365 Films in 365 Days — July 31: 12 Angry Men

This series is dedicated to matching memorable movies with the signature day each year upon which I could watch them forever. Summer is perhaps hottest around this time of year, and the days are long. While this movie's runtime is not long, the characters in it feel like they couldn't proceed fast enough, in large part due to the heat. The heat of morality and responsibility and prejudice. And so:

12 Angry Men (1957, United Artists, Sidney Lumet)

Even for an uninitiated, non-fan of courtroom procedurals and legal dramas, this movie can affect you. I have to say, too, that the first few minutes don't do particularly much for the uninitiated: the ho-hum, routine, almost tired entry the movie makes won't win over a newcomer all at once, but it is the set-up to what is to come. The pace and elegance of this feature is a marvel. Shot virtually all in one room with a cast of "Joe Regulars" (save for Fonda who is the only A-lister of the bunch), it completely lacks any special effects or even any color (the men are all caucasian), and yet it's compelling and delivers as much a message for today as it did then.

Juror 8's holdout objection to the others' quick committal to convicting the young defendant is quickly challenged by Juror 7. Their exchange feels like how a reasonable person would wind up having to deal with the average sports fan, or fraternity pledge, or talk show host (take your pick). Juror 8 feels like he has a duty to uphold, and while he admits to being agnostic to the truth, he isn't about to concede the possible.

I can remember reading as Juror 8 my junior year in high school in Mrs. Christopher's class. I was honored. Even at that time, I felt like there was something different about me from almost everyone else in my class. I don't know that I can even place my finger on it exactly today. What I do know is that I've never been a herd follower or a bandwagoner. I'm highly resistant to peer pressure. I'm a reasonable contrarian. And what I do know is that I felt a distinct privilege and power to stand apart from the others and voice a reasonable concern. There are few certain reasonable concerns in life. God is one, and truth another. Probably love and justice, too. One should always pause to consider what the reasonable concern is at any stage in life.

Juror 9, the "old man," is the first to show a glimmer of support for Juror 8's plight when he stands up to Juror 10's dissent about youth and the defendant's "obvious" upbringing. It's a wonderful touch to see how slowly Juror 9 raises his hand for "guilty" when the first call for votes goes up.

Juror 2's meek tone and delivery reminds me of Arnold Wesker, "The Ventriloquist," from Batman: The Animated Series. His remark about knowing the Constitution when Juror 8 presents the idea that the burden of proof lies on the prosecution seems a dodge to me, as if he feared losing credibility if he answered otherwise. A very human response.

Juror 3 comes off very sedate and pointed about his stance, twice covering for himself on the sentimentality angle. This pays off big later.

Meanwhile, Jurors 4 and 10 come right out swinging with testimony from the trial to lend support to Juror 3's pointed claims. These three form the staunchest rebuttals to Juror 8's stance.

Juror 8 doesn't flinch when he calls out others' hypocrisy. "She's one of them, too, isn't she?" is Juror 8's response to Juror 10 when it comes to believing the stories of those from a different social class. Juror 10's response is predictably sour. And suddenly the movie begins to make us check our own thoughts. Who would we stand with?

Juror 5 asks to be skipped when they are called on to present reasons for the defendant's guilt. His resolve to follow the others in a guilty vote from earlier is already cracking.

Despite Juror 8's continued deliberation, Juror 4's comment of, "Maybe it was two too many," when considering whether the defendant's being slapped by the victim might have prompted murder also prompts a look on Juror 8's face to suggest that even he must take a step back in his considerations. The fight for truth with others and within ourselves is rarely linear.

Juror 3 pulls out a photo of his 22-year-old son and begins to tell the tale of how he tried to make a man out of his son when he was 9. He is trying to highlight "how bad kids are these days," the age old adage, but instead opens himself—and Juror 8, who is closest and watching him at that moment—to his own hurt and frustration. But Juror 3 puts a lid on it and walks away as the discussion goes back to the trial.

The class warfare tension begins to bubble over as Jurors 4 and 10 begin to pile on to the idea that "people from the slums" are no good and always turn out bad. Juror 5, seated next to 4, looks at his hands and fidgets quietly until he's had enough and quiets Juror 10 by outing himself as slum-bred. He, a member of their own jury—seemingly well-dressed and responsible—born in the slums.

As the talks continue around the table, the foreman, Juror 1, tries to keep the pattern going, but Juror 10 pipes up and calls out his process as being that of a "kid." "K. I. D.," Juror 10 spells it out for him—a pejorative underlining the discounting theme that's developed—to which the foreman takes umbrage and almost declines to go on.

The entire exchange about what's possible about a peculiar knife and the defendant's story concerning it is a masterclass in line delivery, framing, and build. I love the fact that Juror 8 was willing to let the entire conversation build to a place where he could reveal an identical knife to the murder weapon he had illegally purchased the other night. It's a badass Batman-level of preparation that I admire and applaud.

The lines are whip-quick and the personalities of each speaker come out cleanly and without a feeling of forced rhythm. The scenes truly feel like a room of twelve angry men trying to sort through the ordeal, and if you aren't a fan of the picture yet at this point you probably won't be.

I love the close-up and dramatic musical notes that play as Juror 8 agrees to a revote that he'll concede to if none of the other eleven votes comes back "not guilty." It's quaint, old-timey, and poignant.

Juror 3's outburst on Juror 5 after the first revote truly outs him as the "primary villain" of the piece. A tragic, not irredeemable villain. And considering the foreman hadn't fully revealed all the new votes when he came to a "not guilty" one, who knows if Juror 5 hadn't changed also at that moment.

The reveal of Juror 9 as the one who revoted "not guilty" and Juror 8's small grin in response is a moment of desperate joy. I let out a little chirp of triumph when I saw it again. There is some humanity left in the room.

The restroom break scene is a fantastic break following the outburst. The movie ebbs and flows naturally. "Nice bunch of guys, huh?" Juror 6 says to Juror 8. "Ah, they're about the same as everywhere else," 8 replies. This is an indictment of us all. We're no better off or worse than they are today, yesterday, or tomorrow. We all come at things from different perspectives and with different biases. We carry different loads into each and every situation we come to. The scene ends with Juror 6 challenging Juror 8's deliberation by suggesting that if Juror 8 convinces them all to change to "not guilty" they might be letting the true killer go free. Juror 8 silently and soberly considers that before they the action returns to the juror's room and the struggle goes on.

As Juror 8 begins to consider how the woman witness could have seen the killing through the elevated train cars, he pauses to snatch paper from Jurors 3 and 12 as they doodle at tic-tac-toe. "This is no game!" he chides them. This echoes to me the same disinterest and vapid care both adults and youth alike seem to put toward things that really matter, ongoing today. Juror 8's righteous indignation at their behavior is justified, though of course they see him as impinging on their own rights. It's the classic but always imagined battle of objective morality against subjective morality. It's not even close. Subjective morality is what is imagined.

I love how Fonda pauses to really concentrate and get his thoughts right before he speaks. This is exampled most effectively during the scene where he is trying to tease out the details of a passing el train. And he engages the whole room. This is how you communicate. This is how you reach people. Move them even.

There's so much darn pathos and credibility in the performances. Little touches. They come off as real people, not characters. There isn't one ounce lacking believability in the whole picture.

"He don't even speak good English," says Juror 10. "He doesn't speak good English," corrects Juror 11. Juror 11 is the one with the foreign accent. Love it. This too feels ripe for today's politique. (Feels like a lesson the self-righteous MAGA crowd or their ilk might take heed of.)

Juror 7's swagger adds just the right amount color and jockish bravado to the proceedings. It's entertaining in it's hopelessness. I'm afraid there are far too many people of his type who are seen as normal in our world today.

Again, after the second revote Juror 8 shares a grin with Juror 11 who goes to "not guilty." I get a real kick out of that! It's thrilling to see someone stand against such odds and mount a defense.

Such a dramatic bear trap that Juror 3 steps into when he belittles the old man witness's mental state, immediately highlighting how the old man's testimony may be in doubt.

Never has there been a more dramatic and simple scene than the one where Juror 8 recreates the old man witness's 15-second walk while the others observe and participate. Simple, pure drama.

The scene where Juror 8 calls out Juror 3 as a sadist is the climactic tipping point of the film.

Great continuity as everyone progressively gets sweatier and sweatier—pit stains and all—as the story plays out.

The little incidental scene between Juror 8 and Juror 1 as 1 shares about his coaching football experience in the rain is another welcome break from the tension that's been ramping.

It gets real for Juror 7 when Juror 11 challenges him with, "What kind of a man are you?" They had already had a verbal dust-up before that, but Juror 7's flippant attitude and ease of changing votes galls Juror 11's sense of ethics.

Gotta love Juror 7's "d'uhh" way of punctuating his expressions when pressed.

I pray to God someday we ignore the MAGA crowd and all its ilk the same way the others do when Juror 10 goes off after the 9-3 revote in favor of acquittal. He exemplifies everything wrong and sick with those who look out and down on the marginalized and the hurting. But we must never treat them the way they treat others.

I like how Juror 4 is able to sway Juror 11 back to "guilty" for a short bit as he recounts the woman's eyewitness testimony. Adds a level of credibility as to why so many of them thought guilty at first.

The emotional power of the scene as the jurors discuss the woman's eyeglass marks on her nose is spellbinding. Juror 9 is the first to notice, and like dominos they all begin to fall in line as the woman's eyesight is brought into question. Soon, holdouts like Jurors 4 and 10 change to "not guilty," leaving only Juror 3 to stand alone in his rage.

Juror 3 is not the villain in the end. He is us. We are scared too that we've done things wrong and messed up relationships. Things we might not be able to win back. It's damning to think we're wrong and at fault in those situations. It's so much easier to blame the rest of the world. It's what Juror 3 did for too long. And it's a lesson in what we must always strive not to do as well. His breakdown at the end is heartwrenching. I get it, and I feel it, even when I'm not him.

