If you’re a fan of Gravity Falls, or Star vs. The Forces of Evil, or Wander Over Yonder, or Kim Possible, or Gargoyles, or any Disney Television show, then gather ‘round because I’m about to teach you some history.
“Never forget, that it all started with a Mouse,”~~Walt Disney.
Great things come from humble origins. Never forget that Disney TV…All started with a Duck.
It was the 1980s. Disney Television Animation was a new department at Walt Disney Studios. And Disney was suffering. These days it’s easy to think of Disney as a mega-giant, but back then, Disney was suffering. Movies were being produced on shoestring budgets, and animators (such as Don Bluth) were jumping ship to find work at studios that were paying better and producing better content. The Little Mermaid hadn’t yet hit theaters, sparking the Disney Renaissance. The fledgeling animation department had produced two shows prior, “The Wuzzles” and “The Adventures of Gummy Bears”.
Disney was in dire straights from Walt’s passing in 1966 left the studio suffering up until the 80s, when they started to take a few risks. Risks that paid off. The studio gambled on the idea that investing more money into quality animation would pay off in the long run if the show went into syndication. It was something that worked well with live action, but had yet to be done with animation to that degree. Cheap animation with tons of shortcuts could be syndicated, but something high-quality had never been done before.
Ducktales was the first show that attempted this, and it paid off handsomely. Not only was the show a hit with audiences (and a merchandising cash-cow) but it changed the game. It set the stage for the Disney Afternoon a few years down the road, and paved the path for every show I mentioned at the beginning. Without Ducktales, there would be no Gargoyles, no Star vs. The Forces of Evil, no Gravity Falls.
Heck, I take it even one step beyond that…Without the inspiration of proof-of-concept, I’d wager that even OTHER studios cartoon creations wouldn’t exist. No Animaniacs, No Adventure Time, no Steven Universe (and don’t think I missed the shout-out to Ducktales in “Onion Trade”)
Ducktales was important because it raised the craft of animation to another level, combining storytelling with good, non-repetitive animation to produce quality TV. For a time, Ducktales was Disney’s Flagship TV series, waving the banner and representing the company in the realm of television animation.
And even today, the classic Ducktales series holds up rather nicely. Sure, some things are a little dated, but at the end of the day, I enjoy watching Ducktales without reservations. That’s why I own the DVD sets.
And it’s why I’m so happy about this reboot.
This isn’t just a revamp of an old show. This is Disney returning to its roots, reclaiming a bit of it’s history and polishing it off for the next generation. I’m a little misty eyed. I had some initial misgivings when this was announced, but the cast announcement melted those fears away, and now, seeing the trailer that dropped less than 24 hours ago…I don’t think I’ve ever been this excited for a TV series ever.
Breaking down this trailer, we finally hear David Tennant as Scrooge McDuck. I’ve actually been aware of Tennant’s presence in the voiceover scene for a few years now (Most notably, he plays bit parts in the How To Train Your Dragon franchise from Dreamworks) But hearing him as Scrooge…I really feel it works. He’s got a certain quality the echos the late, great Alan Young, and I feel like he couldn’t have been better cast without some of that good old fashioned Disney Necromancy (And as we know, they used up their allotment of Necromancy on Peter Cushing for Rogue One)
I love that the Nephews are getting unique characterization and personality. I loved Russi Taylor’s performance way back when, but one Nephew was really interchangeable with another. Dani Pudi, Ben Schwartz, and Chris Moynihan really bring an awesome chemistry to their roles, just from the trailer.
And then there’s Webbigail. Oh my God, I love how they’ve rebooted Webby. She was always the annoying load back in the classic series. Making her a Donald Duck fangirl is freaking GENIUS (and Kate Micucci is perfect for this role too) Bonus points given for Webby’s infamous “Quacky-Patch Doll” being used for dart practice in the background of her room. Webby has gone from outright “The Load” territory, to one of the most fun-seeming characters present in the reboot.
And all of this from one minute and a half trailer. I can’t wait for this series, even though I know I must. I know it’s gonna be something special, I can feel it. Maybe even Disney’s Flagship show, once again. Stay tuned to my Tumblr, for much, much more.
