element analysis

So Elements got really intense yesterday.

There’s like a sort of interesting thing I thought to post about though… there’s sort of a weird thing about LSP’s character which I think is interesting. As I’m sure you’ve all noticed by now, each of the elements sort of have their own emotion associated with that: Candy has happiness, Ice has sadness, Fire has anger, and Slime has comfort/oblivion/funk?/assimilation.
So far we’ve seen BMO give in to happiness, Jake give in to sadness and comfort, and now Finn give in to anger after loosing Jake ((I’M SCREAMING– HOLYSHIT THIS SHOW, I JUST WANT THEM TO BE OKAY AT THE END OF THIS BUT POOR JAKE AND FINN!!!))– I think this all says something about their characters. With LSP though, she’s still normal and hasn’t given in to any of the emotions associated with the Elements, she’s apparently been to all four of the regions now untouched, even when she was trying her hardest to fit in in Slime Kingdom and she just couldn’t, or when she was angry at everyone in the Fire Kingdom because they weren’t paying attention to her.
Like it’s weird just a weird thing! Idk what it is but part of people being turned into different Element versions has to do with their emotions I think what Element each person is turned to says something about them which I think is cool.

Also, come to think of it Cinnamon Bun said he wasn’t turned because of the flame shield but Finn had a stronger flame shield than him… okay, I guess Cinnamon Bun can be in the same boat with LSP!

anonymous asked:

Hi Keaton, I've been writing poetry for a while, reading around during leisure time, and I've tried to incorporate some of what I've learned about poetry into my work, but my poetry still absolutely, tremendously flops. Any advice?

i like to define poetry as the act of taking an abstract emotion and giving it a concrete form. to do this at all is a difficult task. to do it well can feel near impossible sometimes! the fact that you’re showing up and putting in the effort deserves praise. be proud of yourself for trying. i know i’m proud of you.

when it comes to figuring out what makes a poem work, i think the best example is ezra pound’s ‘in a station of the metro.’ you know the one– “The apparition of these faces in the crowd; / Petals on a wet, black bough.” it contains several things that highlight what we find keep us coming back to poetry: brevity, figurative language, and implication.

a defining characteristic of poetry is its economy of language, to say as much as we can in as few words as possible, so we are constantly pulling out our metaphorical paring knives and trimming our poems down to give each word impact. the length of the pound’s ‘metro’ speaks for itself. within the title and two lines, it manages to create an entire image of the parisian subway, one which has struck and stuck with its readers for over a century.

but why does it strike us? for starters, there is its metaphor. the heaving underground crowd gets transformed into a small part of a larger system of nature, petals torn from flowers, small compared to the tree on which they’re plastered, and smaller still when compared to the phenomenon of a rainstorm. bright white and shining against the dark trunk and damp cold of the air.

but the people haven’t literally become flower petals, so what is the language trying to imply here? you picture how these petals are ripped by a past rain away from their parent flowers and how they cling to the branches, and you know that in spite of their fragility, whatever hardships they might face, people are enduringly beautiful. then there’s pound’s use of the word apparition, which possesses a double meaning: apparition as in to suddenly appear into sight as the train doors open, and apparition as in ghostly. this moment is sudden, brief. people move through the metro station and you can see them, but you’ll never know each of them fully. there’s a sense of death in comparing people to ghosts, but then the flower metaphor creates a sense of regeneration. through the distance of a century, the crowd captured in this poem is long gone, and yet crowds just like that one move through the metro every day, are in the metro right now, continuing this cycle of busy, wondrous city life. and a century from now, the crowds will still be there, churning.

'metro’ strikes us because so much is going on underneath its surface. it’s a meditation on the transient, shifting, and awe-inspiring nature of human life. the poem never once takes the time to say this out loud, but the meaning is there, the part of the iceberg under the water, waiting for us to dive.

but this is just an analysis of elements i appreciate about poetry. ultimately my advice to you is this: keep writing. make those rough drafts and take the time to shape them into better drafts. write enough and you’ll find your style, you’ll figure out how to shape images the way you want, you’ll learn how to get that emotional impact. and don’t be afraid to write sloppily. all writing is good writing because it means you brought into existence something that wasn’t there before. hope this helps! all my best wishes for your poetry

Rurouni Kenshin Fight Sequence Analysis: Choreography

                                           Elements of Cinema

The most popular elements that passionate fans and dissenters of the RurouKen film trilogy all seem to agree on is that the action scenes are awesome. Dissenters usually say, “just watch it for the action.” This always struck me as a strange thing to say. I think it’s because it was always intended to be a slide against the film, as though to say, “The only thing the films did well was the action,” similar to how some might say, “Watch Transformers for the special effects.” 

This actually got me thinking, though. What makes a fight scene? If we broke down a fight scene to its cinematic elements, if we peek behind the curtains, what composes the fight scenes that everyone, including dissenters, would argue is this film trilogy’s strongest element? And to it’s fans, what makes it better than its competition? What did Team Otomo just get right?

The truth is, those questions are gateways to more questions; film is different from any medium because film is alive. It’s evolving, moving towards new directions, restructuring old words and phrases to create beauty and meaning in new ways. RuroKen is no different, but if we’re going to understand how these elements congeal together to create the magnificent and electrifying action sequences fans of this series are going to enjoy, we need to understand those elements in their own isolated contexts. There’s a lot to keep track of, and a lot of these posts will overlap with one another since film is collaborative, so always make sure to come back to previous posts to freshen up and see how things come together. 

Also, if we’re going to understand what Rurouni Kenshin does well, we sometimes need to look at how other fight scenes are crafted, sometimes to terrible results, which means we will occasionally be drawing on other fights from other films and TV shows.


The Dancers of Cinema: Choreography and Action Direction

This post MAY contain spoilers for the following: (you’ve been warned guys):

  • Game of Thrones Season 4
  • Rurouni Kensin trilogy
  • Star Wars The Phantom Menace

The most obvious and exciting element of any action sequence is choreography. This doesn’t always apply to just fighting; stunt coordination, chase sequences, and so forth, require very precise positioning between the actors and the camera to capture the intended effect of that sequence. To a choreographer, also known as an Action Director, designing a fight sequence can be more than just exciting violent titilaton; it can be a valuable lens of which to view our characters. 

