i have so many edit variations of this


1-6 /09 /2015, watercolour + pencil + white gelpen in my 12x21cm sketchbook.

As I Bertold you, here is the Bertholdt Fubar week. Two Bertles are missing because life happened to me. I’m not sure if Bertle makes me go “aww” or rather extremely creep me out. It’s both. Which is disturbing. The past days I’ve settled with “what the actual fucking fuck, Bertle?”, and the chapter 73 spoilers make it even worse. Hence that delightful mixture in the paintings. Just like it was with last week’s Erwins, every painting has a comment that I added in the captions. And do not edit or crop or repost. Bad things happen to people who do that. Just sayin’.


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!!  ٩(^ᴗ^)۶

anonymous asked:

god why do fans and interviewers ask the same damn question to monsta x all the damn time, we know their fave foods by now, we know which member they'd introduce to the SISTERS THEY DONT HAVE, we know who snores and who doesnt can we please FOR ONCE JUST ASK THEM SUBSTANTIAL AND NON SHALLOW QUESTIONS THANK YOU

thing is, fans at fansigns i sort of get, staff do look through their questions before they give it to monsta x and will cross out/edit questions to make them appropriate. so i do get why most questions are usually the same variation of “where do you wanna go on holiday”

but INTERVIEWERS i dont get, they can choke. i mean they have a bit of reign in terms of questions and still, still its always the “which members would you introduce to your sister question” I’m not saying they should ask em “how many blunts can you smoke in 24 hrs” but ffs, just skjfjkdjf enough wit the sister question


Takemiya Keiko artbook review
JISEN FUKUSEI GENGASHŪ (collection of reproductions)
B4 | unbound, hard case | 32 leaves | Hakusensha 1978

This is one of only three “Cherish Gallery Deluxe Editions” published by Hakusensha in the late 70s. “Cherish Gallery” was a popular series of shojo manga reproductions put out by the publisher all through the 80s, featuring art by prominent Hakusensha artists such as Miuchi Suzue (Glass Mask), Hikawa Kyoko (From Far Away), Wada Shinji (Sukeban deka) and many more. What set the series apart from other, more regular manga artbooks was the large format (a Japanese B4 is almost twice the size of A4) and the fact that they were unbound – what you got in a Cherish Gallery were sheets of high-quality paper printed only on one side, ready to be framed. Another selling point was that the manga artists chose which of their pieces they wanted reproduced, instead of an editor making the decision. While the regular editions of Cherish Gallery included 12 sheets of art, the Deluxe Edition included a whole 32 sheets, half of them in color and the other half in black and white, as well as one B3 color poster. The Deluxe Edition was discontinued after Takemiya, Hagio Moto, and Yamagishi Ryoko put out one each, probably because they were relatively expensive and thus hard to sell to the target audience of girls and young women.

So how amazing is this? It’s pretty amazing! The quality of the black and white reproductions is crisp, with the black of the Indian ink coming out clearly, while the color reproductions seem to contain much more detail of color than I usually see. For example, the color spread from Pharaoh no haka you see in the second image above is also included in another Takemiya artbook I happen to own, and comparing the two, I have to say there’s just so much more color in the reproduction: the skin tone of the character could pass for Middle Eastern or Mediterranean rather than lily white, because the coloring is apparently too subtle to be captured in regular printing press, and the blue/green/yellow of the hair and background are so much more rich and complex.

I also compared some of the reproductions to the ebook edition, and that confirmed my suspicions about the color pages in the ebook release: they are far, far too yellow, and generally over-saturated to the point that they become gaudy. That doesn’t mean I don’t think the ebook edition is great! I think it’s fantastic that so many of Takemiya’s work which would otherwise be out of print is available easily, and I love that they included color pages which would otherwise be lost in the mists of time. I just need to keep this in mind when I read the ebooks. By contrast, though, the deluxe edition of Hensokyoku/Variations seems to have gotten the colors almost spot-on, just slightly more faded than the reproductions and not quite as crisp. I’m even more happy now with that gorgeous edition than I was before!

For the 32 leaves, Takemiya chose 8 pieces from Kaze to ki no uta (2 color and 6 b&w), 3 from Pharaoh no haka (all color), 5 from Hensokyoku (all color), and the rest from short stories or other projects she has worked on, such as a puppet theater staging of A Midsummer Night’s Dream. On the back of the poster, Takemiya has left a comment on every piece included in the collection. My favorite comment is about Aslan, Serge’s father from Kaze to ki no uta, in which she says that she was attempting to portray not a person who didn’t have a dark side, but a person who consciously chose not to show this side. Wow, how much do I long to grab 98% of Kaze to ki fandom by the shoulders and shake them while I shout that into their faces? Serge and Aslan are not innocent, 100% privileged people who know nothing about hardship and was just butting in, and wouldn’t understand what Auguste or Gilbert were going through anyway, and should just have stayed away! How could you ever even insinuate such a thing? What manga were you reading???

…Ahem, sorry, that’s a huge pet peeve of mine. This is an amazing collection all around. If you like Takemiya’s relatively early art (this was published only two years into Kaze to ki’s serialization), this is the one artbook that you must own. Absolutely recommended!

Sherlock’s Mirror Palace / Dream - or, a tour of TST’s particularities and several open questions

Feat. lots of images and links to other people’s metas/theories. 

Btw, @johnlockfulfillment has started a Masterpost :)

Let’s look at these many, many little things that make me certain most of TST was either Sherlock’s mind palace version of actual events or his projection of future occurrences or a dream or something else but drug-induced. 

This also ties in with variations of Extended Mind Palace, as @impatient14 details here with 20 reasons; and @tjlcisthenewsexy shows here

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). 

The cases are all (or for the most part) CONTRADICTIONS, as @separating-my-porn-and-tjlc has detailed so brilliantly here. @tigressthetiger also talks about how wrong the cases are here

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 @eleclectic has 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. 

Ella: 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. 

Edit: @jenna221b found a proverb stating that at the 13th stroke of the clock, all previous strokes must be called into question

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?

Timeline questions: 

  • 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 =)

Tagging some additional folks who might already have things to contribute: @alilysrose @isitandwonder @deducingbbcsherlock @adlerforpresident (and many more)

Thank You, Amazing Gif Makers

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

You never know where the next miracle’s gonna come from, the next memory, the next smile, the next wish come true. But if you believe that it’s right around the corner and you open your heart and your mind to the possibility of it, to the certainty of it, you just might get the thing you’re wishing for. The world is full of magic; you just have to believe in it. So make your wish. Do you have it? Good. Now believe in it. With all your heart.

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.



hey guys (⌒▽⌒)☆

as you can see i made some coldrain and oor related little cute books! theyre all about A5, the paper is 80g and the cover is 180g ~

the price varies from the amount of pages because each book has a different amount, so the price would be 5€ - 7€. each book is an unique copy, so theyre limited edition. that also means that there are many different color versions! for example i also have the oor book in red with black lines, the coldrain one in black with silver lines etc etc etc…

i ship worldwide, you can choose the way of packaging and delivery and stuff, but you will have to pay for it ; u ;

SO i hope you like them and if youre interested pls send me a pm and tell me which one you would like to buy C: also i can list certain color variations then and send you some more pics of it! 

bye (❁´▽`❁)*✲゚*