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villanellebeing-gay-iskillingeve · 4 years

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Villaneve Fanfic Master List

With season three done, and the long wait for season 4, here are some fics to help pass the time.

Imagine Me and You (and Our Parents) in which Eve and Villanelle’s parents are getting married, forcing them to be entirely awkward with the unresolved chemistry between themselves. It’s basically the set up for a romcom.

Love Language (fluent in your) a medical drama! Long but worth the read.

Confessions, a one shot that takes place after the season finale. Definitely something I wished had happened in the show but oh well. Maybe in season four it’ll happen?

Different for us is a slight au that features Eve as a forensic psychologist whose tasked with dealing with Villanelle and her shenanigans. Excellent world building and pacing in the story. Feels like reading an actual book.

Professional boundaries is what I consider a classic Villaneve fic. It picks up from the season one ending and is a must read just because it’s fun.

Down, Down under the earth goes another lover, featuring a cat and mouse game where it’s more cat and cat. A lot of good plot twists so I won’t mention them, but it’s a good read and the way the author gets inside their minds and characterizes them is an art of it’s own.

Step in front of a runaway train, another story where Eve is sent to kinda rehabilitate an in prison Villanelle. Except this story is about ten times darker and features Eve yelling at a boar, sweating in Florida heat, and dreaming about Villanelle (except maybe it wasn’t a dream?) This whole story feels like a prelude to a fever dream in the best way possible.

In darkness she beckons, in which Eve has premonitions about murders, which leads her directly into the path of Villanelle. Only a few chapters out, but it’s very interesting and shows lots of promise.

The Unconventional Bodyguard, only a couple chapters are out so far, but it looks to have great promise for comedy and for awkward situations to happen that will lead to them falling in love.

Cuba, a funny fic about Eve, Villanelle, Konstantin, and Irina going to Cuba. This will brighten your day.

Beep Beep, a one chapter fic about Villanelle being a dick to Eve when she loses her car, in the most funny fashion ever. It all leads to love, though.

Quid Pro Quo, a lawyer!Villanelle fic, in which she helps Eve divorce from her husband and in the process they fall in love. It’s a cute fic, with plenty of action. Makes me think of the movie Legally Blonde, if it was ten times gayer.

Love at First Swipe, a Tinder AU. Eve thinks she’s being catfished but she’s not, and it leads to an interesting turn of events.

Straightforward, Eve wants to cut her hair; Villanelle totally does not freak out about it. Honestly, a cute and in character one shot.

The Wrong Kind of Almost, Eve sees Villanelle working at MI6, but that can’t be true, right? No one else notices it, so it simply can’t be true. Right? Right????

Issues (We’ve got the Kind of Love to Solve Them) is a ten part series. It is an adventure and definitely worth the read. It will make you feel so many things.

Not a Chance in Hell, is an assassin vs. assassin story. Eve calls Villanelle puppy. If that’s not reason enough to read, then I don’t know what is.

The heat of the moment, a story where Eve is a trainer and Villanelle is her trainee. It’s a really good, fast paced story. The fights are detailed and will have you rooting for Villanelle to win so she can advance in her career.

Love to the Point of Invention, a kinda sci-fi story where Villanelle is an android that Eve falls for. Haven’t seen this AU type yet in this fandom, so it’s a refreshing read from all the other ones.

Only by dark is a great idea of what season two could have been like and it’s pretty good.The original characters are amazing and I wish the author of this could have written the actual season two. Another Villaneve classic.

#Bringdownthe12 is a one shot in a very interesting and fun format. it details all of the seasons together and is a good refresher for plot details.

Season 3: The Scripts basically an imagining of what season three could have been like in script format. It’s really good and honestly fills in more blanks than the actually season three did, while also maintaining a story about Villanelle’s past. The writers of the show should have taken some cues from this.

Infancy the baby fic you didn’t know you needed. Seriously, it’s really cute and will have you in your feels.

Manie Sans Delire another amazing fic. This one, post season 2. And still, filling in the gaps way better than the actual season three did.

#Killing Eve #Villaneve #Villanelle #Eve Polastri #Jodie Comer #Sandra Oh #villaneve fics #Killing Eve fanfiction #fic recommendation #season one au #season two au #season three au #family fics #assassin fics

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chroniclerdl · 3 years

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Seven Fundamentals to Writing Better Yu-Gi-Oh Duelfics

Ever wanted to write a duelfic just as good or better than canon?

Done right, duels are memorable action scenes.

Done wrong, duels shatter the suspension of disbelief. It’s already a big ask to imagine the world revolving around a card game.

You don’t want the tragedy where your readers yank the scrollbar past your duel, or worse, close your tab. Even the small pool of duelfic readers/writers like me will skip huge chunks of your chapters when the duels sag.

By implementing basic storytelling techniques tailored to dueling, you can hook your readers into following the play-by-play.

High Stakes

Consistent Rules

Sneaks Checked

“Balanced” Gameplay

Foreshadowing Victory

Engaging Description

Dramatic Tension

1. High Stakes

When you advertise your story as a duelfic, your first duel tells readers whether or not what you wrote is worth their time.

If your characters duel without a concrete reason to rip the opponent’s throat, readers already know the outcome:

You lose.

Why? The game is pointless. Who’s dropping whatever they’re doing just to read the equivalent of your characters sipping afternoon tea? If you’re introducing the setting and characters, why can’t you introduce exciting threats?

No reader expects your first duel to decide the fate of the world, but your characters still need to bet.

Characters wager life chips.

If your character loses, they suffer death or suicide-inducing despair.

Is it too much to start with life-and-death? No. Think of the life chip as the culmination of hopes and dreams.

As the story progresses, the stakes will rise, must rise. How? Others will entrust the main characters with their own life chips, and/or the life chips acquire additional meaning. Consider this loose analogy: at the end of a poker tournament, gamblers sit at the final table with stacks built from the chips of others.

Life chips mean different things to different characters. Let’s take the Duelist Kingdom arc.

Yugi’s life chip is the hope to save his grandfather (and later, his own soul)

Joey’s life chip is the hope to win the prize money to fund his sister’s medical operation

Kaiba’s life chip is the hope to save his little brother (and later, his own soul)

You don’t even need your final showdown to revolve around the fate of world; it just has to be one or more things that matter to your characters.

Also, make sure to communicate the stakes, or why the characters accept uneven bets.

If you have the chops, you can also play around with disguising the stakes. As in, your character thinks they’re wagering something small, but it’s actually their life chip. However, your readers still need a vague reason to believe that a defeat will devour the character.

Always make sure the characters stake one or more life chips!

2. Consistent Rules

If you watched the Duelist Kingdom arc and tried to understand the moves everyone made, your head exploded.

Ask yourself: will the clever scheme that your hero invented drive readers crazy?

If I write a magic system that requires a wand, this applies to all. I cannot become a genius and suddenly wave my hands to cast magic.

Demonstrate the rules early, preferably in the first duel, and keep them sacred.

If you must make an exception, establish it early. In that case, the exception becomes a well-defined branch of the rules that the readers can anticipate.

Can the players magically draw the card they need, whenever they want?

If you can establish the when and why, by all means. The readers proceed with the understanding that the players can reach into their deck like a glorified toolbox.

For example, Duel Links has a concept called “skills” that function like a player’s special ability. At the time I wrote this, Yami Yugi’s “Destiny Draw” skill lets the player take any card from their deck once per duel after losing 2000LP (and even if they stacked the top of the deck earlier!).

Card should also have the same, predictable effect. If the card prevents attacks, I doubt the text discusses physical properties or mentions holding things in the air. But you knew that, right?

The rules are the laws of the universe.

3. Sneaks Checked

I love duels. I also love getting what I want.

Why does getting what I want have to be through a duel?

If we talk, maybe we can come to an agreement. If I blackmail you, maybe you’ll give in to my demands. If I shoot you, I can loot your corpse. Give the readers a good reason as to why your characters would bother with the hassle of honest dueling and can’t wiggle from the consequences of losing.

Often, the duel takes place in the context of a tournament. Hopefully, the tournament officials are keeping a good eye on the players and cracking down on cheaters.

However, even that’s not a guarantee. What’s the key concept?

Power.

The competitors have equivalent capacity for coercion (usually violence) or have a neutral referee presiding over the match with the most capacity for coercion (shoutout to gambling manga Usogui).

Anyone who enters a game otherwise has lost before the first move.

In Yu-Gi-Oh, magical and sci-fi enforcement are common. The Shadow Realm can trap the loser in a desolate hell. In a digital world, the loser suffers deletion. Or just have good tournament officials.

Be vigilant when your duel doesn’t call upon these tropes.

Your amoral characters won’t mind blindsiding your other characters, and they won’t mind blindsiding you with a plot hole.

If you’re not careful, the readers will ask you why they played uncharacteristically fair.

4. “Balanced” Gameplay

Duels should be fair and fun…for the villain.

Ostensibly, everyone plays a balanced game, designed to give both sides a sporting chance. In reality, the villain tilts the field to their favor with one or more tricks up their sleeves. Why would your villain ever fight fair?

But that’s fine. We love rooting for the underdog and watching the villain get their comeuppance.

Overpowered ability to let the villain read minds? Deck full of unbalanced cards that makes the villain’s monsters invincible with no drawback? Creator who knows every strategy in the game? Readers will turn the page as they wonder how the hero will prevail.

The more obstacles you can throw in the hero’s way, the better.

Got custom cards? No problem, just follow a couple guidelines. After all, some duelists are more equal than others.

The hero’s deck is full of regular cards that have a cost to use. For every play they want to make, their cards insist that they give up their attack, discard to play, etc.

The villain’s deck is full of rare cards that power up their game for free. So long as you can justify why the card made it to print, the villain can play whatever they want.

For every step your hero takes, the villain gets two.

5. Foreshadowing Victory

How many times have you watched a duel where the protagonist comes up with this never-before-seen card that does exactly what the protagonist needs to clinch the win? In the final showdown, no less? It’s like the writers begged to be called amateurs and idiots.

No other genre tolerates such laziness.

However, readers don’t want an infodump of the characters’ decks. Show the cards in action. To cover the deck, you'll probably need multiple duels.

This also implies you have more freedom in how your character defeats their early opponents in the duelfic.

Does that previous statement contradict what I said about never-before-seen cards clinching the win as the mark of laziness? No, because here’s the rule:

Tolerance for the hero’s new cards decreases as the story progresses.

(Notice that I specify the hero’s new cards; your villains exist to make life harder by inventing unfair tricks.)

When you must include new cards for the hero late in the duelfic, at least find a way to make them first backfire.

Now, some writers have lots of knowledge about the card pool and metagame. Can they assume the readers a priori know the hero has access to any of the available cards in a given archetype?

I’d err on the side of caution and properly foreshadow the cards before they appear late in the duelfic. Not every reader is a walking card database. They have no reason to assume something exists unless you show the card.

Take the tolerance rule into consideration when planning your duels. If you know the awesome combo you want to use for the final turn in the duelfic climax, that’s your cue to scatter the cards into the earlier duels.

Plan the last duel first and your early duels last.

6. Description

Every reader wants a front-row seat to the action.

They’re paying you their time, so make it worth the admission: sleek combatants & budget-busting fights. Kaiba invented Solid Vision technology for a reason, so help readers envision your duels.

Who’s fighting? Describe the point-of-view’s impression of the monsters’ appearances. Red-Eyes Black Dragon should be self-explanatory.

What about a decorated monster like Time Wizard?

You could go into detail about how the red clock humanoid has yellow gears that form epaulets and purple, pointy boots and a green mustache made from clock hands and so on, but such a level of minutiae bogs pacing and invites skimming.

Readers just need to hear about a purple-caped, red clock humanoid with a wand to form an image. Their imaginations can handle the little details.

Paint appearances in broad strokes and one or two brief sentences.

How are the monsters fighting? Duel Monsters is a game where the target takes the aggressor’s attack like a champ. That doesn’t mean you can’t spice it up.

