On my way out of James Wan’s “The Conjuring” last night, I noticed Ryan Gosling’s name in the credits. A bit of curiosity led me to his band, Dead Man’s Bones. I wasn’t aware he sung, but he’s pretty good at it. Feeling like a mix of The Doors & Roy Orbison, this song really matches with some of the creepiness of the film. Here, the band plays “In The Room Where You Sleep” , with kids as the background vocals. Enjoy.
Monthly Archives: July 2013
Ten Years #35: Blur
Decade of last.fm scrobbling countdown:
35. Blur (850 plays)
Top track (43 plays): Parklife, from Parklife (1994)
It wasn’t until about 1996 that my mother decided it would be acceptable to allow me to purchase cds. Prior to that, all non-Evangelical Christian music and television was banned in our household (aside from The Beatles and Pink Floyd; she liked them as a kid, so they must have never done drugs or any of that Satanic stuff). Her lovely father was exploiting me for slave labor at that point for the fair wage of 25 cents an hour, and I found that, at $8 a pop through the BMG music distribution club, I could buy a new cd every four days. I quickly replaced all of my secret cassette recordings of radio singles with actual albums, and some time the following year that lead to the acquisition of Blur’s Parklife. I was initially appalled to find that it did not contain “Song 2”–the only Blur track that most Americans have ever heard–and considered writing to BMG demanding my money back for their faulty advertising. How dare they sell me some other cd by a band that, according to my radio, only ever wrote one song worth listening to.
Well, suffice to say I gave it a few more listens and it became one of my lasting favorites of that decade. I was oblivious to its tongue-in-cheek social commentary at the time. What I heard was a vision of some foreign, advanced culture in which people spoke in tantalizing accents and could sing about subjects other than religion without resorting to aggression. The novel experience of a world beyond a particularly self-isolating yet prominent American subculture and its proclaimed enemies (grunge music and video games–we hadn’t reinstated the Crusades yet) is largely responsible for my persistent, overly glamorous and unrealistic Europhilia today. Blur’s ability to craft a sound that perfectly reflected the modern British life they were mocking placed them at the forefront of this experience. For me at the time, the most popular band in Britain was a close-kept secret. To have grown up and realized they really were one of the most talented and creative bands of their generation is just icing on the cake. Blur remains one of my most listened-to non-metal bands today–my 35th most-played band of the past decade–and I can’t imagine I’ll tire of them any time soon.
Trailer: The Hunger Games: Catching Fire
I am currently in the process of catching up on all of the news that I missed out on during last week’s unplanned vacation from posting. Indeed, one of the biggest events last week was the release of this trailer for The Hunger Games: Catching Fire. The Hunger Games was one of the best films of 2012 and Jennifer Lawrence provided a role model for girls who, otherwise, might be tempted to mistake Bella Swan for a strong woman.
Is it any wonder that Catching Fire is one of the most anticipated films of 2013?
Catching Fire, starring Jennifer Lawrence and directed by Francis Lawrence, is scheduled to be released on November 22nd.
Song of the Day: Gipsy Danger (by Ramin Djawadi)
This latest “Song of the Day” will be the second of what will be a trifecta of my favorite tracks from the Pacific Rim soundtrack by composer Ramin Djawadi. The first one was the main theme from the film and featured Rage Against the Machine lead guitarist Tom Morello providing lead guitar work. This second track I’ve chosen is siply titled “Gipsy Danger”.
Where the main theme has been everyone’s favorite in the entire soundtrack it’s difficult not to enjoy the motif for the main character of the film. Let’s be honest and just admit to ourselves that the main character in Pacific Rim is the jaeger christened Gipsy Danger. The track which introduces her theme in the film actually precedes the main theme. We actually hear the “Gipsy Danger” theme right from the start of the film. It combines some of the hard rock melodies and chords from the film’s main theme, but also expanding on the deep bass tone (sounding like a fog horn blowing) that punctuates throughout this theme more than it did in the main theme. This deep sound I always thought of as the “monster arriving” musical cue. It appears not just when Gipsy Danger makes her initial appearance but also whenever a kaiju emerges from the ocean and makes landfall to cause destruction. It’s a sound cue similar to classic giant monster flicks from Japan that announces either Godzilla or one of his kaiju brethren which was followed-up by the iconic monster scream.
