So I was messing around with faceapp to see just how many (female) variations I could make out of John’s face. It could use some teaks here and there, but I have to say I’m satisfied with the results ~
A first year at Karasuno HS & the regular setter of the Karasuno High Volleyball Club. He originally came off as a typical overbearing perfectionist, caring about nothing else but winning & completely disregarding the opinions & well-being of his teammates. His habit of complaining about their performance & barking orders at them eventually led the other players in the club to nickname him “King of the Court.” | To the baby crow who is always angry but everyone loves nevertheless.. Kageyama, HAPPY BIRTHDAY!!
Can you please do Kiibo in a romantic relationship headcanons?
IM BACK I SWEAR, PLAYING PONYTOWN FOR 5 HOURS EVERYDAY COSPLAYING AS NDRV3 CHARACTERS CAN TAKE ITS TOLL ON YOU - Mod Himiko (Also yes I usually refer to S/O as You now, whether you think of it as yourself or the character you ship with them or something, but S/O usually means you anyways)
* Kiibo definitely was not the person to make his first move * He really strongly hinted at it though, he has no idea how to make relationships work and everytime he stood next to you, he would almost short-circuit. He also blushes a bit too hard. * After you guys hooked up, he shows his S/O the most affection, at any time. Even in public too. * He’s very uncomfortable with kissing when S/O suggests it because he is not sure how he would use his tongue and how you kiss??? He just thought it was a peck on the lips??? * This boy is very awkward if you haven’t somehow already guessed * He will protect you at all costs and is sorta jealous when other boys get to talk with you or do some sort of activity and he isn’t invited to it, but he’s somehow good at hiding it * He will usually hug you a LOT to show affection * Ouma fucking kicks down doors to tease both of you every day, mostly Kiibo. Also, he is PERSISTING A LOT and annoying Miu to give Kiibo a dick so you can get it on. He’s the third person no one invited but comes anyways, AKA the third wheel on everything and anything you guys do. (this isn’t NSFW I SWEAR). * Kiibo thinks his S/O is literally the best person in the world, better than everyone especially him. They even surpass Professor Idabashi. * Kiibo slapped a drunk dude “who was trying to get some fuck” with a straight face. * He calls you beloved, lovely, /and non-robophobe/mechanophiliac/ for pet names. * Literally feels weird sleeping with you, but likes to cuddle. He doesn’t care what spoon he is.
I hope I did well. Tumblr is being dumb and not letting me put pictures or strikethroughs and stuff, so I have to edit this really quick after- Mod Himiko
they already said in the show that they’re all half-breeds. also how dare you call space Ty-Lee weird
Very good point.
And on that very good point, I have to ask what even is full-blooded Galra??? Cuz I’m not convinced I’ve ever seen one. In fact, I’m pretty convinced that most of the dude Galra I’ve seen ain’t what one could call “untainted”
Now. Let’s be real. One species CAN have many different morphs. Earlier I talked about birds, so I’m mentioning them again-
Two Swainson’s hawks. Same species.
These are all Red-tails. They’ve got dark morphs, light morphs, rufous morphs, you name it. One of these is leucistic, it’s a whole color party up in here!
So sure. Different morphs, but same birds. Theoretically, the variability among male Galra could occur, even given a single homogeneous population…
Except nu-uh. Let’s ask WHY is there so much variation in Red-tails?
Answer: The gene pool is fuckin huge!!!!
And why might that be? Birds. Bone. A lot. –Ask me about ducks sometime (every duck you’ve ever seen is likely a mutt of a zillion different ducks. Because ducks are serial rapists).
Anyways. Enough with the birds. Back to aliens (& what Galra have in common w/ the birds :3) *EDIT to tack on a note: Yes, there’s an obvious difference here: ducks may crossbreed with many different subspecies of duck, but they’re still all ducks. Versus the Galra, who are breeding outside their species.
Yes, I did notice that. But guys… the fact that Galra can produce viable offspring with other species (that aren’t even from the same planet!!!) is so ridiculous that… *waves hands helplessly* Gah!! There is no making that kosher! That is trefah! VLD, I am calling you out- That’s dumb. Your science is dumb. Just because you’re not the only show that’s done it, you aren’t absolved of its dumbness! However *shrugs* Them’s the breaks. Word of God is that these crosses somehow happen (I don’t make the rules).