One thing I know for certain that I’m going to do when the pilot for this airs…A side by side comparison of the Classic Pilot and the new one.
Brand New Trailer No.1 for Studio Ponoc’s Mary and Witch’s Flower (2017) (With English subs)
Directed by former Studio Ghibli/Arrietty director Hiromasa Yonebayashi this trailer shows more great looking action from Studio Ponoc’s first animated feature Mary and Witch’s Flower which is coming to cinemas this summer :D
I must say i am super excited it looks amazing and gives all the Ghibli feels :D
As you all may know, watching TV in your target language helps improving the vocabulary, listening comprehension, and knowledge of it in general. This is why I decided to create a masterpost with some of the most well-known TV series in Spain. The titles are clickable, and they redirect to a trailer or some short clip of the show.
(Not following any particular order)
Las chicas del cable: Netflix’s first Spanish original series. It’s set in 1928, and it tells the story of a group of girls working for a telecommunications company. It has this Great Gastby feeling, highly recommended!
Física o química: I’d say this is a low-budget, Spanish version of Skam or Skins, but a bit outdated since it’s from some years ago. But basically same story, the struggles of some high school kids.
Cuéntame cómo pasó: it narrates the daily life of a Spanish family of the second half of the twentieth century, so of course it has some historic episodes going on. It started back in 2001, based in 1968, and it’s still on air, narrating the year 1986.
Aquí no hay quién viva: sitcom which depicts the problems of the neighbours of an apartment building. It stopped being broadcast in 2006, but a new series with basically the same argument and actors emerged, called La que se avecina.
and what gets to me the most, as those words, “don’t let me be misunderstood” are playing, is how, like we’ve always known, sana is so, so observant of everything that’s going on around her - she picks up on every little detail,
and that is what the main focus of the trailer was.
you see sana, and she’s in the centre of the shot, with people dancing and drinking and partying around her - and she doesn’t look uncomfortable at all. she looks fine. she looks happy.
and she’s just silently watching everything go by, as it happen around her. absorbing everything in.
don’t misunderstand her for being a muslim girl at a party and feeling like she feels alone, don’t misunderstand the fact that doesn’t feel like she doesn’t belong in that surrounding, in that atmosphere. she doesn’t need the validation. she can be both things all at once: a muslim girl, and a girl who lives in the western world, and can balance both of those things, with a smile on her face.
don’t misunderstand her motivations. don’t misunderstand her.
This weekend, I went to see a horror movie. It got stuck in my head, and now I can’t stop thinking about it—but not for any of the reasons you might think.
The movie was Jordan Peele’s new hit Get Out, which has gotten rave reviews from critics—an incredible 99% on Rotten Tomatoes—and has a lot of people talking about its themes.
First of all, I should tell you that I hate horror movies. As a general rule, I stay far, far away from them, but after everything I’d read, I felt like this was an important film for me to see. This trailer might give you some inkling as to why:
Creepy, huh? You might know writer/director Jordan Peele as part of the comedy duo Key & Peele, known for smartly tackling societal issues through sketch comedy. Get Out is a horror movie, but it’s also a film about race in America, and it’s impressively multilayered.
I left the theater feeling deeply disturbed but glad this movie was made. I can’t say any more without revealing spoilers, so if you haven’t seen the movie yet and you don’t want to have the plot spoiled for you, stop reading now and come back later.
Seriously, this is your last chance before I give away what happens.
Okay, you were warned. Here we go.
Our protagonist is Chris Washington, a young black man who has been dating Rose Armitage, a young white woman, for the last four months. She wants him to meet her family, but he’s hesitant. She acknowledges that her dad can be a little awkward on the subject of race, but assures Chris that he means well.
After unnerving encounters with a deer (echoes of The Invitation) and a racist cop, Chris and Rose arrive at the Armitages’ estate. On the surface, the Armitages are very friendly, but the conversation (brilliantly scripted by Peele) includes a lot of the little, everyday, get-under-your-skin moments of racism that people of color have to contend with: Rose’s dad going on about how he voted for Obama, for instance, and asking how long “this thang” has been going on. Chris laughs it off to be polite, though he clearly feels uncomfortable.
