climax to the max

I just want to talk about this shot for a minute and how brilliant it is (aside from just being beautiful, I mean ffs, I could frame this and hang it on my wall).

Mad Max: Fury Road, just before the big climax, Max has two paths he can take: either he can go off on his own or he can go help the others (with the crazy plan to run the War Rig right back to the Citadel).

This one single shot shows that dilemma with no dialogue needed. Max is standing center frame, to one side of him is the fully loaded bike and empty desert, to his other side is the War Rig and the others (quickly riding off into the distance, adding a sense of urgency to the decision as well). He’s literally standing between representations of his two options.

VISUAL STORYTELLING, PEOPLE. It’s literally this fucking easy. This shot is not even a little bit subtle but it’s still brilliant. See, just about any other movie would have felt the need to awkwardly jam in dialogue blatantly explaining the situation because it would have zero faith in its audience to understand what was going on otherwise. Fury Road does no such thing. It doesn’t insult your intelligence by spoon feeding every little detail to you and that’s what makes it such a beautiful film in every possible way.

klimaxxx top 10 - a kedvenc számaim, amik kimaxolták a klimaxot!

hatásvadász dolgokkal meglehetősen könnyen ki lehet játszani a védelmi rendszereimet, filmek esetében például A Szomorú Résznél, illetve Az Önfeláldozó Hőst látva rendszerint meghatódom (ami egyébként nem tudom, mióta van így, de meggyőződésem, hogy régen inkább voltam Cinikus Faszfej, mint Szentimentális Köcsög, mindegy), zenében pedig a legkönnyebben megragadható eszköz, amiért ujjongva tudok rajongani, az egy zeneszám klimaxban történő kiteljesedése.

ez, mint ahogy majd látjuk is, elég sokféleképpen tud megtörténni: akár úgy, hogy egyszerűen csak leszakad az ég, vagy éppen úgy, hogy fokozatosan egyre több hangszer lép be, amíg már tényleg nincs tovább.

itt arra kell majd számítani, hogy lesz tíz dal, mindegyikhez rajzolok egy ilyen csinos grafikont, hogy az idő függvényében szerintem hogyan változik a feszültség/póver, és akkor a végén majd elégedetten hátradőlök, hogy miféle hülyeségre basztam el már megint ilyen sok órát.

az első darab tehát egy népszerű popschlager 2009-ből: Dizzee Rascaltól a Holiday, amit itt lehet meghallgatni, bár gondolom mindenki nagyon jól ismeri. a tavalyi szigetig nem is biztos, hogy ez felkerült volna a kedvenceim közé, ott viszont a koncerten majdnem kidurrant alatta a szívem. bánjatok óvatosan a kábszival!

egyszerű popdalról van szó, verze-refrén-verze-refrén-verze-átkötés-klimaxxx, cserébe nagyszerűen lehet rá topogni, és superjó a szinti-arpeggio a végén!

the thing that bothers me about the ‘pricefield x grahamfield’ shipping debacle is that like…  i don’t have anything against warren as a character or even against grahamfield as a ship on an isolated context, but from a meta point of view, it kind of sucks how much heteronormativity plays into the way people perceive both relationships in the game

like every single comparison between pricefield and grahamfield i’ve ever seen talks about warren and chloe as if they had similar positions in max’s life. even the possibility (that i’m hoping for) that they’re both romance options kind of assumes that their roles and importance in the narrative are equivalent in some level, and the thing is that… they’re… not. they’re not even close to being. chloe is a main character. max meeting her again is what puts the entire plot of the game in motion. aside from kate’s suicide attempt, every single emotional climax of every chapter is in some way about max and chloe. chloe is the one in the promotional material, she’s the one who knows about max’s powers, she’s the one who’s beside her during the entire time. 

warren is a secondary character, and not even the one with the most screentime - i’ve never actually stopped to compare it, but i’m pretty sure it’s possible characters like kate or david get more time and relevance in the plot than he does. he helps max with some useful information at random times, and he has a crush, but aside from that his role could easily be cut from the game without any major changes in the story. his biggest character moment is beating up/not beating up nathan, and immediately after when he wants to tag along in max and chloe’s search, they turn him down - they turn him down no matter what you do, it’s not a choice, the game does not gives you the option of briging him with them, in the same way it doesn’t gives you the option of bringing kate or victoria or alyssa: because max and chloe are the main characters, and it’s their story. 

and this bothers me because… max and chloe have tons of complicated emotional history together, they have so many intimate scenes and moments, so much screentime together, etc. they are the most important relationship in the game no matter how anyone chooses to see it. there are so many ways the narrative places chloe as the most obvious romantic lead, and meanwhile the main argument for a grahamfield endgame is basically warren’s existence as a boy who shows interest in max.

i’m not saying grahamfield shippers want max and warren together because warren is a guy - people have their own reasons for shipping stuff and it’s none of my business. my point is that warren is considered to be a legitimate threat to a possible pricefield ending because he’s a guy, and because when we see him as an ok boy who shows romantic interest in the female protagonist, we immediately perceive him as a possible romantic lead, even if the story never properly treats him like one. if chloe was a guy, no one would think warren had a legitimate chance of ending up together with max. the idea that warren and max could end up together and max and chloe couldn’t wouldn’t even be discussed, in the same way no one is out there seriously advocating for the possibility of a marshfield endgame. chloe being a girl is something that legitimately makes the idea of pricefield less likely to be endgame, and that’s sad. that’s heteronormativity at work, and that’s my main problem with grahamfield