SO. Given the starting parameters of “The Galra can somehow produce viable and fertile offspring with whomever they damn well want to,” a bird analogy makes a lot of sense. Observe:
Ducks / Galra have an enormously large gene pool. Many ducks / Galra are crosses (”hybrids” isn’t the right term if they’re fertile). If you see a duck / Galra, odds are, it is Wood duck X Many other duck subspecies / Galra X Many other alien species.
Am I just doing this so that I can say “GALRA ARE SPACEDUCKS!!!”? Noooo >_> This is purely to prove a scientific point!!! Maybe a little
In any case, if you look at your modern Galra species, i.e. your one species w/ ten zillion morphs? It means your guys, your nonbinaries, and your gal(ra)s (hah!) are gittin around, and “integrating” most aliens they come across.
Seriously, someone’s going to try to tell me these triple-osteoderm-ed dudes
And this… thing with a beard
And this fuzzball
All share 99.5% of their DNA with each other?**
Lotor’s female generals are not pure Galra. I contend that none of the males we’ve seen are pure Galra either. (*EDIT: Well, not none. See here.)
And yet!!! Crossed!ladies are colorful & crossed!dudes are purple.
Dude!purpleness is a trait that ENDURES. Young Zarkon? Yeah, he’s purple. Implication? Dude!Galra have remained purple, despite millennia of interspecies breeding. Meanwhile Lady!Galra are sporting colors, everywhere they go!
In short: I accept the null hypothesis, that null hypothesis being “Female Galra are innately colorful & male Galra are innately drab, as modified by but ultimately independent of their degree of mixed heritage.”
Who knows? Dude!purpleness could be a fitness trait! (Gotta hide/protect that nest!) Which, Implication #2: It’s entirely possible that the predominant pigmentation of vegetation on the Galra homeworld was not green, but rather a beautiful heliotrope color. ;) (Am I reaching for that one? Yes, yes I am)
Anyways, you brought up a really good point… And I totally nerded out about it, thank you!
As for Space!Ty-Lee… Well, that is a way better name, I wish I’d noticed it. XD Not gonna say her oddness isn’t awesome, but I’m also not gonna say you couldn’t spot her from 300 yards away. Cuz yeah, she’s super weird-lookin But hey, Earth!Ty-Lee was pretty weird, too. I dunno know how well she could have held up under Azula, if she were normal
** Well, technically yes, they could. But that’s a different talk, and it doesn’t actually undermine my point so…
Classic Leiji Matsumoto cosplay at SDCC 1980! Pretty sure it’s Harlock and Emeraldas, but there are so many variations on their outfits and he used the Star System, so everyone looks the same in all his stuff. In honor of Throwback Thursday!
EDIT TO ADD: The guy is actually dressed as Tadashi Daiba. Thanks to those who messaged me to let me know! (So many of Matsumoto’s costumes have the same themes, I admit my old lady brain can’t tell them all apart!)
Let’s look at these many, many little things that make mecertain most of TST was either Sherlock’s mind palace version of actual events or his projection of future occurrencesor a dream or something else but drug-induced.
This is surely not complete yet, so this post will be edited. I also have a list of questions at the end, both timeline-related and more general.
The over-arching message, for those wanting a quick summary:
There are too many things wrong or wonky in this version of reality for it to be actual reality. It’s rather a mirror verse (indicated by the many, many mirrors akin to TAB, or the reversed layouts of places like the Watson flat) or a dream sequence to enable Sherlock to process or work through something (see @shawleyleres meta on the recurring dreams).
Everything after that first fishy fin transition (at least) is mind palace or a distorted/mirror version resp. dream.
I’m going to show you why I think this, with the aid of a lot of pictures and links to other people’s metas. If you’re skeptical, please give this a chance. Hell, they literally told us right at the beginning that they are going to manipulate actual events:
Cabinet Member: That is now the official version, the version anyone we want to will see.
Having taken care of the threat of incarceration by doctoring CCTV footage, a “naturally high” Sherlock decides to wait since he is the “target” of a posthumous ploy by Moriarty. Then we get new credits and Sherlock telling us the original story of a tale he re-wrote as a child when he couldn’t do much with premonition.
We also get this fish-y transition into a rather wonky 221B:
The skull is facing the other direction and now wearing a magnifying glass. Most curiously, though, is the fact that John is typing on an iPad while it’s obvious he has the photos open and not a web browser:
John blogs about the many cases that Sherlock solves - during which we get the second “It’s never twins” from Sherlock - and yet the initial shot of his ‘blog’ show it’s just as inactive as the blog the BBC had set up. (More on this here, by @glenien).
