Wednesday, December 31, 2014

The Eightiseventh One

I’ll be honest. I have nothing to say for the New Year’s post. Nothing insightful, perfunctory, or worthwhile. In fact, I feel like I have less to say this time than I have previously. I actually looked at my previous posts for inspiration. Nothing. I’ve...I’ve got nothing. But that might not be such a bad thing.

I think I’ve figured this out a few years ago but I’m not a typical blogger and never intended to be. I’m just not comfortable sharing my bare body with the rest of the internet. I’d rather cover myself up in a silly short film or in an academic paper. You get more investment in both my personality and character this way than if I posted some pictures from my trip to the LA Zoo (which was really disappointing). But of course I wonder why I’m not that type of blogger and sometimes I wish I was. That’s all I can do, though, is wish. It won’t ever come true, but it doesn’t have to.

What is there to expect from this free web-hosted domain in 2015? More Initial Impressions (6 that I have planned so far, 1 that’s in the editing phase), more short films (at least 3 by the end of the summer), and much more Random Chatterings (an episode a week? No, but at least 2 a month) I’m always open to suggestions, though. This blog doesn’t have to be a representation of my ideas. I’d love it if people volunteered to submit their own writing or if you submitted ideas for Random Chattering episodes. I don’t expect the blog audience to expand further from everyone who’s reading this right now and if I’m going to be a happier person in 2015, I’m gonna have to accept that.

I don’t want you all to worry about me. I’ve got my problems and you have yours. If I exposed too much about my personal life, it’ll deflect from the overall purpose of the blog: to entertain you all as much as I can. If that means making an ass out of myself on film or by saying something stupid on the podcast, so be it.

Have a safe and happy holidays, everyone!

See you in 2015!

Yours truly,
Arlill “Arley” Rodriguez

The best YouTube channel ever: Arscribs Inklets
I often tweet video recommendations here: https://twitter.com/HHowardson
Oh, right, I have a Tumblr for some reason: http://randomscribblesblog.tumblr.com/

Sunday, December 28, 2014

The Presenters Box Set

It’s been two years since I put the final bullet into The Presenters’ body. For those who are new here, The Presenters was an animated sitcom idea I developed in high school. For 4 years, I would come up numerous ideas for episodes/story arcs involving the Howardson family, his best friend Tom Flouderman, and his boss, The Editor. I felt like it was about time to revisit the series for a nostalgic retrospective to see just how unproduceable this series would’ve been. For the first time, I’m compiling all 3 seasons of The Presenters in a single post, but I’m also including “commentary” on every single episode except those I’ve already written about. With that hasty introduction done, let’s begin!

Season 1

We are introduced to Harold and his family, 15-yr old son Hal and 38 yr old wife [Blank] Howardson, a quirky yet relatable bunch. An unexpected occurrence at Harold’s job causes Harold to get the opportunity of a lifetime.

P102-The Dinner Party 
Harold, a week into getting his new job, invites his only friend, Tom Flounderman and his boss known as the Editor, to his house for a dinner party. When neither Tom nor the Editor can show up, he hastily invites three random workers who pretend to be his new friends.
Commentary: This episode was meant to heavily highlight Harold’s insecurity, but most of the comedy would’ve been from Harold’s family’s interaction with the randos visiting his house. It was going to begin with a cute scene of Harold choosing between two different styled ties, hoping not to make a bad impression while his wife tells him, “You're 40.”

P103-The Double Date 
When Hal’s double date hits an unexpected delay, Harold and his wife take advantage and go on the double date instead. The date goes well until Hal and his mother get to an unexpected emotional breakthrough and discuss their feelings at an ice cream parlor. Meanwhile, Harold and Hal’s date, Shelley, go to a movie theatre and practice tongue kissing techniques.
Commentary: This is a weird idea that I can’t believe I wrote down. Shelley is a reference to a short story I wrote in high school.

P104-Abbey Road 
Harold gets a new assistant named Abbey Road and is oblivious to Abbey’s undying affection towards him until Abbey kidnaps Harold and locks him in a closet to be a part of a ménage a trois with Abbey and the local chess champion.
Commentary: This episode is very similar to Curb based on how a small incident grows larger in scale although the kidnap angle would’ve needed something quirky about it to be funny which is why I included the chess champion in the plot.

P105-The Therapist 
Harold begins his therapy sessions, discussing his many problems with nail polish and picture frames, until the therapist rudely interrupts him and mentions he is falling in love, and Harold tries to help him out. 
Commentary: Harold’s issues with nail polish and picture frames are based on potential ideas I had for a stand up routine in high school. The idea of Harold’s therapist having problems of his own was partially based on In Treatment, a well-made HBO series that was on the air at the time. The ending was going to be the therapist talking to Harold about how he almost asked out one of the women in the bar, only to inadvertently cause the bar to burn down, killing his date in the process. 

Harold gets into a car accident and is forced to walk down the 405 while trying to remember how the accident happened, trying to deliver an important package to the closed post office, and trying to deliver a gallon of milk for his wife.

P107-The Teaching Job 
Harold’s wife finally gets the teaching job at the local elementary school, and after some ‘advice’ from Harold, she begins her job. After two weeks in her seemingly blissful career, she winds up in the middle of a love triangle with the bisexual 1st grade teacher and the 4th grade teacher who’s been struggling to come out of the closet.
Commentary: This was the first episode to feature Harold’s wife in a prominent role. I should mention that I had a weird idea for a running joke that Harold’s wife’s name would be censored every time it would be mentioned.  I don’t remember how I came up with the love triangle idea except that I might’ve been trying very hard to comment on a topical issue. 

P108-The Book Tour 
Harold reaches unprecedented levels of success when his first animated short is posted on YouTube and is critically acclaimed by everyone. When the publicity tour is announced by the animation company, Flowers United, he is all but excited when he realizes he will be interviewed by Reader’s Digest. But he first must have an interview with Cosmopolitan which he is all but nervous about.
Commentary: This episode demonstrates how little I know about animation as a career, especially with the amount of wonderful animators on YouTube that get very little press attention. I made Reader’s Digest Harold’s favorite publication since I was both reading and collecting Reader’s Digest at the time. I remember when the library was throwing out old editions of Reader’s Digest, I made an effort to pack in as much copies as I could in my backpack, never reading a single one. They’re probably rotting in my Dad’s garage right now. The Cosmopolitan interview would’ve been very awkward since the interviewer would randomly insert questions about Harold’s sex life.

P109-The Assistant 
Harold is approached by Hal’s ex-girlfriend, Kiki, for a job during the summer and after being baffled by her ignorance towards animation, gets Kiki a job as his wife’s assistant. The choice unexpectedly ruins Harold’s reputation and his sex life.
Commentary: This was one of the last episode premises I came up with for Season 1. Unfortunately, I can’t remember exactly why Harold’s sex life would be ruined by Kiki. I probably just thought that would be a funny idea.

