King using her lance to slam Gawain out of Camelot will not qualify. Something obviously not canon from those singularities, like Astolfo’s hippogriff acting as a mass-taxi, will qualify fine.

Example 2: If you show Frankenstein & Anton, that’s clearly within Fragments of Chaldea’s boundary. If you show Mordred & Jekyll only, that’s not going to qualify because it’s not a clear depiction from the series: They’re a popular ship. If you want to play it safe but draw them, depict one of the scenes.

Example 3: Depicting the Emiya family is probably the biggest gray area because it will be “hard” to depict it as within Fragments of Chaldea. Your best bet if you want to do them is to make it from an obvious scene within the series. One example would be them riding in Kuro’s newly won prize-car back down the 1950′s road. Another would be Emiya helping Kiritsugu through the fiery remains of the TGL village.

Possible Entry ideas (but not limited to this) that would 100% qualify:

A scene with one of FoC’s social groups (Atalanta family, Salon de Marie Staff, etc.)

A picture of one of the OCs

An obvious Slice of Life scene from the series

If you have any questions on the validity of what you want to show, feel free to send a message in some way (ff.net, AO3, or here). If you leave an anonymous message, please be aware I may delay the answer just to group a bunch of them into a FAQ of some sort. PMing me directly is easier and faster.

Additional Info: Any art style is allowed. Digital or handmade drawing/painting, it's all allowed. It’s called “Fan-Visuals” contest because it allows comics, 4-panels, etc. Videos aren’t allowed though. If it’s not a traditional drawing, you also might need to ask me on its validity. I’m a little iffy on 3D model things.

Prizes

(I can only do Yen or USD from the site I use to get the codes, sorry. Maybe someone can show me other options if you win and need a different currency?)

**Second and Third place ALSO get a rare opportunity to request something for the series within reason. It obviously has to be discussed, but it can include many things like possibly moving someone’s appearance/fragment up or showing a very specific scene interaction.

Third Place: Google Play or iTunes $25/3,000 yen card. Second Place: Google Play or iTunes $50/5,000 yen card.

Grand Prize: Pick between one or the other!

Google Play or iTunes $100/10,000 yen card. Plus two special requests for the Fragments Series! (same limits)

My loaded NA Account (which includes fully grailed NP5 Gilgamesh, OG Arturia, NP2 Jeanne, Okita, El-Melloi, Jack, Drake, all Free 4 stars thus far, two Limit-Broken K-Scopes, and a lot more) plus a special request for the Fragments Series! (same limits)

As a note for my account: I will be keeping it up to date the whole time, but juggling both NA and JP is giving me a headache, so that’s why that loaded account is a prize option. I’m not leaving the JP one at all, nor quitting FGO.

Finally: There may be one or multiple hidden prizes to be given out. Who knows what they’ll be? Who knows if you might actually win one?

#Fan-visual Contest #Fanart Contest #contest #fanart #comic

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robedisimo · 6 years

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Black Panther [SPOILER-FREE REVIEW]

[Disclaimer: this review is based on the Italian dub of the film. As such, all opinions on the quality of dialogues and acting are subjective and partial.]

So, it’s been a while since my last review and, to be completely honest, I didn’t expect Marvel’s Black Panther to be a hard one to come back on. I went into this movie expecting to enjoy it thoroughly, and in many respects I did, just... not as much as I thought I would. To cut a long story short, I spent the better part of a week trying to make up my mind about whether I walked away from this movie impressed or disappointed. Here’s what I’ve got so far.

First of all, let’s address the mini-skirted elephant in the room: in more than just a few coincidental ways, Black Panther is a retread of last year’s Wonder Woman. Both films star characters who were introduced as supporting players in a previous movie, in both cases big tentpole cross-over films – Batman v Superman and Captain America: Civil War, respectively – revolving around a conflict between the two main figures within the respective mega-franchise universes. Both act as more self-contained tales, in terms of cross-franchise elements, than previous movies in their narrative universes, and both feature different but thematically contiguous settings in the shape of secluded, secretive, mythology-laden kingdoms ruled in utopian perfection by a fictional society reflective of one of America’s mistreated social minorities.

On the production side of things, both were surprisingly helmed by directors known for poignant, socially-involved projects – Monster’s Patty Jenkins and Fruitvale Station’s Ryan Coogler – and, on the promotional side, both sailed towards theatres on a wave of sheer hype, being hailed as the beginning of a new era for Hollywood blockbusters and propelled forwards by baffling headlines – born, I assume, either out of stunningly poor memory or else a frankly understandable wish to forget that Steel, Supergirl and Catwoman ever happened – about how they were the first female-led, or black-led, superhero movie ever made.

Neither film, it goes without saying, rises to meet those unrealistic expectations. Though entirely enjoyable in its own right, Wonder Woman was an uneven and ultimately formulaic film that tried to juggle too many things and be too many different movies at once, and Black Panther certainly falls into the same category to a lesser degree. Part James Bond instalment, part Lion King and in part also Thor rerun, what we got on our hands in the end was a fairly mundane genre flick with a number of highs but also a handful of lows.