You're heroes, Davis and McCardle. Well done.

July 31 — 14 of 365 logged

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365 Films in 365 Days — February 21: Cool Runnings

This series is dedicated to matching memorable movies with the signature day each year upon which I could watch them forever. This year marks another Winter Olympics, and I would be remiss not to take a look at this modern classic. And so, this day's viewing can be none other than:

Cool Runnings (1993, Walt Disney Pictures, Jon Turteltaub)

The Wailing Souls' Love You Want is such a feel-good, positive, excellent way to start this film. A great Reggae tune to put you in the island mood. The song starts us off on a hopeful track, and forms a great counterpoint to the emotional rollercoaster—err, sliding track—the viewer is about to ride. 

The main cast has such an endearing and distinctive set of characters. Derice is the clear leader and straight arrow with a handsome face. His earnestness and drive are easily visible and he doesn't come off as hokey. Sanka is the loveable joker and pressure-release valve on the team. His smile and quick wit play as natural and funny. Yul (named after Yul Brynner) is the strong, abrasive type. His tough-man attitude is a cover for his insecurities and protection against ridicule. Junior is the baby-face of the bunch and quietly the most insightful. His innocence and sweet-nature don't feel contrived. And, of course, Blizter (played by John Candy) brings a veteran comedy actor's timing to a part that interestingly has maybe the fewest joke moments. Candy's own dark side probably fueled the character's own troubled past and gave the performance a believable guilt and gravity.

The opening scenes in Jamaica really amp up the fun factor and get you invested in the mains. The scene where Derice, Yul, and Junior trip and miss the Summer Olympics qualifier for sprinting is a great bit of foreshadowing that stays buried among the early-goings high-notes. The Jamaicans' pursuit of Blizter to be their coach and the subsequent trials getting accustomed to bobsledding on the island are good slapstick. And again, The Wailing Souls' Wild Wild Life injects such cool vibes. Later, the scene where they each scramble to earn petty cash to fund their dawning Winter Olympic hopes plays like a cheeky montage of comedic vignettes.

The film shifts gears when the crew finally makes it to Calgary. Watching them struggle to acclimate to the weather, put together their gear, and draw inspiration from each other and the international atmosphere has an edge of tension to it. The film manages to pull off this delightful air of positivity and good attitude despite the uphill battle that the team continually faces. It's an alluring tension that keeps you bracing for what's coming next after each little character obstacle that comes up, but deep down makes you feel like it will turn out alright anyway.

"I see pride! I see power! I see a badass mother who don't take no crap off of nobody!" This line has always stuck with me. It's a call to self-actualization. It's part of what leads up to the goofy bar-brawl scene, and completely overshadows the played for laughs fisticuffs that follow. In Hollywood, self-actualization in movies often comes down to using your fists. But in real life it more often comes down to taking firm hold of where we stand against the odds.

The best line in the film is delivered with heart by Candy's disgraced coach: "A gold medal is a wonderful thing. But if you're not enough without it, you'll never be enough with it." This can be said about a lot of things in life. Money. Love. Power. Fame. All the things the four Jamaicans were after. All the things you and I might be after. Impermanent things.

Still, the Jamaican bobsled team strives to do their best and even starts to turn heads as they compete. It's charming to see their hard work start to pay off, and even more heartening to see them embrace who they are as competitors rather than cheat who they might become just to win. It's an odd reversal of Blitzer's story, who cheated after he had won to try to stay on top.

In the end, as in the true event that the movie is based on, the Jamaican bobsled team crashes out on their third heat after showing some promise. Though they didn't win, the team crosses the finish line on their feet, earning the respect of the onlookers and the hearts of the viewers who have followed them with interest from the opening moments. It should also be noted that the movie ends with great musical soul thanks to Jimmy Cliff's cover of I Can See Clearly Now.

February 21 — 13 of 365 logged

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365 Films in 365 Days — May 1: Star Wars Episode I: The Phantom Menace

This series is dedicated to matching memorable movies with the signature day each year upon which I could watch them forever. It may seem sacrilegious to debut this film before the original, but it makes the most sense thematically, and recent reevaluations of this movie and its sequels have shown that its legacy is worthy of the saga and enhances its overall appeal. May marks the month of Star Wars Day and this movie's original release, and so it must be:

Star Wars Episode I: The Phantom Menace (1999, Lucasfilm/20th Century Fox, George Lucas)

Ep I opens with all the pomp and circumstance of a Shakespearean play. With crosswise swords and words. The strange austere nature of the Jedi's arrival to the Naboo system, sent on behalf of the Chancellor of the Galactic Republic to settle a trade dispute, is soon after ruined when the Trade Federation, who is performing a blockade of Naboo in protest of the planet's refusal to do crooked business, resolves to have them killed on the word of a hooded holographic figure with a sinister voice. This all advances past the viewer with pulpy, high adventure vibes, as the performances by Neeson and McGregor as Qui-Gon Jinn and Obi-Wan Kenobi suggest they are above any of the dangers. This instills us with a confidence in our heroes, grounds the villains without making the outcome a foregone conclusion, and establishes some early stakes. The first twenty minutes of the movie play out like a solid episode of a limited series. There are three brief action scenes demonstrating the Jedi's abilities, several scene changes from ship bays to forest floors to underwater cities to decadent palace courtyards, and a daring rescue and escape that sends us into our first plot point. It's a breakneck pace, but it's primary intention is to bring all the major players together and give them reason to land on Tatooine, a core location important throughout the saga.

The use of lightsabers and Force powers is effectively impressed upon the audience during the early scenes. Still, the challenges the Jedi face as they progress are not without risk. Star Wars paints a world where competent characters must navigate their problems with courage and planning and flexibility, not with sheer power and plot armor. Despite being the heroes, they aren't immune to sudden setbacks, and they're often set with entrusting their success in the world and with those around them. The whole incident whereby the Jedi meet the outcast Jar Jar Binks and negotiate his release from his superiors spotlights the Jedi as partners in their dealings, not overlords.

Before the half hour mark arrives, our heroes resolve to land on a desert world run by gangsters to acquire parts for their damaged ship from the escape. Ultimately, their goal is to reach the capital of the Republic, Coruscant, to deliver Amidala, the Naboo Queen, so that she can appeal to the highest authorities about the Trade Federation's transgression.

Chance intervenes on Tatooine when Qui-Gon comes across the child Anakin Skywalker while shopping for parts. The boy is evidently strong in the Force—from which a Jedi draws his power—and summarily has what they need to solve their other problems: shelter from an incoming sand storm, and knowledge of a big racing event that can offer our heroes the prize money they need to deal with the local economy. But Anakin's discovery creates its own new wrinkle in the plot: he and his single parent mother are owned slaves, and so can't be emancipated easily. So much of these circumstantial needs pilot the plot and give events a seemingly arbitrary nature of a world that hides a thousand intrigues. It's the same kind of world-building and scenario design that role-playing gamers and designers dream of—bringing elements from different walks of life together on a grand scale where all play some small part in realizing the truth of their togetherness. It makes one doubt the nature of how arbitrary things are and begin to wrestle with the idea of fate and destiny. (It is a story with an intent, after all.)

Qui-Gon gambles on the boy's prowess as a racer and manages to arrange a bet to settle Anakin's release also as a slave. Naturally, the boy wins—in what is still to this day the most imaginative multi-lap race scene put on film—but must leave his mother behind as the wager was only strong enough to win Anakin's freedom. In Star Wars, there's rarely just pure risk then reward without some further sacrifice.

In short order, paths are set for Coruscant as they continue on their original quest, but the added responsibility of training Anakin as a Jedi becomes a side-quest of increasingly equal importance. For you see: Anakin had no father—the product of a virginal birth—and Qui-Gon sees prophecy in the discovery. This invokes themes both mythic and mysterious, plotting a certain course ahead in the here and now flanked by an uncertain past and future. These ideas also align greatly with Qui-Gon's earlier insistence to Obi-Wan to focus on the present.

Take heed world: being unanxious about the before and after in the midst of many doings is a great message.

And again, in the midst of all these swirling, cascading plot elements, we meet R2-D2, C-3PO and Darth Maul—all franchise characters that get their origin stories here! 

Padmé Amidala's wardrobes throughout are little fantastical takes on a variety of real-world royalty looks that give her character this kind of forbidden, forsaken princess vibe. At 14, she's not even an adult and I contend there's a delicacy behind her sterner words when she effects the "queen's voice" that is both a tell and a dodge.

What for more than an hour of the film has been a series of fetch and rescue quests gives way to political intrigues in the first part of the second half. McDiarmid's Senator Palpatine enters here, by all accounts a friendly fatherly figure who can ghost into Padmé's and Anakin's lives—both of which are conspicuously devoid of father figures—and provide them a solid rudder in navigating the glass and steel city-world that they've stepped into. It's great visual storytelling that much of the film previous to the Coruscant scenes is decked in richly lush or harsh environments that are in harmony with the natural world. Coruscant has no vestige of the natural world left to it. Lucas's work throughout the saga is replete with this kind of image messaging.

Padmé's real personality has been hiding in the background much of the film and her character turn occurs during the scene when (ironically, the outcast) Jar Jar provokes private feelings of belonging in her and she literally turns to Palpatine to announce her exit from his arena. She concludes that politics will only fail her and the best way forward is through self-determination. This, too, is analogous to Lucas's early career struggles against the "Hollywood system" and the founding of Lucasfilm and ILM. The saga may be as much autobiographical as it is set in a galaxy far, far away. I'm sure many of us, too, feel like we're living far away from reality, whether by choice or by circumstance. The symbolism goes deep.