We get both the rock and roll and heroic sound from the main theme combined with the more ominous musical cue in this chosen track. It pretty much focuses on one of the film’s taglines about creating monsters to fight monsters. The Gipsy Danger jaeger is a monster in her own right. But then she’s our monster and we always have a fondness for monsters as long as it’s our own.
‘Museum Hours’ (dir. by Jem Cohen)
“Museum Hours” is an absolutely beautiful and hypnotic film; one that depicts the idea of life as art, and vice versa, while examining how we have become disconnected from this notion and from one another; and how it is through the smaller more intimate details in both life and art that this connection is re-established.
This is explored through a week or so of the life of Johann, a guard at the Kunsthistorisches Art Museum, who enjoys his quiet life amongst the artwork. He spends most of his day pondering the meaning of the paintings around him, as well as ruminating over the visitors who are either transfixed by the images or as he points out “seem to be competing over who can be the most bored”.
Early in the film Johann befriends a Canadian woman named Anne. She is visiting Vienna to care for her comatose cousin who she hasn’t seen in years. The burden of being in a country she has never been before and tasked with the care of an unconscious cousin she barely knows weighs heavily on her. She appears lost, an outsider disconnected from the people and culture around her.
Luckily for her Johann agrees to play tour guide and the two spend most of their free time together as Johann brings her around the city. It is in exploring Vienna with Johann, and seeing not the tourist attractions but the small shops, pubs and flea markets that she begins to feel connected again not just with the cities culture but also with her cousin. The joy of her time with Johann awakening memories long lost.
For Johann there is a similar revival. All these old places he once visited in his past seem new again. Not simply because he hasn’t been to them in years but because they have changed in such subtle ways that the experience feels new again. For both of them, it is the small things, the details we usually overlook, that reestablish a connections with family, country and friends.
This is reflected in the works of Pieter Bruegel whose art is the center piece of the film. He was a Dutch artist who made richly detailed paintings in which, as Johann explains, someone might find something new hidden within the frames with each viewing. You could easily say the same thing of “Museum Hours”. For director Jem Cohen, the film is his canvas and the streets, museums and pubs of Vienna his subjects. He plays observer, like a visitor in a museum, finding and capturing the intimacy of a city and its people. Inspired by art and human nature, he paints a richly detailed picture of the world we live, seeing details one might usually miss.
The importance of all this is expressed in one of the best scenes from any film this year as we watch an art scholar lead a group of tourists around the museum’s Bruegel exhibit. Here she points out that although many of his paintings depicted important religious tales, the focal point of the imagery is not the central religious figure but a bystander or object that gives the piece a meaning more important than that central figure. It is a powerful moment. At first glance we might all think we are seeing the same things creating a false sense of inter-connectivity. But ultimately it is how the smaller details affect us that truly matter. It is through this that the connections between life and art are reestablished, in ways that the bigger more seemingly important aspects of life can’t. A great artist can capture this. Cohen has done so here, by making the familiar feel new.
‘Europa Report’ (dir. by Sebastian Cordero)
“Europa Report”, which is available to rent on VOD, is a sci-fi gem that has me conflicted. On one hand, it does what many similar films have not – it delivers a unique story, rooted in actual science, that examines the sacrifices some are willing to make in the name of exploration and discovery…but on the other hand, it is a film weighed down by a format that begins to overshadow the human element and the themes mentioned above.
The film follows a crew of astronauts on their two year journey to Europa, an ice covered moon around Jupiter that scientist believe contains an ocean of water right below the surface; and as one scientist in the film points out, where there is water there is also usually life. The possible discovery of that life is the crew’s mission. They are to explore the ocean below the moon’s surface in hopes of finally discovering that we are not alone.
To tell the story the film is played out like a documentary. It consists mostly of archived video footage of the ship’s crew, as well as interviews with the earth based mission control members who organized the operation. It is this format that on one hand is a brilliant way of documenting the crew’s journey, but on the other really hampers the themes and suspense of the film.
Through these recordings, we get to see the crew bonding and encountering tragedy on their journey to and on Europa. It turns out to be a really wonderful human tale of a group of people who without any hesitation or pretensions are willing to give anything and everything in order to make a discovery that could change the way we view ourselves, life and the universe. This portion of the film is a wonderful thing to behold, especially when their treacherous journey has some truly thrilling moments, including one gut wrenching scene played beautifully by Sharlto Coley. This is made all the better by the fact that unlike other similar sci-fi films (“Sunshine”), it doesn’t cop-out in the end and actually contains a third act that is tonally in tune with everything that comes before it.
