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Welcome to the Superpower Portal, the ultimate crossover wiki for learning about the various powers from favorite franchises!

Currently, this wiki's main focus is Marvel Comics, DC Comics, Final Fantasy, and Smash Bros. Ultimate. However, superpowers, canon characters, locations and such from other franchises ARE ALSO welcomed! The more users with more franchises, the better!

The purpose of this wiki is to 1. create an encyclopedia of favorite franchises as a reference for artists, fanfic writers, and content creators. 2. create a space where canon meets fan innovation and creations! Here you can create profiles for your creative works, where they can be easily shared, seen and collaborated by many others of interest!

Healthy debates and civil discourse is always welcomed. We adhere to the "no yes man" policy; not seeking to create followers but innovators freely creating what they will, without the overbearing oversight of other groups and wikis. That's not to say we will be without a sense of structure and a level of rules. For all prime pages (pages about canon info, canon superpowers) there will be some regulation to assure accuracy. However, the purpose of this wiki is to offer a platform for creative thought, and more creative freedoms.

If you have any questions, do not hesitate to ask fellow admins and mods. We're here to serve YOU and our collaborative platform.

## Get Started with a Template below!

Submit a Superpower!Submit a Canon Character!Submit an Item!Submit a Location!Submit your fan projects!Submit your Fanmade Power!Submit your character profile!
## Superpower Portal Tutorial!

Don't worry, I've PERSONALLY cried, bled, and destroyed half my furniture to bring you the ULTIMATE user-friendly Fandom tutorial! This short, easy to follow video, will guide you in how to use this wiki to create various entries, the different types (such as "Character", "Superpower", "Item", "Projects", etc.), how to properly implement categories, how to upload files, it gives you everything. This tutorial is so easy, even a second grader can do it!
There will be further updates and addons to make this wiki all the more exciting, and the best place for crossovers, RPs, and fan-works to prosper and build. DO NOT hesitate to reach out to the admin team for any assistance!
Trelby

**Trelby** is a free screenwriting software which focuses on providing a simple, uncluttered interface to writing screenplays. It was released in 2012 as an update and rebrand of early-00s screenwriting software, Blyte. It describes itself as "*simple, fast* and *elegantly laid out"* Trelby can also generate useful reports for filmmakers — for example, a location report showing which scenes take place in each setting. This makes it a robust tool not just during the writing process but all throughout pre-production.

Trelby offers similar features to other screenwriting programs like Final Draft, Celtx and Fade In Pro. However, since Trelby is open-source, it is available completely free of charge, which sets it apart from its competition.
Continuity editing

**Continuity editing** uses a variety of classic film editing techniques to blend multiple camera shots — some taken at different times or even different locations — into a seamless, consistent narrative. This continuous stream helps viewers suspend disbelief so they can fully immerse themselves in a story without needless distractions.

Naturally, continuity editing includes making sure that items like props or costumes stay consistent from scene to scene. But the more important work lies in editing shots together in a way that leaves viewers thoroughly grounded in both time and space.

Film editing techniques designed to provide this grounding include eyeline matching, the 180-degree rule, and match cuts. An additional technique, eye trace, can also help guide viewers from one camera shot to another.
Gaussian Blur

**Gaussian Blur** is a blur effect created via a Gaussian function (named after mathematician and scientist Carl Friedrich Gauss). People choose Gaussian functions for several purposes. If you take a photo in low light and the resulting image has a lot of noise, Gaussian blur can mute that noise. If you want to lay text over an image, a Gaussian blur can soften the image so the text stands out more clearly.
Depth of Field

**Depth of Field** is the distance between the nearest and the farthest objects that are in focus of an image. The depth of field can be calculated based on focal length, distance to subject, the acceptable circle of confusion size, and aperture. A particular depth of field may be chosen for technical or artistic purposes.
Spielbergian

**Spielbergian** is an adjective commonly used to describe the directorial style and thematic elements found in the works of the renowned American filmmaker Steven Spielberg. It has become synonymous with emotionally-driven narratives, awe-inspiring visuals, and a masterful command over suspense and spectacle. From blockbusters like "Jurassic Park" (1993) and "E.T. the Extra-Terrestrial" (1982) to more introspective dramas such as "Schindler's List" (1993) and "Saving Private Ryan" (1998), Spielbergian films have earned critical acclaim and widespread popularity, solidifying their place in cinematic history.
Sword and Sandal

**Sword-and-sandal**, also known as **peplum**, is a subgenre of largely Italian-made historical, mythological, or Biblical epics mostly set in the Greco-Roman antiquity or the Middle Ages. These films attempted to emulate the big-budget Hollywood historical epics of the time, such as *Ben-Hur (1959)*and *The Ten Commandments (1956)*. These films dominated the Italian film industry from 1958 to 1965, eventually being replaced in 1965 by spaghetti Western and Eurospy films.

