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Messages - Griffith

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Video Games / Re: Dark Souls
« on: September 24, 2017, 05:03:55 AM »
I played Demon's Souls years after Dark Souls and was surprised with how much I loved it. Ended up being one of my favorite games of all time.


But yeah, try DS2 and DS3 out, they're both inferior to the original, but worth giving a shot if you've got the time. I actually thought DS2 was okay, and played through it a bunch of times, but really didn't like 3.

Interesting, DS2 was my first and I have a real love/hate relationship with it to this day; I want to love it and always end up sort of hating it. DS1 was an on again/off again experience until I finally found my groove and then it was really ON, just an all-time classic that lives up to the legend. That enthusiasm carried over to DS3 for me in a big way and I played the hell of it from every angle, numerous NG+'s, all the DLC, even elements I usually rather avoid like the various forms of multiplayer were embraced. Though, as definitive as it tries to be I realize it's ultimately just as derivative. And strangely, I've put the most time into 2 (over 200 hours between the original and SOTFS) even though it's my least favorite, the one I'm least adept at, and I've yet to complete its final DLC or try its more comprehensive and intriguing NG+. I guess that's why it's the one I still fire up every once in a while; unfinished business, and I'm still looking for something I think is there but haven't quite found. I never quite mastered it and never quite figured out if it was worth it.

Video Games / Re: Dark Souls
« on: September 23, 2017, 08:48:27 PM »
I'd also recommend Dark Souls III if you get tired of replaying NG+; unlike DS2 it's a true sequel and very much a love letter to the original Dark Souls, and I'm told Demon's Souls as well.

As for DS1 I had issues with NG+ because I used a fully upgraded Divine Claymore in my initial run and it was just too weak against most NG+ bosses for my taste. But then upgrading weapons to +10 can be a pain in the ass so I didn't want to be screwing around experimenting to find what I liked, so I just tried the Black Knight weapons and they're ridiculously powerful and relatively easy to upgrade to their +5 max with twinkling titanite. The axe does crazy damage, but halberd isn't far behind and is much faster with an better moveset. I think I read later it's possibly the best weapon in the game (and technically you can get it from a random drop in the first 10 minutes).

As for Seath, if I recall the Paladon armor should still work... or you can just cheese him to death with arrows. =)

Movies, TV, Books & Music / Re: Twin Peaks Returns
« on: September 16, 2017, 03:20:09 AM »
Without the anxiety of wanting to know where this is all going, people will finally be able to fully embrace Jacoby painting shovels, Steven mumbling in the woods, etc.

Well, I don't know if I'll embrace all those scenes (I never minded Jacoby though =), but true enough that the urge to see what happens next and for satisfaction can taint the moment and cause any digression, however interesting, to feel like a delay.

edit: :sad:

Ah man, conversations about the series with my dad naturally gravitated toward his presence; old as hell, but still the same Harry Dean Stanton!

This was fast:

Movies, TV, Books & Music / Re: Twin Peaks Returns
« on: September 15, 2017, 04:28:11 PM »
He should just make a 2 hour long movie without pointless scenes and it would be both high quality and produced relatively fast.
Mulholland Drive was supposed to be a show. He only filmed the pilot and after tv execs rejected it, he filmed another half and made it into a feature, in what is considered by critics as the best movie of the century - - I don't know if i agree, but it's certainly his best movie.

While I certainly had my complaints, and aren't as bullish on it all as Eluvei, I don't know that the more extraneous stuff was "pointless" or worthless, like filler. Maybe useless to the overarching plot, but not to the mood, tone, themes and viewing experience as a whole (sometimes the point was them and the feeling they elicited existing in and of themselves, and sometimes I learned more about certain characters and sympathized with them, like Shelly and Bobby, through others, like their daughter and her troubles. Anyway, I would have wanted some of the content about two thirds of the way through to be more balanced with the plot (though I'm not even sure that wasn't intentionally referencing some ghosts of Twin Peaks past), but I don't know that I would have excised anything entirely. My usually strong belief in the principles of storytelling economy need not apply here.

Sometimes creativity needs obstructions.

Movies, TV, Books & Music / Re: Twin Peaks Returns
« on: September 15, 2017, 06:56:32 AM »

Ahhhh, the sweet validation I so desperately crave. A point of Karma to you, sir!

Hmmm, something to focus his creative energy into in his twilight years. Probably a good thing if he can come up with an idea worthwhile enough to step on the meaning of this one, at least the ending, a bit.

He should just make a 2 hour long movie without pointless scenes and it would be both high quality and produced relatively fast.

