The Eleventh Hour so far has my favorite storytelling from Griffin! So here’s a pseudo-movie poster ehuehueue
Had to do another illustration for our Fantasy Illust class and our prof gave me the go signal to draw TAZ again as long as I found good face refs for them. B^) I based Magnus, Taako and Merle on John Spainhour, Paul Boche, and Brian Cox respectively!
i just rewatched aladdin with the roommates and it got me thinking
aladdin wishes to be made a prince, but all genie does is get him a lot of stuff and money. that’s not what a prince is. a prince is the son of the king, someone in line for the throne. someone with a lot of money is just - rich. so what i think is:
genie goes okay, that’s a big one - and i can do it! but not on my own, not if you want to do it right. not if you truly want a chance to marry your princess for real, as a prince. and aladdin is a foolish, moral, kind boy - and he agrees. he’s fallen in love with jasmine, an innocent all encompassing love, and he’ll do anything for this sweet, clever girl he only knew for a few hours. so genie takes him across the desert, far from agrabah, and plops right in the middle of a skirmish and is like okay, good luck! and aladdin is like ?????
but there’s assholes with swords attacking a young girl, and aladdin doesn’t even have to think about that, just like when he stood in front of the whip for those little kids. there are three men against him, but he’s fast and clever and has been against a dozen trained palace guards. so it’s not easy to get out of there alive, especially with the little girl to protect, but he manages it with only a thin slice on his upper arm, and he’s endured worse for less. so he picks up the little girl and says “i think we should get out of here, hmm?” and she’s in a pretty red silk getup with tiny jewels encrusted on her like stars against sunset. and she nods and throws her arms around his neck. she won’t talk, only points in the direction of home, but aladdin’s okay with that, he’s used to quiet, scared kids. so he keeps up a steady stream of stories of agrabah, which seems almost like this other desert land. but there are more men with swords and aladdin is like what the fuck is going on, but he hides the girl in a corner and fights them too. and that’s how it goes all the way home. there’s no one on the streets really, and they all scatter when the men attack, and they keep on attacking, he fights his way all the way through the city with the girl on his hip or hidden away.
and he should have known, of course, but he was tired and bruised and bleeding by the time he realized the little girl is silently guiding him to the palace and he’s like why can’t you princesses stay inside??? but he walks up and the guards get one look at the child in his arms and whisk him through and multiple people try to take the girl away but she won’t budge from him, a stubborn pout to her lips as her hands remained locked behind his neck. and he’s finally tossed into a throne room where a tall old man is sitting in agony and two young men pace in front of him, each at least a decade older than aladdin. “they’ve taken our sister!” one of the younger men hiss, “i don’t care about their power or their connections, they’ve taken esfir, and we must go get her!”
“uh,” he clears his throat, “hi?”
and all three men whirl on him and the old man stumble-runs to him. esfir finally lets go of aladdin to picked up and twirled around by her father. the two men are rahim and shapur and they look in wonder at this dirty boy of fifteen who’s returned the girl to them, and he speaks with an accent and clearly is not from here and they get the story from him - he’s traveled across the desert because those in his own country want him dead. “you know,” rahim says as the king clutches at esfir in desperate relief, “you could have held her for ransom. you almost died saving her, and we would have paid handsomely to have her returned safely.”
and aladdin gives him a flat disapproving look, appearing in this moment four times his age, and says “people are not objects or bargaining chips. especially not lost little girls.” and rahim and shapur share an impressed conspiring look and they each grab one of his arms and lead him away. “hey! what are you -”
“do be quiet little brother,” shapur says cheerfully, “we really have to get you out of your rags.”
know, I keep seeing posts talking about what a horrible liar Kara is. But the
fact of the matter is Kara is probably one of the best liars I’ve ever seen on TV.
wait. The entirety of National City knows Kara’s Supergirl, you may be
thinking. How can she be a good liar? But that’s the thing—her secret isn’t
that Kara Danvers is Supergirl.
only been Supergirl for the past year or so. But still, she’s been lying for
well over a decade about who she is—and
successfully. The thing about Clark—and they’ve addressed this in season 1—is he
may as well be human. They’ve talked about this with Astra, and then they’ve
shown this Myriad. Because in Clark’s head, he’s
not Kryptonian. His powers make him stand apart, but when he solar flares,
his most likely thought process is I’m
human now. To Kara, it would be I’m
now powerless. And there is a difference. Krypton is much more
technologically advanced, yes, but that is not the only difference between
Earth and Krypton.