P110-The Funeral 
The family heads out to Michigan for Harold’s best friend’s funeral. Harold decides to change his eulogy into a standup routine that offends nearly everyone at the funeral.
Commentary: The episode begins immediately in Michigan with Harold reminiscing his friend’s life while still remarking on his questionable decisions to become a daredevil dying in the most funny way possible. Harold’s choice to try a standup routine would be meant to be an offensive tribute to his best friend for making impulsive decisions. Harold’s family would be run out of the funeral and forced to hide in an abandoned car in an elaborate parody of Night of the Living Dead.

P111-Impact at Mach 5 
Harold goes back to his old middle school to visit his art teacher. He listens to the selection of music offered by the class and is appalled. He promises to create a new mix for the class, which he enlists his friend Tom to do. Tom downloads a sound file called Impact at Mach 5 which ends up being an audio clip of a publicized sex tape.
Commentary: A really problematic idea that would work best as a short webisode instead of a 22-minute episode. The takeaway would’ve been the horrified expression on the art teacher’s face as she heard the moans and groans emitting from the speakers. This was based on how my high school art studio had a collection of student-made CDs that we would listen to while making our art pieces. A perverted tribute to simpler days.

Harold goes on a bus trip and winds up sitting next to his favorite actor, Tom Hanks and they have a long conversation about their lives.

P113-Pause, Go Get the Batteries 
Harold gets fired from his job due to an intense rivalry with renowned animator Reni Danlau, and Hal suddenly begins failing his classes. All goes well until a good-intended trip to Home Depot leads to a halt in the family’s future plans.
Commentary: Reni Danlau is based on someone from high school that I had a random aversion to, something about her demeanor bothered me for some reason.  

Season 2

P201-The Director 
The worst director in recent history begins filming his sci-fi epic of a city on the verge of being swallowed up by a black hole(a small one, however). After catching one glimpse of Harold and his co-workers in a childish argument about exit signs, he immediately hires them for the movie.
Commentary: I don’t remember if the director had a name originally but he was based on Uwe Boll, an infamous director who’s made awful films about video games. I always thought that film premise was one of the funniest ideas I ever came up with and wish that people can start photoshopping fake posters for this film. “ A Wrinkle in Time”, oh wait…that’s already a movie.

P202-The Dead Best Friend 
Harold, working on a long shift at Flowers United, suddenly sees his dead friend (buried in Season 1's The Funeral) right in front of him. Harold becomes horrified and tries to curse away the evil spirit, while the best friend tries to convince Harold that seeing him is worthwhile.
Commentary: I came up with this idea when I was working alone in the art studio in a late afternoon. When I’m sure I’m alone, that’s when I can improvise minutes of dialogue aloud. Sometimes I get weird ideas like dwarves calling someone a butthole, and sometimes I get something different. It was going to begin as an immediate parody of found-footage films like Paranormal Activity and play around with the idea of ghosts being able to talk back and argue that they shouldn’t be discriminated against for being scary. The second half was going to be a more existential discussion about the very meaning of life. The death of my professor, Antonio Candau, has inspired me to revisit this idea in a short film that’s still currently in the pre-production phase. 

P203-Animatorcide 
Harold's failure leads to a spiraling depression that leads to him making minimalist remarks of perfection. Since every animator at Flowers United knows about the mythic "animatorcide" that killed a famed animator, they keep a close eye on Harold to make sure he doesn't try to use it.
Commentary: This is already more serious in tone than previous episode ideas and I wonder how well it could’ve worked without hard- shifting into melodrama. Animatorcide is based on barbicide, the blue liquid barbers have that reportedly have been used for killing themselves. 
  
P204-The Writer 
When the studio realizes that their television program is on the verge of cancellation, they group together all of the writers for a show-changing brainstorm session. One writer isn't amused by the idea, curses everything in existence, and then quits. Harold goes on an impossible journey to replace him.
Commentary: I just wanted one scene of someone saying, “Fuck you. Fuck your mother! Fuck your father! Fuck your kids! Fuck your grandkids! Fuck the paint chips on your house! Fuck your fish that you won in a carnival! Fuck everything! I quit!” The scene would’ve been 2 minutes long. 

P205-A Weird One For Sure 
Hal finally gets his driving permit and drives around Los Angeles for two hours, celebrating. After a while, he drives in an unfamiliar neighborhood, and in a panic, drives in reverse into a homeowner's garage while the homeowner is still at home. The homeowner takes Hal in as a hostage until Hal is able to pay for a new garage door.
Commentary: I’ve heard many, many stories of people’s experience driving in high school and I had to do my own take on it. This is the first episode to heavily feature Hal as a character and would’ve shown him to be the polar opposite of his father. In actuality, Hal is based on my brother Gary Rodriguez. The hostage angle, in hindsight, seems to be very ridiculous which is probably why I went with it.

P206-The Cameo Spot 
Harold gets the opportunity to work on another channel to increase his notoriety. Unfortunately, it requires a cameo on a television program he hates with a star he despises. When Harold tries to switch places with Tom and fails, he gets into a childish argument with the star and accidentally exposes the star's homosexuality.
Commentary: Around this time, I was watching a lot of Disney Channel. They would always feature the “hit” pop artists and their sitcoms would be the most formulaic material since Full House. I thought it would be funny if an awkward character like Harold was forced to interact with the hyperactive Disney Channel-like machine. Of course the person Harold would argue with would be based on Justin Bieber. It couldn’t work with anyone else, surely. 

P207-Wellesian Connection 
Harold meets an ambitious voice actor who notices Harold's stress and suggests he tries some weed. Harold refuses and sees the actor's vocal performance, only to realize he's become attracted to the actor's voice.
Commentary: At this point, I wanted to highlight different aspects of the animation process with this episode focusing on voice-work. The idea of someone falling in love with someone’s voice was inspired heavily by Morgan Freeman’s God voice which can move mountains if it really wanted to. Wellesian Connection is a direct reference to director and really sad Hollywood story, Orson Welles.

P208-A Nightmare Someone Else Had 
After a long and frustrating day, Harold daydreams about meeting up with famous figures from horror movies(Chucky, Jason Voorhees, Alien(as a joke)) that ruined his childhood. It leads to a therapy session that the nightmares remorsefully give him.
Commentary: At the time, I hated horror movies with a passion and it all stemmed from my childhood experiences dealing with my fear of Chucky, the star of the Child’s Play films. When I would be taunted constantly by kids in elementary school calling me a baby for being scared of a doll that fucking kills people, I would go home to a father who warned me that Chucky is hiding under my bed and waiting to strike. Good fucking lord, no wonder I had to go to a therapist in 5th grade to finally deal with all this. This episode would have properly dealt with my childhood trauma while also poking fun at my own admittedly heightened hatred of the horror genre. I’ve since watched the first Child’s Play and want to watch more, just to see how much more ridiculous the series gets.