Sadly, this documentary style also means that the story is broken up by interviews with scientist and mission control members on earth explaining the crew’s goal. The issue here being that everything these individuals say in their interviews is simply exposition that is already clearly expressed through either the words or action of the mission’s crew in the recordings. So although the video footage and central story and themes are pretty clear cut, the addition of the interviews makes it feel like the filmmakers are trying to beat you over the head with them. It just ends up feeling unnecessary and breaks up the tension which is really disappointing.
Luckily, for me at least, this didn’t ruin my viewing experience. In the end the film still works, with a core story and themes that are still expressed and earned that lead to a brilliant ending; where the result of their mission is made clear and as ridiculous as it initially may seem, everything really comes into perspective and it ends up having an emotional punch and staying power one wouldn’t expect. Because of this I highly recommend this ambitious little gem of a film. If you can look past the interviews, and focus on the central story as I did, then you are in for a real treat.
Ten Years #36: The Mountain Goats
Decade of last.fm scrobbling countdown:
36. The Mountain Goats (846 plays)
Top track (37 plays): Home Again Garden Grove, from We Shall All Be Healed (2004)
Featured track: Fault Lines, from All Hail West Texas (2002)
Back in my later high school days, when my early obsession with metal music coexisted with an active participation in games like Magic: The Gathering and Dungeons & Dragons, I remember stumbling across a 1/1 beast in Ice Age that I became bound and determined to name a pseudo-grim heavy metal band after:
I was very briefly disappointed to find that a band had already beaten me to the punch on that one. One of the things that makes John Darnielle an awesome person, though, is the very real possibility that this is no coincidence and he took his band name from M:tG too. (Probably not, given that his first album came out in 1994, but you never know.) This guy has made a guest appearance on an Aesop Rock hip-hop album and written an acoustic love song set to a Marduk black metal concert in the same year; his appreciation for the awkward and out-of-place couples with an above-average awareness of other musical scenes to conjure a constantly befuddling self-image. The first time I saw him live, before I was very aware of his works, I wasn’t sure if I ought to take the dialogue between each track as stand-up comedy or legitimate commentary by someone who was hopelessly socially inept. In retrospect, it was more the former, but the heart-felt sincerity Darnielle packs into everything he says or writes is both a quintessential part of the act and a reflection of who he really is–someone both incredibly aware and controlling of his public image and just a little bit legitimately weird. He has made his claim to fame writing sentimental solo acoustic songs with over-the-top lyrics and awkward subject matters that are simultaneously heart-felt and tongue-in-cheek. He has cultivated his awkwardness into some of the best solo acoustic albums recorded since Bob Dylan.
Lately, The Mountain Goats have evolved from a solo project to more of a full band. Last time I went to their show the audience had expanded from about a hundred to a few thousand, and Darnielle was hamming up the rock-star image with a shit-eating grin on his face the whole time. I absolutely love this guy and his works, and while I can’t say that I’ve kept up with him consistently over the years (his discography is massive), I’ve certainly listened to him enough to rank in my top 50 most played artists of the past decade. Here are the lines to Fault Lines, to give you some idea of his brilliantly bizarre lyrics:
Down here where the heat’s so fine
I’ll drink to your health and you drink to mine
As we try to make the money we scored out in Vegas hold out for a while
We drink vodka from Russia
We get our chocolates from Belgium
We have our strawberries flown in from England
But none of the money we spend seems to do us much good in the end
I got a cracked engine block, both of us do
Yeah the house, the jewels, the Italian race car
They don’t make us feel better about who we are
I got termites in the framework, so do you
Down here where the watermelon grows so sweet
Where I worshiped the ground underneath of your feet
We are experts in the art of frivolous spending
It’s gone on like this for three years I guess
And we’re drunk all the time, and our lives are a mess
And the deathless love we swore to protect with our bodies
is stumbling across its bleak ending
But none of the rage in our eyes
Seems to finish it off where it lies
I got sugar in the fuel lines, both of us do
Yeah the fights and the lies that we both love to tell
Fail to send our love to its reward down in hell
I got pudding for a backbone, and so do you
La la la la! Hey hey!