The Action Director in our case is Kenji Tanigaki. Bringing his flair and experience from working in Hong Kong and Hollywood action films and working with some of the biggest names in action cinema such as Jackie Chan and Donnie Yen, Tanigaki-san works closely with Otomo to make sure that everything goes well and ensures the actors are perfectly safe. He is also responsible for making every action in the film cinematic and crisp visually. This can get very elaborate and set up varies between directors, but the end result, if done right, is usually incredible. Even his peers respect Tanigaki’s skill; look at this tweet from Gareth Evans, director of The Raid and The Raid 2. (Warning: Language)

First thing they need to make sure they have right is the casting and action team. The actors typically are the ones that need to do these moves to feel authentic. This isn’t universal and can vary depending on director or production team. This mostly commonly in American or Western productions as these actors are often high profile and the right actor isn’t always the best fighter even with training and 6 months isn’t enough time to make them look good. What’s worse, not training seriously can result in injury, which might interfere with scheduling for other shoots that actor may be doing.

In these sorts of productions, especially those with a tight shooting schedule, they will cast stunt doubles to do the more complex movements that the character might demand but the actors are unable or unwilling to do (Unless you’re Leo DiCaprio and your director is Alejandro Gonzalez Iñnarítu). Here’s an example. This is from Episode 8 of Game of Thrones, “The Mountain & The Viper” (Slight spoilers).

Originally posted by freakyharmony

Here is a set piece clothed with a flurry quick cuts of multiple angles (coverage) of a single piece of choreography done in several takes. We’ll discuss this particular editing style in the Editing section of my series, but the point is, it looks really cool. Pedro Pascal (The actor for Oberyn Martell, this particular character) begins and ends the shot, and it looks as though it were him the entire time until we zoom in. 

Now this isn’t necessarily bad or even terribly distracting if done right. It’s an insurance policy for the actors since fight choreography is extremely exhausting work and training for months on end might not be enough or even an option, especially for the tight shooting schedule found in the production of Game of Thrones. 

This small excerpt took a lot of designing, practice, and rehearsals, not just by the stunt team and the actor/double, but for the crew behind the camera. They probably had to do multiple takes, some with Pedro and some with his double, and edit it rapidly together. They also set up coverage from multiple angles for the editor to have as much footage as possible to assemble an acceptable cut. It’s pretty tiring work just for one seemingly tiny little throwaway and inconsequential piece of choreography.

That being said though, the small bit can show us a lot about the character of Oberyn Martell himself, so it definitely has a place here. Oberyn is pleasing the crowd, showing off his prowess to his audience and THE audience. He’s a bit of a cocky guy so it fits right in with his character in my opinion.

I bring this up to create a negative because this is something Otomo and Tanigaki ACTIVELY avoid. Let me explain.

In Otomo’s action scenes, the emphasis is more on the actors rather than the the movement of the character. His blocking (the arrangement/placement of elements such as characters and objects within the frame) for fight sequences mirror the standard coverage of a conversation with two or three cameras depending on the set piece. Once again, I’ll explain in detail later, but what this is meant to bring up is that his emphasis, as is the emphasis with dialogue scenes between characters, is character.

What I mean is that the camera is usually emphasizing the face of his actors along with their individual movements to show the audience their state of mind and also to show the audience that it’s the actors doing the movements.

 This helps increase immersion, as well as simplifies shooting because the cinematographer (Director of Photography or DP) has a bit more freedom to shoot naturally rather than manufacture angles where we can introduce a stunt double and return to the actor in editing. I refer back to my GOT example. The editing cuts between wide angle and long dolly shots to make sure we can’t see the stunt double’s face as we return to a medium shot before and after the little stunt is done is something Otomo isn’t keen on and neither is Tanigaki.

                     The Men and Women Behind the Moves

A fight sequence is a programmed dance, coordinated moves and visual cues that must be hit for maximum effect but to actually be effective, it needs to seem completely organic and representative of the person fighting. The fighting moves need to come from characters themselves and when done right can illustrate a lot about a character. 

When the choreography comes before the character and feels too rehearsed or unnatural, you can actually distract from the drama of the scene as well as offer no insight visually about the characters fighting. Consider the Star Wars Prequel Trilogy. 

This may look cool because its fast, the moves are flashy and elegant, but from this small bit of choreography and the entire fight itself, we can’t really tell anything about these characters. We know one’s evil because of the color of his light saber (we’ll discuss this in another post), but beyond that, we don’t actually know Darth Maul or how brutal he is, other than he’s ready to kill Obi-Wan’s master and does so. Aside from the cool costumes, there is nothing that visually separates these characters from one another in terms of skill or style. 

Compare this with  the first fight sequence of the first live action movie. Ya’ll know what I’m talking about.

Originally posted by suzuyajuzoo

This fight sequence delivered a lot of critical information we needed to know about Kenshin without him having to say a single word. In the opening text of the film, we’re told of the Battousai’s legendary cruelty, but to see it was a different story. His fighting style tells us three crucial things:

  1. He’s fully equipped to fight and overcome multiple opponents at once, emphasizing his use as an asset in the war effort. He’s fast and kills efficiently, stopping neither to torture or gloat. He neutralizes the threat as quickly as possible.
  2. He has high manuverability to get in and out of his opponents space, suggesting master level swordsmanship skills, especially since he is the only character in the entire scene that we’ve seen with this proficiency. 
  3. He economizes his movements, so there is no motion goes to waste signifying he is ruthless and very efficient in killing. Notice how in the gif above he cuts one opponent and it smoothly leads into him facing the next. He is every bit deserving of the legend we’re told in the opening text.  

Originally posted by suzuyajuzoo

The interaction he has with Saito in this scene shows us that they’ve had multiple inconclusive encounters on the field and Saito managed to survive them, subtly signifying to us that Saito is at the very least his equal, which becomes important given what motivates the forthcoming action scene 10 years later where he completely dominates Kenshin and cuts his shoulder with the Sakabatou. 