Keep in mind we already had TST as a case on John’s blog, wich was different. And they neither acknowledge nor resolve that in any shape or form. Lestrade actually tells us repeatedly to read John’s blog!
Oh, also: the one client, with the Mary-esque wife, had a fish tattoo. And something about the gf’s name was also wonky, as @tigressthetiger explains here.
Then, there is the negative of a skull that has replaced the skull poster we are familiar with. And the skull GETS BRIGHTER (x).
The Watson flat, too, is mirrored. And I’m not only talking about John sleeping on the wrong side of the bed and there being a mirror through which this position was established, but that’s a great point as well. (See also @gosherlocked‘s post here).
The flat’s entire layout is also REVERSED.
In His Last Vow, the front door was on the other side. See, John opens the door with the window at his back:
In TST, it’s reversed, just like the bedroom.
From the Christening, we again have a watery transition to Sherlock explaining the way of life to Rosie:
The next bit was the only thing that really struck me when I watched TST for the first time: the time loop on the bus.
We transition from a sleeping John at 221B to a John dozing on the bus with a daisy in his hair, which he showed to Rosie (who has a fish mobile! and really weird wallpaper, featuring the magpies from TSoT and clowns/jesters). Sherlock texts him about Greg coming by Baker Street the following day (why only this late? I thought Lestrade was feeling the pressure to solve this?), and we get a house reflected in balloons when Greg explains the case.
Another weird transition happens via the magnifying glass on Sherlock’s side table, motivating some split-screen action, as well as the door window transition leading to the case.
Back at 221B, the brunette forensic officer is carrying a file tied with a pink shoe-lace. She is waiting outside the door while Sherlock is dealing with a client… and yet, the file (or one also tied with a pink shoe-lace) is already inside 221B:
Curious, isn’t it? HOWEVER - at the end, after Mary’s death, we see Mrs H and Sherlock in 221B and there are two files in the flat, one back there and one on the desk. So it’s likely these are simply two files from the brunette forensic woman.
Fast forward a little bit into the cave-like secret base (lit by candles and electricity), we also get to see Sherlock and Mary via a mirror:
Mary renders Sherlock unconscious and flees. Cue weird fish eye transition and we see Redbeard as well as two children playing on a stony beach - one of them, presumably Sherlock, is pretending to be a pirate.
Once Sherlock is awake again, he seeks out his brother… whom is introduced this time as two people:
He’s also not the Mycroft I remember - the one working to ensure the stability of the British government… since Sherlock says, when enquiring about A.G.R.A.:
Sherlock: Well, I mean the British government. Or whatever government you’re propping up.
Very weird. So we’re led to believe Mycroft is morally grey (also wearing the suit for it) and is for hire, rather than motivated by loyalty to his country? (This ties in nicely with @delightedwhenz‘s theory on Mycroft being Amo here).
The Mycroft-Amo connection is also furthered by the superimposed text of AMMO being mirrored when Sherlock turns the pad he wrote it down on.
We get another mirror when Sherlock and John catch up with Mary:
Sherlock calls about having made the faulty “Amo” connection to Lady Smallwood. Sherlock and Mycroft are juxtaposed on screen during their phone call, then move in the same direction:
Sherlock’s over-imposed shot prevails, however we stay with Mycroft on English soil.
On the flight back, we catch the first glimpse of E (aka Faith, Culverton’s daughter? See @abitnotgood‘s great find here) in the plane window and are given a flashback to John presumably cheating/flirting with the Lady in Red/E/a literal red herring:
Now, during the flashback, I noticed an inconsistency in the background. In the twoshot of John and E, we see a firetruck in the background. In John’s subsequent close up, there is a police vehicle, but no firetruck.
As someone who as filmed before, this is something I’m prepared to accept as being a genuine blooper. You don’t control the street when you’re filming outside (at least not unless you close it off, and I doubt they did that, please correct me if I’m wrong).
Still, it’s another particularity.
John saves her number (which is a fake tv number, as @warmth-and-constancy points out here) and certainly texts her an “Hey”. We have no definite proof, however, that she is the one on the other end of the night owl/vampire debate. @jenna221b (I think, can’t find the post rn) suggested it’s a code, like Vatican Cameos, and Vampire signals which plan to execute, like Lazarus did on the rooftop. @the-7-percent-solution, however, suggests he might be texting Harry here.
