So a lot of scenes in Sherlock have either a blue/cold tint or a red/heated tin to their filming. This has been a subject many sherlockians have talked about for so long, and now I’m taking the torch and running with it. Because I think I know what these tints mean.
They mean whose perspective/narration we s the viewers are watching from. And I can tell you which color/tint belongs to who, with evidence.
Blue/cold = John/other
Red/heated = Sherlock
Let me explain. Please. (See, I even said please; im very polite.)
Things that happen where there is a blue/cold tint are unrealistic or cliched. Just look at TFP for goodness sake. Or even better, Mary’s death.
When Mary dies, she pushes Sherlock out of the way of a speeding bullet, goes flying through the air and manages to have a conversation with her husband and Sherlock despite being shot in the sternum and facing definite organ failure. Sounds like ll of them cliche action movies where there is a death to get a cheap reaction out of the audience. It is so unrealistic that its almost hilarious.
So why couldn’t it be coming from Sherlocks perspective/narration? Because Sherlock has been shot before. We watched the freaking scene.
Remember? Sherlock was using apparitions of Molly, Mycroft and Anderson to help him?
What was it mindpalace!Molly said?
Its not like the movies, is it?
Remember, this all happened in a span of seconds but even then Sherlock had enough sense to know that this wasn’t like the movies. You don’t go flying backwards. Blood doesn’t spurt out.
But what happened with Mary? Exactly what would happen in the movies. Action movies.
And who do we know likes action movies?
Ha, the gift even agrees with me.
(These guys are also wearing yellow… Oh universe)
Blue/cold has actually been around before this season though. And quite frankly, this is what convinced me that blue/cold tints are from Johns perspective.
So where has this blue/cold tint appeared before?
TRF and TEH.
I’m not kidding, look:
(You sherlolly and sheriaty shippers are welcome by the way)
And what do these scenes have in common? They’re all shown from an unreliable narrator. John saw what Sherlock wanted him to see and the two from TEH are unreliable narrations.
Blue means an unreliable narration or a narration that isn’t Sherlocks. A magic trick. A deceiving imitation or lie.
How many unreliable scenes are there in season four? How many badly placed tricks or deceiving imitations? Too many. Every one of them completely unrealistic or nonsense.
Now, I know you’re going to ask, “Why can’t Sherlock be blue? Why does Sherlock have to be red?” Well, despite the death of Mary, there is actual other evidence. And it all comes from TAB.
TAB took place within Sherlock’s mind palace and there are lots of red/heated tints. Cue the evidence:
But I know people will want to prove me wrong and bring up this little thing of course:
Yeah, okay. These are tinted blue/cold. But I can easily explain:
These are recounts being told by other narrators. Remember, blue/cold tint means unreliable narrator or another narrator that isn’t Sherlock (Yeah, it’s happening in his mind palace but technically MindPalace!Lestrade is saying this so… A representation of another narrator. It counts.)
Of course, there is this image as well:
But I honestly just blame this on lighting. Hey, if you have a better explanation, then feel free to tell me, but in all honesty; I imagine it’s just lighting effect.
But quite frankly there is a lot of red/heated tones. Plus, when watching season four, red appears to have a connection with Sherlock more than it does with John:
These are all my favourite scenes btw
Yep. These tones are literally only associated when Sherlock is around. The blue/cold tones can affect Sherlock but he practically owns the red/heated tints and tones.
And for the last piece of evidence that may just explain everything:
May not seem like much at first glance. But honey, I observe.
This blue/cold tint over the photo? Observe.
What is it doing? What is this blue/cold tint doing to the picture?
Its removing the red/heated tints. It has over taken the red/heated tones.
So what does this mean? Well, it means we have some very interesting story lines. The blue/cold tint has layered over the red/heated tint. The two stories that are to be told have intertwined, but for now only one is clear to us.
In order to see the other story, we need to look past the blue/cold tints. Shouldn’t be too hard, right?
These are some things to remember. Sticky–note them to your wall, scribble them down on your palms but please, keep them in your heart and in your mind for as long as you can.
One. No matter how hard you try, you’ll never please everyone. It’s cliché, I know, but it has to be said because we’re takings risks, breaking our spines from bending over backwards too much.
Two. It’s okay to not know where you’re going, what you’re doing; who to be, what to see. Even the greatest minds didn’t have it all figured out by the age of –
Three. You will get your heart broken. Not only by boys, not only by girls, but by places, songs, faces you’ve never even met. Like your dream university, the one you built your life around entering, thinking that one day you would bleed the colors blue, maroon, yellow, or green. Your favourite animals going extinct. Not meeting a minimum to stay on top. Life isn’t smooth sailing but listen to me,
Four. Your failures don’t define who you are. The scars they leave are there to make you human. It’s natural to feel like shit on days when it feels like the universe is against you. It’s okay, your feelings are valid. Cry when you need to, get angry and yell, but never – please, never put all the blame on yourself. You have tiny shoulders but big dreams and never, ever let your failures crush those.
Five. Listen to the chocolate bar and take a break because –
Six. You deserve to treat yourself every once in a while. A pint of ice cream, a movie marathon; you’ve worked hard so reward yourself with what makes you happy.
Seven. The small things count. The way the ocean always returns to the shoreline, the bass line of your favourite song, your pet being excited to see you come home to them. The smell of freshly laundered sheets, the flow of traffic-free streets, the feeling of getting the crispy chicken skin. Remember the little things.
Eight. Some people, no matter what they say, just won’t give a fuck. You can hand them the world on a silver plate and they won’t even bat an eyelash. They’ll take your world away and lock in a chest, throw away the key and make you start all over again. That is why you never leave planets and comets in the bones of another. Don’t make a body your gravity because if they leave, everything will fall like an apple from a tree.