 This is an example of how fight choreography can go beyond being cool action and can actually be a tool to help tell the story (the second half of this series will be focusing on just that). 

Originally posted by sexe-fitness-problemes

Later in the film, after these two same characters reunite 10 years later and have a duel, Saito brutally overpowers him. In contrast to Kenshin’s manuverability and speed, Takagi-san designed Saito’s moves to utilize his weight as he’s physically taller and stronger than Kenshin. He’s not as fast but his strikes hold an insane degree of power as we see when Kenshin attempts to parry and Saito manages digs the blade into his shoulder. Saito gives Kenshin a significant amount of trouble and this piece of choreography shows us that Kenshin’s skills have greatly diminished from the opening action sequence. He’s rusty, and if he fought Saito for real, he’d likely die. This once again factors in the story as it sets up Jin-e’s plot at the end of the film to draw out Kenshin’s fighting ability through sheer anger by emphasizing the difference between Kenshin’s current skill and that of his former self.

Another example where choreography transcends its role of entertainment and spectacle and becomes a form of visual storytelling is when fighting Gein. Notice how Kenshin seems to be having trouble here, but after Gein begins to aggravate Kenshin, we get this:

We even get subtle foreshadowing as Kenshin cuts his nose. This foreshadows what he’ll do to Jin-e when he gives him a similar wound after Kenshin is slowly beginning to revert back to the mindset of his assassin days. Even if you don’t have subtitles and have never seen RK before, you can grasp what’s happening just from the visuals.

My absolute favorite example of how choreography can be a powerful indicator of characters and their state of mind is the final fight between Kenshin and Shishio. (The video is below, please check it out before reading on).

Let’s talk about this brutal bastard for a moment. This single fight right here lasts about 2 minutes in the film and to the amazement of everyone, it is one of the most brutal fights I’ve ever seen on film (and I watch A LOT of martial arts films). 

We see glimpses of his utter brutality earlier in the second film when we watch the flashback of Shishio at Toba Fushimi. 

This scene actually sets up about as much crucial information about Shishio as it did Kenshin:

  1.  He is ruthless and unrestrained; his moves emphasize the maximum amount of pain and brutality, ensuring suffering in his opponents before they die.
  2. He fights dirty, not being above using human shields and considers life expendable.
  3. He takes sadistic pleasure in humiliating his opponents, as seen when he stomps on an opponents head and presses their faces into the dirt as he brutally impales them.

When Kenshin-gumi finally arrive to challenge Shishio, we see Shishio’s choreography speak volumes about him.

In the small clip I’ve posted below, we can see that Shishio is psychotically brutal. He isn’t graceful or formal, he lacks all the elegance of Kenshin’s fighting style, and he is sadistically toying with his prey like a cat taunting a mouse. He is less interested in slicing Kenshin as in a formal duel and more interested in repeatedly bashing his flaming sword into Kenshin’s face or pummeling him into a pile of red-headed pulp. He makes no effort to dodge Kenshin’s moves. He reacts to the pain they cause, but instead of deterring him, they excite him. He isn’t above pulling dirty moves like slamming Kenshin repeatedly against a wall while chuckling, or biting a chunk out of Kenshin’s neck. He’s designed to be the exact opposite of Kenshin. 

Tanigaki, when planning a scene of this magnitude, needed  to take into account several elements that can impact what the audience needs to know about these characters. How long has Kenshin been fighting? Is he injured? Shishio, is he ready to fight? Is he reluctant, eager? How would Shishio fight? Does he fight with a flowery style like Kenshin? Is he evasive or does he just take hits and overwhelm his opponents? 

These kinds of questions are some that he needs to ask and work out with the director and actors on set to figure out the fight scene and choreography.  It’s not an easy job. After his stunt team performs it and does camera tests to show Otomo as well as be prepared to revise if Otomo and his DP want to place the camera in certain places, the set of moves are then taught to the actors who interpret them in the context of their character, and then perform them in excruciating detail. Just imagine he nightmare he went through filming the four vs one fight scene at the film’s climax. I think that fight scene deserves its own post some day. 

                                     Reality vs Cinematic Realism

As impressive as they may be, the final obstacle a choreographer must deal with is the camera. Some moves may be practical, but they don’t look good on screen. The moves need to test well for the camera, which is why there are cameras present during rehearsals. 

This helps the director and the cinematographer know in advance what the shot is going to look and give feed back to the Action Director to adjust certain moves if they don’t test well or are illegible on screen. That being said, sometimes this means certain moves need to be exaggerated, heavily expanded on, or redone entirely, which may not be in accordance to the real life basis of those techniques. The biggest example of this is actually a fan favorite technique… The Battoujutsu that Kenshin earned his name sake for.

This looks good. In real life though, this stance is incredibly impractical, and to help me illustrate that fact, I present you real life superhuman Iaido master, Isao Machii.

This is the real life Battojutsu stance. Notice how different it looks from Kenshin’s.

Originally posted by silenthill

This is the technique performed:

Originally posted by marshallastr

Why did Otomo and Tanigaki change it? I mean, it doesn’t look to bad right? This all ties in to how Kenji Tanigaki choreographs and speaks to the main element that TeamOtomo emphasizes throughout all of these action sequences: Drama. Drama comes first and in good cinema, drama doesn’t just stem from the writing; it’s also visual. Kenshin’s stance is very exaggerated compared to Machii-san’s because Hiten Mitsurugi was designed for the camera. This may be obvious to some, but remember that the next time we see a film with unrealistic choreography, it might be because it looks better. 

Don’t misunderstand though, Machii-san is extremely impressive, but on film, it doesn’t have the same gravitas or dramatic flair it does in RK. This is because Machii’s battojutsu is designed to actually kill; it’s a practical move with no room for flair.