Hey now! And have you seen Fire Walk With Me? Is that really what he did? Actually, I like The Missing Pieces too so I can't say anything. =)

The Third Season will be out on DVD and Blu-ray on December 5, 2017


Because these wonderful design ideas were already taken:


They should have got in touch with @crisvector because, again, he has all the promotional artwork they'll ever need:

I mean, Jesus Christ:

Movies, TV, Books & Music / Re: Movies to look forward to
« on: September 13, 2017, 07:17:29 PM »
I wish it was Brad Bird, but Abrams is fine.

Ah ha, it was Bird who said Trevorrow reminded him of himself (couldn't recall)! That would have been funny.

Hey, The Leftovers is finished, so Damon Lindelof is free, right? How about a "dream team" tag team of Lindelof/Abrams?  :ganishka:

Finally a Star Wars movie for Nightcrawler!  :troll: It would also help that Lindelof would "logically" remove all pre-established connections to Star Wars and replace them with generic offshoots based on them, "What if we made the Wookies little and the Ewoks huge and called them Eikoows amd Kowes!? BRILLIANT!!"

Or better yet, speaking of would-be Star Wars directors, how about George Lucas' original choice for the third part of the trilogy: :carcus:

Movies, TV, Books & Music / Re: Twin Peaks Returns
« on: September 13, 2017, 06:04:06 AM »
They are releasing a soundtrack?  :ganishka:
90% of the music appeared in other formats years ago or in other Lynch's projects.
As a composer i found it sad that they didn't hire someone to score the show, and it was distracting to recognize most of the rehashed music from other movies/albums.

Well, that's sad to hear, fortunately my familiarity with his work overall is limited enough that any recycled music, other than from Twin Peaks, didn't affect me, but I also assumed the minimalist score was otherwise intentional (or maybe he was just that into his own sound design). I honestly think I prefer the approach here than the original series' ubiquitous use of Laura Palmer's theme, Audrey's Dance and Freshly Squeezed (or variations such as Dance of the Dream Man) whether they were particularly warranted or elevating to a scene or not. Although that did work for the tone of the original Twin Peaks, I don't know that more Badalamenti or even a more traditional score would have worked better. You can disagree with the approach, choices or ultimately the results, but I don't think one can say music wasn't considered central to The Return either. It was a pretty prominent and notable fixture, even when it wasn't (much more than hums or tones, that is).

Update: New, original video uploaded.

I uploaded a new explanation of how to interpret the chronology and events of those last couple of episodes...

Movies, TV, Books & Music / Re: Movies to look forward to
« on: September 13, 2017, 05:53:29 AM »
Well well, look who's back...

Seems a good, if obvious, trade since Trevorrow's Lucas/Spielberg impression is really just a worse version of Abrams' and it actually gives this trilogy a symmetry like the original (hopefully not TOO much like the original though, amirite!? :troll:). Anyway, as lazy of an out as this seems I can't really think of a better choice. Rian Johnson could change my mind of course, or fuck up Luke Skywalker. Other than that I guess it would have been nice to finally fulfill the prophecy of Spielberg directing one of these things, but I think he pinky swore with George to never do that, or it's some ego thing of his own ("I'm bigger than George's one movie"). Plus, he hasn't been in his prime for a while now anyway. It'd be like getting Michael Jordan on your team but from the Wizards. Probably better to take the current All-Star than watch Spielberg make his own version of the prequel debacle instead of adding the fun or pathos you might expect.

I think the gentleman doth flatter me. Though what do you mean by this anomalous request? [Role-play? Does he question my authenticity? Can he see right through me? Does he somehow gaze past the mask hiding the empty, insatiable void of ambition which drives me exhaustively to lie, betray, and murder my way to the top!? I must destroy this threat or become a thrall to fear...] ...Ahem, I mean, surely you jest, but of course my friend, for who else would I write these missives as other than myself? You are clearly also one of fine taste. We should meet and make merry some night at a lovely tavern I know in the old part of town. Do not mind the late hour, for you will be under my protection and I swear to see you safely to your rest.

Cheers! :griffnotevil:


Character Cove / Re: Griffith vs Serpico
« on: September 12, 2017, 10:53:19 PM »
Oh, I completely agree, this decadent dandy would be no match for me! Now, he did trade blows three times, once for an extended period, with someone that last beat me in one stroke, but pay no heed. The more I think on it, the more I think my sword had a defect. It was the sword that lost, not Griffith!


