Sequencing plot chart:pdf

Halfway by Michael Honnah and Imeldha Eloni Free Audiobook and Review

2024.05.16 17:56 tony5yaya Halfway by Michael Honnah and Imeldha Eloni Free Audiobook and Review

"Halfway" by Michael Honnah and Imeldha Eloni is a gripping science fiction story set in a bleak future where humanity is on the brink of extinction. The plot follows a group of survivors who embark on a risky trek to find safety in a legendary safe haven known as Halfway.
As the survivors navigate across a difficult landscape fraught with danger and uncertainty, they must confront their own fears and demons while relying on each other for support and survival. Along the trip, they encounter other groups of survivors, some of whom are willing to aid and others who pose a threat to their purpose.
Honnah and Eloni's writing is immersive and dramatic, providing a realistic image of a planet wrecked by environmental collapse and societal meltdown. The story is loaded with dramatic action sequences, tense times of conflict, and sad musings on the essence of humanity.
What makes "Halfway" distinct is its focus on character development and relationships within the chaos of a post-apocalyptic society. The authors deftly explore themes of perseverance, hope, and the power of community, revealing how even in the darkest of times, human connection remains a beacon of light.
Overall, "Halfway" is a fascinating and thought-provoking read that will appeal to readers of dystopian literature and adventure. With its well-drawn characters, fascinating tale, and beautifully conceived universe, it's likely to keep readers fascinated until the very end.
Free Audiobook with a free trial of Audible at freeaudiobookstrial .com

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2024.05.16 16:54 beaquis Eiyuden Chronicle: A Gamer’s Journey Through Triumph and Trial

After beating the game and recruiting all characters, I can confidently express say that Eiyuden Chronicle is a commendable successor to Suikoden, capturing its essence beautifully. It’s been a while since I’ve dedicated over 100 hours to a JRPG—the last being Xenoblade. I’d like to offer some detailed feedback on what I found to be the best and worst aspects of this game. I played it on PC xbox game pass:
https://preview.redd.it/kc0uzc4rzyzc1.jpg?width=1920&format=pjpg&auto=webp&s=d659b92afe0eb5b6fea720b0e77cad9699003f6b
Best:

The character diversity is remarkable, with a plethora of factions, races, and charismatic groups. Despite the challenge of depth with such a large cast, the developers have succeeded. I’ve felt a strong connection with the characters that intrigued me the most. This diversity extends to gameplay, with varied weapons, fighting styles, and roles within the HQ, whether as fighters or support for your team. The convergence of allied and antagonistic factions throughout the story is also a highlight.
The battle system is exceptional, never dull, with a rich array of skills, magic, and combos. Playing on hard difficulty with restrictions has made magic incredibly useful, and I’ve enjoyed mastering it. The return of runes, particularly the management aspect, equipment, and stat mechanics, is a welcome feature. I’ve engaged in manual combat more than anticipated, but auto-battles have been convenient for simpler encounters.
The overall difficulty is well-balanced. I’ve played on hard mode with restrictions, leading to several boss defeats after multiple attempts, which was gratifying. Bosses with special mechanics add complexity to battles, and I only wish there were more of them. Additional unlockable end-game content would be appreciated.
The soundtrack is a pleasant surprise, far from monotonous, and complements the game’s various segments beautifully. The opening title song is especially noteworthy, reminiscent of the iconic Final Fantasy theme and Studio Ghibli’s epic compositions, such as “Flags of Brave.”
The Spanish localization is impeccable. Despite initial criticism from detractors, the translation holds up well, which don’t detract from the gameplay, at least in the spanish version. Anyway, the behavior of some players and their treatment of developers regarding the localization topic is regrettable.
The original Japanese voice acting is outstanding, featuring renowned talents known for their roles in anime like Fate Stay Night and Golden Kamuy.

Worst:

The narrative, while not poor, could benefit from more grandeur and a graver tone. The game’s cheerful disposition, akin to many generic anime, is pleasant but lacks the gravitas that a darker narrative could provide. A less predictable plot with dramatic twists would have been preferable. The story’s simplicity lies in its events and characters, which are enjoyable, though the epic moments are sparse.
Technical issues, such as bugs in the cooking contest (already fixed) and certain character recruitment, along with a flawed auto-fight strategy system (characters does not follow the individual orders), detract from the experience. The most jarring are the duel scenes plagued by audio desync and freezing, disrupting immersion, specially during the final battle and the excessively bugged credits sequence, where I stayed for more than 30 minutes due to all these problems and I thought I would never be able to finish the game for a "new game+".
The minigames’ lack of depth is disappointing. Fishing feels tedious, races offer little interaction, and the card game is too simplistic. The cooking game was notably broken before being fixed today. The beigoma game’s mechanics are monotonous, and the necessity to play out the third round regardless of the outcome is frustrating. Stealth mechanics and puzzles are underused but enjoyable, reminiscent of Zelda games, and could have been expanded upon. Still, like I said, I really enjoyed all the minigames, they simply could have been even better.
The controversy surrounding Kickstarter backer rewards has overshadowed the game’s launch. While I’m not a backer, I’ve observed the situation and understand the frustration. However, the challenges of fulfilling rewards, especially those imported from Japan, are considerable. I commend the developers for their efforts to resolve issues and support their community. It’s a reminder that early access and crowdfunding come with inherent risks.
I am not very agree to the decision to charge for character DLCs, which could have been included as more in deep secondary stories. The €25 season pass for DLCs seems steep, and I’m undecided on whether to invest further or wait for a potential discount. I would have been more satisfied with a price of €15.

Thank you for reading this extensive post, and I extend my gratitude for the game. I hope your enjoyment matches mine! My rating for the game is a 9-10, not only because the game is so good, but because of everything it entails.

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2024.05.16 15:49 haygurlhay123 “This Time, I Will Never Let You Go”: Cloud’s Mission and the Hidden Purpose of the Remake Trilogy - Literary and Musical Analysis of FFVII - Part 4

(continuation of part 3)
Since Fatal Calling is all about Cloud facing his past and his origins, Tifa’s musical theme is most appropriate for the ending cutscene. For all of these reasons, Tifa’s theme is absolutely appropriate for the conclusion of Fatal Calling. It makes a lot of sense then that once Cloud has finished revisiting the past and vanishes with the crystal to find his Promised Land, Tifa’s theme stops and Aerith’s theme begins.
There’s a lot to be said about Sephiroth in Fatal Calling. Sephiroth feeds off of despair, and deems Palamecia’s suffering inadequate: he seeks a much greater source of power than this realm. He states that Palamecia isn’t “the world that was promised to [him]”, referencing his desire to become the god of his core world of FFVII:

“Sephiroth: Melding with the planet, I will cease to exist as I am now only to be reborn as a ‘god’ to rule over every soul” (FFVII OG, disk 1, chapter 25).

Sephiroth’s line “Now, let us return [Cloud]. Back to the Promised Land” reveals he wants to return to their shared core world of FFVII, like we established in our review of the Remake timelines theory (see section “I. a) vii.”). Sephiroth wants to go back to FFVII and modify the OG timeline to achieve his evil goals. This is his ideal scenario, his place of complete happiness: his desired Promised Land. Fatal Calling is setting up Sephiroth’s plans for Remake. In fact, the after-credits scene wherein Sephiroth stands in Nibelheim as it burns confirms his return to the FFVII OG timeline.
However, he isn’t the only one returning. Now that Cloud has revisited his past in Fatal Calling, he’s ready to reach his Promised Land. After Sephiroth’s after-credits scene, the OG FFVII title and logo turn into the FFVII Remake title and logo, indicating a shift: we are now officially in the Remakeera or world. Cloud and Sephiroth disappeared at the end of Fatal Calling, and now the game is telling us where they’ve gone. Combined with Hamaguchi’s recommendation that players complete the collaboration event before playing Remake, I think this is a solid indication that the Cloud and Sephiroth we see in this collaboration event are those we encounter in the Remake world. Once the switch to Remake occurs, Aerith’s theme returns. This communicates that she is indeed —as we’ve proven countless times already— Cloud’s Promised Land. But it also conveys her importance to the story of Remake. Scenario writer Nojima confirmed this:

“Aerith's the most important character in the remake so we paid special attention to her lines” (FFVII Remake Ultimania, section 08 “Secrets”, “Development Staff Interviews, Part 2: Tetsuya Nomura, Yoshinori Kitase, Kazushige Nojima”, page 744).

Aerith was already important to OG, so what could’ve motivated Nojima to state her importance to Remake? Could it be that she’s even more important in the latter than she was in the former? In what way?
That was the collaboration! Before we move on from MFF x FFVII Remake entirely though, let’s glean some more relevant information from some of the collaboration’s promotional material and special features.
III. e) iii. Promotional Material and Special Features
Two particular pieces of promotional material for this collaboration stick out to me as extremely relevant. The first is a promotion for a new summons batch in the Mobius FF game, created in honor of the collaboration.
MFF x FFVII Remake Summons Batch Cloud Promo
The summons batch contains three FFVII Remake-themed cards, including a Cloud card. As you can see, this promo reads “Who awaits in the Promised Land?” under Cloud’s picture.
The second is a promotion of an Aerith and summons and an Aerith Job Card (in MFF, Job Cards allow a character to embody an archetype or another character, giving them certain physical traits, clothing, weapons and abilities):
MFF x FFVII Remake Aerith Summons and Job Card Promo
I couldn’t find this picture in English, but the text relevant to us translates to:

“Midgar's Flower Vendor Summons
‘I'm searching for you. I want to meet… you.’
The witch protects the planet, imbues it with power, and leads to the Promised Land.”

A few things here. First, Aerith is referenced by name, and we see a picture of her in her famous praying pose. Secondly, both Cloud and Aerith’s images are attached to the notion of the Promised Land. Cloud’s card asks who awaits there, and Aerith’s evokes a guiding role, as though in response. Thirdly, both Cloud and Aerith are attached to the notion of searching: Cloud searches for the Promised Land and whomever awaits there, and Aerith searches for Cloud’s true self. Speaking of which, the promo also includes parts of Aerith’s famous gondola date quote from OG:

“Aeris: I'm searching for you.
Cloud: …?
Aeris: I want to meet you.
Cloud: But I'm right here.
Aeris: I know, I know... what I mean is... I want to meet... you” (disk 1 chapter 24).

In case you’re wondering about the lady in Aerith’s clothes on the left-hand side, that’s Meia, a character in MFF. She is the “witch” being referred to in the promotional material. She’s often called the Azure Witch. Meia is wearing Aerith’s clothes because a Meia-type Job Card called “Flower Girl of Midgar” was created in honor of the MFF x FFVII Remake collaboration:
MFF x FFVII Remake \"Flower Girl of Midgar\" Job Card
There’s even an Aerith outfit you can have Echo wear, and it appears with Wol’s Cloud outfit in the promotional picture:
MFF x FFVII Remake Echo's Aerith Outfit and Wol's Cloud Outfit
To be fair, Tifa also appears in one of these summons promos. However, unlike Aerith’s, her appearance doesn’t reference the Promised Land or her version of the gondola date. She is not presented in connection to Cloud at all. On top of that, while the Aerith and Cloud outfits are promoted together, Tifa is paired with Vincent in the promotional image:
MFF x FFVII Remake Summons Promo Tifa and Vincent
This is hardly indicative of Cloti content in the event collaboration or in Remake.
III. e) iv. Cloud’s Promised Land
All in all, the collaboration tells the story of Cloud searching for his Promised Land, just as post-OG Cloud has been shown doing for years and years of canon SE content. Cloud is searching for Aerith in the MFF x FFVII Remake collaboration, just like he was in FFT and DFF, and just like he was shown doing in the 30th FF Anniversary Exposition. This is nothing new. However, the collaboration informs us that this mission to be reunited with Aerith is what leads Cloud to enter the world of Remake.
Echo noted that people obtain the Promised Land they deserve rather than the one they want. What does Cloud deserve? I believe the answer is: another chance at saving Aerith.
Cloud needs to start over, from the top. He needs to go back to the very moment he and Avalanche arrived at mako reactor 1 to bomb it. He needs to return to the beginning of the OG game. He needs a redo, a fix-it, another shot at happiness; a remake.

IV. The Hidden Plot Point: Mission Theory

a) Thesis
Here lies the heart of my theory. My dear Cleriths, Sephiroth isn’t the only one who travelled back in time to undo destiny and create a reality where things go his way: Remake is also —I would even say primarily— Cloud’s chance to free Aerith from her fate, save her life and secure his shot at happiness with her. That’s why he experiences MOTFs in Remake: he’s done FFVII before and now he’s back, although with only fragments of his memories from OG, to save Aerith. That’s why his triggers all involve Aerith: he doesn’t consciously remember anything from OG, but his grief over Aerith is so strong that it rises from his subconsciousness at the slightest trigger.
In Remake, Cloud remembers some but not all elements of the OG timeline (MOTFs), and it appears he only remembers the most important things: all his MOTFs revolve around Aerith and her fate. Our theory explains why Aerith triggers Cloud’s MOTFs in Remake quite perfectly: he traveled back in time to prevent Aerith’s death from happening. Remake Cloud remembers Aerith because, well, he knows her from OG. Post-OG Cloud has returned to the past to save Aerith, resulting in Remake. This is why seeing her in Remake triggers visions and memories of things that haven’t happened yet in Remake, but have already happened to post-OG Cloud. He recognizes her face on Loveless in Remake because seeing her face again is the whole reason he entered Remake in the first place. His visions of her death when they meet once more at the church, the spike of anxiety and grief as he watches her walk away from him, the constriction in his chest when she talks about doing everything in her power to help the planet… all of it, it’s all his memories of OG being jogged by things related to her death. What he’s forgotten from the OG timeline emerges in flashes of pain, images, memory and emotion. Remember that the language the devs used to describe these instances where Cloud reacts to Aerith in this way is always about “remembering” or “recognizing”; Cloud has to have seen Aerith, known Aerith, loved Aerith, lost Aerith and felt the pain of living without Aerith before in order to recognize and remember these feelings. Think about it: this is the only thing that can explain Cloud’s extremely selective MOTFs and the fact that he has MOTFs at all.
The Remake trilogy is all about Cloud and Sephiroth stepping into the ring one more time, both ready to risk it all to get what they lost in the OG timeline. Sephiroth is hungry for destruction and godhood, while Cloud stands determined to save the love of his life. Fighting for their respective goals, the fated enemies enter a new battle in Remake, one to end the war, both needing to win this time after losing so horribly in OG. Now, it’s all or nothing. Sephiroth vying for the planet, and Cloud reaching out for Aerith.
Cloud’s back with a quest, one he can’t fail— it’s the most secret and important plot point of all. I call this the “Mission Theory”.
IV. b) Mission Theory Logistics
There are a few things that remain vague, so I’m going to use this section of the analysis to speculate on the logistics of my theory. We know very little about the hows of the timeline and multiverse shenanigans, so I’m going to hypothesize. However, this analysis is about the whys: so if you’re not interested in mechanical speculation on the logistics of time travel and multiverses, you can totally disregard this section and skip to section “V.”.
IV. b) i. Cloud the Time-Traveler?
It’s unclear whether Remake is the result of post-OG Cloud going back in time to try his hand at the OG timeline again, or the result of post-OG Cloud somehow informing OG Cloud that he must save Aerith this time around. It’s vague in the same way that we aren’t sure if Remake Aerith is post-OG Aerith or if she’s been informed by post-OG Aerith via her connection to the Lifestream as a Cetra. Though it doesn’t much matter how Cloud has memories of Aerith’s death in Remake, I personally think that Remake Cloud is a time-traveling post-OG Cloud. My explanation as to why might be a little confusing, so again, feel free to skip to section “V.”.
One must be able to communicate with the Lifestream in order to obtain knowledge of the future. This access can only be granted to the Cetra or to the souls of the deceased that compose the Lifestream itself. Since Cloud is not a Cetra, he cannot commune with the Lifestream while he is alive, meaning a deceased post-OG Cloud would not have been able to communicate his memories of the OG plot-line with a living OG Cloud. Therefore, the only way Remake Cloud could have knowledge of the future (manifested as MOTFs) would be that Remake Cloud is inhabited by his post-OG consciousness. Effectively, this is time-traveling.
Then comes the question of how Cloud was able to time-travel at all. I have what I consider a pretty solid hypothesis. The most interesting thing about the realm of Palamecia is that every FF character that’s ever appeared in the realm for a cameo died in their core world beforehand (spoilers for FFI, FFV, FFVI, FFX, FFXII, FFXIII, FFXV incoming). These characters include Tidus (FFX), Lightning (FFXIII), Garland (FFI), Sephiroth (FFVII), Gilgamesh (FFV), Vargas (FFVI), Gabranth (FFXII) and Ultros (FFXV). My interpretation of Palamecia serves at least partly as a directory for deceased souls that can’t simply fade. For instance, FFX’s Tidus actually came back to life to be with his love>! Yuna !! FFX!<. Of course, MFF x>! FFX !!FFX!< and FFX-2, just like MFF x FFVII Remake came out between FFVII OG and FFVII. And similarly to Fatal Calling, the ending cutscene of MFF x>! FFX !!Next thing you know, FFX-2 comes out and shows Tidus returning to Yuna and their core world in an optional cutscene.!< The MFF x>! FFX !! Tidus !Remake.
IV. b) ii. Post-OG Cloud’s Amnesia
If we consider that Remake Cloud is a time-travelling post-OG Cloud who’s returned to the start of the OG timeline, we encounter another logistical problem: why doesn’t Cloud remember everything or most things from the OG plot-line in Remake, like Sephiroth and Remake Aerith do? After all, aren’t the three of them in the same time-travelling boat? Why isn’t Cloud as lucid on the matter as the two others? Didn’t the post-OG Cloud in Fatal Calling face his past and origins? Shouldn’t that mean Cloud would remember all that stuff in Remake from the start?
In OG, the true Cloud’s memories are repressed by both his false persona and Jenova. The latter’s memetic abilities are able to block Cloud’s memories of the past from emerging and conflicting with his SOLDIER persona. For instance, in both OG and Remake, Cloud is unable to hear Aerith tell him Zack’s name in Evergreen Park: Jenova blocks it out. I think this is a similar situation: post-OG Cloud’s consciousness carries memories things that Jenova doesn’t want Cloud to know, so she pushes down on them. On top of that, after travelling through different worlds and back through the Lifestream for who knows how long, post-OG Cloud’s consciousness must be quite weak. We know how good Cloud is at repressing, so it makes total sense to me that post-OG Cloud’s consciousness would be trapped or suppressed somewhere deep in Remake Cloud’s subconsciousness. After all, it’s not like this whole time-travelling-consciousness thing is normal for a mind to experience. It’s no wonder Remake Cloud doesn’t consciously remember how things go in OG. However, post-OG Cloud’s love and grief for Aerith are so strong that memories related to her can occasionally pierce through to his Remake consciousness and Jenova’s barriers, resulting in his MOTFs. His pain and love for her are definitely permanent and strong enough:

“A young woman descended from the Ancients who will forever be engraved in [Cloud’s] heart” (Dirge of Cerberus, Japanese manual, Aerith’s character description).
“I believe for those who formerly traveled with her as comrades and for the viewers, each carries their own feelings and love for Aerith. In this story, Cloud also carries his own undying feelings for Aerith, even to this very day… Its relation with the church scene is… Yup. I’ll leave this part to your imagination. (laughs)” (Nomura interview on Advent Children “Designer’s Note” in *Famitsu PS2!*magazine, October 24th issue).

So you see, Remake Cloud’s mind is a little more complicated than OG Cloud’s mind. Everything is still the same in Remake as in OG, but with the added complication that his future self is hidden in his subconscious mind, probably trying to get out.
There is actually pretty good evidence of this. I’m sure you’re aware that whenever Jenova is trying to hide something from Cloud or altering his memory and/or perception, the screen glitches green with an audio cue (34:15-34:29, 1:15:30-1:15:41 and 1:17:14-1:17:29). Guess what? These Jenova audiovisual cues also occur during the MOTFs (ie: MOTF 3 2:58-3:07 and MOTF 4 0:29-0:42). Whenever post-OG Cloud’s consciousness encounters anything that reminds it of losing Aerith, the strength of its pain helps it push memories of Aerith to the surface so that RemakeCloud can consciously see them. Remake Cloud then experiences sensations and/or visions, all from his future self’s memories as they rise to the surface, propelled by grief. Jenova can’t allow Remake Cloud to fully recover his post-OG memory, so in order to shut down the process, its cells jump in to repress the MOTFs: this results in the classic Jenova audiovisual cues. The only time Jenova doesn’t bother to fight against a MOTF is the sixth, as it is quite weak: no visions occur, only a tight sensation in his chest.
IV. b) iii. Eclipse Contact and Cloud’s Memories of Reactor 1
There is one problem I have trouble decoding. In Eclipse Contact, Cloud tells Wol and Echo that the last thing he remembers is the run-up to his arrival at mako reactor 1 (FFVII OG, disk 1, chapter 1). Recall that usually, people summoned to Palamecia have no memories of their world of origin and lives before that point at all. So then why is it that upon being summoned to Palamecia, Cloud recalls the events that took place right before the start of the OG game? This strikes me as highly relevant since this is the exact point in time where post-OG Cloud’s consciousness needs to be transported to in order for Remake to begin, but I haven’t been able to figure out a solid hypothesis on what it could mean. My best guess is that this is the devs’ way of signalling to us that the events of the MFF x FFVII Remake collaboration occur before the very beginning of post-OG Cloud’s second try at the OG timeline (Remake).
Now that I’ve shown you how I’ve come to form my Mission Theory and we’ve done some pesky housekeeping, let’s connect some dots, shall we? It’s time to really get into it and see if any of my wild speculation tracks with content from the Remake trilogy so far.

V. Musical Evidence

What about the music of the game? Any hints there? Let’s try to see if we can find support for the Mission Theory in the music made for the Remake trilogy thus far!
As a preface to my musical evidence analysis, I want to insist on something: the story guys tell the soundtrack guys everything. In a high-quality production such as Remake, people who make music for audiovisual media are told everything in advance. They need to know the secrets of every little scene, because their job is to depict whatever is happening through music.
Therefore, if the Mission Theory is true, then there has to be musical evidence for it.
V. a) Preface: The Basics of the FFVII OST
There’s a lot of evidence in the music of the Remake trilogy that we have to address, but before we get into it, I do have to give you the basics of the FFVII soundscape! For the easiest experience, I suggest you keep a tab open for every link I provide for you until the music analysis is over, because we will be hopping from one musical theme to another and then back again.
V. a) i. The World Theme: Cloud’s Troubled Identity
The world theme of FFVII is a perfect example of how musicians working on an OST have to know the secrets of a story as they compose for it. On top of representing the FFVII world as a whole, it doubles as Cloud’s character theme… except that isn’t exactly right. You see, this piece does indeed contain Cloud’s true theme, but Sephiroth and Jenova’s musical motifs also contaminate it. This, of course, symbolizes how Cloud experiences identity sabotage because of these two antagonists. The result is that globally, the world theme does indeed represent Cloud’s character, but it isn’t exclusively Cloud’s in the same way that Cloud’s mind isn’t exclusively his. It’s brilliant storytelling through musical motifs, and evidently requires Uematsu to know in advance that Sephiroth manipulates Cloud’s identity in the story.
For future reference, let’s isolate Cloud’s true theme from Jenova and Sephiroth’s influence.
V. a) i. 1) Sephiroth: Dissonance and Semi-Tone Motif
I’m sure you know Sephiroth’s infamous theme: “One-Winged Angel”. The first motif we need to know is Sephiroth’s threatening, repetitive dissonance motif, which plays all throughout the piece (plays solo at 0:00 to 0:04). The second motif is what I call the semi-tone motif. “One-Winged Angel” has a ton of minor 2nd intervals, which is what we call the relationship between two notes that are only a semi-tone apart. You might recognize the minor 2nd interval in the foreboding Jaws theme. Just like in Jaws, the minor 2nd interval or semi-tone is commonly used to indicate an impending, life-threatening danger, a monster, predator, evil, or insanity; suits Sephiroth quite nicely!
V. a) i. 2) Jenova: Parasite Motif
The track “J-E-N-O-V-A” contains many competing melodies and has generated many variations of those melodies —almost like clones— that all represent aspects of the alien’s character. The main Jenova motif is simply a descending, two-octaves-long, arpeggiated mb6 chord (eight notes total). I’ve played it for you here. Sometimes, this motif is altered to form variations. For instance, in “Listen to the Cries of the Planet”, a variation of Jenova’s main motif is created by changing the order of the notes and reducing the number of notes to only six (0:00-0:03), however, it remains an arpeggiated mb6 chord. Regardless of the alteration, if you hear an arpeggiated mb6 chord, it means Jenova is creeping close by or that its influence is at work.
The variation of the mb6 arpeggiated chord that concerns us alters Jenova’s main theme so it ascends from the tonic to the b6 note and descends back to the tonic, then ending on the lower dominant for a total of eight notes. I’ve played it for you here. I call this variation the “parasite motif”, because it is often heard when Cloud is being controlled by Jenova. For instance, it plays when Cloud loses himself and becomes unusually violent in Rebirth’s chapter 13 (17:25-18:34), signalling to us that Jenova is in control. It is also the main motif of the track “Who… Am I?”, which evidently symbolizes Jenova’s fuelling of Cloud’s identity crisis— though here, the parasite motif is shortened to its six first notes.
V. a) i. 3) Cloud’s True Self
Now that we can recognize Sephiroth and Jenova’s motifs, let’s return to the world theme to isolate Cloud’s true self. Cloud’s true theme can be heard from 0:51 to 3:48. It consists of a section A (0:51-1:54), followed by a section B (1:54-2:41), and then returns to section A (2:41-3:48).
After Cloud’s true theme concludes however, it seems he experiences a psychic interference: doubt and confusion weave through the world theme (3:48-4:09), representing an instability in his identity. I call this interruption of Cloud’s true theme the “interference section”. It symbolizes a moment of psychic interference or weakness within Cloud that Sephiroth and Jenova take advantage of to take control of Cloud.
The end of the interference section introduces Jenova’s parasite motif. It slithers in (4:09), later joined by Sephiroth’s dissonance motif (4:16): Cloud’s mind and identity are being hijacked by the two antagonists in service of their evil plans.
They torment Cloud, dominating his mind until he manages to free himself: section A of Cloud’s true theme begins playing again (6:06), closing the loop of the theme.
Based on this musical storytelling, if you already knew the character motifs going into OG, you might’ve suspected something odd was going on with Cloud’s identity, and that Jenova and Sephiroth were involved. All this to say that whatever music is playing at any given time can give us hints as to what is going on. That’s the power and significance of a good soundtrack. Trust me when I say that with Uematsu and his team, we’re in excellent hands. And remember: the story guys tell the soundtrack guys everything.
V. a) ii. Aerith’s Theme
Another base we have to cover before checking out the Remake soundtrack is Aerith’s theme. I’m sure everyone here is familiar with it, but I insist that you refresh your memory. It consists of a section A (0:00-0:34), a section B (0:34-1:13) and a section C (1:13-2:00), concluding with a repeat of section A.
V. a) iii. Motifs and Timing in FFVII OSTs
I’m going to analyze pieces in great detail, which people who haven’t studied or paid attention to soundtracks may find strange. To prevent anyone from making the mistake of thinking that I’m reading too much into things, I want to emphasize that the music that plays during the Remaketrilogy’s cutscenes is carefully timed, composed and arranged to match the events in the cutscenes, as they are provided in advance to the musicians. Composers pay lots of attention to whatever is going on onscreen so they can include the corresponding musical motifs as accompaniment at the exact right moments, always striving to get the timing perfect. I’m not exaggerating the effort and minutia involved in soundtrack composition and arrangement. Here are just a few sound staff comments from the “Material 4: Soundtrack” section of the FFVII Remake Material Ultimania to prove it:

“[To] make sure players really feel the weight of the moment, we worked hard on getting the tempo and the entry timing of each instrument exactly right. In particular, that big ‘boom’ that sounds almost like a meteor crashing down was fine-tuned to match the timing of the logo's appearance. I remember this was a real sticking point for us, because if the boom's timing was even slightly off, the effect would be completely different. We […] had to sequence [each and every sound] to play at exactly the right moment” (Shotaro Shima on track “Midgar, City of Mako”, page 229).

“I was originally told to keep this piece to under two minutes, but it ended up being over six minutes long, in order to match the flow of the cutscene. I arranged the track while watching the latest CG visuals that had been rendered for the scene” (Naoyuki Honzawa on track “Smash ‘Em, Rip ‘Em”, page 309).

“This is the track that plays during the tour of Shinra’s different divisions. The movie shown in the Visual Entertainment Hall describes the history of the Ancients (0:25 onward in the soundtrack version), and I wanted to create a musical link to them as well, so I made use of the chord progression from ‘Aerith’s Theme’ [D(I)-Am(Vm)-D(I).] [This simple sequence of moving from major to minor and back again creates a really mysterious air. Then, during the section where the movie recounts the history of the construction of the Shinra Building (1:47 onward in the soundtrack version), I quoted a section of the Shinra theme” (Yasunori Nishiki on track “Stewards of the Planet”, page 313).