 Tanigaki probably adjusted the stance because, arguably, it’s not as visually interesting and doesn’t work as well with the camera  because its much too practical and restrained. Otomo envisioned the Battojutsu strikes to carry a lot of narrative weight, and Tanigaki has to interpret that with considerations to the camera. You might think, “well, I thought Machii’s looked cooler.” Sure, you may be right, but it wouldn’t work on camera the same way Tanigaki’s “Sou Ryu Sen” does. How do I know? Because we actually do see Kenshin perform Battojutsu accurately.

Originally posted by pedroam-bang

This is what it would probably look like this in real life, which works for this particular instance. Our reaction is probably like Eiji and Misao’s in the background. But when Battojutsu becomes the point of the whole fight, the finale or the ultimate technique, it can’t look like this. It needs to be dramatic, it needs to be cinematic. Compare with this: 

It’s slow, the stance is heavily exaggerated but the tension rises. The slow moves emphasize this epic moment; because we know there’s going to essentially be an explosion of motion, the slow build up tenses us with anticipation. We know these two are going to go at it, and the exaggerated stance tells the audience visually, even if you have no clue what battojutsu is or looks like in real life, that this is serious and this moment is climactic. 

The choreographer doesn’t just have to adapt the movement of characters to look good on camera, they need to make every move cinematic to fit the tone of the scene. They need to design a move after carefully considering whether or not it looks good on camera. Multiple camera tests are needed in order to ensure they get the look just right and months of planning go in, just to film a tiny little scene like this battojutsu duel. Impressive, huh? 


                                               Final Thoughts

All in all, Rurouni Kenshin’s choreography and stunt team all work day and night to build an aspect of the visual language of this film. Their choreography spellbinds us, shows us insight to their characters, as well as sets up different tone, and whether we laugh:

Originally posted by takeruandcaterpillars

or cheer:

Originally posted by lynxyz

They are masters of controlling what we see and how we feel about it and if done right can create truly memorable drama without being tied down by dialogue. I have no doubt in my mind Kenji Tanigaki and his team are a large part of why this worked as they took what we loved from the manga and brought it to life with a wonderful stunt team and actors and we should applaud their efforts. 

These are some of the most exciting action sequences to make it to the screen, up there with Bruce Lee films, Ip Man, and the Raid movies. Great action, great drama, and great story telling; that’s what this is all about folks. And this is where I leave you to go work on the next installment; See ya guys!

                                             SPECIAL THANKS 

  • To everyone for reading
  • HYRK for giving me an avenue to write about this wonderful series. 
  • To the people who let me borrow their gifs. I know many of you worked so hard on them and they’re really helpful. 

DISCLAIMER ABOUT GIFS: A lot of the graphics I used are crowd-sourced. I got them from Tumblr’s auto-find system they implemented or on google. If you see a gif without proper credit and its yours and you’d like some credit, please contact me and I’ll designate everyone to your blog as well as give you a credit in this section of the post. 

I’ve been thinking a lot about Harry related discourse lately, including some suggestions that the way his statements get scrutinised is unbalanced in comparison to the way the other 1D boys are treated when it comes to song lyrics, statements they make in interviews and the general bar we set for them.

I get that it’s annoying that Harry appears to meet more political challenges in relation to the stuff he puts out there, but I’m going to put a positive flip side to that observation. I think Harry attracts particular scrutiny because he’s been more vocal and nuanced about issues which have a social justice lean, such as women’s rights and LGBT activism and that he’s even thinking about this stuff is a very good thing. I know that’s one of the reasons why, as a solo artist, he’s held particular appeal for me and I’ve been so excited to hear more from him as an individual. I think the reason he attracts more extensive critique is because he has consciously positioned himself as someone who gives thought to these issues, as someone who cares about, as he puts it himself, fundamental equality. He comes across in his marketing as someone who thinks about things like gender, women’s rights and LGBT identity and that’s a very, very inspiring thing to see in a 20-something popstar who could frankly choose to be a ‘rich kid of instagram’ and enjoy wealth and privilege without giving a fuck about anything or anyone.

Keep reading

anonymous asked:

Hi Sentinel! I think you're an amazing author who is capable of handling versatile themes. I was wondering if you could write a supernatural AU With Vampire! Shinichi. I think it's a rather interesting idea but sadly, no one has ever written any fanfiction on this theme. You're free to ignore this request if you don't like it/You're busy/both. But if you do decide to write it, I would love to see ShinRan as the main ship :)

Thank you so much! Flattery will get you everywhere. ;P Heck yeah, supernatural AUs are right up my alley, anon! I am extremely busy but if you don’t mind waiting…

Hmm. Vamp!Shinichi has been done before. To death (hahaha PUN) in the slash part of the fandom with mixed results. Dropped the last one like a hot potato over the Ran hate and inconsistent characterization, though he wasn’t actually a vampire in that one. The first part of it was pretty brilliant though.

Now that I think about it, I don’t recall any in ShinRan, though I do distinctly remember a late oughts gen fic where Shinichi turns into a vampire at some mansion or other. I think it was ShinRan. I’d have to reread the one I’m thinking of to be sure, and it wasn’t to my taste, but it exists. It’s been so long since I read it though, like.

That being said, now I’m itching for a Buffy fusion, keeping nothing but the basic framing, where Ran is a Slayer, Shinichi gets turned in LA, and Jodie is her watcher. Or I could do interesting things with Hakuba’s family, hmm.  ANGST ANGST ANGST ANGST ANGST ANGST.

So I’m definitely writing this. It’ll be shortfic, the outline I just drafted has it around 10k. No ETA, though. It might take a while. Answering this when I should be doing other things, hahaha.

Look for it in a couple months, maybe. I’ll be extremely busy until the end of June/Mid-July. The tag is Vampire AU. The title will probably be something overblown and purple like Too Sweet the Rind because vampires always make me think of Swinburne’s “Dolores.”


Elemental Hair: Aquamarine

Michiru’s hair is meant to evoke images of her marine element; her hair resembles both the ocean’s waves and (funnily enough) seaweed. Just like the sea’s colors are ever-changing, Michiru’s wavy hair has been shown to be a wide array of shades of blue-green, including aquamarine, teal, and turquoise. 