Perhaps the most famous sword-and-sandal venture is the *Hercules* series made from the '50s to the early '60s[1]

## See also

* Italian Cinema
* Epic
Fred Ott Principle

The **Fred Ott Principle** refers to the evolution of film from a minor, trivial novelty to an embedded social form, the central American medium of entertainment, a more universal form of narrative than prose fiction in twentieth-century. It was coined by Prof. David Thorburn of The Massachusetts Institute of Technology.

## Phases

### Imitation

Early films drew enormously on past art forms: theater, novel, newspaper and visual art. Over time, distinctly cinematic methods and effects began to appear.

There was patent warfare – distribution methods, how films would be created, how audiences would be exploited, what the length of films would be, etc. – all these issues were still unclear. Mass production, specialization of labor, and industrialization all developed around the film industry

### Technical Advance

At this stage, basic industrial stability had already been reached. Now film makers had a chance to explore the possibilities of the film medium – parallel action, faster editing, etc.  Griffith began to discover how film could manipulate the emotions of audiences. Feature-length films became the standard during this era (around 1916, 1917)

### Maturity

During this stage the content of film became married to the medium. Film became a mature art form. It’s possibly part of capitalism that the maturity of silent film was truncated by the development of sound. The novelty of sound brought about a regression – early sound film was not as good as late silent film. Similarly, sound film was later destabilized by the advent of television.

Film survived World War II, and came out of it just fine, even revitalized. The vast majority of Americans were going to the movies every week in 1948 – it was a fundamental part of their lives and routines. Due to television, by the 1970s, most Americans went to the movies only one or two times a year. This limited the centrality and influence of movies, but it also liberated them in a sense, allowing them to be more political, controversial, and artistic.

## References

1. ↑ https://dspace.mit.edu/bitstream/handle/1721.1/102063/21l-011-fall-2012/contents/lecture-videos-and-notes/MIT21L\_011F12\_lec1-2.pdf
Protagonist

A **protagonist** is the main character of a story. The protagonist makes key decisions that affect the plot, primarily influencing the story and propelling it forward, and is often the character who faces the most significant obstacles. A protagonist enters the film with a goal and by the end of the film, they either achieved that goal or did not. The protagonist’s character arch is defined by the pursuit of that goal.

A protagonist can be a hero, anti-hero or villain - a common misconception is that they must be the hero of the story. They are simply the main character that the film follows, in contrast to the antagonist who tries to keep them from their goal or act as an obstacle.

## See also

* Antagonist
* Hero's Journey
Continuity

**Continuity** is one of the responsibilities of the Script Supervisor to make sure elements are consistent from shot to shot and scene to scene. When there is a mistake, such as an actor in a different position or holding a different object within the same scene, it is referred to as a “continuity error.” They should try to be as detailed and precise as possible as, no matter how small the inconsistency, it may be noticed and serve to take the audience out of the film.

Continuity errors can arise from changing the position of the actor, their wardrobe or makeup, props, lighting, the position of extras, type of lens used, inconsistencies with the set, When multiple cameras are in use, the script supervisor keeps separate notes on each. These logs also notate a director's comments on any particular take and their decision as to whether it needs reshooting.
Flash Animation

**Adobe Flash animation** is an animation that is created with the Adobe Animate (formerly Flash Professional) platform or similar animation software. The term Adobe Flash animation refers to both the file format and the medium in which the animation is produced. Adobe Flash animation has enjoyed mainstream popularity since the mid-2000s, with many Adobe Flash-animated television series, television commercials, and award-winning online shorts being produced since then. It involves creating vector graphics and then animating them using keyframes and tweening techniques.

## History

he history of Flash Animation can be traced back to the early 1990s, when Macromedia developed a software called FutureSplash Animator. This software was later rebranded as Flash and became widely popular for creating animations for the web. In the late 1990s and early 2000s, Flash Animation gained even more popularity and was used to create a variety of animated shows and movies. This includes *Teen Titans Go!, Littlest Pet Shop* and *Tinga Tinga Tales.*

Many well known TV-shows have switched from traditional animation to flash in order to save time and money. This includes such shows as *Arthur* and *Beavis and Butt-Head*. This move has spawned criticism due to the noticeable decline in quality.
F/stop

An **F/Stop** or **Aperture Size** is the number that measures the width of the aperture on the camera. It's a ratio of the focal length to the diameter on the sensor or pupil. The f/stop determines depth of field and the amount of light entering the lens - a wider one will cause a shallow depth of field.

The lower the f/number, the wider the aperture (an f/2.2 lens would be wider than an f/16 lens) as it is measured in fractions. An f/number of f/4 means one quarter and an f/number of f/8 means one eighth.

F/Stops are not to be confused with T/stops.

## See also

* T/Stop
* Focal Length
* Depth of Field
* Aperture
* Exposure Triangle
ADMIN SLIDERS

* This is the titleGo to Superpowersportal Wiki
* This is the titleGo to Superpowersportal Wiki
* This is the titleGo to Superpowersportal Wiki
* This is the titleGo to Superpowersportal Wiki
1/4

* This is a Test
* Slide 2
* Slide 3
* Slide 4

Welcome to the Superpower Portal, the ultimate crossover wiki for learning about the various powers from favorite franchises!

