Scare Tactic: Corporeal - Miss Mechanic

Scare Tactic: Corporeal - Miss Mechanic

Here is a movie that was critically adored and was utterly conniption-inducing Nazi propaganda: 

A Kamikaze pilot: not a sad story. Not a heroic one for being sentimentalized. 

The enduring misconception of the monsterdom of Godzilla is that immediate measured consequences are unbearable to witness. The brute way of saying it is that we are a country too racist to recognize when a single country was conducting the slaughter of a hemisphere on a rape pact.

That there was a Japanese monster is a mute point owing to the previous: we are that country.

A fetishization that is a truly vile one is precluded on what is an It. Object relations that are coordinated on childhood relations to first principles are not a concern - we are talking about rape.  

A fetish is confusable to fetish-makers. Now: idolatries are different from consensual sexual arrangements. Never believing a woman liked you enough to sleep with you consensually is an idolatry of despair. Further we can demonstrate fetishes are not exclusive to concrete objects, as was reckoned in the previous sentence.

A bad word for another individual is, basically, idolatrous. The conscription of bad words toward a description of a person demographically is our world of despair. 

-

-

Taking a picture of someone, taking a picture of abominable acts of cruelty, hoping the pictures would end the line harmed what is a despairingly worldly principle. The expletive having nothing to do with the explicit: that a monsterdom for the Japanese was an island Okinawa, that is: a China, that is a South Korea that is an India that is a Singapore that is a Malay that is untold isles of difference - especially including people underneath the waves.  

How fucking stupid you gotta be to make a book lensed through Bushido. 

Look at a globe!

Let’s Enjoy The Air Conditioning

So:

one time I cared to know what a chronotope was - and - fit for an explanation - I would like to write a dummy blog post about it.

Not too long ago: a friend and I were talking about how in college, we were always trying to make an essay less boring talking about how much we wish was playing video games instead.

And so: knowing that we were ~silly little boys talking about toys then~ is that the most interesting thing derived from those conversations ultimately was: most of the conversation itself concerned hanging a CV on how much of a future.

Now: how much of me was precluded on that previous paragraph is a lot of what people who are writing monographs are never saying out loud.

A Healthcare Worker With a Pension is a Good Line For Thems That’s Holding Onto A Redder Book

A chronotope is a term from a linguist, and the point of the matter being: read my sentence three times fast.

Stylistically, a riddle. 

Chronotopes: that there is a way of seeing into the world that is discoverable inside the pages of a book, or, - and I should say it is an or there because of being easily confusible - that a book was a world. 

The concept dummy! Not that the world was ever a book!  

Writing about writing is deeply confusing. 

The fact of the matter is that using writing to write about what was written is an impossibility. Now: knowing that nobody ever embarked on a writing adventure without accepting the impossible, there is no way of not saying it, a chronotope is a term especially fulfilled in a novel~. 

One thing about them that’s hanging themselves for a CV is that many people will sell them a degree on the notion that they should invent a degree, an idea which often precludes: interdisciplinary notions of art should conflate two different types of art. 

Tip:  — I am going to tell you straight up, don’t ever write writing about writing if you wanna keep your head, especially: a head for poetry. —

— — If you have the misfortunate fortune that you go to college anyway and there’s one motherfucker who is actually gonna try to help you there, make sure that motherfucker is selling you the degree: Don’t Even Attempt to Read Heidegger! Don’t Even Do It! There Was Never Anything There! I Went to Hell for It! That’s a could. — —

Here is The Most Embarassing Thing That Happened To Me In College 

Get ready -

My undergraduate thesis ~

- which is stupid to be embarrassed about saying out loud -

H

 O

  W

  E

 V

E

R !!!!!!

If you ever had to fight your way into one because you are actually giving a shit about the production of knowledge, you will realize that it is a curse word from a world that never ever ever had any actual class !!!!!!!!!! - 

~ was a brilliant formulation of one young writer in conflict with several different unacceptable ideas.

*curtsies*

THE UNACCEPTABLE IDEAS WERE

one  

That there was only one creative act involved in playing a video game

two  

that a video game couldn’t be considered a creative act

three !

that you could consider the creative act of a video game without noting there was someone holding onto a controller. 