For example, my opponent’s dragon attacks my weaker knight with a fireball. My knight, interested in not dying, raises his shield. Unfortunately, he screams as the flames engulf him.

You wouldn’t just stand still with a straight face if someone armed with a knife lunged for your gut.

A fight scene is a string of action and reaction.

Most people also experience life in more senses than just sight.

A dragon’s fireball is a bright reddish-orange, hot, dries the air, smoky, and explodes with a boom on impact. I never tasted a fireball, and I hope I never do, but that’s still four senses: sight, touch, smell, and sound.

Include multiple sensory details.

Let’s spare a moment to talk about the heads-up display (HUD).

In Yu-Gi-Oh, cards have multiple stats and abilities. You’re free to mention whatever you deem necessary. No set formula exists. On one extreme, you can mention nothing to keep the narrative clean at the risk of confusing the readers. At the other extreme, infodumps about the monster’s abilities provide great detail but wreck the pacing. But there’s a cozy middle.

State only what you need from the card.

If your duels occurred before the era of Synchro, you don’t need details about levels. You can just display the basic stats to determine the stronger monster. If a deck has Pendulum monsters, just mention the scale numbers when they're played as scales. And so on.

You can also make an index of new cards at the end of a chapter.

BONUS TIP! Understanding show, don’t tell.

What is show, don’t tell? At its core, this concept refers to immersing your readers in the senses and feelings instead of exposition. Unfortunately, that definition is a bit vague to execute. After writing for a while, I had my lightbulb moment.

Don’t TELL the readers how to think or force-feed them a conclusion.

SHOW your readers the evidence.

Here’s a written example from Joey vs. Rex in Duelist Kingdom. See if you can spot what makes this prose telling instead of showing.

“Joey watched nervously as Two-Headed King Rex stomped Baby Dragon. He messed up his Baby Dragon-Time Wizard combo!”

You can see two failures: “nervously” and the second sentence.

Adverbs like “nervously” and other “-ly” friends get a bad rep because rookies tend to use them as telling crutches (especially beware adverbs after dialogue tags!). “Nervously” tells me how Joey reacts. But what does “nervously” look like? One character might bite their thumb. Another might fidget in their seat. The adverb in this context lacks nuance.

We also have the second sentence: “He messed up his Baby Dragon-Time Wizard combo!” When you’re explaining the “why” to something, you’re telling. It’s like talking down to your readers.

Contrast with the next example.

“A bead of sweat rolled off Joey’s face as Two-Headed King Rex stomped Baby Dragon. He stared at the Time Wizard in his hand.”

The first sentence shows me Joey’s physical reaction. I see him sweating, so I think he’s nervous.

We also see a second physical reaction: “He stared at the Time Wizard in his hand.” This comes on the heels of the first sentence, and I also have knowledge of when Joey used the Baby Dragon-Time Wizard combo in a prior duel. Combined, I think Joey is ruminating about a missed chance.

Readers are smart; they’ll catch your intention if you show the proof.

7. Dramatic Tension

I bet you know what it's like to draw a bad hand.

Imagine: The hero staggers into the arena, and the villain just needs to win one duel to take over the world. The villain draws a bunch of powerups with no monster, but the hero draws a one-turn-kill combo.

Anticlimactic. The readers throw that duelfic straight into the trash.

Don’t just write real-life duels. “It really happened” doesn’t mean it’s emotionally satisfying.

That’s why we have literary structure.

Success and setback pace together with progressive intensity to maximize dramatic tension and emotional payoff.

I’ll spare the nitty-gritty theory detail, but your duels should look like this on a basic level:

Part 1: Villain’s basic threats. Introduces the villain’s deck and style.

Part 2: Villain’s minor strategy. The villain’s first serious attempt to defeat the hero.

Part 3: Villain’s major strategy. The hero’s reversal! But the villain has worse in store.

Part 4: Hero’s imminent defeat. The hero must break through, or else will instantly lose!

Ideally, you’re also integrating the story itself into the duel; themes and duels synergize to create a stronger effect.

You may notice how the format resembles the three-act structure.

Act I is Part 1

Act II until the Act II midpoint is Part 2

Act II midpoint until Act III is Part 3

Act III is part 4.

I’ll use Yugi/Pharaoh vs. Pegasus in Duelist Kingdom as an example.

Part 1: Mind scan. Pegasus can read minds to counter combos.

Part 2: Toon World. Indestructible, cartoonified monsters attack.

Part 3: Shadow game. Toons destroyed! But playing a shadow game weakens Yugi.

Part 4: Yugi passes out. The Pharaoh must find a new way to stop Pegasus’s mind scan!

Figure out each part of the structure for your duels before writing the turn-by-turn plays.

By the way, modern real-life Yu-Gi-Oh duels don’t suit drama because the rules provide weak constraints to creating strong boards. A good modern deck usually establishes a scary turn one board and jumps straight into Part 4, whereas other card games like Magic: The Gathering and Hearthstone force the powerhouse cards to wait several turns until the player builds the mana to pay costs.

You can still write a good modern duel. Here’s a basic outline of Arc-V’s duel between Sora and Shay. Technically, “tragedy” is the structure of this duel, so I’ll make Shay the “hero” to flip it and keep matters simplified.

Part 1: Basic monsters. These clash before a monster appears from the Extra Deck.

Part 2: Frightfurs. They come one after another to crush Shay’s Raidraptors.

Part 3: Sora’s wrath. Rise Falcon survives! But Sora’s malevolent nature comes to light.

Part 4: Frightfur Chimera. Sora chomps candy and summons his biggest fusion horror!

If following the four parts is too difficult for you, that’s okay. They're just logical extensions of one basic concept. Keep the following in mind, and you’ll never go wrong:

The villain’s subsequent threats become increasingly overwhelming.

Conclusion

Much of writing a duel boils down to storytelling technique.

Let’s tl;dr the main takeaways.

High Stakes: Minimum ante is the life chip, worth a character’s hopes and dreams.

Consistent Rules: Everyone plays by the same logic.

Sneaks Checked: Characters can’t skip the duels with violence and coercion.

“Balanced” Gameplay: Villains enjoy advantages.

Foreshadowing Victory: Readers have a chance to predict the winning combo.

Engaging Description: Immerse senses and invite reactions.

Dramatic Tension: The villain makes progressively stronger threats.

As a duelfic reader/writer, I can gauge a writer's ability by measuring their duels with the fundamentals. Many fan writers struggle; even the canon writers struggle.

But writing a duelfic isn’t rocket science. With practice, minding the fundamentals will become second nature.

And don't forget to tag your story as a duelfic. It's a whole genre in fanfic, so sort it properly and help readers from the future find you.

May the heart of the cards be with you.

…

Want to see in-depth examples of my advice? I rewrote the Orichalcos arc to reimagine its untapped potential without the failures of the canon presentation. You can find it on FFnet and AO3.

#yugioh #ygo #yugioh fanfiction #yugioh fandom #fanfic writing #duelfic #writing #writing tips #writing advice #writing help #how to write #listicles

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randomcanbian · 3 years

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(re: Fandom Meme) B, D, N, P, R, Y ??? (also if you feel like answering T again about anything else pls do (. ❛ ᴗ ❛.) (also let the record know that your first answer was *chef kiss* wonderful and should've been canon imo (╯▽╰ ))

B - A pairing you initially didn’t consider but someone changed your mind

Felix x fem!Byleth from FE3H... I thought it’d be the same as f!Dimileth (the fandom version of it at least) where the man is like ~~ohhhh I’m a monster I’m so broken ahhh I push people away and go on berserker rages because of my tragic backstory~~ and the woman has to be gentle and kind, the epitome of femininity (despite being a mercenary who had been trained to kill since she was 11...), basically put himself above her on so many levels and the onus is on her to ~~fix him~~~...but apparently not??? The fancontent is so gorgeous and has them as equals, both lonely people who’ve had their childhood taken away from them, both who’ve closed themselves off from the world (or in Byleth’s case, has never known how to open herself up to it), both of them seeing themselves in each other, both taking it upon themselves to meet each other half-way and from thereon help each other process their past and walk forward into the future...damn man, the kinship and the partnership in this ship... (also it really helps that 1. Felix is awed at Byleth’s swordsmanship and tactical mind and pushes himself to surpass it, forming a foundation for a healthy rivalry 2. the fandom does not forget that Byleth is her own person and not just Felix’s partner *cough* Dimileth *cough* Edeleth *cough*)

D - A pairing you wish you liked but just can’t

Hmmmm well sometimes I wished (in general) that I could actively ship mlm couples, just because there’s so much content for them :)) (don��t get me started on how fandom gravitates towards male characters and mlm ships...lmao someone way back then gave me the excuse that it’s because the actual creators put more effort into their male characters and that they end up becoming more complex and interesting and like *looks at my fandoms where there are just as many girls as guys, just as interesting (if not more so) backstories and dynamics and interactions for the female characters, looks at the sheer number of mlm shippers in those fandoms who squeeze the most out of every insignificant moment for their male characters while ignoring the depth and complexity of the female characters* sure)

N - Name three things you wish you saw more of in your main fandom (or a fandom of choice)

Glee

1. Fanfic with more “out-there” ideas :)) (Don’t get me wrong, there are fanfics that fall far from Glee’s high school/young adult/modern-coming-of-age setting, and even for fics that do fall under those spheres there are some that deal with complex, intricate themes in such an incredible manner or even if not that are just plain enjoyable but like,,, there aren’t enough for my ever-expanding hunger HAHA)(my last couple of fandoms were dark fantasy/sci-fi/whatever The Good Place is so I guess I just got spoiled lmao)

2. More analytical thinking LMAO I guess it just frustrates me that there are so many people in the fandom who take things at face value??? Given how biased the writers are and how shit they are at continuity it really doesn’t make sense to me that so many people take things so literally haha

3. More fanart unu I totally understand though that the fandom isn’t as big as it once was but a girl can dream, you know?

P - Invent a random AU for any fandom (we always need more ideas)

Something that I had wanted to write for Brittana (since 2012!) but never had the brain cells to: a sailor!AU where the characters live on a flat world and they’re trying to sail towards its edge (encountering so many mythical beasts and legends on the way) (may or may not be inspired by C.S. Lewis’ The Voyage of the Dawn Treader haha)

Special mention to this AU since I've used for at least three fandoms by now haha: Pygmalion&Galatea!AU wherein one character creates a statue and her love for it brings it to life :)))

R - A pairing you ship that you don’t think anyone else ships

LMAO I went through Bae Doona’s body of work (what was available of it at least) in 2015 and ended up shipping her character Park Hyun-nam with her best friend (Yoon Jang-mi) in 플란다스의 개 (Barking Dogs Never Bite)...I wrote a very small ficlet of them (I literally had to create the section for them in ao3...and lmao I just checked and I am still the only fic in there HAHA)(please don’t look for my account btw all my fics are so self-indulgent and atrocious huhu) and I also made this gifset of them :))) As far as I know I am literally the only one in the entire world who ships them HAHA

Similar story for her character Ri Bun-hui in 코리아 (As One)...although honestly if it turns out that a decent number of people have seen this movie I’d be surprised that no one else shipped Bun-hui with Hyun Jung-hwa??? Because they??? Tennis table rivals from North Korea and South Korea who have to team up to win at the Olympics??? Jung-hwa trying to get Bun-hui and her team to loosen up??? Them becoming closer??? When the Olympics are over and the North Korea team have to go home, and Jung-hwa chases after the bus and tries to reach for Bun-hui’s hand, realizing that they might never see each other again??? I??? (Just...I had to make this gifset of their hands: when they first meet each other, when one takes the other’s for comfort, the last time their fingers will ever touch...)(Also let’s ignore that it’s a re-telling of real life event akjsndaskj haha)

T - Do you have any hard and fast headcanons that you will die defending, about anything at all