I truly appreciate the vote of confidence, though I had little thought to what I was doing! I certainly did not think victory was assured and only out of stubbornness and the arrogance of never having lost did I go through with it and think I could possibly beat him on the first strike. I was basically gambling my life, and his if I was successful, on a single sword stroke as Guts did against Zodd (or so he told me). Unfortunately, his strength and skill completely rendered mine moot and he not only broke my sword but had the control, strength and presence of mind to stop his before cutting me down. As you can tell from my expression at the time, I was just as surprised he could do that as anyone (as a matter of fact, I had to bathe and change my undergarments before I went to rape the princess). I understand it was ultimately an act of compassion and friendship, but that mercy only made it more humiliating for someone such as myself. Anyway, thank you for keeping the faith my friend, that is still my only loss as far as I am concerned... and as you say, mayhaps there was a defect in my sword after all... :griffnotevil:


Movies, TV, Books & Music / Re: What are you watching? (television thread)
« on: September 12, 2017, 06:06:17 AM »
Other than that, Twin Peaks continues to be a joy and a surprise to return to each episode. Anyone on the fence about it should hop off now and re-watch the first season or so. Joining in fresh for this season would be inviting frustration.

"I DED ETT!!!"

Now, continuing with Rick & Morty Season 3, with some background from the Twin Peaks thread...

Or one could just watch Rick & Morty, the best written, most consistent Sunday show on this year.

Man, I'm totally not on board with Rick and Morty this year. I think I only liked the pilot so far.

I disagree on an episode by episode basis, but I can understand this for the season as a whole (though your objections might be different, YMMV, etc). It's been too much of a normally good thing, like every episode is some deep, dark exploration and deconstruction of the characters, until literally becoming so in the most recent episode, but you can't do that every time out. A little of that goes a long way, like a few big emotional moments or payoffs per season, but it's kind of taking over the show to the point the adventures themselves are suffering and its ironically becoming flat and repetitive with depth. In any case, with the time they took to write it and these results I think they're trying too hard and won't be able to sustain it. The show is still relatively fresh and in it's prime and I feel like they could dial back the quality/quantity ratio a bit and put out more great episodes before they burn out trying to make every one more significant than the last (this is what happened to Gn'R on the Use Your Illusions albums =). I never thought I'd say this but we need an Interdimensional Cable episode (that somehow doesn't devolve into self-loathing).

I think you nailed it. And for some reason, I'm finding the jokes too telegraphed this season. Not sure if it was always like this and I just fell out of love with it, or what.

The latest episode, The Ricklantis Mixup, may be the most balanced since the first episode of this season, it's over the top fun and continues the dark character development of our heroes, but implicitly for once this season. It's both far better as a wacky multi-story adventure and a character dive that let's you fill in the blanks and shows how smart the writers are ("Put it in your blog") without shoving the message down your throat. I'm glad we're likely coming back around to this to end the season, and that it'll likely help payoff this season's almost neurotic pathos. Prediction: Eyepatch Morty knows Rick C-137's weakness, his genuine love of his Morty, and will kill Morty C-137 to fully break Rick. This will ultimately lead Rick to find a way to revive Morty, via Superman-like time reversal, or "hopefully something less hacky" or a much darker alternative where an angry Rick violently triumphs but starts over with a new Morty and truly loses what secret thread of humanity he had. Possible alternatives that changes everything: Eyepatch Morty is Morty C-137 from the future, and the only one with the balls/lessons learned to go against Rick(s)! :isidro: or what becomes of experimental dramatic Morty. Whatever.

Shootin' the Breeze / Re: Adventures in YouTube
« on: September 12, 2017, 05:46:03 AM »

The is about the best argument for Star Wars over Star Trek I've ever heard, clearly delivered without cue cards and at least partly improvised, besides, "it's more visceral," which pretty much amounts to the same. Also, it's the only time I recall a genuine compliment from Conan and a peek at their true rapport.

Movies, TV, Books & Music / Re: Twin Peaks Returns
« on: September 11, 2017, 07:49:00 PM »
Yeah, very refreshing to read an interpretation that actually tries to solve the mystery, and I don't know how he managed to put that together so cohesively this quickly.

Thanks, pretty good articles, the AV Club one got me kinda :judo:.

I defended the "happy" scenes throughout the show as sincere, but as I said earlier, I had trouble believing this also applied to the goofy battle against BOB. It was too insane for me to take as anything other than at least some kind of dream, and Cooper's superimposed face showing up appeared to confirm it. But when I read the guy in the AV Club article saying "meta" isn't in Lynch's vocabulary, it reminded me of a thing from an old article I read earlier this year:

Quote from:

Yeah, based on the unorthidox yet authentic feelings, or at least unorthidox shades or gradients of authentic feeling, Lynch taps into I can totally buy that everything he's presenting, as far as everyone on screen is feeling, good and bad, is presented in good faith. Basically, he's laughing/crying with the characters and with us, not at them/us. He's made several statements to that effect including the opening of The Return where everyone assumed he was outright mocking appointment/prestige TV with The Experiment, which is still a fantastic interpretation BTW, but he claims it was another happy accident and not a statement he was going out of his way to make.

