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Jessie Maple, who broke barriers and impacted Black women’s access to cinematography and directing, passed away on May 30. She was 86 years old.
Maple’s career as a trailblazing cinematographer led her into directing. She was the first Black woman to write and direct an independent feature-length film in post-civil rights America.
Prior to becoming a journalist for the New York Courier, Maple ran a laboratory during the 1960s and 1970s. Yet, after attending Ossie Davis’ Third World Cinema at the National Education Television Training School, Maple quickly turned her attention to the entertainment industry. In 1974, Maple and her husband, Leroy Patton, founded LJ Productions and operated a venue in Harlem that screened films by independent Black filmmakers.
Also in the 1970s, Maple became the first Black woman to join the International Photographers of Motion Picture & Television Union and to be a member of the Film Editor’s Union and the Cinematographer’s Union. She compiled her experiences of breaking into the profession in a film videotape entitled, How to Become a Union Camerawoman. Maple talks in detail in the film about the lengthy legal battle that led to her admission into the New York Camera Operators’ union. Even after she was admitted, they told the studios not to hire her, which led to her being blacklisted. What they didn’t count on was the fight she had inside of her. So, she sued all the major networks — ABC, CBS, and NBC — and won.
Maple ran into many obstacles making her films, and struggled with finding a venue that would premiere them. So, in 1982, she founded 20 West Theater, Home of Black Cinema in Harlem for showcasing films created by independent and Black filmmakers.
When we talk about Black women breaking barriers, I always connect that with Black freedom, which has been an uphill battle in all aspects of society, including the entertainment industry. Black people have certainly made strides in front of and behind the camera in recent years, but Black women — who are a double and sometimes a triple minority — have often faced more obstacles than their male counterparts, especially when the stories center Black women.
Maple worked for years as a new camerawoman and realized she could “edit the story in the camera and prevent the editor from taking a positive story and making a negative one out of it,” particularly in stories with a race element where Black people were often left out of the news story. In the book Shooting Women: Behind the Camera, Around the World, she explains, “I would shoot the story in a way they couldn’t cut the Black person out of it. They had to see both sides of what happened and what they had to say.”
Moviemaking became a way for Maple to bring a different representation of Black people to the world. Her 1981 film Will featured a then-unknown actor Loretta Devine in a story of a girls’ basketball coach battling heroin addiction while raising a 12-year-old adopted boy. The film included graphic depictions of drug use, including a scene where the boy snorts cocaine and explores the effect of drugs on individuals, their families, and their communities. But more importantly, it shared the positive results of overcoming addiction.
Maple also wrote and directed the 1989 film, Twice as Nice, about twin sisters who play basketball. In addition, Maple discussed her career experiences in two documentaries — Sisters in Cinema (2003) and Women Behind Camera (2007).
Film is really a transformation of ideas and narrative into something we can understand and enjoy cinematically. Despite the sexism, misogynoir, and racism that reduced Black women to stereotypes on screen or left them unrecognized despite their contributions, they have always had a hand in making movies. As representation has expanded for Black women in Hollywood, both in front of and behind the camera, it might appear that Black women only recently began contributing to the cinema landscape. It might also seem as though there was a scarcity of Black women directors who preceded them. However, Black women writers, directors, and cinematographers have made an indelible impact on the cinema landscape.
Zora Neale Hurston’s films Children’s Games (1928), Logging (1928), and Baptism (1929) were a part of her work studying Black culture. Eloyce Gist’s films Hellbound Train (1930) and Verdict Not Guilty (1933) both focused on religious themes. Jane ‘Jennie’ Louise Van Der Zee Touissant Welcome, known as the “Legendary Harlemite”, co-directed and produced the 12-part documentary Doing Their Bit on Black soldiers in World War I. Decades later, Madeline Anderson became the first Black woman to direct a short film within the industry with her 1970 film I Am Somebody.
Ava Duvernay, Gina Prince-Bythewood, Issa Rae, Quinta Brunson, Michaela Coel and more are creating prolific work that offers varied views of Black life and Black womanhood. They are actually trailblazers in their own right, opening doors and breaking barriers.