(Thank you roseate ;u; I’m glad that you agree and are interested with my headcanons ;o;)

Santana’s a trivia nerd and is the type to deep-dive down Wikipedia pages which is why she makes all those obscure references :))) (Also a more specific version of this headcanon, not something that I’d die defending but like,,, something that I won’t let anyone take away from me lmao is that she’s a TV/movie buff, dabbles in comics (specifically, DC and follows character like Wonder Woman, the Birds of Prey, Poison Ivy/Harleyquinn, Batwoman, and Renee Montoya), and started getting a little into theater/musicals after spending time with Kurt and Rachel :))) She also has a record player back in Lima and has a bunch of vinyl records back home (back in high school she’d play a couple of slow songs and just slow dance with Britt in the privacy of their bedrooms uwu)(imagine this scene and this song playing in the background ;u;)

Y - What are your secondhand fandoms (fandoms you aren’t in personally but are tangentially familiar with because your friends/people on your dash are in them)

BTS, because so many of my friends are KPOP fans

Genshin, also because so many of my friends are into it

魔道祖师 (The Grandmaster of Demonic Cultivation) because my close friend fangirls over them so much and we just exchange anecdotes with me and Glee/Fire Emblem and her and TGDC

Critical Role and My Brother, My Brother and Me podcast because my gf is a huge fan of them :))

Not quite there yet, but I am looking forward to having Dostoevsky’s extended universe as a secondhand fandom HAHA

#ask meme #thank you for the questions!!!#(mayhaps you'd like to do the ask meme yourself so I could ask my own questions 👀)#(also I am so so sorry for taking so long with replying to your messages ;o;)#(you ask the most interesting things friend and I gotta make sure that what I'm saying isn't complete gibberish aksjdnasjkdna)#(also!!! feel free to chat me up on tumblr even if I haven't replied yet (if you want to!))#(I may take forever to answer messages but I'm a lot more prompt with short-form chatting ;u;)#(also ngl I miss hearing your Thoughts hehe))#roseateinferno

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vanaera · 4 years

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Aera! I’m absolutely flattered by your compliments, thanks a lot! And also you’re welcome =) about the mbti, well, my knowledge is humble but I’ll gladly teach you what I know, just ask wutever you want! it certainly feels like we’re penpals lol and about INFj functions being contradictory actually that’s not wrong. Generally, all types will have a first function that’s the complete opposite of the last one. In INFj case, it will be introverted intuition vs extroverted sensing.

And I’m looking forward to see how things will unfold in my time, since it’s your first time in approaching sci-fi genre I’d say what a great baby steps, and about the words count, I’d say don’t don’t be freaked out by it! Really! sometimes it’s necessary because in a story, there are multiple things to consider like character development and world building like you mentioned, I find these are extremely important factors. It can make a story greater than it is. 2

Personally it’s what I look for in a movie, game, or a book in addition to the consistency of the plot. A writer might have a simple story with a simple plot but mange to make it great just because they did so well with their characters. I view EtoL as a great trope if one want to showcase character development the most in their story, and Sci-fi genre to be great to if one want to showcase world building. Of course they’re not the only factors but you know what I mean? 3

I honestly get anxious when I see a word count that’s a little compare to what a story in my opinion requires. Some people manage tho but it really depends. But anyway, seeing you aware of that and watching you take your time with it speaks good stuff (wow, expression skills 100%) (srry, not native English speaker) I noticed that in my previous asks I’m all over the place, even in my first language I stumble in my words if I get excited, you’re doing great job in understanding me so thanks lol

But for real tho just keep going, I’m sure great things are waiting for you :) and I’m an intp btw. A few years back when I first took mbti it said INTJ (yeah right lol). Back then I didn’t know, in theory, I relate to many intj things but as I learnt more I came to realize that I’m no INTJ, like, many important decision in my life I took it spontaneously or in a whim:p my major for example hehe. The point is that many critical traits that distinguish INTJ from the rest simply aren’t me.

So, I decided that fine! I’m gonna do it myself :p That’s why l learned the theory. My head became a mess and at some point I wondered if I’m entp, infp, or intp. But intp’s the most accurate so yeah. Have a nice day/night! 💛 #thanks4remembering #yellowsmyfav #like HHA!oc ;)

ASEEL!!! 🥺🥺🥺 Thank you for this sweet sweet messages you've been sending me. The recent days have been hell for me bc I have to do academic works and some personal stuff are going down in my home rn. So omygod, this ask just put a smile on my face after so long of...not smiling! 😭😭😭 I'm glad I was able to make you feel good about yourself bc really, you deserve lots of good things in life for showering such a measly not-so-significant writer like me with so much love!

OOH INTP does suit you the best!! The way you analyze my characters in THH and give well-thought reviews of my works does give off the creative and yet rational vibe of the Logician! Your questions about my work as well as your thoughts always surprise me bc goddamn, I really didn't think I'll ever have a smart reader who'll understand the in's and out's and the nitty gritties of my writings! Just the way you immediately and accurately got THH!Yoongi's personality type says a lot about you!

Yes, you're right about E2L and sci-fi. I only understood now while writing it, how good an enemies to lovers trope can serve as a great tool to show character development. Since characters are gonna transition from one relationship to another that's totally opposite to it, development should surely happen bc changing one's perception takes a lot of work! And god, YES, sci-fi heavily relies on world-building bc you're apparently making up a world (and science-y inventions and cool gadgets and stuff!) you've totally never experienced before! Bc of My Time, I kinda want to try a hand on steampunk science fiction some day 😊.

Aseel, I'm so happy you appreciate every single word I put on my works 🥺😆. Writing stories with large wordcounts have always been my insecurity bc I always tend to go for them even if I know the current trend in online fiction is that audiences want them shorter. But I still go for long wordcounts bc what you said is true. Good worldbuilding can make any story greater than it already is. (And I also love worldbuiding bc I tend to escape into different worlds in my head whenever reality becomes too much for me and i,,, just want to share them to you and my hons so you could also get lost in them with me djsksk). I 'm also glad I manage to bring out what you're looking for in movies, books, games, etc. in my writings. Fulfilling my readers needs and wants has always been a goal accomplished for me! And also after all, my ultimate dream is to write a book someday :")

Hey, it's alright to be all over the place and stumble in yoir words! I'm not a native English speaker as well. I word vomit a lot and really do be all over the place in a lot of times (like right now asdfghjkl). I even tend to have a lot of typos lmao. And I skip from one subject to another in record time and this is worse when I speak in my native language 😆. So don't worry about your messages! They're actually constructed well and they always deliver your thoughts and love so effectively! (Like i kno we're probsbly miles apart and yet u got me blushing so much rn!)

Aseel, thank you for always seeing the effort I put in my writings and appreciating it so so much! It is a blessing for every writer to have such a thoughtful and smart reader like you 🥺. God, you even remember all the little details I wrote like THH!OC's favorite color EYE-. I just feel so so HAPPY I managed to find you 💞

What's your major btw? Mine's organizational communication! I really want to take up literature or creative writing but life happens so I'm in org comm now 😆 I study literature on my own now tho. And yes, I'll always remember those yellow hearts wherever they may appear in my blog! You're that iconic™️!

#aera blushes #Aseel 🥺🥺🥺#thank you for sending these kind messages #u dont know how much they mean the world to me #i even screencap them all so I can check them out in my phone's folder #labeled 'to open when sad' 🥺🥺🥺#thank you for making such a not-so-significant writer like me feel important #i'm currently sad rn bc of things that happened irl recently and this message just made my life so much better #i love you hon #have i already told you that?#sorry i may seem redundant #or my messages always turn out mushy #bur i just feel so loved and i want to return that same humongous love you shower me to you 🥺#reviews #my time feedback #the heart holiday feedback #my time #the heart holiday #aseel 💛

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ultraclairedg · 4 years

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Threes – “Omne Trium Perfectum” (Everything Perfect Comes In Threes)

When I was growing up, I often heard people say “Three for a Welsh girl”. It could refer to three good things or three bad things, and I never questioned why this should be so or why, as I thought at that time, it only applied to Welsh girls. It wasn’t until much later that I discovered that things coming in threes was pretty much a standard everywhere. Just think about the Father, Son and Holy Ghost; the Three Wise Men; Maid, Mother, Crone (in Wiccan belief); ready, steady, go; blood, sweat and tears, the Three Muskateers (even though there were really four of them) as well as the fact that plays usually have three acts, books are often written in trilogies and a story has a beginning, a middle and an end, and there they all are! The “famous” linguistic three-part lists!

According to some linguistic theory, the reason why threes are so popular and useful is that our memories remember something better when things are presented as a trilogy rather than, say, a pair or a quartet. If something occurs once – well that’s just a lucky chance. If it occurs twice, you could put that down to coincidence. Three times? There’s got to be something special in that so it catches our attention and we remember it. More than three and we just stop paying attention. (Says a lot about our attention span!)

So how does this three thing apply to fantasy and sci-fi (apart from the fact that some of the greatest fantasy/sci-fi books are trilogies.)

Well, one of the most famous three-part lists is one I mentioned in an earlier post, and that is Isaac Asimov’s laws of robotics. Just to remind you, they are:

A robot may not injure a human being or, through inaction, allow a human being to come to harm.

A robot must obey orders given it by human beings except where such orders would conflict with the First Law.

A robot must protect its own existence as long as such protection does not conflict with the First or Second Law.

These “Laws of Robotics” were, of course, completely invented by Asimov for his books but they have been referenced frequently since then in various mediums.

Other laws, which are based on hard science though, have been equally important for science fiction/fantasy in all forms including books, films and tv series.

In the 17th century, Johannes Kepler was a very important mathematician and astronomer (and astrologer, but the difference between an astronomer and an astrologer wasn’t seen as much of a difference at that time). Amongst other things he proposed 3 laws concerning planetary motion. Here they are:

All planets move about the Sun in elliptical orbits, having the Sun as one of the foci.

2. A radius vector joining any planet to the Sun sweeps out equal areas in equal lengths of time.

3. The squares of the sidereal periods (of revolution) of the planets are directly proportional to the cubes of their mean distances from the Sun.

(No, I don't understand this, either.)

These 3 Laws were actually the basis for Newton’s, more famous, Laws of Motion, but Kepler himself was inspired in his investigation of planetary motion because he was very spiritual and believed that the solar system must mirror religion in having some sort of Holy Trinity to keep it moving. Kepler, can also be considered the “father” of science fiction, as he wrote his book “Somnium” (the Dream) in around 1600 (though it wasn’t published until 1634, after his death). In his book, Kepler's character, Duracatos describes how his mother, who seems to have been the local witch, made magic spells using the herbs she collected. Duracatos finds his way to Denmark, where he meets Tycho Brahe who takes him on as a student. Well, if you're interested, you can find more by following the link below. One notable incident from the book, though is that Kepler uses his knowledge of astronomy to show how the inhabitants of the moon would have very different societies because on the dark side of the moon they would always be facing away from the Earth but the other side would always view the Earth and, therefore, be a more stable society because of this.

Ahh! I feel better already!

Here's a link to a Wordpress post called The Somnium Project if you want to find out more about the first science fiction story. This is a work in progress, so it is not complete.

https://somniumproject.wordpress.com/somnium/i-2/

Going on with our threes, next there are Arthur C. Clarke’s three laws concerning magic and technology which have been very influential with regard to fantasy and science fiction.

Clarke’s Three Laws

When a distinguished but elderly scientist states that something is possible, he is almost certainly right. When he states that something is impossible, he is very probably wrong.

The only way of discovering the limits of the possible is to venture a little way past them into the impossible.

Any sufficiently advanced technology is indistinguishable from magic.

This third law in particular has been referenced many times in science fiction/fantasy works. One notable incidence being Season 26 of Doctor Who in part 2 of “Battlefield”, where the Doctor asks his companion if she knows Clarke’s third law, which she does, but the doctor then quotes the opposite of this law created by another great sci-fi writer, Larry Niven, which states “any advanced form of magic is indistinguishable from technology”.