Griffith , Walter :

...If you both recall Cooper warned Laura while in the Red Room in FWWM not to take the Owl/Infinity Ring as I believe he knew it's what binds her to an endless loop a loop he becomes the last piece of by trying to save her . So if we're talking about an endless cycle that explains why Cooper is so old in The Red Room in s1ep3 as he would be in his 6th cycle.

I don't get that, maybe because I'm stuck in my pre-S3 interpretations, not that I held them long, or not thinking about it enough, but my understanding was the ring prevented her from being possessed by BOB so he killed her (and seems to bind, at least most, people to the Lodge upon death). Is that the cycle you're talking about, because if we're talking the "Möbius-strip" interpretation, on it's face wasn't that actually more a consequence caused by Cooper's intervention? Feel free to explain why I'm just not getting it, because any more explanation is welcome.

Two albums from the show are out today:

Songs (mostly the Roadhouse performances):

I've been listening to a lot of the Season 1, 2, and FWWM (THE BLACK DOG RUNS AT NIGHT) soundtracks lately, particularly for inspiration while working on The Faces of Cooper photoshop, first straight through a few times and then on shuffle. I was surprised and disappointed these weren't already available but now look forward to adding them to the playlist!

Update: Oh shit, it's got ZZ Top on it! :isidro:

By my calculations he's cranking the volume past 11 to at least 16, if not 17! :ganishka:

Current Episodes / Re: Episode 346
« on: September 09, 2017, 07:50:25 AM »
My first thought (which I still hold) is that he decided to style them after the original "Puck Knight" picture, just for the reference.

Agreed, it's a pretty iconic shot of Puck from its time, so it's a nice and natural callback to make.

Creation Station / Re: Griff's Colors
« on: September 09, 2017, 06:22:56 AM »
Threw this idea about the many faces of Cooper together as a gag after the end of Twin Peaks: The Return *SPOILERS*, but then went back and kind of spruced it up enough to be an avatar and toss it in here (there's still a few things that could be better, so I may add or improve more details, but in that case I'll just stealth reupload):

The idea is based on the many sides of Cooper we see over the course of Twin Peaks ala the five faces of Shiva in Hindu art. Here's the base source image, preferred for its Peaky background as well as the viability to more easily photoshop Coopers on it. From left to right: Cooper as "Dougie Jones," the Dougie Jones Tupla, Special Agent Dale Cooper, Richard, and Mr. C the evil Cooper doppelganger. Additions to the rest of the image include Laura Palmer superimposed above them (I should have superimposed a giant image of Cooper's face over the whole thing =), the key to Coop's room at the Great Northern in his lap as he sits on blue "rose" petals on top of a skinned owl, and he holds in his hands a golden shovel, a slice of cherry pie, the log, and no doubt a cup of damn fine coffee. He's also wearing a ring you might recognize.

Current Episodes / Re: Episode 346
« on: September 09, 2017, 05:37:49 AM »
Yep, either that initial image was based on canon Elf Knight lore or it's the life in the art imitating the art in the art. My favorite possibility though is Miura just had the same idea twice independently when it came to designing the armor of the Elvin guards. More likely he just couldn't get it out of his head because it's pretty neat, and of course he uses similarly styled "armor" in Gigantomakhia.

Video Games / Re: What Are You Playing?
« on: September 08, 2017, 09:18:07 PM »
Trying and failing to kick my Breath of the Wild addiction, with my Master Sword upgraded I can make mince meat of Golden Lynels, but I wont be satisfied until I can kill Vaati, Majora, Zant, Ghirahim, Ganon, Demise, Aghanim and Bellum in a single sword stroke.
So confused... are those all in the game?

I tried looking that up and couldn't find anything. That'd be a hell of a DLC. =)

Movies, TV, Books & Music / Re: Twin Peaks Returns
« on: September 08, 2017, 07:21:58 AM »
No doubt. I always thought the Giant sounded... disappointed? And yeah it's kinda hilarious for the guy to interrupt a concert to tell him he sucks as a detective. :ganishka:

His tone borders on betrayed, but he could have been more straightforward sooner, still...