Currently, this wiki covers Marvel Comics, DC Comics, Final Fantasy, and Smash Bros. Ultimate. The more users with more franchises, the better!

The purpose of this wiki is to 1. create an encyclopedia of favorite franchises as a reference for artists, fanfic writers, and content creators. 2. create a space where canon meets fan innovation and creations! Here you can create profiles for your creative works, where they can be easily shared and collaborated by others of interest!

Healthy debates and civil discourse is always welcomed. We adhere to the "no yes man" policy; not seeking to create followers but innovators freely creating what they will, without the overbearing oversight of other groups and wikis. That's not to say we will be without a sense of structure and a level of rules. For all prime pages (pages about canon info, canon superpowers) there will be some regulation to assure accuracy. However, the purpose of this wiki is to offer a platform creative thought, and more creative freedoms.

If you have any questions, do not hesitate to ask fellow admins and mods. We're here to serve YOU and our collaborative platform.

## Getting Started!

PlaceholderSubmit a Superpower!PlaceholderSubmit a Character!PlaceholderSubmit an Item!PlaceholderSubmit a Location!PlaceholderA Key Event
Creature Feature

A **Creature Feature** is a subgenre of horror that focuses on a monster or group of monsters. It is a vague description as a "creature" could technically be anything non-human, although most agree that Creature Features revolve around beings that are extremely far removed from humans like *King Kong (1933),* *Gremlins (1984)* and *The Host (2006). Japanese kaiju films can also be classified as Creature Features.*
Motion Capture

**Motion Capture** is the use of sensors and cameras to capture the movement of actors and objects, which can then be used to create realistic, computer-generated characters or effects in films. Motion capture technology has been used extensively in recent years, particularly in the creation of complex visual effects in blockbuster films such as *Avatar (2009)* and *Planet of the Apes (2011).*

## History

Motion capture technology has been used in a number of high-profile films in recent years, including *The Hobbit: An Unexpected Journey (2012)* in order to bring to life characters like Golem. It has also been used in a number of animated films, such as *The Polar Express (2004)* and *Beowulf (2007)*, as well as in video games and other interactive media.

One of the key advantages of motion capture technology is its ability to create highly realistic and detailed digital characters and effects. It allows filmmakers to achieve levels of detail and nuance that would be difficult or impossible to achieve through traditional animation or visual effects techniques. However, it can also be a complex and time-consuming process, requiring extensive pre-production planning and technical expertise. Despite these challenges, motion capture technology has become an increasingly important tool for filmmakers looking to create realistic and immersive visual effects in their work.
Calligrafismo

## Major Figures

* Mario Soldati
* Alberto Lattuada
* Luigi Chiarini

The Betrothed (1941)

**Calligrafismo** is an Italian film movement that emerged in the first half of the 1940s as a response to the shallow "Telefoni Bianchi" comedies of the time. It is highly formalistic, artistic and expressive in complexity, and deals mainly with contemporary literary material. Calligrafismo aimed to establish the expressive autonomy of cinema and to merge and contaminate different artistic and expressive languages.

## History

The main characteristics of calligrafismo are its formal complexity and richness of cultural references, which it harmonizes into a complete expressive form through formal attention and the re-evaluation of cinema's "artisanal" character. Calligrafismo drew inspiration from 19th-century Italian, Russian, and French literature, as well as the Tuscan Macchiaioli, Pre-Raphaelites, and Symbolists. The influence of French poetic realism is dominant, but the trend also drew from American and German cinema. Unlike neorealism or poetic realism, calligrafismo did not have any realist or social commitment; it was more concerned with formal care and the richness of cultural references.

Mario Soldati, Alberto Lattuada, and Luigi Chiarini are some of the well-known directors associated with calligrafismo. Mario Soldati, in particular, is known for his films' solid formal structure and characters' dramatic and psychological force. Other directors like Renato Castellani and Luchino Visconti explored the trend in their early films. Visconti's *Ossessione (1943)* was a completely anomalous calligraphic film that paved the way for Italian neorealism. The film version of The *Betrothed (1941)* , directed by Mario Camerini, is another important example of calligrafismo that became the most popular feature film between 1941 and 1942 due to its perceived income.