Auteur Theory

An auteur is an author and in a critical discourse about filmmaking, it is toward an abiding concept: that the director made the movie. Fascinatingly, it is in the emergency of a critical discourse knowing that the director does not make a movie alone the concept was produced. The early record of people who talk about movies is enthused on the abiding concept of standing on a set: I hope that dame buys me a drink after work. 

Formally — — I would say: points of criticism affirmed on a single word are in sight of a good metaphor.

Now reflecting on how negative thinking makes people feel bad I am enthused to circle back onto the point proper: that dread is synonymous with excellence! and it is through the most excellent conscription of movie madnesses that we have a word for it. 

The Department of Minutions Theoretical

Movies incorporate so much work. The thing that I would like to highlight for the procedure of making some is movies are made inside of a dynamic that is conscriptive: military structures. 

As has been addressed, many a person has embarked on the making of a movie inside of: what if there was no structure? or: what if our structure was structured a little bit less? or: what if it was consensual that we abandoned the structure. 

A highly idealized articulation of the premise of movie making: see the above. 

As for a prime example of how much work goes into making a movie: see props.

Production design is a raw term because of how many things a person in that discipline has to do well on a set. Now it is known that a lot of the work, depending on where you fall in the martial order of production, is telling other people what to do. Taking care not to lose sight of what was a prime example of a collective effort, lets look at what production design produces when it is worth talking about - that is: when it is excellent - that is: when it is dreadful. 

A prop-maker - you may know one from their incorporated scientific abilities: Mythbusters! 

Very good series about how fucking weird it is to have a job inside of a military structure where it is known you just have to make that shit up make it real. The entire movie business being on the name we just fucking made that shit up made it real, but then there’s that one person who it is the most sweat inducing activity of the entire emergency: they’re the one who fully made a thing real. 

Materializing articles of a screenplay is a quite broad way of explaining what films are. I can see the pun in it - but I'm not selling what I'm not allowed to write about.

The early episodes of Mythbusters were about them engaging with the premises of films to say, is that shit even possible? What if we blew up a car with somebody in it? Guess what it didn’t work. Ha ha. However it was an excellent leverage of the abilities of a prop-maker. Make stuff up: they’re the ones who make it stuff. 

Here’s the best stuff that ever was in a certain kind of horror movie:

Movies I Saw That I Wish I Never Had Seen. 

Violent Night

One time I was fortunate enough to serve this film in conversation with someone who was deeply enthusiastic to have seen: the perfect action-y popcorn-y soda movie on the day when it is certainly christened. I forgot to say what I hate about it.

The stuff:

I didn’t see the movie so: that’s that on that. 

Society

This film was a special one. Which: was someone I thought could be a friend to us both Ha - which is a society Ha. Now it was a kind of disgusting movie for being like, so obviously the one I should have wrote that one essay about. Sometimes what I regret is that the point to come across is watching movies for a point is not as much fun.

The stuff:

The best prop in this movie is the insane genital mutilation intenstinal face fuckery abortionclinic sex sequence. That prop was a beautiful display of people who - it was known - just wanted to make art and screw. 

The prop dummy! Not the cast or the crew! 

John Krasinski with a Trident: Something About The Benghazi

Taking time to forget is supposedly something that I despise. But I think that I know: its in a sort of weapons facility that I never worked in an office.

The stuff:

The best prop in this movie is witnessable in a vulgar society. However, I was not able to hit play even on what was certifiably the most propogandaizable image I had ever seen. Jill from The Office getting to have gay sex head because finally that other motherfucker went overseas - I didn’t watch it, whatever. 

Human Centipede

There is a kind of lie caterpillar that is just like a drawing that is in sight of I’m forgetting. A schematic of the premise: Nazi medical exploitation. The quieter sequence in this film was one I was sharing with somebody who deeply wanted to express to me how we all felt inside having to grow up queer in Orange County. 

The stuff:

So the unforgettable prop of this film is something that was sort of pre-memeable. That the design of people who are shitting in their mouths for how it is reconoittered, the premise dummy! that that is what the doctor wants to do to them, and spitting afterwards being a design flaw that that movie was constructed around is to say that it was definitely a meme before a meme had ever been memed. One of the ones that I would like. 