"What does it all mean?! :???:"

And I have no idea why this popped up in the image search but here you go:

Effects test for season 4 of Twin Peaks: The Explanation starring Annie & Audrey

Really enjoyed reading this take, even if some things here and there don't really fit completely:

Damn fine read, and like you said you don't have to agree with all the details or conclusions but at least it lays out a logical framework of the facts to work with, and you can't reject it for being too zany because the logic of the lodges is. Anyway, that's the best postmortem I've read, not that the competition is great ("it's about the show and ending and stuff!"); these are about the only other two I liked, but they focused more on what Lynch was saying rather than what was technically happening, echoing your conversation with Nightcrawler that I didn't feel quite comfortable wading into (the second article in particular touches on a lot of the same themes you debated with Nighty and obviously comes away with a more positive interpretation):

Oh, and I looked up the first episode of Dumbland. :ganishka:

I forgot to mention: "See you at the curtain call" was one of the coolest goodbye lines ever. Though somewhat downgraded by them being reunited next to an actual curtain.

Speaking of bad articles, there's paid writers out there poetically lamenting that "there'll never be that curtain call" without mentioning the fact Coop and Diane literally reunite next to a giant red stage curtain! Anyway, there's theories about the chronology of the episode being all mixed up (what else is new?) and that Coop and Diane are somehow reuniting in episode 17 AFTER the events of 18, explaining why they're so happy (they were both trapped and haven't spoken in decades?), why they kiss so passionately and she's not at all put off by the face of her rapist (uh, the real Coop's kiss is right? Ok, that one is weird), and why Coop's face superimposes over the screen dreamsplaining, but it all doesn't quite follow, particularly their path back there or lack thereof.

Movies, TV, Books & Music / Re: Twin Peaks Returns
« on: September 06, 2017, 05:01:20 PM »
Yeah there's absolutely a more verite look to those scenes. I mean, we watched Agent Cooper filling his gas at Valero. But also, it had a kind of odd violent wild west vibe with the shootout and the rotting body, so yeah, realistic and surreal sounds right. Extremely weird.

It was almost like a cartoon character being transported into the real world. Coop was still relatively good, heroic and competent, but it wasn't squeaky clean and he didn't have the same perfect composure (I mean, he pointed that gun at the waitress too =). I wouldn't go as far as Nighty and say he lost his humanity, actually I think you could argue he became more human for his relative flaws, not less, but he definitely lost his innocence in a way we didn't even see in the black lodge. MacLachlan described his direction for Richard as a bit "harder" than the normal Coop and I really appreciate his performance in this episode, the tone of his "what" in response to the cowboy is right out of the Mr. C playbook and I think about the closest you'll hear to the real Coop egging someone on. So, in its own strange way this felt like a new start and the most real and in depth we've ever gone with Coop (and I wondered how he was going to fit into the new show once reestablished), like we were meeting a real Agent Cooper for the first time after we got the platonic ideal again in episode 16. Of course, you should never meet your heroes.

The motel was also a different one when he wakes up.

Well, of course I missed THAT. :schierke:

It definitely looked like Coop and Diane were following some kind of script to change the reality even then. "Turn the lights off. You come here to me." Like it was some kind of ritual they had to perform correctly. The sex scene being no exception.

They're performing the ritual of a prestige television show! They needed to have a gratuitous sex scene in order to advance time to a future point, then Coop needed to have a hard-boiled confrontation that really puts him over with us and only then can he find Laura and go back to Twin Peaks. Except that doesn't work either, Laura's not Laura, Twin Peaks just looks like any empty streets at night, and Laura's house has real people living in it. Maybe Lynch was hoping that at some point this ritual would conjure  Judy or the experiment in our televisions so it could break out and slaughter us. Now that would have been an ending (I think even if Lynch had pulled a cheesy jump scare like that I'd have still had a coronary or shat my pants =)!

Yeah, if after Inland Empire his next project ended with the super glove defeating the evil ball in earnest and Candie being glad she brought so many sandwiches for the wrap party, I dunno what I would have thought.

My guess as to your reaction in that case: "Still the Best Show Ever!" :carcus: But yeah, this is definitely a revelation and significant work after a decade of relative inactivity. Vintage Lynch whether you think its among his best work or not.

That was kind of a foreboding music choice though, wasn't it? Last time we heard it, was in the "it is happening again" scene.

Good call on the relative timing (when Laura herself should have been getting murdered), but it's also just more classic Peaks because that Julie Cruise music is all over the original soundtrack. BTW, also good time to note Coop was never above screwing up as the Giant is literally waving his arms at him and telling him the killer is striking again while he's just like "HUH?" It was hilariously about the least subtle or confusing message delivered on the show.

I don't have any big take and i'm trying hard not to geek out over all the theories, i just wanted to say i found the whole experience rather cold and sterile.