V. b) The Remake OST
Now that you’re ready, it’s time to verify the Mission Theory’s validity with Remake’s music.
V. b) i. MOTF 6 Music
We were able to explain Remake Cloud’s MOTFs with the Mission Theory, and it just so happens that the music that plays during the scene of MOTF 6 is unique to Remake. This gives us the perfect opportunity: we should analyze the piece that plays as it occurs to evaluate the legitimacy of our theory on the Remake trilogy, using all the motifs we uncovered in section “V. a)”.
First, a refresher on the scene and on our theory’s interpretation of it. The party is gathered in Aerith and Ifalna’s old room at Shinra HQ. Here is how the scene is described by the VA script notes:

“The Whispers once again close in [on Aerith], but Aerith refuses to stop speaking this time.
Aerith: Listen to me. […] Shinra isn’t the enemy. They were the ones who set things in motion, but our true foe is someone else.
At that moment, the spectacle of Meteor they saw in the Visual Entertainment Hall comes into Cloud and the others’ heads.
Aerith: Somehow, some way, I want to help— all of you… the planet…
For some reason, Cloud feels his chest constrict tightly” (FFVII Remake Material Ultimania Plus, VA script notes, “Aerith Speaks”).

Indeed, right after Aerith says she wants to help the planet any way she can, Cloud looks down at his chest with a frown and a quiet grunt (7:46-7:54). According to the Mission Theory, this tightness in Cloud’s chest can be explained as an emergence of post-OG Cloud’s grief, triggered by the slightest allusion to Aerith’s sacrifice.
The piece that plays during this scene is called “Aerith’s Theme - The Cetra”. It is one of many variations of Aerith’s iconic theme arranged for Remake. However, Cloud’s theme is just as prominent in the piece— if not, more.
V. b) i. 1) The Fate Motif
Before we interpret “Aerith’s Theme - The Cetra”, I need to introduce you to one more motif that crops up in the piece. There is a windy motif that appears (from 1:45 onwards) and it is unaccounted for, despite how it’s clearly meant to represent something. I’ve become certain that this wind noise symbolizes fate, and I’ll tell you why.
In the MOTF 6 scene, just after Nanaki explains how he gained knowledge of the Whispers via contact with Aerith (7:23), they emerge and begin swirling aggressively around Aerith (7:26). Her hair and dress blow and ripple in the resulting wind. From this very moment onward “Aerith’s Theme - The Cetra” (3:00), a string section (bowed instruments in the violin family) that deliberately emphasizes the airy sound of the bow crossing the strings enters, creating a windy effect that adds to the already present wind noise (that started at 1:45). As the Whispers progressively become even more aggressive onscreen, both the wind SFX of the cutscene and the wind noise in the piece get louder and louder. Because of the timing of its appearance and crescendo in the cutscene, I’m certain the wind noise is meant to represent the restrictive flow of fate; it only makes sense, given that destiny is a current —or a wind— that cannot be broken, and Aerith is like a helpless petal in fate’s carefully planned storm. Of course, it’s also quite significant that the Whispers make a windy noise as they fly. You can hear it every time they’re onscreen, like when they first appear to Cloud in chapter 2 of Remake (17:45-18:20), or when the White Whispers hold Cloud back from chasing after Aerith during Rebirth’s Sleeping Forest scene in chapter 14 (28:43-29:45). You can also hear the wind sounds in other Whisper-related tracks, such as “Whorl of Whispers” (clearly audible at 2:50-3:05), as well as “A Death Not Ordained by Fate” (clearly audible at 2:56-3:18). Therefore, I’ll call these wind noises the “fate motif”.
V. b) ii. 2) Interpreting “Aerith’s Theme - The Cetra”
In part 1 of “Aerith’s Theme - The Cetra” (0:00-1:45), Aerith’s theme and Cloud’s true theme play simultaneously, their respective phrases fitting perfectly together, interweaving peacefully and softly. It sounds like the two of them are chatting, dancing bashfully yet contently and in perfect sync, glad to be exactly where they’re meant to be as their themes sing together in harmony (soft piano). Part 1 of this piece is about Cloud and Aerith becoming important to one another as they discover their soulmate bond.
Unfortunately that contentment doesn’t last. In part 2 (1:45-3:00), Cloud experiences a moment of psychic vulnerability (world theme’s interference section). Fate lurks (fate motif enters quietly). His instability forces our couple’s sweet dance to a halt, and Aerith’s theme must retreat as Cloud’s confusion takes center stage. Sephiroth torments and taunts him (semi-tone played by strings, 2:03-2:10), taking advantage of Cloud’s psychic interference to plunge him into darkness (world theme’s interference section ends, low cello enters, 2:18): Cloud temporarily becomes a darker version of himself as evil corrupts him (piano plays section A phrases 1 and 2 of Cloud’s true theme in minor, 2:18-2:53). Jenova finally reveals itself and promptly exits, releasing Cloud’s mind from its grasp (seven first notes of parasite motif played twice on piano 2:53-3:00). Cloud is free, but the damage has been done: his dance with Aerith has long been interrupted, and she is gone. Part 2 of “Aerith’s Theme - The Cetra” is about Cloud being manipulated in service of Sephiroth and Jenova’s evil plan, interrupting his interaction with Aerith.
Part 3 (3:00-3:33) kicks off the mechanisms of a tragic fate (strings section joins fate motif, 3:00). Both anxious that she’s disappeared from his side and terrified of the darkness he just discovered inside him (in part 2), Cloud fearfully calls out for Aerith (phrase 1 of Cloud’s true theme’s section A, timid and hesitant piano, 3:04-3:15). Before his psychic interference began (start of part 2), Cloud’s voice was accompanied by Aerith’s as they grew closer and closer (their character themes mingling in part 1)… but now, Aerith isn’t answering his call, and he cannot find her (Aerith’s theme doesn’t to join Cloud’s anymore).
Anxious, Cloud tries calling out for Aerith a second time (section A phrase 2 of Cloud’s true theme’s, 3:19-3:31), searching for her in the hopes that they can continue their dance, but even now, Aerith does not respond. She’s gone (Aerith’s theme remains absent). Destiny keeps Aerith away from Cloud (fate motif gently crescendos). Part 3 of “Aerith’s Theme - The Cetra” is about Cloud’s separation from Aerith, his search for her, and the fear and anxiousness he feels when he realizes he cannot find her.
And then, part 4 begins with a sweet, gentle voice, calling out from the blackened horizon: it’s Aerith (section B phrase 1 of Aerith’s theme, soft piano, 3:33-3:45). Cloud finally hears her respond to his pleas: he’s found her. Fate begins howling in protest, doubling its efforts to keep Cloud and Aerith apart (fate motif crescendos noticeably in reaction to Aerith’s theme, 3:45). You can just picture Cloud running toward Aerith, struggling against the current of destiny to try and close the distance between them. Aerith tries calling out for Cloud a second time, (section B phrase 2 of Aerith’s theme, 3:40-3:43), but the Whispers only swirl around her more ferociously, taking her away in the uncompromising current of fate (fate motif continues to crescendo). Aerith tries again (section B phrase 1 of Aerith’s theme, 3:47-3:49). It sounds like she’s saying “Cloud, I’m over here, come find me!”
Fate doesn’t take too kindly to her defying it. Cloud and Aerith are not supposed to be together; it can’t be, it won’t. She’s destined to die to save the planet, and he’s destined to remain hollow forevermore. I can picture Cloud breaking into a sprint at the sound of her voice, running countercurrent to the flow of destiny— but the winds are so loud, fate’s demands are so strong, and the Whispers are shrieking in defense of destiny now. Aerith’s voice emerges for the fourth time (first three notes of section B phrase 3 of Aerith’s theme, 3:54 to 3:56). Fate screams louder, louder (steep crescendo of fate motif, 3:59-4:02). In a desperate hail Mary, Aerith shouts out one more time, as though throwing her hand out toward Cloud’s extended fingers (section C phrase 1 of Aerith’s theme, louder and more insistent, cutting through the fate motif as it crescendos sharply, 4:00-4:06). Part 4 of “Aerith’s Theme - The Cetra” is about Cloud and Aerith desperately trying to defy fate in order to be together. And then, it all stops: fate has seemingly quieted Aerith (4:04-4:08)…
Part 5 (4:08-4:27) begins with Cloud jumping, launching himself off the ground with all his strength (Cloud’s true theme section A phrase 2, first 5 notes, melody starting on the note E5 and ascending) as Aerith plummets toward the ground in a fatal fall (Aerith’s theme section C phrase 1, melody starting on the note E6 and descending, the last note altered)— he successfully catches her in mid-air (both Cloud’s ascending melody and Aerith’s descending melody meet in the middle of the octave, first uniting on B5, and then ending on A5). I’ve recreated the melodies for you here so you can hear this reunion more clearly. If you consider that the airy strings in this piece represent fate, which I do, the fact that they follow Cloud and Aerith’s themes in part 5 signifies that they are now in control of their own destinies, and successfully making it their fate to reunite.
To be completely frank, I did not realize until right now writing this that Cloud unites with Aerith in part 5, even though his theme is right there. I’m so excited to share this part with you.
We hear Aerith once more, her voice quietly trailing off into the silence (phrase 4 of section C of Aerith’s theme) with no conclusion (phrase 5 normally follows phrase 4 to conclude Aerith’s theme, but is absent here). Part 5 of “Aerith’s Theme - The Cetra” suggests that Cloud will save Aerith and that the couple will change their fate, but also conveys an uncertain and open-ended quality.
(continued in part 5)

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2024.05.16 12:23 TheWellKnownLegend [2.2 Spoilers] Story Questions and Confusion

Penacony's story is peak. I enjoyed reading it, I enjoyed taking notes and writing things down and discussing theories with friends. I definitely expected the dream to have more layers than we thought at first, and to have a 'false wake up' kind of sequence, but a few of the reveals by the storyline's ending just made my head spin!
So, lemme get this straight: Misha is a memory zone meme. He shouldn't be able to appear in reality, only in the memory zone... But we did *see* Misha in 'reality' when we first entered the Hotel. That shouldn't be possible, and that is the big plot hole that pulls the charade of Ena's Dream apart for us and Black Swan. That makes perfect sense.
What's confusing to me is, how could that have happened in the first place?
For us to see Misha in the hotel, we must've already been dreaming by then- Which is fully possible. It would mean as soon as we got in range of the Stellaron, it dragged us into the dream. That's something it should be able to do. But that would also imply we've never actually left the Astral Express since the story quest started. Supporting this, Dan Heng calls Jing Yuang with the Jade Abacus from inside the express, and it's all but stated in the planning conversation with DH and Boothill and etc. that JY wasn't actually called. Meaning, yes, that was all inside the dream. The issue is: Aventurine checked into the hotel at the same time we did, which would mean the act of him checking in and moving to his room also happened inside the dream, and yet he very explicitly wakes up in reality in his room at the end of the questline. How is that possible?
And, second in line for the prize of "What was in reality, and what was in the dream?" is Boothill calling the Galaxy Rangers. I think the game makes it pretty clear that we're still in the memory zone when we wakes up from Ena's Dream, at least to some degree. We see memory bubbles and whatnot. But then, how would Boothill using the artifact in the dream call the Galaxy Rangers in real life? As said before, Dan Heng calling Jing Yuan in the dream didn't call the real Jing Yuan, so how come the real Galaxy Rangers are called now? Is the burial artifact an Emanator of The Signaling?
TL;DR: When did this dream start, and when did it end?
Thanks in advance!

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2024.05.16 10:55 sinkingtuba Improve my own written stories - Expert advice?

I'm new to this and have a collection of stories, both Safe For Work (SFW) and Not Safe For Work (NSFW), that I've written over time. I'm eager to improve them using AI technology. This could involve adding or removing characters, refining plotlines, adjusting story sequences, or enhancing scenes.
Could anyone suggest the best platform or interface for me to work on? I'm looking for a platform where I can ask questions to improve character development, plot twists, or even find a suitable ending for my stories.
I've come across NovelAI and AI Dungeon, but I'm unsure if these or any other platform would suit my needs better.
Any recommendations or advice would be greatly appreciated. Thanks!

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2024.05.16 09:28 haygurlhay123 “This Time, I Will Never Let You Go”: Cloud’s Mission and the Hidden Purpose of the Remake Trilogy - Literary and Musical Analysis of FFVII - Part 3

(continuation of part 2)
III. e) The Mobius FF x FFVII collaboration
Alright, back to our suspension world-hopping! Let’s visit the realm of Mobius FF, —more specifically, the collaboration between Mobius FF and FFVII—, where I found the most substantial evidence for my theory.
In case you’re unfamiliar with the Mobius FF (MFF) world and games, let’s begin with a bit of a summary of the parts relevant to us. The story takes place in a world called Palamecia, to which people from other worlds are inexplicably summoned. The vast majority of those who are brought there don’t remember anything from their worlds of origin or their lives before Palamecia except their names: these amnesiac people are called Blanks. The main character is Wol, accompanied by a guiding fairy of Palamecia named Echo. Echo knows a lot about the mechanisms of Palamecia, as she’s tied to the realm. The leader of this world is Vox, a being who manifests only as a voice. The first thing all Blanks remember before they wake in Palamecia is Vox telling them the rules of the realm. Incidentally, the crystals of the MFF world are teleportation crystals.
III. e) i. Devs’ Statements
Let’s review some of the MFF x FFVII Remake collaboration devs’ statements before diving into its story.
For both the MFF x FFVII Remake collaboration and the Remake project, Kitase took on the role of producer while Nojima supervised the screenplay and wrote the scenario. The project leader was none other than the Remake trilogy’s Hamaguchi, who told a SE interviewer the following:

“We would love for you to play the [MFF x FFVII] collaboration event as you look forward to [Remake’s] release” (“Celebration of the Overseas Release of the Steam Version and FINAL FANTASY VII REMAKE Collaboration Event”, Square Enix).

He later hints at the collaboration’s storyline:

“This collaboration is focused on Cloud, so the other characters will not make an appearance. Players will join Cloud, who has gone astray in Palamecia, on his adventures and see how the story unfolds based on his decisions. Content-wise, FINAL FANTASY VII fans will surely become fraught with emotion as events unfold in-game (laughs).”

Kitase concurs on the emotional aspect of the collaboration in the same interview:

“When it comes to the story, I seek two things– ‘mystery’ and ‘[…] emotional impact’.”

Clearly, fans of FFVII are supposed to react emotionally to the events of the collaboration. With these statements in mind to give us perspective, we can get into the plot points relevant to our analysis. MFF x FFVII Remake comes in two parts, the relevant plot points of which I will describe and analyze one at a time.
III. e) ii. Eclipse Contact
1) Fact-Finding
Part one of the MFF x FFVII Remake collaboration event is called Eclipse Contact. It came out in 2017 on Aerith’s birthday, February 7th, and its release campaign ran until March. In Eclipse Contact, Palamecia welcomes someone new: Cloud Strife appears in the realm with very little recollection of his core world of FFVII.
Cloud isn’t a Blank, since he recalls the mako reactors in Midgar upon his arrival in Palamecia, and also remembers that he was hired by Avalanche to blow them up:

“Echo: How did you end up in Palamecia?

Cloud: I… That day... I remember now. A job. I had taken a job. I was hired muscle protecting clients. They wanted to stop the reactor... We used a train to get past security... Was it at night? Something happened... Next thing I knew, I was floating through darkness. Then [I woke up here]”.

This piece of dialogue reveals that Eclipse Contact Cloud’s memories end at the very moment when Avalanche arrives at reactor 1 in OG (disk 1, chapter 1): the very beginning of the game. Consequently, Cloud does not remember anything that happened from the beginning of the OG timeline onwards.
Wol and Echo are intrigued by Cloud’s strange case: non-Blanks rarely arrive in Palamecia. The following text appears on the screen shortly after they meet:

“Perhaps he is not truly who he thinks he is.
Perhaps everything is illusory, a dream.
Only one thing is certain, that he must press on, one step at a time, toward the light that shines from the promised land.”

Just like he did in FFT’s Ivalice, Cloud feels the need to find the Promised Land in MFF x FFVII, despite the fact that he lacks memories of the OG timeline. Though Cloud doesn’t remember anything beyond the train ride to reactor 1, he does remember the Promised Land (at least somewhat). This is odd, given that in OG, Cloud didn’t learn about the Promised Land until several chapters into the game.
Wol and Echo agree to help Cloud figure out why he’s here, since there’s clearly something strange going on with his presence in Palamecia. In fact, Cloud brought Midgar’s mako reactors with him somehow, transplanting them onto the landscape of Palamecia. The group decides to bomb these reactors, following Cloud’s instincts in the hopes that it will jog his memory.
Now for my favorite part. After blowing up another reactor, the group is surprised by the appearance of a crystal. A piano rendition of Aerith’s theme begins. When Wol tries to touch the crystal, something akin to a force field rejects him. When Cloud approaches it, however, the crystal responds to his hand by flashing with light. As it begins to glow, Wol concludes that the crystal is linked to Cloud and Cloud alone. Let’s examine the resulting dialogue:

“Echo: This is the light in your memories. The light of home.
Cloud: Home? But I don’t—
Echo: If you don't remember… then your home is lost to you.
Cloud: Then my memories are gone.
Wol: Do you want to reclaim your past?
Cloud: Not interested... I am what I am now. Not what I was.
Wol: Then tell me… This light. If you can’t remember it, what does it mean to you?
Cloud: It's a warm light... I feel at peace. If this place —home— is as warm and peaceful as this light, then I want to go there.
Echo: You can't go there... Not back to the past.
Cloud: I see.
Echo: But even if you can't go back to the past, you can go forward. If you wish for it strongly enough, the crystal will show you the way. The way to a new world. The way to your Promised Land. […]
Cloud: So... Should [I] take [my] chances and make a wish to this crystal?
Wol: Go ahead. It’s your crystal.
Echo: I should warn you that once you start on this journey, there's no coming back.
Cloud: The past is the past. I want to go to a place where everything is new. I’m ready.“

What follows is a moment I call the wishing scene (13:43-14:34). Cloud closes his eyes and wishes on the crystal. It flashes, and suddenly, rainbow-colored ripples of light appear around it. Aerith’s theme is replaced by a slightly modified version of “Midgar, City of Mako”, the track that plays during the opening cutscene of Remake. You can recreate the modification by listening to “Midgar, City of Mako” from 2:00 to 2:23, then skipping to 3:00 and listening until 3:18. You may recognize the musical motif that kicks off the wishing scene as the Lifestream motif, which has become symbolic of the mysteries of the Remake trilogy, as it often plays during scenes where unexplainable plot deviations from OG occur— more specifically, deviations involving multiverse shenanigans. For instance, it plays during MOTF 4. It also plays in Rebirth after Cloud blocks masamune as Aerith is shown dying anyway.
Cloud disappears with his crystal, after which Echo speaks to Wol about Cloud’s journey:

“Echo: Each person gets the Promised Land they justly deserve, not the one they really need. If you’re a bad person, you go to a bad place. If you expect nothing, you get nothing. Even the journey there makes you look deep within yourself to find out who you really are. Cloud should be facing his own past as we speak. It’s cruel, but necessary. That battle was a long time coming”.

Apparently, at least in the context of this collaboration event, the Promised Land can be a reward or a punishment, depending on which you deserve. Echo explains that Cloud will have to face himself and his past on his way to his Promised Land. This means that the Cloud that appears in Eclipse Contact must next embark on a journey that will confront him with his past, test his mettle, and ultimately lead him to the Promised Land he justly deserves.
III. e) ii. 2) Fact Analysis
There’s a lot of vital information to dig into here, mostly provided by Echo. She claims that the crystal’s light is linked to Cloud’s memories of home; Cloud has to have known this home in the past, as it could not otherwise exist in his memories. MFF Cloud must be a post-OG Cloud. Unfortunately, Echo indicates that whatever Cloud’s home is, he’s lost both it and his memories of it. Despite this, Cloud describes his home as warm and peaceful, concluding that he wishes to find it. Though Cloud can’t return to the past, Echo tells him that if he wishes it strongly enough, the crystal can guide him toward a new world, where his home and his Promised Land exist in the future. The fact that Aerith’s theme is playing all throughout these descriptions of Cloud’s lost home, his Promised Land and the past that he can’t return to makes it extremely obvious that these concepts all point to Aerith. Aerith is Cloud’s lost home. Wherever Aerith is, that’s his Promised Land. The time spent with Aerith before her loss is the past he tragically can’t return to. You might have clocked the similarities between Eclipse Contact’s mention of Cloud’s lost home and DFF’s mention of Cloud’s lost dream: in both these titles, Cloud’s home and dream are equivalent to his Promised Land. It’s confirmed yet again that Aerith is the one Cloud hopes to return to, just like every soul returns to the Lifestream. At this juncture of my research, I was curious as to why the last thing Cloud remembers before waking in Palamecia is the run-up to the Reactor 1 bombing mission in OG (disk 1, chapter 1). This mystery will have to persist for a while longer.
The alarm bells in your head might’ve been triggered by the mention of the wishing scene’s rainbow ripple effects— and rightfully so. This visual cue has sparked passionate debate in the fandom since its appearances in Rebirth, as seen in these pictures:
Zack Choosing To Get A Cure For Cloud, Rebirth Chapter 14; Creating a New World/Timeline
Aerith Pushing Cloud Out of that World/Timeline, Remake Chapter 14
Cloud Blocking Masamune, Rebirth Chapter 14; Creating New World/Timeline
You might have read or heard that this rainbow effect signifies that a character has entered another timeline, created a portal to another timeline, created a new timeline or is being shown different timelines. Indeed, whenever the OG timeline is deviated from in a significant way, this effect appears. The pictures above present multiple examples of these shifting realities.
One might propose that the rainbow ripples in Eclipse Contact and Rebirth are unrelated because of the long period between their respective release dates. This long in-between period indeed makes it likelier that the effect was used without forethought in Eclipse Contact, forgotten over the years, and incidentally reused in Rebirth as a plot-important visual cue with no connection to Eclipse Contact. I’m inclined to disagree since the crystal is specifically described as a vessel that can take Cloud “to a new world” by Echo, which is a bit on the nose. Regardless, it’s plausible that there’s no connection. That is, it would be, if the rainbow effect didn’t show up in Remake too.
When the Whispers are finally defeated in chapter 18 of Remake, a burst of the rainbow ripple effects indicate the emergence of multiple worlds, newly freed from the restrictive clutches of fate (1:16:36-1:16:47). Shortly thereafter, Sephiroth takes Cloud to the Edge of Creation and invites him to join forces with him. Cloud refuses, and Sephiroth says the following:

“Seven seconds till the end. Time enough for you. Perhaps. But what will you do with it? Let's see.”

The question “What will you do with it?” implies that the answer is unknown, meaning Cloud is no longer bound to the OG timeline by fate: many alternate futures lay ahead. Sephiroth is telling Cloud and the audience that now, the mystery of the Remake trilogy has become “Which future will Cloud bring into existence? Which among the infinite possible timelines will his choices result in?” After pondering this aloud, Sephiroth leaves Cloud alone to consider the rainbow effects in the sky (1:19:23-1:19:36). Because they generally represent alternate or changing timelines, it’s safe to assume that the rainbow ripples here represent the myriad of possible worlds that Cloud’s actions in those seven seconds could generate. After all, Sephiroth was just talking about them, and chapter 18’s description in Remake reads as follows:

“In a world beyond, Sephiroth shows Cloud a vision of the planet seven seconds before its demise. Having strayed from the course destiny set for them, they strike out on a path towards an unknown future."

This explains why the player is shown Cloud staring at those colors in the apocalyptic sky at world’s end, directly after hearing Sephiroth’s cryptic words: those are all the alternate “unknown future” timelines ahead of him, now unravelled from fate. Amongst those rainbow ripples lies the answer to the question “What will you do with [the seven seconds]?”
Given that Remake was released in 2020 and Eclipse Contact came out in 2017, the major story elements of the Remake trilogy —including the eventuality of alternate timelines— had to have been planned out at the time of Eclipse Contact’s release: while the MFF x FFVII Remake collaboration was being made, Remake was also in production. Also recall that the collaboration event and the Remake trilogy share a codirector in Hamaguchi, a writer in Nojima and a producer in Kitase. Based on all this, it’s more than likely that the rainbow ripples in the Remake trilogy and inEclipse Contact represent the very same thing: alternate worlds and timelines. All this to say that when the rainbow effect appears around the crystal in the Eclipse Contact, it means the crystal is acting as a vessel to another world, just like Echo said.
But that’s not all Echo said: she also mentioned that this other world would take Cloud to his home, to his Promised Land. We’ve already established what that means for Cloud, what it’s meant since two whole decades at the time of Eclipse Contact’s release: this crystal will take Cloud to Aerith. So, where exactly did the crystal take Cloud? In what world can he meet Aerith again?
The music that plays during the wishing scene gives us a huge hint. As I noted before, the track playing in the background is a slightly modified version of Remake’s “Midgar, City of Mako”, which plays in the introduction cutscene of Remake. This is a musical cue that the ending of Cloud’s journey in Eclipse Contact and the very beginning of the Remake trilogy are closely related. Add the fact that the devs wanted players to experience this collaboration event before playing Remake, and it becomes undeniable: the crystal that appeared to Cloud in Palamecia —which offers to lead him to his home and Promised Land, meaning to Aerith—, took him to the world of the Remaketrilogy.
Eclipse Contact is huge. The whole crux of my theory lives and dies right here. However, we still have part two of the MFF x FFVII Remake collaboration event to analyze as well as its promotions to look into before I can drop the thesis on you, so bear with me in order to receive the most thorough analysis of all this possible! I want to give you every drop of proof I can!
III. e) ii. MFF x FFVII Remake Fatal Calling
1) Fact-Finding
Fatal Calling came out February 1 of 2018, and its release campaign ended in March. The game opens with a cutscene: Cloud is floating, seemingly unconscious, through a sparkling, green current of light. The current flows into a circle of bright, white light, surrounded by rainbow ripple effects as Cloud is driven toward and into it. An orb floats along with him. The Advent Children theme “The Promised Land” plays, a choir of mournful, aching, mutedly desperate souls engaged in a lamenting prayer. Sephiroth’s voice echoes:

“Sephiroth: It’s time. You may turn your back on the past, lock your memories away. Hide reality beneath a layer of illusion. But destiny will not die so easily. Yes. At memory’s end you may plead for it all to go away. But the past is a curse, binding your soul. It’s time. Wake to your fate. Rise to your destiny.
Cloud: (In a half-conscious grunt) Reunion…
Sephiroth: The light will lead you. Wake to your fate. Rise!”

Sephiroth’s mentions of Cloud hiding under an illusion and repressing his memories are no doubt allusions to Cloud’s past, which was complicated and darkened by Hojo’s experiments. It makes sense, then, that Cloud responds with “Reunion”. Fatal Calling indeed focuses on Cloud’s relationship to his past, his identity and Sephiroth. Everything involving Nibelheim —where everything started—, Sephiroth’s manipulation, and Hojo’s experiments are on the table. Also noteworthy if not out of place is Sephiroth’s evocation of fate.
Cloud enters a battle with Sephiroth with the help of Wol and Echo, who are surprised to see him back in Palamecia. Cloud tells them about the orb seen floating along with him in the opening cutscene: though he calls it a materia, he doesn’t know how or when he acquired it. Based on his behavior, it appears that Cloud remembers just as little about the events of OG as he did by the end of Eclipse Contact. Wol informs Cloud that whoever he heard speaking to him on his way here was probably Vox pretending to be Sephiroth.
As the group advances, Cloud recalls Midgar and decides they should go there next. At one of Midgar’s mako reactors, the group encounters Sephiroth, who speaks to himself:

“It's still not enough. This... this is but a pale imitation of the power I desire.”

Once Sephiroth has disappeared, Cloud explains what he remembers: Sephiroth was the greatest SOLDIER of all and a hero to Cloud, though Cloud can’t remember what exactly ended this admiration. As players of FFVII OG, we know the event in question is the Nibelheim incident, wherein Sephiroth slaughtered the town’s residents, including Cloud’s mother, after learning of his past. The former war hero also severely injured Tifa, whom Cloud presumed dead when he found her in the old mako reactor with a vicious slash on her chest. Cloud is agitated by the gaps in his memory, so the group resolves to follow Sephiroth for answers. When they find him again, Sephiroth causes Cloud to experience a piercing headache with the mere mention of the Reunion. They fight, but Sephiroth is too powerful— he skewers Cloud with the masamune and taunts his unconscious body:

“Sephiroth: A puppet. I won’t kill you. Not yet. Not until you know true despair.
Wol: If you want despair, we got plenty to go around. Palamecia’s full of it.
Sephiroth: Yes, this planet knows suffering. But it is not the world that was promised to me. I must go home. Tell Cloud, if he wants to see me again, he should face his memories. I will await him there, in the land of memory, where it all began. In Nibelheim.”

Sephiroth darkens Cloud’s materia, turning it black. Later, Wol explains to Cloud that Sephiroth stole the light from his materia, taking Cloud’s strength along with it.
Once Cloud has woken up, the group travels to Nibelheim to uncover the truth about Cloud’s memories. Cloud slowly gathers pieces of his past, shown to the player as titled, diary-like text written from various perspectives. Cloud learns the truth about SOLDIER, Jenova cells, Sephiroth, and what happened in Nibelheim. Let’s examine a few of these diary entries:

“A Warrior’s Tale: There's a girl in Nibelheim I think about. Warm. Cheerful. More grown-up than a child. Haven't talked to her much, but she seems nice. She's going to be leading the SOLDIERs to the mountain reactor. Maybe if I get into the survey team I'll get a chance to talk to her? Nah. She's out of my league.”

Young Cloud’s crush on Tifa is on full display! This must be a memory from his time as an infantryman accompanying Zack and Sephiroth to Nibelheim.