The finale plays out across four major battle scenes: the invasion of Theed by Naboo resistance forces led by Padmé, the Gungans' led by Jar Jar in the Battle of the Grassy Plain versus half-a-million B1-series battle droids, the space assault on the Trade Federation droid control ship by Naboo N-1 starfighters assisted by Anakin, and Qui-Gon and Obi-Wan's duel with Darth Maul. Nothing that is shown is wasted, and just as each character has had to overcome obstacles to this point in the story each of them is given their final exam. Even Obi-Wan—to become the most famous of Jedi—who is mostly a supporting character here, is made to step out from behind his master and graduate to the level of Jedi Knight and master all at once. In many ways, Ep I is the story of how the events the mains experience catapult them into circumstances they are not entirely ready for. Who is ready? What does it mean to be ready in life? Are we prisoners of the actions we and those around us take, or do we exercise appropriate agency in the promises we keep and break?

John William's score sets a new bar and further plants the Star Wars soundscape into our memories with this film, in particular with the track "Duel Of The Fates". Lots of poetry here. Qui-Gon's moment of calm during his fight with Maul is the perfect picture of a Jedi vs a Sith. His has probably the most earned death in a film not based on a true or historical event that I can think of. And then the lightsaber exchange between Obi-Wan and Maul after Qui-Gon falls is everything anger-fueled lightsaber duels ought to be.

In the end, the phantom menace (Palpatine), thought to have been Maul, remains undisclosed in plain sight. The unseen phantom menace (time) continues to soldier on as light begins to give way to dark. In fact, all of the Star Wars trilogies work on this routine: day into night into a new dawn.

Ep I is equal parts whimsical, poignant, adventurous, and virtuous, much like the mains in its story. I've never once watched it and felt I was wasting my time. A winning entry in the canon!

May 1 — 12 of 365 logged

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365 Films in 365 Days — April 18: The Passion of the Christ

This series is dedicated to matching memorable movies with the signature day each year upon which I could watch them forever. This next movie is so good and yet so jarring that I always swallow hard when preparing myself to watch it. It's Good Friday, so I can do none other than:

The Passion of the Christ (2004, Icon/Newmarket Films, Mel Gibson)

The opening of the Passion is rich with dark beauty and menace. The music has a dark sensuality to it, and the performances are raw and theatrical. Jim Caviezel's Christ is the modern template, and productions like The Chosen have definitely benefitted from his portrayal. It simultaneously goes to places no other actor has gone to before and sets itself apart by not inviting imitation. The whole movie plays out that way. Simultaneously setting itself apart and provoking reactions that no other film might dare to emulate. It's indicative of the life Jesus lived—wholly unique and unimpeachable by human standards.

The scene with Satan and Jesus as he asks for the cup to pass from him continues the duality of raw beauty and pure pain. It is an emotional crucifixion. The spirit must be right for the body to obey. The imagery is strong and stark and the words are sparse but unsullied. It's unsettling in its crystallized finality.

The Aramaic, Hebrew, and Latin used in the film lends it such an authenticity and the filmic way in which its shot is enough to tell the story without subtitles. Truly an achievement.

It's truly heart-wrenching, too, to watch Jesus' betrayal and treatment. The "passion" here is His suffering. It's undeniable and very honestly depicted. Jesus' tumble while chained over the bridge as Judas watches on in horror is just-under-over-the-top, which sets the table for what is to come.

Judas' betrayal of Jesus is all of ours to own. We each betray God in our own ways. And the penalty for that is death. But Jesus saves us from ourselves, if we follow him to the end. Judas followed Jesus only most of the way, sadly. Being a follower simply isn't enough, if it's only with our bodies. We must die to our old selves to follow him in spirit. The film deftly evokes all of this.

The scene with Jesus and Mary at the tall, rich man's table is such a needed relief. The movie is heavy throughout, and rightfully so, but we need those little warm touches and kind remembrances to survive the ordeal. We are, too, what we remember in life.

The spoken words of Aramaic during Jesus' interrogation in Caiaphas' court has such power to it. The words they speak and the manner they deliver them in have a spellbinding power. I can't watch that scene without trembling and verging on tears. Why does this scene affect me so? Why does this story affect anyone so dramatically in this day and age? These are questions one must honestly consider.

I remember a religious studies student standing up in class in the Spring of 2004 after the movie came out. The professor—in a class on the teachings of Jesus—had elicited comments from the students as to their reactions to the film. The student who stood—a young woman—claimed she thought the film had many silly contradictions and didn't make any sense. Some others in the class laughed at this. I even recall the professor smirking at those comments. I don't think I had ever felt so much disconnect and pity for my fellow man than at that time. It's not a shock to me that the film was received so by some at that time. That was the height of the "new atheism" movement in America. A movement which has spawned nothing to remember it by, and given us no answers, no solace. A movement that will have lasted less time on earth in its heyday than Jesus spent bodily while here. That's telling.

Pilate's first encounter with Jesus in the film doesn't feel like a movie. This is when filmmaking is at its zenith: when you forget you're watching moving pictures on a screen and you're transported.

"If you cannot hear the truth, no one will tell you." This is a line in the film and a thing of absolute truth. Interesting that it comes from Pilate's wife, Claudia, who is as forgettable a named character that there is. And yet there she is, saying those words to her man in a moment of uncertainty for him. Jesus is, was, and always will be to the Son of God, God incarnate, and no amount of him claiming literally that he is God would have changed anything for the better. Evidence aside, every person must decide for themself.

The scene in Herod's court reminds me a lot of the Jabba's palace scenes in Return of the Jedi.

They chose an insurrectionist over the truth two-thousand years ago. We did it again in 2024.

The flagellation scene is repellent and wrong. It had to be. It's awful. But it also kinda purifies you by experiencing it. I've rarely felt more clarity and urgency than what these scenes spur out of my soul. We should feel uncomfortable and poised to move when we watch this. Let it purify you, I say.

Jesus' amazingly strong proclamations in the midst of such agony makes me heave and makes tears to flow every time. It's not emotional manipulation. It's pure emotional outpouring.

Simon of Cyrene's outburst during the scene when Jesus falls carrying the cross should be the reaction of all of us. Fantastic direction, staging, and performances by all here.

The scene revealing Golgotha ("The Place of the Skull") is sufficiently epic and stirring.

Caviezel's face during the Sermon on the Mount scene is full of grace.

And again, in the midst of awfulness, we're given the Last Supper scene to help sustain us. The poetry and parallelism is not lost on me.

The crucifixion itself is wonderfully presented. All the beats and moments you can imagine reading the passages from the Bible are here to see.

By the time the credits roll, you've been marked by this picture. Despite the fact that one might argue this movie is the height of fictional storytelling, I believe in the historicity of this tale and all that implies. Amen.

April 18 — 11 of 365 logged

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King of Atlantis

AQUAMAN, KING ORIN (Atlantean name), ARTHUR CURRY (human name)
Male Unique Half-Atlantean Legendary Strong Hero 3/Fast Hero 2/Tough Hero 3/Charismatic Hero 2/Helix Warrior* 8; CR 22; LA +6
Medium Humanoid (aquatic, mutant) (height 6’ 1”, weight 325 lb.); Age late 30s
* See Future
Experience ~280k

Init +5; Senses (core) Listen +5, Search +1, Spot +4; Senses (house) Listen/Spot +10, Search +1
Languages Atlantean, English

Defense 27, touch 26, flat-footed 24; Defensive Martial Arts, Dodge (+3 Dex, +13 class, +1 gear)
hp 253 (18 HD); Mas 29; DR 12/— (DR 22 vs depth pressure)
Fort +18 (+2 vs poisons, diseases, radiation; +4 vs. hot/cold environments, suffocation/drowning/depth pressure), Ref +11, Will +8
Action Points 14

Speed 30 ft., swim 305 ft. [30] (good)
Melee unarmed strike +27/+22/+17 (1d6+12 lethal/nonlethal, 20) or
Melee unarmed strike +25/+20/+15 (1d6+12) and
Melee unarmed strike +25 (1d6+6, two-weapon) or
Melee +1 keen harpoon hand +27/+22/+17 (1d10+13 piercing, 19-20) or
Melee +3 trident of Neptune +30/+25/+20 (2d6+15 piercing, 20)
Melee by weapon +26/+21/+16 or
Ranged +1 keen harpoon hand +19 (1d10+13 piercing, 19-20, 60 ft.) or
Ranged +3 trident of Neptune +22 (2d6+15 piercing, 20, 20 ft.)
Ranged by weapon +18/+13/+8
Space 5 ft. by 5 ft.; Reach 5 ft.
Base Atk +15; Grp +26 (+8 under water)
Atk Options 2d6 base unarmed damage under water (–2 on atk/Def), Coordinate, Power Attack, Two-Weapon Fighting

Special Qualities ability drain = ability damage, action point roll is 4d6 (take highest), Atlantean traits (see below), carrying/lifting cap = Str +4 and as large creature, electricity resistance 8, conditions lasting less than 1 rnd are ignored (durations 2+ rnds halved if cowering, dazed, exhausted, fatigued, nauseated, panicked, paralyzed, shaken, or stunned), darkvision 120 ft., immunity to cold/depth pressure damage (see trident below), legend traits (4), Listen checks take no penalty while asleep