We also get John composing a breaking it off text, only to find her at the bus stop (Culverton in the background on a poster saying “murder” and “business”). We never find out if he really breaks it off or not.
We do get - after Mycroft interviewing Lady Smallwood (with another mirror) - another moment at the Watson flat, talking about bedtime stories, and then Sherlock realising how wrong he was on the Vauxhall Bridge, the shot finishing with the MI6 building prominently featured.
Mary gets a longer message (a code, a cypher, idk, but something is weird about it. “The curtain rises” is a meaningful quote, in any case, as @eleclectichas shown) than John. Why would Sherlock comment on Mary’s final act? Premonition? It has to be more than simple foreshadowing for us viewers.
We return to the final show down at the aquarium, with John lagging behind due to having to find a babysitter first. And the more I re-watch this scene, the more likely I find it that the secretary was forced to pretend she was Amo by, if not Mycroft then someone. (Seriously, if she really had a lucrative side business, how come she only bought a cottage and still lives in a tiny flat??).
During the scene, we also have jellyfish in the background, which cease flapping about in their pool after Mary pushes Sherlock out of the way. John and Sherlock previously discussed a case with jelly fish, and them stopping their movements in sync with Mary’s heart stopping might open up a connection.
More importantly, though: Why doesn’t Sherlock move himself? Why is he paralysed? If Mary had enough time to jump into the trajectory, Sherlock would have had time to evade the shot, too. He must have seen it coming, he’s Sherlock after all.
We get another shark fin transition from grieving John to the secretary being taking in (via a very weirdly lit tunnel of mysterious location):
And THEN we switch elements. We stay an eerie blue but rather than water, it is fire. Fire obscuring something I have no idea how to name, and giving way to the cemetery:
Edit: This might very well be a coffin! Aka Mary’s coffin.
A grieving John ignores his phone (phone as heart? Is he ignoring E or Harry/second recipient?) and Sherlock pays Ella a visit.
Ella: But I can only help you if you completely open yourself up to me. [said no therapist ever, as @merlenhiver pointed out]
Sherlock: That’s not really my style. I need to know what to do.
Sherlock: About John.
Meanwhile, Mycroft returns to… a mirror verse version of his flat (or a secret safe house for people to retreat to?), where he stretches his spine (like John did after the Christening). There are Asian cuisine take away menus on his fridge, as well as an elephant and the number 13. Or rather, the 13th - a date? Since Mycroft looks at his watch immediately, I’m inclined to call it a date of some significance.
Mycroft calls Sherrinford and WAITS for this person.
Also, the empty state of the fridge for me is a direct contrast to TAB Mycroft who is obese and always surrounded by food.
Then we see parts of Mary’s very curious DVD, hear Mary repeat certain phrases over and over, and Molly tells Sherlock that John doesn’t want to see him anymore.
Sherlock, voice over musing over avoiding Samara and death, ‘walks’ from London into the watery blue imagery again.
And we close on what, to me, looks like a POV shot from below water upwards, where the sun is showing the onlooker which direction to turn to come up for air…
… before the post-credit “Go to hell, Sherlock.”
What’s my point?
It’s simple: we are not in reality. This is a mirror universe, or a dream. If it’s a mirror version/Mind Palace, it’s either
a) what Sherlock thinks will happen (all the talk about probability and extrapolating behaviour on the basis of mathematics)
b) or a distorted/filtered version of what actually happened, which Sherlock is processing in his mind palace.
Alternatively, it’s a dream helping Sherlock solve the mysteries of Moriarty and Mary.
I contend that everything after the first fishy fin transition is mind palace/dream (if EMP ever since the HLV hospital scenes proves incorrect after all). Sherlock is still high, after all, even higher than before due to the “natural high” maybe?
Why did it get dark before the boy brings the tea to Sherlock, John, and Mary? Or is this a second tea?
When did Mary’s hair have a chance to grow so much?
I’ve also read that the baby looks older earlier in the chronology than later… there is definitely some time-related inconsistency happening.
A few additional questions:
How does Sherlock know about “The problems of your future are my privilege”? He was in the kitchen at the time.
Likewise, when did Mary find out about Sherlock being a “dragon slayer”? (x)
Why does AJ conclude Mary is the traitor, or why does Sherlock conclude AJ is looking for HER, when she isn’t even an English woman? Sherlock deduced that in HLV, after all.