“Tale of the Nameless: I drift along in the mako, asleep. Who am I? Who am I? Who am I? Who am I? Give me a number. I… I… I am… The Reunion. The Reunion must happen.”

This entry could be taken from any one of the Nibelheim survivors’ perspectives, as they were all bathed in mako and turned into Sephiroth clones. I would venture to say this is Cloud’s perspective though, given the reference to this iconic line from OG:

“Cloud: Professor... please give me a number. Please, Professor...
Hojo: Shut up, miserable failure.” (disk 2, chapter 2).

The trio encounters Sephiroth near the old Mt. Nibel mako reactor. Because Sephiroth stole the light from his materia earlier, Cloud goes into the confrontation already drained of his strength. However, when Cloud lifts the materia in his hand, it lights up and creates rainbow ripples in the air around him, similar to those seen in Eclipse Contact and Rebirth. Cloud is healed of his injuries: he closes his eyes for a moment, wearing a peaceful expression. Sephiroth is displeased, but recovers quickly:

“Sephiroth: The guiding light… it healed you.
Wol: […] here, near the mako reactor, the materia regained its light. And your strength returned […]. [Sephiroth]’s here so he can steal the power you've stored inside that materia.
Sephiroth, with a short laugh: I have all the power I need. Cloud. What strength you’ve regained is yours. Use it to fight me. It’s time. Let’s decide this, in this land lost to despair. The prize is home. The Promised Land. There to answer the call of destiny.”

With this second evocation of fate, Sephiroth disappears.
Cloud, Wol and Echo find Sephiroth at the Northern Crater. He mocks Cloud for believing the orb in his possession is materia. Sephiroth waves a hand and his signature black and purple fog surrounds Cloud, immobilizing him. Sephiroth claims that the power Cloud regained at the Mt. Nibel reactor was Sephiroth’s all along. Now that it courses through Cloud’s veins, Sephiroth controls him. He calls Cloud his puppet and finishes with the following before the two vanish, leaving Wol and Echo alone:

“Now, let us return. Back to the Promised Land. The time of the Reunion has come.”

After Cloud finally breaks free and defeats Sephiroth with the help of Wol and Echo, the villain makes a final threat:

“Very good, Cloud. You’ve destroyed an illusion. But the time will come to abandon your illusions and face reality. Then, you will know true pain.”

Sephiroth disappears for the last time, his body surrounded by his signature dark fog and the rainbow ripples. A piano rendition of Tifa’s theme begins. Cloud’s orb rises into the air and becomes a crystal, with the same shape and glow as the one we see in Eclipse Contact. The following dialogue is illuminating:

“Cloud: I will fight. The light will lead me where I need to go.
Wol: You sure? Wasn’t that [crystal] Sephiroth’s?
Cloud: I heard Sephiroth's voice, at the end. Inside me. Whatever he put in me, it’s still in there. Someday I’ll settle that score. If I can't avoid destiny, I might as well face it head-on.
Wol: Yeah. That was quite a speech, Cloud. Surprised you made it through without laughing.
Cloud: Yeah, forget I said it. I will too.
Echo: Forgetting won’t make it go away. Even if the words fade from memory, your dream will never disappear. Not until it becomes real.“
The crystal shines as though in response.
“Echo: See? See, that's how the light of hope works. Hope can turn your dreams into reality.
Cloud: Yeah. I guess so. I might forget this world, but I won’t forget hope. And my reality, that’s for me to live.”

Tifa’s theme ends. Cloud approaches the crystal, and disappears in a beam of blinding light. Once Cloud has vanished with the crystal, Aerith’s theme begins playing. A few pale feathers with a slight orange tint (the color of MFF) float down onto the floor where he stood seconds before. The image fades to black. The credits roll, and Aerith’s theme continues all the way through.
Once both the final name in the credits and Aerith’s theme fade, we’re surprised by a sudden, troubling image: Sephiroth appears in a frightening flash, standing amidst the flames of Nibelheim. When his image fades to black, the collaboration title *“Final Fantasy VII x Mobius Final Fantasy”*appears on the screen. The FFVII title is accompanied by the 1997 meteor logo. Then, a flash of light: the titles reappear, except this time, they read “Final Fantasy VII REMAKE x Mobius Final Fantasy”. The new Remake Meteor logo replaces the 1997 version. As soon as these changes to the FFVII title and meteor logo occur, Aerith’s theme returns. It plays on until the game ends a few seconds later, the screen fading to black.
III. e) ii. 2) Fact Analysis
The introduction cutscene shows that MFF Cloud travelled from Eclipse Contact to Fatal Calling via Lifestream. It’s unclear how much time has passed in between, but the atemporal nature of the Lifestream makes the question irrelevant. My theory that MFF Cloud has died is corroborated by the way he’s depicted in the opening cutscene: his eyes are closed and his body is limp as the Lifestream carries him.
Eclipse Contact ended with Echo’s claim that Cloud will face his true self and confront his past while he journeys to his Promised Land. This description resembles what Cloud experienced in the OG Lifestream sequence (disk 2, chapter 8). Indeed, Fatal Calling revolves around the same topics the Lifestream sequence addresses: the truth about the Nibelheim incident, Hojo’s experiments, young Cloud’s crush on Tifa, etc. The opening cutscene shows Cloud being transported to his Promised Land and facing his past on the way there, just like Echo said he would.
Let’s now take a long detour to examine the song that plays during the opening cutscene of Fatal Calling: “The Promised Land” theme from Advent Children. The title and general subject of this song are obviously relevant to the cutscene, but there must be more to its inclusion than that. Perhaps the lyrics can help us understand its appearance in the opening cutscene of Fatal Calling. Here are the unofficial English lyrics (translated from the original Japanese lyrics by an anonymous fan and verified by me via DeepL):

“Why do we cling together?
Why do we give punishment to lesser hearts?
The planet did not forgive us
Did not forgive us
The planet did not forgive us
Did not forgive us
The pulse of veins flows through the earth
A faint, faint pulse
Of a heart drawn to death
A gentle life returns to the planet
Is it necessary to sacrifice souls?
Why do we cling together?
Why do we beg for forgiveness
In the Promised Land?” (“‘The Promised Land’ (theme)” by Final Fantasy Wiki).

The song appears to be a regretful lament of human behavior, expressed by the repetition of “Why do we […]?” questions. The behaviors listed are all typically human ones: the terms “[clinging] together” and “[giving] punishment to [the] lesser” express the uniquely human nature of tribalism and the consequences of the fear and hatred it can generate, and “[begging] for forgiveness in the Promised Land” is likely a reference to the human hypocrisy of only feeling sorry for one’s crimes when judgement day arrives. This last line describes a scenario where someone remains passive or ignorant in the face of something important, only to realize its essentiality once it’s too late. The repeated“The planet did not forgive us” lines reflect the fear of being condemned forever because of one’s mistakes, as though the planet is a deity one has sinned against. The lyric describing a pulse in the earth is obviously about the planet being alive— a reference to the Lifestream. But the pulse is faint and weak and the planet is dying, perishing because of mankind’s greed. This is an indictment of mako energy. The line “A gentle life returns to the planet” refers to an innocent’s soul returning to the Lifestream after death, while the next lyric “Is it necessary to sacrifice souls?” protests the “sacrifice” of the planet’s soul energy for mako production. In all this darkness, this song’s mention of “forgiveness in the Promised Land” leaves a modicum of hope for a better place, however meek, even though mankind might not deserve it. The song “The Promised Land” is both a lament of mankind’s ways and a plea for mercy, with religious and/or spiritual undertones. The song’s themes seem to be: the Promised Land itself, regret and shame, the sins and foolishness of mankind, the death of innocents, grief, Cetra spirituality, and a meek, quiet hope despite it all. The most interesting aspect of the song is its antithetical portrayal of death as a thing of both despair and hope, condemnation and salvation, cruelty and mercy, suffering and relief. Maybe we can glean more information about this theme’s significance in the world of FFVII if we examine the contexts in which it appears.
Importantly, the song plays in Marlene’s introductory narration of Advent Children, meaning its themes are related or similar to the film’s. I highly recommend listening and watching it again, even if you remember this iconic segment. Marlene references Aerith’s sacrifice as the image of Cloud lowering her into the water is shown. Note that Marlene says “Sadness was the price to see it end” (2:36) after we are shown Aerith’s death and her subsequent unleashing of the Lifestream (1:49-2:24): Aerith’s innocent life was sacrificed for the planet’s survival. The lyrics “A gentle life returns to the planet” and “Is it necessary to sacrifice souls?” suit Aerith’s situation quite well.
The theme also plays in Advent Children as Kadaj dies in Cloud’s arms (1:45:00-1:47:55), hearing Aerith’s gentle voice and reaching up to take her invisible hand. Here is what Aerith says to him in his dying moments as “The Promised Land” plays:

“Aerith’s voice: Kadaj?
Kadaj: Huh?
The dark sky has gone with Sephiroth. Healing rain starts falling from bright clouds. The rain no longer hurts Kadaj.
Aerith’s voice: You don’t have to hang on any longer.
Kadaj: Mother! Is that…?
Aerith’s voice: Everyone’s waiting, if you’re ready.
Kadaj nods his head slightly in acceptance. He holds out his hand, and slowly evaporates into the Lifestream. Cloud watches […]” (Advent Children).

Kadaj is brought into the Lifestream by Aerith as she provides rain from the Lifestream. All those with geostigma are healed by the rain, and Tifa feels Aerith’s presence as the party celebrates:

“Tifa, looking out at the falling rain […]: Somehow, I knew you were there. Thank you” (Advent Children).

Cloud stands in the rain with a smile —his first in the whole film—, closes his eyes and basks in Aerith’s healing with his face upturned. He is finally at peace:

“Cloud’s expression is one of peace as the [Lifestream] rain patters against him” (Final Fantasy VII Advent Children English script, “[83] Atop the Shinra Building”).

One thing is clear: the track “The Promised Land” accompanies Aerith. It only makes sense, since we’ve seen overwhelming evidence that she is Cloud’s Promised Land, and since she occupies the Lifestream —which some consider the Promised Land as it is where souls go after death— during the events of Advent Children. Note that when the piece plays, Cloud is shown either mourning Aerith and releasing her into the river at the Cetra capital, or basking in her presence, smiling with relief at the peaceful feeling that she’s somewhere near: these two opposing scenes reflect the song’s antithetical portrayal of death.
Additionally, the song’s themes of regret, shame concerning one’s sins and a small hope perfectly describe Cloud’s character arc and feelings in Advent Children. Cloud regrets his inability to save Aerith, which he considers a sin. Further, he only realized how important she is to him once it was too late to tell her. And of course, he harbors a fragile yet important hope that he’ll be reunited with her in the Promised Land:

“‘Can sins ever be forgiven?’ — Cloud asks this to Vincent, who mutters a brief answer. For both of them, ‘I couldn't protect my loved one’ is the sense of guilt that they carry, so their words resonate with weight” (FFVII 10th Anniversary Ultimania Revised Edition, “Chapter 2: Character in FFVIIWorld”, “Vincent Valentine”, “In Advent Children”, page 72).

"’It is my sin that I couldn't protect my loved one’ — under this assumption, Cloud closes off his heart. What will the reunion with Aerith bring him? ‘I... think I want to be forgiven. Yeah, I just want to be forgiven’” (FFVII 10th Anniversary Ultimania Revised Edition, “Chapter 2: Character in FFVIIWorld”, “Cloud Strife”, “In Advent Children”, page 40).

“Cloud, after seeing Aerith’s hand reach for him through the Lifestream: … I think I'm beginning to understand.
Tifa: What?
Cloud: An answer from the Planet… the Promised Land... I think I can meet her... there” (disk 3, chapter 3).

Just as the song and Marlene express in the introduction of the film, Aerith was innocent, and her sacrifice generated great grief. Cloud finally experiences peace when he feels her presence in the healing rain, and he smiles: he’s glad to be with her again, even if it’s only for a brief moment of tangential respite.
The scene depicts Aerith guiding Kadaj into the Lifestream as the song plays, tying her to the concept and theme song of the Promised Land once more. This connection is later solidified by Tifa’s thanks to the late flower girl. All of this evidence shows us that this musical theme is intimately linked to Aerith, as it never plays in her absence. After all, the song speaks of sins, the death of innocents, forgiveness, grief, a small sense of hope, regret and the afterlife: all themes relevant to Cloud’s feelings surrounding Aerith’s death in and outside of Advent Children.
The Remake OST also includes a version of this piece called “The Promised Land - Cycle of Life”. This iteration of the theme begins playing in the wake of the first bombing mission, right after Sephiroth taunts Cloud with his mother’s dying words in Sector 8 (chapter 2). Sephiroth appears to Cloud surrounded by flames, evoking the Nibelheim massacre, and the theme begins playing in the background once he disappears, continuing (13:17-15:30) as Cloud walks through the sector, encountering fires and destruction all around him. This version of the Promised Land theme is meant to emphasize the deaths of the innocent Nibelheim townsfolk and the innocents in Sector 8. This dreadful atmosphere is amplified by the cries of despair that ring all around as Cloud passes by NPC Sector 8 residents. Perhaps the themes of tribalism and mankind’s sin are relevant to this scene as well, since Shinra and Avalanche are two distinct and warring groups whose quarrels, regardless of their necessity, result in the deaths of innocents. The theme of guilt also emerges, reflecting the Avalanche members’ feelings upon seeing the unintended collateral damage of the explosion. “The Promised Land - Cycle of Life” plays until Cloud encounters Aerith on Loveless. So it seems in this scenario, the heavy weight of death and despair is lifted when Cloud meets the lively, cheery Aerith. Once more, Aerith is central to the musical theme of the Promised Land, as well as to the concept itself.
I also noticed that a version of the song plays as Cloud and the party ready to enter the Forgotten Capital to save Aerith in Rebirth’s chapter 14: it truly adds the weight of her upcoming death to the scene.
Back to Fatal Calling, the scene where Cloud regains his strength is quite mysterious. Wol says Cloud’s orb regained its “guiding light” light because of its proximity to the mako reactor. In the moment his strength is replenished, Cloud is shown tilting his head back and closing his eyes: this is reminiscent of the scene in Advent Children when he stands under Aerith’s healing Lifestream rain, feeling at peace. The rainbow ripples shining from the orb indicate that something is crossing the boundaries of worlds. Since the mako reactor pumps up the Lifestream, being near a reactor also means being physically near the Lifestream. This means Aerith’s spirit is within proximity. In my opinion, Aerith was able to heal Cloud from the Lifestream, just like in Advent Children. However, Aerith is not in Palamecia with him: her healing had to travel there through the Lifestream, transcending the boundaries of worlds, hence the rainbow ripples.
Let’s now address the appearance of Tifa’s character theme in Fatal Calling. Since Fatal Calling is all about discovering Cloud’s past in Nibelheim and then in Hojo’s lab, it makes lots of sense for Tifa’s theme to play as the crystal appears. In OG’s Lifestream sequence (disk 2 chapter 8), she’s the one there helping Cloud sort through his past instead of Wol and Echo. Cloud even picks up a piece of his childhood crush on Tifa in Fatal Calling as a shard of his memory. After all, this crush was the catalyst for him joining SOLDIER, and everything that transpired in consequence:

“Cloud: That was the first time I heard about Sephiroth. If I got strong like Sephiroth, then everyone might... If I could just get stronger... Then even Tifa would have to notice me” (FFVII OG, disk 2, chapter 8).

Additionally, it’s fitting that her theme should begin right after Sephiroth speaks of “[abandoning] your illusions and [facing] reality”, considering that Cloud’s false persona was concocted by Jenova using Tifa’s mistaken impressions of Cloud:

“While being tended to by a station worker in the Sector 7 Slum train station, [Cloud] was reunited with Tifa, and using the abilities of Jenova’s cells, formed a new personality” (FFVII 10th Anniversary Ultimania Revised Edition, “Chapter 2: Character in FFVII World, “Cloud Strife”, “Cloud Behavior Record, Compilation of FFVII”, page 40).

“(Image caption:) A new personality takes shape the moment he sees Tifa” (FFVII Story Playback, “Story Check: Tifa’s Flashback”).

“Tifa (to Cloud): Deep down, you're a pretty nice guy. Didn't see it when we were kids, but...” (Remake, chapter 14).

(Continued in part 4)

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2024.05.16 07:01 SeriouslySlytherin Aavesham: A Verithanam Ride Through College Life and Goofball Gangster Antics.

As someone in their early 20s, I found “Aavesham” to be a refreshing blend of comedy and action that resonates with the college-going crowd. Fahadh Faasil’s performance as Rangan is a delightful surprise, showcasing his versatility in a genre that’s quite new to him. The movie, directed by Jithu Madhavan, is a laugh riot that also packs a punch with its action sequences. The plot revolves around three college freshmen who, after being ragged by seniors, decide to enlist the help of a local gangster for revenge. What unfolds is a series of hilarious misadventures that keep you hooked. The film’s strength lies in its well-crafted side characters and the impeccable comic timing of the dialogues2. Lastly, watching “Aavesham” in its original language, Malayalam, is crucial. The nuances of humor, cultural references, and the linguistic flair of the dialogues add layers to the viewing experience that dubbing can’t fully capture, one can always opt for subtitles for better understanding. The original voice acting, especially Fahadh’s delivery of punchlines and the local slang, brings authenticity and a deeper connection to the narrative.

submitted by SeriouslySlytherin to moviecritic [link] [comments]

2024.05.16 05:49 ThePokePC This story felt like whiplash, and overall like everything was important but also nothing was important all at the same time.

Scroll to the bottom for to long didnt read haha.
Just finished rebirth and i have to say that the entire story felt like it was trying to mash 10 completely different stories together. The first game ends with the world almost ending and huge fight against sephiroth, then cloud is uh... somewhere? and sephiroth says something about having 7 seconds to save the world. Then part 2 starts and everythings fine kinda, no mention of that 7 second thing ever again haha, but it doesnt really wrap up or pay off almost anything from part 1 or the prequels in any meanignful way and overall felt very filler for the most part to me.
You spend almost all of the story doing nothing towards your goal, going to the beach, arcades, minigames and all sorts of other stuff and then randomly like 2-3 chapters away from the end wutai declare war, kiiinda, its never shown on screen and its pretty much the last time the war is mentioned in the story.
It set up a random out of no where plot with the Gi i think they were called, and then basically never mentions or shows them again.
Introduces a random cetra lost city it hasnt mentioned once and acts like everyone knows what it is, reds like oh yeah ive heard of this place i was sat there like have you because i havent haha.
Starts getting innnconceivable with how many flip flops it does in the end sequence, it goes much more for spectacle than actually making it make sense, people are teleporting evvvverywhere, each new phase of the boss keeps jumping from random place to place, you'll be in a church as zack fighting sephiroth, then playing as red fighting a masssssiive sephiroth (because seph can do that apparently) then you'll be cloud and aerith whos just died fighting sephiroth.
What i mean by this game feels like nothing happened, the end of the first game and end of the second game even though theyre 80 hours apart, are almost scene for scene identical. You fight rufus then Sephiroth starts ending the world, then you fight jenova, then bahamut then finally sephiroth, not only were these three basically the same as the first game, the setup was almost the same. Cloud starts getting headaches then a big wall of spirits appears, then you start of as just cloud and one by one the party get involved. Then you beat sephiroth only for him to escape and the game ends with you going to look for sephiroth. the order of bosses and generally everything that happens is the exact same minus aerith kinda dying.
The boss order is the same, the final few scenes are basically the exact same almost word for word with sephiroth saying the exact same stuff as part 1. Barret even jokes about how its the exact same by saying "Deja vu huh, feels like back on the bridge". Zack is seen in the church saying hes gonna go look for them again (which is litterally how the dlc for the first game ended!!!)
Its just reset everything back to how the first game ended, but this time cait and yuffie are here. But other than aerith no characters died and the plot is in the exact same state as it was at the end of the first game "lets go find sephiroth and save the world" again.
So many plot threads just didnt get resolved, well basically all of them to be fair haha, it tried doing several death scenes then went back on it so fast. Oh no tsengs dying, no wait, nevermind he just stands up and says actaully im fine i'll see you around???? Oh no caits dying, everyones sad like oh no big character death, then next scene is hes back like oh did i not mention i was a robot and have a shit load more bodies (like actually just what haha???) Aerith dies and then within five minutes its like oh wait nevermind now shes even stronger and will help you fight sephiroth haha. It tries doing a sad death but clouds kinda chill about it and is still talking to aerith so its like okay i guess shes dead but also completely fine haha. Then ends with the wutai hooded guy being just a random black robe guy but also sephroth kinda and the whole war was basically just a distraction. Shinra looking for the whales was also a big story thread that was immediately discarded, you fight the woman trying to capture one once and then they abandon that goal and its never mentioned again.
Sephiroth as a whole was barely even used and felt more like a jumpscare than anything, he gets to the black materia, we try to stop him so he summons that giant wall monster thing to stop up but then hes not there when we get passed it??? cait sacrifices himself then jibaits us like im actually totally fine, then we magically get out of there even though the exit is miiiiiles away and through hundreds of spinning room puzzles. then barret tosses the black materia on the floor for some stupid reason (this is absolutely nothing like barret) and it just rolls to sephiroth haahah?? the actaul dumbest way for him to get it. then sephiroth drops it and tells cloud to pick it up and give it back to him so cloud does it and then is like ha bye, cuts the branch so cloud falls, then it pretty much speedrun shits on the entire cool story set up in the other world, biggs does litterally nothing then dies, again. Zack says hes going to find a cure, then hes seen driving up to the door, then hes not looking for the cure and is suddenly back with biggs? guess no cure, then his version of cloud and aerith are fine i guuuuess? then random shinra people attack zack for some reason, he jumps off the cliff but is somehow fine. Is marlene okay in that universe? shes litterally never seen or mentioned again haha. That entire other world was suuuuch a pointless addition, from what ive heard alot of people agree, the end goal is basically the same but with another world and a bunch of new random stuff tacked on that just muddles it all.
We go back to barrets hometown and he immediately leaves and we never get closure on that, thought we'd go back and save the town or something.
Also vincent got sidelined sooooooooooooooooo hard, he got introduced and said he wants to come with us to fight sephiroth and then is legitimately not seen for the entire ending, he doesnt help get the black materia and doesnt even take part in any of the final fights, he was such a pointless addition haha. Same for cait, his whole contribution was failing to find one terminal, then giving our key to shinra who we just follow and go to the place anyway then we forgive him and he rejoins the team straight after, shinra could have just taken it at the tournament without his help and cait wouldnt have betrayed us and the end result would have been litterally the same haha. It was such pointless tacked on drama that didnt even slightly change how the next scenes played out.
All the turks basically do nothing this whole game, they randomly show up for fights and then survive and run off only to come back again and again and again, hojo and roche especially, they just randomly pop in for a fight then leave and add nothing to the narrative.
There was a massive villain introduced in the dlc for the first part who litterally doesnt even get mentioned again other than one flashback with yuffie.
From what ive seen a fair amount of this was new additions that werent in the orignal, its not that i dislike the story, i just hate how little anything has changed since the start of my like 95 hour playthrough. One character has died, and the world is still ending with almost nothing being different other than 2 new party members and a plane.
Too long didnt read:
Absolutely nothing has changed other than aerith kinda dying.
Game 1, ends with the gang looking out into the horizon like "the worlds ending we gotta find sephiroth", zack being at the church like "i gotta find cloud"
Game 2, ends with the gang looking out into the horizon like "the worlds ending we gotta find sephiroth", zack being at the church like "i gotta find cloud"
The other world storyline was such a pointless addition, biggs survived and his whole story ended with him failing to do something and him being like well guess im useless then dying. And zacks whole im gonna cure cloud and aerith ended in nothing because they kinda just get up at some point and go on a date, marlene and the mum also just disappear and are never seen again haha.
No turks die, after like 50 boss battles against them. Reno also just kinda spawns in and decides to help for the climax. Tseng gets stabbed and it does a sad death but then hes like actually you know what im fine imma walk it off.
War is declared with wutai but other than a few dead wutai outisde a reactor nothing was ever shown on screen and i dont even think theyre at war anymore at the end of the game haha.
Sephiroths fine, shinras fine. The world is lush and greeeeen as hell. The planet is supposendly dying, theyve said it for like 200 hours now across all the games, but god dayum it looks healthier than our earth, lush green jungles, deep blue oceans, beautiful desserts haha. could at least kinda make it look like its dying so it feels like somethings changed from the start of game one haha.
Overall good game but good god i can see why so many people are saying the game makes such little sense and goes for spectacle over sense haha. which is fine i guess, it was hype and the ending was great fight wise i just wish it wasnt all the same bosses as the first games ending and ended with the exxxact same cliffhanger.

submitted by ThePokePC to FF7Rebirth [link] [comments]

2024.05.16 03:36 shadowlarx The Three Musketeers (1993)

Wishing to follow in his father’s footsteps, young swordsman d’Artagnan (Chris O’Donnell) aspires to join the Musketeers, the King of France’s personal guard. Arriving in Paris, he instead learns that the Musketeers have been disbanded by the powerful and corrupt Cardinal Richelieu (Tim Curry) as part of a sinister plot to assassinate the king. He ends up joining forces with the last three Musketeers, Athos (Kiefer Sutherland), Porthos (Oliver Platt) and Aramis (Charlie Sheen), who defy the Cardinal and strive to protect King Louis (Hugh O’Conor) and Queen Anne (Gabrielle Anwar) by intercepting the Cardinal’s spy, Milady de Winter (Rebecca De Mornay).
This is, to this day, my favorite version of this classic tale, largely because of the wonderful cast. Sutherland, Platt and Sheen were a fantastic combo as the titular heroes and O’Donnell plays d’Artagnan with the right amount of youthful energy. Anwar, De Mornay and Julie Delpy as Constance were all absolutely stunning. Michael Wincott was understatedly sinister as the Cardinal’s henchman, Captain Rochefort. And Tim Curry turned in another delightfully brilliant performance as the evil Cardinal. The film had some wonderful one liners and plenty of fun action sequences. This film never gets old, in my opinion.

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2024.05.16 03:29 erymanthian-boar Speed 1994 (with Keanu Reeves, Dennis Hopper, & Sandra Bullock) was a fantastic action movie

Right off the bat let me tell you I'm no Keanu fan so this is not somebody who will gush over anything he's made. But I think this was one of his best acting performances.
I went to see the movie at the time (when the movie came out) knowing little about the actors or the director. This was in fact the director Jan de Bont's first film. He later directed the much inferior Speed 2, but before that he did another good movie (Twister).
Anyhow, he did hell of a job of directing the movie, really giving you the sense that this was really happening, as if you're watching a police chase on TV. He put the camera in really interesting places, from aerial shots to parked cars, it felt real immersive.
And the bad guy, well, Dennis Hopper is phenomenal. Coldhearted, precise, vengeful.
Yeah, I get that the plot is over the top and there are holes bigger than the bus jumped over, but one thing the movie isn't, is boring. It's nonstop action and thrill for the whole two hours duration of the movie. And it feels natural and not forced, as if this sequence of events could not be avoided. By the end you just breathe that sigh of relief and think what a movie.

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2024.05.16 03:09 Born-Procedure-5908 2.2 Patch was Genuinely Amazing And A Lot of the Complaints Feels Forced

The primary issue I have with some criticisms of the patch is that they are unlikely to hold up weight once patch 2.3 arrives.
Mainly, I genuinely don’t see how the Sparkle plot-line has ended since it’s obvious there’s going to be epilogue content for Penacony. With the IPC being a genuine threat that is assured to intervene, they’re going to confront the Nameless, Galaxy Rangers, Acheron, and Sparkle in an attempt to scoop up their former colony. You’ll have to not be paying attention to Aventurine’s discussions with Jade to realize the story isn’t over.
The pacing isn’t bad at all, for anyone who slogged through media with genuinely bad pacing like The Wheel of Time or much of Fate Grand Order. I can safely say that “slow pacing” is often a disingenuous attempt at whittling down a story that is dialogue heavy. Especially for visual novels and gacha game, what is your ideal perfect pacing for a gacha game if you think Penacony isn’t good enough? They can’t animate action sequences all the time, the dialogue will have to be utterly disjointed and unconnected to the plot to actually make the pacing criticisms fair.
Which brings me onto this point, I don’t see much arguments for how Luofu and Belobog even comes close to being better than Penacony. Especially when it comes to the pacing, dialouge, and execution of their thematics in relation to its characters.
Take Belobog for example, does our interactions with Serval and Bronya really brung as much retrospective engagement as say, the combined contribution of Robin/Aventurine/Misha/GallagheAcheron’s respective story tying up to Sunday’s Matrix like plans are deeply flawed when we take the extensive life lessons of those respective characters into account? Does Misha’s death and Aventurine’s self-destructiveness not have more development then any other patch before? From my standpoint, 90% of the interactions we got in the past two worlds just felt really vanilla and disjointed, which truly felt like a slog compared to the interesting dialogue we received in Penacony.
And as someone who thinks their media comprehension is average, ain’t no way people get confused about the story’s thematics and what the Aeons represent, I’m not going to entertain that point since it feels like an disingenuous criticism from non-players who are commenting on lore they have no understanding of. When Sunday say THEY and THEIR, they’re obviously referring to Xipe or some other Aeons who represents a path that humanity take, c’mon now.
Now, I can see why people think Sunday’s lines are repetitive and Boothill/Robin should have more screen time, but the fact that those are the main issues when we have like 5 perfectly great characters in the last 3 patches tells me those are very minor issues (plus, Boothill/Robin screen time are genuinely intriguing and don’t drag down the story like Serval, Clara, Luocha, or so many other characters I found to be really shallow even with more screen time).