Abilities Str 32 (18), Dex 16, Con 26 (18), Int 12, Wis 15, Cha 14
'(-)' indicate original ability scores.
Allegiances good, Atlantis, justice, the ocean, chaos, the Justice League; Rep +5; San 70
Feats Animal Affinity, Archaic Weapons Proficiency, Armor Proficiency (light), Athletic, Brawl, Combat Martial Arts, Defensive Martial Arts, Dodge, Endurance, Far Shot, Improved Damage Threshold**, Mobility, Power Attack, Simple Weapons Proficiency, Tough Plus (x2**; Cold/Electricity Resistance, Robust, Second Wind [11 hp, 5/day]), Two-Weapon Fighting, Ultra Immune System, Weapon Focus (trident)**
** Bonus feats acquired from the Legend template.
Skills (core) Balance +5, Climb +15, Concentration +10, Diplomacy +5 (+10 toward aquatic animals w/spell-like ability), Gather Information +5 (+10 toward aquatic animals w/spell-like ability), Handle Animal +10 (+10 toward aquatic animals w/spell-like ability), Hide +5***, Intimidate +8, Jump +12***, Knowledge (arcane lore) +5, Knowledge (current events) +3, Knowledge (history) +4, Knowledge (tactics) +4, Listen +5, Move Silently +5***, Navigate +7, Read/Write Atlantean, Read/Write English, Ride +10 (+10 toward aquatic animals w/spell-like ability), Sense Motive +5, Speak Atlantean, Speak English, Spot +4, Survival +7, Swim +13***, Tumble +5***
Skills (house) Athletics +19*** (+2 on Climb, +2 on Swim), Control +12, Handle Animal +10 (+10 toward aquatic animals w/spell-like ability), Gather Information +5 (+10 toward aquatic animals w/spell-like ability), Knowledge (arcane lore) +5, Knowledge (current events) +3, Knowledge (history) +4, Knowledge (tactics) +4, Perceive +10, Persuade +11 (+10 on Diplomacy toward aquatic animals w/spell-like ability), Read/Write Atlantean, Read/Write English, Ride +10 (+10 toward aquatic animals w/spell-like ability), Speak Atlantean, Speak English, Sneak +8***, Survival +7, Tumble +5***
*** –1 armor check
     Note: Swim has a –4 due to gear weight.
Talents (Strong Hero) Extreme Effort, Melee Smash
Talents (Fast Hero) Increased Speed
     Note: Aquaman elected to apply this increase to his swim speed.
Talents (Tough Hero) DR 2/—
Talents (Charismatic Hero) Coordinate
Talents (Helix Warrior) Darkvision (120 ft.), Haul (Str 4 pts higher for carrying cap), Light Sleeper (Listen checks take no penalty while asleep), Strong as an Ox (carrying capacity as large creature), Superior Conditioning (condition durations lessened), Survivor (add extra d6 on action point roll)
     Note: As a member of the Justice League, Aquaman’s Strong as an Ox ability also allows him to wield weapons as if he were a Large creature. This is his membership perk.
Starting Occupation (core) Adventurer (Intimidate, Knowledge [arcane lore] as permanent class skills; Archaic Weapons Proficiency)
Starting Occupation (house) Adventurer (Knowledge [arcane lore], Persuade as permanent class skills; Archaic Weapons Proficiency)
Possessions (carried weight 23 lb.) +3 trident of Neptune (large-sized weapon, see below; 8 lb.), +1 harpoon hand (see below; 7 lb.), Atlantean pauldron & bracer (worn on the right shoulder and arm, grants the protection of a light steel shield; –1 armor check penalty; 6 lb.), scaled & finned leggings (grant +4 on swim checks; 2 lb.)
Wealth Bonus +27 (most kept in deep sea treasure troves and Atlantean vaults)

ATLANTEAN
     Species Traits
Atlanteans are a subset of humanity that adapted to live under the waves in a quasi-extra dimensional space called Atlantis (a megacity located on Earth). They possess a number of special adaptations and superhuman qualities that set them apart from normal humans. Some of these abilities are due to their unique heritage, while others are a result of the high science/magic nature of their home. All Atlanteans share the following traits, which are all supernatural in nature unless otherwise noted.
     Atlanteans speak their native tongue of Atlantean, though many of them learn to speak the native tongues of the land-dwellers closest to their borders.
     Type: While humanoids, Atlanteans all have the “aquatic” subtype also.
     Ability Modifiers: Atlanteans receive racial bonuses of +8 to Strength and +6 to Constitution.
     Size: Medium. As medium-size creatures, Atlanteans have no special modifiers due to their size.
     Speed: Atlantean speed is 30 feet on land. In water, their base swim speed is 150 feet with a good maneuverability.
     Damage Reduction: Atlanteans are particularly hardy and receive DR 5/—. This DR is 10 against depth pressures when under water.
     Water Breathing (Ex): Atlanteans can breathe water as a fish would (with neck gills). They can also adjust to breathing air (through their noses), but this often requires succeeding on DC 15 Fortitude save (during which they begin the first round of suffocating) that they must retry every round until they’ve succeeded or passed out due to lack of oxygen.
     Xenophobia: Atlanteans are inherently xenophobic toward outsiders and land-dwellers, hampering their ability to reason or get-along with others outside their own. Atlanteans suffer a –5 circumstance penalty on any interaction Cha-based checks they make toward outsiders. Furthermore, when Atlanteans first encounter any outsiders by surprise, they must succeed on a DC 20 Will save or succumb to the cowering condition unless they opt to instead immediately attack the target of their surprise.
     Challenge Rating: +2.
     Level Adjustment: +3.

MUTANT ATLANTEAN “Hybrid Vigor” (Template)
     Template Traits
The only known mutant strand in the Atlantean line is made when a highborn, pureblood Atlantean mates with a land-dweller. “Hybrid vigor” is a unique term used to describe those special Atlanteans that enjoy mixed bloodlines. It describes their ability or more vigorous nature that often surpasses standard Atlantean powers (due to them being overly homogenous for generations upon generations). Of them, only Arthur Curry, called Aquaman by the outside world, is well-known.
     All hybrid vigor traits are extraordinary in nature unless otherwise noted.
     Challenge Rating: +2.
     Level Adjustment: +2.
     Type: His type gains the “mutant” subtype, which may change what other effects and spells will interact with him, etc.
     Special Qualities: Arthur retains all of his special qualities and gains the additional special qualities listed below.
     Movement/Speed: His swim speed increases to 300 feet per move action (that's a maximum of 240 squares at character scale/24 squares at chase scale, which is about 136 miles per hour, when moving at 4x speed).
     However, upon spending an action point Arthur can move at much greater speeds—10x or even 50x that of the maximum above—though for progressively shortened periods of time (days or even hours). These speeds are useful for traversing intercontinental distances by waterway (permitting travel from London to Hong Kong in little less than an hour-and-a-half). Moving at these incredible speeds is a full-round action.
     Communicate with Sea Creatures (Sp): As the spell speak with animals, except the effect is limited only to living creatures of the aquatic subtype, the duration is 1 min per day per point of Constitution modifier (8 min/day; this time need not be used all at once), the means is telepathic (no sound) with a range of 100 feet per point of Con mod (800 ft max), and it provides an empathic link to those same aquatic creatures which grants an added +10 bonus on Diplomacy, Gather Information, Handle Animal, and Ride checks. This ability requires a standard action to initiate and concentration to continue while conversing. The effect permits Arthur to establish and maintain relations with aquatic creatures, and even encourage favors, but it does not charm or otherwise control those animals.
     Damage Reduction: His DR is doubled for both the base (10/—) and against depth pressures (DR 20).

      Super-strength: When under water (submerged), Arthur gains the virtual size category of huge. While his space and reach remain unchanged by this, he receives a +8 bonus on grapple checks; can use improvised weapons of large/huge size (one-handed) or gargantuan size (two-handed); inflicts 2d6 base damage with unarmed attacks; can lift 4x normal carrying capacity; but incurs a –2 penalty on attack rolls/Defense.
     Water Breathing (Ex): As standard Atlantean, except Arthur can transition to air breathing without a Fort save.
     Xenoplatonic: Arthur was never raised xenophobic, and because of his dual heritage tends to favor and champion embracing both worlds.
     Allegiances: Loyalty to Atlantis may be included but is not required. In fact, due to their inherent xenophobia, many “true” Atlanteans may even regard any being of hybrid vigor as a “half-breed” or “mongrel.”
     Ability Scores: His hybrid vigor also grants Arthur an added +4 to Strength.
     Advancement: By character class.

NEW FX Item Trident of Neptune
This oversized (large) trident is made of rare green-gold Nth metal and imbued by the ancient god Neptune with magics sacred to the protection of Atlantis and its peoples. Nth metal behaves as cold iron would for hardness and hit point characteristics, ignores the damage reduction and disrupts the spellcasting (forcing a Concentration check) of fey, fiend, or native outsider creatures within 30 ft of it, grants the possessor immunity to cold and depth pressure damage, and permits them to extend those same protections and their water breathing ability to anyone they hold or take by the hand, and the trident’s metal also slows the possessor’s aging process to 1/2 what it would be normally. As the trident has traditionally been used to identify the rightful king of Atlantis, it is also an important mark of ancestry and rulership, and thus grants the possessor advantage on any Cha-based interaction checks with subjects and loyalists of Atlantis. It is a +3 enchanted weapon, and when under water also grants the wielder advantage on critical hit confirmations and checks or saves to inflict/prevent weapon loss or damage with or against it.

     To be considered a “possessor” of the trident of Neptune requires that it remain in the hands or on the person of the individual wielding it for at least a full 24-hour period. If, after that period, the wielder is of an evil persuasion, they must make a Fortitude and Will save DC 20 or be struck with paralysis (failed Fort) and/or blindness/deafness/dumbness (failed Will) until a remove curse (or similar) effect is cast on them.
     Type: Weapon (magic); Caster Level: 10th; Purchase DC: — (34); Weight: 8 lb.

NEW FX Item Arthur’s Golden Harpoon Hand
This is a refined version of the improvised harpoon hand Arthur had made for himself after the loss of his left hand at the wrist. It is made from the same green-gold Nth metal as the trident of Neptune, but lacks the added enchantments and rulership bearing. It is a +1 magic weapon with the keen quality.
     Type: Weapon (magic); Caster Level: 9th; Purchase DC: — (28); Weight: 7 lb.