P209-Wait, Say That Again? 
Harold, who decides to walk in on the animators working, meets Arlill Rodriguez, a 25-yr old animator brimming with possibility. When Harold recalls their first meeting, he begins to realize that it might be a reincarnation of him, a theory everyone dismisses. Harold's suspicions are heightened when Arlill refuses to open the door for him.
Commentary: This episode is more meta than I can handle. This only becomes more complicated considering that Arlill was my American name that I used instead of Arley since, for whatever reason, Arlill is easier to pronounce in English, only to find out that Arlill was, and had always been, my birth name. This is on top of considering how the character of Harold was meant to be an exaggerated version of myself that exists in The Presenters universe. It’s so meta that I’m creating a dimensional paradox as I type this up.

P210-Flowers United Inc. 
Harold is woken up by a sudden phone call from The Editor. The Editor blames Harold of not being a team player, so Harold is forced to leave his house early to go to work. Arriving, he's surprised to see that no one is there except the Editor who sits in his disorganized office. Harold works on the filing while the Editor regales him on a tale of just how Flowers United was established.
Commentary: Considering The Editor’s name, you can already imagine exactly what his personality is like, and yes, it is a carbon copy of J.K Simmons’ performance as J. Jonah Jameson. Like “A Weird One, For Sure”, this episode was meant to expand on The Editor’s character by unveiling how exactly the startup animation company came to be. In general, it would’ve been a parody of the Walt Disney origin story although The Simpsons’ send up of that is much funnier than anything I could’ve done. I vaguely remember one conversation between The Editor and one of his associates talking about how roses are whores and tulips are like the Virgin Mary but I don’t know how that would’ve fit with the rest of the episode.

P211-The Bartender 
Harold slips out of the office one day, and sneaks into a bar where he meets a bartender who hates people but wants to become a barber. The bartender's existence fascinates Harold and Harold gives him his contact information. After a week of no replies, the bartender begins stalking Harold.
Commentary: This is one of the earliest episode ideas I had but I thought the audience needed more time with Harold as a character for the idea to work.  Given the somewhat absurd setup, I’m not sure how I could’ve ended the episode.

P212-The Awkward Conversation Between Two Boys 
Harold notices his son Hal is finished with his homework and is now watching TV. Harold uncharacteristically walks up to Hal and begins asking him about every aspect of school, including awkwardly enough, Hal's past romantic experiences which Harold can recite from memory and in consecutive order.
Commentary: Very similar to “A Trip With Mr. Hanks”, the episode would begin familiarly with the Howardson family talking at the dinner table. Harold’s wife would encourage Harold to try to talk earnestly with his teenage son, and Harold would begrudgingly walk over to the living room. The rest of the episode would focus on a single conversation between Harold and Hal. This episode would be a challenge of its own to attempt to both develop the characters and create an entertaining conversation that could last 20 minutes. I don’t know if any writer could pull this off with gusto.

P213-The Sandwich 
Harold meets up with Sarah, an old friend from high school who wants to break out as a voice actress. As they're having lunch, Sarah suddenly leaves in a hurry. She leaves her sandwich behind, completely untouched, and Harold becomes tempted to eat it. He slowly slides the plate towards his side.  Looking left and right, he takes a bite and has an orgasm. Harold wonders if it was the fact that she made the specific order or the sandwich itself that made his body react so strongly.
Commentary: I had a very long crush on someone called Sarah in high school and only her transferring to another school was enough to eventually get over it. This episode was my twisted way of both dealing with the crush and riffing on cafe scenes in general. A very Seinfeld-esque idea.

Season 3

P301-The Secret to Human Interaction 
Harold discovers his wife has been drinking to alleviate her stress of being married to him. When he notices how much easier it becomes to talk with her, he applies this knowledge to become more sociable and irritable.
Commentary: I thought that it was weird that after 2 seasons, I hadn’t dealt with alcoholism yet. My family has had a very long history of alcoholism so I wanted to have an entertaining premise that never became an after school special about alcohol. There would always be a running joke of Harold talking about how he doesn’t know why his wife ever married him and this episode would finally answer that question while also dealing with Harold’s insecurity head-on. I always thought that if I ever started drinking, I’d be an angry drunk. Turns out I’m an offensive drunk. Make of that what you will. 

P302-When Harold "Somethinged" Marcy 
Harold tries to become more open with the writers at Flowers United and befriends one of the main writers, Marcy. After Harold inadvertently damages Marcy's reputation, Harold tries to apologize by pretending to be Bruce, her "secret" admirer.
Commentary: The series still had not introduced a comic foil for Harold yet, the Squidward to Harold’s Spongebob, but I thought it would be funnier if Harold inadvertently bothered Marcy or offended her accidentally. Marcy doesn’t really have much of a personality beyond that, though. I loved her as a character, however, so I tried to come up with episode ideas involving her, none of which ended up in the final version of Season 3. The title is a reference to When Harry Met Sally.

P303-Cannibal Kittycat Killers 
Harold's parents drop by much to the dismay of The Howardsons. Harold unpacks his parents' luggage and finds a stolen Francis Bacon of kittens being mutilated. Harold rushes to his car to return the painting while his parents chase after him.
Commentary: This idea was co-written by Gary and was the very last episode idea we came up with. We were struggling to fill up the season with 13 episodes and just went with any crazy idea that seemed “Presentersy”. We hadn’t introduced Harold’s parents yet and rather than just make fun of my parents’ personalities and shortcomings, we instead decided to make them insane master thieves.

P304-The Contradiction 
Hal gets accused of being a slacktavist at his high school. In a moment of desperation, he decides to live like a homeless person for 1 whole week.
Commentary: Slacktavism is a common criticism people have of activists only working through social media but not actually doing anything substantial. Examples include change.org and their petition format, and the Ice Bucket Challenge. I do notice this when people have an important issue they want to address but first they must raise awareness of the issue in many ways including, most notably, colored ribbons. The description doesn’t adequately explain why Hal makes his choice. A big mistake on my part.

Harold, in a Dante's Inferno-like journey, has his atheism challenged by none other than the devil himself who enjoys elaborate dance sequences. 

P306-Academic Viewing 
Harold goes to the Sundance Film Festival and drags his son Hal along with him. While Harold "researches" the animated films on display, he discovers Hal's obsession with exploitation films
Commentary: Structurally, this episode would be very typical despite pairing up Harold and Hal again. This would be another episode that would revel in the film references and heavily parody the selection of films that are usually shown at Sundance. Many of us can relate to the first time we had to talk to our parents about masturbation (unless you were the lucky few who got away with it) and I wanted to have this moment in the series but with exploitation films in place of masturbation.  

P307-Acceptance 
With the holidays quickly approaching, Harold wishes to brighten up his cowokers' spirits by inviting them to a "Coexist" dinner. His curiosity gets the better of him when he accidentally riles up everybody's stance on their respective religions.
Commentary: This episode feels very Curbish especially with the promise of a loud argument between everyone. Cynical people can definitely find something ridiculous and patronizing about Coexist (and Coexist bumper stickers), but with this being the holiday special, it would’ve ended with a positive outlook on the issue and everybody hugging their issues out…unless the test audiences were instead looking for a huge brawl to break out. 