Something to think about!

Hope you enjoyed this post. If you did, please give it a like and share to any of your friends who might like it too. Thank you.

In these desperate times, I wish all my readers stay safe and well. Stay home, everyone!

#Threes #Kepler #Asimov #Arthur C Clarke #Doctor Who #Linguistic theory #Robotics #Astronomy #Magic

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the-little-prophet · 4 years

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BDRP Questionnaire 2019

Posting this on Charlie since I actually talked about him quite a bit! Let’s gooooo

Characters: Berlioz, Hades, Kiara, Nala, Andrina, Merida, Charlie, Apollo, John, Su, Ashleigh, Nemo, Jun

Pick one of your characters and talk about their growth (we recommend choosing an older character, but it’s up to you!) What about their story has surprised you? What are you proud of? How have they changed from their original inception to now?

This one goes out to Charlie. I pitched Charlie very deceptively-- claiming he was a prophet, aligning him, at first, with Calliope, making it look like Charlie’s magic was of the classical, Cassandra-inspired kind. But all along, I knew that what I wanted Charlie to be was more of this sci-fi/fantasy blend as an homage to his movie’s sci-fi bend too. This year, I got to actually reveal that Charlie is a time traveler after two years!! This is very exciting for me! I’ve enjoyed being able to lean into Charlie’s new image systems with this reveal, even though I’m out of my depth and breaking like 67 different time travel rules, probably lol. Still, it’s been great to take him to that place, and to invent Future-Charlie as both a deux ex machina and an expression of identity/choice/free will etc etc. I did not have Future-Charlie in mind when I created Charlie, so that was something I was proud of coming up with!

Pick another character and talk a little about where you WANT them to go. What are your plans for them going into the new year?

I’m going to talk about Nemo if only because everyone else feels like a spoiler lol. Nemo, as a relatively new character though, is still full-speed-ahead on his initial goals that I outlined for him in his application. Now that Nemo’s been established in the school and he has this little group of buddies, I want:

To focus on his wing. I want Nemo to push himself, get himself in a spot of trouble, potentially injure himself.

Reveal his wings to at least one mundus friend

Continuing to infuse his posts with body image issues. This is a slow build kind of plot that really is like...the broth of Nemo’s plot-soup, lol, while training for his placement is the chicken and belonging at school is the noodles….it needs to be this throughline more than like, para a, para b, para c. at least for now.

Pick a thread or a plot that you’re proud of and talk about why you loved it.

I could pick a lot of threads here lol it’s honestly so HARD. But I think I want to shout-out to the Charlie/Jim first kiss thread because it surprised even me and Hannah. We initially planned for the first kiss to be just that-- one kiss, then we done, Jim and Charlie go on to be friends. But like in the best of cases, Jim and Charlie’s palpable chemistry actually informed more of Charlie’s arc and opened up avenues previously closed to me/Charlie since Charlie had been so SHUT to the idea of love. So! I really loved that thread. Also because like, I literally made Charlie experience the big bang after his first kiss. And THAT’S the BEST way to use magic in my opinion. Like when you can infuse magic with an emotional catharsis-- I think the other time I did that super well was similar actually, when Herc kissed Kiki’s cheek and she grew a tree in his room lol. So yeah! Some of my best writing in that thread, amazing chemistry, big surprises. It was an absolute pleasure.

In terms of your own writing, identify 1-3 strengths and talk about why you think it’s one of your strengths.

-Image systems. I dragged myself for this, but I think it’s something that really helps me find a character’s voice and make myself excited to RP them! Also, I think it’s what people like about my writing sometimes. Maybe. IDK, lol. -Complex Emotion: I’m stealing this from my mentor who said I’m good at creating complex emotion and so you know its true. My most introverted characters get the bulk of this naturally--they are introspective and feely and give themselves the space to think and feel. But I really want to try to inject more into my extroverted characters. I think I’m doing well for Nemo, who had undiagnosed anxiety and so that informs a lot of his personality in very interesting-- very OPPOSITE-- ways as Berlioz; Nemo struggles with being alone because ‘alone’ means he gets too in his head. That’s been really fun for me and why he’s quickly become one of my fave voices to write (I know, u all thought it was because I am in love with Jimin (true), but no its bc Nemo is an anxious, big feeling baby and he’s always so Alive to me, plus i was made to write a fairy it was always my destiny.)

In terms of your own writing, identify 1-3 areas of improvement.

-Dialogue: PERSONALLY I feel like I’m not great at dialogue. Some posts are better than others and I think I’m good at like…..texting dialogue? IDK. I feel like I struggle in paras though to craft good dialogue. It’s just, rn, average dialogue. Of course not every post needs to have hilarious, punchy, great dialogue. But do my characters sound different? Am I doing all I can to create rhythm and speech patterns? -Filtering: Im being very picky rn, because actually I don’t do this too much, but I do it enough where I’m like, I gotta go read some really stellar writers adn ban myself from using “Feel” and “think” for like a whole month. What I’m talkinga bout is like: Ber realized/ Ber thought / Ber knew. That kind of writing is totally fine, but that’s about it. I need to come up with more creative ways to talk about feelings and abstract concepts!!!

-Character: I know everyone is probably like………….how dare lauryl put this here. But listen. I don’t think I struggle with character on RP. But outside of RP? Oh boy! The THING about RP is you MUST create a character, that’s your vessel for writing here, and so you do all that development plus u got the four years of worldbuilding informing that character, and literally EVERYTHING CHARACTER DRIVEN ITS...THERE IS NO OTHER WAY. Outside of RP though I think I have struggled because my natural affinity is worldbuilding and shit like that. I’m type 5 baby, I am attracted to characters who let me poke at things I don’t know anything about, like even Jun, part of it really is like, petitions and grocery store management lmfadsofij. SOOOo idk I just need to be able to focus on crafting characters that are compelling vessels for the cool shit I like to do outside of RP.

Pick one of your plots, or even just a character, and come up with a list of 3-5 “mentor texts” where you can look for inspiration or research, then write a short (2-4 sentences) why you picked those texts. JOHN DARLING BREAKS INTO FAERYLAND 1. Call Down the Hawk/Raven Cycle: It’s no coincidence that my reread of Raven Cycle last winter played a pretty big part in inspiring this new version of John. The descriptions of the magical forest Cabeswater and the hunt for Glendower have the same kind of contemporary fantasy vibe that I really like for John. And of course, Ronan’s dream magic is very much intertwined with the faery realm feeling like a dream (and Ashleigh, obviously, as a dark faery who can manipulate them). More than that though, the attention paid to the psyches of each character and how they drive the plot forward is just… /chefs kiss. 2. The Mabinogian: I want to draw from these classic Welsh/British stories and incorporate them in creative ways! Or just as, like, motifs are something. :) I have tried to do this but would like to be a lot more intentional, instead of just being like lmao let me look up some random shit for this one reply~ 3. The Hazel Wood: This book deals with characters coming into the real world from a book world! This kind of goes along with the Mabinogian as I kind of ish want to do something similar, only treating the Mabinogian as a historical, cultural text as opposed to a fiction. This book also focuses a lot on fairy tale tropes (like numbers) which I really want to incorporate in John’s stuff. I want to ideally write some of my own fairy tales-- I have one in mind actually through Ashleigh but it’s related to John too since he’d the scholar of said stories.

And now, a wishlist!

-Exploring Nemo’s disability. This is slightly challenging for me since we don’t have many fairies, but I’m brainstorming some ideas and hope to really kick it off in January, leading up to his Talent Placement Test. -I really want to have a lot of town-centric plots for Jun. Would love to rp with the police officers! I want to have Jun try to get some ppl arrested tbh ahah, like, Fflew for loitering, or maybe reporting Mitte. I would love some arch nemeses tbh-- Mitte does seem like a good one. AND I want to submit at least three petitions next semester!! Maybe i should make that two!! Still!! -Do some Bonfamille plots. I already have something I’m really excited about and have already planned here so this is a teaser… -Keep writing essays. The fairies have been great, getting me really inspired to do these.What’s been an amazing mental exercise, and why I cannot stop writing these, is thinking about how the political philosophy of Pixie Hollow informs how it functions: technically, socioculturally etc. It’s really fun for me to basically build a communist thought project and then enact it for real. I feel like I’m learning a lot about...well, societies, lol, and how the material factors endlessly bleed into, and shape, ideas and beliefs (and vice versa). Also, I literally have to do these because when Nemo is IN the Hollow and I want to write him getting a glass of water, I’m faced with a lot of technical questions: do fairies have running water? Does he have to get it from a stream? How do they keep things cool? Etc etc. And that’s why I go off on these, and I’m excited to keep doing them, as many as I can, with feedback from my fellow fairies. Also, do want to do ones that are NOT fairy related, so we’ll see about that. -Write John backstory. He’s gone on a few other adventures and I’d like to actually one-shot those maybe lol. -Alternate Charlie Timeline: This is something that’s bopping around in my head and I haven’t found the perfect way to make it happen, but I want Charlie to travel to an alternate version of his life and get stuck. When I figure out the right way to do this, my partners will also get to rp alternate versions of their characters lol. That’s fun right!! Of course it is, we do it all the time with AUs, but this one obvi be more personal and more closely tied to canon.

OPTIONAL: Why do you RP? First and foremost, I RP because it’s writing for the sake of writing-- joy for joy. I think this is even more important this year as I’ve had to focus on mentorship writing outside of RP. RP became the place where I didn’t have to think so hard about making everything make sense, lol. It gave my brain a break so I could be less judgmental of myself and just have fun and do the most ridiculous stuff...and some of my fave stuff iS ridiculous because of that...like Nemo and Sindri making flower crowns or the ASC nonsense. It’s this kind of light, fluffy, low-stake (but still High Stake) stuff that provided me endless joy when I needed it the most. Second of all, I RP because I really want to invest in people’s creative energy. I think doing so gives back to myself. Building canon, helping people brainstorm, seeing people grow-- I feel like a proud mom when I get to have this kind of mentorship role myself. I talked to MK about this, but even though Sam left to go off and do greater things, that’s like-- to me, it was a lot like he was graduating from this weird BDRP school I’ve helped create. I felt nothing but pride and happiness for him and really felt like, if BDRP was to explode tomorrow, I ACHIEVED the thing I set out to do when, four years ago, I sat on my computer and drafted BDRP’s mission and vision and committed myself to this admin role. And THAT’S what I want ideally-- for BDRP to be this collaborative place that doesn’t focus too much on what makes sense, on sitewide plots that force people into roles. I have always wanted plots like ASC and John’s search for Excalibur to be able to exist side by side, and I think we’ve done that. Now we just have to tend this garden, don’t we, haha? May BDRP bear many delicious fruit.

#bdrptask #this is a rambling mess but always fun aint it

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steve0discusses · 5 years

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Yugioh S3 Ep 1: Can We Just...Ignore the Apocalypse? Let’s Just Ignore the Apocalypse.

Ah guys, we’re back, it’s a new season! Sort of! It’s a filler arc that probably won’t make a huge difference on anything in the plot but bro has promised is hella weird so lets dive into it.

Remember all the stuff we were talking about last season, and how I had to like basically carry around a notebook and take character notes like for the first time since my High School English class when we read Shakespeare? Remember how freakin complicated everything got?

Well the writers for this season decided to do a soft reset on all of that mess. Apparently they’ll get back to that crazy stuff we spent a whole season building up but with a new season they’d get a new audience of viewers, and maybe they didn’t want them to be confused. Because, lets be honest, nearly all of the latter half of S2 would be unwatchable if you did not know what was happening.

They also knew they had a problem, especially since they were waiting for the manga to catch up to the show at this point so they couldn’t accidentally step on the manga’s shoes and invent things that later negated the manga entirely. They had to edit. They had to stay as far away from the manga points as they could. And they did it in the most ridiculous way.