Aquamarine is a very sophisticated and refreshing color. As the combination between blue and green, it retains the same calming effect of both colors. Aquamarine also represents femininity, water, emotional healing, calmness, soothingness, and protection. In addition, aquamarine is said to open the lines of communication between the heart and the spoken word, allowing one to express themselves clearly. Aquamarine is also said to heighten intuitive ability, allowing one to obtain spiritual growth.

Michiru’s hair color not only highlights her connection to the sea and her power over it, it also represents aspects of her personality. Not only is Michiru very feminine, calm, and elegant, she has a very developed sense of intuition and has no problems expressing herself, be it through words or art.

I’m like really very slow in my thought processes. My brain is stupendously fast at elemental analysis; I can pick up on detail, outliers, and discrepancies of individual pieces in an instant. But when it comes to big picture stuff, I’m approaching sloth-like speed.

So it just came to me now that what happened at Berkeley is about a 9 on the Richter scale. Milo is of half Jewish descent, is bombastically gay, an advocate of shear free speech, and is generally anti-authoritarian. The people calling him a neo-Nazi are totalitarian in their hatred of free speech and literally have been using violence to try to shut Milo up.

Then I realized:

It’s not just ‘fascists of the future will call themselves anti-fascist’,

but it’s also ‘Nazis of the future will call everyone else Nazis’.

*found this treat on Twitter:

elle-lavender  asked:

I believe that Sunset actually did create her own Element of Harmony. Because as we know, magic is far more unpredictable in the human world, and responds to the wielders emotions. Magic can distort someone when they're in a mentally bad place, but it can also reflect the best in a person. Sunset may have created a seventh element when she saved SciTwi in FG. If she did, and I have a feeling that's the case, then I think that is so awesome!


It seems to me magic actually works very much the same way as it does in Equestria for the EQG au, albeit a little more unpredictable…. (magic and its relation to emotion is a huge theme in the show so that’s pretty much across the board, and with the Nightmare versions metaphor, the same sort of thing did happen with Luna, though granted with the help of Nightmare Moon– then again there sorta was external stuff with Midnight Sparkle and Burning Nightmare [my name for demon Sunset~] but that only made what was going on with them emotionally more visual– HOLY CRAP THIS IS A HUGE DIGRESSION! Sorry!)

Also, like I said– I totally think Sunset could have just straight up made her own Element of Harmony, now that I said it, that last bit of the previous response actually seems a lot more plausible than anything else (one, that actually is more true to the real concepts behind the motif of the Tree of Harmony, and it kinda falls in line with how magic sorta works in this show).
So yeah, Sunset is 1000% confirmed badass! (and I mean either way)

Also another thing, new magic is being created all the time as stated when Twilight and Cadance ascended to be alicorns and stuff~
New magic, new Elements!

Eʟᴇᴍᴇɴᴛᴀʟ HERO Nᴇᴏs ✪✪✪✪✪✪✪ ( 2500/2000 )

A new Elemental HERO has arrived from Neo-Space! When he initiates a Contact Fusion with a Neo-Spacian, his unknown powers are unleashed.

Elemental HERO Neos is Judai Yuki’s signature card, much like the Dark Magician before him - possessing even the same ATK. All the subsequent protagonists’ signature cards kept the 2500 ATK as well

This Elemental HERO was one of the cards designed by Judai when he was a small kid for a contest held by Kaiba Corporation. This would explain that while E-HEROs are usually based on American comic heroes, Neos is more like a tokusatsu hero, specially Ultraman. Judai’s drawing even had him in a typical Ultraman battle pose

The Ultra series is one of the most traditional in Japan, along with Kamen Rider (inspiration for the manga Masked HEROs) and Super Sentai (the source material for Power Rangers). 

The Ultramen are aliens usually with red-and-silver skin, a fin on their heads, glowing yellow almond-shaped dome eyes with a few variations; and are able to turn into a gigantic form they can also fire energy beans from various positions of crossed hands. Their main weakness is being unable to stay on Earth for long periods of time, so to counter this they almost always merge with a human host or create a human form for themselves in order to survive, and sometimes they even revive a recently dead person with their own lifeforce. 

Elemental HERO Neos shares his name and some of his design with Ultraman Neos, the 17th show in the franchise. It was initially intended as a TV series but the project was shelved and later released as direct-to-video. Despise this, it’s considered a important part of the Ultra series.

The fact the Contact Fusion got limited time (until the end of the turn) and have all fusion materials involved being sent back to the deck might be a nod to the fact the Ultra beings can’t stay on ther giant form for more than three minutes while on Earth and being forced to revert to human. However, in outer space - or Neo Space as in the case of the Contact Fusions - they can stay as long as they like

His body format with the blade-like tendrils might be influenced by Bio Booster Armor Guyver.

ENG subs comparison of “Empire of Corpses”

Edit 2: Funimation’s official release has been out for a while now. Please support that if you can!

NOTE: This post is outdated and may contain errors. (It also doesn’t cover 100% of the dialogue in the film.) Please refer to the Funimation release for best accuracy.

I went through and compared the current English subs to Chinese subs. I’m hoping this alternative TL can make some scenes more understandable.

Note that this is based off Chinese not Japanese, so a direct Jp-Eng will still be superior. Therefore, please read with some caution and be aware that this might contain errors as well! 

(P.S. Sorry this took an absurd amount of time! Lost some steam (cough) on this project while working on the Harmony TL and other obligations, but now that the Funimation screenings are occurring I thought it’d be good to post it for people who won’t be able to see it but are still confused. Please support the official release if you can though!)

General things:

  • “The Notes” - should be “The Memorandum of Victor” or “The Memorandum” for short. 
  • “The First” should be “The One”.
  • “Necro-unit” is “Necroware”.