P308-Harold Meets a Time Paradox 
Renowned performance artist Daniel Plainview visits his newest exhibit at the local art museum. Harold anxiously meets Daniel and as a sign of good faith, criticizes Daniel's work fairly although Daniel takes the criticism very personally. 
Commentary: Who saw There Will be Blood?! Yeah, I did, too. After seeing DDL’s mesmerizing performance, I had to include his character in the show somehow and came up with this ridiculous idea of Daniel Plainview existing in modern times. Now I can make my own milkshake reference! I wanted to go beyond that and make Daniel a threatening character to Harold, going so far as to vandalize Harold’s desk and interrupt Harold’s presentation.    

P309-The Council 
Harold learns of a supposedly good animated film called The Council which has been banned for nearly 50 years for its approval of bisexual polygamy. Harold and Tom plan a public screening of The Council while his wife and his son, Hal, unbeknownst to him, try to sabotage the screening.
Commentary: Bisexual polygamy. Has that ever happened? Animation is no stranger to controversy and this episode would be a love letter to every controversial issue animation, as a genre, has ever faced. It would’ve included references to the Censored Eleven, war-era propaganda cartoons, Ralph Bakshi’s entire filmography, and other notorious shows like South Park and Family Guy. The episode would also make its own stance about free speech except nothing on the level of South Park’s 201. I didn’t have a real reason that Harold’s family would try to delay the screening. I just thought that would’ve been an interesting conflict to have.  

P310-The Motivational Speech 
News of Flowers United getting into a financial crisis depresses everybody. A well-intended motivational presentation has the opposite effect on everyone, including The Editor who decides to pursue his life's dream of becoming a controversial issue.
Commentary: Everything about this episode seems very lazy but necessary in parts. This is very similar to the last season of the Larry Sanders Show but in this case, everything happens very suddenly and has the illusion of building up to something huge. 

P311-Harold Howardson's Wife 
After two and a half seasons, Harold's wife embarks on a journey to find out what her actual name is or at least to beat up the censor who's been bleeping out her name.
Commentary: The strangest running joke in sitcom history is finally addressed. This began very lazily at first since I didn’t know what Harold’s wife’s name should be so I decided it would be bleeped out although the characters would speak normally as though nothing was different. It would be the only information that would be deliberately kept from the audience although others could perceive it as an unnecessary draw for controversy. I felt that, since this was the last season, it would be worthwhile to finally name Harold’s wife while also giving her a full-fledged episode. It would’ve been another challenge to continually break the fourth wall without being obnoxious about it.

P312-Presenting This Man and His Comedy 
Harold performs at a comedy club and debuts his 20-minute routine. 
Commentary: I put this episode at the end of the season because I knew how different it was going to from any other episode and how difficult it would be to execute an animated comedy special. As it turns out, comedian David Huntsberger was able to successfully kickstart an animated comedy special so this proves it can be done!

P313-Nazi Sensibilities 
In a desperate attempt to save Flowers United from bankruptcy, The Editor begrudgingly approves the production of Nazi Sensibilities (NS), Harold's ambitious short film. Notice of the studio's closure creates a lot of tension during NS's production and everyone but Harold, Tom, Marcy, Reni, and The Editor decide to abandon the project. Meanwhile, Hal is transferred to a private boarding school for his academic excellence. Harold and his recently named wife, Elizabeth, prepare Hal's luggage and drop him off at the airport. As Harold and Elizabeth return to their home, now lacking of their son and his possessions, Harold gets a phone call from The Editor. The phone call prompts Harold and Elizabeth to have one more conversation together.
Commentary: Both the longest description and the longest episode, this one would’ve tried its best to wrap up the entire series in a satisfying way which is a nearly impossible task. Thinking about it now, it doesn’t make much sense to approve an expensive animated project when your company is almost bankrupt. The tone for this episode also seems to be more serious than even “Animatorcide” and I can only imagine how suffocating it would be for a comedy to be deadpan intense on its last run. I also think that Hal going to boarding school is a lazy way to introduce more conflict for the Howardsons. The final conversation between Harold and Elizabeth was a callback to the experimental episodes of the series like “My Trip With Mr. Hanks” and “The Awkward Conversation Between Two Boys” and felt like an appropriate end for the series, even if the lead up to it wasn’t. The final shot would’ve been Harold and Elizabeth, sitting on their couch, embracing each other closely as the camera moves back slowly until cutting abruptly to black. 

Happy holidays, everyone.

For more Presenters stuff, check out the “Mental Notes” about unused episode ideas. If you want to check out a brief web-series that wasn’t just an idea, check out Awkward Arley on my YouTube channel, Arscribs Inklets!

Thursday, December 4, 2014

Plastic Badges



Hey everyone! I'm aware of how late this post is but there's a few reasons for this. Unlike other projects I've done before, I've had the most trouble trying to recall everything that went into the making of this short. I also believe that I might misrepresent everyone who worked really hard on this short so I think it would be premature to type anything elaborate about it. Despite this, I've talked about this short twice before:

[Commentary with Gary Rodriguez and I]

[Random Chatterings-Episode 9] (1:53-6:30)

If anyone has any other questions about it that the previous 2 links don't answer, please feel free to leave a comment down below.

Friday, November 21, 2014

The College Student: Concentration


The idea for this short came up when I was trying to work on an essay for one of my classes. I usually listen to video game soundtracks to keep me focused on these suffocating assignments. One time, I was listening to a mix of music from various Nintendo games and soon as I heard Moo Moo Farm from Mario Kart 64, I had to take 2 minutes of my time to dance like an idiot. The child-like energy came by really suddenly and left just as quickly. 

I sat on the idea of making a zany short where you see me become euphoric when the music starts playing but I wasn’t sure if the idea had enough substance. On my desk are two toys from my childhood: A Woody doll I bought for $2 at a garage sale and a Sonic toy I bought at a comic book convention in 8th grade. I’ve brought these toys for every single semester of college but because of various life distractions and obligations, all they have ever done is stand awkwardly against a wall or on my alarm clock. They were just what I needed to make the short work. 

The original idea had the College Student(CS) character dive quickly into madness with the music playing although the space around him would reflect on his bleak lifestyle, with brief shots of an unmade bed, debris all over the room, and in hindsight, a depressing shot of someone texting him “STOP CALLING ME”. The original ending cuts from CS leaping in the air with his toys to a medium shot of the back of his head intently typing on the desk, with subsequent shots showing how isolated he is from everything else, and how the toys he interacted with are nowhere to be found. I shared this concept with one of my suite-mates who was worried about how I always injected depression in everything I work on and was troubled by how depression was the punchline of the short.