Y’all don’t even know this blog was *almost* a SeaQuest DSV blog. But it was pulled. So then it was almost a Kolchack the Nightstalker blog. But that got pulled. Yugioh was my third choice. Much like my dating life.

That’s right, we’re going to do a soft reset by adding a whole new set of characters! A whole new plotline to keep track of! To show us this tantalizing view of Kaiba island and then just.......detour.

It’s honestly, a welcoming thing for me, a reviewer, because I was getting hella lost and now it’s back to basics. Although, there are certain things they just...didn’t even address.

Cold as ice, Yugi. Cold as freakin ice, like way to appreciate your most interesting friend. Like maybe put that house fern where Bakura died or something. Anything.

What teenager finds out their other teenage friend freakin died last night and is like “well...that happens” and of all teenagers--especially Yugi Muto. Yugi is usually so freakin extra but he doesn’t really...seem to be freaking out. I’m so used to this kid having a melt down so often, that when he’s not having a melt down, I assume there’s something absolutely wrong with him.

Yugi kind of glazes over the more complicated parts of Season 2 in some flashbacks, and then the blimp starts shaking violently to get us right off course in both location and plot.

(read more under the cut)

We did not get a peek at anyone’s mirrors to see if the giant mystery purple bottles are still around. A shame.

Also, guess what time it is, just by looking at this image. Just guess in your head, knowing that all these people went to bed at like 3AM last night.

Yeah it’s canonically 5 AM. In grand Yugioh tradition, all these kids, mostly a bunch of really gross boys, who are still in clothes from the day before, who miiiight not have showered, are now going to continue their adventure, just piling on the gross as much as possible until this season ends. It’s like every little kid’s dream honestly.

Anyways, we’re gonna fly right into a plot dump that is maybe one of the most insane dumps this show has ever dumped--and y’all we’ve had some nuts dumps--but this one is especially weird because it actually makes sense within the continuity.

Just remember when you hear this that we are in Season 3. It is Season 3 and this has never once come up, not even once before. That one guy on the writing staff who really, really, REALLY stans Seto Kaiba apparently walked into work the day when they were making this episode and was he like “wow, everyone called in sick to work today and no one’s here but me and I can go home or I can finally just go NUTS.”

So this entire time, the Kaiba’s were basically the Patriots. OK.

I mean, it actually makes so much more sense as to why these children know how to ride a helicopter and why Seto randomly knows CQC. I never thought I would ever get a proper explanation for this but here it is. Kaiba was being honed to devote himself to the...war economy...but then he said “actually nah, because that’s too effed up even for Yugioh” and then to spite his father replaced every weapon with trading cards.

And then...accidentally weaponized trading cards in the process thus turning into his own Father.

I guess that’s why people are legit dying in this tournament and Seto and Mokuba are like “Yeah? This is what happens?” since they were literally raised by some Hideo Kajima mini-boss. They probably have no idea what children’s games are supposed to be like, so when Yugi loses his nut and starts Shadow Realming they’re like “hm. Is this what kids are into? I’ll go along with it. See Dad? I am blending into kid culture real well. Really good at kid stuff.”

Like, it’s a good layer of irony that these two decided to bring peace and harmony to the whole earth by replacing weapons with games you’d play with children--but then they chose the one game that will absolutely end the Earth quicker than a weapon of mass destruction. Congrats. You did it.

This show, man, sometimes I’m not sure what it wants Seto Kaiba to be. Because, yeah, Seto just showed us a very nice thing he did as he randomly does--he’s basically won a Nobel Peace Prize by default--but he’s still a complete asshole. Like did he just feel like he has to show up Yugi again for saving the Earth last season by reminding us that Seto has already done that before this show ever started? That he dissolved the freakin Patriots before this show ever began?

Like Seto single-handedly fixed the entire plot of Metal Gear. Like this is the child that ended how many wars with getting rid of the ammunition? This is the child the writers chose? Seto freakin Kaiba?

And then he turned around and essentially put cards into a bunch of guns and you wear them on your wrist what the hell is even going on with this kid?

But don’t worry we won’t get even five seconds to register this plot dump, much like that time they told me that Seto freakin Kaiba has a dead soulmate from 5000 years ago who is now four separate playing cards and also probably his Great^nth Grandmother.

The Seto lore is rapidly getting more complicated than the Yugi lore and Yugi Muto is two people. Just saying.

Anyway, lets meet our new villain.

So the theme of this arc seems to also be a theme that the writers are currently wrestling with. You got Yugioh which has a very--INTERESTING background, it’s this horror manga turned effed up anime turned much more tame child’s anime and it’s like, that’s a lot of pressure for this team. Kinda feels like every time they try to do Yugioh there’s going to be people that are pissed off because it wasn’t like what came before it. And so this whole story of Kaiba trying to get out of his problematic Father’s shadow is almost like the entire writing team at this point just begging us to please let them do a thing without having to do 158 on-screen murders.

(JK, they’ll murder off more people in this very episode.)

And so this arc they decide to make this character who, as bro mentioned, is a throwback to Season Zero Kaiba, but with better hair. Sort of. Honestly, I mostly only see the white shirt as a reference but I can see what bro is getting at, especially since their hair shape and eyes are like...VERY Kaiba-ey. Anyway, I called it right away before we saw this kid that he’d be a distant relative here to claim his cut of the Kaiba inheritance pie so, because his hair is Mokuba blue-green, we’ll just make him a Season Zero green. Because it looks like no one else’s font color.

Honestly, hopefully that won’t get too confusing if he and Mokuba are speaking at the same time but I have changed Mokuba’s font color once already and now I might have to change it again...

They’re already kidnapped, right? Like all of these people on this blimp have absolutely been kidnapped by Marik and are at this moment at his mercy? (mercy meaning “he just doesn’t feel like it right now”)

So yes, Noah kidnapped them, but at the same time he’s just borrowing hostages from Marik for a little while. He’s just babysitting some other person’s kidnapees from how I see it.

Also, his name is Noah and he lives on a very big ship. That’s uh...a little on the nose there with the naming conventions, Yugioh. As far as villains go, at least this kid doesn’t live underground and get tortured with back tatts. But, with the way this show is going, I would not be surprised if all the Kaibas got Agent 47 serial codes on the back of their heads.

*I love a good Star Trek tractor beam, don’t get me wrong, but never in my life did I think I’d see a sci fi tractor beam being used on a freakin party blimp*

Marik, PS, is still standing here on top of this blimp saying “this will be very interesting to just let another villain waltz in here on my territory while I just chill on the couch for a little while. I am tired.” which was...actually pretty true to Marik. This kid will let anyone else do his job for him if given the opportunity. Such a lazy villain. In a show where all the villains have been pretty lazy.

Now, Noah insists that everyone get the hell off this blimp, but Seto was like “Really, honestly, I just want to keep one secret today. Just any secret. Lets just have this conversation in private and everyone else, please don’t mind my family issues. No need to call the cops, it’s just a light kidnapping, no big deal. Family, amiright?”

So because they’re getting shot at, they stubbornly get off the blimp.

And then Marik wrote himself right out of this arc. At least according to my bro.

So, in honor of blimp, lets give that blimp a good send off. One last time, for blimp

youtube

I will miss you, blimp.

So, down a hallway and in a room of so much bloom they run into...these guys?

I had to like really think for a while to remember who the hell these guys were, it feels like 10 years ago since that one-off MMO arc that I figured would never come back.

Apparently time doesn’t work the same, much like in Narnia, so the Big 5 are just straight up insane now. Got it. Really glad I get to try and keep track of the names of 5 new people, don’t hold me to it, I’ll absolutely forget the name of every one of these mini-bosses. Anyways, while they were strapped to Kaiba’s game for 2 months, they freakin died.

Yeah, what?

Wow Yugi killed 5 people and it’s not even Season Zero! Like this is a Yugi kill, right? Like Yugi did this entirely? Like that whole game would’ve been a lose if Kaiba wasn’t told exactly what to do by Yugi and Pharaoh? Nice.

And then they got...the digital version of Shadow Realmed.

Ah the digital space. We can go anywhere here. Any environment. Anywhere. lets see where they go.

Man this show and it’s obsession with island climates.

I say that, forgetting they’re all from Japan.

Apparently every season of Yugioh contractually has to have at least one reference to Tristan’s enigmatic ass. Thing is--assuming they’re all hooked up to sensors or whatever---is there just one that covers...farts? Like there’d have to be, right? Google, stop whatever weird self driving car glasses you’re making and get on that.

After Kaiba proves that you can’t actually touch anything in this universe, Tea immediately sees a great opportunity and just starts touching all the stuff that she can’t touch, too. So she goes over to the bushes and sees this looking back at her. From a bush.

This still doesn’t answer the question of why the hell there was a clone in the bush!

Anyway, apparently Kaiba has made hundreds of clones of himself so he could play cards since he had no friends growing up and that wasn’t even the weirdest Kaiba plot dump this episode. Kaiba and his Clone Wars just feels so tame now.

So they go over rules--it’s a lot of words all right. Whatever, we don’t go into duels here, but overall they have to choose a mascot whenever they play to act a King in chessboard. So if their mascot card dies, then they lose.

Honestly they could just kill everyone straight up but youknow, it’s Yugioh so we’re gonna throw some honor into this murder by making it card murder. It’s fine. Don’t think about it.

Ishizu just slept through everything, right? Like she looked outside, saw all this go down and was like “NOPE” and then went right back to bed? I mean...that is also sort of what she did for half of last season.

And no, Yugi never ever once mentioned that Bakura freakin died last night. Amazing.

#Yugioh #photo recap #yugioh recap #s3 ep0 #Yugi muto #joey wheeler #seto kaiba #tristan taylor #marik #for like 2 seconds #mokuba #tea gardner #serenity wheeler #duke devlin #Noah #wow the noah tag must be hella broad right?#seaquest

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patrick-yates · 6 years

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Forefront - The Legend of Korra

Today I shall be revisiting one of my favourite animated shows ever, The Legend of Korra. The show’s inception falls just outside of the 5 year recency bracket, first airing in 2012, but the dramatic 3rd and 4th seasons and season finale debuted in 2014, and I regard it as one of the most well realised and successful Western animated series of recent years.

fig 1. a shot from the show’s opening sequence, featuring Korra herself

This show, alongside its parent series Avatar: The Last Airbender (2005), is one of my greatest animating inspirations, and so I wish to take a look at what makes it special, and try to relate it back to how I wish to incorporate that inspiration into my own work. Many of these points are mostly relevant to the narrative and storytelling side of animated film, but as this is a big part of my practice, my love of the form and my career aspirations, I want to take a look at each of them. There are a great number of reasons why I count this show as one of my favourites, so many that I feel I may have to list them in bullet point form as a primer: 1. The well-written characters, and character-driven narratives. Variety, humanity, humour, flaws, emotion, the works. 2. The worldbuilding and lore. As fantasy series go, this presents an extremely well-rounded synthesis of real world philosophy and culture with fantastical elements, complete with political discourse, personal/emotional problems, and often obscure and interesting presentations of morality. 3. The plot itself. Spanning 4 seasons or ‘books’, each one explores a different philosophical conceit, eg. power, change, balance, often through the decisions and successes or failures of the eponymous lead Korra. In many ways it is a coming-of-age story about her personally learning to deal with responsibility, while developing relationships and self-sufficiency too - and saving the world, of course. It is a deeply relatable story, told through a ridiculous lens. This is one of my favourite narrative modes, and one at which animation excels. 4. The animation. While mostly impressive for the superbly choreographed fight scenes (which always make exciting and inventive use of the rules of the world and the characters’ abilities, drawing on real world inspirations), there is so much to love about the sense of scale and style in this show, especially in the award-winning 2 part miniseries ‘Beginnings’ from Season 2. 5. Representation. This is increasingly a strong feature of modern media, and one I am very excited to see personally, but I remember having such a wonderful experience watching this show and thinking to myself, midway through an episode, how many strong and unique female characters took the lead of much of the story, but how it felt so natural I never even noticed. Not only that, it features many characters of different skin tones, religious denominations and philosophies, and sexualities, none of whom are ever reduced or reducible to those characteristics. It’s a very human and very powerful way of writing characters, and something for which I will always appreciate this show. It would be a dream come true to have the chance to work on a show half this accomplished, as it has meant so much to me personally. But what aspects of my own practice can I relate to it, and what elements of it can I learn from? Let’s go back to these bullet points.