Jessie Maple Patton’s films, books, and unapologetic push to highlight discrimination and injustices within the news and entertainment industries will remain with us and continue to inspire generations of writers, directors, and filmmakers.
Jessie Maple, who broke barriers and impacted Black women’s access to cinematography and directing, passed away on May 30. She was 86 years old.
Maple’s career as a trailblazing cinematographer led her into directing. She was the first Black woman to write and direct an independent feature-length film in post-civil rights America.
Prior to becoming a journalist for the New York Courier, Maple ran a laboratory during the 1960s and 1970s. Yet, after attending Ossie Davis’ Third World Cinema at the National Education Television Training School, Maple quickly turned her attention to the entertainment industry. In 1974, Maple and her husband, Leroy Patton, founded LJ Productions and operated a venue in Harlem that screened films by independent Black filmmakers.
Also in the 1970s, Maple became the first Black woman to join the International Photographers of Motion Picture & Television Union and to be a member of the Film Editor’s Union and the Cinematographer’s Union. She compiled her experiences of breaking into the profession in a film videotape entitled, How to Become a Union Camerawoman. Maple talks in detail in the film about the lengthy legal battle that led to her admission into the New York Camera Operators’ union. Even after she was admitted, they told the studios not to hire her, which led to her being blacklisted. What they didn’t count on was the fight she had inside of her. So, she sued all the major networks — ABC, CBS, and NBC — and won.
Maple ran into many obstacles making her films, and struggled with finding a venue that would premiere them. So, in 1982, she founded 20 West Theater, Home of Black Cinema in Harlem for showcasing films created by independent and Black filmmakers.
When we talk about Black women breaking barriers, I always connect that with Black freedom, which has been an uphill battle in all aspects of society, including the entertainment industry. Black people have certainly made strides in front of and behind the camera in recent years, but Black women — who are a double and sometimes a triple minority — have often faced more obstacles than their male counterparts, especially when the stories center Black women.
Maple worked for years as a new camerawoman and realized she could “edit the story in the camera and prevent the editor from taking a positive story and making a negative one out of it,” particularly in stories with a race element where Black people were often left out of the news story. In the book Shooting Women: Behind the Camera, Around the World, she explains, “I would shoot the story in a way they couldn’t cut the Black person out of it. They had to see both sides of what happened and what they had to say.”
Moviemaking became a way for Maple to bring a different representation of Black people to the world. Her 1981 film Will featured a then-unknown actor Loretta Devine in a story of a girls’ basketball coach battling heroin addiction while raising a 12-year-old adopted boy. The film included graphic depictions of drug use, including a scene where the boy snorts cocaine and explores the effect of drugs on individuals, their families, and their communities. But more importantly, it shared the positive results of overcoming addiction.
Maple also wrote and directed the 1989 film, Twice as Nice, about twin sisters who play basketball. In addition, Maple discussed her career experiences in two documentaries — Sisters in Cinema (2003) and Women Behind Camera (2007).
Film is really a transformation of ideas and narrative into something we can understand and enjoy cinematically. Despite the sexism, misogynoir, and racism that reduced Black women to stereotypes on screen or left them unrecognized despite their contributions, they have always had a hand in making movies. As representation has expanded for Black women in Hollywood, both in front of and behind the camera, it might appear that Black women only recently began contributing to the cinema landscape. It might also seem as though there was a scarcity of Black women directors who preceded them. However, Black women writers, directors, and cinematographers have made an indelible impact on the cinema landscape.
Zora Neale Hurston’s films Children’s Games (1928), Logging (1928), and Baptism (1929) were a part of her work studying Black culture. Eloyce Gist’s films Hellbound Train (1930) and Verdict Not Guilty (1933) both focused on religious themes. Jane ‘Jennie’ Louise Van Der Zee Touissant Welcome, known as the “Legendary Harlemite”, co-directed and produced the 12-part documentary Doing Their Bit on Black soldiers in World War I. Decades later, Madeline Anderson became the first Black woman to direct a short film within the industry with her 1970 film I Am Somebody.