There’s a fantastic moment here, by the way, when Rose’s dad offhandedly mentions that they had to close off the basement because of “black mold.” In the midst of the racially charged atmosphere of the conversation, it’s nearly impossible not to take this as a racial remark, and Chris certainly notices, but what could he possibly say about it? Black mold is a real thing; his girlfriend would surely think he was crazy and oversensitive if he said it sounded racist. Chris never reacts to the remark, but that one tiny moment is a reminder to the audience of a real problem people of color often face, when racism can’t be called out without being accused of “playing the race card” or seeing things that aren’t there. (Incidentally, it turns out that the basement is actually used for molding of a different sort.)
There are other reasons for Chris to be unsettled: The only other black people on the estate are two servants, Georgina and Walter (Rose’s dad says he knows how bad it looks, but that it’s not what it seems), and something is clearly “off” about them. Later, more white people show up—and one more black character, and he, too, feels “off.”
By the end of the film, we learn the horrible secret: Rose’s family is kidnapping and luring black people to their estate, where they’re being hypnotized and psychologically trapped inside themselves—Rose’s mom calls it “the sunken place”—so that old or disabled white people’s consciousnesses can be transplanted into their bodies. The white people are then able to move about, controlling their new black bodies, with the black person’s consciousness along for the ride as a mere “passenger.” In a shocking twist, it turns out that even apparently-sweet Rose is in on the plot, and Chris must fight her and the rest of her family to escape.
This isn’t a “white people are evil” film, although it may sound that way at first, but it is a film about racism. I know many of my friends of color will connect with this movie in a way I can’t, so I won’t try to say what I think they’ll get out of it. I do want to say how I connected with it, though, because I think what Jordan Peele has done here is really important for white audiences.
If you look beyond the surface horror-movie plot, this film actually gives white people a tiny peek at the reality of racism—not the epithet-shouting neo-Nazi kind of racism that white people normally imagine when we hear “racism,” but the “Oh it’s so nice to meet you; I voted for Obama” kind of racism, the subtle othering that expects people of color to smile and get along and adopt white culture as their own whenever they’re around white people.
So many of the moments in Get Out are clearly intended to work on multiple levels. When Chris confronts Georgina about something being wrong and she smiles and says, “No, no no no no no,” with tears streaming down her cheeks, the symbolism is blatant. How often do people of color have to ignore the subtle indignities they face and hide their true emotions in order to avoid coming across as, for example, “the angry black woman/man”? How many times do they find themselves in social situations—even with their closest white friends!—where people make little comments tying them to an “exotic,” supposedly monolithic culture, where they have to respond with a smile and a laugh instead of telling people how stupid and offensive they’re being?
I can’t tell you the number of these stories I’ve heard from my friends, and I’m quite sure that the stories I’ve heard are only a tiny fraction of the stories that could be told. So there’s something in that moment that speaks volumes about the experiences of people of color in America.
The same is true for so many other moments. The black characters Chris meets at the Armitages’ have all symbolically given up their identities and conformed to white culture; when Chris meets one character, he turns out to be going under a new name, with new clothes and new mannerisms; when Chris offers him a fist bump, he tries to shake Chris’s fist. Again, within the story, there’s an explanation for all this, but every moment here is also about assimilation and culture differences.
For me as a white audience member, all of these moments did something remarkable: They showed me my own culture—a culture I’m often blissfully unaware of because it’s all around me—as something alien. They reminded me that I, too, have a culture, and that expecting everyone else to assimilate to my culture is just as much an erasing of their identities as it would be to expect me to assimilate to someone else’s culture.
And that’s a big part of what Get Out is about—the erasing of identities, and the power of racism to destroy people. I think it’s really significant that racism is portrayed here very differently from how it’s normally portrayed in movies written by white people. In most Hollywood movies, you know a character is racist because they shout racial epithets or make blatant statements about a certain race’s inferiority. That allows white audiences to say, “I would never do/say that, so I’m not racist!” We really don’t want to think we are.
But notice something important about Get Out’s treatment of racism: This is a film about the literal enslavement of black people—racism doesn’t get more extreme than that—and yet Peele doesn’t go for the obvious by having the white characters admit that they think black people are inferior; instead, they subjugate and dehumanize people by claiming to admire things about them. They turn them into fashion accessories.