365 Films in 365 Days — January 21: The Thing

This series is dedicated to matching memorable movies with the signature day each year upon which I could watch them forever. January 21st is about one month into winter. For those who hate winter, that places the date deep enough in the season to be ready for it to end (in the northern hemisphere, anyway), but not deep enough to hope that it actually will. This movie, too, is set in the earlier half of winter (ironically in the southern hemisphere given my premise), with the ultimate realization that too much of it remains for there to be any hope of surviving the ordeal. And since I'm unlikely to watch it south of the equator, I yield unto you this day:

The Thing (1982, Universal Pictures, John Carpenter)

This movie, Star Wars, and Predator all (vaguely) begin the same way. Ship screams into view as it approaches a nearby planet. That's the all-time great way to establish things. Start unfocused, writ-large and then narrow, narrow, narrow. Turn as many lights off as you can with this one and enjoy.

The original The Thing from Another World (1951) is quite a watchable gem of old school B&W cinema. It's very talky and fast and plays like a lot of vehicles of that sort from the era, but I can still watch it and enjoy it after seeing Carpenter's take. That said, this is definitely one of those times when the remake outpaces the original in almost every way. The plot, mystery, acting, effects, and ending all surpass the original without insult or injury. Admirable.

The ensemble cast (including Keith David, Wilford Brimley, and Donald Moffat) is headed by Kurt Russell in hot-blooded but not hotly contested scenes—no one seems to try to upstage anyone else, and all the parts played are important and/or complementary to the whole. Carpenter's simple synth soundtrack is used for punctuation rather than to cover vast tracts of emptiness. And the "soundless" parts are just as necessary. If all you have of a thing is the thing itself, than do you really have anything at all? It's the quiet scenes that underscore and set up the louder ones.

Case-in-point: The original does a fine walk-around at the original crash site to determine what it is they're dealing with, but this remake really shows you what happened at "ground zero," and does a better job of foreshadowing what is to come for the current crew.

The scenes with the dog skulking and watching as proceedings take place are equally creepy and real. Who says you can't work with pets or kids?

Rob Bottin's work on the practical effects in this are top-notch. I actually thought it was Stan Winston's studio. Shame on me. Bottin probably kept Winston very honest in the 80s with outings like this. No room to cheat.

The scene where they all find the thing mid-transformation with the other dogs is pure nightmare fuel.

The great improvement this movie has over the original, though, is the introduction of doubt. After Blair's convo with Clark, you have to doubt whether anyone might be the thing. You doubt whether it's possible for anyone to even know who is or isn't the thing. The original never ventured into that territory. Is that a factor of a post-Nixon, post-Vietnam era storytelling versus one from before? There are absolutely better told stories from before this time and from before other remakes and retellings that would demand you take them more seriously than anything that came after, but again, here: '51 < '82.

I totally forgot that they make two trips back to the Norwegian encampment, or technically once to the camp and then a separate time to the dig site where the Norwegians found the 100,000-year-old ice where the ship was found. What a nice homage to the original. Clearly, Carpenter was a fan. 

The simple but effective object-that-you-thought-was-inert-a-moment-ago-moves-slightly-under-cover-when-you're-not-looking scene is quality horror. Not novel or unexpected, just quality.

Blair's character and situation might be the most damned of all. He knows what is going on, but has no chance of convincing the others of what he knows and how he knows he has to go about it. Summarily, he knows they've all got to die to ensure this thing doesn't spread to the rest of the planet. Or, at least the others think that's what he knows—or pretends to know—given that they can't trust whether he isn't already the thing himself! Just damned.

It's fun the way that everybody refers to each other by last name. I guess it's a military thing. Mac. Fuchs. Blair. Childs. Nauls. Windows. Names that immediately speak to their characters and live in the memory.

The scene where Windows goes to grab a shotgun and has a standoff with Garry goes absolutely nowhere (mostly)! Nothing significant happens other than the exchange of command. But it's a gripping scene that really establishes the emotional vulnerability of a bunch of grown men in a desperate situation. It's also notable for the set dressing and how they made the hallways up to be reminiscent of the way they were in the original: pretty bare and lined with boxes. Again, Carpenter was a fan.

The level of stress-born distrust is portrayed so convincingly it's almost stressful to watch. Mac's predicament is all a matter of distrust and it just about ends him by way of lynching. He's practically saved when Norris falls and stops breathing only for the doctor to show up and get his arms chomped off when the doc goes about using a defibrillator on the fallen man. Norris's thing-head then just casually slumps off the body, uses its whip-tongue to lash onto a nearby anchored object, and then grows spider-legs to crawl away. But not before a healthy dose of flame-thrower!

The hot needle blood-test scene is pure tension that leads to pure mishap. And the only part of the movie that really gets to me on a visceral level is the thumb-slicing shots. Good Lord! I couldn't even watch it as Windows did his own. Poor, poor Windows.

Best line in the whole mess is delivered by Moffat as Garry: "I know you gentlemen have been through a lot, but when you find the time, I'd rather not spend the rest of this winter TIED TO THIS FUCKING COUCH!" Everything up until the all-caps part is delivered with such calm sincerity. The all-caps part with utter face-vein bulging anger.

When all else fails, kill it with fire!

And then when Blair puts his hand through Garry's face you realize, "Yeah, he was damned. And damn him!"

The giant tentacle-dog monster that the thing reveals itself as at the end definitely deserves consideration to be put on the Mt. Rushmore of movie monsters.

The ending is rather bleak. But appropriately so. It doesn't cheat right up till the end. I'm not sure I can conceive of a better ending. If you showed them "paddling to shore" like Brody and Hooper at the end of Jaws, it would sort of rob your imagination of anything better, besides aping that classic too much.

January 21 — 10 of 365 logged

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365 Films in 365 Days — October 29: Young Frankenstein

This series is dedicated to matching memorable movies with the signature day each year upon which I could watch them forever. I knew this one would be an October watch, but I was puzzling over which day it should be. With the passing of Teri Garr this week, it suddenly became obvious. And October 29th belongs to:

Young Frankenstein (1974, Gruskoff/Venture Films Crossbow Productions, Inc./20th Century Fox, Mel Brooks)

Mel Brooks is the "Weird Al" Yankovic of film. (Or maybe it's more proper to say "Weird Al" is the Mel Brooks of music.) In much the same way that it might be difficult to nail down which "Weird Al" song is the best, so too can Brooks' fans agonize over which is their fav movie, but I'd wager Young Frankenstein usually tops any respectable list. Allow me to attempt to highlight the reasons why that is for me.

The opening act is admittedly slow and apes the long, often quiet establishing shots that the early B&W monster films made as their hallmark. As with most "Weird Al" spoofs, Brooks and Wilder had a similar approach of lampooning the source material without disrespecting it. The same is true here as the scenes start from a more traditional classic horror approach, with orchestral stinger reveals, etc., and gradually lean into zanier and kookier portrayals. It's high praise and high comedy.

Gotta love the university talk and lab demonstration that ends with Wilder's character ("Dr. Frederick Fronkenstein," who goes by a different pronunciation and it is established cares not for his grandfather's work, which he calls, "doo doo") stabbing himself in the thigh with a scalpel in an outburst while dueling words with one of his students on the subject of his forebear. He blithely ignores the wound, crosses his legs, and says, stifling his alarm and pain, "Class—uh … is dismissed." It's both urbane and sophomoric at once, and sets the same dichotomous tone throughout.

Marty Feldman's Igor is definitely in the top 10 movie sidekicks of all time. His "walk this way" introduction is simple, inoffensive comedy at its best (and sparked the famous Aerosmith song). His is the only character who routinely "winks" at the audience in fourth-wall breaking moments. He gives banter as good as he gets. And it's his character that nabs the "Abby Someone", next "Abby Normal" (his words, a dodge for abnormal) brain to further the plot and give us a retread of the original Frankenstein story. 

Hardly outdone by him though is Teri Garr's Inga. Her "roll in ze hay" intro is eternally quotable. She wears her German affectation with such cuteness and in an unpretentious way that neatly fits in with the odd-ball performances. Almost every scene that she's in with the doctor has some double-entendre to it that goes completely over the heads of little ones but always leaves adults tittering, and steals each moment when it occurs.

Dr. Fronkenstein's tantrum after failing to get a reaction from the Monster after electrocuting him is pure comedic gold. He sighs peacefully and talks of accepting failure with quiet dignity and grace. A moment later, he turns back to pound the corpse's chest with his fists: "Son of a bitch! Bastard! I'll get you for this! What did you do to me? What did you do to me?!" Inga tries to intercede, but he continues, "I don't want to live. I do not want to live!" he moans like a child. "Quiet dignity and grace," Igor repeats, deadpanning to the camera with an eye-roll. The doctor moans as the scene fades to black, "Oh … mama…"

One of the richest scenes in the film is when the three of them "play" a game of charades as Dr. Fronkenstein is being strangled by the Monster they've freshly reanimated. "SEDAGIVE?!" lol.

The cast is rounded out by supporting roles of Madeline Kahn's Elizabeth, Cloris Leachman's Frau Blücher, Kenneth Mars's Inspector Kemp, and Peter Boyle's the Monster. Even if the movie had only two others of these plus the main three, you'd still have a classic on your hands. No one tries to upstage anyone else, and everyone still has moments to shine and add to the whole. It's an ensemble outdone by maybe only a few films ever (12 Angry Men among them, which I'll definitely cover later).

It isn't until the latter half of the movie that Boyle's Monster logs some serious screen time. The scene with the little girl is charming and a bit whimsical. The part where she goes soaring through the air off a powerful see-saw motion and lands peacefully tucked in bed is absolute cartoonish hokum, but it works. That's followed by the Monster's scene with Gene Hackman's blind priest Harold, the three failed attempts at hospitality, and the infamous ad-lib at the end: "I was going to make espresso."

