Post by tyrantoftinpanalley on Aug 1, 2015 6:06:18 GMT -5
I thought I'd try my hand at one of these, so do bear with me...
Note: this thread was previously entitled "Typing As I Watch: TNOT Doomsday Formula." It has been changed to avoid confusion. Thanks!
Interesting start to the episode in that we see Jim leading the horse out the back of the train and then mounting in the teaser. That’s rather unusual, I daresay.
A nice atmospheric background that the word Denver is superimposed over. It’s also interesting that the background switched and the word was still there for a second or two. I don't think that usually happens.
Now, when Jim was mounting he looked to be wearing his baby blue suit, but at the house he’s in emerald green. My theory is that he was wearing green the whole time and it was simply the moonlight (or something) that made it look blue, but it does make me wonder...
The camera seems to shake ever so slightly for a short part of the first fight scene. Intentional, maybe?
And the teaser ends with a bang - Jim hitting the floor after that multi-parted fall/flop, and then being teased with a metal fist on the end of a cane before the scene fades out.
I love that the first scene after the credits is Artie bringing Jim a fresh towel for his jaw. It’s a simple gesture, but it makes the scene kind of heartwarming.
It seems to me that the box storing the explosive components probably should have been secured a little better than it was.
Real classy, setting off the explosive in a goblet. Actually, the whole setup is pretty neat. The explosion itself is also rather glorious, though it looks almost like stock footage from some B sci-fi film.
Jim sounds pretty out of it in this scene, like he’s still getting over the fight (or hasn’t gotten enough sleep). Whether it was scripted or just played that way, I don’t know, but in any case it’s a nice touch.
Interesting idea, having a specialized drink that only a select group indulges in. Could serve as a secret code or something.
I appreciate the detail put into the fist on the cane--right down to the thumbnail. I could have sworn it would make it into a freeze frame at some point - it just seems too good to pass up. On that note, the first freeze frame here was rather unexpected and unusually detailed.
Artie’s speaking to the “colonel” and it turning out to be Miss Scott was a fun bit. Is it just me, or did Colonel Richmond come into quite a few new assistants in the fourth season?
I feel for Miss Scott, trying to read the information the colonel passed along while Artie checked out Veil of Cashmere. I would have been sweating bullets if I were in her shoes!
The dropping down from the bottom of the wagon bit never gets old. If villains were at all genre savvy, they would have the bottom of the wagon checked too!
I love the kind of ancient Egypt type music that plays during certain parts of the scene in Hadrian’s. It adds a very interesting vibe and serves to cement Artie’s character.
I’m a bit confused as to how Jim was able to get on the other side of the vent before the guys with the crate got there...
Although fiery pits are to taken seriously, the second freeze frame is not. Dear Lorna looked a good deal better without a “tail.”
(I’m shocked that her dress hasn’t been at least scorched by this point.)
Though our reasons differ, I’ve got to concur with the good doctor. No way I’d climb through that heating duct! It suits Jim, though. He has a kind of gymnastic fluidity and grace to his movement as he climbs back in.
The red and green glasses that Kroll and “Ortuglo” drink out of are most handsome!
While Jim evades potential captors, Artie explains a recipe for some kind of stuffed grape leaves*. That’s the gourmet we all know and love! I did kind of have to laugh at the look on his face when the ranch hand burst in and interrupted him. I also enjoyed the brief bit of dialogue when Artie and Kroll leave the scene:
Kroll: “This way.”
Artie/Ortuglo: “Which?”
Kroll: “This way.”
I don’t think it’s so much the lines themselves as how easily and naturally they were carried off.
Jim doesn’t quite sound like himself when he tells Artie, “No one sings off-key like you.” but it’s still a great line.
(To be honest, I hadn’t actually realized he was supposed to be singing off-key. I’d figured it was just something to do with the musical style.)
The third freeze frame is a classic. The look on Artie’s face carries over excellently to the drawing, and even after multiple viewings, it keeps you on the edge of your seat.
Kudos to Artie for being able to scramble back into position so quickly! Say what you will about him, but the man is a pro at curtailing panic and doing what must be done!
I just noticed that Lorna is wearing heeled shoes while standing on the platform. Eegh! I’d think that would make her balancing act a lot harder.
It’s pretty amazing how coordinated Jim and Lorna were during her rescue. Were they having a telepathic conversation while he was setting up his gear? A) She knew just when to jump, and B) He managed to get her over without catching her skirt on fire. The way one corner fell, it really ought to have. In any case, the length of Jim’s jacket came in handy - it made it easier for her to grab onto his suspenders to secure herself.