## See also

* Italian Neorealism
* Telefoni Bianchi
Intimacy Coordinator

**An Intimacy Coordinator** is a member of a film or television crew who ensures the well-being of actors and actresses who participate in sex scenes or other intimate scenes. Intimacy coordinators work closely with directors, movement directors, and choreographers to help plan out intimate scenes with both the actors along with other crew members.
Schüfftan Process

**The Schüfftan Process** is a special effects technique used in filmmaking to create the illusion of three-dimensional space on a two-dimensional film set. It was invented by the German cinematographer Emil Schüfftan, who first used the technique in the 1920s. The process involves using mirrors to reflect a portion of the action being filmed onto a separate piece of glass, which is then incorporated into the final image. This allows the filmmakers to create the appearance of complex and realistic environments using relatively simple sets and camera movements. The Schüfftan process has been used in a number of notable films, including F.W. Murnau's classic silent film *The Last Laugh (1924)* and the *King Kong (1933).*

## History

The Schüfftan process was used extensively in silent films and early sound films, but it fell out of favor as more advanced special effects techniques were developed. It is still occasionally used in contemporary films, however, when filmmakers want to achieve a specific visual style or effect. The first use of the Schüfftan process is not clear, but it is known to have been used in a number of notable films from the silent era, including F.W. Murnau's *The Last Laugh (1924)* and Fritz Lang's *Metropolis (1927)*. Lang, wanted to insert the actors into shots of miniatures of skyscrapers and other buildings, so Schüfftan used a specially made mirror to create the illusion of actors interacting with huge, realistic-looking sets.

the Schüfftan process was used by many other film-makers, including Alfred Hitchcock, in his films *Blackmail* (1929) and *The 39 Steps (1935)*, and as recently as *The Lord of the Rings: The Return of the King* (2003). The Schüfftan process has largely been replaced with matte shots, which allow the two portions of the image to be filmed at different times and give opportunities for more changes in post production.
The Schüfftan process's use of mirrors is very similar to the 19th century stage technique known as Pepper's ghost.

## See Also

* Forced Perspective
* Matte
* German Expressionism
Horror

**Horror** is a genre of film that intends to scare the audience, whether it be through dark visuals, atmosphere, jumpscares, concepts, psychology or gore. There are many subgenera of horror, including slashers, horror comedies, gore films, video nasties, psychological horrors, creature features and analog horror.
Lynchian

**Lynchian** refers to films that are reminiscent of those of director David Lynch. His films are characterized by dream imagery and meticulous sound design. Lynch conceptualized the idea of Eye of the Duck, the concept that a certain scene in a film should stand out from the rest as beautiful and encapsulating.

## Features

* Usage of dreams and dreamlike imagery and structure
* An unclear line between dreams and reality
* Non-Linear Storytelling
* Industrial Imagery

## Examples

* Many parallels have been made between the work of David Lynch and *The Wizard of Oz (1939)* which is said to be a huge influence to him. The documentary Lynch/Oz delves into the symbiosis between the director and the film.
* *Carnival of Souls (1962)*
* *The Lighthouse (2019)*
Match Cut

A **match cut** is a film editing technique that creates a seamless transition between two different shots or scenes by linking them together through a visual or auditory similarity, such as a similar shape, movement, color, or sound.

## Explanation

A match cut emphasizes the continuity or contrast between two separate moments or spaces in a film and creates a sense of fluidity or cohesion in the storytelling. By matching certain elements of one shot with another, a match cut can create a sense of metaphorical or thematic connection, or draw attention to a particular detail or emotion.

For example, a match cut could show a person opening a door in one shot, and then immediately cutting to a shot of the same person walking through a different door, creating a visual connection between the two spaces. Another example would be matching the sound of a gunshot in one scene with the sound of a fireworks explosion in another, suggesting a parallel between violence and celebration.
Shooting the Rodeo

"*And 'shooting the rodeo' means there's an event happening, and you film it, and you put it in your movie. And it's instant production value because you didn't have to arrange it.*"
— Mike Stoklasa

**Shooting the Rodeo** is a term coined by RedLetterMedia to describe when a film, usually a low-budget film, will pad the runtime of the feature with seemingly random B-Roll of a random, pre-existing public event to increase the production value of the work without increasing the budget.

Sometimes, however, the act of 'shooting the rodeo' can be a genuinely artistic decision and add to the film in positive and interesting ways. Despite this practice being common for low-budget films, a mainstream example is *Eternal Sunshine of the Spotless Mind (2004)* which contains an improvised scene at a parade.

## Origin

The term originated with the film *Blood Shack (1971)* who's home video release had a runtime of 55 minutes, approximately half of which was footage from a real rodeo that was not arranged by the production crew and presumably not written into the script.

The concept was later explained in a video where they discussed the film *Showdown (1993)* in which a similar scene occurs, again with an actual rodeo.

## History

One of Charlie Chaplin's first features, *Kid Auto Races at Venice (1921)* is an early example of this as the film was shot at the second annual 'Pushmobile Parade,' a children’s car race, held on Sunday January 11, 1914 in Venice, California.

*The Fugitive (1993)* is another example of a mainstream, popular film "shooting the rodeo" in a creative way, using a St. Patrick's Day Parade that was coincidently happening on a shooting day as a way for the protagonist to escape.