But lets look into it because it is in the first case an utterly unforgettable creation of the artist inside of another art type art. Bringing about a feeling of the body. If you want to put it really simple: it’s sort of like there’s was no way not to make it that way. Returning to a prevalent ideal for a script writer: that it is toward the actualization of stuff, whoever wrote that pitch, whoever sequenced it: there was no way out. For the horrible thing at the center of the movie that was how it must have felt for them, which is the horrible disgusting realisation that we were utterly abandoned on a principle of human decency the minute we laughed. Like thinking there could be any other way to have developed that prop is inconceivable so forcefully that it is a truly dreadful article of human will to power. 

Psycho

You know what I also hate is sideways of this movie people have to be like prudish about what’s just like:_what people do_ and it is just like two people that know each other and they’re doing it. This is of course a hypersexual flick that was associated with what is no longer a psycho. 

The stuff:

Okay so the best prop in this film - I’m not gonna say it’s the knife - because its borderline destructible when its realized the shower curtain was the scene stealer. The best prop of course is that weirdo’s grandmother sitting on that chair being all shrivelly-uppy. Toward the understanding of the corporeality of what we are in the fever to never admit had human material or the decency to expose: that grandmother could have been a dachshund. How real it looked. 

Monkey’s Paw Productions

The uhh noisemaker that is sometimes a way to get into is to say: I’m who is saying Thing. That is the function of the euphemisms in this case. It’s that: did you get the joke uhh? I’m who is pausing to reflect on what would be my own choice - the pause to reflect being - there’s a monkey without a hoof here. A horror described previous: nobody is pausing to reflect except for the director and - moral of the story - what the director is reflecting on is animalistic character without expletive. Every title was self-harm. Something I do not know the end of, that I would like to press into this paragraph as the fulfilled question for the answer: what’s a roof when people are afraid of a really really bad word. 

The stuff:

In this collection of movies, formally an entire filmography, the good props are mostly vehicles. The perfect vehicle for what should have been a much funnier film - Us - was a kindly boxy suburban turned toward the utterly dreadful circumstance of needing to become a weapon, a shelter, a some place we can describe to ourselves after we get through what we saw. Deeply upsetting that a film abandons the road - particularly the vehicle - for a descent into an entirely different film. Once again the abandonment of basic conceptions of filmic space are catastrophic for recongizing when one is developing a thriller not horror film: Nope was worse. The unheimlich moment in Us is borderline grotesque and deeply offensive. As someone who worked in a school in Compton I’m going to say it is deeply offensive to a woman who was black who was a mother. Definitely never depict a carved woman about how there is a DSM5 extant. 

Stop telling me I’m fucked up. Make a movie that is good. 

A worthwhile vehicle in the one about outerspace was that Best Buy van. It was exclusively because other prevalent sources of human creativity were flourishing not just in and around it but quite precisely as a sort of badge a character was wearing. 

Now: the final one: of course we all want to say - what a greeeeat minute it was when that vehicle showed up.The entire movie turning on a joke. Quite precisely: that we kept the funny black guy offset for years and then once we let the funniest one direct a movie he did the same thing in the script AND he almost put that jewish aristocrat in a choke slam. So WE ARE FORCED TO SAY we like the other prop which was the prop that a ferocious actress was colliding with. 

Tap tap. 

A Movie I Genuinely Completely Utterly Forgot I Had Seen

I remember the movie! I will remember it! is sometimes what one has to tell themselves about movies that ain’t that good. But the movie that that could be is not this one because this one was about Not Where I Would Pull that Out From! and how much of that is going to come through is that the slow… think… way… is a help… er…. way…. but its a little too cute~

The Host

Other moments hated. Other minutes I coughed situated. If there’s somebody we’re supposed to remember is one strike its because how much of a key there is in that bad word. Bong. This movie I didn’t enjoy but I felt I was supposed to is not what I would have said about it personally. 

The stuff:

This movie is filled with excellent propwork and it is toward the success of an entire country that better movies should be made on my ideas. So: successfully: I should say this movie incorporates it in the preclusive: that there was entire sequence capable of being structured around, on the script, single objects. 