Why did Mary get herself a new fake ID between shooting Sherlock and Appledore? It was issued 14 October 2014 (x)
Why does John, a trained soldier, not use a gun when he has one when he could (probably) have incapacitated AJ?
What about Charlie and his parents, or rather, making Charlie so explicitly camp, growing up with a father who worships Thatcher, and not mentioning it once? Also, His parents, or rather, his mother pretends like there is no such time when the hadn’t been together (which was after the father’s 21st birthday), and she asks Charlie about “eating properly”, a question which Charlie evades (food = sex?).
On the topic of food, what is the deeper significance of Sherlock openly eating ginger nuts (and talking about food) while high and waiting to become a target, or how can we connect this to existing theories/metaphors?
Is E wearing a rose necklace a connection to Rosie/Mary?
What’s with the daisy John has in his ear?
What’s up with the Black Pearl? Redbear/Barbarossa the pirate connection? Why is the issue dropped?
I’m sure there’s more and I’ll add to it when I come across something.
If you have ideas about answering them, or additional stuff to add to this, let me know =)
It seems like, as much as the Mythical Beasts are loving and kind and all around a happy safe place, for us all, sometimes we get a little out of shape. And sometimes the gif makers of the fandom suffer. I know there’s always gonna be rude peeps going on anon to ruin someone’s day and I know there’s always someone calling someone out on something they don’t like, either privately or directly. But who’s to say there can’t be someone to cheer things up a bit?
In lieu of this post, regarding the mean anons that gif makers get, let’s take a moment to celebrate our gifers, shall we? Reblog and spread the love!
@feliznavidang thank you for making such lovely gifs. I know you get a lotta hate and I don’t know why. You don’t deserve any. Your gifs are simply so nice that the anon haters are jealous, I suppose. I know they’re mean, but please don’t pay them mind! They don’t speak for the majority of us.
@graveyard-whistler speed! omg the speed! and the variety of moments you gif! If there is a moment I saw in the episode, I can bet a cookie you have gif’d it or are about to. Your tags are awesome. You have such outreach and you really care about your work.
@rhettlinks Your gifs are gorgeous and you pick such interesting moments to gif! They’re so pleasing to look at and the speed is perfect for the coloring too. I think you’re newer to gifing in this fandom? Or at least it was only in the last few months I noticed your gifs all over my dash. Either way, keep up the awesome!
@rhettmcbabe Goodness! Your coloring is so pleasing to look at and your gifsets are so large and all-encompassing. I always look forward to seeing your daily giant gifset of GMM amazingness. Thank you for sharing your lovely art with us! Also IDK how you do those animated emoji thingies as your source links but I adore them.
@chiasquatch some of you may still know them as mythicallove, but chiasquatch is where it’s at now! So many gifs of more than just GMM! Commercial kings, rhett and link kasts, main channel vids.. thank you for your variation! And you have such a lovely tagging system!
@randlerandbelvedere such unique gifs! The moments the others don’t have a chance to gif, you do! I always look forward to seeing the content you produce!
@hasretmythical Goodness gracious, your photoshop skillz are unmatched! From your gifs to your edits/art/whatever those giffy-things I tag ‘art’ are, I can’t wait to see what you have up your creative sleeves next! The things you do are unlike anything else I’ve ever seen. Keep on being fabulous, girl!
@jadeneal There’s something different about the coloring of your gifs and I don’t know what it is, but I love it. I can’t wait to see which moments you gif in the future! You always pick some great ones :D
@goodmythicalmore Such pretty gifs! Your black and white gifs are stunning and your color gifs are beautiful. When you do those slowed-way-down B&W gifs it makes my brain stop working to stare at them for a minute. Keep up the amazing!
@yourmythicalbest Can we preface this by saying I adore your captions- they very often make me laugh aloud- your tags are gold, and I so look forward to your gifs! I love the coloring + speed combo they have, I’m always ready to see more!
@lilablackbird I love the blue tones (are they blue tones? Sorry, I know little about colors lol) in your gifs, and I love how you handle text on your gifs, because I always know who’s speaking.
@mythical-shippings There’s something about your gifs that has a soft quality to it, and I like it very, very much. I’m not sure how to describe it but I always know it when I see it. It’s amazing. ^-^ You make so many unique compilation gifsets too! also RHETT&LINKAST GIFS
@goodmythicalyann you make some awesome gifs too, often times of moments that no one else gifs, and I always love to see them. Keep up the good work!