I retooled the entire idea and tried to maintain a purely comedic tone, making sure that filming the short was as loose and fun as possible. Because of how silly the idea is, I wasn’t completely sure if I was going to follow through with it, especially since the semester's almost over. 
It was exactly that realization that caused me to take action since, in the past, waiting guaranteed failure. I certainly felt more relaxed filming this than any other project since the focus was on having fun, and I hope that is displayed in the short. I also gave myself some technical challenges to deal with such as making sure the edits were rhythmically in tune with the song and that I was able to have all three of us (Sonic, Woody, and I) onscreen for the penultimate shot. My biggest challenge, though, was pushing down my pretentious filmmaking attitude and telling myself, “Don’t take this seriously. This is supposed to be silly.”

This is, perhaps, the most fun I’ve had working on a project in a long time.  Completing this has already got me excited to write and film more ideas, including a shelved idea that I think deserves a second chance. I won’t mention what it is since it’s better to receive surprises (and it puts less pressure on me). Although I do act like an idiot in the short, I wanted to make sure that this could make anyone in the college community, CWRU or otherwise, suffering through projects and exams take a breather for a short while. We don’t have to take everything so goddamn seriously all the time. Sometimes, we just need to play with our toys.


Music was created by YouTube user Bulby. His channel is filled with fantastic remixes of classic video game music and he even has has his own EP, Bite the Bullet, on his Bandcamp page. Check him out when you've got the chance!

Friday, November 7, 2014

The American Neurotic Jew in Annie Hall and Zelig

Originally written on November 17, 2013.

It might be really hyperbolic to declare that this paper was the one I was born to write. But goddamn it, I was born to write this paper. Woody Allen is one of my heroes despite the many controversies that have surrounded his career, and his constantly entertaining and intellectually stimulating films present a sophisticated approach to comedy, one I can only help to reach in my career. (I’ll now take a break to film myself dancing like an idiot). Okay, I’m back. Oh right, context. I wrote this paper almost a year ago for my Jewish Image in Popular Film class. It’s one of the few papers I’ve written in college that I loved doing from beginning to end, relishing the days I could type up the next page with the enthusiasm that I have filming my silly projects. We were assigned to write about any kind of aspect of Jewish culture in relation to film. The first thought that popped into my head was “Woody Allen”. “Woody Allen.” Originally, this paper was much more ambitious as I wanted to talk about 3 films, but when I remembered I only had to write 10 pages, I stuck to just Annie Hall (1977) and Zelig (1983) as potential films to examine. I was lucky enough that I discussed Zelig the previous semester for a Comic Film class so I had my sources ready. I don’t why it’s taken this long for me to finally post it on the blog, but I’m glad that it’s finally here, after numerous re-edits. Brace yourselves, this is a long one.     

          Woody Allen is one of the most renowned Jewish filmmakers still working today. Beginning as a comedy director with many very broad Marx Brothers-like parodies, his nearly 40 year long career has seen him delving into different topics and situations that make it difficult to predict what his next film will be. Many agree that Allen's departure from broad comedies and into a more serious kind of comedy led to a development of Allen as a distinguished filmmaker. What Allen cannot completely remove from his reputation is that he was one of the funniest Jewish comedians in the early 60’s. The Woody Allen archetype of the neurotic Jew had been seen in many films since Allen began making comedies like Take the Money and Run but that might be one of the reasons why Allen tried to expand his abilities as a filmmaker and abandon the persona that endeared him to many audiences at the time. Critics note this departure after the release of his Oscar-winning film, Annie Hall, released in 1977 (1). The comedy in Annie Hall is derived from the characters, rather than extraordinary situations, and the grounded reality that the film both displays and takes advantage of due to the amount of times Allen breaks the fourth wall. Allen was aware of the success of Annie Hall but became resentful of it, especially with the amount of critics who claimed it was an autobiographical film. 6 years later, Allen made Zelig, a film which criticizes the culture that made him successful in the first place. Annie Hall's popularity was such that Allen's characterization became a cultural hero amongst the many other classic characters of cinema. This had a two-pronged effect, however, giving audiences another template to perceive Jews, leading to the contemporary variation of the neurotic Jew stereotype. Allen, in both Annie Hall but especially in Zelig, analyzes the culture that both canonized his character and oversimplified it to allow the neurotic Jew stereotype to become a part of the American culture.