I like the single fire arm present in that movie. I like the tear gas canister which is I should say faded into the background of a symbolism in this movie. Whereas they should have thrown it at that weird fucking monster. The brilliant display of what was a Jaws-like presence, let’s have one good idea about a movie monster and ride that shit all the way to 700 million a day: DON’T NOT show the cool fucking thing when you meant to show the cool fucking thing. The movie monster being a prop is underexplored in horror movies, particularly ones that are describing horror only in terms of two dimensional cinematic spaces: basically: utterly flat dead images of what would have made a better photograph. My favorite prop in the film is an entire store’s-worth of items scattered across a dinner table. Cuck noodles. 

The CSI Spin Off That is The One Where it is Shot like a Premium Drama 

You know, going back into an original idea is not what this series is about. What people I spoke to about it often said was, it was a nightmare each night. It’s really scary to go to bed in a house where you have to walk downstairs and know you’re going to have a conversation with somebody who distinctly wishes you had never been invited in - and somehow that had nothing to do with me paying them rent. I never would have watched a single episode if my roommates didn’t own the TV. 

The stuff:

To the credit of the series: excellent costuming. Props? Television doesn’t quite get to have that many technical details. However, excellent prop: the gavel. You start the episode hearing it on a soundtrack. Then you’re waiting for it to calculate entire calender’s-worth of justice and it goes through not in-one-ear-out-the-other but as a genuine calculator for how much justice we achieved that week. 

Sometimes a very simple item is dynamically expressive of entire world’s of anguish and display. 

Seven Samurai

Somebody gave me a great idea: black and white movie! The hate complex is, of course, having been around people that make movies: they love them :3. Soooo they just try shit that they liked from movies they liked even if it is sort of that movie your dad made you watch and told you something fitfully psycho about it which was to_ drink_ an_ entire_ coffee_ pot_ before_ hand_. 

The stuff:

The most dreadful prop in this film is of course that one that is resoundingly stuffed. Here it is a film stuffed with a miniaturist’s eye for a frame around a frame, a cut that cuts not space or time but that sews together how many things are people when they are all the way alive. The curse word of the day: that many people think the film has itemized the actors as though they were stuffed. Particularly: Toshiro Mifune’s absolute animalistic presence. That the director - it is supposed, owing to how much of that production we can resurface as the emergency we need to understand it - as in: in order to really understand it as art - it was developed by that individual director: weather patterns essential. 

So: that prop that I have been avoiding saying because of how obvious and clear it is that this was a movie that never had dick to say about a sword: the banners blowing in the wind. What day is it he solved.

Absolute de-Nazification movie. Kamikaze go fuck yourself. 

Trap

So this is a movie that is under-discussed for what is an extremely competent direction: that films need much less in order to deliver successfully a kind of entertainment. Me however I say: get good do better why are they making you eat that shit also you should have made the black guy the killer. 

The stuff:

The best prop in this movie is obvious: it is that poor woman trapped in a shitty movie holding onto the fact that she is a famous person somewhere else in the world by having an entire movie be developed on the premise we are going to humiliate her for being that type of person,  she being a full person for the adjustment is to say: she was the final girl who was the first one holding onto a cell phone that said hey, none of you people are wicked enough to get with it: we are here to kill white crackers who are policing the neighborhood. Yeah, I know what the movie is about. 

She doesn’t scream into the phone and that’s why the prop is unsuccessful for the excellence that that movie strove for. Dread. 

Most Nicholas Winding Refn Films, Valhalla Rising, Though - Not That Bad

“Let’s just put it all in one movie.” “You’re never allowed to do that” is one of them words that is spidery. The slowest one of these movies I didn’t actually hate but that’s sort of like how nobody was ever gonna be “yeah I get it we” - “right right right right” - “what I mean is cough^ that”. A somnabule is not an interesting role for any woman born today. 

Mads Mikkelsen: say less. You are in a cup. 

Tap tap. 

The stuff:

Mostly about the costume design and I’m mostly avoiding saying the shotgun was a good prop: again it’s about fetishized violent acts, which is, you know, a type of “I wrote a book about it” defense where they say “hey can you not handle mein imagenen of violencenen?” The moral of the story is: if it ain’t good enough to have sex after - not violent enough. 

Endless Summer, But I Only Saw The Poster

You know one of the strange things about this is that I am sort of identified in it. I never understood who was identifiable meaning so much in what are little fiberglass kits. Itemizing people for the specie is not quite what I meant when I said that. I never saw this movie actually, hated it on principle, for what would have been a curse word to anyone who went to school in Chapman. 