Watson’s opening monologue:

  • First, we must begin by explaining my profession. What I most greatly require is corpses. It was proven that after death, a person’s body will lighten by 21 grams compared to their weight while alive. This is the weight of the soul’s essence, or what one might consider the weight of the soul. By injecting an artificial soul essence into a corpse that has lost its soul,  we are able to resurrect the dead. However, that is a false soul. Dr. Victor Frankenstein resurrected the first corpse—The One. It is said he was able to speak, pursue love, and even harbor murderous intent. In his despair, he took the technologies he developed— the Memorandum of Victor  — and disappeared. He left us only imitations of The One, dolls lacking both souls and language. If The One possessed a soul – if that 21 gram soul could be returned to empty bodies, then could those who have passed away live once more?
  • “Hopefully it will help regain the soul.”→ “I hope this will become your soul.”

The exposition on the setting:

  • “The first who took the dead were women. […] live with their deceased family.”→ The earliest to accept corpses were women. If corpses were to act as soldiers, they would not have to lose their husbands and sons to war. 
  • “and began to actively implement the plan” → and began to strongly push the development of corpse technology forward.
  • “Generated by the military […] essence of being” → The military technology born amidst this also enabled civilian uses. It has thoroughly changed people’s everyday lives.
  • “Time after time […] a pseudo soul” → Artificial souls, made from repeated simulations by analytical engines and recorded onto punch cards, have been named “Necroware”. 
  • “This is a story. A story of a dead man.” → This is a tale of corpses.

Keep reading

Things I learned about the Miraculous in the first Origin Episode:

There have been many theories going around about the Miraculous having their beginning in China and even more about every Miraculous having an Element assigned to them. Now I completely agree and as I looked at this box I noticed that beside the Miraculous there is also a small circle with a symbol below them: Their ‘Spirit Animal’. However I think that there is more to those

I had to cut the elements and turn them a little but they are clearly integrated in the images somehow. You can best see it with the fox necklace/bracelet. With the peacock brooch or pin or whatever it’s supposed to be you see the little wave in the thing itself and when you look at Master Fu’s bracelet you see a the wheel that with its straight lines and such highly reminds one of the sign for metal.

Now for the qualities + faults of these:

FIRE (Volpina): 
dynamism, strength and persistence +
aggression, impatience and impulsive behavior

(much like I imagine an Italian fox girl to be)


patience, thoughtfulness and hard work + stubbornness, selfishness and self-centeredness

(this might be proof of the QueenB alias Chloé theory. While she still shows the negative aspects of earth she will grow into the positive ones with the Miraculous’ help)

METAL (Master Fu):

unyieldingness, persistence and determination + rigidity, controlling and prefer to handle their problems alone

(We see those are fitting considering he kept the Miraculous to himself thinking he could handle it on his own and we also see him not giving up on his chosen ones considering he keeps an eye on them in future episodes)

WATER (???):

innovation, flexibility and softness + weak, problems choosing, problems sticking up to things

(Once more the theory of Nathanael being the Miraculous holder might be justified with these. He definitely portrays the innovation and the softness but he also is physically weak and does not necessarily stick up to things or himself.)

WOOD (Hawkmoth):

idealism, strength and leadership + aggressive, assertive, strong temper

(Does is need any saying? Those fit Hawkmoth/Gabriel perfectly and with that I close the circle)


In the shot above we see that some Miraculous are missing. We know that the butterfly brooch is in Hawkmoth’s possession, the turtle bracelet belongs to Master Fu, the ladybug earrings and the cat rings from that moment on belong to Marinette and Adrien but where is the peacock pin and why are the bee comb and foxtail necklace/bracelet still there?

Now, this could either mean that Master Fu lost the peacock pin - which he apparently did with Hawkmoth’s brooch which bares the question how he got it in the first place - or that it has already been activated. While I find that highly possible, I don’t think that the person is doing much with it. Master Fu has his Miraculous but is barely able to use it due his age. If there was another Superhero running around, the world would know. Whoever has the peacock pin is either dead, old, not using it OR from another country. Who you think that might be I’ll leave to your imagination. 

Even more interesting is that the bee comb and the foxtail necklace are still there. Seeing as Volpina has already been announced - and we saw her as a fox - the necklace will belong to her in the future. However, it also means that she does not have it yet. I ask myself, why not? Possibly because Volpina is supposed to be from Italy so Master Fu couldn’t have given it to her yet, since they didn’t meet. Another possibility is, that it was not necessary.

Maybe Volpina will appear at some point where Ladybug and Chat Noir are no longer able to fight an enemy all by themselves. I would suggest the second part of the origins episode - seeing as the ending of the first looks rather dramatic - but that might be a bit too rushed. I hope they will devote an entire episode to her and her personal big villain.

Now, whom will the comb belong to? Most people say/hope it’s Chloé. While I personally dislike that idea, the chances of it actually happening are high. Let me explain why:

Here you see the Quantic Kids. Yes, it’s true that they were erased from the Universe we are roaming now but hear me out. Look at them. Each and everyone of them. Don’t they look very similar to whom we are dealing with now? Adrien still looks similar to Felix, Marinette didn’t even get another name, the blonde girl is a pink, friendly version of Chloé and I don’t know who the black dude is but he does look like a mix of Nino and Ali if you ask me.

While I don’t think Nino will have a Miraculous - he is the neat sidekick without powers, just as Alya. I like them that way sends a certain message - I can imagine Ali getting a Miraculous: the turtle bracelet. Master Fu is old and he cannot transform anymore. Finding a successor could be on his to do lost and since ML is for kids and their colour scheme like in many other shows very telling the chances of Ali - dressed in green with green eyes - getting the green Miraculous are rather high.

Following that logic: Chloé will get the bee comb. She wears yellow, has been shown around honeycomb like textures, she looks like that Quantic girl and even that little play with words aka QueenB(ee) and the bee comb fit the profile. Maybe it will be her redemption arc after all and she’ll turn into that nice girl at some point. Who knows. All I know is that I think it is a possibility.

anonymous asked:

elaborate on subjective logic? like vs objective logic Te. if logic can be subjective doesn't everyone have subjective logic?

This is something I talk about here, but I’ll elaborate since that was written a while ago and now I have further thoughts on the matter. o3o

All that “subjective” means is that it relies on the subject. So, putting that into the context of cognitive functions: Te relies on external information. Ti relies on internal information.