But I promise,
Nine. There are still people who care. The friends who will listen to you cry past 11PM, sit with you on stairs, and hold you throughout all of it. The boy or girl who will love you for all you are when Nam Joo Hyuk is too far away. The family friend who you can take to prom because you’d rather catch up than make awkward small talk. And most important of all, the friends who will stand with you through all of it: through the bad, the good; the beautiful, and the really, freaking ugly. These are the people you can anchor your boats to when the tides are too high for you to keep sailing, and they will never let the waves sweep you away.
Lastly, I hope,
Ten. I can be one of those friends. Remember you can lean on me, tell me all your stories, and I’ll keep them locked in my heart only to return to you when you need them. Ten, we can take baby steps to get through everyday together, be on trainer wheels for as long as we need to until we’re ready to just go, and go, and go, but we’re also ready to come home. Ten, I’ll try to make you as happy as I can because I can’t see my universe without you.
*****A Long Winter by dropdeaddream and WhatAreFears (M) 35,733 words
THIS FIC IS AMAZING. Steve crashes the plane, but survives. This fic spans through the missing 70 years. I cried like a baby, multiple times. Do yourself a favor and just read it (and the notes in the next chapter)
This fic is really interesting and well written. There’s even photos included. It’s analysis of the movies made about Captain America in the 70 years he was frozen. Featuring analysis of a crappy porno.
Hello, webcomic friends! This is Gabi and Amy here, today, to talk with you about something we are both very passionate about: color! You might think that we only mean what is designated as “full color” when we say this, but it really boils down to any way that you choose - or don’t choose - to use shade within your work, and how it can be used to communicate form and mood within specific scenes, but also tone of the overall story.
For my comic, The Muse Mentor, I chose to go full-color mostly because I was new to the game, and didn’t realize there were so many smart ways to make monochromatic still work perfectly well for all sorts of subject matter… but I digress! It has turned out to be a great decision so as to help fully illustrate the imaginary and imagination-located (it’s complicated if you haven’t read TMM) city of Santa Astra as well as the denizens within it.
I use color to communicate A LOT, from simple things like time of day,
to slightly more complex things, like mood.
These two scenes are in the same ale house, but a little red versus green can change a lot about how it comes off, and I find it a useful, if not very subtle trick, for showing instead of telling.
One of the things I have also found color most useful for is imbuing a bit of personality into otherwise inanimate things, like environments! I’m not very good at POPULATING environments, per se, so having a way to use colors to communicate is very helpful.
Do I need someplace a little intimidating? Go slightly cooler. Do I need someplace that might be a bit more notably jarring? Go warmer.
Crisper? Darker? More laidback? All of these decisions are informed by how much yellow, blue/purple, or green I can use, or how much hue I use.
Which is not at all to say that this same effect can’t be achieved by black and white! Negative space and shadow play just as much into mood as color can, it all depends on the artist and the subject. For me, though, color is certainly something I depend on in my arsenal, so I try to utilize it as much as I can. It is a good little helper!
When it really comes down to it, a lot of what I do with color is experimental. Sometimes I know right away what palette I want, and other times it is a mystery to be unraveled as I go. In the end, it’s fun to try different things and see what kind of impression I can give, and how far I can play with mood in regards to lighting versus time of day and staging, etc. etc.
If you want to see some artists that I think have a very strong full color aesthetic, check out Juanjo Guarnido (Blacksad), David Petersen (MouseGuard), and Nate Simpson (Nonplayer).
If you’re familiar with my illustrative work at all, you already know I LOVE color. I love using beautiful and surprising combinations to achieve the palette (HA HA!) of effects Amy has already described. However, I chose to conceive my comic H&J in monochrome color instead, for several reasons.
First, monochromatic colors are shades of a single color, achieved by adding more black/grey or white to the base color. For example the four colours employed in H&J are darker and lighter versions of a single pink color:
Obviously, black and white or on the opposite extremes of the scale.
So why use black and white or monochromatic colours? Well, like certain full color palettes can connote certain feelings, so can a limited palette. H&J is a loving parody of old detective stories, so I chose to callback to the black and white movies, photography and illustrations of the time. In short, it gives the comic a “retro” feeling, in conjunction with the bold graphic design inspired linework.
Monochromatic artwork is not necessarily easier to create just because it’s apparently simpler, however - rather, it presents it’s own set of challenges and advantages.
Right out the gate, monochromatic art has a certain appealing visual cohesiveness. It cuts out the color choosing process, therefore the artist doesn’t need to keep track of full color palettes. Depending on the artist’s style, it can even greatly cut down on and even cut out the lighting and shading process. For example, H&J is almost always completely flat color, except for effect.
However, the artist using this method has to pay special attention to visual legibility. They must choose strong values that contrast well, or else the drawing will look flat and uninteresting, and distribute them appealingly throughout a panel to lead the eye, or risk confusing the reader. They may employ repeating patterns and dramatic shadowing more heavily to add visual interest and exploit negative space. The artist must also be a creative problem solver - how do you convey a bright sunny day vs a dark stormy night if you can’t draw a bright blue or a dark purple sky? Or a sense of depth and volume if you’re only using flat colours?
This is second reason I choose to render H&J monochromatically - the challenge. To keep the comic visually interesting and moody, I have to resort to a lot of stylization and crazy paneling. I learn immensely, and the results are often really fun… if not always effective. Like Amy, sometimes my solutions are intuitive leaps rather logical ones, but the ongoing learning process is half the fun of comics making!
For further reading, check out the work of Mike Mignola (Hellboy), David Mazzucchelli (Asterios Polyp) and Michel Rabagliati (Paul). What are some of your favourite monochrome/black and white artists?