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          Annie Hall is considered as Woody Allen's first foray into a more serious form of comedy and this is shown via the characterizations and the more broad vision depicted in Annie Hall. Woody Allen plays Alvy Singer, a middle-aged comedian, who leads the audience through the ins and outs of his relationship with Annie Hall, played by Diane Keaton. Vincent Canby, in his review of the New York Times, details how the experimental format of flashbacks, brief animated segments, and Allen's direct monologues to the audience are parts of "Alvy Singer's freewheeling, self-depreciating, funny and sorrowful search for the truth about his on-again, off-again affair with a beautiful young woman who is as emotionally bent as he is”. (2) Allen, unlike his more bombastic and entertaining comedies, focused himself in Annie Hall. The film goes in excruciating detail over every aspect of Alvy and Annie's relationship but does not detail specifically as to why the relationship eventually ends. The film's success exists in how it treats the relationship as a mature and adult complication that does not reduce itself into a simplistic melodrama. Allen shows the many relationships as they happened and how both sides were at fault to their eventual end. The film's realistic portrayal of relationships was a part of its mass appeal, but the American culture latched onto Allen's inimitable character of Alvy Singer. 
          Woody Allen's character of Alvy Singer is unabashedly Jewish yet has nuances that makes the character distinctly a Woody Allen character. Alvy, as a comedian, makes many intellectual observances about the world as a whole yet also constantly questions the necessity of life ever since he was a child knowing that the universe would spread apart in billions of years. Alvy's comedy routine is his public forum for his theories and ideas but he does not limit it to only that audience, but also the audience watching the film via his brief monologues to the camera. While Allen does not strictly attach himself personally to Alvy's character, David Galef, in his essay, Getting Even: Literary Posterity and the Case for Woody Allen, notices that "Allen's image, it turns out, is quite carefully cultivated: straddling know-ing and knowledgeable, hapless yet hip-in short…" (3) In this sense, Alvy Singer and Woody Allen are almost inseparable except if its considered that Alvy is a character that Woody Allen plays instead of an autobiographical depiction of himself. According to Don L. F. Nilsen, this is not the case. Nilsen, in his essay, Contemporary Jewish-American Authors, notices the trend Allen constantly portraying himself as " a bumbling Jewish neurotic with thick eyeglasses and a sad expression on his face. He has obsessive worries and guilts, a tentative voice, and various physical mannerisms like shrugs, quivers and hesitant pauses.” (4) The autobiographical aspect is questioned with how similar Alvy's life is similar to Allen's upbringing as a comedian but the audience viewing the film cannot help but have difficulty separating the character of Alvy from Allen himself. Ruth Perlmutter, in her essay, Woody Allen's Zelig: An American Jewish Parody, observes how "[Allen] is forever playing with the tension between star status and his own self-berating position as the typical schlemiel-that is, the bumbling inferior Jew…" (5) Allen begins to challenge the audience's perception of his Jewish characterization via his own character's insecurity with anti-Semitism. 
          Annie Hall directly acknowledges the American public’s tendency of simplifying Jewish cultural aspects via Alvy Singer's observations of the culture's perception of Jewish people. Alvy constantly tells his movie-star friend Rob, played by Tony Roberts, about how the culture sees him first as a Jew then as a person. Alexandra Heller-Nichols, in her essay, If Life Were Only Like This: Truth, Love and Annie Hall, details Alvy's perception of himself when he speaks to Rob as they walk over to the tennis courts: "Alvy has no illusions about the city, and even jokes about its perceived difference from the rest of America: 'Don't you see the rest of the country looks upon New York like we're left-wing, communist, Jewish, homosexual pornographers?'...'I think of us that way sometimes and I live here’”. (6) He is aware of the public's perception of himself as a Jew based on his physical traits and behavior. Alvy's anxiety leads him to think that someone, who he has a meeting with, was saying "Jew" instead of "you". Alvy is also guilty of stereotyping someone, specifically his first wife, Allison Portchnik, played by Carol Kane. Alvy meets Allison at a public rally and goes on to describe everything he notices about her in excruciating detail that even he notices that he been rambling on for too long. Allison responds by saying, "That was wonderful. I love being reduced to a cultural stereotype." Here, Allen demonstrates how ridiculous typecasting is and how its constant use makes it difficult to reject its effect and, in Allison’s case, relish it as well. In another blink-or-you-will-miss-it moment, Alvy has dinner with Annie's relatives, including Annie's anti-Semitic grandmother, who briefly pictures Alvy as a Hassidic Jew. This depiction of Alvy is a very ignorant and fear-mongering portrayal of all Jews with the impression that they do not change with time. Allen's choice in depicting himself this way is an aspect of self-depreciating humor that's regularly recognized as a Jewish trait.
          Alvy Singer can be described as an inherently Jewish character although this perception of his humor is also perpetuating the stereotype of the neurotic Jew. Woody Allen's character has been considered as a Jewish character because of the many jokes he makes about himself. Allen, as understood by his birth name of Allen Stuart Konigsberg, was born a Jewish person and the characters he portrays are similar to the schlemiel. Nilsen describes the schlemiel as " vulnerable and inept...not saintly or pure, just weak. But he is highly symbolic of Jewish culture. The Jew, like the schlemiel, has traditionally not been in a position of strength, but has allowed humor to turn his weakness into strength”. (7) Alvy Singer does make up a lot of the traits as described by Nilsen but this limits Alvy's character into a template that ignores other aspects of Alvy's character like his diffidence in terms of sex. Joseph Mintz, in his essay, Stereotypes of Traditional Jewish Humor, perceives that "the 'uniquely Jewish' psyche is a fallacy of the same order as those that allow...the proliferation of Jewish stereotypes. It is generally agreed upon that there is no biological basis for the idea of race, and the idea of a "Jewish mind" is certainly a racist idea”. (8) In every subsequent characterization of a Jewish male, each of them follows the same template of the schlemiel as depicted with Alvy Singer's character. With this type of simplification, the culture latches onto Alvy Singer as the go-to portrayal for most Jewish males and hence, another simplified way the culture can observe the Jewish people. As Mintz mentions, "...the notion that Jewish humor is a uniquely self-deprecating tradition is itself a cultural stereotype". After Annie Hall, it would be 6 years until Allen directly referenced the nature of the American culture in his mockumentary, Zelig.  