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2024.05.16 00:28 xtremexavier15 TMA 7

The scene faded back in to a shot of the team and host in the prison courtyard, the two groups of teens each standing by a dirty laundry cart. "Elimination challenge!" Chris exclaimed happily. "Here we go! No 'Get Out of Jail Free' cards here, people! This, is 'Escape from Total Drama Pen.'!" The camera quick-panned away from Chris' close-up to one of the carts.
"Each team must hop in their laundry carts, while one member pushes through the obstacle course to freedom!" As he spoke, the scene flashed to a shot of wooden dummies dressed like prison guards with automatic swinging arms, and then again to a pair of narrow platforms over a water pool with large sandbags swinging back and forth between them, and once more to the prisoner dummies with various sharp objects attached to their hands.
"When you reach the wall," Chris continued as the camera moved back to the group shot, "get diggin'! First team to reach the boxcar to freedom wins immunity!" The shot quick-panned over to a pair of boxcars sitting on a small section of rail tracks. "Convicts, select a pusher!"
"I'll do it!" Chase and Sky volunteered simultaneously, and the two quickly turned their heads to each other.
"I'll be the one to push for us!" Jasmine declared to the Grips. "Does anybody have a problem with that?" she asked her team, who were already starting to climb into the cart.
"I don't," Millie said as she got on.
"You are our best option," Anne Maria added as she hopped onto the cart.
Jasmine smiled. "Excellent!"
Confessional: Jasmine
“When you have long legs, speed can come off as an attribute,” Jasmine confessed.
Confessional Ends
"Not to be a jerk or anything," Chase said as the focus moved back to the Gaffers, "but I want to be the one who pushes, not you."
"Only one of us can do it, and it should be me," Sky offered.
"I know we won the shovel, but the Grips have Jasmine pushing for them," Chase argued, “and if we want to beat them, we'll need a lot of speed coming from me.”
"You're not the only one who's been on a track team," Sky protested. “I practice track at my school in order to prep myself for the Olympics.”
"I have longer legs than you," Chase pointed out, "and that'll at least make us on par with the other team."
“This bickering is not helping us,” Sky groaned and turned to her team. "So team, who do you want to drive the cart? Me or Chase?"
"I say Chase," Ripper said first. “Sky's not Sonic fast.”
"Well I think Sky should push us," Scott declared. “Chase being on the track team is more of a hobby to him.”
"To break the tie, I'll go with Sky," MK said. "She is the team's leader."
Chase sighed. "Alright!" He walked towards the cart. "But if we don't win, it's not coming back to me."
Confessional: Sky
“Me and MK don't know each other well, and she is generally not cordial, but I do have to thank her for having my back in the situation,” Sky explained.
Confessional: MK
“The way I see it, if Sky loses the cart challenge for us, me and Scott can use that as a reason to pick her off,” MK told the audience. “With her and Trent's love plot coming to a halt, there's no need to keep her in the game any longer.”
Confessionals End
"This is it, teams," Chris announced as the two groups were shown in their starting positions – most of the teams in their carts, with Jasmine and Sky ready to push. "On your marks...," the host said as a few deep notes began the fast-paced music that would play during the challenge, "get set...escape!"
The two started pushing immediately, and Jasmine managed to get an early lead for the Grips. However, Sky was gaining momentum, and the two kicked up a cloud of dust behind them as they entered the first obstacle – the sharp-handed prisoner dummies. The camera watched from above as they weaved around and through the field in different directions, and at one point it looked like their paths were going to intersect. The two girls briefly locked eyes and steeled themselves as their carts bounced off each other, rattling their teammates inside.
The viewpoint shifted to show the start of the next obstacle – the narrow platforms over water, with large bags already swinging back and forth threateningly. Sky pushed her team up onto the platform, and the focus moved ahead to Jasmine doing the same as well. The people in the carts ducked down to get away from the swinging bags. However, Anne Maria's big hair stuck up enough for one of the bags to brush past it, which slowed it down enough that Jasmine ran face-first into it while she had been distracted looking back at the other team. It knocked her down and caused her to let go of the cart, which managed to keep rolling along without her.
"We can use this to our advantage!" Ripper barked. "Keep it steady and we can catch up!"
"I got it!" Sky picked up her pace. She managed to get them past Jasmine and another two bags and they caught up to the Grips' cart, which had stopped at the end of the second obstacle. The viewpoint shifted to show them watching in shock as the Gaffers approached unsteadily, with Jasmine running just inches behind them.
Just as Sky was getting the groove of pushing the cart, a bag hit her in the head, which caused her to lose her balance and the front left wheel of the Gaffers' cart to leave the platform as it rapidly approached the end of the second obstacle, and the camera zoomed in as it dipped down and hit the corner where the narrow platform ended, causing the cart to spill forward.
"Hurry up!" Anne Maria commanded as Jasmine retook control over the Grips’ cart and sped forward, past the pile of Gaffers and into the final obstacle.
The camera followed them as they weaved through the guard-dummies, becoming more and more excited as they neared the wall. "Alright," Jasmine said. "We're getting closer to victory!"
A second passed in silence as they kept going at the same speed. "Uhh, Jasmine?" Justin said nervously as he eyed the approaching wall.
"We can stop now!" Millie notified.
Their words caused her to skid to a stop just in front of the wall. "Thanks for the warning," Jasmine said as her teammates breathed a sigh of relief.
"We may not have a shovel," Brick told his team with a spoon in hand, "but we must make do with what we have."
“Go go!" Jasmine eagerly ordered everyone out the cart. “Hop to it like kangaroos!” They all ran over to the large 'X' and started digging.
"Well this is just great!" Ripper complained as he, MK, Chase, and Scott picked themselves up off the ground, and Sky turned their cart back upright. "We're behind the Grips!"
“This is why I should've been the driver,” Chase spoke out. “I would have been able to avoid those bags.”
"None of this is our fault," Sky said. "We can still catch up to the Grips if we don't start arguing with each other."
The footage flashed ahead, showing the Gaffers sitting in the laundry cart with Sky pushing them through the final obstacle. Moments later they arrived at the wall, a hole and sizable dirt pile already by their opponent's cart. The four Gaffers hopped out, and Sky took the shovel out of her pocket.
"Jump right to it, team," Sky ordered. "We have a lot to dig!"
The camera flashed to Chris and Chef at the finish line, Chris sitting on the entrance of a boxcar while Chef leaned against it. "So..." Chris asked. "You ever seen that prison flick? The one with the guy in it? You know? The guy with that face?" Chef rolled his eyes and shook his head.
"So are you doing anything after work?" the host asked awkwardly. "We could always rent a-" He noticed the look on the cook's face and amended, "or not. I was... busy... anyway. Very busy. I'm just… throwing it out there."
The scene changed to a side view of the Grips in their tunnel, Jasmine hastily digging in front with her spoon.
"We're making good progress so far," Jasmine said. "Even if we're stuck with spoons."
"I can hear them ahead of us now," Millie said. "Wouldn't it be faster if we helped dig too?"
"Ten hands are better than two," Jasmine agreed.
Confessional: Jasmine
“After losing two challenges in a row, the Grips really need to bounce back this time,” Jasmine stated. “I've watched enough prison movie like “Holes” and “The Shawshank Redemption” to understand which spots are easier to dig out first.”
Confessional Ends
Another flash took the scene back to the Gaffers, Ripper being the one using the shovel to dig in the front.
"I'm not lying when I say that we're going to win," Ripper said as he kept digging.
"The Grips may have gotten here before us, but they have spoons and we have a shovel," Chase added.
“And it's all thanks to me!” MK cheered before catching sight of Scott's glare. “And Scott as well.”
Confessional: MK
“Right. Forgot the basic concept of teamwork,” MK sheepishly confessed. “Usually I always fly solo in everything I do, except group projects, and most of the time, I have to do everything because my supposed group members are uncooperative.”
Confessional Ends
The Gaffers heard a sudden rumble, causing them to stop in their tracks. A hand burst out of the dirt, creating a hole that increases thanks to a familiar head sticking their head out.
“Izzy?!” the team cries out at the sight of her. The psycho hose beast had fake buck teeth in her mouth and a camo hat with sticks sticking out on top, and she chittered in response.
“Yep. That's her,” Chase confirmed.
“Yeah, I've been living underground amongst the prairie dogs,” Izzy explained as one of the prairie dogs popped up and angrily chittered at the team.
“Aw, Butchie, it's okay,” Izzy assured the creature. “These are my friends.”
“Are you here to help us or…” Scott started to ask.
“Of course! Follow me, I know a shortcut to the finish line!” Izzy said.
“A shortcut?” Sky felt uneasy.
“Of course,” Ripper scoffed. “Why spend hours digging when you can finish faster?”
Confessional: Sky
"I'm not the type to cheat whenever I'm in a competition, and taking shortcuts is the easy way out," Sky explained in the confessional trailer, "but I don't really have a choice here."
Confessional Ends
“And of course, I became the second in command prairie dog,” Izzy told her team a story as they moved through the shortcut, “which meant I shared all the prairie dog council meetings and oh, oh! Here we are!”
“Finally! I need to get out of this hole!” Chase said and crawled faster.
The viewpoint moved to the surface as rock got pushed out of the way and Chase emerged from beneath. "You've got to be kidding," he muttered in annoyance.
The camera moved again, showing that the Grips’ tunnel had come up in front of the boxcars. All members of the Killer Grips were celebrating in front, while Chris and Chef watched.
"We lost?" Izzy said as she emerged from her hole.
"Yes, we did," Chase told her as he and the other Gaffers got out of the hole. "And aren't you out of the game? We did vote you off."
“Uh-uh. You voted off Kaleidoscope,” Izzy rebutted.
A flash took the scene back to the third episode's elimination with Izzy, Ripper, and Chase in the bottom three. “Izzy! Time to go!” Chris announced.
“I'm not going anywhere,” Izzy objected. “That's not my name.”
“Can I get a pen over here?” Chris raised his hand in annoyance. A pen was given to him, and he started to write on the paper. “It says "E-Scope" now, okay?!”
Izzy stubbornly stayed in her seat, and Chris looked over to his side. “Yo guys. Want to make sure we keep this ballot in the files as an official record of Kaleidoscope's departure?” he asked as he continued to scribble. “I'll notarize it. Foresight. That's why they pay me the big bucks.”
The flashback ended and the focus returned to the Gaffers. “So technically, Izzy's still in the game!” Sky realized.
Confessional: MK
“I didn't expect this to happen, but I'll allow it if it means I get an extra vote for tonight's elimination ceremony,” MK said.
Confessional Ends
A flash took the scene to the craft services tent, the camera lingering on an outside shot before cutting to Chef at the counter while the Grips ate at their table in the foreground.
“It's such a relief to have finally won a challenge after losing the past two ones,” Brick started to say.
“Well, this is an effect of Trent not being around to lose for us,” Justin said. “We made the right decision voting him off last time.”
“Even with the other team getting Izzy back, they're still going to lose a member,” Anne Maria remarked. “It's sorta a win-win for us.”
The footage skipped ahead, showing Ripper and Scott sitting around in their trailer before MK joined them.
"Okay, look," MK said as she addressed the two boys, "we have to vote Sky off tonight. She's helpful, sure, but she'd be hard to beat if the teams merge."
"I second that," Scott nodded. "She also slowed us down in the cart portion of the challenge."
"I told you guys that Chase should've pushed for us, but you didn't listen," Ripper huffed.
“I convinced Izzy to help us with the vote, and Chase won't be necessary since he and Sky have some sort of friendship with each other,” MK said.
"As long as we have the majority, we're all set to go," Scott said with a wink.
The theme of the Gilded Chris ceremony began to play, accompanied by the standard introduction sequence. It faded into a long-distance shot of the award stage, the camera zooming in as the theme came to an end. The six Gaffers cast their votes, the camera panning down from Chase and MK in the top row, to Izzy and Scott in the middle, and Ripper and Sky at the bottom.
"Time's up!" Chris announced excitedly. "I'll tally the votes!" He held up a device similar to the voting pads, and began to read off names. "Chase, Scott, Izzy, and MK." Each name was accompanied by the sound of an award getting thrown and caught and the four were shown holding their latest prizes. "Another award, and another day to compete."
The host held up the final award. "Tonight's final Gilded Chris and another chance at the million goes to…" he said as Ripper and Sky were shown watching nervously, "...Ripper!"
The aforementioned contestant caught his prize as Sky felt disappointed with the results.
Confessional: Sky
“I didn't want to vote for Chase and Izzy and MK and Scott helped out with the challenge, even if they're unsportsmanlike,” Sky explained. “I talked to Chase and Izzy about voting for Ripper since he didn't do much today, but I guess Izzy chose to vote off someone else.”
Confessional: Ripper
“Voting for Sky didn't hurt one bit,” Ripper confessed. “Like MK said, she's really athletic and could easily win the season if we chose to eliminate somebody else tonight.”
Confessional: Izzy
“Even though I was told to vote off specific people, I decided to go with voting MK,” Izzy admitted. “I still remember how she acted during last season's dodgeball challenge.”
Confessionals End
The footage flashed forward, showing Sky on the red carpet getting handcuffed by Chef.
"Dead girl walking!" Chef called out before escorting the eliminated contestant.
"Hold on!" the voice of MK cried out as she ran up to the two. “Leave her and take me!”
“Sure. Whatever,” Chef took the handcuffs off Sky and offered them to MK.
“I was kidding!” MK pushed the cuffs away from her. “Like I'd willingly quit the game. I'm just here to see the loser off.” She looked at the slightly taller girl teasingly. “I'm sure you'll be happily reunited with Trent the Challenge Thrower.”
"As long as I'm not on a team with someone as underhanded as you," Sky retorted as she grabbed the handcuffs and walked past the now miffed girl, "I'll be happy anywhere."
The Gilded Chris theme began to play as Chris turned to the camera. "Folks are getting feisty!" he said. "The Gaffers just lost their best player and team leader this early in the game, and with her out of the way, how low will this team sink just to win? Tune in next week to find out on Total! Drama! Action!"
(Roll the Credits)
(Bonus Clip)
Sky was sitting in the back of the Lame-o-sine as she looked at the window. "You know what’s ironic?" she started. "Trent outlasted me last season by one episode, and now the same thing occurred, only with the roles reversed." She turned her head to look at the camera. "I wish I could've stayed on the show longer and prove that I'm more than Trent's athletic girlfriend, but I'm pretty sure the fans know that I have a distinct personality."
"If there's one thing I can say about my performance, it's that I didn't do anything questionable or controversial that could be used against me in the future or vilify me." She paused for a moment and blinked. "What do you mean Aftermath?"
Eva - 14th
Geoff - 14th
Izzy - RETURNED
Trent - 12th
Sky - 11th
Killer Grips: Anne Maria, Brick, Jasmine, Justin, Millie
Screaming Gaffers: Chase, Izzy, MK, Ripper, Scott

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2024.05.16 00:00 alphariusomega123 [Evangelion] The remakes are the worst garbage and have doomed the franchise forever. (Long post).

I wasn't planning on watching Thrice Upon A Time. I had not liked the previous films and they seemed like a very inferior product compared to the original anime. However, the good reviews and opinions I saw about it encouraged me to do so. I did it with as open and tolerant a mind as possible, knowing that there was a good chance I wouldn't like the film. "What's the worst that could happen? That I don't like it and continue to prefer the original series? At least I'll be entertained for two and a half hours," I thought. What I did not expect at all is the deep feeling of disgust and repulsion that this film provoked in me, in a way that no other film has provoked in years.
I hated the movie from start to finish. I could spend hours talking about the boring action sequences, about its ugly, excessive CGI that ruins the already ugly mecha, about its disgusting hypersexualization of fucking 14-year-old girls, about how Misato's plans don't make sense, about how Last Kiss almost made me tear my ears off, or its plot full of Deus Ex Machinas with concepts conveniently taken by Hideaki Anno from the place that his last name suggests; but the real reason I'm writing this is because I feel like these movies spit on everything the excellent original work represents.
Not only because as adaptations they fail miserably, but also because they retroactively damage the original work (we'll talk about that later).
Before I begin to explain why the rebuilds are bad adaptations, I want to warn that I am going to do a relatively exhaustive review of the 4 films, so this rant is going to be very long, like staying up late on a winter night with chronic insomnia. That said, let's start to see the reasons:
WHAT IS NEON GENESIS EVANGELION?:
To understand why rebuilds fail as remakes, I must first ask you, dear reader: What does Neon Genesis Evangelion mean to you? (it should at least be familiar to you, unless you've spent your life under a bridge) What do you think about when you read that title, apart from Shinji fucking in front of a comatose Asuka? What comes to mind when you hear the most famous opening in anime history, apart from Shinji strangling the otter against Happy Thursday's throat? (in more ways than one). If your answer is: "It's a mecha anime for emos with a coomer protagonist", that's fine, I respect that; but please press the red "X" in the top right corner of your screen, you can now leave.
Now, I'm going to get serious and explain my definition: Evangelion is a work about the hedgehog's dilemma and the difficulties of forming emotional bonds that human beings have, as well as the consequences of trying to separate from them for fear of rejection. It is not a story about heroes. It's not a story about saving the world. In Evangelion there are neither heroes nor villains, but rather a group of emotionally broken characters trying to be happy in a world just as broken as them. The real enemy of Evangelion is not the angels. It is the lack of communication and empathy.
https://es.wikipedia.org/wiki/Dilema_del_erizo
It is that same lack of communication and empathy that progressively causes everything to go to hell to conclude with a cathartic and bleak ending, but consistent with the themes of the work. It is therefore an existentialist work about human relationships disguised as a mecha anime. This, added to a unique visual style, daring direction, and mechas like never before seen on television, made Evangelion one of the most influential anime in all of history, as well as a true commercial success for Gainax Studio. Success that encouraged other studios to carry out projects such as Cowboy Bebop or Serial Experiment Lain, taking anime towards a new golden age.
Even today you can hear the echoes of that Third Impact of End of Evangelion in 1997. The list of works influenced by Evangelion both inside and outside of Japan is endless. Of course, it is not a perfect work, nor extensive in errors: its target audience is ambiguous, many of the biblical references are more for decoration than anything else, and several aspects of the ending(s) could have been explained better. However, many of these errors can be attributed to a lack of time and budget during the production of the original anime (which was quite chaotic and improvised); therefore, they are understandable and forgivable.
In summary, we can conclude that Evangelion is a dark, introspective, provocative and unique work (at least at its time). This is also combined with a unique visual identity and complex characters whose relationships intertwine and interconnect throughout the work. The sum of all these factors is what led Evangelion to be such a critically acclaimed work that it transcended its own genre and became an icon of popular culture. And this in turn constitutes the biggest mistake of rebuilds; because they commit the biggest sin that an adaptation can commit: denying everything that made the original work great.
ADAPTING WITHOUT A CLEAR PURPOSE:
One of the biggest problems with these remakes (as well as a clear example of what I'm saying) is their total narrative inconsistency. Let me explain: the first rebuilds movie (1.11) is a literal copy-paste of the first 6 chapters of the original anime, with practically the same scenes, dialogues and even music. This makes the film completely redundant and unnecessary (and makes one wonder why it exists); But in any case, the message is being conveyed that the purpose of these remakes is to adapt the original series as faithfully as possible to the cinema with a current animation style.
However, the second movie (2.22) is a... something. A pastiche of new and old things where the plot broadly follows that of the original anime, but with many things changed (of course, for the worse) and a different ending. All this compressing no less than 14 chapters of the original anime into two and a half hours. Here the message that one can infer is that it seeks to adapt the original story (very briefly) by changing and rearranging certain elements, now more in line with what an adaptation is.
However, then we get to 3.33 and... well, after a 14-year because reasons timeskip, we're now in a post-post-apocalyptic world (repetition intended) where ex-Nerv members fight against Nerv itself. Nerv in giant spaceships, there are mechas everywhere, Misato is a sociopath, and Shinji and Asuka still look exactly the same because "DAMN JEBA." Here we can infer that what is sought is to create a totally new story and take it in different directions than the original. The following movie (3.0+1.01) is the only one that is consistent with this purpose.
Whether all these narrative pirouettes were planned in advance or not (clearly not), we can see that there is a clear incongruity between what is intended to be done and what is finally done. All of this generates a strong narrative chaos where the elements and themes of the original anime are mixed with the new ones, creating a total inconsistency. Since also in 3.0+1.01 it is revealed (unfortunately to me) that everything is part of the same universe and this is not really a remake, the excuse of "they are different universes, they don't have to be the same" doesn't work either.
In fact, one thing that you will see me comment a lot throughout this article is the lack of narrative consistency of these remakes, especially in comparison to the original work.
A HEDGEHOG WITHOUT TICKS:
No character in Evangelion better embodies the central theme of the work than Shinji Ikari, its own protagonist. Shinji is not a hero: he is not brave. He is not a genius. He is not charismatic. He is not selfless. He doesn't want to save the world. His reason for piloting the Eva is to gain recognition and appreciation from others; especially from his father, whom he hates, but at the same time admires; He feels that she despises him, but he also wants (and needs) that she loves him. Shinji spends the entire series in the dilemma between escaping from what hurts him (classic avoidance behavior) or accepting it and moving on, even at the risk of being hurt again.
This theme is rock solid throughout the entire original series: from the first to the last chapter of the anime, and from minute one to the very end of End of Evangelion. Even the opening itself makes several visual references to Shinji's hedgehog dilemma. This can make Shinji an infuriating character for audiences accustomed to typical anime protagonists; but it's those same things that make Shinji such a unique and special character. He deconstructs and subverts the hero's journey. And it's not as if this hinders the plot: Shinji is not proactive, but he also does not spend the series crying, as many often claim.
https://files.catbox.moe/eolho0.mp4
https://es.wikipedia.org/wiki/Monomito
And as you may already be imagining, the Shinji of the rebuilds does not have a hedgehog's dilemma. Or rather, he has it, but only during the first movie (copy-paste of the original anime) and part of the second. This is a problem, because it creates a strong narrative inconsistency (again) where it seems that two Shinjis exist at the same time or that this one is bipolar. As of 3.33, Shinji's entire character arc is based on trying to redeem himself for his past mistakes first by unleashing "Almost Third Impact" (what a stupid name) and subsequently preventing Kaworu's death while trying to right said mistake.
Is this a bad thing? Not necessarily. The problem is that I have already seen the arc of the hero who fails to eventually rise up and succeed in 100 trillion works, while the hedgehog's dilemma in none more than in Evangelion (at least in my case). Which makes Shinji a much less interesting character. Some might argue that in 3.0 + 1.01 Shinji does have such a dilemma because he spends half the movie crawling on the ground; but there is not a hedgehog's dilemma, but rather depression for having seen Kaworu's head go KAWOOM (I know, the joke was very bad, but if he didn't do it, I would explode too).
End of Evangelion's Shinji did have such a dilemma because the reason for his depression was having been manipulated and used by someone he had previously opened up to and then forced to kill him, not for failing in his mission (in fact, he was very efficient in her mission to separate Kaworu's head from her body), which in turn brings sexual (and later, deadly) results for Asuka. I insist: narrative consistency. But this is not the worst: the worst thing is that at certain moments in these films, Shinji becomes the typical shonen savior hero, betraying the central point of his character in the original series.
https://youtu.be/E-x-f2OrWeA
A perfect example of this is the ending of 2.22, where the fight in chapter 19 (COINCENTLY from where the original anime starts to get more introspective) is transformed into a ridiculous shipping attempt, with Rei turned into a damsel in distress and Shinji into a savior hero while spouting all the typical cliché lines, topped off with a disgustingly cheesy ending. But of course, how could it end otherwise? With Shinji's Eva practicing cannibalism on Zeruel's corpse (the original scene)? Too disturbing for current times. Shinji and Rei fighting as a team to defeat him? Yes of course. Rei has enough not being in the kitchen. Besides, Asuka already takes care of that, hoping to receive her alpha male's cock as a reward.
https://youtu.be/TPS0Uk0TkP0
Because, like any good modern anime protagonist, Shinji now has a harem.
FETISHING WITHOUT CONTROL:
Of all the characters who are now part of Shinji's harem, the one who is most harmed by this is Rei (Asuka's case is different, and the other character is an infernal creation from Anno's sick mind). Not only because acting like a bitch in heat goes totally against her personality and because of the murky situation, considering that she is a clone of Shinji's mother, but also because her character is reduced to a mere fetish object that does things cute to produce tenderness in the viewer and make coomers buy their figurines.
Rei is an interesting character because he raises numerous existential questions based on the ship of Theseus paradox: the concept of identity, to what extent we can consider ourselves still ourselves, the construction and definition of a "self", etc. But here, her screen time piloting her Unit 00 is minimal (COINCENTLY most of it in 1.11) and her exploits are practically irrelevant or non-existent, also being reduced to a mere damsel in distress at the end of 2.22, as I said before.
https://es.wikipedia.org/wiki/Paradoja_de_Teseo
In 3.0+1.01 he doesn't even get to pilot an Eva. Her role in the film is to cause pity and produce tenderness with her total ignorance (I see that the idiot Anno forgot that all the Reis are born with basic knowledge) while she is seen with different hairstyles, different outfits, working as a farmer, taking care of a baby, etc. In short, a fetish object where she wants the public to value her for how "moe" she is instead of for her abilities or as a character. In Anno's mind, feminism advances in reverse. Ironic, considering that it was precisely Rei who unintentionally started the moe culture.
Of course, it goes without saying that Rei is not the only one who suffers from this extreme fetishization of her character in these films. Under the excuse of paying homage to End of Evangelion, Asuka now always wears an eye patch (needless to say it has nothing to do with having been injured there), a cap with cat ears, in addition to having a very convenient trend for the coomer public of walking naked and semi-naked through other people's houses. She sometimes puts on the plugsuit, but near the end of the movie, it is conveniently torn off, lest we forget that this is made by the Japanese.
One of the best examples of how this hareminication has destroyed the main female characters is in the elevator scene. In the original anime, Rei tries to advise Asuka in a time of particular vulnerability and depression. Rei's limited social skills, coupled with Asuka being Asuka, cause her to misinterpret the attempt to help as mockery and an act of condescension, triggering a slap from her towards Rei and a worsening of her already strained relationship and Asuka's mental state. Rei doesn't fight back because she knows that doing so would only make things even worse.
It is an excellent dramatic scene because it once again brings to the foreground the hedgehog's dilemma and the difficulties between human relationships, very much in line with what Evangelion is. In 2.22, this scene is gratuitously introduced and turned into two horny bitches fighting over which of the two will let their alpha male penetrate first, with a highly OC Rei stopping the assault attempt in a 100% gangsta way to make her see more "cool." The scene doesn't even make plot sense, because Asuka at that moment is not even depressed, and in the original anime this occurs at a much later time under a very different context.
and speaking of asuka...
SOMEONE CALLED ASUKA:
When I started watching these movies, I was afraid that Asuka's character had undergone modifications to make her more "palatable" to new audiences. What took me completely by surprise was how radically different this Asuka is from the original. So different that they can't even be considered the same character. To show it very clearly, we are going to review the personality of both:
Asuka from the original anime: An energetic and outgoing half-German, half-Japanese girl (actually it's 1/4, but who cares) who loves to be the center of attention and have everyone praise her due to the lack of parental love received during her childhood having been abandoned by her father and supplanted by her mother, who suffered from severe mental disorders. She is extremely proud and competitive because she feels that being Eva's pilot is the only thing that gives her an identity and purpose, which makes her tend to become quickly frustrated when things don't go her way and become defensive when she feels like she is being outmaneuvered. . He loves to make fun of others (especially Shinji), to the point of being cruel at times, but he does not do it out of malice, but rather to compensate for his enormous inferiority complex due to the rejection suffered by his mother and having witnessed her. committed suicide (and possibly even tried to kill her) the day she was chosen as Eva's pilot and came running to wish her a Happy Thursday. She admires Kaji and wants to fuck him because she hates her own adolescence, she needs to feel adult and independent due to suffering from a certain Electra complex for having lacked a true father figure during her childhood. She has a sweet and vulnerable nature, but she rarely expresses it to anyone except her best friend Hikari and I better stop this now because too much text.
Rebuild Asuka (hereinafter "Asuka"): A girl soldier created by Nerv as part of a series of clones who has always been alone and thinks she doesn't need anyone, although she secretly wishes to have a family. She hits and insults others for no reason, she yells a lot, never smiles or makes jokes, and hates socializing with others, which doesn't stop her from looking for Shinji's dick within 2 days of meeting him. She always plays video games while someone is talking to her and at night she talks to herself with a doll like an autistic person.
As we can see, these two characters not only look nothing alike: several of their traits directly contradict each other. Because they look alike, they are not even alike in aesthetics: the original Asuka had red hair and dressed in the traditional feminine way, while "Asuka" is light brown and dresses in a tomboy style (which I'm not saying is wrong, I'm just commenting to show the radical difference). It's not that they have changed Asuka: it's that they have directly murdered her to supplant her by someone with whom she only shares her first name (not even her last name). And needless to say, the change has been VERY for the worse.
To describe the first character, I had to spend 15 damn lines, and even then I had to leave out many important facets of his personality, his development in the original series and his entire character arc in EoE, because if I didn't have one endless bible For the second, 6 lines were enough for me, and I could have had more left over if I had been more concise. The first character is a complex and three-dimensional character, with multiple facets, edges and layers. She feels like a real person. The second character is a generic tsundere that you can find in any mecha anime of the week. She is not even comparable to the first; She's not even a good character.
We cannot speak of Flanderization because not even the most basic traits of the character have been respected. Nor can we speak of a deconstruction because that same absence of basic traits means that there is no character construction on which to stand in the first place. Obviously, this change greatly resents the interactions between characters: the original Asuka was a charismatic and fun character with the ability to drive the plot on her own (as soon as she appears in chapter 8 of the original anime she is already changing the entire dynamic between characters) , while "Asuka" is mostly only in the background or to fight; He doesn't even have a character arc as such. In fact, in 2.22 he has even less screen time than several supporting characters.
His chemistry with Shinji is also non-existent (and I'm not just referring to the romantic level) and they barely have any development together. They like each other here because... ehhhh... she likes how he cooks and he thinks she's hot? It's not that the AsuShinji (or ShinSuka, or whatever the hell it's called) here is forced: it's just that it doesn't even make sense. The only reason people still ship them together is because they did it in the 90s. Yūko Miyamura's performance also feels very lackadaisical and lacks passion, which is quite unlike her. Although perhaps this is intentional, since her character always talks as if she has the spear of Longinus permanently stuck up her rectum. In fact, the few times she says her iconic "Anta baka?" This one feels very forced, in addition to not having her characteristic high-pitched tone.
In short, the character has suffered the same fetishization as Rei (gamer girl, tomboy, one-eyed, etc.), but also with the aggravating factor that not even her basic characteristics have been respected here. This is especially disconcerting when we take into account that the rest of the characters have their original personalities more or less intact (albeit simplified). Even more disconcerting if we take into account that Asuka is possibly the most popular character in all of Evangelion, and even more so if we consider that she is Anno's favorite character (in fact, the initial idea was for Asuka to be the protagonist).
https://evaresources.wordpress.com/der-mond/
Given this, the inevitable question arises: "Why?" What was the point of turning Asuka into an inferior and tsundere copy of Rei, even more so when there are already three clones? It has always been rumored that Asuka is not popular in Japan, but that is completely false. The only semi-rational explanation I can think of is that they did it to please the haters. It's no secret that a portion within the Evangelion fandom (and outside of it) hates Asuka with a passion. They see her as someone toxic and cruel who dedicates herself to screwing others for no reason, without understanding that you don't have to like a well-written character.
https://imgur.com/a/KznXE1x
What these people fail to understand is that Asuka's verbal abuse is a defense mechanism to avoid opening up to others, since Asuka constantly says things that do not fit with what she really feels or thinks (clear proof is chapter 16 from the original series). It's not like it matters much, considering they were never more than an extremely vocal minority. That the character is so popular is proof of this. The great irony of all this is that the new "Asuka" is a much more unpleasant and detestable character than the original, since she lacks the redeemable qualities of the original and her moments of comic relief.
And if until now I have been more or less benevolent with this remake, this is something I cannot forgive: because changing a character just because a group of people doesn't like it is one of the most cowardly and pathetic acts in the world. that a writer can fall. The fact that this was also at the expense of one of the best female characters in the history of anime and with a wonderful story arc makes it even more bloody. Any other halfway competent writer would have responded with this.
https://youtu.be/5Js0ea6yPKM
...although if we go by Ockham's razor, the most likely explanation is simply that Hideaki Anno is mentally retarded.
A CHARACTER TO DESTROY A FRANCHISE AND BIND IT TO DARKNESS:
Mari Makinami Illustrious A.K.A María Iskariote (what an appropriate last name) is one of the worst creations ever made by humans. Not since the atomic bombs has humanity created something so horrible. Worse than the holocaust. Worse than fascism. Worse than Facebook memes. Worse than stepping on a lego. I would even dare to say that it is worse than pizza with pineapple. No character better reflects Anno's mental decline or better embodies all the problems of the current anime industry than this trash.
This character contributes absolutely nothing to the plot, he does not contribute at any time to its advancement, he lacks his own development or story, he does absolutely nothing relevant in the 3 films in which he appears, and he does not even have a defined personality. So much so, that all of her scenes could be eliminated or replaced by any other character and she would barely affect the plot, or not affect it at all.
The character is so frighteningly one-dimensional that she doesn't even show different emotions or moods during the three films in which she appears, always being perpetually happy and carefree even in tense situations for literally no reason. This leads to moments as surreal as her starting to sing and hum in scenes that are intended to be serious or dramatic (or so I think; perhaps what they wanted was to turn this into an unintentional comedy), again generating a gigantic narrative dissonance. The last third of 3.33 is the best example of this.
But that's not the worst: this character is clearly made for otaku coomers to masturbate to. She has almost every fetish possible: glasses/lenses (whatever they call it in your country), pigtails, miniskirt, schoolgirl, saying "nya", big tits, obsession with smell and tight outfits, etc. To make matters worse in 3.0 + 1.01 we discover that she is 48 years old, so we can also add the milf fetish. Evidently, her tits always bounce in her plugsuit (she would swear that never happened in the original series) and there are many close-ups of her ass. In addition to constantly making sexual advances towards Shinji, which also turns this piece of shit into a potential pedophile.
If the thing simply ended there, we could say that this character remains a mere annoying and unnecessary secondary character. Unfortunately, the character is also disruptive to the plot, occupying long filler scenes that do nothing more than waste time that is already scarce in a film, and that could have been used on something else more interesting; like Pen Pen watching TV, Pen Pen eating a sardine, etc. Without going any further, both 2.22, 3.33 and 3.0+1.01 begin with a long filler scene of her hitting on her. Well, to be honest, the 3.33 one is more Asuka, but this abortion is still out there fucking and singing.
It would not be an exaggeration to say that discussing why this character exists is much more interesting than any other debate that can be created about these films. I still think about it. However, the ending of 3.0+1.01 gives a good clue: the character was created solely and exclusively to stay with Shinji. I can only imagine that Anno made this tired of the fandom shipping and the arguments over who Shinji should stay with, so he decided to end the matter by creating his own ideal waifu with all the fetishes he likes in a woman to end it. with this. It's disgusting, but considering we're talking about a Japanese, totally possible.
It's surreal coming from the man who harshly criticized the use of anime as escapism and the excessive female objectification and sexualization in it, but it's the only semi-decent explanation I can think of. Basically, he is what is called a mascot character in literature. That would explain why this character never shows doubts, nor any kind of internal conflict, or why he is a better Eva pilot than Asuka and Rei themselves. It is also very revealing about the quality of the Rebuilds: creating a self-insert OC just to be the partner of the protagonist or another main character is the quintessential trait of all bad fanfiction.
However, among all this tsunami of disqualifications, I also have to say something positive: spending three movies giving hope to the shippers only to have Shinji be cuckolded simultaneously by Rei and Asuka in the last one and end up with a character with which had zero development (before 3.0+1.01 I didn't even know its name) is a true trolling masterclass, worthy of the best of ball pumpers. Only a true emperor of evil would have come up with such a twisted and at the same time perfect way to screw over a large part of the fandom. I give you my tens, Anno.
THE ANTI-UNIVERSE OF ANTI-NARRATIVE:
Of all the new concepts that Anno brings up at the last minute from the place named after his last name, none stands out more than the "anti-universe." Or, as I like to call it, the "anti-good writing." Basically because it perfectly represents all the problems of the rebuilds and their script. In the final stretch of 3.0+1.01 we have the last-minute revelation of a quantum plane of existence capable of turning imagined worlds into reality and changing this through Lilith, which cannot be understood by the human mind (wow, WHAT CONVENIENT!) and whose existence has never been mentioned or even hinted at in the entire franchise until CONCIDENTLY the aforementioned last third of the film.
In other words, a gigantic Deus Ex Machina created in an improvised way to avoid repeating End of Evangelion and forcing a happy ending where Shinji creates an ideal universe for each character (although that is questionable, as we will see later). And it is far from being the only one: the spear of Cassius, the Eva of Infinity, the key of Nebuchadnezzar, the Book of Life, and so on. None of these concepts are integrated into the plot in an organic and natural way, but rather they arise spontaneously at its convenience when it needs it. Except for the new "Super Berserker Mode" of the Evas, which is simply a power-up to sell figurines.
As I said before, if at least this were an alternate universe separate from the original anime, all this bombardment of concepts pulled out of the ass would be a little better justified. But the revelation that everything is a cycle and we are in the same universe as the original work only makes it even worse, generating countless inconsistencies about why they never mentioned this or never used that (what's the point of the seeds of life If you can create universes simply by imagining them?). Although without a doubt, the worst of all these new concepts is "the curse of Eve."
Here we have a new concept with very strong repercussions completely launched, which is not even an explanation in itself, it does not answer anything and to make matters worse, the same films contradict each other several times. Needless to say, this is a cheap excuse for the three main characters not to grow up and continue sexualizing 14-year-old girls after the most gratuitous timeskip ever seen. And speaking of timeskip, putting such a long one in the middle of the story is a first-time writing error. If you are writers, never do that: the bigger the time jump, the more things you will be forced to explain, since the less you do it, the more plot holes will form as a result.
And of course, here it explains little to nothing of what happened these 14 years. Like where Nerv got such a tremendous base from, if in 3.33 it seemed that together with Rei and Kaworu it was made up of four people. Or how they have gotten such an army of pseudo-Evas, especially when these are supposed to be extremely expensive (wow, and SEELE with all her unlimited resources was barely 9 in EoE). Or worse yet, how Kaji managed to stop Almost Third Impact (seriously, the name couldn't be stupider). None of these questions are answered at any time. Obviously because they can't do it.
Evangelion has always been characterized by leaving things up to the public's interpretation, but here I feel that they are vilely taking advantage of it so as not to have to give any kind of explanations. And in the case at hand, do not even pay attention to contradictions. Like Touji and Kensuke got on Unit 01 and that doesn't stop them from being 28 after the timeskip. Or that Mari appears to be 14 despite looking like an adult in Gendo's photos and flashbacks, plus the fact that Evas, by simple logic, could not exist back then.
The height of absurdity is when near the end of 3.0+1.01 the "unexpected" revelation occurs (actually we all saw it coming) that everything is a cycle and we are facing a reboot of the original timeline, of which only Kaworu seems to be conscious. He let them guess without giving them any clues how many times Kaworu mentioned or even hinted at such a thing in the original series. Needless to say, nothing is ever explained about it: Who created that cycle? (Adam? Lilith? The First Ancestral Race? Hideaki Anno's last name?) For what purpose? How does it work? How long does it last? Why is Kaworu the only one who remembers him? Do these remakes make sense?
THE DEATH OF A STYLE:
Fortress-cities folding in on themselves. Designs and constructions oscillating between the nineties, the utopian and the cyberpunk. Meshes of flesh and blood animated with the souls of the dead fighting with classical music in the background. A mysterious and ambiguous lore where aliens, technology and conspiracies mix with gnostic, cabalistic elements and the most esoteric aspects of Christianity (did the History Channel predict Evangelion?). Minimalist posters moving quickly between frames. Monochrome backgrounds flashing aggressively (bad luck if you were epileptic). So consistent with its themes that the A.T. fields themselves. They were an allegory of the hedgehog's dilemma (I'm not making this up, Kaworu himself says it in chapter 23).
https://imgur.com/a/2M0eDVK
The sum of all these factors is what allowed Evangelion to build an absolutely unique identity, the one that allowed people to say "hey, that's an Eva!". Starting in 3.33, all that is lost to disappear in 3.0+1.01 in favor of giant spaceships, mechanical mechas made of pure CGI, battles full of colored lights, multiverses and time loops. I'm not saying these elements are bad in and of themselves, but I've already seen a thousand mecha stories with these. For that, I start watching any of the versions of Gundam or Macross. I could also complain about the boring shots without audiovisual language and always using the same color palette, but to be fair, that is an endemic evil of current anime.
And like any bad remake, 3.0+1.01 can't help but pay homage to several scenes from the original work, completely failing to understand the point of said scenes. As an example, we have Ritsuko shooting Gendo for no reason other than to pay homage to End of Evangelion, ignoring that the context between both scenes is very different. Furthermore, here they never explain the relationship that exists between the two, so the scene makes no sense; especially for those who never saw the original series, who will also find mentions of facts that these films have never shown or bothered to explain.
Even worse is when they try to pay homage to the iconic battle between Asuka and the Eva Series. Not only because of the total absence of the graphic violence and choreography of the original, but because what makes that fight so remembered is its emotional component, since it is preceded by a narrative catharsis in which Asuka discovers that the Her mother's soul was always in Unit 02, in addition to being marked by the constant tension of knowing if she will be able to finish the fight before the Eva's energy supply runs out. Here the Evas never run out of energy (why do they need the power supply, then?), so there is no such tension.
In the original fight Asuka may not be shooting 1387945 Evas with a super cannon larger than her as she falls through an... interdimensional hole?; But there you feel every blow, you can appreciate every movement in detail, and the dramatic tension in crescendo only improves the result. If this were a shonen, the logical thing is that Asuka would win. After all, her character arc has been wrapped up in a climactic way. Unfortunately, this is Evangelion. When the Evas Series manage to cause a mortal wound with the pseudo-spear of Longinus and the energy counter reads zero, the outcome is already decided. What happens next is horrific (Asuka's enemies are cruel to her even after she is dead), and just as horrifying are Yūko Miyamura's screams and Miki Nagasawa's performance as Maya announcing that Asuka is dead. In the Rebuilds there are no performances anywhere near that level.
End of Evangelion will be as dark and uncomfortable to watch as you want, but it is a film where all those responsible put their souls into achieving the best possible result, both on a technical and artistic level.
and well, I think that for today I have already downloaded too much, an apology for the large amount of text, I will make a second part at another time because I have so many things to comment on... anyway, I hope you have a good day/afternoon/night or when you read this .