@goodmythicalmeltdown I know you’re newer to the gifing scene, but hang in there! Your gifs are so pretty and your text is so elegant, and yeah, those people who take the credits off are jerks. Ignore them and keep doing you!
@mclaughlinrhett I don’t see your gifs very often. I’m not sure if it’s due to time zones or what, but I am going to start seeking out the loveliness that is your gifs. Because they are very lovely. Don’t stop!
@rhincoln In contrast to the darker red tones or blue tones in many gifs, the lighter, sort of pastel coloring and overall softer look of your gifs is refreshing! Always adore seeing your gif sets! =]
@the420gal Your gifs are fab and unique, and I know a lot of mythical beasts who thank you profoundly for the chest gifset XD Y’all know the one. Thank you bunches for being awesome!
@mythical-rhink It’s very rare, but every once in a blue moon, you make a gif or two, Isra. And we love to see them!
@tragica it seems like you can do everything! Like legit EVERYTHING OMG and you mail has been on a GMMore which is !! ?? amazing! Gifs are one of your many talents and we love you for ‘em, girl! Keep on making ‘em!
@rhinkster I love your gifs! They’re as stellar as you (which is very, by the way). Appreciate your contributions to the fandom bunches here! Keep on being awesome!
@ianhecoxhasabowlhaircut you don’t just make gifs for the mythical beast fandom, but your gifs are stunning and colored very well! I’m always happy when you decide to gif our mythical dads. :D
If I didn’t mention you, I apologize. Feel free to reblog and add yourselves! There are so many wonderful people in this fandom that sometimes even I have trouble keeping track- and I make it my mission to keep track of this stuff! :p
You guys make this fandom 1000% better and I can’t thank you enough. Thank you for being you. Are you getting hate? Feeling down? Maybe your gifs don’t get the attention you’d like? Hit me up. I’m your new #1 fan. I love all of you guys so much. Keep rockin’. <3
Godzilla Resurgence: my two cents, for what it's worth
(Note: I was hoping to post this with photo examples, but due to technical difficulties I’m forced to settle with a wall of text. Apologies and a raised glass to anyone who makes it through.)
There’s so much that’s already been said about this trailer, so I’ll try not to retread too much. Let it suffice to say I’m in the camp that loves it.
The first thing that leapt out at me was the visual language of the movie. Gareth Edwards is very good at perspective and revelation, making for a very cinematic experience. This is immediately distinguishing itself with a more documentary approach. The camera work is more akin to a videography company. I don’t mean that as a slight at all, on the contrary, it creates the sense of a found footage film without all of the nausea inducing motion. Our camera is there to capture the events as they unfold, not to hold our hands through a rollercoaster spectacle. This combined with the natural lighting lend a rawness to the subject that we may not immediately be used to, but for me underscores the unsettling presence of the beast. We’re not being teased little glimpses, we can’t take our eyes off of it.
This approach puts us on level ground with those in the scene. Like we’re there on the street to see it for ourselves, or an observer in the conference room. I would almost compare it to a Ken Loach film if it weren’t for all the extreme close ups. Granted, with this teaser there’s no indication who (or even if) the story will follow but we certainly gain a sense of ensemble. This is a cultural experience that everyone is participating in together. Put another way, everyone has a place in the story. Maybe I’m reading too much into it all, I am applying a lot of theory to this, but Hideaki has proven himself to be a deliberate storyteller.
For example, the view from the street as the tail swoops overhead - wow! That put me in my place. And that place, for me, ever since I first saw 1985 as a kid, is one of terror. That movie was such departure from what you became comfortable with on cable TV. Don’t get me wrong, I love every incarnation of Godzilla, even the silliest ones, but the one I’ve always wanted (and never really dared to hope for) was the R-rated horror version. I really felt like some long forgotten prayer had been answered when Anno Hideaki was announced as director for this. If anyone had the gall to commit to a take as daring as that, it would be Miike or him, and with Higuchi onboard we got really damn lucky (still keeping my fingers crossed for a Miike led G flick). I’m excited for the return of the King because I’m now looking on him in awe and terror. That’s the spirit of that Oppenheimer quote that used for Edwards’ proof of concept video. The marketing on that movie was brilliant and it had me stoked that it was looking to be that traumatic disaster movie. I’m totally happy with what we got, even if it took some getting used to, but now we’re really promised the destroyer of worlds.