(Though, looking back on the scene, her hand is actually on his jacket - much higher up on his back - when they’re going over and not on his suspenders until they’ve nearly landed. Interesting!)
The inflection in his voice when he asks if she’s alright is very nice!
I love the way that, right after Dr. Crane dies, the minute Jim hears a noise, up goes his gun. No way is he going to let anyone get near Lorna or encroach on her grieving. She just lost her father, for goodness sake. The last thing she needs to worry about is being attacked. Jim’s an outsider to the display of emotion going down and making her so vulnerable, so he doesn’t try to interfere, but he does immediately take up the role of her protector and keep vigil over her, if only ever so briefly. A very well-turned and thought out bit of work. It’s moments like that that really add depth to the show.
And yet, at the same time, Artie getting down there and murmuring to her is almost as nice. Indeed, they both have lovely but unique methods of coping.
The red thing in the middle of Kroll’s control panel looks rather hilariously like a joystick. Especially since, in hindsight, he really does control everything up there in a manner similar to the one used when playing certain arcade games.
“My operation addresses itself to making death more efficiently realizable.” What a purebred super villain line!
When they cut to the wagon, the lighting actually makes Lorna’s dress look rather white, so for a split second, she put me in the mind of a newlywed bride waiting for her husband to join her on the wagon seat. Though it looks like he got the veil.
Jim’s dive into the wagon was very nicely executed, and the back view of the wagon, with Artie’s headdress flapping in the wind, was near worthy of a freeze frame - unfortunately, it wasn’t in the right spot.
The music that starts off the tag is strangely jaunty, which was fitting - for an episode that could be so dire in parts, it had a remarkably light tag.
On a final note: an odd little thing with the credits - the second guard is credited right under the bartender, before the first, third, and fourth guards, who are clear on the next slide (?) of credits. I suppose it was contractual or something, but it does look funny!
* Incidentally, I did a Google search to see if I could find out if there was a special name for what he was talking about (as far as I could tell, there isn't), but the search was enlightening nevertheless: the fifth result was “FAQ What foods are good and bad for hermit crabs?” Ah, how The Wild Wild West broadens horizons!
Note: this thread was previously entitled "Typing As I Watch: TNOT Doomsday Formula." It has been changed to avoid confusion. Thanks!
Interesting start to the episode in that we see Jim leading the horse out the back of the train and then mounting in the teaser. That’s rather unusual, I daresay.
A nice atmospheric background that the word Denver is superimposed over. It’s also interesting that the background switched and the word was still there for a second or two. I don't think that usually happens.
Now, when Jim was mounting he looked to be wearing his baby blue suit, but at the house he’s in emerald green. My theory is that he was wearing green the whole time and it was simply the moonlight (or something) that made it look blue, but it does make me wonder...
The camera seems to shake ever so slightly for a short part of the first fight scene. Intentional, maybe?
And the teaser ends with a bang - Jim hitting the floor after that multi-parted fall/flop, and then being teased with a metal fist on the end of a cane before the scene fades out.
I love that the first scene after the credits is Artie bringing Jim a fresh towel for his jaw. It’s a simple gesture, but it makes the scene kind of heartwarming.
It seems to me that the box storing the explosive components probably should have been secured a little better than it was.
Real classy, setting off the explosive in a goblet. Actually, the whole setup is pretty neat. The explosion itself is also rather glorious, though it looks almost like stock footage from some B sci-fi film.
Jim sounds pretty out of it in this scene, like he’s still getting over the fight (or hasn’t gotten enough sleep). Whether it was scripted or just played that way, I don’t know, but in any case it’s a nice touch.
Interesting idea, having a specialized drink that only a select group indulges in. Could serve as a secret code or something.
I appreciate the detail put into the fist on the cane--right down to the thumbnail. I could have sworn it would make it into a freeze frame at some point - it just seems too good to pass up. On that note, the first freeze frame here was rather unexpected and unusually detailed.
Artie’s speaking to the “colonel” and it turning out to be Miss Scott was a fun bit. Is it just me, or did Colonel Richmond come into quite a few new assistants in the fourth season?
I feel for Miss Scott, trying to read the information the colonel passed along while Artie checked out Veil of Cashmere. I would have been sweating bullets if I were in her shoes!