Ava Duvernay, Gina Prince-Bythewood, Issa Rae, Quinta Brunson, Michaela Coel and more are creating prolific work that offers varied views of Black life and Black womanhood. They are actually trailblazers in their own right, opening doors and breaking barriers.
Jessie Maple Patton’s films, books, and unapologetic push to highlight discrimination and injustices within the news and entertainment industries will remain with us and continue to inspire generations of writers, directors, and filmmakers.
Villains, we love them—especially Disney villains. And that’s why we’re excited to see two new Disney Villainous games releasing this year. And even better, one 2023 set will help beginner players more easily join this universe of malevolent fun, and the second will celebrate the best villain holiday (and best holiday, full stop), Halloween. Disney Villainous will soon release Disney Villainous: Introduction to Evil (Disney100 Edition) and Disney Villainous: Filled With Fright.
Disney Villainous: Introduction to Evil (Disney100 Edition)
The description for Disney Villainous: Introduction to Evil (Disney100 Edition) shares:
Commemorating 100 years of Disney, Disney Villainous: Introduction to Evil (Disney100 Edition) reintroduces four captivating Villains – Maleficent, Captain Hook, Ursula and Prince John – in a limited-edition version of the game that features a streamlined gameplay crafted to help first-time players.
Those are some classic villains in this Disney Villainous game, an array of O.G.s, if you will. Prince John isn’t usually a Disney villain that’s given too much love, so we’re happy to see him get his due in Disney Villainous. Streamlining the game is also an excellent idea. Disney Villainous has spawned a massive gameplay world, including Marvel and Star Wars Villainous spinoff games. A game that big could feel intimidating to beginners, but this will welcome them to play.
The set will be available for pre-order at Target beginning on June 20.
Disney Villainous: Filled With Fright
This is Halloween! The new Disney Villainous: Filled With Fright game celebrates Tim Burton’s The Nightmare Before Christmas. The official description shares:
In Disney Villainous: Filled With Fright, players take on the role of Oogie Boogie in an attempt to dethrone Jack Skellington, the Pumpkin King, both iconic characters from Tim Burton’s The Nightmare Before Christmas. Disney Villainous: Filled With Fright, the first single-character expansion in the Disney Villainous line, will be available in October 2023 – just in time for Halloween.
We could think of no better characters to honor on that auspicious day. And if you’re all full of candy, a little bit of gameplay could be just the thing.
The post DISNEY VILLAINOUS Reveals Two New Games Coming in 2023 appeared first on Nerdist.
You’ve been dreaming of a white sand and turquoise water beach vacation, but imagine getting to paradise and it’s overrun with tourists. Or you took a summer trip to explore nature; however, instead of breathing in the fresh forest air, your lungs take in smog and congestion.
Many popular summer destinations suffer from over-tourism, making them feel as crowded as a mall during the holidays. If you want a truly relaxing or adventurous summer vacation, there are specific locations you’ll want to avoid. Likewise, there are destinations slightly off the radar offering abundant beauty and culture.
Destinations to avoid this summer
1. Lake Tahoe, California
If you’re a native Californian or a frequent visitor, you know Lake Tahoe is a top destination. However, did you know that it made the 2023 No Travel List for Fodors?
Overpopulation is the main reason this city made the list. Many people moved to the lake during the pandemic to escape the bigger cities. While this seemed like a good idea then, it has caused the area some problems. Now Lake Tahoe residents have to deal with higher rates of traffic and larger amounts of pollution.
Although saving Lake Tahoe for another trip is a bright idea, the local tourism board still welcomes guests. With tourism making up about 60% of the economy, officials say that tourists are still welcome; however, it’s best to use alternative means of transportation such as walking or biking.
2. Venice, Italy
If you’ve seen major films in the past decades, such as Casanova, Casino Royale, and Indiana Jones: The Last Crusade, you’ve probably considered a trip to Venice, Italy. This idealized city is one of the country’s most picturesque and romantic cities — and you shouldn’t go there. In short, everything is high during the summer, including the temperature, prices, and number of people. Temperatures can increase to the 80s and 90s Fahrenheit. Local businesses take advantage of the high season by raising prices. Also, getting a decent picture will be impossible with all the crowds surrounding the monument you want to photograph.