submitted by alphariusomega123 to CharacterRant [link] [comments]

2024.05.15 23:48 Lingenfizzle East Asian video game movie that's mostly a 3v1 fight?

Listen, I realize how long a shot this is, but it really is a series ask. I've asked Google in every way I could think of, and I've come up with nothing. It used to be on Netflix, it's from some country in East Asia but I can't remember which one, it's from 2013 at the absolute latest.
It's set in a fictional online video game that seems pretty freeform. Each player seems to play in a completely different way. I want to say one player was a ninja, another was in a fighter jet, and a third used magic? They were all fighting some enemy, or maybe each other? The background is basically a wasteland, wide open for big fight scenes. I think there was basically no plot, just introductory sequences for each character and their general vibe/play style.
I have basically no more details and no idea what it was called. I've just been trying to remember for years and come up with nothing. I tried to find it in my Netflix viewing history, but it seems to have been before I moved to my current account, which is how I know it came out no later than 2013. If it helps at all to have a lower limit for the release year, I'd assume no earlier than 1995 given how CGI-heavy it is, but more likely we're talking 2005 or later.

submitted by Lingenfizzle to whatsthemoviecalled [link] [comments]

2024.05.15 23:45 Gfdgsgxgzgdrc Revisiting the Mystery Valentine (An Overly Long Explanation of Why It's Definitely Gaster)

https://preview.redd.it/vfqpjxdvqn0d1.png?width=3005&format=png&auto=webp&s=5714871c0eb21939d134ffe5f90025eb3f2fc8e3
I'm not sure why I'm still so hung up on this. For context, I kinda fell out of theorycrafting a while ago — at this point, I've seen every shred of evidence supporting or opposing every possible theory, and yet I feel no closer to any concrete conclusions on the game's lore. There are just too many questions, too many possibilities.
Then the secret Valentine dropped. This letter raised a lot of questions I was eager to discuss! Instead, I was disappointed to find the discussion dominated by something I didn't even think to question: the writer's identity. This frustrated me a bit, as I felt that, for once, the conclusion was actually pretty clear-cut; it didn't strike me as something Toby Fox even intended for us to debate.
At the time, this drove me to write a post discussing it (don't bother reading it, this post is better). I thought that would be the end of it for me, but somehow the debate has yet to leave my mind. Even now, from what I've seen, people are too busy arguing about who wrote the letter to discuss what's in it. All the while, I've not only grown more confident in the conclusion I've reached, but I feel more prepared to articulate why. I've also heard more counterarguments since then, which I will address in this post.
I'll start with what we can agree on, before addressing more significant counterarguments and delving into progressively deeper levels of conjecture. Should be fun!

Context and implications

Even before looking at the letter itself, we can see that this is a rare, cryptic secret, already giving us an idea of who might be involved. I'd go so far as to say that Gaster is "rare, cryptic secrets" personified. To me, this is the main thing setting him apart from other characters.
Obviously that's not to say that other characters can't be responsible for secrets like these, but giving the letter a cursory glance, the format doesn't fail us. All caps — this doesn't tell us much on its own, but when used alongside a very, very specific manner of double line spacing between and within sentences, compounded by the aforementioned association with secrets... Toby Fox is clearly trying to tell us something here, so I'm not a fan of any theory that completely discards that.
You'll probably agree with this point — even Gaster Valentine deniers admit that there is an intentional association being drawn. If you disagree... sorry, I don't know what to tell you. When it comes to Gaster, having a mysterious secret with all-caps weirdly-spaced text is basically equivalent to Susie walking onscreen and saying "Hi, I'm Susie". Sure, maybe a plot twist down the line will reveal that this isn't actually Susie... But you'd only suspect that if she says something that would imply it, and for now, we're only looking at the presentation.
There's another association I haven't seen as many people bring up: the fact that the letter is anonymous. Ironically, "not being confirmed to be Gaster" is one of Gaster's identifying characteristics. In every case, we're left to assume his involvement from cues such as those we see here: secrets, crypticism, capitalization, spacing, all that. Anonymity is his signature. By including these quirks and leaving it uncredited, he may as well be signing "GASTER" in flashing letters. And that's not even getting into the implication of Wingdings and the letter disappearing after being read, which are both Gastery as all get out.
A couple minor notes regarding the writer's anonymity:

The lack of a telltale 666 motif or gratuitous "VERY, VERY" could be seen as a point of contention, but I think this naturally follows the pattern we've seen thus far: as we grow more familiar with Gaster, there's less need for these kinds of identifying motifs. In Undertale, the name Gaster is directly associated with 666 and Wingdings, but as we already know these connections going into Deltarune, the game's intro more-or-less drops the name and font associations.
Notably, this is the only Valentine without a confirmed sender — if it was meant to tease a new character (à la Lanino and Elnina), why not include a visual or first initial to indicate that? Because it's supposed to seem like Gaster, only to end up a red herring...? Seems like a pretty cheap twist to me. Characters have deceived us in the games themselves, but we've generally been able to take supplemental content more-or-less at face value.

Of course, that anonymity is a double-edged sword. It implies Gaster's involvement just as much as it leaves room for doubt. If Toriel does something un-Toriel-like, we simply have to reconcile what we previously knew of her character with what we do now, whereas if Gaster does something un-Gaster-like, it calls his entire identity into question. I still don't think the Gaster associations can simply be handwaved away — again, even Gaster Valentine deniers agree that there's some significance to the similarities — but, by his very nature, it's nothing more than an implication.
If the voice from the vessel creation sequence says something to the effect of:
https://preview.redd.it/lsfu4bxrqn0d1.png?width=514&format=png&auto=webp&s=14867b9e9ea46dfc4f7c7fc91de69c574cab530d
I'll be the first to admit that it probably isn't Gaster. But I don't think that's the case here, and to discuss why, we'll have to move on from the context to the content.

Personality and mannerisms

The obvious problem with analyzing Gaster is that he has yet to be properly introduced, much less developed. We've only ever interacted with him outside Deltarune's story and world, and furthermore only briefly, within a very narrow range of contexts. Additionally, these interactions are written to provide us with as little characterization as possible — he is succinct and direct, never shifting the subject beyond what is relevant to us. This itself could be considered characterization, but without the "why", there's not much to glean from it.
Regardless of whether this trait is dependent on context (there's little room for conversation in a survey program, after all) or is simply an ever-present aspect of his personality, I'd argue it carries over to the letter. He tries to begin with polite small talk, but each topic he broaches is swiftly dismissed; once again, he can hardly bring himself to deviate from "the purpose of the message". Speaking of which, that fact — that this is the only Valentine with an explicit "purpose" — itself provides characterization. Almost as though this character would only contact us for an important reason (perhaps a character with a history of doing so, often outside the game). Almost as though we've met this character before (otherwise, I suspect Toby would've focused exclusively on characterization rather than motives, as with Lanino and Elnina).
I realize I'm getting into full speculation territory now, but hopefully I've made it clear why it's necessary to do so. Gaster's personality and motives are largely up to personal interpretation — I think we can agree that, were that not the case, the debate would be a lot more one-sided. Your interpretation of the character can't be used as conclusive evidence for your theory. Of course, I'm not exempt from this either! My interpretation could be completely off-base as well. That said, I'd like to at least explain why it all lines up in my head. (Feel free to compare my interpretation with his dialogue, which I've compiled here: https://pastebin.com/yR5Y8qhw)
Let's get the specific shared mannerisms out of the way before moving onto the more general similarities. Specifically:

Gaster employs a specific kind of repetition, mostly limited to single words, but occasionally multiple ("OF COURSE", "SHALL WE", "THE SECOND"). We see this reflected in the letter ("BELIEVE IT SO", "WANT[ED] TO HELP", "SEEM TO HAVE FORGOTTEN").
He alternates between present and past tense when describing what is currently happening (seen throughout the vessel creation and save menu text). The letter writer does this multiple times.
Perhaps a generic word choice, but the writer says "HOW ABSURD", much like how Gaster has said "HOW WONDERFUL", "HOW INTERESTING", and "HOW LONG IT HAS BEEN".

There are a couple other things that struck me as extremely Gastery, but I couldn't find many examples for them. I might just be thinking of the stilted way Toby Fox writes in status updates and newsletters, which reminds me more of Gaster than any other character... but that's a tenuous connection at best, so take these for whatever they're worth:

The letter writer puts "VALENTINE'S DAY" in quotes. I thought there were more examples of Gaster putting random terms in quotes (it suits his general robotic-yet-whimsical demeanor), but the only ones seem to be the names you enter in the vessel creation.
I find the phrasing "THE PURPOSE OF THE MESSAGE" (as opposed to, say, "the reason I wrote this to you") very Gastery — something about the detached feeling and repeated use of "THE" — but the only instance I could find of this particular sentence construction was "CHOOSE THE TARGET FOR THE REFLECTION", so maybe it doesn't mean much.

Moving onto the general personality, the easiest similarity to argue is the metaknowledge. Gaster introduces you to the Deltarune program, and is the only character known to acknowledge it. The letter writer is clearly interested in your thoughts on Deltarune (albeit spelled "DELTA RUNE"; beyond Toby's general inconsistency with minor details like these, I'm not sure what to make of that). The writer also acknowledges the wait between chapters, much like Gaster does — contrasting this, everyone else simply acknowledges the time that's passed within the story, perceiving two real-world years as one night. It could also be argued that Gaster is the only character who has contacted us, the player, directly.
Gaster is also known to be polite and formal, always offering greetings ("WELCOME"), gratitude ("THANK YOU FOR WAITING SO LONG"), and compliments ("YOU HAVE CREATED A WONDERFUL FORM"). We see this reflected quite well in the letter — "AS YOU ARE WAITING PATIENTLY" and "DO YOU BELIEVE IT SO?" certainly don't feel like the words of someone speaking casually. Like Gaster, the writer also uses fewer exclamation marks and contractions than most. Granted, the fact that the writer uses contractions at all is cause for suspicion... but, since they're outnumbered by the uncontracted phrases, contraction usage remains closer to Gaster than anyone else (except Toriel, I guess). Although we haven't seen Gaster use contractions in his few prior instances of dialogue... evidently, he does use them, albeit infrequently.
The formality even goes beyond word choice — his repeated backtracking on the exact order of "PUT ON YOUR COAT AND WASH YOUR FACE" brings to mind his polite accommodation of our choices in the vessel creation or save menu. It doesn't seem like him to forcefully tell us what to do, or in what order to do it, and the letter's ending serves to exaggerate that quality. He may not use any highly technical language here, but that makes sense in this less scientific context (especially when you consider that he doesn't use scientific terminology all that often anyway).
Gaster's constant emphasis on the subject at hand, saying something odd or outright wrong whenever he alludes to anything else (listing the wrong options for whatever he means by "FAVORITE BLOOD TYPE", or listing such favorite flavors as "PAIN" and "COLD") — it's always given me the impression that Gaster's transcendent brilliance doesn't extend far beyond his own work. That's not to say he's stupid, far from it, but definitely a bit "out there" (I feel this much is apparent from the multiple typing quirks he uses). At the very least it feels inarguable to me that, while Gaster is smart, he doesn't know everything, and (like any Toby Fox character) he isn't always intended to be taken 100% seriously.
Casting our gaze over to the letter, this once again checks out. Confusing the new year with the old year, considering himself to be the person he's forgotten, mixing up the recipient's face and coat — these feel more-or-less like a natural development of Gaster's established eccentricity, like the kinds of weird things that would only make sense from his unique, potentially fractured, extradimensional perspective. Sure, "THE TIME IS GOING AROUND" may not make sense to us mortal beings, but neither does "DELTARUNE GLOWS BRIGHTLY FROM YOUR HOPE". Ending a message with the archaic "GOOD BY" feels roughly equivalent to randomly putting [24] in brackets.
The increased emphasis on these quirks makes sense in this more casual context, and adds tonal consistency with the other Valentines — being a spooky creepypasta character is hard work, and I think the guy's earned a day off. The friendliness also makes it out to seem like the writer has communicated with us in the past, which wouldn't make sense for anyone other than Gaster, and certainly wouldn't have made sense in something like the vessel creation sequence. I find that it also makes sense from an extradiagetic perspective — Toby Fox is just providing characterization here, not announcing a new chapter, so there's less reason to write Gaster with as much purpose and brevity as in previous appearances.
Basically, the idea that Gaster is completely serious and grounded while the letter writer is completely goofy... I don't get it. I really don't think either of those things are true. I'm not even sure what I would change about the letter to make it sound more like Gaster... Did you expect less exclamation marks? More line breaks (which would make it overly long and monotonous, might I add)? Less whimsical turns of phrase? At that point the letter wouldn't deepen our understanding of the character at all, and I fail to see what the point would be.
And the idea that the letter ruined Gaster's character makes even less sense to me — for one, what does this letter really establish about Gaster that wasn't already alluded to? I suppose the letter makes him out to be more whimsical than most of us thought, but how is that a downgrade from "static, one-dimensional robotic scientist"? Can "whimsical scatterbrain" and "robotic scientist" not coexist? Is the gradual reveal of depth and contrasts not at the heart of most Toby Fox characters?? The directness of his speech has made him feel more like a plot device up to this point, so this letter was the first time I truly felt invested in Gaster as a character outside of his unique presentation. I don't think "saying things in a casual context that could be construed as humorous" (again, especially when he already says things like "FAVORITE BLOOD TYPE") is enough to consider him "scrunkly goober #78" — and even if it was, Toby has a way of delivering the most emotionally impactful moments through the funniest characters, so I'm not particularly worried.
All that to say: it's my belief that, even looking past the context and format, the letter aligns more closely with Gaster than any other character. Who else has such a formal and cordial composure contrasted against an air of inscrutable strangeness?

Motives and memory

Gaster hasn't exactly been transparent about his goals, and the letter writer isn't giving us a whole lot to work with either, so we're going to have to get even more speculative here. That said, the conclusion I've arrived at makes a lot of sense to me, relates to established elements of Deltarune, and even explains away some people's reasons for this not being Gaster. Those being:

"Gaster asks us for help, even though we've already been helping him!" This is easily explained if we assume he's asking our help with something else this time. The more casual tone and secrecy of the letter supports the interpretation that this is a less generally important, more personal matter; it's the difference between "Hey, if you don't mind, would you lend me a hand with this thing that's been on my mind?" and "I'm subjecting you to an experiment I've spent years preparing, please follow these exact instructions." I suppose it's strange that he doesn't mention how we can help, but I imagine that's something that will become clear in the future.
"Gaster isn't forgetful!" While I'd say it's entirely possible that Gaster has memory problems that simply hadn't been alluded to yet, I find the more likely explanation to be that there's something supernatural at play, and once again I believe this is hinted at in the letter itself. Gaster says it's "IRONIC" that he forgot something — what could this imply, beyond the fact that he was forgotten himself? (To recap the theory, Goner Kid mentions a world where they don't exist, no one acknowledges Gaster outside Fun events, and while Asgore is said to have taken a long time replacing Gaster, it's unconfirmed whether he remembered who he was replacing.) I was 50/50 on this theory myself, but I take this letter to be more-or-less confirmation of it, further tying it to Gaster. The only other explanation I can think of for this "IRONIC" line is that perhaps Gaster makes people forget things...? For the purposes of this theory, it doesn't matter too much, as it establishes a precedence for supernatural memory loss either way. Furthermore, by suggesting the person he's forgotten may be himself, he draws a direct parallel between himself and the person he's helping, lending further credence to this interpretation.