The dropping down from the bottom of the wagon bit never gets old. If villains were at all genre savvy, they would have the bottom of the wagon checked too!
I love the kind of ancient Egypt type music that plays during certain parts of the scene in Hadrian’s. It adds a very interesting vibe and serves to cement Artie’s character.
I’m a bit confused as to how Jim was able to get on the other side of the vent before the guys with the crate got there...
Although fiery pits are to taken seriously, the second freeze frame is not. Dear Lorna looked a good deal better without a “tail.”
(I’m shocked that her dress hasn’t been at least scorched by this point.)
Though our reasons differ, I’ve got to concur with the good doctor. No way I’d climb through that heating duct! It suits Jim, though. He has a kind of gymnastic fluidity and grace to his movement as he climbs back in.
The red and green glasses that Kroll and “Ortuglo” drink out of are most handsome!
While Jim evades potential captors, Artie explains a recipe for some kind of stuffed grape leaves*. That’s the gourmet we all know and love! I did kind of have to laugh at the look on his face when the ranch hand burst in and interrupted him. I also enjoyed the brief bit of dialogue when Artie and Kroll leave the scene:
Kroll: “This way.”
Artie/Ortuglo: “Which?”
Kroll: “This way.”
I don’t think it’s so much the lines themselves as how easily and naturally they were carried off.
Jim doesn’t quite sound like himself when he tells Artie, “No one sings off-key like you.” but it’s still a great line.
(To be honest, I hadn’t actually realized he was supposed to be singing off-key. I’d figured it was just something to do with the musical style.)
The third freeze frame is a classic. The look on Artie’s face carries over excellently to the drawing, and even after multiple viewings, it keeps you on the edge of your seat.
Kudos to Artie for being able to scramble back into position so quickly! Say what you will about him, but the man is a pro at curtailing panic and doing what must be done!
I just noticed that Lorna is wearing heeled shoes while standing on the platform. Eegh! I’d think that would make her balancing act a lot harder.
It’s pretty amazing how coordinated Jim and Lorna were during her rescue. Were they having a telepathic conversation while he was setting up his gear? A) She knew just when to jump, and B) He managed to get her over without catching her skirt on fire. The way one corner fell, it really ought to have. In any case, the length of Jim’s jacket came in handy - it made it easier for her to grab onto his suspenders to secure herself.
(Though, looking back on the scene, her hand is actually on his jacket - much higher up on his back - when they’re going over and not on his suspenders until they’ve nearly landed. Interesting!)
The inflection in his voice when he asks if she’s alright is very nice!
I love the way that, right after Dr. Crane dies, the minute Jim hears a noise, up goes his gun. No way is he going to let anyone get near Lorna or encroach on her grieving. She just lost her father, for goodness sake. The last thing she needs to worry about is being attacked. Jim’s an outsider to the display of emotion going down and making her so vulnerable, so he doesn’t try to interfere, but he does immediately take up the role of her protector and keep vigil over her, if only ever so briefly. A very well-turned and thought out bit of work. It’s moments like that that really add depth to the show.
And yet, at the same time, Artie getting down there and murmuring to her is almost as nice. Indeed, they both have lovely but unique methods of coping.
The red thing in the middle of Kroll’s control panel looks rather hilariously like a joystick. Especially since, in hindsight, he really does control everything up there in a manner similar to the one used when playing certain arcade games.
“My operation addresses itself to making death more efficiently realizable.” What a purebred super villain line!
When they cut to the wagon, the lighting actually makes Lorna’s dress look rather white, so for a split second, she put me in the mind of a newlywed bride waiting for her husband to join her on the wagon seat. Though it looks like he got the veil.
Jim’s dive into the wagon was very nicely executed, and the back view of the wagon, with Artie’s headdress flapping in the wind, was near worthy of a freeze frame - unfortunately, it wasn’t in the right spot.
The music that starts off the tag is strangely jaunty, which was fitting - for an episode that could be so dire in parts, it had a remarkably light tag.
On a final note: an odd little thing with the credits - the second guard is credited right under the bartender, before the first, third, and fourth guards, who are clear on the next slide (?) of credits. I suppose it was contractual or something, but it does look funny!
* Incidentally, I did a Google search to see if I could find out if there was a special name for what he was talking about (as far as I could tell, there isn't), but the search was enlightening nevertheless: the fifth result was “FAQ What foods are good and bad for hermit crabs?” Ah, how The Wild Wild West broadens horizons!