1. CHARACTERS. It has been taken as given, as part of my creative heritage in writing, that characters form the crucial basis of any powerful story. They must be complicated, sympathetic, dynamic entities that can exist outside of the page or screen, whose reactions to situations we as readers could anticipate as if they were our friends or family. I hold these ideas central to any narrative process I undertake, and often keep in mind the strong sense of character shown in shows like Korra. I also make it a priority for the stories I wish to tell to be character-driven - for narrative advances to be made based on how characters react to what they are given. As character often forms the strongest basis for relatable story, so it follows the importance of individual personalities in narrative decision-making is difficult to overstate. The very best stories tie this into a larger schema involving several characters, their relationships, their circumstances, the wider politics of the world and its central themes, while staying true to their respective tone. It’s a difficult thing to do, but if it wasn’t, everyone would be doing it.

2. WORLDBUILDING. This is generally only relevant to fantasy and sci-fi storytelling, but given how many animated films and series focus on these genres, I esteem it a big consideration alongside character in creating an effective undertsanding of animated storytelling. The Reality Effect is something discussed by writer Roland Barthes in his essay of the same name: it deals with the presentation of minutiae in storytelling, often needless or tangential to the plot, in order to achieve a greater sense of realism - the idea that the film world is not only comprised of an interlinked tapestry of character and plot, but of a thriving ecosystem completely independent of the narrative thread. Korra/ATLA establish world on a massive scale, incorporating nations, culture, history, food, wildlife, religious praxis, politics, technology, etc etc. All of this, whether helpful to the plot or not, builds a great impression of what this world would actually be like, and has the effect of increasing the viewer’s overall investment in it. When writing any scenario, I try to include as many tiny hints and illusions to the broader idea of that world. I am reminded of a famous quote from Ernest Hemingway, someone of whose work I am not a massive fan personally, but was undoubtedly a great creative force:

If a writer of prose knows enough of what he is writing about he may omit things that he knows and the reader, if the writer is writing truly enough, will have a feeling of those things as strongly as though the writer had stated them. The dignity of movement of an ice-berg is due to only one-eighth of it being above water. A writer who omits things because he does not know them only makes hollow places in his writing. (fig. 2)

3. PLOT. Korra is a wonderful story because, as discussed, it combines many different tenets of great storytelling, but (almost) always manages to tie together its many threads and come to a satisfying conclusion. Above these superficial successes, however, I am a firm believer that the duty of a storyteller should be in telling stories that need to be told, which Korra manages to do all the time. It tells grown-up stories about trust, about change, about growth, depression, pain, belief, abuse, parenting, sexuality, fascism, and it communicates them all to a young audience without ever being consdescending or reductive. This kind of balance is something I hope to achieve in my own stories, but am still getting the hang of. Something I am always considering is, who will receive the messages I am trying to communicate? How ‘difficult’ should I make my narrative, and how do I ensure I strike that balance? What choices will impact the tone of my work, and what aspects of the story should I focus on making the most prominent? It’s a real balancing act, but I am hoping practice will make perfect.

4. ANIMATION. This one is slightly more pertinent to how I am learning at the moment: how can I make characters’ feelings and personalities shine through movement? Korra has a very strong sense of body language, partly because it ties very strong links between spirituality and physicality: the martial arts practised by each character, and the way in which they move their bodies to use them, almost always reflect in some way how that person thinks, an in some sense how they might react to a personal problem rather than a physical one. In some ways I realise this is hyperliteral and relatively specific way of approaching physicality, however I think engaging with the subtlety of body language is one of the great tools both actors and animators have at their disposal in telling a story, and something which can be largely lost in literature. Here are a few examples of how characters in Korra may be understood by their body language:

fig 3. Korra and Opal bond with ‘airbending’. Their smiles, open positions and relaxed lines show us they are content in each other’s company

fig 4. Lin, hardline chief of police, stands cross armed and wary, yet clearly demonstrates emotion in her face and movement. She is personally attached to this interaction

fig 5. Child of the streets and pro-fighter Mako is guarded yet quick and efficient. He has the air of someone deteremined yet cool under pressure

Hopefully these examples demonstrate some of the admirable ways in which character is presented in Korra (as well as the relatively quality and conciseness of movement, which I also love about this show’s style).

5. REPRESENTATION. At this juncture, I have yet to attempt any broad stories, or even any with more than 2 characters. I am also aware of the dilemma of faithfully representing characters of different backgrounds than myself. Yet I believe in a world of colour, variety and synthesis, not renditions of the same experiences over and over, and animation, as a radical form and as my chsoen art, is as good a place to enact those beliefs as any. I take Korra as a prime example for reasons already mentioned, and hope to refer to its wonderful, dynamic world as often as possible in my own work, and keep diversity and representation politics at the front of my practice both on-screen and behind the scenes.

References

1. Korra

2. Hemingway, Ernest. Death In The Afternoon. New York: Simon and Schuster, 2014. pp. 316

3. http://avatar.wikia.com/wiki/Opal

4, 5. Tumblr

#practice 1 #forefront #reflective

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howwelldoyouknowyourmoon · 7 years

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How L. Ron Hubbard and Robert Heinlein influenced the murderous cult of Manson.

Charles Manson’s Science Fiction Roots

New Republic by JEET HEER November 21, 2017

In 1963, while a prisoner at the federal penitentiary at McNeil Island in Washington state, Charles Manson heard other prisoners enthuse about two books: Robert Heinlein’s science fiction novel Stranger in a Strange Land (1961) and L. Ron Hubbard’s self-help guide Dianetics: The Modern Science of Mental Health (1950). Heinlein’s novel told the story of a Mars-born messiah who preaches a doctrine of free love, leading to the creation of a religion whose followers are bound together by ritualistic water-sharing and intensive empathy (called “grokking”). Hubbard’s purportedly non-fiction book described a therapeutic technique for clearing away self-destructive mental habits. It would later serve as the basis of Hubbard’s religion, Scientology.

Manson probably didn’t delve too deeply into either of these texts. But he was gifted at absorbing information in conversation, and by talking to other prisoners he gleaned enough from both books to synthesize a new theology. His encounter with the writings of Heinlein and Hubbard was a pivotal event in his life. Until then, he had been a petty criminal and drifter who spent his life in and out of jail. But when Manson was released from McNeil Island in 1967, he was a new figure: a charismatic street preacher who gathered a flock of followers among the hippies of Haight-Ashbury in San Francisco.

Manson won them with a doctrine of communal bonding: They would be a family and share in all things, including love. Manson’s made-up religion was a cut-and-paste invention that borrowed from many sources. As The New York Times notes, Manson’s philosophy was “an idiosyncratic mix of Scientology, hippie anti-authoritarianism, Beatles lyrics, the Book of Revelation, and the writings of Hitler.” But the sci-fi component was pronounced. Stranger in a Strange Land provided the Manson family with its rituals (water-sharing ceremonies), terminology (“grokking”), and promise of transcendence (Manson’s followers hoped that, like the hero of Heinlein’s novel, they would gain mystical powers). The dream of mind triumphing over matter was also the sales pitch of Dianetics.

The Manson family, of course, had a twisted definition of love, which they wanted to keep for themselves. For the outside world, they wanted a violent race war, which would end with them ruling over the survivors. Towards that end, the Manson family went on a killing spree in August 1969 that left nine dead and earned them a notorious place in history. ...

Manson went to jail, and remained there until his death on Sunday at a hospital in California’s Kern County. Amidst an ongoing assessment of his historical relevance—the Manson family killings have been popularized, by Joan Didion and others, as the death knell of the 1960s—it is worth revisiting how two books, steeped in utopian ambitions, played a role in a country’s unraveling. It was hardly an accident that Manson borrowed heavily from both Heinlein and Hubbard. No two writers better illustrate the tendency of science fiction to generate cults.

Heinlein and Hubbard first met in 1939 and immediately hit it off. To his wife Leslyn, Heinlein described Hubbard as “our kind of people in every possible way.” (The friendship between the two men is described in William Patterson’s two-volume biography of Heinlein). They were both prolific pulp writers, contributing heavily to Astounding Science-Fiction, which was revolutionizing the field under the editorship of John W. Campbell. Astounding’s major claim to fame was that it specialized in “hard science fiction,” which was rigorously based on extrapolations from actual science. This claim was a bit self-serving since Campbell always had a taste for pseudo-science, but it’s undeniable that Heinlein’s own work, grounded in his education as an engineer, brought a new level of plausibility to the genre.

Heinlein was in an open marriage with Leslyn, a poet and script editor. He had a habit of encouraging his close male buddies to take Leslyn as a lover. As Hubbard would later marvel, Heinlein “almost forced me to sleep with his wife.” Sharing his wife’s body was a form of male bonding for Heinlein, and it served as a precursor to the communal orgies that he imagined in Stranger in a Strange Land, which helped the members of his imaginary religion form group solidarity.

Hubbard and Heinlein also shared an interest in the supernatural. Together with their friend Jack Parson, a rocket scientist, they investigated the teachings of the occultist Aleister Crowley and tried their hand at black magic.

Hubbard may have suffered from some form of post-traumatic stress disorder following World War II. (He served in the Navy, and later made up stories of his wartime adventures; in reality, military records show that Hubbard’s wartime service was “substandard.”) His attempts to create a new science of the mind, culminating in the publication of Dianetics, can be understood as an attempt to self-medicate. The first article about Dianetics appeared in the March 1950 issue of Astounding Science-Fiction. Campbell was an early enthusiast, crediting Dianetics with helping him cure his chronic sinusitis. (The cure was psychosomatic and temporary.) Many science fiction writers in Campbell’s orbit, notably A.E. van Vogt, Katherine MacLean, and James Blish, got caught up in the Dianetics craze.

Campbell eventually became disillusioned with Dianetics, but moved on to becoming an advocate for other forms of pseudo-science...

Unlike Campbell, Heinlein kept clear of Dianetics. But Heinlein was nonetheless fascinated by the way his old friend Hubbard had created a pseudo-science that eventually became the religion of Scientology. This planted the seeds for an idea: What if someone created a religion like Scientology that actually worked—that did give people transcendent mental power, such as mind-reading and levitation? The result of this thought experiment was Stranger in a Strange Land, which remains Heinlein’s most famous novel. One of the heroes of the novel, Jubal Harshaw, a polymathic pulp writer who is very successful in seducing women, is clearly an idealized version of Hubbard.

Heinlein meant Stranger in a Stranger Land to be a jape, a satire on religion. While Hubbard had turned science fiction into a religion, Heinlein was trying to turn religion into science fiction. But many readers took it all too seriously. In March of 1969 at a film festival in Rio, Heinlein met a charming actress named Sharon Tate. A few months later, she was murdered by a cult that took inspiration from Heinlein’s novel.

No literary genre has been so fertile at generating religions as science fiction. Heinlein’s work was the springboard for many competing sects, and he called himself “a preacher with no church.” Rare among the many intellectual gurus whose fame mushroomed in the 1960s, Heinlein was a beacon for all kinds of people: hippies and hawks, libertarians and authoritarians....

Heinlein’s ability to excite cultic faith among all sorts of groups speaks to the power of science fiction as a literature of ideas, especially during utopian moments like the 1960s, when the future feels open. Heinlein’s book was not alone in gaining a cult following, it was joined by J.R.R. Tolkein’s Lord of the Rings, Herbert’s Dune, and Ursula K. Le Guin’s The Left Hand of Darkness. Each of these books spoke to a desire for an alternative reality, just as older social norms were breaking down.