cannot emphasize enough Kara is not
human. Kara’s alienness isn’t contingent upon her abilities—superpowers or
no superpowers, she’s always Kryptonian.
plenty of people probably have figured out that Kara is Supergirl—but that’s
pretty much it. What people know about Kara’s past is that she’s Superman’s
cousin, and that’s it. And clearly, Kara is younger than Superman—most people
aren’t going to think “yup. She was probably put in suspended animation in some
way.” I mean the conspiracy theorists might, but not really the overwhelming
people on Earth. (listen. You gotta draw a line somewhere)
people are going to think ‘Occam’s Razor’—that Kara’s mom, or dad, or both, got
off Krypton at the same time as Superman, and a decade later had Kara, and that
there’s a very good chance that Supergirl is half human, or at the very least
born on Earth and raised as a human. It’s what’s logical, isn’t it? The simplest answer is usually the correct one.
not. English isn’t her first
language, and she grew up with a very different culture, undergone a host of
different experiences that most humans couldn’t even imagine. Hell, she wasn’t
even born the same way—Clark was the first natural Kryptonian birth in years. That means Kara was not. Kara was born via the Codex—really,
if James was surprised at the depths of Kara’s anger over losing Krypton (back
in season 1—you know, where Kara got to have more than 3 emotions), or how
surprised he was to find out what Kara’s family crest really meant, how surprised
would they be at everything she’d decide to just stop hiding?
Kara is so very good at hiding. Kara
Danvers is real, yeah, but it’s someone she had to build. One of the very
subtle, but telling moments happened in the first episode of season two, when
Kara and Clark were getting off the elevator, and Clark had a clumsy moment
where he ran into someone and knocked all their things to the ground. After he
apologized and helped the person pick up their things, Kara asked him “wow, you
really have the whole clumsy thing down, don’t you?” “Oh no, that was real.” Key
word here is thing. As in, I
have a routine I go through to distract people and to seem harmless.
And this is just the tip of the iceberg, of routines and acts Kara must go
through to make herself seem human. Kara Danvers is real, but part of that identity is a persona she constantly embodies–clumsy, absentminded, horrible at math and science, cute but not drop dead gorgeous, a bit quirky always happy, harmless, invisible, human.
And so it’s not surprising that all of these people are figuring out her identity, but that’s not really what Kara’s held close to her chest, not like Clark. Kara’s anger and loss and just general alienness–that is her secret. This is what she’d confide, this is what she’d have to truly trust someone to reveal. This is what the culmination of trust would look like, trust in Cat or Lena or Maggie (or hell even Barry, who sure knows Kara is an alien but. He doesn’t really seem to grasp the implications of that–oh i didn’t realize Kara got mad).
years, Kara kept herself hidden, keep herself secret. But Kara’s secret isn’t
that she’s Supergirl, a human with powers.Kara’s secret is that she is angry and mad and hurting. But most of all, Kara’s secret is that she is not human.
I don’t think people realize what rare and beautiful gifts really good full AMVs are.
Like… that’s hard. Really, really hard.
Something I’ve learned is that the longer you’ve been editing, the more time it takes to make an edit, which is probably the reason AMVs can take literal months to make, and most vidders usually cut the songs down and/or make short edits.
To keep up consistently good timing, clip choice, pacing, transitions, effects, and possibly even masking or typography over give or take three and a half minutes of song is a huge challenge.
It’s generally considered to take three hours to edit one minute of a movie. Apply that here, and we have it taking about nine hours for a fairly short AMV… and given that we don’t get paid to make these, and have to wrestle with hitting every single beat of the song, it can take much longer.
And we also have to keep our motivation up, find time to edit, not grow to detest the song, and struggle with technical difficulties. All of that is really grating.
I’ve been editing for a couple months over a year now, and, while I started out making almost exclusively full AMVs, I can’t do that anymore. I’ve improved a lot, and by this point, using the whole song is intimidating and requires a level of dedication that I could not possibly achieve every time I edit.
It’s been literally a year since the last time I’ve edited a full-length song that I didn’t trim.
So if you find an awesome full AMV, appreciate it! Tell the vidder that you love it!
I’m honestly just so in awe of AMVs and the people who edit them. Vidders are really badass.
yeah, well, you know, as thrilling as the next adventure might be, in the end…you’re always left with that same feeling. sometimes you gotta…choose what you’re gonna keep and…and what you’re gonna let go.