Another top-shelf funny scene ensues after the three mains recapture the Monster and lock him up, only for Dr. Fronkenstein to resolve to lock himself inside in a vain attempt to force a bond with his creation, bidding both Igor and Inga not to open the door should anything happen. Needless to say, he almost immediately regrets it and turns tail pleading, "Let me out. Let me out of here. Get me the hell out of here. What's the matter with you people? I was joking! Don't you know a joke when you hear one? HA-HA-HA-HA. Jesus Christ, get me out of here! Open this goddamn door or I'll kick your rotten heads in! Mommy!"

What follows is a trademark turn of character, and indeed in many of Wilder's performances, from apparent coward to reluctant hero. The sheer volume and intensity Wilder rises to when he delivers the penultimate, "MY NAME IS FRANKENSTEIN!" line is startlingly dramatic and played less for a laugh. The movie has a story and the characters still have arcs and it delivers on both fronts without skimping on the laughs and while still remaining faithful to the original material. Rare. And hard to do.

The "Puttin' on the Ritz" number is another pure charmer.

The scene when Elizabeth, Frederick's fiancee, arrives and briefly interacts with Igor and Inga is full of great little interactions. It's fun to watch the others' faces when the speaker is delivering their lines. Acting is truly as much reacting as it is anything else.

The scene where Elizabeth and Frederick are in her bedchamber is delightful. She neatly exerts her dominance in their relationship all while tempting him, but gives him none of what he wants, and as he leaves—on his knees—all he can do is mumble through tight lips the words she bids him good night with.

Not long after, she and the Monster consummate their wicked little union after he abducts her. She's all for it, however, and when they consider going for round 7 in their off-screen sexcapades, she admonishes him with, "Seven or eight quick ones and then you're off to the boys to boast and brag! You better keep your mouth shut! [swooning] Oh, I think I'm in love!" Such a woman.

The movie nears its end when Dr. Frankenstein elects to have a mutual operation done on him and the Monster to share portions of their brains with each other so that the Monster can be more balanced. The operation is successful as an angry mob breaks in, but we the viewers are left to consider whether a comatose Frederick will be left that way or not. The Monster, too, having recovered his faculties, delivers an impassioned plea to spare them both as the town mob led by Inspector Kemp—and his ever hilarious mechanical arm—agree to cease their lynching siege and leave the two in peace.

In a pair of codas, we learn that the Monster and Elizabeth got married and have recently gotten back from a party thrown by her dad in his honor. Her entrance to the room, complete with "bride of Frankenstein" hairdo, is sizzlingly funny.

In the other, we find that Frederick seems fine and is now married to Inga. She starts to hum the haunting violin music that Frau Blücher had used earlier in the film to put the Monster in a trance. To this, Frederick seems himself a bit bewitched. It's only when they're finally in bed that she adds in regard to what he gave to the Monster, "But whatever did you get from him?", to which his monstrous libido is unleashed on her and she sings a refrain from, "Ah, Sweet Mystery of Life," echoing what Elizabeth had done earlier when the Monster took her as his own.

So, you know, basically sex carries the day. And laughter. Sex is pretty funny, after all. Sex and laughter: the medicine of life.

October 29 — 9 of 365 logged

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His Airness

MICHAEL JEFFREY “AIR” JORDAN (circa “The Last Dance,” 1998) Male Human Legendary Strong Ordinary 1/Strong Hero 4/Fast Ordinary 2/Fast Hero 2/Dedicated Ordinary 2/Dedicated Hero 1/Charismatic Hero 3; CR 9 (14); LA +1

Medium Humanoid (height 6’ 6”, weight 216 lb.); Age 35

Init +6; Senses (core) Listen +7, Search +1, Spot +7; Senses (house) Listen/Spot +15, Search +1
Languages English

Defense 23, touch 14, flat-footed 21; Dodge (+2 Dex, +11 class)
hp 92 (15 HD); Mas 14
Fort +10 (+2 vs fatigue checks between periods), Ref +8, Will +7
Action Points 12
          Note: Defense and hp numbers above are effective in terms of basketball playing potential. Defense in a “real” fight only has a +5 class bonus (Def 17 instead). Hit points when in a real fight are reduced by 30 (15 HD x 2 Con mod; 62 instead).

Speed 35 ft.
Melee unarmed strike +5 (1d6+2 nonlethal, 20) or
Melee by weapon +4
Ranged 2-pt basketball (+1 DefR) or free-throw shot +13 or
Ranged 3-pt basketball shot +12 or
Ranged fadeaway +14 (-1 DefR for 3-pt) or
Ranged turnaround fadeaway +14 (+/-1 DefR for 2-pt/3-pt) or
Ranged by weapon +4
Space 5 ft. by 5 ft.; Reach 5 ft.
Base Atk +2 (eBAB +10); Grp +14 (+15 on slam dunk)
Atk Options Coordinate, Heroic Surge (4/day), Inspiration, Point Blank Shot
Special Qualities basketball signature (“turnaround fadeaway”; costs 1 feat), legend traits (1)

Abilities Str 15 (13), Dex 15, Con 14, Int 12, Wis 14 (13), Cha 12
'(-)' indicate original ability scores.
Allegiances greatness, himself, good, basketball, Chicago Bulls; Rep +7; San 62
Feats Acrobatic, Alertness, Brawl, Confident, Dodge, Heroic Surge*, Improved Initiative, Mobility, Point Blank Shot, Precise Shot, Simple Weapons Proficiency, Weapon Focus (fadeaway), Weapon Focus (slam dunk)
* Bonus feat selected from Legend template
Skills (core) Balance +21, Bluff +9, Diplomacy +7, Drive +8, Gamble +8, Intimidate +14, Jump +25, Knowledge (business) +4, Knowledge (current events) +3, Knowledge (tactics) +4, Listen +7, Profession (businessman) +10, Read/Write English, Sense Motive +7, Sleight of Hand +9, Speak English, Spot +7, Swim +4, Tumble +6
Skills (house) Athletics +19 (+8 on Jump), Control +20 (+1 on Balance), Drive +8, Gamble +8, Knowledge (business) +4, Knowledge (current events) +3, Knowledge (tactics) +4, Perceive +13 (+2 on Listen, Spot), Persuade +18 (+2 on Intimidate), Profession (businessman) +10, Read/Write English, Sneak +9, Speak English, Tumble +6
Talents (Strong Hero) Extreme Effort, Improved Extreme Effort
Talents (Fast Hero) Increased Speed
Talents (Dedicated Hero) Skill Emphasis (Jump)
Talents (Charismatic Hero) Coordinate, Inspiration
Starting Occupation Athlete (+1 on Balance, Drive, Jump as permanent class skill; Brawl)
Possessions (total weight 4.5 lb.) uniform (Bulls jersey & shorts; 2 lb.), Air Jordan sneakers (1 lb.), professional basketball (1.5 lb.)
Wealth Bonus +23

Basketball Abilities
Position: Shooting Guard
Handedness: Right
Energy Level: High
Location Proficiencies: All
Offense: +27
Defense: +27
Dunk/Lay-up (contested): +40 (core), +42 (house); uncontested dunk is automatic unless two natural 1s; lay-ups may automatically impose -5 on defensive player (@ DC 39, +25 to base)
2-pt Shot (@ +13) %: 75
Fadeaway: +31 (core), +33 (house)
Turnaround Fadeaway**: Can only be done from left/right post, or against 1 opponent; treat success margins as 8 points lower; ignore -1 penalty for 2-pt
Free Throw %: 95 (90 after 1 period, 85 after 2 periods, 80 after 3 periods)
Pass: +16
On-ball/Pass Steal: +17/11 (core), 17 (house)
3-pt Shot %: 35
** Unique specialty

D20 Basketball Rules

Levels/Effective BAB/Def/Hit Points, etc.
Professional athletes whose careers are strictly confined to the disciplines of their sport(s) do not progress in the same way as conventional heroic characters do. Much of their ability and exploits are on display in a specific capacity that is not tested by the more random and varied rigors of a standard “adventuring career.” Due to this, any heroic levels gained while maintaining a professional athlete’s career are only “effective levels” in a broader game sense. Only levels attained as an Ordinary character, as detailed in the core rulebook, will provide base attack bonuses for the purposes of melee/ranged effects, although the effective heroic levels will still add to those features and actions which would promote the abilities exemplified by an athlete dedicated to their specific discipline (e.g., effective BAB would still add to a basketball player’s jump shot, but not their attacks with a firearm, etc.). Furthermore, effective hit points are calculated including all standard measures, but for “real” combat purposes will be reduced by an amount equal to the character’s HD times any Con modifier (i.e., even a -2 Con mod would reduce a pro athlete’s effective hit points by HD x 2). Finally, class bonus to Defense is reduced by 1/2 when calculating for “real” combat situations. Similarly, instead reduce the character’s CR by 1/2 their heroic levels outside of their sports discipline.

eBAB 6+ grants specialty; must burn feat slot(s) for unique speciality (“signature move”)
eBAB 7+ grants ability proficiency in all shot locations
eBAB 8+ grants ability to attract multiple defenders
eBAB 9+ grants ability to ignore contested shots from single defender
eBAB 10 grants ability to attract and ignore contested shots from multiple defenders

Shot Chart

* Natural only
** Reduce 2-pt base DefR (-2 to -5) by half eBAB (max 10), rounded down
Note: Increase upper end of DefR for bonuses by Point Blank Shot, Weapon Focus feats, etc., on a 1:1 basis

eBAB         2-pt DefR        %          3-pt DefR          %           FT Def         %
0               16-20              25          15, 20*            10          16+             25

Dex            2-pt DefR        %          3-pt DefR          %           FT Def         %
+1              16-20              30          15, 20*            10          16+             30
+2              16-20              30          15, 20*            10          16+             35
+3              16-21              35          15-16, 20*       15          15+             45
+4              16-21              35          15-16, 20*       15          15+             50
+5              16-22              40          14-16, 20*       20          14+             60