Awww, I hope it didn't all feel to you like episodes 12 and 13 to me, because that's where it obviously lost me, and others, for a bit. Also, not to accuse you of contrarianism (never =), but I think it'd be easier to note the show's virtues rather than its flaws if all the critics weren't climbing over each other to be the loudest to declare it the greatest thing ever without really explaining why they think so (a fair thing to reject if you feel it falls short). Maybe the show just wholly didn't do it for you and you weren't paying any attention to the hype, but it worked for me despite the fact I saw a bunch of pub blowing it and saying it's a whole "new proactive paradigm" for television... in ways that will be explained another time. Not that my critical take is much better, basically describing it a series of offbeat stimuli that makes me feel some unfamiliar sensations that I ultimately like experiencing (put that on the back if the blu-ray).

The lack of music made a big difference, Lynch's sound design is serviceable, but it's only half of the dream-like state his films induce. It seems Badalamenti was only credited but didn't add anything new. A shame, for the lack of a proper score gave me a sense of detachment and a lack of vibrancy i get when i watch his stuff.

I can see, er hear, what you mean. The music was very subdued most of the time, to the point that my wife and I would have subtitles on and notice it saying [ambient music] and that was basically our only indication that the barely audible droning tone was providing any bed of music to a scene. I thought this was largely intentional though for contrast with the tone of the original (and particularly the town of Twin Peaks itself, which stood out like a sore thumb to the rest of the world, but I think that proved purposeful too), and that the big musical moments, particularly the return of iconic Twin Peaks scores, were being used judiciously to punctuate those moments. I otherwise thought the sound was pretty excellent at conveying the feel of the story, even if it was a less is more approach overall. 

The bad digital effects expanded on the absence of emotion for me.

I agreed with your assessment of the effects in the early episodes and objectively found them hit or miss throughout, but by the time we reached Diane's first farewell it was clearly part of the aesthetic experience, not a hurdle to it.

I felt completely uncaring for most of the events until part 18 hit me several hours later.

It hit definitely hit though, and judging from your assessment below it doesn't sound like it's making you feel nothing anymore. I guess I had a better experience throughout, I definitely felt a lot of interesting feelings watching, albeit sometimes exasperation, but it was definitely a worthwhile viewing experience that made me consider the way media makes me feel, why, and why don't more shows make me feel these different sort of untapped emotions watching or seemingly even try? I think everything that came before definitely sets up the way the ending leaves you feeling as well. It was ultimately still the journey, but a different sort, more insular despite the explicit, and perhaps extraneous, lore and theories, with different narrative priorities, milestones, and goals, or lack thereof, than we're used to.

If FWWM had some form of redemption at the end, this season had none. No heart or soul (Dougie was the closest to it), and the bleakest ending possible. A lost Coop, losing his humanity while realizing that Laura can't be saved, no matter how much the world has changed, suffering is perpetual.

Hey man, death is change and happiness is but an illusion... or dream (and I hope this cheers you up a bit despite the crude effects =).

No one screams like Sheryl Lee.

Indeed, make room in the Scream Queen Hall of Fame Fay Wray and Jamie Lee Curtis. Good lord I had to have the volume control handy after like the 2nd scream, she still got me at the end.

Anyway, again, no surprises (except I wasn't so sure what to rate it right after =):

Current Episodes / Re: Episode 351
« on: September 06, 2017, 02:36:38 AM »
That would be November 26, 1988:

Ah, cool! I'll keepthat date in mind.

I think you might be able to call that "Guts' Debut" or something, but that's not really "Berserk"  :void:

"Guts' debut," I like that, now is that his first full appearance or cameo appearance? =) But yeah, it's an interesting distiction because while the prototype is certainly the concept, traditionally things like this are judged by official release date rather than conception, writing, recording, etc.

Current Episodes / Re: Episode 351
« on: September 06, 2017, 02:08:49 AM »
Not to complicate matters further (well, a little)... but what about the 1988 prototype? It's technically not the first issue of course, which is its own milestone, but for the anniversay of "Berserk" itself it's still Berserk in its earliest tangeable form practically speaking (think of it like a band demo that leads to the first album =). So, the de facto 30th anniversary is arguably just next year. Any idea what date Miura "released" or presented it?