Trailer: Kick-Ass 2 (Extended Red Band)
This past week saw the largest collection of nerd, geek and comic book fandom gathered in one magical place. The place in question is San Diego and the event is called San Diego Comic-Con or simply just uttered in awed whispers as Comic-Con. It is a place that many outsiders have shunned as a place that has no place in good, normal society yet they continue to arrive in larger numbers to ply their products to those they shun. Even this blog has it’s shamers and ignorant individuals who spew insults yet they too continue to visit because deep in their subconscious they know, like those who ridicule Comic-Con and those who attend them with a passion, that they’re the ones out of step with whats not accepted in society.
What does this mean when it comes to the latest trailer for Kick-Ass 2 that just came out of Comic-Con?
Absolutely nothing other than the trailer and the film itself is just another weird meeting of the two cultures. It’s a film that celebrates the ridiculousness and absurdity of the comic book culture, yet it’s one that’s funded by the very same people who insulted the scene just a decade ago.
The first film was a revelation and helped introduced the world to one Chloe Grace Moretz, but it also showed that comic books and films made from them didn’t have to be PG or even PG-13. There was a place for ultra-violence in our comic book films. It also helped bring the name of Matthew Vaughn into the forefront of comic book fandom. While he’s not directing this sequel (he elected to go with X-Men: First Class and we’re all the better for it), he did help in bringing it to life and hand-picked his successor in Jeff Wadlow.
While Kick-Ass 2 is not getting the same sort of buzz from Comic-Con the original film did it is still one film I’m quite interested in seeing just to find out what has happened to our young superheroes and vigilante crime fighters since the last film. Plus, it’s main villain likes to call himself “Motherfucker”.
Review: True Blood 6.6 “Don’t You Feel Me”
Before I review tonight’s episode of True Blood, I have to apologize for not reviewing last week’s episode. For the past six months, I have been basically working, writing, and dancing nonstop and last week, it finally caught up with me and I nearly collapsed from exhaustion. I’m still in the process of recovering but hopefully, I’ll be more active this week than last week.
Going into tonight’s episode, I knew that there had been a lot of speculation online about the possibility of one or more major characters dying. A lot of people though that it might be Lafayette, especially since he was in the process of trying to drown Sookie when last week’s episode ended. Some people thought Alcide would kill Sam and still others insisted on breaking my heart by speculating that Eric might experience the true death.
Instead, it turned out to be Terry. That’s right. After spending all of last season dealing with that stupid Iraqi fire demon and then spending most of this season feeling guilty for having murdered his friend Patrick, Terry appeared to have finally found some peace tonight. Arlene and Holly recruited a vampire to erase Terry’s memory (which is really what they should have done in the first place) and Terry was cheerfully taking out the trash when his friends kept their promise to him and shot him in the neck. Arlene rushed outside and held Terry as he died, no longer aware of why he had asked to be killed in the first place.
To a certain extent, Terry’s death was not that surprising. If there was any major character that True Blood could afford to lose, it was Terry. And, hopefully, his death will mean we won’t ever have to hear about that Iraqi fire demon ever again. However, even if it wasn’t totally unexpected, it was still a perfect example of how True Blood, at its best, can so gracefully walk across the thin line between heartfelt melodrama and over-the-top satire. We all knew that Terry was doomed as soon as he told Arlene that he had never been happier but the scene worked because both Todd Lowe and Carrie Preston gave such heartfelt performances in the roles of Terry and Arlene. Even if there was little left for the show to do with Terry as a character, I will still miss Todd Lowe’s likable presence.
However, Terry was not the only character to meet an abrupt end tonight. After putting himself into a coma and having a typically cryptic meeting with Lilith, Bill drank a vial of Warlow’s blood. Now even more powerful than before, Bill confronted Governor Burrell and demanded to know why he had been having visions of all of the vampires being burned to death in a white room. When Burrell didn’t answer quickly enough, Bill responded by ripping the Governor’s head off of his body. And while Burrell certainly deserved the punishment, I doubt that’s going to do much to help human/vampire relations.