The stuff:

Propwise: I didn’t see this one ohhkay 

NYPD Blue, For Being Only Observable To Me Through A Documentary Produced About One Writer’s Talent, A Guy Who Was So Beloved For His Basic Decency That When Asked What They Liked About Him They Had Nothing To Say Except To Tell a Whole Story, Mortally Filled With Details About How Batshit An Employer He Was, How Much Of The Telling Being Scanned Through I Am At A Loss For Words, The Need For The Story: David Milch Should Have Lost More Money At The Casino For How Much He Knew Losing it Was Just Winning it For His Wife, A Casino I Meant To Say Gambling Table, All The World’s A Stage For Them Boards, The He Don’t Even Collect Without Knowing He Never Had A Cent, The Exchange Rate Per Story I Wish She Were Near

As in, the feds: the sometimes-people. The sometimes-people help people help. Then sometimes that’s the cure for a disorder. And the disorder there is: sometimes there ain’t no cure. She’s eating meat. Now: what is not a police officer is that pitch who was choking a guy through the glass for trying to tell that she was never ever good enough to hold onto a pistol in a writer’s room. 

The stuff:

An entire television show I never even attempted to watch okay !!

The Silence of the Lambs, For Misgendering Me When I Saw A Striking Image, Wore It As A Ward, That A Movie Can Be Good All The Way Through, Be Capable Of Being Identified As Such, Be Capable of Being Articulated As Such, In Terms Conducible For Conscripting The Envy of The Unintelligent, And Just Be A Picture That Reflects Two Ways Of Being An Imbecile, You’re Scared of Oscar Winning Movies and You Think The Transgender Character is the One Who Kills Women When It Is Actually Just About Being Too Evil To Not Be Mortally Sexy, Clarice Starling Is Your Mommy You Will Suck Off

There’s a lot more to see here about someone who was reportedly a queer ally which is a word that I have to say people will try to make me forget. And I of course don’t actually hate this movie but it’s the type of thing I truly hate more than the entire world which is when somebody makes something you like into something that actually makes you want to die. 

The stuff:

This is a movie that is filed with excellent props. First one: death head month. So good just put that shit on the cover don’t explain nothing everybody bought a ticket. Second good prop: those fucking night vision goggles. And that is quite right out of that fucking screenplay that someone had enunciated: this person is full fucking kookoo crazy - look at the kinds of armaments they are keeping for no fucking reason other than they are the ones who are going to jail. That having nothing to do with an entire society. Another good prop is the lotion. Now, knowing that it is kind of on how it is conveyed down through a well with a fucking screaming lunatic at the other end of it - which is to say once more a pretty good screenplay for the purposes of describing corporealited articles of the cinema: dreadful props. 

Philadelphia

Now that we are talking about the body of work of a competent director we are going to talk about what is associated with him fitfully. The AIDS crisis being a development fiasco is too far to conduct. The best moment in this movie is when somebody gay is dancing. I think that I used to have a more clinical eye for what was going on in that, maybe one-shot, hard to remember. Definitely a mistake. 

The stuff:

I’m just going to say it: if you’re gay and you’re happy - you’re straight. 

Married to The Mob

Sometimes I really fucking hate this thing where I say something and it’s an accident and then I pretend its not an accident and remember that I had a different taste. The differences of taste are that this is only good for what was capable of being remembered in the after effect: which is the sort of review of a review, a credit sequence. 

The stuff:

To say nothing of absolutely generation defining hair and makeup, the greatest prop in this film is the one which actualized the corporeality of cinema - that not everything can be scary. 

Sometimes ~ be ~ happy ~ cry ~ for love ~ fall. ~

Beep boop. 

TV Shows About Police, For Too Distinctly Reminding Me of A First Estate, That is, Deadwood

Another about this sequence is that people will tell you we’re just here to smell ya for how much of you is available to be snorted. Hopefully I can lie about how many of these series there are. But if it turns over on who really mattered to me I’m gonna have to say cain’t quit ya. 

