Watching a film. much like reading literature, is a deeply personal and introspective affair. Ones own personal experiences and history can have a profound impact upon the viewing of a work of media and this means that every film-going experience can be different and transformative in different ways. Especially if the content of that media presents subjects or situations which are deeply troubling for a viewing audience.
This can oftentimes result in the film becoming difficult to watch for some audiences, regardless of the overall quality of the piece in question. This is, I think, an apt descriptor for the experiences of triggering media on an audience.
I say all this because it's time once again to review the next entry in the Harry Potter franchise, the fifth film in the franchise, Harry Potter and the Order of the Phoenix and the subject of triggering content is something that this film really touches on for me, as I will discuss later on.
Now, it's been a few months since I last reviewed Harry Potter and the Goblet of Fire and a few years since I reviewed Prisoner of Azkaban, but now its time for me to take a look at the film that I would probably say is one of the most highly-regarded and structurally strongest films in the franchise. In some ways, I would say that Harry Potter and the Order of the Phoenix is the golden standard and yet, as I will go over in the review proper, I also find this film the most difficult for me personally to get through and the one that I have probably watched the least as a result.
It’s safe
to say that all of our usual readers know about the live action Sonic the
Hedgehog films*. However, a long time ago in the days of dinosaurs and watching
movies on those big black rectangles called video tapes, there was
another. Sonic the Hedgehog the Movie
was the name. An animated film made up of a two-part OVA series that came out
in Japan. Don’t ask me what years that they came out. I can’t be bothered looking
and this isn’t a bloody history video from someone reading only Wikipedia… 1996
in Japan. 1999 in English. Although I remember seeing this film available where I live
(Australia) around mid-to-late 2000.
Yes, I did get those years from Wikipedia. lol (Click on “Read More” to
read the full article).
It's been a while since my last edition of Building Better Backstories. In the past, I've discussed literary and cinematic alterations but this edition is both a first for me and something that I'm actually quite excited to discuss.
This eighth edition of Building Better Backstories will be the first to discuss the narrative of a video game. In particular the fourth and final game in the legendary Sly Cooper franchise: Sly Cooper: Thieves in Time.
Released in 2013 by Sanzaru Games, Sly Cooper: Thieves in Time is visually and gameplay-wise, very similar to the previous entries of Sly 2: Band of Thieves and Sly 3: Honor Among Thieves. However, where the game is almost universally disliked by fans of the franchise is in the area of story, as the fourth game in this franchise famous for well-established character-driven story moments feels almost lifeless and seems to even revel in making character twists and revelations that either hinder the games' storytelling potential and, at worst, make previous entries in the series feel shallow or worse because of the revelations.
With that in mind, I realized, after speaking with my sister who is also a huge fan of the series, that my mind had actually already come up with several solutions to this issue. So that is what I will do. I will go over the narrative problems in Sly Cooper: Thieves in Time and then lay out my solutions for fixing an average game and transforming it into what I would feel is a fantastic game.
Hey Everybody!
So I initially planned to release my next edition of Building Better Backstories VIII today. I was immensely excited for this article as it about a video game franchise that is quite near and dear to my nostalgia and childhood. However, my attempts to complete the article were delayed for a myriad of reasons, mostly involving work and my personal health.
As such, I have decided to delay the article's release for one week, in order to finish it properly and ensure that the article is at the level that I believe the subject matter truly deserves. I hope you will all return next week on February 14th, around 3PM for my next article when I will take a look at the story for Sly Cooper: Thieves in Time and make the alterations to the story that I believe would've resulted in a better overall story.
See you all then!
Green Phoenix
Since cinemas very earliest beginnings, sound and music has played an essential role in enhancing the immersion and visual experience. Even in the age of silent films, music was often employed by the theater directly to better engage the audience and make us feel more, a quality that only increased in importance upon the introduction of films that produced sounds on their own.
Now usually, the role of a soundtrack or musical elements is to enhance the thematic or narrative presentation of the film, to better evoke an emotional reaction and to assist and aide in the entertainment experience. Music and sound is meant to enhance the viewing experience, not prioritize over it (as opposed to music videos, where the visuals enhance the music). Despite this general rule, there are times when a film is overshadowed by its soundtrack, or even a single song.
To start the new year, I've decided that these songs will be the focus of our first article. Those pieces in a soundtrack that completely overshadow the movie they were written for. Whether it is a particularly notable song in a musical or a song that was written as a tie-in piece for the credits, the only determinant for entry on this list will be a song that is arguably more well-regarded than the film it came on.
This isn't even to say that the film in question has to be terrible, just overshadowed by the quality of a superior sounding musical piece.
Perhaps that is a bit confusing but I think you all will understand the kind of songs I mean when you look at the list below.
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