Movies, TV, Books & Music / Re: Twin Peaks Returns
« on: September 05, 2017, 05:49:48 AM »
I finished watching them again this morning and repeated the last 15 minutes or so a couple times more and am struck by how neatly separated the two final episodes are in a way. Episode 17 is practically an ideal ending in every way as Eluvei points out, that is until Laura vanishes into screaming air, which follows the current, if there is such a thing, Sarah Palmer destroying her picture (perhaps implying causation). It totally could have ended there to similar effect but 18 basically resets with Coop from there in the lodge where a lot of important information is reviewed before he finally departs the way he originally came (this might as well directly follow the season 2 finale =), where Diane is waiting for him (the curtain call). Then it becomes that strange odyssey to "find Laura," like a new beginning or a self-contained Laura-centric follow up ala FWWM. It's also both the most surreal and realistic part of the series tone-wise, surreal to the norm of Twin Peaks anyway, because here Coop is acting more like a normal man, or even Mr. C, than his usual paragon throughout (also, not that it matters, but he only picks up 2 of the 3 cowboys guns yet disposes of all 3 =). Another detail I'm fascinated by is the car Cooper and Diane are in, they clearly start out in a vintage model but the next day Coop leaves in a far more contemporary looking vehicle ("What year is this?"). I'm not really driving at anything new here, just collecting observations and thoughts. Then of course he finds "Laura" or whatever equivalent Carrie Page is and tries to tie it altogether with Sarah at the Palmer house and YMMV at his success (for what it's worth the actor playing the Chalfont/Tremond woman is the real life homeowner). It seems to me that 17 is the big heroic finish to make everything perfect, and 18 is the fucked up aftermath of something so dangerously ambitious, basically screwing things up worse than Bob or Mr. C could ever imagine. At least that's one way to see it, after all we don't know what happens after unless that really is the Sopranos ending except Cooper and Laura just assassinated the universe (there was nothing more to see =). Otherwise, despite the extended travel log aspects and narrative blue balls following the final scene it was all pretty fucking eventful; Cooper successfully brought Laura back to life and to her house through space, time, and multiple dimensions and yet to a more haunting end, so rather than leaving us wanting it might be considered pretty fucking above and beyond considering it could have just ended pat in Episode 17 before slinking away to Julie Cruise's reprise of, "The World Spins.” This also, in real time watching last night no less, reminded me a bit of the ending(s) to The Dark Tower *spoiler alert*, of which there's at least 3, one that's just the facts, Roland overcomes the over-the-top final obstacle and enters the tower, a ridiculous mega happy ending for all his friends, and a disclaimer begging you not to read further that precedes the real, not-so-satisfying, ending. =)

Movies, TV, Books & Music / Re: Twin Peaks Returns
« on: September 04, 2017, 03:21:12 PM »


I'm rewatching 17 and 18 this morning and getting all those details again i forgot to write about like Brigg's disembodied head, Evil Coop cage, Andy's picnic basket, superimposed Coop head saying we live in a dream, and we haven't even gone to February 23rd, 1989, where Cooper was tofind Judy.

Movies, TV, Books & Music / Re: Twin Peaks Returns
« on: September 04, 2017, 06:49:18 AM »
My own running thoughts before I read any of yours:

I wasn't too surprised by much in the first hour, I expected Evil Cooper and the "plotty" stuff to be dispatched and dispensed with quickly (good thing hulk fist was there to kill Bob, RIP, I can't help but view this as a parody of a traditional resolution =), I didn't really expect any more clear lore answers or understanding than we already had (I was actually a bit a afraid anything so explicit would be a disappointment), and I hoped for things to come back around to Laura and Sarah Palmer (which it did, almost, with some heavy duty Judy implications). Cooper saving Laura and BTTFing the show's premise out existence was certainly "mind blowing," though I think just having the real Coop meeting the real Laura back in her time was more genuinely breathtaking. As a storytelling device it's not extraordinary though, not normal or anything, but it's not unlike things we've seen in recent years on GoT and plenty more elsewhere in this "genre." The second half is where things get interesting, and weird, and boring, and confusing, and funny, and sad and eureka, and done. I don't know if this is accurate, but in the moment I found myself appreciating the idea that Dale completely screwed up and failed and we weren't going to see the big final confrontation/reunion of momentous importance, or, to be more kind, things just didn't work out! Or did they? I think it's a natural reaction to feel left wanting. To think, "THAT'S IT!?" That's kind of the feeling you're initially left with, right? I was reminded of The Sopranos finale, like maybe my cable box or, in this case, the Internet went down. It's at least the last time I remember staring at a black screen having it dawn on me that it was over but hoping for the next image, except this time it was just an image of Dale Cooper behind the credits rolling getting some bad news, his face mirroring my own. But, it was basically confirmed that it is Laura, that she remembers herself and recognizes the house, and that the house and everything associated with it responds accordingly. Is that enough, does it matter we don't get the big payoff setup with Laura, her mother and/or Judy, do we need the magic fist of destiny to punch the ball o' bad 'til its head esplodes, or is it better this way? Or is it a copout because while we're all weirded out, cutoff and denied just at the moment of truth, and left asking what it all means, it's because no meaning was actually provided, but a trick for us to endlessly perceive it? Anticipation as payoff.