When Chris asks why only black people are being targeted for this procedure, the response is telling: It’s not (supposedly) because the white characters think African Americans are bad, but rather, because they like certain things about them and they want “a change” for themselves. They want to become black—it’s trendy, we’re told!—but without having had any of the actual life experiences or history of African Americans. White people need to see this: to experience the ways in which Chris is othered by people who tell him all the things they like about him—isn’t he strong? Look at those muscles! Does he play golf like Tiger Woods? And he must be well-endowed and have such sexual prowess, right, Rose?
The white people in the audience need to be reminded that just because you’re saying positive things about someone doesn’t mean you’re not being racist, that turning someone into an exotic “other” may not be the same as shouting an epithet, but it’s still taking away someone’s identity and treating them as a commodity.
The film is filled with these kinds of moments. When we realize that Rose’s white grandmother has inhabited the body of Georgina, the fact that she keeps touching her own hair and admiring herself in the mirror takes on a whole new level of significance. (White people, please don’t ask to touch your black friends’ hair.) When Chris connects with a dying deer on the side of the road and later sees a deer head mounted on the wall at the Armitages’ estate, the symbolism is hard to miss. Black people are being turned into trophies in this house. And, oh yeah, they’re being literally auctioned off—as they were in real life in the not-too-distant past.
One day, I’d like to see the film again to pick up on all the ways things read differently the second time through. I noticed several things in retrospect that gain new significance once you know the ending, and I’m sure there’s a lot I didn’t notice. For example, Rose’s dad says he hired Walter and Georgina to care for his parents, and when his parents died, “I couldn’t bear to let them go.” The first time you see the film, it sounds like the “them” is Walter and Georgina. But in retrospect, it’s clear the “them” he couldn’t bear to let go was his parents, so he sacrificed Walter and Georgina for them. Which, again, is an example of how the supposed care of the white characters for the black characters (his care for Walter and Georgina, Rose’s care for Chris) is really all about caring for themselves and treating the black characters as completely interchangeable objects.
The message of the film isn’t simply that the black characters are “good” and the white characters are “bad.” There are presumably—hopefully—many good white people in the world of this film, and many others who wouldn’t do what the Armitages are doing but also probably wouldn’t believe Chris or make the effort to stop it. Peele’s mother and wife are both white, so he’s clearly not trying to paint all white people as villains.
But I admit, as a white guy, I really, really wanted Rose to be good. I’ve been the white person in an interracial relationship introducing my black boyfriend to my family. I’ve been that. So I related to Rose, and I really wanted to believe that she was well-intentioned and just oblivious; even though she misses the mark on several occasions, there are times that she seems like she gets it and she really does listen to Chris. When a cop asks to see Chris’s ID early in the film even though he wasn’t driving, Rose stands up against the obvious racism, showing us all what it looks like for white people to do the right thing. “That was hot,” Chris says to her later, and I thought, yeah, that’s who I want to be.
So I have to admit, it was really upsetting to me to see Rose, the only good white character left in the film, turn out to be evil. But I realized that part of that is that I really wanted her to represent me, and that’s really the point. Just think how often horror films have only one black character who dies early on, and how many films of all genres have no significant black characters for audience members to look up to or identify with. I think it’s really important for white audiences to experience that.
As I’ve reflected on the film, it seems to me like there are three kinds of popular movies about people of color. There are those that feature POC characters that are essentially indistinguishable from the white characters—as if they just decided to cast Morgan Freeman instead of Tom Hanks without giving any thought to the character’s race. Then there are the movies that deal with racism, but in a way that allows white people to feel good about ourselves, because we’re not like the characters in the film. (This is especially true for movies about racism in the past; some of them are very important films, like Hidden Figures, which I loved, but we need to be aware that it’s still easy for white America to treat it as a feel-good film and think that we’re off the hook because we no longer have separate restrooms.) And finally, there are movies that focus more directly on the lives of people of color but tend to draw largely audiences of color; not many white people go see them, because we think they’re not “for us” (even though we assume films about white people are for everyone).