There are a few details I’d like to point out that really sell me on this. First, which I think is of utmost importance and I tip my hat to Toho for its inclusion, is the sign language interpreter during the press conference. That does nothing to advance the plot, it’s entirely ancillary, but that one extra makes that entire press conference scenario that we’ve all seen dozens of times something to immediately, albeit subconsciously, believe. That’s a real life thing, one unfortunately oft overlooked, and with one simple gesture this room full of strangers is that much more humanized. Boom, reality.
I love the sense of scale that is established by the aerial view of the city. We’re looking down on it. And even though it’s peace time, we can see a monster in relation with our mind’s eye. Then we see the path of destruction, an all too familiar sight in the 21st century. We’re establishing a sense of scale and anticipation.
I love that people are wearing face masks in their flight from Godzilla. That must be dust he’s kicking up into the air but I would love to find out that its fallout. This Godzilla is Death. The stillness in both the monster and the camerawork creates a sense of presence. As @kaijusaurus noted in his trailer review podcast, he is like a mountain. He is something sacred. As much as I appreciate Hideaki’s masterful entrances, I do hope we see his intensity kick in when things get crazy.
To balance the scales, one thing I’d like to see more of, is our cast more in action. I understand that with the teaser Toho wants to showcase the range of talent in their film by editing in so many close ups, but with the exception of a couple “walking and talking” shots we only have two variations of images with people: a) talking heads and b) masses in flight. I hope somebody gets up to do something in this movie!
I have to say that I am loving how Higuchi is pushing the practical effects and finding the appropriate balance with the digital. You can tell when the lens is capturing something physically in front of it and their ability to capture this level of scope is truly impressive. When I feel like I can reach out, touch it and know what it would feel like, that has me recoiling in my seat even more. I can only hope we get to see this technique developed further. There is so much potential. Again, I can’t stress enough how important Presence is in a movie like this.
One final thing I’m looking forward to seeing more of are the night scenes. We’re seeing a lot happen during daylight hours, which is great, let us see Godzilla in all his glory, but the color palette with the dust in the air is getting a little familiar. That shroud of darkness will do wonders, especially with that molten interior. Again, this goes right back to 1985, for me, with how dark it got, tonally and literally. Godzilla has defeated the Super X and the night is choked with smoke reflecting the red light of the burning city. We’re looking through the rubble of a building we’ve been in as Godzilla has laid siege to it. Out through the wreckage he dominates the skyline, swathed in his wake of destruction. Oof, that’s the good stuff. Granted, since we’re seeing so little of the night scene, it probably means they’re saving it for the grand finale. So, all the better.
That opening shot, bam! You can see the tendons stretching between his jaws! There’s something disturbing about seeing the inner working of Godzilla’s jaws. The final shot of Edwards’ second trailer, the one of Godzilla roaring while the shelter doors closed, did more to make Godzilla terrifying than any other shot in the marketing, I’d argue. You’re seeing the musculature of animal and observing it’s working parts in motion. This makes it live on the screen.
I never thought I’d get to see this kind of Godzilla movie again. Now I’m feeling incredibly lucky and especially spoiled to live in a world where we get this along with the Star Wars sequel trilogy, a Marvel Universe and Bebop and Rocksteady coming to big screen. That’s not even getting into everything else. If you were to time travel back 20 years and tell my younger self that all this would come to pass, I would have called you a liar and bet everything I had against it. I’ve never been so glad to be wrong.
My only reservation is that I hope the performances are good. I’ve never seen any live action from Hideaki (any recommendations?) so I don’t know how he is with actors. Clearly it has a talented cast assembled but as they say the talent is only as good as the direction. I have the utmost faith and anticipation for everything regarding his depiction of the monster and action, provided Toho let him have the budget, but we haven’t seen enough yet for me to get much of a read on the performances. I’m not expecting much in the way of story, I just want to care about the people who are in it. That’s not too much to ask for, is it?
At the end of the day though, I am one happy camper. This look gave me the jitters and got me excited for what’s to come. Will it be the groundbreaking reinvention of the franchise? I’m not going to bank on it, Toho does like to play it pretty safe, but the amount of promise it holds has me bracing for impact. Bring it on. This is what I’ve been waiting for.