This brings us to my theory. I posit that the forgotten character is someone in similar circumstances to Gaster himself; someone who cannot be found in the story, and is instead associated with secrets outside of it (much like this letter). As an added bonus, it would help strengthen the theory if it happened to be a character who is known to call out for help, and who we've previously been requested to find (particularly in secret material outside of the game, much like this letter). If only there was a character fitting all of those criteria...
But this post isn't about that. My point is, while there's not much to glean in the way of connections between the letter person's goals and Gaster's, I don't think there's anything contradicting such connections either.
https://preview.redd.it/gswysspqtn0d1.png?width=392&format=png&auto=webp&s=248273e7bacc131cf9e9422a0aebdaeeacc6c9b6
Oh. Right, I guess there's that. If this is the same Gaster we've worked with before, why doesn't he say "YOU HAVE PROVEN YOURSELF TO BE RELIABLE"? I feel like this minor word choice could be justified by any number of explanations. For one, the phrasing makes a bit more sense within the full context: basically "you're odd, but you seem reliable regardless". You could also argue that, since he's asking something different of us this time, we haven't proven ourselves to be reliable for this specific task. Or that since we've only been assisting in the "Deltarune" project for 2 of 7 chapters, that's not enough time for him to fully consider us reliable. Or, maybe the only reason we do seem reliable to him is because we've been assisting him — otherwise we wouldn't seem reliable at all. Heck, it could just be odd phrasing for a character who constantly uses odd phrasing, only misleading under a specific interpretation.

Translation

To recap, I think the context and format convey a very clear implication — one that could be a red herring, but that I believe is only supported by the writer's personality, and (at the very least) not contradicted by their goals. Here is where I believe we come to the first hole in my argument.
The Japanese translation doesn't sound particularly close to how Gaster speaks in Japanese. I don't speak Japanese, so there's not much I can do to back up or debunk this claim — perhaps people are overlooking some of the more minor similarities, as with the English version...? Or maybe there's more nuance to the translation process than most people think, and the writing style is highly adaptive to tone, mood, context, or method of delivery, or affected by cultural differences...? I don't know, so for now I can do nothing but take it at face value, and consider what this inconsistency might imply.
People seem divided into two camps with regards to the translation: "the English version very clearly sounds like Gaster, therefore the Japanese version doesn't matter" and "the Japanese version very clearly doesn't sound like Gaster, therefore the English version doesn't matter". Frustratingly, neither of these actually address the inconsistency. If we assume it isn't Gaster, the English version clearly goes out of its way to mislead us into thinking it is (as I've already justified extensively), so why not do the same for the Japanese version? If Toby wanted to clear up ambiguity by making the Japanese version distinct from Gaster, why not do the same for the English version? Whichever way you slice it, it's a contradiction.
That said, I think there are a few things working in my favor here. For one, English is Toby's native language, as well as the most common language spoken by his fanbase. Japanese translation is handled by a different team under Toby's supervision; they had a lot of Valentines to translate, and likely a pretty strict deadline. It's believable that time constraints forced the team to prioritize accuracy to the content and tone of the letter over consistency with established text quirks.
There's also the fact that the English version is the only one to imply a clear sender (unless you want to reach and say the secrecy and metaknowledge of the Japanese version imply Gaster as well); personally, I feel inclined to believe a deliberate implication over the lack of one. Adding weight to this point, this isn't generally the sort of thing casual fans are going to speculate about — anyone who knows about the letter has likely heard of both versions, which means most will gravitate toward whichever one implies a specific identity. Because of this, the Gaster interpretation seems to prevail even in the Japanese fanbase.
Basically, I don't like that making sense of the letter forces me to either make up an arbitrary narrative explanation for the discrepancy, or to write off either the English or Japanese version as unreliable... However, this decision is made much easier by the fact that, the way I see it, only one of them provides mounds of evidence (from the context to the specific format to the anonymity to the metaknowledge to the formality to the strange mannerisms and so on) pointing toward a single interpretation.

Alternative explanations

I've seen a few other theories regarding the writer's identity, the most common of which being the idea that Gaster was shattered into multiple personalities, and that this is a different "shard" from the one we've communicated in the past — I take issue with any theory that compartmentalizes one complicated character into multiple simple ones, but I suppose it doesn't necessarily have to be done that way. There are also theories that this is the Chapter 3/4 secret boss (associated with Gaster based on precedent), Mike (associated with Gaster through Spamton), or IMAGE_FRIEND (associated with Gaster via filename conventions), some of whom may or may not be the same person.
My main argument against these theories is that I simply don't think they're necessary. To reiterate, I think the whimsy Gaster displays here is consistent with his previous characterization (we've only seen him in scientific contexts until now, and even then a bit of whimsy manages to slip through), and the forgetfulness can easily be explained as well (since it only seems to apply to one subject). Again, the only hole I can find in my interpretation is the Japanese version, and none of these theories really explain the inconsistency there, leaving us back at square one — if it's merely a character associated with Gaster as opposed to the man himself, why aren't the similarities and differences roughly the same in both versions?
These theories don't make much sense to me when I attempt to look at them from Toby Fox's perspective, either. Getting a secret Valentine from Gaster is, technically speaking, like the coolest thing ever, and I think he realizes this. If he's willing to include a secret letter with this much lore in it, why leave out such an important character we've already communicated with? And furthermore, why give a different mysterious character so many of the same characteristics we use to identify Gaster in the absence of his appearance or name?
Also, isn't it telling that the debate seems split evenly between "Gaster" and "a theoretically infinite supply of basically made-up Gaster-adjacent characters"? While these theories could end up being accurate, I don't yet see any precedence for either Gaster having multiple personalities, nor any as-of-yet unseen/nonverbal characters sounding like the letter writer; these theories simply exist to explain a contradiction that I believe isn't truly there. They embody the principle of explosion, or "from contradiction, anything follows" — if you accept that it sounds both "like Gaster" and "unlike Gaster", you can make up anything in between these possibilities, an untouchable theory that can neither be proven by evidence or disproven by counterevidence. I personally don't find that line of thought very compelling.
In the most popular video on the topic, SpookyDood analyzes the letter through cadence, language, context, and function; however, I think something is lost from analyzing these aspects separately. Cadence, language, and function are largely dependent on context. If we accept the letter into that pool of Gaster characterization rather than nitpicking it into oblivion, we simply see new patterns emerge. We see that Gaster only uses particularly large words when he's referring to something scientific. We see that Gaster is slightly more enthusiastic when there's less pressure to be serious and professional. Basically, I feel that all of the inconsistencies SpookyDood brings up are easily explained by this letter being a different narrative context from the one Gaster has previously occupied (and I presume will largely continue to occupy), which is what I find so interesting about it.
As for cadence, SpookyDood says that "[Gaster's] pattern of each few words being broken up by a line break is no longer present", but the first 3 sentences alone are divided into 6 lines. He even calls out certain sentences in the vessel creation as going against this pattern, proving that it doesn't have to be consistent — while these line breaks do define the flow of Gaster's speech, I think the frequent use of ellipses here achieve the same effect without needlessly extending the length of the image.
The video ultimately posits that the writer is the man behind the tree, and honestly, I don't entirely disagree with that conclusion. The use of "well" checks out, as does the happy mood. In the case of both "DO YOU BELIEVE IT SO?" and "He might be happy to see you. What do you think?", the text moves on without directly responding to our answer. There's also a more loose connection to be made, in that both of these questions involve reality being dependent on our thoughts (whether each day is or is not a day of love, and whether there is or is not a man there), and likewise, dropping the egg causes the narration to act as though the egg was never there. (Obviously the man himself doesn't say any of this, but the association's still there through the narration.)
The connections don't strike me as plentiful or strong enough to stand toe-to-toe with the Gaster interpretation, but without much to go off of regarding the man, it doesn't have to deal with as much counterevidence either. I'd say I have the same problem with this theory as the others I've mentioned (an excessive avoidance of contradiction such that, instead of associating with said contradictions, the letter is attributed to a character we know so little about that it can't be argued against), but there's a fairly reasonable basis for argument here.
Thing is, I don't think these interpretations are mutually exclusive. I was ambivalent toward Gaster and the man (the mystery man, you could say) being one and the same, but the letter has done a lot to sway me toward that conclusion. Strengthening the connections between the letter, the man, and Gaster are the mutual association with forgetting (due to the blog post where Noelle can't remember the name of her egg), secrets, and disappearances. The letter's contrasting of contradictory statements ("NEW YEAR" vs. "OLD YEAR", "WASH YOUR FACE" vs. "WASH YOUR COAT") call to mind both the man ("a man" vs. "not a man", "not too important" vs. "not too unimportant") and the strange someone who corrupted Jevil ("didn't make sense" vs. "didn't not make sense").
If the letter was supposed to be written by the man, but not Gaster, I imagine the letter would have been formatted like this instead:
https://preview.redd.it/igudqtpisn0d1.png?width=2500&format=png&auto=webp&s=0dd63050999a033459f6255ac671a1ac4ad4fcd9

Conclusion

Sorry, that was long. I'm done!

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2024.05.15 22:09 lefthandconcerto My Review of The Pinhoe Egg (Spoilers Within!)

About six months ago, in November, I started my journey through the "Chronicles of Chrestomanci," which of course are not really a series as much as a collection of books which all take place in the same set of universes. I read everything in order of publication, posting my thoughts here each time, and with the completion of this book I am now all the way through these wonderful novels. Please forgive my lack of direct quotes this time--having read nothing else for fun besides these books for six months, I found my note-taking capacity to be somewhat diminished. Maybe in the future I'll write a more detailed review.
The Pinhoe Egg is the final Chrestomanci book, whether you're reading them in order of publication or chronologically. I have no doubt Diana Wynne Jones did not intend this to be a "series" with a beginning and end; rather, I assume she simply got several book ideas that took place in this world, and this happened to be the last time before she died. It is sheer luck, then, that this last book is a sort of grand culmination of them both thematically and narratively, and possibly the best of the lot.
We start, typically, with a new protagonist, Marianne Pinhoe, and a new locale, the small rural village of Ulverscote, located a stone's throw from Chrestomanci Castle and Helm St. Mary. I liked that we got a little more background about this area throughout the book. When I go back to reread Charmed Life, I'm looking forward to putting it all into this new context.
Marianne became a favorite character almost instantly, and I was hooked on her storyline right from the beginning. Jones has a typically virtuosic opening sequence, wasting no time in establishing the key characters and launching into a dreadfully funny episode telling of Marianne's grandmother (who is also a kind of matriarch or "Gammer" over all the Pinhoes) apparently abruptly developing dementia and being forcibly removed from her home. There is black comedy galore here, all painfully adjacent to the real experience of making arrangements for a feeble or senile parent, as when Gammer is so averse to leaving her home that she roots herself in the bed, complete with actual roots. Meanwhile, Gammer's brothers and many children squabble over who gets to live in her house and where her belongings will go.
I mentioned before how Jones is always surprising me with the variety of formal structures and writing styles she employs. I thought I had figured out her game here, and was sure it was going to be similar to Conrad's Fate, where a new protagonist gradually makes their way into meeting familiar characters. But of course, Jones neatly sidesteps all reader expectation and switches tracks suddenly a few chapters in, focusing on Cat Chant as a second, equal protagonist, and revealing this book to be, among other things, the true sequel to Charmed Life--published 29 real-life years later. Jones then begins alternating between Cat and Marianne unevenly, and sometimes even from sentence to sentence, as in Witch Week. Her sleight of hand is sly and clever, and the craftsmanship is remarkable. Hats off--each of the seven books in this series reads totally differently. Jack of all trades, master of all, our Diana.
Jones stacks on the themes this time. We of course get some of her usual preoccupations, particularly with that of unreliable families. The Pinhoes may be the worst of the lot, or at least the most upsetting, because while in most of the other books the dysfunction is obvious, things are more insidious here. The reader is actually led (through Marianne's obedient, rule-following perspective) to see Harry, Cecily, Gammer, and most of the uncles and aunts as well-meaning individuals who care for one another. However, as in Charmed Life (and Cat himself draws the comparison), as the book goes on and Marianne becomes more independent, it becomes increasingly difficult for her, and for us, to justify their cruel behavior. It is genuinely devastating when Marianne figures out what's going on halfway through the book, decides to approach the adults in her life about it, and is laughed off or outright punished by all of them. There is a familiar scene at the end of the book: Marianne's and Joe's talents are vindicated by Chrestomanci and they are given the opportunity to nurture their skills in an education apart from parents who hold them back by refusing to understand or accept them. Replace the current Chrestomanci with the previous acting Chrestomanci, Gabriel de Witt, and you have the same scene as the end of Conrad's Fate. The detail that Marianne and Joe still go home and see their parents regularly is brutally realistic, Marianne able to convince her mother to soften on some issues, but ultimately failing to truly connect with her father. This seems to me the ultimate conclusion of the obsession with family dynamics in the Chronicles of Chrestomanci--that your family will always be there, like them or not, whether or not a true understanding can ever be reached. I'm not ashamed to say I cried through the last couple chapters of the book, and found the first line Jones has written that made me audibly sob. This was a feeling from childhood I didn't even know I had forgotten:

[Marianne] was depressed and worried. Dad was never going to understand and never going to forgive her. And Gaffer had still not turned up. On top of that, school started on Monday week. Though look on the bright side, she thought. It'll keep me away from my family, during the daytime at least.

As in Conrad's Fate, the potential toxicity of religion crops up here, in a bigger way than ever. The last act of the book is barely disguised by its magical trappings: what we have here is a group of devout, religious conservatives, being shown the harmful effects of their actions, and blindly rejecting all of the proof and logic in front of them in favor of enforcing rules and laws that keep them comfortable. There is no doubt that the next generation of Pinhoes will be just as subject to the old traditions, in spite of Marianne and Joe breaking free. That the Reverend Pinhoe is portrayed as a hapless and kind man, ignorant to most of the wrongdoing in the village, does little to soften the point of Jones's pencil here. As I said, I was startled by how moved and devastated I was by this final section, recognizing all of the real-world pain in this fantastical setting.
Jones has always been steadfastly protective of those who cannot speak up for themselves, as with the character of Cat who finds it difficult to recognize and verbalize his feelings. This time, borrowing from a kind of Shinto animism, Jones includes the concept of Dwimmer, a magic that is focused on the life force within all creatures and plants. There is no debate where Jones stands on this--her deepest and most profound sympathies lie with Cat, who can't bear to imagine his horse Syracuse chopped into dog meat, who frets over Klartch's wellbeing when out of his sight, and who firmly refuses to apologize for releasing all the goblinlike fairy folk from their bindings. There is no direct intimation of endangered species, global warming, or human-caused environmental destruction in this book, as you might expect in this kind of setup (I suspect Jones was too clever to resort to trite metaphors). However, in a fascinating twist, a plot detail revolves around the Pinhoes and Farleighs erecting a barrier in the forest to contain the magical creatures, making the forest feel empty and incomplete in the process--a magical, but also literal, instance of deforestation. Motives of plants, herbs, and trees, both good and evil, carry through the book as well. Jason and Gaffer Elijah Pinhoe, as well as Cecily, are handy with plants and tend large gardens. The Farleighs' and Pinhoes' spells tend to take the form of small bags of weeds and branches as well. Interestingly, and insightfully, the natural world is portrayed as difficult as well: Gammer grows roots to impede her family's mission, and the vile Gaffer Farleigh morphs into a stubborn, gnarled, immovable petrified oak when Cat works a spell forcing him to assume his true form.
This was one of the most enjoyable books in the Chrestomanci series, and it was bittersweet to close the door on the Pinhoes. I like that the continuity between these books is vague and tenuous, so I'm free to imagine all sort of side goings-on, like what might happen to Marianne and Cat later in life, or whether Conrad and Christopher remained friends, or what Roger and Julia thought when their dad told them all about the events at the academy in Witch Week. Howl's Moving Castle is still the book closest to my heart, and will forever be the Diana Wynne Jones I read over and over, recommending to anyone unfortunate enough to strike up a conversation about books with me, but I am so glad that I found the time to welcome Chrestomanci and all his strange acquaintances into my heart, too.
Here's my personal ranking of the Chronicles of Chrestomanci, but please note I love all of these books and a low ranking does not mean I don't like the book. I have to put that there because there's always someone who doesn't understand that last place doesn't mean bad or worst. I'm not including the short stories individually because it's impossible for me to weigh a short story against a novel, whereas a large collection seems to make sense to me. I also must admit that the top three, especially the top two, were really difficult to place and I more or less love them equally.

Conrad's Fate
The Pinhoe Egg
Charmed Life
Mixed Magics
The Magicians of Caprona
Witch Week
The Lives of Christopher Chant

My next Jones book will be -- drumroll, please -- Archer's Goon, though I'm taking a break for some adult reading during the summer. While I'm in a school semester I can pretty much only manage to read children's fantasy, so I'll see you all come August or September. :) Thanks to those of you who have been reading and following my journey from start to finish. I would love to chat more about this book and this series.
Oh, and finally... ALL SPOILERS ALLOWED!

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2024.05.15 21:31 chanma50 'Furiosa: A Mad Max Saga' Review Thread

I will continue to update this post as reviews come in.
Rotten Tomatoes: Fresh
Critics Consensus: Retroactively enriching Fury Road with greater emotional heft if not quite matching it in propulsive throttle, Furiosa is another glorious swerve in mastermind George Miller's breathless race towards cinematic Valhalla.

	Score	Number of Reviews	Average Rating
All Critics	88%	41	8.60/10
Top Critics	75%	20	8.50/10

Metacritic: 83 (27 Reviews)
Sample Reviews:
It all adds up to is a movie that can be darkly bedazzling, and that will be embraced and defended in a dozen passionate ways -- but it’s one that, to me, falls very short of being a “Mad Max” home run. - Owen Gleiberman, Variety
Anya Taylor-Joy is a fierce presence in the title role and Chris Hemsworth is clearly having fun as a gonzo Wasteland warlord, but the mythmaking lacks muscle, just as the action mostly lacks the visual poetry of its predecessor. - David Rooney, Hollywood Reporter
Miller is such a wildly inventive filmmaker that it’s been easy to forget that he keeps making movies about the end of life as we know it... It’s only with “Furiosa” that I now understand he’s also one kick-ass prophet of doom. - Manohla Dargis, New York Times
Taylor-Joy and Hemsworth are a great pairing and Taylor-Joy is an overwhelmingly convincing action heroine. She sells this sequel. 4/5 - Peter Bradshaw, Guardian
This is a film made with purposeful savagery, and with considerable wit and lyricism, too. It has the concentrated intensity of 2015’s Fury Road, to which it is a prequel, and yet it unfolds across a far broader canvas. 5/5 - Geoffrey Macnab, Guardian
A thundering beginning and a searing sense of place fail to compensate for the wearisome repetition and empty theatrics that slowly swamp this much-awaited blockbuster. 2/5 - Kevin Maher, Times (UK)
The film may handle differently to its predecessor, but it’s clearly been tuned by the same engineers. After the pared-down drag racer, here comes the juggernaut. 5/5 - Robbie Collin, Daily Telegraph (UK)
Despite its many, many action sequences, and a symphonic cacophony of motorbikes vrooming in the sand, the movie... evolves into a slog that’s working hard to persuade us we’re having a good time, though it may not be actually giving us one. - Stephanie Zacharek, TIME Magazine
Furiosa runs on a high-octane philosophical perspective that finds hope in a hopeless place. Also, a lot of cars go fast and shit blows up. It’s a win-win. - David Fear, Rolling Stone
Furiosa is a fine prelude to that mighty arc. Its initial rattling gradually gives way to the robust and satisfying purr of Miller, despite everything, making it work. - Richard Lawson, Vanity Fair
Action sequences charge forward and build and build, casually leaving all manner of bodies in their wake. - Bilge Ebiri, New York Magazine/Vulture
The chassis may look familiar but there is a very different engine driving Furiosa from that of Fury Road: it’s a rich, sprawling epic that only strengthens and deepens the Max-mythology. It shall ride eternal! 5/5 - John Nugent, Empire Magazine
While it’s absolutely a blast at the cinema, the dizzying heights that Miller drove us back in 2015 aren’t quite matched a second time around. 4/5 - Hannah Strong, Little White Lies
You soon reach the point where you're sick of sand, sick of explosions, sick of off-puttingly sadistic violence, and sick of thunderous drums bashing away on the soundtrack, and yet the film keeps piling on more and more and more of them. 3/5 - Nicholas Barber, BBC.com
Furiosa: A Mad Max Saga doesn’t feel like an overture for the vehicular carnage of Fury Road so much as it retroactively makes Fury Road feel like a coda for the epic tale Miller tells here. A- - David Ehrlich, indieWire
Furiosa is a jaw-dropping achievement. It’s a hyper-realistic vision of the apocalypse, a Greek myth made into an outsized blockbuster spectacle. - Hoai-Tran Bui, Inverse
High on exhaust and the limitless capabilities of cinema, this no-brakes franchise keeps careening onward as if it could run forever. - Charles Bramesco, Decider
Furiosa is such a thrilling ride, packed with set pieces that are a masterclass in staging action, that it’s a little sad when the plot veers towards the events of the previous movie — because we know that’s where the ride ends. A - Liz Shannon Miller, Consequence
It’s hard to top perfection; it’s the reason why there’s no Citizen Kane, Too or Still Singin’ in the Rain. - Alonso Duralde, The Film Verdict
A big, entertaining popcorn movie, told with a sense of adventure and play.... “Furiosa” aims to blow you away. And it does. To Valhalla and beyond. 4/4 - Robert Daniels, RogerEbert.com
SYNOPSIS:
As the world fell, young Furiosa is snatched from the Green Place of Many Mothers and falls into the hands of a great Biker Horde led by the Warlord Dementus. Sweeping through the Wasteland they come across the Citadel presided over by The Immortan Joe. While the two Tyrants war for dominance, Furiosa must survive many trials as she puts together the means to find her way home.
CAST:

Anya Taylor-Joy as Imperator Furiosa
Chris Hemsworth as Doctor Dementus
Tom Burke as Praetorian Jack
Alyla Browne as Young Furiosa

DIRECTED BY: George Miller
PRODUCED BY: Doug Mitchell, George Miller
WRITTEN BY: George Miller, Nico Lathouris
EXECUTIVE PRODUCERS: Dean Hood
DIRECTOR OF PHOTOGRAPHY: Simon Duggan
PRODUCTION DESIGNER: Colin Gibson
EDITED BY: Eliot Knapman, Margaret Sixel
MUSIC BY: Tom Holkenborg
COSTUME DESIGNER: Jenny Beavan
CASTING BY: Nikki Barrett
RUNTIME: 148 Minutes
RELEASE DATE: May 24, 2024

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2024.05.15 17:10 Chen_Geller Tolkien Begginings: the antecedents of Peter Jackson's (and others) Middle-earth

I still sit sometimes and chuckle, thinking "When Ralph Bakshi started animating The Lord of the Rings in 1976, did he know what he was going to unleash on the world?" There was also the Rankin/Bass TV special, being developed concurrently, but its the Bakshi film that, in 1979, Peter Jackson saw, and this young Photoengraver would later direct six (!) live-action Tolkien films and, between himself and co-producer Philippa Boyens, are hard to work producing three more such films. Other adaptations since - namely, The Rings of Power (especially Season One) but also games from The Shadow of Mordor to Return to Moria - have at the very least taken cues from Jackson's films. All because a Kiwi photoengraver saw a cartoon....
But the relationship between these properties is not so clear-cut as it may seem. I ednumbered the similarities and dissimilarities between Jacksons' films and The Rings of Power elsewhere. Now I want to delve deeper into the similarities and dissimilarities between Jackson and previous adaptations of Tolkien.

The Rankin/Bass TV Specials

Side-by-side video comparisons between Jackson's films and the two Rankin/Bass TV Specials do not reveal any similarities that don't come from the fact that they're adapting the same books. This is an important point: Jackson is NOT trying to make some post-modern "collage" Hollywood film. He's only tipping his hat to those adaptations of Tolkien that he had seen growing up and that influenced him personally.¹
Due to copyright, the Rankin/Bass specials probably didn't air in New Zealand at all, and although it seems Jackson got a hold of the Rankin/Bass The Hobbit before embarking on The Lord of the Rings, he had not seen their Return of the King, certainly before 1999, and neither he nor his close collaborators have made comments about either of the two Specials. By contrast, the (American!) showrunners of The Rings of Power had referenced the Rankin/Bass Specials, and seemingly tipped their hat to it in a set design for season two.²

The Ralph Bakshi film

As I said, Jackson went to see the Bakshi film. He had enjoyed some of Bakshi's previous film, including the Tolkien-esque Wizards, released the previous year, and went to see his latest. At the time he hadn't read the books, making Bakshi's film his first exposure to Tolkien, but he does admit he "heard the name" of the book beforehand. His biography suggests he saw it in late 1978, when it first premiered, but surely it would have arrived at New Zealand in early 1979.³
The connection between the two films had been played up, unsurprisingly, by Ralph Bakshi himself. A leonine, grandiose man, Bakshi is anything but a reliable narrator. His own suggestion that he hadn't actually seen the films - only trailers, he claims - sounds believable enough and certainy understandable.⁴ But, then, if he didn't watch them, it makes his critique of them as deriviative of his films all the more dubious, even without actually looking at the specifics of what he said:

Look at his Lothlorien. Look at my backgrounds of Lothlorien. Take a look! He had much more to see than I did, and if you don't think he lifted it over and over again, you're wrong. I mean, how did he design a knife in Lord of the Rings? How did he design a sword? How did he design the dwarf with his axe? How did he design the fur around him? Why did Peter Jackson put fur around the dwarf? Because I put fur around the dwarf! Why would the dwarf have fur naturally? You see, I could give you a billion little things. I wish I had a movie to look at.⁵

These are truly some confused claims, for the most part. The most credible part here is the Hobbits hiding under the branch from the Ringwraiths, a shot composition later to also be replicated in season one of the Rings of Power, and which we'll get to later.
Another claim of Bakshi's that cannot be dismissed out of hand is that, however big or small a debt Jackson owes to his film, he said that Jackson didn't publically acknowledge the influence and felt that it was only appropriate to have welcomed him to visit the set or something: by comparison, Jackson invited Rick Baker, who played King Kong in the 1978 version, to cameo in his King Kong.⁶
Jackson actually did mention the Bakshi filming in passing in the making-ofs. Then again, he entirely fails to mention the radio serial, either. Ultimately, Jackson possibly in cahoots with New Line Cinema, must have felt it unwise to point to a previous adaptation that had only achieved mixed success, at the outset of his own enterprise. He did talk more about the Bakshi film, and more fondly, in the director's commentary to The Fellowship of the Ring and in a couple of later interviews, which are significant gestures, but he clearly wasn't going to trumpet the influence Bakshi's film had on him off of every rooftop.⁷
In his 2006 biography, Jackson actually briefly reviews the Bakshi film:

I liked the early part – it had some quaint sequences in Hobbiton, a creepy encounter with the Black Rider on the road, and a few quite good battle scenes – but then, about half way through, the storytelling became very disjointed and disorientating and I really didn’t understand what was going on. However, what it did do was to make me want to read the book – if only to find out what happened!⁸

This is a complementary but admittedly mixed review, and Jackson had made similar comments since, calling it "brave and ambitious" but consistently decrying the hokum of the film's second half.⁹ Now, it is true that artists can be influenced by a work of art in spite of themselves, but lets see if we can try and quantify the influence.
From the outset, in the audio commentary, Jackson remarks that "our film stylistically is very different and the design is different," which is apposite: Bakshi swore a debt to Howard Pyle, which certainly leaves its mark of the gorgeous natural bakcdrops, but a source closer at hand (especially considering his follow-up fantasy film, Fire and Ice) is the most popular fantasy illustrator of his day, Frank Frazetta: Bakshi's Witch King is practically ripped from Frazetta's famous "Dark Rider" illustration.¹⁰
Jackson's approach, however, was steeped in a kind of romantic realism that by and large eschewed the heightened work of Frazetta, opening a yawning stylistic gulf between his film and Bakshi's on a general level. Bakshi's Hobbit-holes have overhanging roofs that give the impression of fairies living under mushrooms (which they in fact had in his previous film, Wizards) and the interiors of Bag End are earthen, more of a rabbit-hole than Jackson's English countryside villa. There are some similarities, like the Hobbits having similarly-clipped pants, but its hard to say costume designer Ngilla Dickson had Bakshi in mind for that look.
There's the basic structure of the narrative: both films leave some of the same plot beats out - Tom Bombadil, most notably - both intercut the Frodo and Aragorn storylines throughout (as per the appendices rather than the body of the text), and both open with a prologue. However, many of these are common-sense approaches that, if one were to put 100 screenwriters in a room, a good 90 of which would choose to pursue: in fact, Sir John Boorman's earlier Lord of the Rings script had likewise intercut the stories and redacted many of the same episodes as both Bakshi and Jackson, and similar approaches were taken in the 1958 Morton Zimmerman treatment. Certainly, in the case of the choice to pursue a prologue, a precedent closer at hand exists in the form in the 1981 radio serial, a point made all the stronger by the fact that when Jackson first concieved of and sketched the prologue, he hadn't seen Bakshi's film in 20 years.¹¹
Bakshi did claim that New Line were screening his film repeatedly, but author Ian Nathan says that was never the case. Miramax did screen the film for Jackson in 1997, after he'd written the treatment. Jackson's treatment included Glorfindel and Erkenbrand, who in subsequent drafts are replaced by Arwen (Legolas in Bakshi's film) and Eomer, but still I find that it falls more into the realm of common-sense screenwriting decisions than anything that could be tied to Bakshi in a clear way, especially the latter which happens at the end of Bakshi film, a part of the film Jackson admits to have found incoherent.¹²
Rather, the place to look for similarities between the two projects is in the opening leg of The Fellowship of the Ring. Jackson actually, in the director's commentary, points out the shot of Odo Proudfoot calling "Proudfeet!" as a deliberate homage to Bakshi's shot, "which I thought was great." He doesn't acknowledge a couple - only a couple - of other shots that are quite similar: one is the evocative shot of the Ring tumbling over the rocks in Gollum's cave just before Bilbo finds it. Another still is an entire sequence of shots which misdirect us into thinking the Ringwraiths killed the Hobbits in their beds. Both are a little TOO similar to be waved away as coincidental.¹³
The Ringwraith shot is a more special case: It was nominally based off of a John Howe illustration, ostensibly of the Bakshi scene. But Jackson - who's quoted review of the Bakshi film mentions this scene - could hardly not notice the similarity to the Bakshi scene, especially since the scene doesn't at all play like this in the novel. What's more, the scene was first storyboared only shortly after Jackson say Bakshi's film for the second time, and shot not too long after that being that it was the first scene filmed. So its only fair to cite Bakshi as an influence on that shot.¹⁴
https://preview.redd.it/9mbqqm4zul0d1.png?width=550&format=png&auto=webp&s=a45cdd06543d70200e3eacf150f14d03d222203b
There are other bits and pieces: did Jackson have Bakshi in mind when he added a scene of Saruman rallying up the Uruk-hai before the siege of Helm's Deep? Its hard to say. An even more elusive case is made by Bakshi: "I'm glad Peter Jackson had a movie to look at—I never did. And certainly there's a lot to learn from watching any movie, both its mistakes and when it works." In other words, Bakshi here suggests his film influenced Jackson in terms of what NOT to do. To his credit, Jackson does remember that the design process for Treebeard was in part motivated by trying to divorce him from the Bakshi version, which both him and Dame Fran Walsh remember as being "like a walking carrot." But when we start getting into that level, it all becomes very tenuous. There were a lot of things about the fantasy genre in general - Conan the Barbarian and Willow are oft-cited by Jackson - that he tried to avoid.¹⁵
Ultimately, I have to judge that the similarities between the two versions amount to a handful of rather insignificant beats, all in the first hour of Fellowship of the Ring. To hyperbolically play up the similarities between the two projects is to give in to Bakshi's hyperbolic rhetoric.