One way I like to distinguish the two is by contrasting the definitions of material logic (Te) vs formal logic (Ti).

Material logic is concerned with the content of argumentation. It deals with the truth of the terms and the propositions in an argument.

Formal logic is interested in the form or structure of reasoning. The truth of an argument is of only secondary consideration in this branch of logic. Formal logic is concerned with the method of deriving one truth from another.

In other words: Material logic/Te is focused on logical truth. It sees the “big picture” outside of the problem and sees how it relates to the problem. Formal logic/Ti is focused on logical validity. It sees the problem itself and sees how the individual parts relate to each other. Te is broad and thus more accurate, while Ti is narrow and thus more in-depth.

Even so, the best way to understand functions is through the dynamics of cognitive axes. It’s easiest to understand the subjective nature of Ti through its relation to Fe. Ti determines what it believes to be true based on its evaluation of the situation, with the intent to isolate what “makes sense” from what “doesn’t make sense.” But because of Ti’s narrow, penetrating nature, we now have a big gaping blind spot where the external variables of reality exist. Something needs to come in and tether Ti to earth… to something measurable and outside itself. External information has to be considered in order to cover for that external blind spot that was created with pure Ti. And so Fe exists. Fe looks outside itself to understand what it should value. It takes Ti’s analysis of static elements and determines whether or not it holds up against external values. (Keep in mind that this is from the perspective of a TP. FJs usually rely on Fe before Ti, so their process will be slightly difference. But the push-and-pull dynamic remains the same.)

Meanwhile, Te just… doesn’t have that same problem that Ti has. Te is already covered in terms of external information, since that’s what it focuses on when making judgments. Te references external reality in order to find truth, therefore giving it an immediate accurate sense of the external variables that make up a situation. This focus on external logic creates a blind spot where internal analysis of value should exist. Fi is needed to fill that gap. When Te makes a judgment about the undeniable truth of something, Fi looks inside the subject in order to determine if that truth resonates with what it personally values. It balances pure Te’s focus on external logical elements with an analysis of the situation from the perspective of its own criteria of good vs bad.

if logic can be subjective doesn’t everyone have subjective logic?

If we consider that the T functions evaluate what is true vs what is false, then no, not if we’re talking solely in the terms of MBTI. Te-users don’t routinely go through a thorough analysis of the static variables of a situation in order to decide the truth (I talk about this in the post I linked above). The combination of Fi-Te (in FPs) is probably the most likely to outwardly appear as subjective logic, but that’s really not what’s happening in their cognitive processes. They’re evaluating the situation based on personal values backed by collective truths. It’s not an evaluation of the situation based on personal truths.

anonymous asked:

i know you didnt ask but id personally love it if you did more posts like the one for loco. i appreciate your commentary and even if i could go and look up a skaters performances at each event its handy to have all the links in the post already with the timestamps you provided.

thanks, glad you enjoyed it! i don’t know if i’ll be writing any more posts like that anytime soon because they are really time consuming and i have to like the skater/program a lot to dedicate that much time to it, but i might make more comparison gifsets instead. we’ll see! i’m currently working on finishing up my 2016-17 element/score analysis spreadsheets, which is also pretty time consuming, so i don’t want to get into too many other projects now, haha.

Person of Interest Week 1 Event

Day 1: Favorite Scenes

Any scene that involves Shaw “telepathically” reading minds (a.k.a insane cold reading skills).

2x21 Zero Day: Shaw needs John to find a coerced Harold so she can track down Root.

2x22 God Mode: Reese finds a picture of Jessica in Finch’s vault.

3x13 - 4C: Finch needs Shaw to investigate the Activity to find out why John is with a relevant number.

4x09 -The Devil You Know: Root tries to hide Shaw after her cover was blown. (They should have reversed Root’s sequence of dialogue to put more emphasis on Shaw’s cold reading.)

You know what? I just realized Shaw’s cold reading skill is something I don’t see fans pointing out often. It kind of annoyed me when some people stated that Shaw can’t really read emotions on others because she herself doesn’t feel emotions nor want to understand it. I’m sure she can read people spot on despite rarely feeling any emotions. There’s a difference between detecting/acknowledging versus relating/compassion.  

Edit: 12/29/2015

A few POI fans pointed out that I missed a few scenes that are related to Shaw’s “cold reading” skill. So, I added more gifs to this post because it’s a nice place to hold the collection. I also updated the original scenes from still images to animated gifs.

S03E18 - Allegiance

S03E23 - Deus Ex Machina

Eʟᴇᴍᴇɴᴛᴀʟ HERO Bᴜʀsᴛɪɴᴀᴛʀɪx ✪✪✪ (1200/800)

A flame manipulator who was the first Elemental HERO woman. Her Burstfire burns away villainy.

Originally called “Burst Lady” in the Japanese version, her initial releases used to call her “the only female Elemental HERO” until Lady Heat and Poison Rose were released.  Also, out of the three, two of the female E-HEROs are fire element.

Burstinatrix design is likely to be based on a DC comics character, a pre New-52 heroine called Argent but drawing upon “fire” themes.

As many other cards, she was subject to changes for international releases, having her bosom and parts of her outfit covered up, besides having her breasts reduced.

Argent’s real name was Toni Moretti and she was the daughter of a US senator. By her 16th birthday her skin was mysteriously drained of pigment and her body started to generate silver plasma. Finding out she was half-alien born from a breeding program to create a superpowered advance guard for an attack on Earth, Toni and her fellow hybrids sabotaged the invasion. As the Teen Titans were inactive at the time, they decided to form their own version. Her powers involves generating silver plasma and she can shape it to whatever form her pleases and creating energy platforms to travel astride them at great speeds.

anonymous asked:

I remember a while back, you wrote that game developers sometimes find it difficult to "turn off" the game developer side when they try to play games for fun, on the off chance that they do. So taking that into consideration, are there features that game developers look for or get excited about when they play games that the regular gamer either doesn't care about or wouldn't notice?