1-4             15-25           35-50        20-22            10-20       14+           40-55

+1              15-25           40-55        20-22            15-20       14+           45-60
+2              15-25           45-60        20-22               20         14+           50-65
+3              15-26           50-65        20-23               25         13+           60-75
+4              15-26           55-65        20-23               25         13+           65-80
+5              15-27           60-70        20-24               30         12+           75-90

5+**       1[0/3]-25         65-75        20-23               25         12+           70-95

+1           1[0/3]-26        70-85        20-24               30         12+           75-95
+2           1[0/3]-27        75-85        20-25               35         12+           80-95
+3           1[0/3]-28        75-90        20-26               40         12+           85-95
+4           1[0/3]-29        75-95        20-27               45         12+           90-95
+5           1[0/3]-30        75-95        20-28               50         12+              95

Shot attempt is a d20 roll plus eBAB+Dex mod, the result of which must either fall between the DefR or surpass the Def, as normal; Point Blank Shot only counts toward 2-pt shots

Energy Levels: High, Mid, Low; High level players receive +2 bonus on Fort saves vs. fatigue between consecutive periods (DC 15; if failed, electing to rest 1 period removes fatigued condition), but take a cumulative -2 penalty on free throws for every consecutive period played; Mid level players receive no bonus/penalty; Low level players must roll twice, taking the lower result on each fatigue check between periods, but may increase their DefR on either 2-pt or 3-pt shots by +1

Shot locations: [2-pt] paint, left/right post, high post; [3-pt] left/right wing, straight away; position/handedness determines location proficiencies as follows: Centers (paint, post matching handedness); Forwards (post of choice, wing matching handedness); Guards (wing matching handedness, wing or left/right post of choice); shot attempts from non-proficient locations require 2 rolls, accepting only the worse result

Offense vs. Defense (Making shots/Contesting): Defensive player must be adjacent to affect shot; opposed Balance/Control (+2 synergy bonus on offense for 5 ranks in either Bluff, Intimidate, Sleight, Tumble; on defense for 5 ranks in either Intimidate, Sense, Sleight, Tumble); offense wins by 5 or less and defense is > shooter's Def, shot is contested and offensive player must roll shot attempt twice, taking the worse result; defense wins by > 5 and defense is > shooter's Def, shot is deflected/blocked (may then make opposed Grapple to steal); shot with 2+ defenders in location imposes -4 on shot roll and +/-4 on DefR (unless Precise Shot, which ignores shot penalty and -4 on DefR); offense wins by > 10, shot plus foul

Dunk/Post-up: Breakaway/uncontested one-handed dunk is Jump/Athletics DC 13 (for 7+ footers), 18 (for 6+ footers), 24 (for 5+ footers), +2 two-handed, +15 if moved < 20 ft; opposed Jump/Athletics+Grapple check, if contested (if defensive player is shorter, must roll twice, taking worse result); offense wins > 10, dunk plus foul; natural 1 on dunk must be rerolled, if natural 1 again, dunk misses

Lay-up: As dunk, except DCs are 10 (7’), 14 (6’), 18 (5’), no two-handed or movement-based difficulty; offensive player may intentionally increase base lay-up DC by increments of 5, each increment imposes a cumulative -1 on defensive player

Fadeaway: Must have 8+ ranks in Balance/Control; requires adjacent defensive player; first, opposed Jump/Athletics (w/same synergy bonuses as offense vs. defense); if successful, treat all success offense margins as if they were 5 points lower (i.e., shot is contested only if checks match, etc.), but the shot’s DefR is adjusted -1 for 2-pt, -2 for 3-pt, contested or not

Free Throws: Attempts following a “hard foul” (when fouled by a defensive player with a higher Str mod) suffer a -2 penalty; “clutch” attempts (during the final moments of a game decided by 2 points or less) suffer a -2 penalty

Passing: Ranged attack (+2 synergy bonus for 5 ranks in Bluff, Sleight, Tumble) vs. Def 6 (standing recipient), Def 10 (moving recipient); passer must contend with cover bonus to target’s Def when passing into “traffic” (recipient is covered by 1+ defenders, +2 to +7); move action w/i 30 ft. (otherwise standard action); ball’s range increment for passes is 15 ft.; may skip pass to recipient w/i 30 ft. as reaction, add +4 to Def; if pass fails, recipient may still catch the errant pass by spending their next move action and succeeding on a Reflex save, DC equals Def

On-ball/Pass Steal: On-ball (“rip”) is Initiative + Sleight of Hand check (+2 synergy for 5 ranks in Sense, Tumble) vs. opposing offense roll, must be adjacent, failure by > 5 results in a foul; stealing a pass is a readied move action (must be w/i 10 ft of passer or “passing lane”) with a Sense Motive check (+2 synergy for 5 ranks in Balance, Sleight, Tumble) vs. pass result, but assess a -1 penalty for every other player between the player attempting the steal and the passer, failure results in loss of action and any recovery to contest the offensive player with two rolls on the defensive, taking only the worse result

Goku

SON GOKU (earthling name), KAKAROT (saiyan name)

circa the Android Saga
Male Unique Saiyan Legendary Strong Hero 3/Martial Artist 10/Battle Mind 7; CR 26; LA +7
Medium Humanoid (height 5' 9", weight 136 lb.); Age mid 20s

Init +6; Senses (core) Listen +4, Search -1, Spot +6; Senses (house) Listen/Spot +6, Search -1
Languages English, Japanese

Defense 31, touch 31, flat-footed 25; Defensive Martial Arts (+6 Dex, +14 class)
hp 228 (20 HD); Mas 25
Fort +16, Ref +16, Will +10 (use ki to reroll)
Action Points 15

Speed 30 ft.
Melee unarmed strike +29/+24/+19/+14 (1d10+12 lethal/nonlethal, 19-20/x3) or
Melee flying strike (charge) +30 (1d10+22 lethal/nonlethal, 19-20/x3) or
Melee flurry of blows +26/+26/+21/+16/+11 (1d10+12 lethal/nonlethal, 19-20/x3)
Melee by weapon +28/+23/+18/+13
Ranged energy blasts +27/+22/+17/+12 (1d8+13 piercing or force, 30 ft, 20) or
Ranged kamehameha +25 (varies, 50 ft, 20) or
Ranged by weapon +24/+19/+14/+9
Space 5 ft. by 5 ft.; Reach 5 ft.
Base Atk +18; Grp +30
Atk Options Combat Reflexes, Ki (+4 to attacks/initiative/checks per round), Power Attack, Psychic (Ki) Shield (+3 equip bonus to Defense, 7 rnds), Unbalance Opponent
Special Qualities detect psionics [ki] 3/day, ki 5/day, saiyan traits, legend traits (5)

Abilities Str 30 (13), Dex 22 (13), Con 22 (13), Int 8, Wis 18 (16), Cha 12
'(-)' indicate original ability scores.
AL bettering himself, the Z Fighters, good, Earth, the fight; Rep +8; San 85
Feats Advanced Combat Martial Arts*, Archaic Weapons Proficiency, Combat Martial Arts, Combat Reflexes, Combat Throw, Defensive Martial Arts, Improved Combat Martial Arts, Improved Damage Threshold*, Inner Power, Inner Strength, Kaio-Ken* (new feat, see below), Kamehameha (new feat, see below), Ki, Power Attack*, Simple Weapons Proficiency, Renown, Shao-Lin (Muten Roshi) Kung Fu, Unbalance Opponent*, Weapon Focus (kamehameha), Weapon Focus (unarmed strike), Wild Talent (Detect Psionics [Ki])

          * Bonus feats acquired from the Legend template.
          Note: Having been raised as human, Kakarot is unique in that he receives the standard bonus feat normally assigned a human, even though he is biologically saiyan. Kakarot was never exposed to his native tongue.
          Note: Feats listed in italics were taken from the Blood and Fists supplement.
Skills (core) Autohypnosis +8, Balance +10, Climb +12, Concentration +12 (+4 to manifest powers on defensive), Jump +18, Hide +8, Intimidate +3, Knowledge (current events) +1, Meditation +6, Move Silently +8, Read/Write English, Read/Write Japanese, Ride +8, Speak English, Speak Japanese, Spot +6, Swim +12, Tumble +8, Zen Mastery +6
Skills (house) Athletics +22, Control +20 (+4 to manifest powers on defensive), Knowledge (current events) +1, Meditation +6, Perceive +6, Persuade +3, Read/Write English, Read/Write Japanese, Ride +8, Sneak +10, Speak English, Speak Japanese, Tumble +8, Zen Mastery +6
          Note: Having been raised as human, Kakarot is unique in that he receives the standard skill points normally assigned a human, even though he is biologically saiyan. Ranks for each skill above are listed in parentheses.
Talents (Strong Hero) Improved Melee Smash, Melee Smash
Talents (Martial Artist) Flurry of Blows, Flying Kick, Iron Fist
Talents (Battle Mind) Combat Manifestation, Imprint Being (new feature, see below), Improved Psi-Blade, Psi-Blade, Psychic (Ki) Shield
Power Points 17
Battle Mind Powers Known (3/3/2/1): 0 (10/day)—burst, missive, verve; 1st (1 pt)—combat precognition (+1 insight to Defense), energy blasts (new power, see below), propel (new power, see below); 2nd (3 pts)—combat focus (+4 insight on initiative), combat prescience (+2 insight on attacks); 3rd (5 pts)—spirit bomb (“Genkidama”, new power, see below)
Starting Occupation (core) Adventurer (Move Silently, Ride as permanent class skills; Archaic Weapons Proficiency)
Starting Occupation (house) Adventurer (Ride, Stealth as permanent class skills; Archaic Weapons Proficiency)
Possessions (carried weight 250 lb) Muten Roshi karate gi (specially weighted to keep Goku in peak physical shape; 250 lb.), bag of senzu beans (usually contains 5 beans; eating 1 bean restores 100 hp or 50% of the eater’s hp, whichever is higher, up to their normal maximum; you can only benefit from 1 senzu bean per day)
Wealth Bonus +7