Get Out isn’t any of those. It’s drawing a broad audience but it’s not afraid to make white people uncomfortable. And if you can give me, a white guy, a chance to have even a momentary fraction of an experience of the real-life, modern-day, casual racism facing people of color in America, I think that’s a very good thing.
There are so many fascinating and clever things about this trailer. And I want to talk about them at length when I have more time… for now just throwing some thoughts out there.
The reversal of the film, starting with Even, who was a big fan favorite for S4, as a type of bait-and-switch (the same one they employed with Wilhelm during Isak’s S3 trailer) was clever. And by working their way through all the other main players of season 4 and ultimately landing on SANA, the fact it’s HER season becomes so impactful.
The choice of Song “Don’t let me be misunderstood” performed by Yusuf Islam (prev. Cat Stevens) who adopted the name after converting to Islam definitely feels significant. The lyrics allude to the struggles and prejudice she experiences, but I also thought the song in reverse sounded vaguely arabic, which I’m sure was also intended.
Furthermore I liked how the entire video was, as you realized in the end, basically an elaborate domino effect created by Sana. The way she looks in the camera almost makes it feel like she was aware of what was happening before putting her foot out to trip Noora. (and it feels like a subtle callback to Sana’s ‘magic hijab’ in a sense too).
I’m really curious to see how s4 will show us Sana’s vulnerable side, but it
feels like this trailer gave us a glimpse.. it’s not about needing to
compromise Sana’s strength or bringing her down to show it, because she
deals with the ‘shame’ and struggles (prejudice and racism) just by being herself. And even if she looks like she’s in control, there are aspects (other people) around her she simple can’t control.
These are just a couple of the things that stood out to me, I may add more later or write a better analysis. Feel free to reply or reblog with your own thoughts!
ok so i went to the listening session earlier and now im gonna try to type out everything i remember from each song. dont expect this to be too coherent as im still extremely overwhelmed from it all. im putting this under a read more bc spoilers obviously but yeah here we go!!!!!
i remember the first time i saw a trailer for Split in the movie theaters. i was with family and the theater was full and i’d been mildly enjoying the trailers and perked up a bit when the tell-tale ominous music of a horror movie trailer started, because i love good thrillers.
except then it was frame after frame after frame of a person with dissociative identity disorder being portrayed as everyone’s boogey man, the shrieks of the little girl protagonists as he appeared wearing different clothes and a different voice, people in the theater jumping and giggling every time they showed the man doing something horrific. and i felt frozen in my seat.
my sister leaned over to me when it was finished and said “i want to see that” with a look on her face like it was the greatest trailer she’d ever seen.
like it wasn’t a punch to my gut everytime i heard someone whisper “psycho” or “crazy” and other terrible things. like in that moment i didn’t feel like running away from all these people, like i didn’t feel unsafe and filthy. because these people getting their thrills from a demonizing potrayal of a mental illness.
and the thing is, it matters.
because if i bring it up people will say “oh but it’s not really mental illness, like depression or something. he was just fucking crazy which is totally scary haha”. yeah well, not haha. not haha because DID is a real mental illness but that’s not what it looks like. people with DID aren’t murderers or dangerous. but now, because movies like Split are all people have seen of illnesses like DID, that’s their frame of reference.
the media does it with DID, with schizophrenia, with every single personality disorder, with bipolar, with everything else that is “scary”. raising awareness for depression and anxiety is important, they’re valid and serious illnesses. but hardly anyone tries to protect people with “scary” disorders. this halloween when costumes of the main character crop up, people will giggle and buy it because it’s so creepy and cool.
i’m reminded that, although i don’t have DID, much of my mental illness is defined by symptoms that are used in other horror movies. that people who have “scary” disorders are the entertainment in everyone else’s world. and for people who do have DID, that movie is absolutely devastating.
so if you buy a ticket to see Split, please know that’s it’s not harmless entertainment or a good thrill. it’s fucking ableism and you’re being ableist if you go see it.
Ever since the last Jedi trailer came out, I’ve been trying to think of Deep Good Meta to contribute to the Star Wars fandom but literally all I’ve got is:
Rey standing out in the rain. Luke asks her what she’s thinking. Rey closes her eyes. “I am going to have sex with my boyfriend in the rain,” she announces.