## References

1. ↑ https://www.youtube.com/watch?v=eHhLZi4sj0k&ab\_channel=RedLetterMedia
Spaghetti Western

A Spaghetti Western is a subgenre of Western films made by Italian filmmakers from the early 1960s to the late ‘70s. Also known (and more respectfully referred to) as "**western all’italiana**" (Italian-style Western), the genre reached its peak in the late ‘60s, garnering worldwide popularity. Often filmed with low budgets, Spaghetti Westerns featured anti-heroes for protagonists, dastardly villains, desert landscapes, non-traditional music scores, and plenty of violence.

## History

### Early History

The Western is, first and foremost, an American-made genre, influenced and inspired by the real American Western frontier of the 1800s. As a film genre, it was quite popular throughout the 1930s, ‘40s, and ‘50s. By the ‘60s, the genre had been mostly relegated to television.

Meanwhile, after the Italian Neorealism film movement of the 1940s and ‘50s, the Italian cinematic landscape became dominated by sword-and-sandal epics. These were films set in Greco-Roman periods, and were Italy’s answer to similar films of the day in Hollywood, such as *The Ten Commandments (1956)*, *Ben-Hur (1959)*, and Spartacus (1960).

In-between all this, some Italian filmmakers were making Westerns that did not raise much attention.

### Popularity

The first Italian made western that gained widespread popularity was *A Fistful of Dollars (1964). T*his was the breakthrough that created an industry where nearly half of every Italian film in production was a Western. After 1964, dozens and dozens of Italian Westerns got made every year until at least 1969. Taking inspiration from the Dollars Trilogy, these films featured anti-heroes with hidden agendas, revenge plots, and plenty of blood shed.

The films were often shot on low budgets, making their money back even if there was not much of a box office return. Emulating the CinemaScope look without anamorphic lenses, many of these films used the Techniscope technique. This involved shooting with spherical lenses but using a smaller-but-wider frame within 35mm film strips.
180 Degree Rule

**The 180-degree** rule states that two characters in a scene should always have the same left/right relationship with each other. The rule dictates that you draw an imaginary line between these two characters (or subjects) and try to keep your camera(s) on the same side of this 180-degree line.

## Breaking the Rule

Many filmmakers purposely break the 180-degree rule as a way to signal that something is wrong. While breaking the 180-degree rule is acceptable, the decision to do so must be considered carefully and it must only be broken with good reason. The breaking of the 180 degree rule is called a "reverse cut"

An example of a film breaking the 180 degree rule is Stanley Kubrick's *The Shining (1980).* An unnerving scene where Jack Torrance speaks with a butler named Delbert Grady in the bathroom contains wide shots from both directions, a 180-degree flip, crossing the line. Notice how the Butler appears to have jumped to the opposite side of the screen.

## See also

* 30 Degree Rule

1. ↑ https://www.masterclass.com/articles/understanding-the-180-degree-rule-in-cinematography
Audience

An **audience** refers to the group of people who watch and consume film and tv that is being produced. It can include a wide range of individuals, from casual viewers to dedicated fans, who may have different interests, expectations, and reactions to the media they are consuming.

The audience can be categorized based on various factors, such as age, gender, ethnicity, geographic location, language, and socio-economic status. The filmmakers or TV producers may have a particular audience in mind when creating their content, aiming to appeal to a specific demographic or niche.

Understanding the audience is crucial in the film and TV industry, as it can determine the success or failure of a production. Filmmakers and TV producers often conduct market research and audience testing to gather feedback and insights into the preferences and opinions of their target audience.

By knowing their audience, filmmakers and TV producers can tailor their content to better resonate with them, which can lead to higher ratings, better reviews, and increased box office or streaming revenues.

## See also

* Cinephile
* General Audience
* Studio Audience
* Audience as Voyeur
Aperture Priority

**Aperture priority** is a setting on a camera that allows the operator to set the aperture, while the camera adjusts the shutter speed and ISO to expose the image correctly. It is often abbreviated to just **A** on a camera mode dial.

## Explaination

In aperture priority mode, the photographer selects the desired aperture setting, and the camera automatically adjusts the shutter speed and ISO to expose the image correctly. This allows the photographer to control the depth of field of the image (the area in focus) while the camera takes care of the rest.

Aperture priority mode is often used by people who want to control the depth of field in their images, such as when shooting portraits or landscapes. It is a useful setting for those who want to have more control over the look of their images without having to manually adjust the camera's settings for each shot.
Film Noir

**Film noir** is a stylized genre of film marked by pessimism, fatalism, and cynicism. The term was originally used in France after WWII, to describe American thriller or detective films in the 1940s and 50s. Though, Hollywood’s film noir stretches back to the 1920s. Film noir literally translates to “black cinema” and French critics used it to describe Hollywood movies that were saturated with darkness and pessimism not seen before.

## History

This style of filmmaking was characterized by a painful time in history. Cynicism and pessimism from the Great Depression were ingrained in the American psyche. Then came WWII, which sent many men to the frontlines while many women took up the jobs in their absence.

After the war, there was a period uncertainty. Men returned from the battlefield with trauma, and the world lost quite a bit of innocence. Upon their return, the theory goes, men found women had shifted their role substantially. Housewives had become workers themselves so there was a perceived disruption to the gender roles that had been in place for decades.