Tolkien illustrations

Jackson's first and, at the time, only copy of The Lord of the Rings was a tie-in to the Bakshi film. This would mean he hadn't gotten into the world of Tolkien illustrations until developing his own films, when he suggests he went on a detail-exhaustive search for Tolkien art. He had seen Tolkien's own illustrations, but decided that they're "not very helpful in terms of the lighting and the mood."¹⁶
The most acclaimed illustrators of the previous era of Tolkien were Pauline Bayens (whose Minas Tirith is reproduced in the Rankin/Bass Return of the King) and the Brothers Hildebrandt, whose bestial Balrog presents a precursor both to Bakshi's but also to the Minotaur-like Balrog of John Howe.¹⁷
Howe was one of a trifecta of Tolkien illustrators, along with Ted Nasmith and Alan Lee, to enjoy great vogue at the time when Jackson was developing his films. Of the three, Lee is often deemed the most celebrated and certainly made the biggest impact on Jackson, whose next copy of the book was to be an Alan Lee illustrated edition. But he also noticed Howe through is work on Tolkien calendars, and later also purchased some originals of Ted Nasmith. All three were approached to participate in concept design for the films, although Nasmith sadly had to decline.¹⁸
In many places, Jackson precisely copied designs of Lee's and Howe's existing paintings, and in some places carbon copied their lighting and composition for shots, as well as grading the films (before the advent of the latest remaster) somewhat along the lines established in their paintings. But the majority of Lee and Howe's work for Jackson was in producing NEW concept art to his specifications, and so its wrong to look at Jackson's films as being a part of the Lee-Howe ouevure, as such.

The 1981 Radio Serial

A less touted influence on Jackson's film is the superlative 1981 BBC radio serial. Where Jackson hadn't reread the book nor revisited Bakshi's film between 1979 and 1997, he had spent much of the that time listening on-and-off to a tape of the radio serial, usually while working in his garage on special effects.¹⁹
The most obvious similarity is the casting of Sir Ian Holm, who had voiced Frodo in the radio serial, as Bilbo. Holm was apparently at the top of Jackson's casting wishlist, partially for this reason. A particularly striking moment occurs when Holm's Frodo quotes Bilbo's "Its a dangerous business Frodo, going out your door: you step on to the road, and if you don't keep your feet, there's no knowing where you might be swept off to", a line again given to Holm - now as Bilbo - in voiceover at the same spot in Jackson's film.²⁰
Again, many of the similar structural choices here are similar to Jackson, adding a prologue, contracting the early stages of Frodo's quest and intercutting the Aragorn and Frodo's stories throughout. Brian Sibley admits to have modelled his prologue on Bakshi's own, but Jackson is unlikely to have known it at the time, and when we start thinking in terms of second-hand influences we're again into very tenuous territory. Otherwise, the influence doesn't seem all too great, although Sibley remembers that Walsh, perhaps half-jokingly, told him "we stole your ending" in the way that they did the Grey Havens and then a quick segue to Sam's return home, basically along the lines of the book.²¹
A young, and already Tolkien-devotee, Sir Ian Holm recording Bilbo
Sibley had recruited his cast from the BBC's company of actors, which is also the troupe Bakshi turned to, meaning that Sibley ended-up with Bakshi's Boromir (Michael Graham Cox) and, notably, his Gollum (Peter Woodthorpe). In spite of Woodthorpe's evocative performance of Gollum's voice in both the Bakshi and Sibley versions, its influence on Andrew Serkis' performance of Gollum is nonexistent, as Serkis had developed the voice before having heard Woodthorpe rendition, having only read The Hobbit prior to being cast.²²

Other fantasy films

Jackson had seen pretty much all the fantasy films of the 1980s, and while they were important in terms of establishing the genre, they hadn't left much of an impression on Jackson. The most succesful - George Lucas' Star Wars - was more space-fantasy, undoubtedly impressed Jackson but didn't much influence his films: to this day, he professes to not be a huge Star Wars fan, in spite of the amiacable manner he and Lucas took with each other in later years, and admits that he sees the influence of Lucas more "in what he did for the industry, not in terms of the actual films that he made."²³
The first major high-fantasy film, Sir John Boorman's Excalibur, was a little closer to Jackson's heart, but isn't much of an influence on his films either. Its true that Jackson's films feature a lot of plate armour, but that's indebted primarily to John Howe's abiding love of late Medieval armour, and at any rate is quite different to the Enlightement-era suits of armour one finds in Boorman's film. Willow, produced by George Lucas, was a big shot to the arm of New Zealand's fledgling film industry, and like Star Wars is much indebted to The Hobbit, but left a bad impression on Jackson.²⁴
The Clockmaker's Cottage in Sir Ridley Scott's Legend
Two exceptions are to be cited; Ray Harryhousen's stop-motion fantasy films from the 1950s were huge favourites of Jackson's, although their more Graeco-Roman subject matters were a genre apart from Jackson's films. He is also a big fan of Sir Ridley Scott, and while he joins the consensus of deriding William Hjortsberg notorious screenplay, had taken some cues from his Legend (1986): there's something of the Clockmaker's cottage in Rhosgobel, and Jackson referenced some of the features of Tim Curry's devilish "Lord of Darkness" for the Wargs sinewy faces.²⁵

Other films

Jackson took influence from paintings of old battles and landscapes, but surely his biggest influences are other films: Zulu and Saving Private Ryan had been referenced for Helm's Deep, and there's a touch of Terrence Malick's The Thin Red Line, which Jackson had watched before principal photography, to the atmospheric shots that close the Fellowship prologue. Jackson admitted to rewatching mostly Scorsese films while shooting, and certainly the energy of his moving cameras find a closer kin in Scorsese's films than in anyone else's. There's something of David Lean's Lawrence of Arabia to Jackson's intention to make living, breathing people out of his fantasy characters.²⁶
Surely the inspiration for the shot of Aragorn arriving at Helm's Deep
But there's one film that looms largest in Jackson's films, overshadowing any influence we're looked at so far: Mel Gibson's latest spectacular, Braveheart. Along with other films of this kind like Dances with Wolves and Rob Roy (Gladiator came too late to much influence Jackson's films) it is of crucial importance to the overall cinematic style of Jackson's films, having come out just as Jackson first started thinking of making an original fantasy film, and winning the academy award for Best Picture before any sustained work was done to develop The Lord of the Rings.²⁷

Footnotes

Matt Skuta, "The Hobbit Side-by-Side: Rankin/Bass ('77) & Peter Jackson ('12-'14)" and "Return of the King Side-by-Side: Rankin/Bass ('80) & Peter Jackson ('03)," YouTube, 15 February 2018.
The Rankin/Bass Specials were only made exploiting a loophole in the publication of Tolkien's books that temporarily made them public domain States-side, but meant that their airing was limited to the US, and subsequent a legal agreement with the Tolkien Estate, Canada. Jackson says he hadn't seen their Return of the King in an interview from late 1998. Eric Vespe, “ 20 QUESTIONS WITH PETER JACKSON – PART 2 Ain’t It Cool News,” , 30 December 1998.
Brian Sibley, Peter Jackson: A Filmmaker's Journey (London: Harper Collins, 2006), pp. 107-111.
Kyle, ""Legends of Film: Ralph Bakshi," Nashville Public Library, 29 April 2013.
Emru Townsend, "INTERVIEW: Ralph Bakshi", Frames Per Second, 2 July 2004.
Ken P., "Interview with Ralph Bakshi," IGN, May 25, 2004. Broadway, Clifford Q., "The Bakshi Interview: Uncloaking a Legacy". The One Ring, 20 April 2015.
Anonymous, "From Book to Script," and Peter Jackson et al, "Director's Commentary," both in Peter Jackson, The Lord of the Rings: The Fellowship of the Ring (New Line: 2002). Also Anonymous, "Peter Jackson interview". Explorations (Barnes & Noble, November 2001). Peter Jackson interview at the Egyptian Theater, 6 February 2004.
Sibley, pp. 109 ff.
Director's Commentary.
Ned Raggett, "The Trouble With Ralph Bakshi’s The Lord Of The Rings & Other Tolkien Misadventures", The Quietus, 19 November 2018
Ian Nathan, Everything You Can Imagine: Peter Jackson and the Making of Middle-earth (London: HarperCollins, 2017), p. 138.
Peter Jackson et al, The Lord of the Rings, quoted in Sibley, pp. 109, 704, 751.
Director's Commentary.
Celedor, "10 Things You Know About The LOTR Movies (That Aren’t True)," TheOneRing, 11 June 2013.
"Interview with Ralph Bakshi."
Sibley, p. 738-744. Exeter College, Oxford, "Sir Peter Jackson in conversation: Exeter College Oxford Eighth Century Lecture Series", YouTube, 30 July 2015.
Howe admits to the influence of the Hildebrandts, and in turn his own bestial Balrog would influence those of Alan Lee and Ted Nasmith. This would be popularised by Jackson, and finally emulated by Rings of Power. John Howe, "First Thing's First," John-Howe, 6 January 2012.
"Sir Peter Jackson in conversation", Sibley, 738-744. The One Ring, "Peter Jackson MISSED OUT! Talking Tolkien with Renowned Artist Ted Nasmith," YouTube, 11 July 2023.
Nathan, p. 123, NB 1008.
Nathan, p. 258.
Nerd of the Rings, "Brian Sibley, writer, BBC's The Lord of the Rings (1981) - Interview," YouTube, 20 April 2021.
Nathan, pp. 621 ff
"Sir Peter Jackson in conversation"
“20 QUESTIONS WITH PETER JACKSON – PART 2"
Ibid.
Nathan, pp. 158, 393, 645.
u/Chen_Geller, "How Masterpieces beget Masterpieces: Braveheart and The Lord of the Rings," Reddit, 23 June 2021.

Conclusions

Any notion that Jackson's films are derivative of previous Tolkien adaptations - namely, Bakshi's - are very much hyperbolic, and stem more from adopting an inflated rhetoric taken by the likes of Bakshi. As an adaptation, Jackson's works are based soley on Tolkien's books, and merely tip their hat occasionally to previous adaptations - and not all previous adaptations, either. Cinematically, they draw rather from other sources: less from other adaptations of Tolkien or other fantasy film (Tolkien-esque or not) and more from historical epics, both from the 1960s but also and especially from the time in which Jackson first started developing his films.

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2024.05.15 16:45 Gee_the_riot New (exhaustingly comprehensive) Here We Are analysis

Hey everybody! This January I took myself to go see Here We Are for my birthday - I came home with a head full of thoughts and spent the last few weeks trying to get them all out in single-file in time for the release of the cast recording on May 18th. I've taken a big bite, and there's a lot of theory here but I try to ground everything in interviews and examples from the text. While each section is made to be read in sequence (they build on each other) if you read nothing else, I'd recommend checking out "Trickster Starts Out Hungry," "What a Perfect Day!" and "God The Bishop and 'God'" - they help situate some of the weirder bits of the play.
1 - Background 2 - Characters (part one) 3 - Characters (part two) 4 - Act One Overview 5 - Act Two Overview 6 - Trickster Starts Out Hungry (In which I examine the use of restaurants in Act One as metaphors for critiques of modern theater) 7 - What a perfect day! (In which I examine the somewhat novel use of leitmotif in "Here We Are") 8 - Dialectics of Dining Out (wherein I ... you get it from the title, right?) 9 - Metamodernism and Me! (You?) (in which I make a case that Here We Are is an exemplar of a metamodernist text. 10 - Notes on Survivor's Camp (Wherein I write a manifesto trying to synthesize a new version of camp out of shitty things that happened to me in life to create a new critical lens for the analysis I'm writing.) 11 - Notes on Notes (wherein I don't know music theory but gamely press on. ) 12 - Tonicization, Sacrifice, Key Changes and Saying Goodbye (wherein I attempt to pull a rabbit out of my hat by explicating the "surprising but inevitable" conclusion) 13 - God, the Bishop and "God" (wherein I examine the character of the Bishop as an authorial self-insert and see what that unlocks) 14 - On Critics and Completeness (wherein I attempt to figure out why this work didn't land like I think it should have)

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2024.05.15 15:01 ibid-11962 More Murtagh Questions [Post Murtagh Christopher Paolini Q&A Wrap Up #5]

As discussed in the first post, this is my ongoing compilation of the remaining questions Christopher has answered online between August 1st 2023 and April 30th 2024 which I've not already covered in other compilations.
As always, questions are sorted by topic, and each Q&A is annotated with a bracketed source number. Links to every source used and to the other parts of this compilation will be provided in a comment below.
The previous post focused on the essence of the Murtagh book and character. This installment will cover additional Murtagh-related questions, such as about specific elements of the writing process. The next post will cover the writing and publication of Eragon.

Further Details about Writing Murtagh

Creating the Maps

For Murtagh I did all the maps after writing the book, but that's because I already knew all the locations and was familiar with them from writing the series. So I didn't need to do the maps before writing the book. [12]
What is your system for drawing maps? I usually start by thinking of what I want a location to look like. And that has nothing to do with a map. That's usually just thinking about how it will serve the story. And then the map will be based off of that. The biggest decision is usually what the style of the map should be, whether I want to do like a top-down city map for a place, or if I want it to be a more of a realistic image. So more of, let's say, a landscape painting, one could say, or if I want to do something that's more allegorical and evocative or symbolic, which there's actually one of those in Murtagh that really isn't a map, but it's a symbolic map, let's put it that way. And all of that is governed by what is the effect I hope to achieve with the reader. Because if it doesn't achieve the effect I want, then what's the point of doing it. I do try to avoid maps where I have to draw every single building if it's a city map because that's just annoying. I'd rather draw mountains than cities. [12]
I love the sort of top-down look, which is why I drew the the original map for Eragon in this style. [12]
Maps are an awesome thing, and they add so much to a world. And that's why I love drawing them, and I love finding them in books I'm reading. And it's also why I make such an effort to draw and paint maps for my own books. [12]

Favorite Parts

What kind of scenes do you enjoy writing most? I really empathize with the characters, so I find it difficult to write scenes where they experience difficulties. I like to write scenes where people wonder about the world, or where the story reaches a climax. With Murtagh, for example, this is the confrontation at the end of the book. Or the fight with the big fish, Muckmaw. There are also quiet moments that I enjoy writing. Again in Murtagh, when Silna – the werecat child – kisses Murtagh's head, that was a very special moment. I like to write things that have meaning and that requires context, so you have to build up to moments that are meaningful, both for myself as a writer and for the reader. [23]
Do you have a favorite moment in the book between Thorn and Murtagh? I have a couple of them. There's a moment after the encounter with Muckmaw when they exchange true names that I quite liked. The end of the Gil'ead sequence. Thorn has an appearance at the end of that sequence, which was rather dramatic. And then right near the end of the book, Thorn gets a crowning moment of awesome, one might say, to use internet speak. But Thorn really, he comes through in a pinch, and I just loved writing that. [32]
What was your favorite scene or moment that you wrote for Murtagh? I'd say the last chapter, and I'm not gonna say why, but I think it's obvious. There's a scene with a creature named Muckmaw, which I quite enjoy. Not just the confrontation with Muckmaw, the aftermath in the water. I was reading Blood Meridian at the time, and I think that influenced my descriptions. And there is a point in the story where something is renamed. And that was a very meaningful scene for me. Also, there's a werecat in the book and I love werecats. They're so much fun to write. [34]
What is your favorite line you've written? The first line I wrote for Murtagh before I had anything really for the book, I thought it was going to be the first line of the book and it ended up being partway through the first chapter, and it was "A man with a dragon is never truly alone." Which since he's an outcast the whole theme of being alone or not alone is kind of relevant. [33]
My favorite good/bad line from Murtagh is: “The water was like liquid ice.”.. . . Yeah, yeah. I know. But you understand what I meant! And that’s the point of writing. Ahahaha!* I didn't notice! just imagined really cold water Can’t tell you how many times I stepped into the Yellowstone River and thought: “This feels like ice! But liquid.” [T]

Providing Context

In the acknowledgments section you said you owe your agent some sushi? Yes! I bet him a sushi dinner, an expensive new York sushi dinner, that I could keep Murtagh under the length of Eragon. And I got close. The first draft was one hundred and sixty eight thousand words long. Eragon is one hundred and fifty six thousand words long. And I figured well I usually drop about ten percent of length in editing, so I thought I'd do that. The problem is I hate over explaining things. I know that sounds incredibly hypocritical based off what I've actually written, but because of my experiences of over explaining things, I've really tried to not do that as much, and so I wrote the book assuming that someone had read the Inheritance Cycle and remembered it. So I didn't explain what a lot of things were because I assumed the reader knew. And my editor came back and said "Christopher, I know what you're doing, but you can't do that. Because someone might pick this up without having read the Inheritance Cycle. And even if someone read the Inheritance Cycle, it's been twelve years. So provide a little context." Well, that ended up being thirty-three thousand words, give or take. So now we're at one hundred and ninety eight thousand words, so I owe my agent a sushi dinner. [17]
It's always interesting to me to see how people do their first chapters in a series. Because I always feel like chapter one is like "previously on..." It's funny. I wrote my latest book with basically no callbacks or explanations of established information. After four books and a million published words, you kind of think people have it under their belt. And my editor came back and she was like, "It's been eleven years since the last book, even if people are fans of the series, you got to give them a little more." So usually when I write a first draft, it drops by about 10% in editing. And with that book, it went up by 33,000 words, which all of it was basically context, which was interesting. So that was a first for me. I'm a kitchen sink author, so I throw everything in and then I usually cut back during editing. [33]
I would love to write books that are more around the length of 100,000 to 150,000 words. Like that's a good, solid length. That's where I was shooting for with Murtagh, but for some reason my editor kept asking me to add more and more stuff so we ended up close to 200,000 words. [1]
Final word count of Murtagh is 198,983 words. So my editor had me ADD about 34,000 words to the book over the course of editing/revising. Ha! That's a first. [T]

Gil'ead Sequence

Interesting choice to break it up into the sections of each city. Just the section in Gil'ead is basically a novel on its own. There's a full arc in Gil'ead that would be a normal size novel for any other writer. I nearly split it into two volumes, actually, there. But my editor said, "no, don't do that". The funny thing about Gil'ead is that actually was not in my original outline. The whole sequence. And the reason is that, for me, I was envisioning a much shorter book. And the whole thing was going to be them going to the village and dealing with Bachel. So let's get to the village as quickly as possible. So we'll just have a chapter or two at the beginning of getting the information. Well, storytelling 101, you can't make it easy for the character. So having Murtagh just be able to go get that information somewhere, find it out, just felt too easy. Also, I kind of locked myself into a little path because the first chunk of the book is reworking the short story from The Fork, the Witch, and the Worm. And at the end of that, Murtagh does not have the information he needs. So he can't get it from the people he interacts with in that chapter, which if I were writing Murtagh as a complete standalone, I could have considered that. So then I thought, "well, he'll go to Gil'ead and we'll have a really quick thing there. And he'll get his information." I started writing it the way I originally envisioned. But again it was too easy. So it was like, "OK. There needs to be a challenge here. What else is going on? How does it tie into my larger world and story?" And it does. There's some unresolved storylines there, but it does tie into the larger stuff I'm going to later. And then it was half the book. Seriously. At the end of the following chapter, right after Gil'ead, is almost perfectly 50% through the book. I'm sure everyone's heard of the three act play, but there's a competing theory of storytelling, which I'm actually very fond of, which is the five act play. So you have two acts at the beginning, two acts at the end, and then your middle act, and then you have an act in the middle. And in that middle act, you have a tipping point where your character sort of sees what they need, or sees what they can become. They ultimately see their own solution to their problems, but then the rest of the back half of the story is them grappling with that solution, coming to terms with it. And that actually worked, it was not intentional, but it worked out perfectly with the structure of this book. The structure of this book is also directly inspired by some of the structuring that I did in my sci-fi novels and I carried some of it back into Alagaësia. [11]
In regard of Murtagh or any other part of your work, what's the most intense moment for you during the creative process when you are in the midst of writing a novel? A lot of it is intense. I'm gonna divide it into two sections. The creative process itself, in the sense that where I'm creating the story and the characters and the world. In this case, of course, the world was pretty much in place, but in the outlining phase, I should say, that's a lot of fun. There's some pressure in the sense that I know if I don't get it right in that stage, that no matter how well I write the book, it won't hang together particularly well for the reader. So there's strain in that sense that I really want to get it right. But I wouldn't say there's any real pressure, because there's no deadlines at that point. I'm not actually writing the book. During the writing itself, there's definitely strain and intensity in wanting to get it right and do a good job of writing each individual scene and chapter and storyline. And sometimes that can get difficult, especially if I feel like I'm not really getting where I need to get in terms of the effect on the reader. I had that in a couple places in the first draft with Murtagh. One was with the character Bachel herself, who was quite different in the first draft. And then another one actually was the whole Gil'ead sequence, where my original idea for that sequence is actually what happens now in terms of the werecat kittens and all of that. And then I second guessed myself and thought, "well, maybe that's a little cheesy. Maybe I won't have a ticking clock element to that sequence. So I'm just gonna not have that, but he'll still have these various adventures in order to earn this information from the werecat Carabel." And the problem is it removed any sense of tension from that sequence. So I ended up having to rework a lot of the Gil'ead sequence to reintroduce that element, bring in the tension and make it all work. But both of those things happened in the second chunk, which I was gonna say is revision. And revision and editing tends to be the most intense part of the process, because at that point we're usually under deadline. We've committed to a release date and things are happening on the business side of things, that are sort of like unstoppable forces. The ticking clock in the real world. And that tends to be the most intense part because it's not that I can't do the work, I always can and I always am able to get where I wanna go. I'm not stressed about that, it's just instead of having two months to do something, now you got to do it in two weeks, and oh hey, you got a new baby you got to take care of at the same time. And that's what makes it really intense. [19]
One of the things that I loved about the very first half of this novel is that it is a quintessential RPG action adventure. Because poor Murtagh gets pushed and pulled willingly and unwillingly in the strangest directions. Yeah, he's on the series of fetch quests. It's funny. I've had a bunch of people react differently to that. I've seen people who kind of hate it and really love it, and a lot of people who say, "Well, Christopher's just writing out his D&D session". I literally have never played D&D except for my recent trip down to the Authors in the Dungeon down in Utah. So I don't play D&D. I have no one here to play it with. The only RPGs I've ever played are Skyrim and the Mass Effect series. My logic with that sequence was there was a whole lot we needed to see about Murtagh's back history without rehashing the Inheritance Cycle, without actually going back and rewriting scenes from his point of view. And just doing it all in flashbacks and dreams gets a bit tedious. On top of that, originally that sequence wasn't in the book I was going to write. I was going to start with essentially the opening. And then we were going to go to Nal Gorgoth fairly quickly in the book. But it just made it too easy. No one's going to give them the information for free. There's always a price attached to information. There had to be difficulty in getting it. And then once I was digging into that, I was like, okay, how can I use this to show some aspects of Murtagh's character, and then how will that then get reflected in the second half of the book? And how will that let me inform what happens in the second half of the book? And I really enjoyed that stuff. Muckmaw was a particular favorite of mine. [32]

Thorn

One of the things that we get a lot of in this book that was really wonderful after reading Inheritance, was Thorn's-- we don't really get his POV, but we get some POV through Murtagh of him. I think he only has one line in the entire Inheritance Cycle. In the last book. And we get a lot of him here. And we get a very different Rider-Dragon relationship between him and Murtagh versus Saphira and Eragon. What was the process of crafting that relationship to be similar in its like magical quality, but also different in the fact that they had a very trying kind of hatching? Well that was the key right there. I wanted it to feel different while still maintaining the sense that they'll back each other up no matter what, which they have in the past. That's an important part of that. But Murtagh is kind of a difficult personality himself. Thorn, as we see in the book, of course, had a very, very difficult upbringing under Galbatorix and then later on. And that leaves scars. That leaves marks. So trying to find a way to reflect that in the relationship without having them also just be at each other's throats, because they're not. They are being supportive. But at the same time, it's perhaps an overused word these days, but they have trauma that they are having to battle. [11]
One of my favorite things is the relationship between Murtagh and Thorn--they’re such a lonely duo, but it allows the book to kind of delve into that dragon/rider bond in a new way. What sets their relationship apart do you think? Murtagh and Thorn were joined under the most difficult of circumstances, and that shapes their interactions in a thousand different ways. Their relationship is more, ah, thorny than Eragon and Saphira’s, but they also still love each other and would lay down their lives for one another, should the occasion demand it. I found their interactions really interesting to write. Also, it felt important that I didn’t directly replicate Eragon and Saphira’s relationship. Murtagh and Thorn are very different beings, and readers should see that. [15]
What is the relationship between Murtagh and his dragon Thorn? Thorn's egg hatched when they were imprisoned by King Galbatorix. The two friends have been tortured and manipulated. They retain many traumas. They care deeply for each other and are closely bonded. But their relationship is more difficult than that of Eragon and his dragon Saphira. [4]

Claustrophobia

I definitely got choked up with just Thorn and his claustrophobia and how it was written, how it was handled, everything surrounding it. Out of pure curiosity, do you or do someone you know have that kind of claustrophobia that you were able to speak to about? No. A large part of the act of writing is the act of imagination, just like with acting. But even though there's no one in my life who suffers from that, when I'm writing Thorn or anyone who might feel that, I do my best to feel what they're feeling, which is why when writing scenes or a large chunk of a book where perhaps things are difficult for the characters, I have a bad time. Yeah, I hope you take breaks. Yeah, that's where it's good to go play with the kids and take a load off one's mind. But some of the battle scenes in Inheritance really got to me at times, because I'm thinking actually especially in Inheritance, but also in Brisingr, there were some large set pieces, battles. And it just takes a couple of weeks to write sometimes. And that's a long time to have your head in blood and guts. [11]