“Oh,” says Luke, who was maybe expecting something about feeling the flow of the Force, but he’s adaptable. “I didn’t know you had a boyfriend.”
“I’m going to go ask Finn to be my boyfriend and then we are going to have sex in the rain.”
Luke nods. “A sound plan.”
Personality wise, Rey has perhaps one of the firmest chins he has ever seen, second only to his sister which is a thought Luke promptly pivots away with a Jedi master’s aptitude for resolutely not thinking about things and calling it meditation.
Rey raises her firm chin yet higher. “We’re going to do all the sex things in the rain.”
“I’m very happy for you,” Luke says with complete honesty. He’s happy for Finn as well, if a little concerned he should give the boy a head’s up. Rey grins at him. Luke doesn’t grin back but mostly because he’s still trying to be stern as a teaching technique so he doesn’t get attached.
He’s aware, by the way, that he’s failing.
Pushing that thought aside (he’s very good at that these days–it’s a very quiet island, it doesn’t offer much options for hobbies besides ignoring thoughts and brooding on them and occasionally fishing), Luke asks, “You do know what you need to know?”
“What, like how to do it?” Rey asks. She wrinkles her nose. “Yeah. Of course. Sort of. I’ve done it before, loads of times.” There’s a very thoughtful pause. “There weren’t many humans in Jakku,” she says, a little worry slipping into her voice. She furrows her brow. “But I figure humans, you know, other humans–it’s basically the same but with only the four limbs. Less slime. And no scales?” Luke gets the impression she didn’t mean that last part to be a question.
And because she’s a student, a young student, his only young student and fellow human on this island whose population has suddenly skyrocketed to four, he does not say what he’d say to a friend and peer, which is, “honey you can’t make assumptions like that, you would not BELIEVE what people with dicks have done to modify them.” Instead, because he’s a mature teacher who is frantically relearning how to be that to the hungriest student he has ever met, Luke says, “I can’t vouch for Finn’s situation. But I’m sure you’ll have a very good time.” After Luke discreetly passes her a few anatomical drawings, just to be on the safe side.
hehe I’m always a few hours early until midnight but… 6/23/2017 HAPPY 26TH ANNIVERSARY, SONIC THE HEDGEHOG! wowowow 26 already!? I feel like his 25th JUST happened ahh ;w; I feel like this year has been a great year for all three generations of Sonic! We finally got the reveal of Sonic Forces which I for one am super excited!! The new trailers and characters ahhh I’m so happy and can’t wait to play the game! It’s something I’ve been waiting for Modern Sonic! We also got Sonic Mania coming in August! a very beautiful Classic Sonic game for the classic fans! I love the use of vibrant colors for the game!(which is something I tried to pull off on the background here as the theme lol) I can’t wait to try playing that game as well! It’s nice seeing classic characters getting the love ^v^ Sonic Boom tv show has been doing an outstanding job with its season 2 It even got nominated for choice animated TV Show!~I personally love the tv show the animation is wonderful as well the voice cast and the writers are very nice to talk to!
Honestly Sonic has made a huge impact in my life. I’ve met wonderful friends and artists, and improved on my art. Without Sonic, I would never have some this far at all! He keeps me motivated and I guaranteed that he’ll always hold a special place in my heart.
So here’s to 26 years, Sonic! Keep on running~! ♥ ♥ ~(>/v/<)~
what she means:
the trailer for the i am heath ledger (2017) documentary was released today, april 4th, on what would've been heath's 38th birthday. after all these years my heart was not prepared to be bulldozed. watching heath laughing and smiling and being silly and goofy broke my heart but also made me feel happy and at peace. even that small bit of content showed what a sincere and wonderful human being he was and i can't believe it's been so long since he passed. but he will live on in my heart forever and ever and ever. i miss him. that entire documentary will probably ruin me.
Pacing back and forth around your trailer almost drove you dizzy. Back and forth. Back and forth; as if that was going to simultaneously solve all of your problems. It wasn’t. Not even close.