There’s usually two classes of features that I notice that regular gamers don’t - stuff that’s too technical in nature, or stuff that they lack the context to appreciate such as polish tasks that most teams would not prioritize. Here are a few recent examples of some of the things that I thought were impressive.

#1. Nathan Drake and the Storytelling Interruption

There’s a lot of polish in Uncharted 4, but the thing that stuck out most to me as something that most players would probably never notice. The jeep gameplay in itself was a marvel - it handled well, drove well, and they even put in tons of little flourishes like Drake looking over his shoulder when backing it up, the properly-working brake and reverse tail lights, the mud and wheel tracks, and so on. Each of these little details was quite impressive to me, but what really took the cake was this little thing that was almost a throwaway. During the chapter in Madagascar, we join Drake, his brother, and Sully in the jeep as they drive around looking for pirate treasure. During the scenario, the gang has conversations and tell stories in the jeep. Banter is a pretty ordinary thing, but what floored me was when I got out of the jeep to examine a point of interest on the map, and returned to it. Sully had been in the middle of a story about something, but I expected that the story thread was interrupted and I was inwardly lamenting the loss of the content… And then Drake said “So Sully, you were saying?”

And then Sully resumed his story. The engineers had to construct a companion ambient banter system, and they made it capable of recognizing that it had been interrupted, remembering where it had stopped, and then resuming where it had left off. Not to mention the additional assets required - voiced lines and such. And all of that for what would amount to, at most, a situation that would once or twice to a player who wouldn’t be paying attention to it anyway.  I couldn’t help but think, “Wow, that’s some serious attention to polish”

#2. Anime for the sake of Anime

Guilty Gear Xrd’s move to 3D was already super impressive. Their visuals were an amazing blend between tech and art, producing what looked like hand-drawn anime, but with 3D models. In order to accomplish this, it required a lot of actual wizardry in the collaboration between the engineers and the artists - making it look the way it did required many of the character artists to hand-edit the normals on the textures in order to make them look right from the viewing angles. Further than that, the animators and the engineers took a 60 frames-per-second game and purposely chopped some of the frames out in order to make it look more like a 24 frames-per-second anime.

#3: Hearthstone’s User Experience

Many of you have probably played Hearthstone. It’s a fairly simple online collectible card game that has some of the most amazingly well-designed User Experience in existence. “Wait, what? Sure it feels good, but it didn’t seem that great to me,” you might say. If you look at it more carefully, however, the difference is clear. Nothing in that same space feels remotely as good as Hearthstone does. If you look at the way the game UI is designed, everything looks and behaves as if it were physically real. Most of the time UI doesn’t do that - it’s usually some kind of overlay with some kind of fancy animation or something, but it doesn’t feel real. It’s just sort of… there. But if you start examining Hearthstone’s UI, you’ll start seeing the details - the cards have shadows when you hold them up to pick one. You can see the opponent choosing cards from their hand. When a card is placed on the board, there’s a satisfying little flick and the motion follows several different levels of eye-pleasing arcs in motion. Maybe you noticed how the sound effects match up to the frame with the animations. You might not have noticed how there’s a little poof of dust, along with a small screen shake whenever a new card is placed, or how higher amounts of damage dealt by a minion has larger, heavier hitting sounds and causes additional screen shake. All of these details come together to form a really cohesive experience, and it makes the game feel real, even though it’s not a physical card game. 

So yeah… these are a couple of examples of features I was really impressed by that I haven’t heard a lot of gamers talk about. Hopefully you can see why I found them impressive.

I was thinking about Duncan and Rythian’s personalities again. Specifically, where their personalities fracture and turn harmful. Where their big flaws and struggles are.

And I landed in something… elemental.

Just emphasizing here to make sure everyone is clear on this - I’m discussing the characters, not the IRL people.

Duncan - He’s like water. He adapts to changing situations easily. His personality has a basic form, but the edges of it adjust to the person he’s spending the most time with – he behaves differently in Hole Diggers vs Flux Buddies, while still clearly being himself. Well, obviously I headcanon those as separate clones but the clones themselves are an example. Like drops of water they are all alone – he’s not a hive mind – yet they’re all still him. Each one has the same properties as the rest, just molded into different shapes by their situation.
But also, as water, it’s easy for him to go cold. Blackrock Duncan was mostly alone, and he was cold and distant and at least a little evil. Is Duncan still evil? Honestly, is any character in the Yogscast not at least a little evil? But he was definitely cold. As he got to know Kim, she warmed him up. Being around other people, he thaws, and he cares. But if he doesn’t know you, if he has no reason to care about you, the face he’ll turn towards you will be disinterested and cold. Don’t mistake friendliness for kindness.
Duncan is adaptable, stable in who he is, and handles change well. But he freezes over and doesn’t care.
Which gives me very very interesting thoughts on Lalnable.

Rythian - Rythian is fire, clearly. Not simply because Duncan is water and they’re opposites lol. No, Rythian is embers. He shrinks in on himself and goes dark, but he’s still burning in the center. He cares, strongly. And it’s not always a positive caring. Anger and hate and indignation are passion, and forms of caring about things. You don’t get angry if you’re indifferent. He knows his fire can hurt people, so he tries to withdraw to protect them. But the caring of others gives you fuel, and alone he has nothing to burn but himself. If he withdraws completely, he’ll be nothing but ashes in the wind. Enderbane itself is symbolic of this. I can’t recall if it’s canon or only fanon that his sword causes him pain or damages him to use, but it represents the paradox of fire – in order to nurture the fire’s power, you must sacrifice something you’re willing to see destroyed. Rythian is not a completely tragic character. He has a sense of humor. He wants to keep the world safe. He has friends and cares about them, strongly. But he’s a damaged character, and he can’t not be, because in order to be himself he has to burn.

At some point I really, really ought to sit down and devour a good chunk of Avatar: The Last Airbender in a row, because I’m willing to bet I could find some really cool parallels with Rythian and Zuko.
(I also need to rewatch Blackrock Chronicles because it has been way too damn long and I’m fast losing track of how much of my Rythian is canon vs fanon and headcanons.)