Governor Burrell was played by Arliss Howard and, in just six episodes, Howard had transformed Burrell from simply being a standard evil politician to being one of the best villains in the history of True Blood. While I knew that Burrell was too evil to eventually not suffer some sort of violent death, I was surprised that it occurred at the mid-point of this season as opposed to the end of it. I have a feeling that Sarah Newlin will take his place as the main human villain and I’m sure that Anna Camp is more than up to the job but I’m still going to miss Arliss Howard’s brand of evil.
Meanwhile, Sookie continues to consistently make the worst choices in men. After Warlow saved Sookie from being drowned by the possessed Lafayette, Sookie took Warlow to a fairy dimension where, after she tied him up to keep him from losing control, she proceeded to let him feed on her and then did the same to him. As they made love, their respective lights glowed together and it would have been a beautiful image if not for the fact that we know that the only Sookie gave herself over to Warlow was because Bill’s found religion, Eric’s prison, and Alcide’s off searching for Sam.
As for Eric, after he and Pam refuses to fight to death gladiator-style, Gov. Burrell forced him to watch as Nora was injected with some sort of vampire virus known as Hep V. Then, like a typical short-sighted villain, Burrell left before Nora actually died. While Burrell was busy having his head ripped off, Eric was summoning Willa and getting her to free both him and Nora. Disguised as a guard, Eric discovered that the all of the new Tru Blood is being spiked with Hep V.
Jessica is also in the prison. Sarah Newlin attempted to force her to have sex with a new vampires named James. I don’t know if we’ll ever see James again but I hope that we do because, seriously, he’s really hot and, as opposed to every other male character on this show, he actually seems to respect women.
Meanwhile, Jason has infiltrated the LAVPD. I just loved Ryan Kwanten’s performance tonight as he attempted to out-fascist the fascists.
Finally, Sam and Nicole … wow. Just typing the words “Sam and Nicole” makes me want to close my eyes and go to sleep. Seriously, I love Sam and all but he doesn’t need to be running around with a new girlfriend when Luna hasn’t even been dead for more than a week. Anyway, Sam ended up giving Emma back to Martha and Alcide allowed Sam and Nicole to leave town but told them that if they ever returned, they would be killed by the pack.
Tonight’s episode pretty much epitomized everything that I love about True Blood. It was over-the-top and melodramatic but, if you weren’t touched by Arlene singing as Terry died, then you just don’t have a heart. That was True Blood at its best.
Finally, the Emmy nominations were announced last Thursday and, not surprisingly, both the Walking Dead and True Blood were pretty much ignored. (Instead, space was made to honor the predictable political blathering of House of Cards because I guess the Emmy voters love to feel smart without actually being challenged.) The lack of respect for televised horror ultimately say nothing about the quality of shows like True Blood and everything about the lack of guts on the part of the Academy of Television Arts and Sciences.
What’s important is that we, the viewers, know what the best shows on television truly are.
Random Thoughts and Observations:
- Tonight’s unofficial scene count: 42
- Before I watched True Blood, I had to sit through a commercial for the Newsroom. I was just like, “Oh yay! A chance to relive Occupy Wall Street!” BLEH!
- Can Lafayette ever go for two episodes without getting possessed?
- I want to do bad thing with you, Eric.
- I love that Jason responds to his name by saying, “The one and only.”
- That was a sweet scene between Andy and his last remaining faerie daughter. I would have named her Bernadette, after the patron saint of asthma sufferers. (I’ve been praying to Bernadette a lot this past week…)
- Arliss Howard made a wonderfully hissable villain.
- “I just think we have the type of friendship where we can give each other keys!”
- “I love you, brother.” “I love you, sister.” *Sob*
It Figures (No. 3) Misaka Mikoto
It may have been awhile since I’ve done an It Figures post, but anyone that’s followed the site with any regularity knows that they’re here to read posts by Lisa Marie Bowman, or maybe Arleigh, but if they’re here to read anything from pantsukudasai56, then they’re in for a long wait in between entries. My latest entry was about a little show called Toaru Kagaku no Railgun, and keeping with that theme, I have the latest figure I’ve received who also happens to be the protagonist of that show, Misaka Mikoto.
First off, this box is big enough to hold an entire Spartan. Is that Master Chief in there? Ok, I really only took this pic as a sort of comparison. My TV is a 55″ screen, so you can see just how big that box is. Incidentally, the show that I’m watching is Yozakura Quartet. All in all it’s a pretty average show, so there won’t be a post dedicated to it, but it’s not like it’s a terrible show. Just one of those shows you watch if you have nothing better to do. Anyways, that’s all I’ll ever mention of the show, and no, Master Chief is not in this box, although he would almost fit (not really) The box winds up being 9180 square inches of space. By far the largest box I’ve ever received from Glorious Nippon, but is this the size of the figure I’m reviewing?