Video by Laura Ranzani

          The film, Zelig, released in 1983, has a documentary-style and that also applies to the performances depicted in the film. (9) The film alternates from black and white archival footage to color interviews of people who either knew Leonard Zelig, played by Woody Allen, or discuss Zelig's cultural and historical relevance. Allen's performance of Zelig is very restrained in comparison to Alvy Singer who gets the majority of attention in Annie Hall. This allows the film to construct an idealized vision of who Zelig really is. Leonard Zelig becomes a more enigmatic character via the countless amounts of black and white photography showing Zelig metamorphosing into the people he is around. Perlmutter notes that Zelig "can change color, time, space, and dialect, thus personifying the comic's ability to defy natural and physical laws with his body distortions. Zelig can swell, dislocate, and forever adapt”. (10) The only fully formed character is Eudora Fletcher played by Mia Farrow. Farrow plays a determined psychiatrist who is the only one who sees Zelig as a human being and wants to cure him of his unusual condition. Eudora's involvement with Leonard humanizes her from every other character including the narrator, voiced by Patrick Harris, whose narration involves him in Zelig's exploitation as much as anyone else caught in the Zelig craze. Zelig details Leonard's life in an approachable format that is easy for the public to digest but, at the same time, disguising it to portray what the public wants to see.
          The film Zelig knowingly chooses certain aspects of Leonard's life to highlight and expunge the culture's approach to glorifying its heroes. Leonard Zelig is a major departure from Allen's other characters. In his review for Film Quarterly, Robert Greenhut notices that, though" the title character takes his place among the neurotically self-deprecating comic-romantic protagonists of Allen's films, Zelig is perhaps the most distanced figure in that group”. (11) Discussion about Zelig begins with other intellectuals talking about his cultural relevance and impact and the film deliberately waits until a few minutes in before Leonard is allowed to speak and even then, he believes that he is a psychologist so the audience is delayed even further to Zelig's actual personality. The film is not only about Zelig; it also follows the struggles of Eudora Fletcher who is seen smoking by herself in some brief camera shots that are voyeuristic in nature considering how Eudora's private moment is now exposed to the audience against her wishes. The documentary begins tracing the growing relationship between Leonard Zelig and Eudora Fletcher as a way of understanding the fantastical scenario of a human chameleon. Perlmutter notes that "Zelig's uncanny ubiquity challenges the foolish consistency of trapping a central figure within a single-line discourse. The film thus interrogates the classical method of wooing the audience with the logic of sequential flow, progress toward closure, and other structures that propel invested characters along a narrative trajectory”. (12) Nevertheless, the film is about Zelig's extraordinary ability although Allen makes constant allusions to how Leonard Zelig is an allegory for the American Jew.
          Zelig’s ability to morph into a different character is very similar to the actual dilemma of Jews trying to assimilate in America. Throughout the film, the audience learns of Zelig's motivations for trying to change into a different person. Zelig first gains his ability after he is startled by someone and transforms into that person to make himself feel more comfortable. Perlmutter notes how Zelig's eagerness "to be absorbed into the dominant culture...epitomizes the dilemma of the American Jew who wants to change his or her ethnic envelope in order to be socially integrated”. (13) This idea is highlighted further when Zelig can successfully transform into a black person and, as the narrator states, as an "Oriental". Seeing Allen in blackface immediately recalls the difficulties Jewish people had in the early 20th century trying to succeed in the entertainment industry and the only way they could ever get any work is by performing in blackface. As Greenhut notices, "the conformist impulse leads Zelig to become a Nazi in Hitler's Germany: as such he is not only "the ultimate conform-ist" but also a bitterly ironic comment on the Jew who, in the words of one of the film's Reds-like "witnesses," "wanted to assimilate like crazy”. (14) Zelig's success could not have happened if it was not for the wanton desire of the culture to cash in the Zelig craze.
          Zelig becomes an unusual mockumentary when the audiences notes just how charged American culture became with its rampant obsession with Leonard Zelig. The brief interview from academic intellectuals only hints at the impact that Leonard had in America during the apex of his popularity. Not long after, the film's narrator talks about the immense amount of products and advertisements that plastered Zelig's image almost everywhere. This was the result of Zelig's uncle manipulating Leonard from the beginning of his life, including keeping Zelig in a cage in a carnival where he could seen along with the other “freaks”. Perlmutter discusses how "[t]his character hybridization–Zelig as both a freak (societal deviant, exceptional man with a unique identity) and a conformist (loser of identity) fed to the consuming public–reinforces a view of parody as a modal barometer of the social self”. (15) The public puts both Zelig’s achievements and his failures into view. Zelig's personal life becomes the source of scandal and the public's shifting views of him as a hero or as a scoundrel depend entirely on what their moral viewpoints are. For example, Leonard is forced into exile once allegations of women he slept with begin to turn up and the public vilifies Zelig’s adultery. Simply put, Zelig is at the mercy of the public's view and his survival is dependent on what their opinions are of him. Greenhut states that "...Zelig is also the bewildered and dehumanized victim of a society in which he is alternately glamorized and vilified, glorified and institutionalized, celebrated and commercialized, liberated and "fine-tuned," commemorated and forgotten”. (16)
          Throughout Zelig, Allen finds many opportunities to put the culture's values into question into understanding why they misused Leonard Zelig. The documentary itself is guilty of exploiting Zelig. During one of the interview segments, a TV personality interviews Eudora Fletcher's mother. Every one of his questions has a positive inflection to it but Eudora's mother could not care less about her daughter's notoriety and tells the interviewer how much she hates her daughter much to the interviewer's chagrin who cuts the interview short. Here, the film details the culture's obsession to only wanting to observe a digestible aspect of the story and ignoring the most humane ideas that flesh out Zelig as a character but does not reduce him to a novelty. Perlmutter notices that "[Allen's] mockery of the movies' promotion of fandom, imitation, and fantasy and a preoccupation with his status as an American Jew [is] inserted into and engulfed by a problematic culture”. (17) Allen, throughout the film, pinpoints the viewers to Zelig's reputation and public image existing only because of his ability to transform into other people, a remarkable yet simplistic feat. Allen also chose to have his spoken character reduced to only a few short segments as the legend of Leonard Zelig grew. Here, Allen notifies to the audience how the public's view of ideas is the only one that matters, no matter how general it is. Allen is aware of his neurotic Jew personality that lead to stardom but also notes how the public chose to exploit that character in order to simplify the culture's view of male Jews, bringing back into mind how Annie's anti-Semitic grandmother immediately viewed Alvy as a Hassdic Jew and nothing else. Even the film, Zelig, acknowledges this at the very end once Zelig and Eudora are reunited and the camera chooses not to follow them when they stroll behind their house, out of the public's eye and out of the audience’s as well.
          Woody Allen has explored many different themes and genres since directing Annie Hall almost 35 years ago, going far beyond his character of Alvy Singer with the interest of exploring different assortments of characters. Allen never completely abandons his schlemiel character, playing a director who falls in love with a TV producer in Crimes and Misdemeanors (1989) but his treatment of the character in Zelig demonstrates Allen’s acknowledgement of the character’s effect to the culture yet challenges himself to go beyond the character and the culture’s simplification of the character. Allen, as a Jewish filmmaker, did not hesitate to present aspects of his culture or his insecurities and that alone is an admirable accomplishment considering how, beyond the simplicities of the schlemiel, Allen’s characterization harkens on difficult themes of death, philosophy, and identity. Once the American culture can notice these characteristics, a more intellectual discussion of his films can begin.

Works Cited: 
(1) Annie Hall. Dir. Woody Allen. By Woody Allen and Marshall Brickman. Perf. Woody Allen, Diane Keaton, and Tony Roberts. MGM Home Entertainment, 1977. DVD. 

(2) Canby, Vincent. "Annie Hall,' Allen at His Best" New York Times (1923-Current file); Apr 21, 1977; ProQuest Historical Newspapers: The New York Times (1851-2009) pg. 77. 17 Nov 2013. 

(3) Galef, David. "Getting Even: Literary Posterity and the Case for Woody Allen." South Atlantic Review, Vol. 64, No. 2 (Spring, 1999), pp. 146-160. Published by: South Atlantic Modern Language Association. JSTOR. 17 Nov. 2013 

(4), (7) Nilsen, Don L. F. "Humorous Contemporary Jewish-American Authors: An Overview of the Criticism.” MELUS, Vol. 21, No. 4, Ethnic Humor (Winter, 1996), pp. 71-101. Published by: Oxford University Press on behalf of The Society for the Study of the Multi-Ethnic Literature of the United States (MELUS). JSTOR. 17 Nov. 2013 

(5), (10), (12), (13), (15), (17) Perlmutter, Ruth. (1991). “Woody Allen's Zelig: An American Jewish Parody”. A. Horton (Ed.), Comedy/Cinema/Theory, (206-221). Berkley, CA: University of California Press.   

(6) Heller-Nicholas, Alexandra. "If Life Were Only Like This: Truth, Love And Annie Hall." Screen Education 70 (2013): 94-97. Film &Television Literature Index with Full Text. Web. 20 Nov. 2013.

(8) Mintz, Joseph. “Stereotypes of Traditional Jewish Humor”. Case Jewish Studies E-journal, Vol. 2, No. 2 (December 2009), pp. 3-4. Published by: Judaic Studies at CWRU. PDF. 17 Nov. 2013

(9) Zelig. Dir. Woody Allen. By Woody Allen. Perf. Woody Allen and Mia Farrow. Orion Pictures/Warner Bros, 1984. DVD.

(11), (14), (16) Greenhut, Robert. "Zelig by Woody Allen; Review by: Peter Hogue and Marion Bronson". Film Quarterly, Vol. 38, No. 1 (Autumn, 1984), pp. 28-31. Published by: University of California Press. JSTOR. 17 Nov. 2013

Tuesday, November 4, 2014

Initial Impressions: FEZ (2012)

Initial Impressions is not meant to be a review. Instead, it’s a structured stream-of-consciousness piece detailing my observances, complaints, and revelations after experiencing different forms of media.

Video by Howcast Gaming

FEZ is one of the most polarizing experiences I’ve ever had with a video game. At once, it’s an inventive puzzle-platformer but it’s also an excruciating experience.