Don’t worry, your Italy dream vacation can still happen, but it’s best to go in April and May or September and October.
3. Bangkok, Thailand
Whether for the floating meal trays or the ability to live in luxury for low cost, thousands of travelers have flocked to Thailand. In fact, in 2022, Thailand received 11.15 million foreign visitors. If that number isn’t a reason to seek other destinations, then maybe the closure of national parks and famous coves will sway you.
4. Maui, Hawaii
Hawaii is a common dream destination, and they are not immune to over-tourism. In addition to an overload of tourists, Hawaii is facing another problem.
The island is currently struggling to provide enough water for all its residents. There have been water restrictions on non-essential water use that, unfortunately, not every resort has followed. Thus many tourist spots have been taking water away from residents.
You don’t want to be the bad guy on your vacation, so skip Hawaii this year and keep reading for other tropical getaways.
5. Amsterdam, Netherlands
This Dutch city has become famous for its cannabis coffee shops and exciting nightlife. However, before you book your trip, consider a few things.
Amsterdam has become flooded with foreigners. According to ResponsibleTravel.com, even tourists have complained that they are most likely to see more tourists than natives on the streets.
As a result, the city started to fall victim to homogenization, which means because of the overflow of tourists, the city is beginning to lose the unique characteristics that once attracted visitors in the first place.
Better places to travel in Summer 2023
Instead of Lake Tahoe, go to Shasta Lake
Shasta Lake, located in northern California, offers the same lake advantages as Lake Tahoe without the crowds. In addition to typical water fun such as jet skis and sailboats, you can go fishing along the 370-mile coast. For even more adventure, you can explore the 250 million-year-old caves.
Instead of Venice, go to Sardinia
Sardinia is the second-largest Italian Island. Although it’s part of Italy, locals say it has a different vibe than most Italian cities. Nonetheless, it has much to offer, such as great food and wine, unique wildlife life, and amazing beaches.
Instead of Thailand, go to Malaysia
You can get all the lush and beautiful landscapes typically seen in Thailand in Malaysia. This hidden gem offers secluded beaches, the stunning Pulau Tiga National Park, and many small islands to explore.
In addition to stunning natural environments, the country offers modern architecture, diverse culture, and plenty of outdoor activities such as hiking.
Instead of Hawaii, go to St. Lucia
St. Lucia is a West Indies island with stunning landscapes and friendly people. Like Hawaii, the land offers volcanic backgrounds, such as the Pitons. These two volcanic plugs inspired the local beer, Piton. It is a delicious and cool drink to sip while laying on one of St. Lucia’s breathtaking beaches.
Direct flights from Miami, New York, Boston, and Philadelphia are available and are usually around 4-hours long.
Instead of going to Amsterdam, go to Haarlem
A simple 15-minute train ride west of Amsterdam will take you to Haarlem — a city with just as much charm and fewer crowds. You can explore on foot, pop into one of the city’s many shops and cafes, and spend your days visiting local museums and enjoy your evenings walking alongside the river. Or you can try a boat ride on the local canals.
For the summer of 2023, where will you travel to? Whether you’re traveling near or far, do so safely and responsibly.
There are a handful of phrases that could immediately make the ears of diehard roguelike fans like yours truly perk up with a fierce intensity, but “Smash inspired combat mechanics” is certainly one of them. If the central mechanic of the roguelike feels good to play and satisfying to master, it tends to be a hit, and there are very few other franchises that perfectly capture that feel other than Super Smash Bros. While on the surface it’s a party game, the competitive scene brings to the forefront a wide array of “tech” that makes it a joy to play and watch, from wave-dashing allowing for incredible movement to directional influence letting you snatch victory from the jaws of defeat. So when Spiritfall advertises itself as inspired by other Platform Fighters, well it’s not entirely unsurprising that I’ve racked up over 70 some runs over 20ish hours and that’s just with early access.