As vile and sociopathic as he was, Charles Manson did have a gift for absorbing the zeitgeist, which is one reason he held such a powerful sway over the cultural imagination. Manson picked up Stranger in a Strange Land in the same spirit that he learned to strum a guitar and offer exegeses on Beatles lyrics. It was a way for him to ride the wave of cultural change. Manson remained infamous all these decades not just because he inspired mass murder, but also because he did so by manipulating some of our most powerful myths.

Jeet Heer is a senior editor at the New Republic.

https://newrepublic.com/article/145906/charles-mansons-science-fiction-roots

“In Korea, one even senses a fear, like one induced by the Mafia, among the opposition to the Unification Church, and … outspoken opponents speak of death threats.” Prof. Sontag, 1976

Tahk Myeong-hwan was murdered four weeks after Sun Myung Moon spoke about him as an opponent.

Tahk Myeong-hwan was attacked with car bomb

Tahk Myeong-hwan was offered a bribe of $450,000 to discontinue research into the Unification Church

UC members sent more than 200 text messages to Cho’s cell phone, saying, “We’ll kill you.”

Abducted and beaten up by the Unification Church in Korea

1. Freedom of the Press in Korea – Unification Church style

2. Freedom of the Press in Japan – Unification Church style

Prime Minister Kishi of Japan, organised crime and the Moon involvement in Japanese politics gained protection for the UC

The Mysterious Death of Robert Boettcher in 1984

Donald M. Fraser’s house was attacked by an arsonist just after his investigation into the Unification Church. It was only saved by good fortune.

Moon’s followers poured a pot of urine and feces on the head of a Seoul University Professor of Religion.

In 1975 Korean Unification Church members physically attacked many Christian pastors

#Violence in the FFWPU #Sun Myung Moon

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cripplinganxietyflix · 7 years

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I saw Valerian.

If you’ve ever spoken to me at length about movies, there’s a good chance my thoughts on “headache cinema” have come up. It’s an umbrella term I’ve come up with that encompasses the deluge of loud, obnoxious, brainless, neutered, hundred-million-dollar-budgeted trashfests that are destroying theater culture as we know it. I’m talking about the Disney’s Marvel franchises, the post-Matrix Wachowski migraines, the Transformers films- head-exploding visual fuckfests that leave the average adult feeling like they’ve crawled out some hellscape version of a McDonald’s play palace birthday party. This brand of film is easily my least enjoyed and most disliked. The vast majority of the time these movies are castrated down to a PG-13- or worse, a PG!, they’ve got bloated budgets, dumb plotlines, stupid dialog, and best of all: punching, loud noises, explosions, TOTAL SENSORY OVERLOAD.

For many years I have hated superhero movies and glazed over at Hollywood’s air-horn retreads of movies like Clash of the Titans and Independence Day: Resurgence and the recent Ghost in the Shell mishap. I hate movies like this and I find them at least majorly to blame for the death of the hard R-rated action flick. There are exceptions to the formula, like Mad Max: Fury Road, the 2014 Godzilla, and Dredd, but generally speaking, they’re unwatchable. I will be the first to admit that I’m not a big fan of whimsy, but I will be happy to defend my position on this. Giant blockbuster action movies are generally dumb and boring if you’ve got more than two brain cells to rub together. I do try to balance my feelings about people who like brain-dead, ham-fisted, infantile PG-13 sci-fi action movies with my penchant for unrepentantly trashy, low-brow 70s and 80s exploitation horror films. I know for a fact that there’s a certain segment of cinema elitists who would see my interest in that subgenre as an undeniable sign of being a philistine troglodyte, which slightly tempers my extreme prejudicial judgment of those who love headache cinema.

I can pick up the hanging thread to unravel this tapestry. It’ll lead you through all of the recent loud crashing DC fiascos and the rainbow of annoying apocalypse and disaster films and CG shitshows. Once you hit the Star Wars prequels, you’re getting close. But the film that started all of this hatred is Luc Besson’s The Fifth Element, easily in my top five most despised films of all time (that’s a list for another day!).

It feels a little bizarre for me to say that I hate Luc Besson. Léon: The Professional is one of my favorite films of all time, and easily my favorite film of 1994. But aside from that and 1990′s La Femme Nikita, I find Besson wholly intolerable. His movies tend toward obnxious, incomprehensible, overwhelming, anxiety-inducing horse shit. And while many people are happy to agree with me, it seems no one outside of myself is willing to slaughter the sacred cow that is The Fifth Element. Some see a sci-fi fantasy classic, I proffer that it’s a grotesque panacea of ADHD, loud noises and cringey acting. To Besson’s credit, most of the time his films don’t take themselves seriously, and that’s fine. But The Fifth Element is the first film in my memory where I felt literally assaulted and invaded by the unfettered gaudy head-spinning madness of big, loud, overwhelming movies. My level of general calmness could be compared to a that of a frightened rabbit with combat shock, so I try to be cognizant that this dislike has less to do with objective quality and more to do with my personal preferences and tolerance levels. Let’s be real- I’m a person with severe, crippling anxiety. Headache cinema is not made for me.

That being said, I saw the trailers for Valerian and the City of a Thousand Planets, and I immediately started getting Vietnam flashbacks of Chris Tucker in a wig and leopard print jumping out of my television and screaming into my face. My significant other has a much more relaxed attitude toward these things and a seemingly endless well of patience for Luc Besson, so I had a feeling I was going to end up seeing this film in theaters and I started mentally preparing for it. And I’m really glad that I did all that emotional gestation, because I found Valerian to be surprisingly tolerable, aside from being a chaotic discombobulation of ideas that all generally have the potential to be good but fail because Luc Besson must have the attention span of a squirrel. And squirrels plant trees because they literally can’t remember where they’ve left their nuts. I couldn’t dream of a better summation of why Luc Besson turns nearly everything he touches into abject shit.

Valerian is essentially a very straight-forward narrative about a couple of federal agents (?) in space (???) who uncover a conspiracy involving a group of displaced aliens. They spend the film unraveling a mystery surrounding an enigmatic void in the middle of a space ship (?) or man-made planet (???) that contains thousands of different species from throughout the universe that live in surprising harmony. The alien refugees and the void on the ship or planet are related, you will later find.

That’s basically it. It’s a simple storyline with simple elements like “war is bad” and “the powerful oppress the powerless” and “love is universal and always wins.” If you dig down past all of the color and noise and distraction, that’s the basic bedrock. I think I was expecting this movie to be a convoluted mess, and to a great extent it absolutely was. But I wouldn’t say that the story was the weakest part of the film.

What did some substantial damage was the acting and dialog. The two leads had no chemistry and the actor playing the title character (Dane DeHaan) had a stunning drought of charisma. I think that his opposite, Cara Delevingne, has the potential to be a fun leading lady, but she never had a chance in this movie. The love angle was hackneyed and totally unnecessary to the point that the film would have fared much better if Valerian and Laureline were friends instead of a ~~will they or won’t they???~~ couple. I thought it was insulting to my sensibilities, and that sucks since the romance thing was such an ingrained aspect of the movie. I couldn’t tell if they were even in a relationship with each other or if Valerian had puppy love and Laureline has simply spent their entire careers fighting off his advances only to reluctantly agree to marry him after the film’s climax. This film could have really used a competent screen writer. I think I even could have lived with some of the eye-rollingly dumb but baseline-acceptable dialog you hear in Disney’s© Marvel™ Avengers Part 2: Electric Boogaloo. The villain (played by Clive Owen) was such a stupid caricature of literally everything that is wrong with Bad Guys in major American cinema- instantly hate-able, predictable, no angle or point of sympathy, stupid rationale for his actions-type of shit. And what’s really frustrating is that the Owen’s villain had a completely rational and utilitarian motive for his actions. But that gets torpedoed by the giant flashing neon signs that say “HE’S THE BAD GUY” and “EVIL PIECE OF SHIT” hanging over his head in every scene he’s featured in. It absolutely felt like the characters were totally empty and needed to be reworked from the ground up. I even thought Rihanna’s character had more depth than either Valerian or Laureline. Valerian’s a by-the-books soldier with a heart of gold? Could have fooled me! Laureline’s a toughgirl with a penchant for violent overreaction but still maintains a balanced moral compass? Hard to see through the horse shit nonsense they wrote for her. Character development and the script were both a total, unmitigated disaster.

Another thing that I think the film failed at was building tension. Everything felt a little too whimsical and inconsequential. In the beginning, a bus full of mercenaries (?) is attacked by a violent hexapedal alien and Valerian and Laureline watch all of them die savagely with nothing more than a smirking “glad we made it outta that scrape!” reaction. It never really feels like they’re in any danger or that there’s any emotional peak or valley for the characters, with maybe a single, small exception. You watch a lot of people get shot to death and even a head get blown clean off and another cut right in half, but it all seems so cartoonish and trivial that you can’t help but feel like nothing really matters and it’s all just a low-stakes video game.

But I don’t want to give you the impression that this movie is a complete trainwreck (it tries, believe me). There were things that I liked and appreciated. The visuals and alien designs were inventive and there was never really a moment where you couldn’t get lost in the scene. It kind of felt like Rick and Morty without the nihilism and good writing. Everything was very colorful, the universe felt very inhabited. Around halfway through, Valerian and Laureline have an almost brilliant run in with a species of giant food-obsessed frogs (I actually went through the trouble of looking it up; they’re called Boulan-Bathors) and I found the whole scenario to be kind of charming and cute. I didn’t really mind Rihanna’s cameo. The refugee aliens, the Pearls, were cool and appealing in the same translucent way as the Engineers of Prometheus. While I definitely felt some Avatar vibes, the whole opalescent, iridescent aesthetic was visually pleasing and I really liked the semi-androgynous thing they had going on.

I think the strongest part of this film is the first several minutes that lays out Earth’s journey into space. It was beautiful and touching and enough to make you feel really depressed about the state of our space exploration programs and the hopelessness and polarization of our world affairs. I would liked to have seen more of a thematic connection to the introduction because it felt extremely dissonant with the rest of the movie, which, by comparison, is hard to feel particularly emotional about. If you’re not planning on seeing Valerian, I would at least recommend watching the first few minutes. If the movie had come full circle to it, you can see how it could have been brilliant.

Overall, Valerian is kind of a giant mess, and by all means I should have absolutely hated it, because it is textbook headache cinema. I think that there was a wide dearth of missed opportunities with the material, and with a more competent screenwriter, a better cast, and maybe someone else in the director’s seat, we’d be talking about a viable start to a franchise. But too often Valerian ties its own shoelaces together and eats shit and expects us to be engrossed and entertained. The relationship between Valerian and Laureline- both as a friendship, coworkership and romance- either needed to be reengineered from the ground up or scrapped entirely. I think Dane DeHaan was totally wrong for the part of Valerian and I could see this movie succeeding in more ways had someone with more charisma been the leading man. Valerian desperately needed some tension, and the total absence of crisis or consequence left an unbridgeable emotional void. It’s beautiful- but it’s a mess, and that seems to be Luc Besson’s calling card. I doubt we’ll ever see another Léon, but if Besson’s next film is as much of an improvement on Valerian as Valerian was on Lucy, then we might have the potential to see something really special. And maybe in five to eight years when everyone has forgotten about this spectacle, we’ll get a decent reboot for the Valerian material.

★ ★ ½

#valerian #luc besson #the fifth element #cara delevingne #dane dehaan #clive owen #movies #movie reviews

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spynotebook · 5 years

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Image: Leaving the opera in the year 2000, lithograph by Albert Robida (late 19th century)

FirstsThis week we're taking a look at first things, early things, and—for better or worse—things that are #1.

Science fiction writers are professional future-dreamers, imagining worlds far beyond their own. With technology advancing at astronomical rates, real life feels more and more like sci-fi every day (for better or worse). So it’s fun to look back at those writers who, decades and even centuries ago, imagined what life would be like now—and some of their predictions were surprisingly accurate.