Bachel

You write so many diverse women in your books that we really enjoy. Between Arya, Angela, Nasuada, Queen Islanzadi, you write fantasy with women in positions of power, with agency and with action. And then we get to this book and we meet this villain, Bachel, and she's basically like, "what if Angela was evil?" I hadn't thought of it that way. I was reading the book. I was like, "Did Christopher Paolini and his sister have a fight? What changed in that relationship?" Because she's awful. So I've watched a lot of movies in my life, and a lot of old movies too. I was thinking of some of the classic actresses from the Golden Age of Hollywood who would come on the screen with a very imperious feel, like Sunset Boulevard or All About Eve or some of those films. And Bachel is sort of in that category of presence. And I think it's exactly what was needed to put Murtagh off balance. I was also thinking of Kai Winn from Deep Space Nine. I've always said that Kai Winn and from Harry Potter the headmistress Umbridge, and Hyacinth Bouquet from the British show Keeping Up Appearances. The three of them in a room together will be like a nuclear explosion. When you were approaching bringing this book from the short story about The Fork into a full novel, at what point did you create this character and where did she come from? I had a general idea before writing Murtagh, of course. I did a lot of plotting and preparatory work, but you never know how a character is going to come across until you write the first draft. And in the first draft, Bachel was not as successful as she is now, I think. I was writing the first draft quickly, and I was thinking of the stories a little bit more of like a Edgar Rice Burroughs style adventures. You go off into the jungle, and you find a hidden temple and lost civilization sort of thing. And as a result, in the first draft, Bachel was much more vampy. I really went hard on that angle. And then looking back over, it's like it didn't work. And it was so cliche and obvious. It was like, yeah, I needed to find another approach. So I kept reworking Bachel with each cycle of revision and it was getting better. The character was getting better and better, but I wasn't fully committing to the change. And it was right at the end of revisions. I mean, we were down to the wire and my editor said, we're still not quite there. And even though I hated to have to have any more work at that point, I knew she was right. So I went in. We're talking with a week to spare before we went to the printers. And I rewrote the first four chapters or so when he gets to the village. I rewrote pretty much every line of dialogue of hers and every description of her to bring it to where we are. And then I was like, "OK, now it works", and my editor agreed. She is terrifying and one of those characters that's not mustache twirly evil, but has so much evil within her. She thinks she can do no wrong, that she is always doing the right thing and that she knows what's best for all the people around her. And as a result is capable of anything. So all of which is to answer your question, her character was an iterative process to get where she needed to go. [11]
I try to imagine what it is to create characters and if some of them have the purpose to be a particular message or stand as a parable for a message or an idea and if yes, what does Bachel mean to you in a deeper way? I think the Bachel to me represents unquestioning belief and also the tyranny of unchecked power and control over people's lives. I think what differentiates Bachel from a real world cult leader, for example, and this actually kind of made it interesting to me, is that the Dreamers and Bachel are rational in the sense that they are believing in something that actually exists. The power that they are in awe of and that they are afraid of and that they worship actually exists. And the same is true of the priests of Helgrind. So in a sense they are not irrational to have that reaction. You might argue it's the wrong reaction. I would argue that they're overdoing it and the reaction is wrong and perhaps even evil, but they have more reason for their belief than a lot of people sometimes do because they have physical evidence on an ongoing basis of their object of worship. But again, Bachel would to me represent unchecked fanatical belief as well as personal exploitation of one's power over others. [19]
The cult experience in the pages of Murtagh eerily echoed in some ways certain experiences I've had with religion. Could you talk about where that part of your writing came from or how you went about writing it? I understand why that comment's anonymous, and I'm going to kind of adhere to that philosophy of anonymity here. Without going into details, I've had some family members who were in a cult at one point. And that occasioned quite a bit of discussion in my life growing up. Although the cult might seem, and probably is, completely over the top and cartoony in some ways, you would be astounded by how much of that was essentially true to life. Let's put it this way, playing Far Cry 5, if anyone's familiar with that, was a distinctly uncomfortable experience for me. So I did whatever I do when I encounter something uncomfortable. I played the game like four times in a row. [34]
No matter how outlandish a belief seems, it can be completely realistic in your world. Especially if you have people committed to it. I've had family members who've been in a cult at one point. That was interesting. So I've had firsthand experience seeing a lot of this stuff in person, and I used some of that in my latest book. [25]
How come Bachel is pronounced like that when it’s only one little line away from Rachel? The English language hurts my head. Because it’s not from English, and I wanted it to sound different from every other name in the series. [T]

Puce

In Murtagh I have a dragon who's not supposed to be a very nice dragon. I gave him the worst color I could. I have a puce dragon. And mind you, I don't necessarily mind the color itself. It's just for those who don't know, the original definition of the word puce is the color of dried flea blood. So it's a puce dragon. [33]

Traumatic Sequences

What was it like cranking up the anxieties of it, the horrors of it? It feels more mature this time around. Well, good. Murtagh is a more mature character, and he's always had a harder road to walk than Eragon. So, going easy on him was never an option, but it was hard to write. It's hard to put my mind in difficult situations for days on end, weeks on end, months on end when writing and editing. It takes a toll on you emotionally. At least, that's my experience because I empathize with the characters and the world. But at the same time, it's so interesting dramatically that I can't avoid it. Actually [the reason] why I wrote the book was that last chunk of the book. That's what everything leading up to was building and hopefully supporting so that when that hits, you're there going, “Oh my god.” [6]
There is a extended period of this book uh that is very traumatic. That is the darkest I think the series ever gets. Where did you find the line? Were there any drafts where you felt like you went too far with that section or where you had to pull it back? Yes. Not a huge amount though. First of all, I throw everything in in my first drafts, kitchen sink, because you can always dial it back, whatever it is. Even if it's a funny scene, it's like I push it as far as I can and then see how it hits the audience. So in the sequence you're talking about, there was one thing in particular I did that I actually don't want to talk about, that I cut out during editing at my editor's very wise advice, and I'm really glad I did. But that was a thing. Because I was like how far can I take this, and that was too far. [11]
Hopefully this is not scaring anyone off from reading Murtagh. No, it's fantastic. And I think just because it is darker doesn't mean it's bad. I think that it's honestly a perfect natural progression from the Inheritance Cycle to this character. I think it's what the character needed. I also don't think it's depressing, ultimately. [11]
Tell me a little about how you see Murtagh’s journey in this book. He’s certainly on a much darker road than his half-brother, how was it getting to write a story that has more mature themes? I found it enormously rewarding to write about a character who is both more mature and more complicated than Eragon was for the majority of the Cycle. Especially now that I’m older myself. Dramatically, Murtagh (and Thorn!) presented all sorts of interesting opportunities, and I did my best to take advantage of them in this book. Also, since a lot of my readers have grown up with the series, even as I did, I wanted to give them a book that would satisfy them as much as it will also hopefully satisfy younger readers. [15]
As a fifteen-year-old boy I would never have been able to imagine such a flawed character as a central figure, but I now view life very differently. And you notice that my readers who have grown along with me also see these extra shades of gray. [18]
Murtagh is indeed a more mature book than Eragon. Did you write it that way on purpose? Yes, Murtagh is an older character in the story than he or Eragon were in the first books. He is also a complicated person. And my readers have grown up with me in the meantime. So I felt it was important to write a book where my oldest readers would see my progression as writing, and read about characters they could once again identify with. At the same time, new readers should not be forgotten. That's why I wrote Murtagh in such a way that you can also read it without knowing the previous four books. I wanted to write a book that revolved around the difficult history of Murtagh and Thorn, but was still a fun adventure to read. [23]
If you love this fandom, why are you making us suffer so much with this book? I mean the ending redeems you a little bit but oh my god. I'm sure it's been an emotional rollercoaster for you too. There are parts of the story that are definitely very difficult for Murtagh and Thorn and part of that may be my own predilection for writing that sort of stuff but mostly it was that Murtagh has done some very unpleasant things in the Inheritance Cycle, especially to Nasuada. And he needed to come to terms with that, he needed to grapple that, he needed to face it. And there was no easy path forward for him. If I had done easy on Murtagh I feel like readers would have decided that I was cheating, going easy, and that Murtagh didn't actually have to face the consequences of his actions. Even if he wasn't a hundred per cent responsible for them at the time. I can assure you that, and I'll say this to other fans as well, after this story Murtagh is going to have an easier time of it. This book resolves his personal journey and Thorn's on a really fundamental level, and so life's going to be a little bit easier for Murtagh moving forward. [17]

Uvek

So going to Uvek, you've introduced another Urgal. I think that for a lot of readers, the twist on the Urgals in Eldest. They are not just beastial orcs or Uruk-hai or whatever other franchise does with them, Trollocs for Wheel of Time. They are this sentient race that wants to join the fight on the side of good. I think that that shook me when I first read it. How was it bringing another lead character really from that race into the book? And one of the things I really loved about the book is the scene where they're flying to the village, and they see the village of Urgals. And they're just playing with bows. They're just having a normal day. And he has this moment internally where he's like, "oh, maybe I need to be more inquisitive?" Uvek is one of my favorite characters from the book. I like the Urgal culture. I find it interesting. I wouldn't want to live next to an Urgal village, necessarily, especially since I have kids. But dramatically, creatively, they're really interesting to write about. And trying to balance them in the sense that they're a warrior culture like, we could say, the Klingons. But the Klingons take it to such a degree that realistically, you start asking the question of, how have they survived? How do they build a space-frame civilization when it seems like they tear each other apart super quickly? So with the Urgals, I wanted to show more. And in fact, in The Fork of the Witch and the Worm, the largest of the stories in that is The Worm, which is an Urgal story. And since I was looking at ways of exploring the idea of Murtagh and Thorn's relationship with society, being an outcast, all of that. The Urgals are outcasts in the land also. The other races aren't particularly fond of them. That was a nice connection to bring in and reflect off of Murtagh, so to speak. [11]

Typos

I just got off a very fresh reread of Murtagh. I just sent in typo corrections and a couple little tweaks here and there for the reprints. [32]
You mention in Murtagh that Murtagh's Gedwëy ignasia is on his right hand, but I think the community assumed it was on his left from Eldest. We're we all wrong or is that a continuity error I found? Typo. Getting fixed in reprints. [T]

Divers

I've seen a couple of questions about this, so -- for the record, "divers" is not a typo of "diverse". (Probably got too clever for my own good, but there you go.) Archaic language in fantasy books?!?! Say it ain't so! The language is half the fun. :D [T]
Not a typo. :D Archaic word. [T]
If this hypothetical typo is “divers” … that’s actually the correct word and not a typo. If it’s something else, just send a pic and we’ll get it fixed in reprints. [T]
CHRIS WHAT IS THIS? An excellent and archaic word. [T]
*sigh* . . . “divers” is a real word. Not a typo (and it doesn’t mean those who dive in the water) [T]
I mean, "divers" isn't a typo, so . . . That said, if you do find typos in Murtagh, feel free to tweet them at me. We'll get 'em fixed in reprints. Happens with every book. [T]
Heh. Good thing “divers” is actually a word (and it doesn’t mean someone diving into water). [T]
The thing I want to talk to you about today is Twitter drama. You've been getting in tons of fights with readers lately on Twitter. You've been saying some really awful and hateful things to them just because they're pointing out typos in your book. What's the deal with this "divers" typo? Yes, on the first page of Murtagh there's a word "divers", which is an archaic word that means many or a multitude or different things. And too many people think that I'm referring to scuba divers. So it is a fight worth having. You make up fake words all the time. You're a fantasy author. I think the difference here is that you've made up a fake word which also has a real world definition, a person who dives as a sport, and you've put it on the front page of Murtagh without any context clues provided as to how we should interpret this. This is a book that's part of a world that no one has read in more than 10 years. So don't you think that maybe you should apologize to your readers who have waited all this time for a quality product only to be let down by an "archaic" word, aka a typo, on the first page? Absolutely. In fact, I had a conversation with my editor about this before heading out on book tour and we'll be reprinting the books but we're going to translate it all into Pig Latin which should make it more understandable for readers. [31]

Reading Order

I didn't read FWW,should I read it before read Murtagh? I Thought it was a spin-off book. You don't have to read it ... but I would. It acts as a direct lead-in to Murtagh Honestly I'm finding it shocking the number of people who haven't read FWW. There's a solution to that. . . . (Why does that sound mildly threatening?) [T]
Even if you haven't read the other books I think you can certainly enjoy Murtagh as much or even more. [12]
Is Murtagh Book 5 in the story about Eragon/Alagaësia? Yes [R]
Murtagh is a direct inline full-length sequel to the series, even though it has a different main character. [1]
I just finished Fractal Noise last night, and when you mentioned in the afterward about another book for a certain Eragon character, I was hoping it would be him. Yeah, I wanted to mention Murtagh on the "Also By" page in Fractal Noise, but we weren't sure if Murtagh was getting announced before Fractal Noise got released to early readers. [T]

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2024.05.15 14:08 Corporatewars Cowboys & Aliens game

Cowboys & Aliens is a science fiction Western first-person shooter video game idea. The story is based on the 2006 Platinum Studios graphic novel of the same name, and the second adaptation after the 2011 film. The game is set during the Wild West in the year 1873, where Earth is facing an alien invasion by The Caste, a xenophobic reptilian species with superior beliefs and advanced technology. Players control gunslingers Zeke Jackson (primarily) and Verity Jones (secondarily) as they help lead a resistance against the alien threat along with human enemies and genetic mutants created by the Caste. The story would be told in a linear single-player campaign and important plot moments are shown during gameplay and cutscenes (both third-person and in-game first-person).
The gameplay combines first-person shooting with unique weapons and gadgets like the energy whip and the microwave-emitting pistol, combining traditional Western firearms and alien technology like revolvers, Winchester rifle, and a plasma shotgun. Players could journey through the linear chapters filled with combat, stealth, exploration, optional side missions, and puzzles. Key gameplay features include: a Caste gauntlet that Zeke steals and wears on his left arm which could shoot energy bolts, pulses, create a shield and much more, third-person horse riding/vehicle sequences, and a variety of weapons that could all be carried and customized. There're also skill points that could be earned throughout the single player game. The game could also feature a mini HUD and melee attacks. The player could have a health meter that decreases whenever they take damage, but they could restore their health by either waiting for it to regenerate, or by using med-packs to immediately heal themselves.

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2024.05.15 13:11 The_Great_Rabbit I didn't have high expectations for Penacony, but God, even if I had they would be left in the dust

I just finished the Penacony arc and I lack the words to describe what just happened here. I play the game mostly for it's story, so when Xianzhou ended (I think it had a lot of wasted potential and came out pretty mid) I lost interest in the game for a while. Some time later I found Penacony's trailer and thought that I might at least give it a try, especially that I saw that Shaoji is now the lead writer and God, I love HI3. So I turned on the game, hoping for something good, but not really expecting anything like that. And I was right not to do so, because it wasn't just good, it was magnificent.
Every time I thought that the story can't get better, it did. The only time I was displeased was when I beat Sunday for the first time. "Great story but the final fight wasn't really good, Oh well, it was already a great arc that threw my expectations out of the window, I have nothing to complain about" And then it turned out it was neither the final boss nor the ending with a very good, foreshadowed and yet VERY surprising plot twist that turned every thing we thought was a loose end against us by saying "it was all a dream, of course it didn't make sense all of the time"
And then they gave me the true ending sequence and it blew me through the window. It not only fixed all the issues I had with the fake boss fight. Epic animations and cutscenes, cool and fitting mc power-up, three phases, Robin doing a hopeful soundtrack, the train "will of the weak" attack. It was all magnificent.
I played this game for almost 11 hours straight, because I wanted to finish the arc before anything could spoil it for me, but I regret nothing. I can sleep later but a masterpiece like Penacony doesn't come in often. Even through the game itself is f2p that's a story I wouldn't hesitate to pay for
Good job Hoyo, I'm in awe, it was one of the, if not the best arc in any game I remember playing. Please continue making masterpieces like this.
Edit: I'm just gonna say that while I'm mostly writing about the end of the arc, the whole Penacony was and is a masterpiece and I would say that I'm willing to die on this hill, however if I die, I won't be able to enjoy whatever Hoyo cooks-up next, right?

submitted by The_Great_Rabbit to HonkaiStarRail [link] [comments]

2024.05.15 12:06 reracked377 Like... what if?

....
https://zenodo.org/records/6210570
https://ibb.co/0V8yCGB
https://ibb.co/JvncMQ4
https://ibb.co/pLc96p2
https://ibb.co/NVq0CFk
https://ibb.co/sFy0xDY
She looks like Jennifer Doudna, literally:
https://ibb.co/gD5rPy9
What if?
What if the lipo-nanoparticles and the ACE2 gene-silencing CRISPR RNA-gene-drive 'inoculation' program are part of Club of Rome's Odum's "reduce America's population by 2/3rds hopefully voluntarily by 2030?" What if this was and will become Utopia? What if Deagel's 2025 population statistics that accounts for this 2/3rds population reduction, which was sponsored by Kissinger, the Rockefeller foundation and Edwin Deagle Jr., knows more about this?
https://ibb.co/Pr9YffM

"The analysis of the SARS-CoV-2 structure in light of the functioning of the CRISPR-Cas9, Cas12a and CasX mechanism suggests that the virus is man-made through genetic modification. [...] Covid is not acting like other viruses and many various symptoms in human body have been observed. [...] The modifications in the backbone’s phosphate group induced by CRISPR engineering create a highly imbalanced state. The entropy and therefore the repulsion forces strongly dominate in this type of virus."

What if they gave you AIDS and sterilized you? What if the optimal CRISPR-Cas9 lock-on markers out of any nGG, ie markers for future gene editing, was part of the plan? And hopefully none of this is sexually transmissible. Sticking a peen in an Extinction Level Event... is it worth the risk? We should ask Ian this. He did look grayer after screwing Jessica.
https://ibb.co/bvcf1F7
https://ibb.co/b2JcCS1
https://ibb.co/3TK03M0
https://ibb.co/HPs7nX8
https://ibb.co/Rvb0ZDB
Utopia (UK):

"SARS doesn't exist."
"The planet can support only 1 billion."
"We leave 5 to 8% unaffected."
"Janus consists of protein and an amino-acid." (CRISPR)

I chose my own people."

Spikeopathy’: COVID-19 Spike Protein Is Pathogenic, from BOTH Virus and Vaccine mRNA

https://mdpi.com/2227-9059/11/8/2287

The modification of mRNA with N1-methylpseudouridine for increased stability leads to the production of spike proteins for months.'

Uncanny similarity of unique inserts in the 2019-nCoV spike protein to HIV-1 gp120 - withdrawn (January 2020)

https://biorxiv.org/content/10.1101/2020.01.30.927871v1

Amino acid residues in all the 4 inserts have identity or similarity to those in the HIV-1 gp120 or HIV-1 Gag."

What's the common denominator? European DNA. The injection is ethnically adjusted to deplete ACE2-expression of European DNA but not those carry k26r polymorphism, ie. Ashkenazi J's and the Amish.
https://ibb.co/2KNmdCH
Where is ACE2 located? Also in mitochondria, the cell's battery. Why cancer? CRISPR, mitochondria and p53 disruption, oxidative stress. Once modRNA gets into cells, they're released to hijack cell's machinery to produce full-spike proteins, endlessly. Spike proteins downregulate ACE2-protein expression of mitochondrias and silence p53 the guardian of genome. And the CRISPR Cas9/Cas12a awaits for gRNA to act.
An idea of giving cells the instructions to synthesize pathogenic spike-protein to develop immunity is imbecilic in the first place. But urging people to get one without a prescription promising getting back to normal (that's been destroyed for this purpose) - a crime.
But Rockefeller's (Rockefellos) Cub of Rome would never think of doing anything like this. The network in Utopia is fictional, right? Read Kissinger report, read the Jaffe memo!
Rockefeller's Population Council:

"fertility control agent' designed to lower fertility in the society by 5 to 75% less than a present birth rate; to be included in water supply in urban areas." (1969).

https://ibb.co/7gJBNwq
https://ibb.co/Wk9CWhz
https://ibb.co/kQkHmkk
https://ibb.co/Q8dw9QN
https://ibb.co/drTNH1n
https://ibb.co/N2p6vms
You see, just like women refused to smoke in public until they saw it as a form of liberation. Covid is our liberation. If things go to plan. We won't know for many years.
The public would never support the most powerful men working to reduce the numbers of the "lower class" until we saw OURSELVES as a deadly virus to the planet. That's been the goal from the get-go.
In the population control document that Rockefellers sponsored it suggests multiple methods of involuntary sterilization such as adding “fertility control agents” to water supplies, temporary sterilization of all young women “via time-capsule contraceptives,” and compulsory sterilization of men with three or more children.
Those are just ideas they floated, it's not like they ever funded or implemented them. It's not like they made an anti-fertility vaccine! They did.

Its not like they ever went thru with an actual involuntary roll out of this tho, we woulda heard about it!

You might have seen this 2014 story "debunked." In 2014, Kenyan doctors found traces of HCG in Tetanus vaccines being distributed by WHO/funded by Gates. Why is this important?
HCG is the same pregnancy hormone that is used in conjunction with Tetanus in that SAME ROCKEFELLER FOUNDATION FUNDED INDIAN INFERTILITY VACCINE. Doctors in the Philippines and Mexico also claimed to have found HCG in their WHO distributed Tetanus vaccines in the 90s (they did). The WHO didn't fund the development of that Indian vaccine (BECAUSE THE ROCKEFELLER FOUNDATION DID)!
https://ibb.co/cyXwns8
https://ibb.co/y5QVdc6
https://ibb.co/bXNNmhS
https://ibb.co/bKfNqrf
It is important to note that this Anti-fertility vaccine has been in development since 1988 thru 2014 to this day.
It does appear as if the Rockefellers have implemented their "involuntary fertility control" and have used Tetanus vaccines as cover to test this pet project of theirs, but that's speculation.
The goal of the network also reminds me of "Children of Men," originally published in 1992 and set in England in 2021.
https://ibb.co/V3fyDKH

"Armageddon Begins - Russian Detonates Nuclear Bomb, Kazakhstan Annihilated." The newspaper reads in opening of the film.
Children of Men' (2006) Plot - In the year 2027, after 18 years of total human infertility, war and global depression have pushed society to the point of collapse as humanity faces extinction.

Did you know that "Children of Men" was written by Phyllis Dorothy James, referencing Pat Frank's "Mr. Adam" and "Alas, Babylon" written back in 1950s?
Given the quality of sperm declining due to fluoride, chemical exposure and such, and mRNA-medicine affecting fertility of men and women, that's the exact match.
Joel E Cohen, the Rockefeller University Professor on Population heavily acknowledged the significant drop in fertility rate of white populations in US and EU, explaining driven immigration to sustain the level and boost 'economic prosperity.' As the saying goes, Just as the Egyptians made G‑d’s firstborn (the Israelities) suffer, G‑d punished - measure for measure - the Egyptians’ firstborn. All the firstborn would lose the life-energy that until then kept them alive." This is the 188th Mitzvah and accompanies the gene drive which is Janus to a T. Bye, bye!
https://ibb.co/y41N4NK
https://ibb.co/vBdPw1x
https://ibb.co/rdtvXDH

Angiotensin-converting enzymes (ACE) play a dominant role in fertility (2013):

https://pubmed.ncbi.nlm.nih.gov/24152441/
To solve population bomb, just sterilize the entire world with:

release bioengineered disease binding and exploiting ACE2
silence gene expression through CRISPR-Cas9 mRNA

https://ibb.co/L69ngrf
https://ibb.co/mFdwT9S
https://ibb.co/7bzKWZj
https://ibb.co/Y2Bmtp4
https://ibb.co/rbT0hbf
https://ibb.co/Cs33JWK
https://ibb.co/9wS8cfz
https://ibb.co/WpQcVZH
https://ibb.co/XZWnnqF
https://ibb.co/ZcHB5D6
https://ibb.co/tMS5nMq
https://ibb.co/FKggvdg
Presented for your viewing:
https://ibb.co/wrz03dk
https://ibb.co/JWZt7bL
https://ibb.co/qnSyYVp

CRISPCas9 gene drives in genetically variable and nonrandomly mating wild populations (2017)

https://pubmed.ncbi.nlm.nih.gov/28560324/

A drive targeting Ace2 might therefore conceivably be used for direct population suppression.”

DARPA invests $100m in gene-drive technology - new gene-editing technology, which many people fear could lead to deliberate and unintended damage on a huge scale (2017):
https://eandt.theiet.org/content/articles/2017/12/darpa-invests-100-million-in-gene-drive-technology/…
Harvard, Wyss Institute - CRISPR-Cas9: Gene-drive:
https://wyss.harvard.edu/media-post/crispr-cas9-gene-drives/

Little is known about the role of p53 in the regulation of ACE2. An earlier study reported that p53 suppresses the replication of coronavirus through ACE2 degradation in humans.”

https://researchgate.net/publication/350180861_A_tissue-_and_gender-specific_regulation_of_the_SARS-CoV-2_receptor_ACE2_by_p53_in_pigs
https://ibb.co/wzxtjHh
https://ibb.co/8mJ455t
And to conclude, Epstein associate George Church, who said arranged marriages using gene sequencing as Haredim have been doing is ideal; Epstein associate Martin Nowak - Evolutionary dynamics of CRISPR-Cas9 gene drives (2016)...
https://biorxiv.org/content/10.1101/057281v1.full
...with Matthew Liao, want to design humans using gene editing.
https://ibb.co/QdqsfyJ
https://ibb.co/zQv8rDs
https://ibb.co/PQtDgvh
https://ibb.co/jDQkB7x
https://ibb.co/TR023k6
https://onlinelibrary.wiley.com/doi/10.1111/bioe.12519

The Rockefeller Foundation - Bionics, Transhumanism, and the End of Evolution (2019):

https://foresightfordevelopment.org/video-library/bionics-transhumanism-and-the-end-of-evolution
Here's the end; how fun it will be, how fun, indeed:
https://ibb.co/8rbdNzY
In Grant's drawings it says they put the ghost cell in the buffalo and the man eats the buffalo and rots. People won't physically rot from consuming the food, they'll just be sterilized when they take the vaccine, or they will, because Prions.
Like I'm crazy so don't take too much of what is posted here that seriously, but do if your life depends on it.
Utopia experiments manuscript was the plot for 2025. I'm shaking in my socks.

submitted by reracked377 to utopiatv [link] [comments]

2024.05.15 04:03 janequeo (Spoilers Extended) Why not Brienne?

So ... I was a bit late to finishing the books, and then when I started looking up fan discussions on here, I was pretty surprised to see so little speculation about Brienne's future as a major hero of ASOIAF. It seems to me that GRRM has been hanging all kinds of hints on her without explicitly calling attention to them, kind of like how there are zillions of clues about the Red Wedding that become more obvious on re-read.
Here is (probably) a not even comprehensive list of interesting plot details about Brienne of Tarth:

Brienne is set to inherit the title of Evenstar, which is an allusion to a very heroic character from LOTR
She wields a fiery red sword made from Ice
Bloodraven or Bran or someone weirwood-related seems to want her to wield this sword, judging first by Jaime's ASoS weirwood dream (which encouraged him to give her a sword) and second by Brienne's (very likely) weirwood dream sequence at the end of AFfC (in which she kept being reminded that she needed her sword, right before her "sword or noose" confrontation with Stoneheart)
Brienne and her sword have already been compared in the text to another legendary hero, Galladon of Morne
Brienne is one of very few "true knights" in the series, of course with the irony that she isn't a knight at all. But this isn't a minor point -- a major theme of ASOIAF is whether and when violence can be justified, and the deconstruction of chivalry plays a central role in exploring this theme. Brienne, as a warrior whom the story has so far presented as righteous, therefore occupies an honestly very unusual place in the narrative.
There are many obvious allusions to Brienne in the Dunk and Egg novella series -- to an almost ridiculous degree, with of course the cherry on top being that Dunk is Brienne's ancestor. I wondered for a while why GRRM was motivated to write this spinoff series -- like of all the topics he could've written about, why focus on these characters, and this time period -- and it struck me that the main-series characters who are most closely connected with A Knight of the Seven Kingdoms are Bran (via Bloodraven) and Brienne (parallel to Dunk). And the novella series grapples with a lot of the same themes about chivalry and honor and knighthood that Brienne's own POV chapters do. If I had to choose a single POV whose chapters are most in conversation with A Knight of the Seven Kingdoms, it's Brienne, easily.
The weirwoods have shown a major POV character a vision of Brienne wielding a burning sword against ice zombies (and the fire in Brienne's sword does not go out).
ASOIAF is a series about duality (it's in the title) and it's interesting that Brienne's whole shtick as a character is that she is constantly faced with either-or choices and chooses both. She is loyal to both a Stark and a Lannister; exhibits both conventionally masculine and feminine traits; is honorable and idealistic, but is also learning more about the world and developing a more complex moral code. You can see this duality in the two uses of Oathkeeper in AFfC, in which the first use represents a loss of innocence, like the death of chivalry, while the second use is a rejection of nihilism. Also notice how Brienne, who has been trusted by both Starks and Lannisters to carry out conciliatory missions, is faced with enemies and foils who, like her, ride on both sides of this divide (Bloody Mummers, the Hound), but whose nihilistic opportunism is contrasted with Brienne's sincerity.
Brienne is also a foil to literally everyone -- Sansa in the first half of AFfC, Arya in the second half of AFfC, Jaime in ASoS, but also, as noted by Jaime, to Tyrion; to Samwell Tarly as made obvious by her many interactions with Randyll in AFfC; and to Cersei obviously; and maybe most interestingly and most overtly, to Sandor throughout AFfC.

I honestly don't know what the endgame plan is for this series with respect to the Others and Daenerys and Euron and Bran etc, or what kind of heroism is in store for Brienne. But it is really strange to me that so many really important themes for the series are explored with her character, and a not-insignificant number of fire-ice imagery is associated with her, and yet she still plays so small a role in fan conjectures about where all of this is headed.
All I can say is, if I had to bet on the plans of an author who likes to surprise us and deconstruct and reconstruct common fantasy tropes, but who also still drops a lot of hints about his intentions (a la Red Wedding), my money would be on Brienne and probably also Sam to do some heroic shenanigans in the endgame.

submitted by janequeo to asoiaf [link] [comments]

2024.05.15 02:10 mycolortv Post-all-eggs puzzle question (am I going insane?)

https://preview.redd.it/3exh4nmdfh0d1.png?width=1911&format=png&auto=webp&s=e7e2bdab9a1537aab0af84feb4241da81c36326a
Hey all. I see with the UV light the eggs have these markings on them. These dice have these dashes through them, so I did the sensible thing and plotted out their numbers, (top = 1, mid = 2, bottom = 4) then corresponded the number with a direction on the dice and played the flute using this very long sequence. I have tried both 0 dash = neutral and 0 dash = 8 for the flute in this spot, and in the room with the eggs, no luck though. I can share the numbers / arrow combos with people if anyone is interested.
I am just wondering, am I on the right track? I don't necessarily want the answer handed to me but if I am just completely off base please let me know!

submitted by mycolortv to animalWell [link] [comments]

http://rodzice.org/