In response to this insecurity, film noir gives us tales of men being taken advantage of by powerful and sometimes sinister women. Again, this merely the theory about how and why film noir became such a prominent style/genre in the post-war period.

The truth is that many of the iconic film noir movies that Hollywood produced in the '40s were based on novels written in the '30s. So, it can be argued that WWII had nothing to do with the source material but that it might explain the popularity of the films made later.

## See also

* Chiaroscuro
* Mystery
* Whodunnit
* German Expressionism
Laplace's Demon

**Laplace's Demon** was a notable published articulation of causal determinism on a scientific basis by Pierre-Simon Laplace in 1814, a theoretically figure that knows everything.

## Appearance

Laplace's Demon is a goat like figure. He has a body of a human but the head of a black goat with yellow fire on his head, between the horns. He has goat legs but black human arm. He has black skin with fur.

Laplace's Demon wears black suit with red tie and black coat outside.

## Personality

Laplace's Demon described himself as having no personality. He stated that himself as a mere theoretical figure. He has no interest in the world itself but he deligated his life to protect harm to the planet.

Due to his name's theory statement, Laplace's Demon believes that everything was determined beforehand. Thus, he himself has no free will and only acts as an actor within this grand movie theatre.

## Background

Laplace's Demon refers to the theory of Pierre-Simon Laplace in 1814. According to determinism, if someone (the demon) knows the precise location and momentum of every atom in the universe, their past and future values for any given time are entailed; they can be calculated from the laws of classical mechanics. This idea states that “free will” is merely an illusion, and that every action previously taken, currently being taken, or that will take place was destined to happen from the instant of the big bang. Discoveries and theories in the decades following such as irreversible processes in thermodynamics suggest that causal determinism is wrong or incompatible with our universe.

As the personification of that theory, Laplace's Demon dedicated his life to do nothing and only acted when harm was caused to the planet.

He participated in the Witch Falls as he believed The Ancestral Witches tried to harm the planet but did nothing except giving prophesized advice to Meridiana and Koken Chocolate Gentoshi.

## Abilities

As a Transcendent of the Bridge Builders Cabal, Laplace's Demon is said to be powerful enough to rival the regular magic side on her own.

### Formless Personification

Laplace's Demon is the personification of the theory by his name. Thus, he is not a living being per se and cannot be killed by destroying his body. Only banishing his soul by True Magic can "kill" him. Laplace's Demon is noted to be nigh-invincible because of this.

### Laplace's Demon

The power of the theory and his name. Laplace's Demon perceives time in a non-linear fashion. This means that he sees the past, present, and the future simultaneously. Likewise, he can grant others with this "atemporal" vision. This ability granted Laplace's Demon the vision to know all atoms and can predict, view everything. However, things like Miracles and True Magic can still exceed himself.

## Trivia

Despite being referred as "he", it should be noted that Laplace's Demon is the personification of a theory so he doesn't fall into any biological category. He isn't even a "demon" by definition.
Wraptor

**Wraptor** is a software developed by QUVIS used to create DCPs. A version for exporting files in 2k is available built into Adobe Premiere, however a 4k version is available for a fee.

## History

### QUVIS

QuVIS Inc. was founded in 1997 as a technology company focused on digital cinema solutions. The company's early work included developing technology for digital video and cinema applications. They were the first to develop wavelet-based compression technology, which is a highly efficient method for compressing and distributing digital cinema content. They provided wavelet-based encoding for major theatrical releases, including notable movies like *Toy Story 2 (1999)*.This technology allowed for the efficient distribution of high-quality digital cinema content. The wavelet compression technology pioneered by QuVIS eventually became the standard method for distributing DCPs (Digital Cinema Packages), the format used for digital cinema projection. This standardisation recognized the quality and efficiency of wavelet-based compression for digital cinema.

### Introduction of Wraptor

QuVIS introduced Wraptor as a digital cinema packaging solution. Wraptor was designed to address the challenges encountered when using the DCP theatrical distribution format. It provided tools for creating DCPs, supporting both Interop and SMPTE DCP formats, and ensuring high-quality wavelet compression.Over time, Wraptor evolved to keep up with the changing needs of the digital cinema industry. New versions of Wraptor introduced various features and improvements, including options for different bit depths, frame rate redefinition, streamlined setup, DCP naming conventions, and support for different DCP types.

## References

1. ↑ https://www.quvis.com/dcp-tools/
30 Degree Rule

**The 30 Degree Rule** is an editing rule that states camera should move at least 30 degrees away from the subject between shots of the same subject. The transition between shots may appear like a jump cut if the camera pans fewer than 30 degrees, which would look jarring to the viewers and pull them out of the narrative.
Continuity Announcer

A **continuity announcer** is someone who introduces the next programme on a radio or television station. to cross-promote programmes on the broadcaster's other stations where applicable and, sometimes, to provide information relating to the programme just broadcast. They mostly speak over Idents and during the credits of shows.