The stuff:

The propwork for what is an entire genre supposed - neither includes nor denies its involvement with selling armaments to psychotic people. Cop dramas that somehow I watched lately distinctly describe increasingly weaponizable circumstances - it’s mostly about how three of them got together and decided we should steal instead of have a pension. It is not easy to image the enduring prop of what is a fictionalization: that the police are a governmental agency - they keep things on the books. As such I should like to introduce many a communist to the work of David Simon who - it is known - absolutely was about that paperwork and had ridden along with an older generation of people who believed in working papers. The latest installment of the American disorder by that competent henchman tries to shove the paperwork in our face by shoving it through the screenplay, by shoving the screenplay through our faces. They actually show the paperwork that is the real paperwork of the historical circumstance of the present day, the historical circumstance of the present being absolutely built for mailing insane weaponry to the imprisoned. That series being recertified on the individual citizen soldiery was it’s failure. It should have been built back on the notion they filmed that prop - the paper - the wire. Not enough images of the armory distinguish it. 

The Colossal Medusanick Opera

You know, what is liiiiiiiiike totally inappropriate is to say that if you uttered a word it had anything to do with what was, like, inside of a Pandora: 

Oh this fucking movie. Ugh. 

It was a moment for me to realize that literally they sell people like, grey cat turds for like - like, they are like, SEQUENCED, and they are LENSED and they are like RENDERED on wireframes and they are juuuuuust spending yachts on like, we did good today we mailed the universe a cat turd. You know that ain’t funny that ain’t fucking funny! I walked out of this movie.

The stuff:

The most interesting prop in this film was nothing having to do with its poster, but a message from the past: that you’re not allowed to make a movie about cutting a ladies head off without her wiping you with the past. 

Brotherhood Glorified For A Relentless Polarnick

Movies that I have to walk out of are uhhhhh I’m looking into the I hate it box but I was bound to say I love it. Which is just: fucking walk out when it’s bad. Demand your money back. Uh you know the advice column of like, everybody like, wanting me to talk about like, how much of a krink there is - which is a clink for the rink or something I dunno. Will Ferrell you fucking suck.

The stuff:

This movie is absolutely dreadful for me to consider how badly Stokes wants to watch this with me right now. That being inside of the Dune resurgence: that there is a beautiful minute of people forgetting their line goes through each other. A cyclone - a cycle - a what do you call it - dance routine. 

Dune: Part Two, For Forgetting That How To Depict The Landscape Was A Total Unified Field Minute Of That Kid Is A Terrorist 

Ok so what ain’t it basically baby its like: all that darkness. What’s the letter we ain’t talking about. Basically, the best shot in this movie, of course, is that people wanted me to feel that I was some kind of Aryan brother or woman-human-male messianic complict I fucking spit on that word because what is complicated is how a much better movie is made on the idea of how fucking stupid it sounds when I forget what I actually believe. Please see: loud music where people scream about the end of the world. You couldn’t scream about the end of the world if you actually believed the world would end - you’d just light yourself on fire. This movie has a beautiful depiction of a landscape. Mostly interesting for much of Denis Villeneuve it depicts. 

The stuff:

Really great prop work here. If we are making it a little easier for ourselves lets distinguish props from costuming. The best prop in this film is a blade. Now the thing about the blade in this movie is that it lacks the parallel creative action of a special effects artist. The blade not quite getting to vibrate in the sound design was this movie’s critical failure to be badass. Additionally, the blade was not supported by the screenplay - which had been produced as a secondary sequence to the first emergency involving that prop - but it is still the finest tool produced for that movie on what is a dreadful realization of our corporeality. Inside of so many psuedonaturalistic designs, the blade prop in this film is in care of terms of a resurrection. Distinguished however from that veteran sequence produced in the first: where the blade was morally a line our favorite actor got to throw through who - it should be known - was not an unidentifiable character actor to a southern hemisphere. Nobody wanted this to happen, there is no way for this to not happen, everybody can see what’s about to happen, everybody already feels what is about to happen is going to take 17 years or some shit to make it all the way five movies: that being on the blade of a knife? That’s a could prop. 

Arrested Development 

You know yuuh I’m gonna put uh I’m gonna put the American family back in the uh back in the charnel house and I’m gonna make sure that I look at it really closely for how many of them are like uhhhhh holding onto basically what’s not a key for them cuffs. The situation here of course is that somebody blue went to church and the church being that, like, somebody wants to say I know what is a psycho, ~but then they can’t say what is off about it~ and now knowing that it is basically like, just make sure that defense is you’re it? Scary.