You had just gotten the memo that your intimate scene with Jensen was moved to today, not that you weren’t sweating buckets the second you got the script, but the fact that the scene was moved to today instead of five days from now had you ripping your hair from your head. You were going to be very exposed to him, and no matter how long the two of you had been friends, this was something you weren’t comfortable with on so many levels.
“I really would say, I mean, at this point I feel like Obama is definitely the most, the biggest celebrity in the world at this point, and also… It’s funny you said, you know, it’s funny because I say that because he’s the most known, but I don’t really think we really know who the most powerful political animal really is.”
So, first of all, HYPE. Although I never stopped being Hyped but. MORE HYPE. Before I start talking at all about the teaser trailer, I gotta say, I’m glad WP are taking their time refining and bug-fixing to make a great game for us to enjoy, and knowing how far along it is and how close the release date might be, we’ll wait to see how it comes out!
Okay so the teaser, first we start with what seems like Joey peeping into the attic of the house through a hole. That already makes me feel we’ll get the little tease of knowing where to go but forbidding us from seeing what’s behind the cool curtain until we find the key that opens the door there.
There are a LOT of guns, some sarcophagus, tons of horse imagery, statues in the background, mirrors, Jake sure loves tossing stuff he finds during his adventures around the house! The multitude of items frame the centerpiece of the portal quite well, and the eerie glow gives-
Okay, wait, what the FUCK JAKE.
DO YOU SEE WHAT I’M SEEING?
WHERE THE HELL DID JAKE GET THE CLOCK?!
We start /well/ if this is the kind of shenanigans Hiveswap has prepared for us, oh my god. This means that by this point in the timeline, Jake had access to SBURB stuff, though, so that’s an interesting thing to have in mind.
The camera zooms on the portal, and then Joey appears, reaching over to expose it, before cutting to the title. Hiveswap.
Can I say, I’m really glad about the direction they took with the 2D stuff. Everything looks so good, Joey’s expressions and movement are so sweet. I love her already.
The next scene cuts to Jude using a flare gun (Which we see later in his inventory) likely to warn Joey or to use it as a distraction somewhere else? The pile of leaves right under the window makes me think he’ll have to hop right off the window and into it in the future. There’s also a fountain on the wall that looks like a Lich, further confirming Jake’s already gone hunting to the Medium by this point. Also, the sky, the clouds, the background, looks absolutely GORGEOUS.
Then the flare lands in front of the house, and here we can see a few things. First of all, the statue. Of course. And also, I bet Jude cut the bushes to look like Nessie because he’s a cryptid fan. However, there’s a thing I just realised. I don’t know if this was a detail in the prior trailer or not but…
Doesn’t the house look just… Not taken care of? The previews of the inside, all the stuff just thrown everywhere, I assumed Jake was just kinda like that, messy. But the look of the house on the outside, with the broken pillars and the vegetation growing everywhere. The broken glass is likely from the monsters, but otherwise…
Jake. How long have you left those two poor kids alone? Not to say, wherever ‘Hauntswich’ is, there doesn’t seem to be a soul ANYWHERE in the surrounding area except for their creepy neighbours.
Next, Joey is crawling through the vents, either to get in or escape from some monsters, and while happy, soon the vents shake and her expression shifts. The way her expression dynamically changes like that, I love it, makes me think a lot about some Homestuck panels. That being said, either the vent is shaky, there’s something BIG and lumbering down the halls of the manor, or the damage to the house is more extensive than it appears.
Then, oh boy the UI looks neat! Worried Joey wanders the halls of her basement, I presume. The X at the top-left might be to make the UI disappear, or perhaps a quick quit to the game? Options on the top-right, help… Then, the inventory seems managed with Captcha Cards, of course. Easy to access and drag around to combine with stuff. Then there’s her battle… Stances? Weapons? There’s what seems like a ‘stomp’, her normal shoes. Then ballerina shoes, and her flashlight.
This makes me wonder how the combat system is. Furthermore- Joey seems to have the shoe selected! What’s that for? Maybe to hint that’s what you want to do in a sneak attack? Or is it not the weapons, and just something more like her ‘stance’? But if it was her stance, wouldn’t the flashlight be the one chosen right now? We’ll see how that works.