The six pre-digital terrestrial television channels in the UK (BBC One, BBC Two, ITV, Channel 4, S4C and Channel 5) make use of continuity announcers, and for most of the time, continuity announcements are presented live. Their duties when live can include filling time when errors are occurring with programming and giving breaking announcements such as the death of Queen Elizabeth II in 2022. Continuity announcers can also be found on digital and satellite channels, but most of these channels make use of pre-recorded announcements.

## See also

* Ident
* Voice Actor
* News Anchor
Flanderization

**Flanderization** is the process through which a fictional character's essential traits are exaggerated over the course of a serial work.

## History

The term "Flanderization" comes from the character Ned Flanders on the animated TV show "The Simpsons." In the show, Ned Flanders is initially presented as a friendly and mild-mannered neighbor, but as the show progressed, his religious and uptight personality traits were increasingly emphasized, ultimately turning him into a one-dimensional character.

It is especially prominent in long-running TV Shows, especially sitcoms. The Office character Dwight Schrute as well as SpongeBob SquarePants have also been criticised as being "flanderized" as their respective series went on.

Flanderization can be seen as a negative trend in storytelling, as it can lead to the simplification and reduction of complex and nuanced characters. It can also be seen as a way to generate comedic moments or to provide a clear contrast between characters. However, it can also lead to the loss of depth and credibility in a character if it is taken too far.
Court Show

A **Court Show** is a reality television genre that takes place in a courtroom. Court shows present content mainly in the form of legal hearings between plaintiffs (or claimants in the United Kingdom) and defendants presided over by a judge who is often the star of the show. Cases in these shows are usually range from humorously trivial to middlingly serious depending on the tone of the show. An American court show named *Divorce Court* covers couples disputes who are going through divorces while *Judge Judy,* perhaps the most famous court show, deals with a variety of matters from pets being stolen, eBay scams and assault. More often than not, any winnings past down from the judge are paid by the production company rather than the loser.

## See also

* Legal Drama
* Reality Show
Film Cement

**Film Cement** is a specialized adhesive designed for joining motion picture film. It is typically made by dissolving small pieces of film base to create a viscous solution. Two cut sections of film are spliced together in a film splicer using film cement.

It's important to remove the emulsion from the film before applying the cement to ensure a strong bond. The choice of solvent is also critical, as different solvents can have different effects on the film and the splice. Methyl ethyl ketone (MEK) and acetone are commonly used solvents for film cement, as they are effective at dissolving the film base and evaporate relatively quickly.

It's worth noting that film cement is not suitable for use with polyester-based films, as the solvents used in the cement can damage these types of films. In recent years, digital editing and distribution have largely replaced the need for physical splicing of film, but film cement is still used in some specialized applications, such as film restoration and preservation.
Kitchen Sink Realism

## Major Figures

* Bryan Forbes
* Tony Richardson
* Ken Loach

**Kitchen Sink Realism** was a British movement from the 1950s and 60s that focused on realistic characters and a focus on the mundane, everyday life of average people, especially of the working class. It focuses on social realism and the depiction of domestic situations of regular people. Tiny houses, cramped apartments, and dimly lit pubs.

## History

The films of this movement predominantly focused on the lives of the working classes, with broad regional accents. The kitchen sink films had no time for traditional, rose-tinted celluloid visions of England’s supposedly green and pleasant land. Instead, these raw human stories revolved around crumbling marriages, the drudgery of unskilled work, sexual orientation, stymied aspirations, backstreet abortions, disenfranchised youth, homelessness and gender, class and race discrimination. Dour they may be, but they are also vital, edgy and progressive. Issues dealt with on a daily basis in real life were laid bare for all to see and the disadvantaged, downtrodden and invisible were given a voice that has since, rightly, gone on to be regularly heard.
The term "kitchen sink" derived from an expressionist painting by John Bratby which contained an image of a kitchen sink.

## Legacy

While there was a limited time period for those movies and TV shows, the trend of these stories continues with soaps such as *Eastenders.*

## References

1. ↑ https://www.bfi.org.uk/features/where-begin-with-kitchen-sink-drama
Sexposition

**Sexposition** is the technique of providing exposition against a backdrop of sex or nudity. The *Financial Times* defined sexposition as *"keeping viewers hooked by combining complex plot exposition with explicit sexual goings-on".* Its purpose is to divert the audience and give characters something to do while exposition is being delivered, which is what distinguishes sexposition from merely gratuitous titillation. In this way it can be compared to blocking and business. The term was coined in 2011 based on an episode of *Game of Thrones.* In this episode, Petyr Baelish explains his backstory and motivations whilst two characters have sex in the foreground.