The stuff:

So about the propwork in this television series - too many of them were too hilarious to not form entire libraries of memes about. Fortunately this was a pre-meme code area: the hollowing out of that entire series for the popup shop emergence of that series’ best first prop was a terror attack. Not saying it hyperbolically but saying it how we can’t even make a show about that anymore for how much of that money is looking at overseas: that they are under developing people to build themselves a real estate on Mars is clearly understood by all the people who would be servicing their medical needs in their final act of living. The Bluths are the Nazis. And they put the bananna stand outside so that people would stop making fun of them. 

The Are You There Minute

Clearly you can say a lot about a movie. That’s not understated to state. Or even exhaustive of how much can be said. I hope rather it is demonstrative: whoever is watching a movie matters, whoever made a movie mattered, whoever is making them now is only able to make them from their good fortune. It’s not about going away from the movie with one good idea - certainly not about saying what it’s about. Everything is personal, even mass media, and it is toward my deep enthusiasm for the genres that I don’t call it a messenger. 

I don’t know what I want from you in a movie. Maybe I could say that on set - that I was practicing being able to say something really important to myself. The hold onto myself a movie could be is countering that Nazis made them very big. 

Wouldn’t sell if you had to. 

How To Make Combat More Like The Stunt Choreography in Action Cinema

First thing: Beyblade. 

The core component is: knock somebody’s dice off the table with your dice. 

Few things that shouldn’t even need to be said: don’t take a ruler out or make people sit where they are going to attack from. 

Things that could happen: you hit - or - you missed. 

You have to call the shot to know if you missed. 

Things that you could hit: a player-character - an enemy - or - anything else.

Things that can happen after you hit: the thing hit goes off the table, the thing hit stays on the table, the thing hit hits something else. 

If the thing goes off the table: it died. 

If you hit it and it’s still there: it takes damage. 

If you hit it, it takes damage, and it hits something else: that thing could die or take damage. 

So: hilariously: it is possible to miss so badly you die immediately. 

If you want to get wet with it the whole game is footwork: if you call the shot to move a friend’s dice, they get a damage multiplier and they go next. If you miss, they just go next. 

Some questions you may have: what about initiative? What about turn order? What about agility or whatever? What about ranged attacks? What about area effects? What about healing? 

You don’t have to hit your friend to heal them you can just heal them. 

You don’t have to throw a die to hit with a ranged attack just do it like normal. 

Area effects are dynamically about placing things in the environment that could change the footwork. Hold the fart cloud’s position with a shot of Jameson. 

It’s not a substitution for minis or scenery, though it could be: I’m thinking of it more like a billiards game that coordinates damage multipliers: as for like, how it could work as a picture of the exact combat scenario, I would say, you don’t have to know where every single thing in the room is - even how much of the room is a room doesn’t have to be known - how much of the room you needed to be there was just this much: it didn’t exist until a thing collided with it. 

How does this work for describing what happened: well, you bounced off that thing and you hit harder faster. 

A veteran player may understand that increasing velocities for insane crits is more fun. Also: we’ll all die if we all don’t hit with one insane crit is the job of the DM, because enemies should be like Dark Souls where they are one big bad motherfucker. 

The damage multiplier only lasts one round. 

The other implication is that people are mostly going to try to get closer so they can tip over the enemies dice. That means organically they will be constructing enormous damage multipliers. Constructed on incredible amounts of enormous mathematical detail -

B

 E
C

   A
  U

  S

E

It is going to go wet as hell when I say you have my axe and - somebody else is like, you have my scroll - other people like, shit I gotta get in on this, here is a shot off an arrow bow and we don’t even know which one of us is going to be the hitter but if we stop it definitely dies: make Zak Smith do more math than he can handle. 

Here’s the hypothetical: he’s over there - and we KNOW if we keep HELPING each other all of the math we didn’t want to do he’s going to have to do all at once.

This can go a lot of different ways but mostly the conversation will sound like is it okay if I hit your dice do you have a better plan and the DM is there to make sure nobody does something they don’t want to do. 

Treat a hit like a critical hit. Where we multiply your damage by the number on my d20. 

There’s no armor class.

Enemies have massive amounts of hit points. 

Just add armor class to hit points, there you go. Cool armor is still cool because of all the other stuff that’s cool about armor.