FEZ stars Gomez, a little creature who lives in the 2nd dimension. One day, Gomez meets with one of his elders who awards him a fez that allows Gomez to rotate the 2D plane (by hitting the left or right trigger buttons if using XBOX controller) and to view the world from a different perspective of the 2D plane. The entire layout of the screen can change completely and platforms you couldn’t reach before are now within your grasp. Ultimately, you are tasked with locating little cubes that are hidden throughout every location or obtained after figuring out some mind-bendingly complicated puzzles. Collect 8 of ‘em and you form a bigger cube. Collect 32 of these cubes and you complete the main story. Collect the remaining 32 cubes and you complete the game.

The collection aspect can be really addictive. FEZ ingeniously places several cubes in one area and places them just out of reach and you do everything you can to grab each and every cube. There are many doors within a single section which leads to more doors and so on. You track your progress using the map and if you’ve completed an area, your space will become gold. You can spend hours and hours diving further and further into FEZ’s world, basking the comfortable, pixel-motif art style that can be compared with a visual living room, not meant to be too stimulating or flashy, just pleasant. The same can be said for the music, which isn’t as memorable as other games but isn’t meant to be. It’s another element that stabilizes and relaxes you, like classical music in a waiting room. Each world presents its own challenges and uses of the flipping-dimensions mechanic like platforms disappearing and reappearing depending on the lighting strikes in the background or using a bomb to reach a higher area but continuing to flip dimensions so that the blast can continue without interruption. Throughout the adventure, you notice how there are inaccessible areas like a lighthouse that’s just out of reach or how a rope ladder leads into the ocean and there’s the faint hint that there is more to explore than what can be currently. In my play-through, this is where FEZ lost me.

FEZ harkens back to the days of the NES when games were meant to be played until the cartridge burned out from exhaustion. The exploration is meant to engage players directly with the environment to uncover the secrets of the game. Sometimes, the secrets were rewarding like finding the warp whistle in Super Mario Bros. 3, and sometimes the secrets were necessary to completing the game. Wait, what?

Later in the game, you find a lost civilization of characters who look just like Gomez except that you can’t understand any of them. Each of them talk in a block language and because you don’t understand what they’re saying, you rummage through their homes, collect any cubes that you can, and move on. Except that…you can communicate with them. You just have to decipher their language.

Playing FEZ the first time, you would only be seeking out the cubes you can see since that’s what the game is telling you to do. Find the cubes, save the world. Simple. But after getting stuck in a certain section, I was baffled when people mentioned “how to decipher the FEZ language” as part of their walkthrough. This is evidence that players are capable of solving FEZ’s riddle but let me explain why this is a huge fault in FEZ’s gameplay. As I stated before, your mission is to collect cubes. You can take as much time to collect the cubes and even if you die, you respawn immediately so there’s no immediate pressure from the game. However, you mentally focus on just collecting cubes. So on the occasion that you walk into a room and walk out after not finding any cubes, would it ever occur to you that the secrets to deciphering FEZ’s language are on the walls of some of these rooms? The other problem is backtracking. FEZ occasionally has portals that can send you back to places you have already visited but it doesn’t simplify your overall task of going through every single room in order to decipher FEZ’s language. Once you have, you can finally go back to the rope ladder I mentioned earlier, enter in the button combinations indicated by the symbols on the wall, activate the water pump that lowers the water level, and finally continue your adventure. Then there’s the other 32 cubes which are simply not worth your time. If you thought deciphering FEZ’s language was a Herculean task, the puzzles in the post-game are too cryptic to complete. Sometimes, FEZ has vague hints in a room to complete each puzzle and sometimes it’s just randomness, for example, a bell puzzle where you have play the notes in a specific way that you only figure out after constant trial and error. You could spend anywhere from a few minutes to an hour trying to solve these puzzles.

FEZ is the definition of missed potential. A game with an intriguing premise of switching through dimensions that has to be boggled down by a contradicting premise of deciphering a language. In today’s world of digital downloads and annual releases, it seems very difficult to want to stick to a single game for that much time to satisfyingly uncover every necessary secret it has. FEZ, by that definition, accomplishes what it set out to do, to remind us of the era of old-school gaming, of making a simple premise unnecessarily complicated, ramping up the difficulty to prematurely extend game length, and having little to no reward or satisfaction for completing the game. You are capable of completing FEZ, but you will feel empty inside once you have.

Sources: FEZ, published by PolyTron; "Super Mario Bros. 3 Warp Whistles - All 3" YouTube video by EmeraldLantern2814; "Fez Playthrough Part 1 [No Commentary / HD / Xbox 360]" YouTube video by Howcast Gaming; wikipedia.org

Saturday, October 25, 2014

Random Chatterings [Ep. 9.75] - Looking Into the Toy Box (and finding neurosis)

This episode is technically a holdover episode with "new" material due to many, many things going on that Arlill explains in the intro. This time, we made sure to include entertaining anecdotes and moments since the last episode was a bit heavier in terms of the material we usually present. In this episode, Arlill talks about his dream with Ellen Page, argues with Gary about things, and has a candid discussion about Toy Story 3's ending.

DOWNLOAD [17:48]

We are constantly tweaking the podcast format so if you have any suggestions or questions, feel free to post them in the comments.

Technical info:
Recorded with a Sansa Fuze and Adobe Audition CC by Arlill Rodriguez

Edited with Adobe Premiere CS6 and Adobe Audition CC by Arlill Rodriguez

"Feel It All Around" by Washed Out 

Random Chatterings Theme Song (piano and orchestrated versions) by Sergiy Turchyn

"Violin Concerto in D Major" composed by Brahms

"Strange Things" by Randy Newman

"So Long" by Randy Newman

2010, 2014

EPISODE 9.5                                     EPISODE 10

Friday, August 22, 2014

Random Chatterings [Ep. 9.5] - Summer=Chicken Plate

Prologue to this episode: http://randomsquiggledwords.blogspot.com/2011/09/summerchicken-plate.html

This episode is technically a holdover episode with "new" material due to many, many things going on that Arlill explains in the intro. Like Episode 5, this episode is comprised of older recordings from 2010 related to the beginning of summer and Arlill's fears and concerns with the future. 

We'll be back to our regular schedule very soon!

DOWNLOAD [18:50]

We are constantly tweaking the podcast format so if you have any suggestions or questions, feel free to post them in the comments.

Technical info:
Recorded with a Sansa Fuze and Adobe Audition CC by Arlill Rodriguez

Edited with Adobe Premiere CS6 and Adobe Audition CC by Arlill Rodriguez

"Final Zone~Genesis version" from Sonic 1 composed by Masato Nakamura

Random Chatterings Theme Song (piano and orchestrated versions) by Sergiy Turchyn

"Swan Lake, Op. 20 - Scene, Act 2 #10" composed by Tchaikovsky

"Symphony #5 In C Sharp Minor - 4. Adagietto Sehr Langsam (Conclusion)" by Mahler

2010, 2014

EPISODE 9                                     EPISODE 9.75