I think I'm still in shock, but my main thought at the moment is that I like how Lynch and Frost took the one indisputable"fact" of the show, Laura's death, and turned it on its head.

Yes and no, we've seen that trick before (like in Ash vs. Evil Dead), so I really wanted to see what they did to justify "going home again" this way.

there's no doubt that there are a few easily-missed details that may help explain what we just witnessed.

I especially like Laura Palmer's decor.

What do folks think about a potential fourth season at this point? I feel like it could go either way. There was no doubt from the beginning that Lynch and Frost had no intention of answering every lingering question from the original run, but I feel like a lot of new characters and ideas were introduced without much of an idea of what they were intended to communicate. What was the deal with the drug addicted lady saying "119?" What about Bob's "Mother"? Who was the friend of the Fireman who held Laura's orb and gave it a good luck kiss? And what in the hell ever happened to Billy?! :ganishka:

Ultimately, I enjoyed the ride, but I'm still raring for more. Time to pre-order my copy of the Final Dossier. :casca:

You're certainly more game than I at the moment, just the fact that everything you mentioned was left as is, along with half the unanswered questions from the original run, only tells me that subsequent series won't be answering those questions either but only generating more they won't answer. I'm not saying that's a bad thing or that it should be the point, just that it doesn't seem to be the point. I think I prefer this ending at the moment, as interesting as it would be to watch them pick it up from here and work through it only to end up somewhere similar.

Shock is a good word for it.

I don't even know where to begin. When you start messing not only with time, but also pocket dimensions, AND David Lynch is at the helm, I'm not exactly sure how anyone is expected to follow along. I'll just lay out where my head is at the moment.

Interesting explanations of things, I try to just go with the flow and not think of it too technically, just "Coop saves Laura so Laura is alive for Coop to find." The dimensions or timelines are whatever they are, and pretty much impossible to know for sure as you say. It occurred to me that Laura could have been returned from that time in her own version of being "Dougie Jones."

And Coop probably wasn't supposed to take Laura back to her home. Chalfont/Tremond is of course, the name of the old woman and her grandson, who also owned the property where Chester Desmond disappeared from.

Son. Of. A. Bitch. I knew those names were familiar but didn't catch it, still...

The powerline was also a Black Lodge giveaway. Perhaps the house was a kind of trap, set there in case something like this happened. Then the trap sprung upon Laura's appearance (and the apparent appearance of Sarah/Mother). Just before Laura screams, you can hear Sarah's moaning (from the scene at the end of ep 17).

This was the sense I was getting during the scene, or the sense my mind was trying to make of it; this is BS, some sort of security measure to keep them out, etc and more or less confirmed by Laura's awakening and scream.

I love/hate how Lynch bothers to bring back Twin Peaks ostensibly to tie up loose ends after the abrupt ending, only to leave us with another one with even MORE loose ends. :ganishka:  :judo:

Yep, but are you itching for another season making even less sense with even more loose ends to explain these!? In a few more seasons it will just be an incomprehensible set of moving shapes and sounds.

That ending though, holy shit. Gonna stay with me.
Yeah, holy shit. What a ride. I feel very weird right now.

Agreed and clearly that was the intention. Perpetual anticipation, perpetual payoff, no disappointment...? I need to re-watch it more closely (I'm still replaying it in my head though), but a snarky, reductive part of me can't help but think, "It was the Sopranos ending, right down to the blackout." =)

Fairly sure it's Sarah calling Laura in the pilot episode when she notices she's not coming down to go to school. It's also heard when Coop has his dream of the Red Room two episodes after that. Wow, that sounded pedantic as hell, I'm sorry.

Don't be, that's a good catch (you can totally hear "Laura"), and what did you think besides feeling weird (is that dissonance over whether it was good or not, how good, or is that representative of the goodness itself =)? You had to be worried in the beginning when it was going full FBI chalk, but then it only got progressively less traditional as it went along with plenty of the sort of weird moments you enjoy along the way. BTW, I can't believe I'm the first person to mention Diane, or who or whatever she ended up being. You want pedantic? I swear her hair changed color to a more pink, as opposed to orangey, red after we saw the other Diane outside the hotel lobby and this signaled that she'd been changed/replaced by a tulpa. No idea if there's anything to this but it made me feel bad for her & Coop.

Oh, and we could have known this line would sum everything up, "WHAT THE HELL JUST HAPPENED!?" Upon review I also couldn't help but take Cooper's final line, "What year is this?" as a commentary on trying to "come home again" like they were literally but also with this endeavor as a whole.

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