The good: the film looks amazing. Where its DC equivalent was content with just a few opening minutes of generic pseudo-Greek utopia, Black Panther instead realises its fictional setting to a much deeper, richer degree, to often impressive results. The mythical kingdom of Wakanda is most definitely a kind of spectacle not before seen in theatres, a bold vision of African futurism that meshes hi-tech sci-fi with tribal spiritualism in oftern stunning fashion. Its setting is easily the film’s best aspect, brought to life on the shoulders of the great conceptual design work done by Marvel’s art team.

On top of that, Black Panther is energetic and well-acted, perhaps with less overt humour than most recent Marvel projects but certainly fast and action-y enough to satisfy genre fans. The story is emotional and poignant, and Michael B. Jordan definitely shines – although I feel a pang of white guilt in reporting that Andy Serkis, for once appearing with his own tribal mask of a face, steals away the trophy for most enjoyable performance in the film – as one of the MCU’s most complex theatrical villains to date... if not, like Cate Blanchett’s Hela before him, one that truly and definitively manages to buckle well-established Marvel villain trends.

The soundtrack – if a touch obtrusive at times – is another of the movie’s high points, way less hip-hop-heavy than trailers suggested and much more genuinely African in its tones and beats. For a film that’s obstensibly about identity, the fact that its visuals and acoustics come together to form such an original, easily-identifiable cinematic brand is certainly Coogler’s, and everyone behind him, greatest achievement here.

The bad: the film looks amazing, except when it doesn’t. The Marvel Cinematic Universe is definitely developing an overreliance on CGI lately, and even Black Panther’s rather sizeable budget can’t do much to distract from some of the film’s worst effects – no spoilers, but you’ll know when you see it – and its general overabundance of green-screen shenanigans, especially in the cliché-laden climax.

The action itself isn’t especially praise-worthy either, despite a couple brief highlights: much like in Creed, Coogler blows his best action scene midway through the film and it’s all downhill from there, with a few missed opportunities along the way. The film’s focus on hi-tech gadgets, for example, sort of fizzles out without much fanfare after a while, with the same two or three tricks being repeated throughout the movie.

Other issues may be found in certain aspects of pacing, although in that area your mileage may vary. Black Panther starts off a tad slow, and then unfolds as a series of self-contained vignettes that take too long to develop a coherent throughline. When the plot finally kicks in it works in fairly satisfactory fashion, but there’s one big twist that honestly could’ve been dropped earlier in the film’s generous runtime and, generally speaking, I feel that the script could’ve stood one more round of polishing.

So make no mistake: on my personal scale, as far as enjoyment of my theatrical experience is concerned, the verdict at the bottom of this review should not rise above “MOSTLY POSITIVE”. It gets knocked up a peg for two specific reasons:

Black Panther’s impact on the American public is undeniable. In the United States, the film’s themes resonate in a way they simply can’t anywhere else, and as such this is the one Marvel movie that is perhaps the least designed for, and the least accessible to, foreign audiences... even if it is frankly quite mystifying that Wakanda’s core values would end up being framed in the context of the plight and struggle of people of colour in America, rather than pretty much anywhere in the surrounding African continent. Ultimately, I think, it’s not even a matter of said themes being satisfactorily addressed or resolved, and indeed Coogler’s film presents challenging ideas that are entirely unexpected from a superhero movie, but – partly because the script starts dealing with them too far into its runtime, as I mentioned – there’s not really the proper time for them to breather. Other critics have written that Black Panther is more interesting to think about than it is to actually watch, and I tend to agree: the ideas behind this movie are impressive, but their execution is not always the best. Despite that, Black Panther most definitely is an important film, at least in the here and now. Its missteps are easily overlooked in light of that, just as I imagine Martin Luther King, Jr.’s historical speeches would’ve still be commended for their convention-buckling message even if the reverend himself had been saddled with a comical stutter. This movie’s heart is in the right place, and it’s easy to see why that is being rewarded above all else.

From a purely technical standpoint, my viewing of this film was crippled by an adequate, and just adequate, Italian dub. I’m perfectly capable of recognising when a mediocre localisation gets in the way of a film’s original underlying richness and this was most certainly the case, with the whole English-language cast providing an array of diverse – and, I’m sure, memorable – performances, many of them in fictional African accents, that got “flattened” to an unvarying standard inflection in the version I got to see. At least in that respect, I expect a second home-video viewing in the original language to elevate my opinion of the performers’ work.

So in the end we’re left with a pretty tough question on our hands: is Black Panther a movie that exploits the genre to draw attention to relevant political themes, or one that exploits those political themes to justify its run-of-the-mill script? It is perhaps both, and that becomes a rather large problem when the film can’t make up its mind as to which of its two identities deserves its full commitment. Nonetheless, I’m eager to see how this franchise, and the larger Marvel machine whose gears grind around it, carry forward what’s been put in motion here. For the time being, Black Panther is perhaps not as good as it could’ve been... but even then, it seems to be good enough.

[Verdict: POSITIVE]

#KenAtTheMovies #Black Panther #Marvel #MCU #review

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