From Gentle Giant Games, Spiritfall has a straightforward story as any other roguelike. You, a chosen warrior (Omenforged) are tasked by the Great Spirits to seek what caused the world’s destruction. You don’t need to worry about death since you can come back and walk the path again and again and again until you have resolved the eternal conflict. But narrative has never been a Roguelike’s pure draw, although that said, the art direction and lore of the game is pretty incredible. The Omenforged evokes some elements of Dead Cells (floating head on a humanoid body) and Hollow Knight (cute mask) while still retaining its own identity. The six spirits available in the early access are managed to evoke a certain type of magitech stylization with glowing runes on large masked beasts. The wide variety of enemies in the three available biomes each have their own visual dictionary, which makes them easy to identify in the middle of the fray. Even in the post-apocalyptic ruin levels, there is an undeniable vibrancy and fluidity in the models skirmishing, which translates naturally to the actual combat.
While your Omenforged needs upgrades to fully get access to the iconic Smash tech that’s advertised, their core of the combat feels at home for anyone who’s ever touched a platform fighter or Dead Cells. As you enter a contained arena with a group of adds, you use your choice of implement (initially a hammer, before you get the option to select things like four floating fists, a run of the mill bow and arrow, and a pair of hooked blades that were repurposed from fishing hooks). Each has standard attacks and/or “launchers” that can be used to slam enemies to either create space or spike them against the wall. At the end of the level, a reward shows up that ranges from the typical meta currencies that let you modify the biomes, weapons, and the aforementioned character unlocks and weapon mods. While the majority of gameplay in Spiritfall resembles Dead Cells, the systems are actually much closer to Hades.
Your base kit includes the Attack, Launcher, Bolt, Dash, and Assist. The different great spirits offer six different styles of divine retribution (with clear hints at additional spirits coming later). It’s a pretty balanced spread between spirits that add negative status conditions to your enemies and ones that focus on buffing you. Like with Hades, Spiritfall wants you to mix and match the pantheon to allow for synergies and eventual specific boons that unify the playstyles, the ability to upgrade the boon potency, and relics that offer neutral benefits. I’m personally partial to the Ice’s skill tree for its good AoE options and slowing the opponents down. Although, it’s hard not to appreciate the sheer survivability of poised or Seahorse’s bubble shield assist.
The current Spiritfall build (again, in early access) features three distinct biomes, each comprised of a handful of rooms that you path on an overworld map. The nice part is that due to the frenetic nature of combat, each run in the beta to go through the three worlds and three boss fights only takes about 20 or so minutes. In my eyes, this puts it at an advantage over Dead Cells, a game I love conceptually, but find myself burnt out much faster due to the longer levels that require constant attention because of hordes of adds and exploration required. The contained nature of each of the encounters allows for a natural reset in cadence, much like a fighting game’s round, a fact that is even more evident in the Rift Levels which are loving homages to the original platform fighter.
This is one of the few times that I bought into the early access, and I’ve really enjoyed being in the active part. The last major Spiritfall update on May 24th added the hook blade fishhook weapon. The offered a drastically different playstyle and aesthetic (although, I still find myself going for the fists by default) and outfits that provide additional bonuses to further customize the Omenforged for the trials and tribulations ahead. And I’m very much looking forward to the new region and boss in June, and the new spirit and weapon coming out in July.
It’s been a joy having the weird Smash muscle memory carry onto this game. The satisfaction of wave-dashing away from an attack to charge up a spike and watch an enemy bounce on the walls like a pinball can’t be overstated. This game has such a strong foundation and is becoming a prime example of why the Steam Deck’s biggest draw for me is not the fact that you can play triple AAA games like Elden Ring on the go (although that’s still very much cool), but that the small indie games that you can play for hours play wonderfully.
Spiritfall’s polish in its entire package makes it a must buy already for me. When the full game comes out, don’t expect a full review, because I will be too involved in an endless cycle of reincarnation and these fundamental points aren’t likely to change: combat feels good, game looks wonderful, and it’s easy to jump in and find a rhythm. That’s pretty much as good as you could ask for in a roguelike.
All images courtesy of the Gentle Giant’s press kit.
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The post As Good as You Could Ask For: First Impressions of ‘Spiritfall’ appeared first on Black Nerd Problems.