Of course, more to the right, there’s the character… Selector? Right now we have Joey, and you can talk with your Jude with a Walkie-Talkie. Straight-forward enough.
Also Jake, please.
Jude’s side of things isn’t looking too hot. That mansion looks fucking MASSIVE. It looks more like a village, but everything’s too… Bunched up together for that to be the case. Lumbering shadows, just there. Staring. The view is amazing, but very, very eerie. Here we see he only has a flare gun- Which we see him using earlier. Again, straight-forward enough.
Now is when things start getting interesting.
First of all, the new design of the Cherub Key is amazing. Cherub Teeth are the fangs, with the Calliope-Caliborn spiral in the middle, and the snakes coiling up. But also-
IT’S ALIVE? JESUS THAT’S CREEPY.
Creepiness aside, I like this much, much more. The one preview we had when it was still 3D had Joey actually reaching in to turn it on herself, just out of pure curiosity. In this situation, however? She’s being /dragged/ by the key, forced to open the portal, not by her own volition. This makes much more sense narrative-wise, and also makes me wonder if the key itself is a Juju. The lollipop forced Jane to lick it after all, and Jake has the CLOCK, so a Juju key with a Juju teleporter? Yeah, that fits.
The cherub snake-beams activate and… Okay, while the glow of the energy is red on the Caliborn snake and green on the Calliope one, both the eyes AND the sparks around the energy are green on both sides. Maybe the teleporter uses First Guardian energy in some capacity?
Finally, we switch to the Trolls! Xefros is a cutie, and that’s some RADICAL VIOLET BLOOD riding a… Bronze grub. That sure’s a way to promote the drink. Anyone can decypher what the can says?
Then we have a first GOOD look at Xefros’ Hive! There’s a picture of the Sloth Lusus, Xefros and Dammek. Cute. Also there’s a tree going through the entire top, maybe his hive is like Terezi’s? It could be, his Lusus IS a Sloth, and Joey switches with Dammek, so it’d make sense Dammek is the one with the more urban hive.
We see an Alternian Phone, some videogame, with HEXAGONAL DISCS. I don’t care if it’s more bug-like, that’s so incredibly inconvenient and asinine, Hussie, What Pumpkin. >:V Then of course, theres Trizza broadcasting her memes permanently on the TV, and the first look at Xefros’ weapon of choice! Which seems to be a… Cricket bat? Cool.
Then Xefros slams the can of soda against his forehead to crush it. Nice.
This is a lovely look at the urban look of Alternia. It’s curious, Trolls are nocturnal so I expected to see more activity at night. Then again, Drones have been taking Trolls to cull, so it’d make sense if they’re all hiding.
ALSO DAMMEK’S LUSUS! They’re riding it around :D Likely going from Dammek’s place and towards Xefros’ if he does live in a tree-Hive. The background of the Alternian Landscape is absolutely haunting.
We have a VS Screen! Not only that, but Joey’s reaction to each enemy and situation seems to vary from one to the next. That’s a nice touch.
Joey, you’re being unnecessarily extra. That’s Jude’s pigeon though, and the bat monster seems surprised by Joey’s dramatic entrance!
Okay so, the thing at the bottom seems like it’s maybe the battle system? The right arrow points at Joey, so maybe it’s her turn and when it’s the monster’s it points left. Then the three spikes at the top might expand into something like. Abscond, Abjure, Aggrieve? Again, I have no idea how the system will work. Also, the bat seems confused and bouncing around. It’s hard to tell if this is RIGHT after the Vs Screen, and being surprised made it flip the fuck out, or if Joey did something that confused it and made it bounce around.
The state of the kitchen really drives home the fact Jake has been an absent father for a VERY LONG TIME. Have they just been ordering noodles to eat all this time? I can see some adorable pictures on the fridge.
There she goes. What do you wanna bet that in Hauntswitch Act 1 we get a scene exactly like this but with Dammek’s silhouette going down the red shaft?
Me too, Joey. Me too.
Finally, “The door is nearly open” seems like a reference to the little line on the Hiveswap page: “First thing’s first. You need to open the door.”
Conclusion: I NEED THIS GAME NOW. Patiently waiting for it to come out, still very hype.