SAIYAN
Species Traits
          Saiyans are a space-faring, warrior race of extraterrestrial bipedal near-humans who are naturally gifted in ki-related powers and abilities and possess prehensile tails with a hidden power. They often fight wearing battle armor and in loose co-affiliated units dispatched for specific mission purposes.
          Saiyans speak Saiyan.
          All saiyan powers are extraordinary in nature unless otherwise noted.
          Ability Modifiers: They receive species bonuses of +16 to Strength, +8 to Dexterity, and +8 to Constitution.
          Size: Medium. As a medium-size creature, saiyans have no special modifiers due to their size.
          Movement: Their base speed is 30 feet.
          Prehensile Tail: Saiyans may hold handheld objects or hang from their 3 to 5-ft long dark, furry tails, as they would a regular upper appendage. They cannot make attacks or use weapons with their tails. Normally, their tails use the same Defense as their bodies, but the tails can be targeted separately and may become amputated if a DC 25 bursting Str check or 10+ slashing damage is dealt to them at one time. If lost, the saiyan suffers 1 point of temporary Con damage, but no permanent hit point or ability score loss. See the “great ape transformation” below for more on the hidden power contained within saiyan tails.
          Naturally Psionic: Saiyans gain 1 bonus power point at 1st level.

          Note: Psionic powers are essentially equivalent to ki powers as depicted in DBZ.
          Deep Well of Power: Once per round as a move action, Saiyans can convert hit points up to their massive damage threshold into power points a number of times per day equal to their Wisdom modifier (5 max).
          Versatile Power: Once per round, saiyans can freely exchange 3 power points for a daily use of ki or spell-like ability, etc., or vice versa.
          Power Resistance: Saiyans have a natural power resistance of 5 + one half their character level. [LA +1/2]
          Repletion (Su): By expending 1 power point, a saiyan does not need to eat or drink for 24 hours.
          Resilience (Su): As an immediate action, a saiyan can reduce the damage he is about to take by 2 hit points for every 1 power point spent.
          Resistance (Su): As an immediate action, a saiyan can spend 1 power point to gain a +4 racial bonus on saving throws until the beginning of their next turn.
          Great ape transformation (Su): Only saiyans with tails may involuntarily transform into monstrous ape creatures. This transformation to gargantuan size (30 ft tall) occurs only when they are exposed to the light of a full moon (or similar phenomena), and takes 2 rounds to complete. After which, treat the transformed saiyan as normal except: +80 temporary hit points; they gain 2 slam attacks (2d6 base damage) which replaces all other previous attack forms (no weapon use) with an added +8 to hit and +12 to damage (double damage to objects and structures) and on Str checks; -6 to Defense; damage reduction 15/— (except for their tail); face and reach of 20 ft; +20 feet to base speed, half that as a new climb speed; the great ape form is virtually mindless and cannot communicate or use any Int, Wis, or Cha-based skills, no feats, no spell casting or psionics (although great apes are also immune to most spells and psionics), and any non-magical worn clothes or armor is shredded and ruined during the process (the GM may choose to NPC your character). Attacking and severing the tail with a slashing attack (Defense 20, 10 hit points; any damage less than 10 heals immediately) will cause the saiyan to do nothing other than writhe and revert to their original nude form over the course of 2 rounds. Severed tails have an 8% chance to grow back any time the character is frightened or in mortal peril.
          Super saiyan transformation (Su): Only saiyans with the Legend template can transform into super saiyans. Transforming also requires 1+ of the following prerequisites: A) The saiyan must have fewer than half their maximum hit points remaining and succeed on a DC 30 Concentration/Control check; or B) succeed on a DC 30 Concentration/Control check, if the saiyan has transformed before; and C) the saiyan must expend an action point and a full-round action. Upon transforming, the saiyan immediately receives +5 power points or 2 additional ki uses, up to the daily maximum; has all movement rates doubled; receives +5 to Str, Dex, and Con scores; double massive damage threshold; gets Damage Reduction 20/—; and receives 3 temporary hit points per character level (these are always expended first). The saiyan can remain in this form for a number of rounds equal to the current power points plus 3 additional rounds per daily use of ki remaining, at the time of transformation.
          Challenger Rating: +5
          Advancement: By character class.
          Level Adjustment: +6

NEW Feat Kaio-Ken
          You can amplify your ki and increase critical threat range and damage, but not without higher risk.
          Prerequisites: Wis 15+, Improved Combat Martial Arts, Ki, Inner Power, a martial arts style
          Benefit: You can distribute up to your Wis modifier (max +5) to increase your critical hit threat range and/or damage multiplier for a single form of attack. These changes remain until the end of combat or until you have suffered damage equal to your threshold.
          However, increasing either or by more than 1 puts you at risk of greater strain or injury: any saves for half or no damage are instead at disadvantage (roll twice and take the worse result), and any natural 1s on attacks, checks, or saves cause temporary damage equal to your Wis modifier to be distributed among your ability scores, as desired.
          When you take this feat, you gain an additional daily use of Ki.

NEW Signature Martial Arts Maneuver Feat Kamehameha (Shao-Lin [Muten Roshi] Kung Fu)
          You channel your ki into a devastating ki wave beam.
          Prerequisites: Shao-Lin (Muten Roshi) Kung-Fu, Ki, Inner Strength, power points, BAB +8
          Benefit: As a full-round attack and expending a daily use of ki, you can unleash a ki wave beam that deals 8d6 force damage plus 1d6 additional damage per 2 power points spent or per daily use of ki exhausted. Its range increment is 50 feet (500 ft max). As a reaction, when you are aware of the attack and not flat-footed, the ki blast can be used defensively against other beam or ray attacks, negating any damage by the damage it would otherwise deal after expending power points or ki. The ki blast also acts as a free bull rush attempt against creature targets, and the kamehameha receives a +2 Str bonus on the opposed check as if you were charging, plus its effective size is scaled up from medium for every 2d6 of additional damage dice inflicted (up to colossal size at +8d6). This bull rush effect can alternatively be used to propel you backward from the origin and direction of the blast 5 feet for every 5 points by which the Str check beats DC 5.

NEW Class Feature (Battle Mind) Imprint Being [optionally replaces Imprint Tattoo]
          Starting at 2nd level, a Battle Mind can create an imprint of their psionic self onto another willing psionic being, combining their collective power to imbue one of them to greater power levels. An imprint is a single use psionic power that combines both manifesters’ level and psionic points to permit one of them to have access to a given power or boost its strength accordingly. This must be done when both manifesters are within 30 ft of each other, and the Autohypnosis/Control DC for achieving this link is 15 + the psionic power’s level + the higher character’s manifester level.
          The Battle Mind must also expend experience equal to the power level x their manifester level x 15 to achieve the imprint.
          At 5th level, the Battle Mind can imprint two different powers (paying the XP cost for the higher of the two). At 8th level, the Battle Mind can actually metaphysically fuse together with another willing being, creating a single separate psionically powered being where before there were two. In this case, you combine the best aspects of both characters to determine their fusion form.

NEW Psionic Power Energy Blasts
Dexterity [Force]
Level: Battle Mind 1; Display: Visual; Manifestation Time: Free action; Range: See description; Duration: Instantaneous; Saving Throw: None; Power Resistance: Yes; Power Point Cost: 1
          You can collect psi-blade energy in your hand and throw them each round for as long as you can manifest them. Their range increment is 30 feet (150 ft max). They deal either piercing or force-based damage, your choice.

NEW Psionic Power Propel
Constitution
Level: Battle Mind 1, Telepath 1; Display: Visual; Manifestation Time: Attack action; Range: Personal; Duration: Varies (D); Saving Throw: None; Power Resistance: No; Power Point Cost: 1+ (variable)
          By expending a power point to manifest and then 1 additional at the end of each time interval thereafter to maintain, you are surrounded by a nimbus of color and can fly (good maneuverability) with a speed of 60 feet (240 feet as a “run”). The duration is 1 hour. This power may be manifested at a higher level. If manifested as 2nd level, costing 3 points at first and 1 at each interval, you can fly (perfect maneuverability) at 120 feet for 10 minutes. At 3rd, for 5 pts first and 2 pts later, the fly speed increases to 600 feet, but only for 1 minute. At 4th, for 7 pts and 3 pts, and instead as a move action, you can instantaneously appear 1 mile within sight of your present location each round.

NEW Psionic Power Spirit Bomb
Wisdom
Level: Battle Mind 3; Display: Visual; Manifestation Time: See description; Range: 30 ft.; Effect: Bolt; Duration: Instantaneous; Saving Throw: None; Power Resistance: Yes; Power Point Cost: 5+
          By tapping into the ambient natural background of latent power in your environment, you may collect this energy into a massive hovering spirit ball to throw as a bomb. This requires spending the initial manifesting cost as a full-round action, and then additional full-round actions and power points up to 5 each round thereafter. Keep track of the initial power point cost and the running total each round. You must maintain concentration each round to do so. The spirit ball has a diameter of 10 feet per power point imbued/collected (up to 100 pts for 1,000 feet). For every 10 points contained in the energy ball, it will inflict 1d10 damage and can be launched up to 1,000 feet; this damage cannot be reduced by damage reduction or hardness. Unanchored creatures and objects within 10 miles of the ball’s target/epicenter will be knocked prone. Once the target(s) have taken damage, the ball slowly dissipates over the next 5 rounds, after which all the power points that you used to generate it return to you in full. However, you cannot generate a new spirit ball in the same environment again until 1 week has passed.