## See also

* Exposition
* Sex scene
* Blocking and Business
Biopic

A **biopic** is a genre of film that dramatises the life of an individual, usually a famous historical or public figure. The word "biopic" stands for 'biographical motion picture'. Examples include *The Queen (2006)* in which Queen Elizabeth II was played by Helen Mirren and Bohemian Rhapsody (2018) in which Freddy Mercury was played by Rami Malek
Owarai Bakudan Super Bomberman

**Owarai Bakudan Super Bomberman** (*おわらいばくだん スーパーボンバーマン*, *Comical Dynamite Super Bomberman*) was a manga authored by *Takeshi Tamai (玉井たけし)* and published in *Shogaku Ichinensei* from May 1995 -March 1998 and Shogaku Ninensei from April 1996-March 1998.

The series was partially collected in three books without the *Owarai Bakudan* banner, and sometimes featuring colorized versions of previously black-and-white comics.
Rule of Odds

**The rule of odds** states that when you’re including a group of subjects in your photo or frame, an odd number, rather than an even number will produce a more interesting, and more visually pleasing composition. The rule proposes that an even number of subjects would appear distracting or marginally too clean in contrast to an odd number.

When a frame includes an even number of subjects, like two or four, the brain tends to organise the subjects into pairs, which can make compositions look dull or too structured. If one main subject is placed in the frame, with two other supporting subjects, the eye will naturally fall to a middle subject, giving the photo a focal point.

## Implementation

A common form of using the rule of odds is to have three subjects in the frame. This way, they either always form a line, or a triangle, and both of these are visually pleasing shapes in a composition.

## References

1. ↑ https://foodphotographyacademy.co/blog/rule-of-odds/
Romance

**Romance** is a popular film genre that typically centers around a romantic relationship between two main characters. Often referred to as a "love story," these films explore the emotions and experiences that come with falling in love and maintaining a romantic relationship. The genre is known for its emphasis on emotional depth, character development, and the portrayal of intimate relationships. While the Romance genre often includes comedic elements, it can also delve into serious themes such as heartbreak, loss, and sacrifice.
De-Aging

**De-Aging** is a visual effects technique used to make an actor look younger, especially for flashback scenes. This is often accomplished via digitally editing the image or using CGI overlays or touch-ups. Well known films that have used this technique include *The Curious Case of Benjamin Button (2008), Pee-wee’s Big Holiday (2016)* and *The Irishman (2019)*
Alignments

Caos pledge themselves to the service of one of the three New Gods. The god they are aligned with will grant perks unique to them. These come in the form of spells, weapons, armor, dungeons and stat buffs. These buffs are detailed below.

## Dark

Dark Warriors are masters of dealing damage but at the cost of speed. They are able to inflict damage on large groups with ease. Many attacks set their enemies on fire, which continues to inflict damage even after the initial hit, allowing the Dark Caos to burn down crowds of enemies at once.

* +10% Melee Damage
* +10% Max Armor
* -10% Attack Speed

## Void

Void Warriors have unique spells at their disposal that are more powerful than raw damage; they can cause enemies to turn against each other, pull them into a black hole, or transmute them into a cow! Void characters specialize in freezing attacks, allowing them to slow groups of enemies to make time for their spells to recharge. However, this power comes at the cost of both melee damage and armor. The Void Caos must learn to use his spells well or be overwhelmed.

* +25% Magic Damage

## Light

Light Warriors have bonuses to movement speed and attack speed, making them the fastest Warrior type. They excel at stunning opponents with electrical attacks, which allows them to control a group or lock down and destroy an individual enemy with ease. They are less effective at destroying large numbers of enemies at once, so while their speed allows them a measure of survivability, they must avoid becoming overwhelmed.

* +10% Attack Speed
* +10% Movement Speed
Animator

An **Animator** is an artist who creates multiple images, known as frames, which give an illusion of movement called animationwhen displayed in rapid sequence. There are many types of animation: 2d, 3d, stop motion, hand drawn and computer animation, all of which is the responsibility of an animator.

## Responsibilities

* creating storyboards that depict the script and narrative
* drawing in 2D to create sketches, artwork or illustrations
* designing models, backgrounds, sets, characters, objects and the animation environment
* using a range of materials, including modelling clay, plaster, oil paints, watercolours and acrylics
* developing the timing and pace of the movements of a character or object during the sequence of images and ensuring they follow the soundtrack and audio requirements
* using technical software packages, such as Flash, 3ds Max, Maya, LightWave, Softimage and Cinema 4D
* building up accurate, detailed, frame-by-frame visuals
* recording dialogue and working with editors to composite the various layers of animation (backgrounds, special effects, characters and graphics) in order to produce the finished piece
* working to production deadlines and meeting clients' commercial requirements
* working as part of a broader production team, which might include liaising with printers, copywriters, photographers, designers, account executives, website designers or marketing specialists
* dealing with diverse business cultures, delivering presentations and finding funding.
Principal Photography

**Principal photography** is the phase of producing a film or television show in which the bulk of shooting takes place, as distinct from the phases of pre-production and post-production. It’s when the actors are on set, the call sheets have been handed out, the lights are in place and the cameras are ready to roll. The only filming not considered principal photography is B-roll, which is usually filmed by a smaller second unit crew.