It’s difficult to pin down exactly who was the first to predict the internet, because the further back we go the more abstract these predictions become. However, these three authors are the best contenders for the title—within the very limited confines of Western European fiction—and you can decide which one of them was truly the first to predict the internet as it works today.

Edward Mitchell — The Senator’s Daughter (1879)

Edward Page Mitchell is far from a household name. Yet he was a foundational figure for modern sci-fi, dreaming up faster-than-light travel, cyborgs, teleportation, mutants, and time travel long before HG Wells and other more well-known writers developed these ideas. Despite being born in 1852, Mitchell’s short stories were amazingly prescient, and The Senator’s Daughter features a fascinating machine that parallels social media newsfeeds.

Written in 1879 but set in 1937, The Senator’s Daughter imagines the future of world politics, as a poignant, star-crossed romance plays out. Our young lovers are divided by politics and race, and Mitchell’s social commentary makes this story well worth a read. Although the focus is largely socio-political, Mitchell uses fantastic technology to place the events in the future—and that’s where we find our internet prediction. Here’s an excerpt:

[Mr. Wanlee] went to one side of the room, where an endless strip of printed paper, about three feet wide, was slowly issuing from between noiseless rollers and falling in neat folds into a willow basket placed on the floor to receive it. Mr. Wanlee bent his head over the broad strip of paper and began to read attentively.

“You take the Contemporaneous News, I suppose,” said the other.

“No, I prefer the Interminable Intelligencer,” replied Mr. Wanlee.

This unnamed contraption provides a constant stream of news from multiple different publications, reporting on live events around the world. It may seem small, but it’s quite amazing that Mitchell dreamed this machine up, considering that electronic printers were far from being invented. The immediacy of the reports, the breadth of publications, and the fact that this is all available in Mr Wanlee’s own home is reminiscent of social media newsfeeds, RSS feeds, and even Google News.

As Mitchell was primarily a journalist, it’s fitting that he predicted news culture in the internet age. However, although this story was chronologically published before the others on this list, Mitchell’s news machine is maybe a little too specific to be considered an all-encompassing prediction of the internet. But he wasn’t the only one to imagine live reports from around the world…

Mark Twain — From The London Times in 1904 (1898)

Mark Twain might be known for his sardonic depictions of quaint American life, but he occasionally branched out into other genres with his short stories. The 1898 story From The London Times In 1904 introduces a machine called the Telectroscope, described as a “limitless-distance” telephone that allows the user to view events all around the world in real-time, as well as interact with the people there. This provides comfort to one Mr Clayton, a man awaiting his execution after being accused of murder.

…day by day, and night by night, he called up one corner of the globe after another, and looked upon its life, and studied its strange sights, and spoke with its people, and realized that by grace of this marvelous instrument he was almost as free as the birds of the air, although a prisoner under locks and bars.

In Twain’s story, the Telectroscope reveals that the man Clayton supposedly killed is still alive. Clayton is released, but the courts rule that his execution must still be carried out. Despite the evidence, Clayton is executed at the end of the story. In our current culture of defiance in the face of apparently indisputable evidence (say, of a crowd gathering to see a president elected), Twain’s scathing tale of obstinate blindness to the truth certainly resonates.

Unsurprisingly, Twain is frequently credited with being the first to predict smartphones and social media, as the Telectroscope is similar to the livestreams and video chats we use today. However, there is another author who arguably got much closer to a comprehensive view of how the internet works…

E.M. Forster — The Machine Stops (1909)

Between two of his most famous works, A Room With A View and Howard’s End, E.M. Forster took a break from writing about class hypocrisy to pen a futurist novella that doesn’t just predict many of the functions of the internet, but also its effect on society. The Machine Stops is set in a post-apocalyptic future wherein humanity has retreated underground to live in pods. Their society is managed, maintained, and controlled by the Machine, an automatic entity that is revered by all. The Machine provides every material comfort for the population, as well as allowing them to access a vast archive of information, and communicate with each other visually and aurally.

Then she generated the light, and the sight of her room, flooded with radiance and studded with electric buttons, revived her. There were buttons and switches everywhere – buttons to call for food for music, for clothing. [...] There was the button that produced literature. and there were of course the buttons by which she communicated with her friends. The room, though it contained nothing, was in touch with all that she cared for in the world.

Although radio and telephones were becoming more widespread when Forster was writing, such a vast, automatic network was unheard of in 1909. The Machine parallels the internet in dozens of ways, from co-ordinating the practicalities of this society (much like how traffic lights are run automatically today), to archives of information and film, to instant communication.

This apparently comfortable society is not without its problems, however. People are wary of touching one another, and dare not question the Machine. In fact, we could even argue that Forster predicted the social media bubble, wherein people regurgitate ideas to those in their little internet community — at one point in The Machine Stops, a university professor warns people to “beware of new ideas!”

Although The Machine Stops was predated by Twain and Mitchell’s stories, Forster’s predictions are far more all-encompassing, with the Machine paralleling the internet beyond mere elements of social media. There will always be debate over who predicted the internet first, but Forster’s foresight is eerily similar to modern day. Ultimately, the Machine breaks down and with it, so does this civilization. We’ll just have to hope that this particular prediction doesn’t come true.

#IFTTT #Feedly

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faithfulnews · 4 years

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Echoing the Bible, Cosmos Concludes with a Materialist Origins Myth and Future Heavenly Bliss

With its theme of “Possible Worlds,” the third season of Cosmos was awkwardly timed. The series, hosted by Neil deGrasse Tyson, concluded last week on Fox and the National Geographic Channel. It conjures dreams of interstellar travel at a moment when most people are much more concerned about whether they can make it to the grocery store and back without contracting COVID-19.

The backdrop of a pandemic was, of course, unique to this season. It probably contributed to a lower-than-hoped-for viewership. But as writers for Evolution News have demonstrated in recent weeks, Cosmos 3.0, as we call it, is in other ways right in line with its predecessors. Like the 1980 original with Carl Sagan and the 2014 reboot with Dr. Tyson, this Cosmos series advances numerous myths about the relationship between science and faith.

Here is the final narration from Cosmos 2020:

Stars make worlds, and a world made life. And there came a time when heat shot out from the molten heart of this world and it warmed the waters. And the matter that had rained down from the stars came alive. And that star stuff became aware. And that life was sculpted by the earth, and it struggles with the other living things. And a great tree grew up, one with many branches. And six times it was almost felled, but still it grows. And we are but one small branch, one that cannot live without its tree. And slowly we learned to read the book of nature, to learn her laws, to nurture the tree, to become a way for the cosmos to know itself, and to return to the stars.

Tyson ends his summary of cosmic history since the Big Bang with this soaring narrative focused on earth. It sounds like the exalted prose of the book of Genesis — minus God. It is a worldview-shaping narrative, a myth in the anthropological sense.

Interpreting the Myth

When connected with earlier Cosmos episodes that give details (typically without sufficient evidence), this narrative answers profound questions. Or it seeks to answer them. Where did we come from? Answer: we are star stuff shaped by the branching tree of evolution, powered by unguided material processes. What is our purpose (teleology)? Answer: to be one of the ways, along with extraterrestrial civilizations, that the universe knows itself through science. Where are we going (eschatology)? Answer: our destiny is to become connected with civilizations located around countless other stars, and thereby be liberated from terrestrial religions and scientific infancy (Tyson earlier held a baby to make this point). Six times terrestrial life worked hard to avoid total extinction and succeeded, but in the seventh period we will enter our cosmic rest of extraterrestrial enlightenment.

While resting in the lap of ET we will read the Encyclopedia Galactica, Tyson suggests. This book represents the fantastically advanced accumulated knowledge of cosmic communal intelligent life, an idea that Carl Sagan helped transfer from science fiction to “documentary” film back in the 1980 Cosmos series. We’ll enjoy heavenly bliss while reading the good book. That’s a key message from the Cosmos franchise.

Seven Wonders of the New World

The season finale is titled: “Seven Wonders of the New World.” In Biblical terms, seven symbolizes completion. Are we uncovering Team Tyson’s numerological opium for the masses? The Cosmos storytellers invented a 2039 New York World’s Fair with seven theme park attractions that celebrate cosmic history and life’s heroic accomplishments. The year 2039 would be the centennial of the 1939 New York World’s Fair that helped awaken Carl Sagan’s scientific-materialist imagination (also depicted endearingly in this final episode). Sagan’s legacy grows with each multimillion-dollar retelling.

Such World’s Fair science-fiction storytelling works well as it builds upon a certain measure of legitimate science. There are five widely recognized mass extinction events in our planet’s history. Throw in human-caused global warming as the sixth catastrophe (allegedly in the making in our own time) and you have a great recipe for cosmic mythology. Let’s save our Mother Earth in act six and join the extraterrestrial choir of enlightened ETs in the triumphant seventh act. Hey everyone, make sure you oppose those fanatically religious geocentric, flat-earth-believing, climate-science deniers who are destined for extinction. Science is our only salvation. (See my historical analyses of Christianity as being responsible for flat-earth-belief here and unthinking resistance to Copernicanism here).

Prophets and Preachers

The makers of Cosmos wish to reach your heart with their message. It’s a materialistic imitation of biblical religion and eschatology. Mother Nature is god and Tyson is her prophet. “Learn her laws,” he declares, echoing Moses. Nurture the Tree of Life she has mindlessly created. Countless times in the series Tyson says “Come with me,” imitating Jesus’ call for disciples.

The grand story is dressed up to look scientific, but at heart it is mostly materialistic mythology. Its bipolar identity teeters between atheism and pantheism. I make a rigorous case for this conclusion in my book Unbelievable, which includes the chapters “Extraterrestrial Enlightenment” and “Preaching Anti-theism on TV: Cosmos.” In the Cosmos chapter I discuss Cosmos 1980 and 2014. Cosmos 2020 dishes up more of the same. Many will swallow it.

Back Down to Earth Day (or Easter?)

Did you notice the timing of the season finale, on April 20? It aired two days before Earth Day, which this year celebrated its 50th anniversary. Many now celebrate Earth Day within a Deep Ecology worldview that owes much to pre-modern pagan earth worship. Easter, which also falls at this time of year, had long ago largely displaced the old earth-worshipping holidays in Europe. Do the makers of Cosmos hope that Earth Day will win back this time of year from Easter? It sure looks that way when you combine my analysis here with this critique of the flimsy Cosmos treatment of global warming. It is no surprise that the National Geographic Channel blasted Cosmos viewers with many Earth Day-related TV advertisements (I lost count of just how many).

Meanwhile, after celebrating or ignoring Easter and Earth Day, many coronavirus-besieged earthlings toggle between anxiety and quarantined boredom. Cosmos 3.0 doesn’t seem to be helping much. But for some people false hope is better than no hope at all. For some, futuristic dreams via Cosmos might bring comfort. Team Tyson envisions how in the near future a person’s neural network (connectome) might be resurrected. In this future world, maybe with ET’s help (or so the story goes), we will be able to recreate a deceased person’s connectome. It’s your own personal techno-Easter, if you will (provided that others in the future approve of your reappearance). The details for how this could happen are not provided. Sci-fi is under no such obligation. The constraints on this kind of storytelling are minimal.

Carl Sagan’s widow, Ann Druyan, is the key figure who made the Cosmos series rise again (twice now). She had this to say about her team’s storytelling:

Every story that we tell has to satisfy different criteria. It has to be a way into a complex scientific idea or an important scientific idea…. We’re aiming for your brain, your eye, your heart, your senses, your ear … via effects. Everything has to be working together in concert to give you a consummate experience, and to attract you to want to know more.

Referring to traditional religions, especially the one that celebrates Easter, she finally says in same interview: “I think we have a much better story to tell than they do.” I doubt this even if both were treated as fictional narratives. Of course the truth or fiction of each story is the subject of the main debate.