No. There’s two figures in here. Still, two figures for a box this size is pretty impressive. The other figure is of the Princess of the Crystal by Good Smile Company, and she in herself is almost worth a post. But today we’re focusing just on the FREEing Misaka Mikoto (FREEing is also a subsidiary of Good Smile Company, so getting the two in one box makes a certain amount of sense)
Even though it’s not as large as you’d think coming from a shipping box that size, this is still a 1/4 scale figure, which is FREEing’s forte. While they also do the normal 1/6 to 1/8 scale figures, they’re mostly known for doing the larger 1/4 scale figures. For those who don’t quite get what I’m saying, it basically means that if you increased this figure’s size 4 times what it currently is, you’d have a life size figure. For the curious, 1/1 size figures do exist, and they also cost several thousands of dollars. Far more than even this reviewer can afford to spend on a figure, regardless of how awesome it would be to own one.
The first thing I’d like to point out about this figure is a big difference between her and most other figures. A lot of other figure collectors would probably spot this right away, but for the uninitiated, here’s something to look at. She doesn’t have a standard base like so many other figures. That stool is what supports her, an unlike a lot of other figures, she’s not attached to it by pegs or screws. She’s just sitting on it, with most of the figure weight being put directly on the stool, and a small amount being put on her foot which is touching the floor. While this is an interesting choice, it also leads to the possibility that she will not be quite as stable as a figure that has a base that it’s pegged in to. Still, from my experimentation, it seems that she will remain quite stable, so the chances of her falling off the base are fairly slim, unless you live in an area that experiences a lot of earthquakes.
The backside of this figure stays faithful to the bunny girl motif that Japan (and I) so dearly love. FREEing is well known for its bunny girl figures, having done them for highly popular series like The Melancholy of Haruhi Suzumiya and lesser know but still well loved series like Sora no Otoshimono, so naturally they’re not letting their customers down with this series. This is actually their second figure from the series, with “good friend” Kuroko Shirai already having debuted in a similar outfit. So, they’re no strangers to making sure that their figures look good from any angle.
Dear Jeebus, she had no face! Ok, this is a fairly new thing for the 1/4 scale FREEing figures. Usually with this line, you get what you’re given and that’s that. But for these figures, they’ve given us the option of changing out the faces. The face that I showed you earlier had her smiling. That’s all well and good for most people, but for fans of the series and people that feel they know Mikoto well, that just isn’t good enough.
This face is much more suitable to her. Anyone that has watched the series would know that if Mikoto were to find herself forced to wear a bunny girl outfit, that she would be very uncomfortable doing so. So it’s great that FREEing had the foresight to include a second face that makes Mikoto look as though she is highly embarrassed to be seen wearing such an outfit. Now, to each their own of course, so if you liked the previous face then by all means display her as such. However, for people like myself who feel that Mikoto would normally show a lot more restraint in this situation, this secondary face is a great addition to the figure and I’m thrilled that FREEing gave us a choice.
One other aspect that I’d like to focus on is the stockings. This just goes to show the attention to detail that FREEing made to this figure. It would have been so easy for them to just paint the stockings on and call it good, but that’s not what FREEing is all about. You can’t easily tell from this picture, but I’m here to tell you that those stockings are actual net stockings and not just painted on. What I mean by that is, I can grab a portion of the stockings and pull them off from her legs. Now, granted, you can’t actually removed the stockings entirely, but the fact that they are actual fabric stockings and not just molded plastic means a lot to figure fans. These small attention to details makes a figure like this worth putting in ones collection.
All in all, a big part of FREEing’s draw is the sheer size of their figures. Not many companies make figures larger than a 1/6 size. But regardless, if it was a large sized figure with poorly sculpted features, it wouldn’t matter what size it was. With the inclusion of a secondary face, FREEing tackles any problem I might have had with this figure, and makes it one that would be welcome any any serious collector’s home. This kind of attention to detail is exactly what we all expect when we get a figure related to Good Smile Company.
Through the Shattered Lens 