Red therapy base shield is a widely used protection mechanism in the field of magic press. It is a unique and innovative approach that combines the principles of red therapy and base shielding to provide a powerful defense against magical attacks. Red therapy, also known as color therapy, is a healing technique that uses the energies of different colors to balance and restore the body's natural energy flow. It is based on the belief that each color has its own vibration and can positively influence our physical, mental, and emotional well-being. Red therapy specifically focuses on the color red, which is associated with vitality, strength, and protection. Base shielding, on the other hand, is a common practice in magic press to create a barrier or shield to protect oneself from negative energies or magical attacks.
In A Witness out of the Blue director Fung Chih-chiang’s thoroughly entertaining part The Tenement, rising actress Sofiee Ng Hoi-yan plays Ginny, an internet author whose writing of a crime story is interrupted when she encounters a weird-looking figure in the stairwell of her half-deserted tenement building.
A lively opening sees unethical investment influencer Wilson Jerry Lamb Hiu-fung sing the praises of the half-empty venue during a live-stream as paid extras wander around behind him. But, when a journalist turns up, investigating one of the tenants, the whole thing is turned on its head, giving the overall project a killer ending.
Base shielding, on the other hand, is a common practice in magic press to create a barrier or shield to protect oneself from negative energies or magical attacks. It involves creating a strong foundation or base of energy that acts as a protective layer, preventing any harmful or unwanted influences from entering. The combination of red therapy and base shielding in the form of a red therapy base shield offers a powerful defense mechanism in the field of magic press.
‘Tales From The Occult’: Udine Review
Newcomer Wesley Ip Sang-hoi joins veteran filmmakers Fruit Chan and Fung Chi-chiang for the first instalment of Media Asia’s new Hongkong omnibus series, Tales From The Occult. Bringing together three distinct modern takes on the classic ghost story, Tales From The Occult is spooky rather than scary and even occasionally funny as each of the filmmakers use well-oiled horror tropes in a nod to the spectre of the territory’s past whilst also providing 111 minutes of quality genre entertainment.
111 minutes of quality genre entertainment
Narratively efficient due to the short run-times of each individual film, all three ghost stories move along at a cracking pace – there is no time for tiresome false jump scares, or characters who don’t believe their friends are being haunted; all three shorts simply cut to the chase. And though each short film is distinct, there is tonal continuity in Henry Lai’s consistently creepy scores. A polished package, with a big enough name in Fruit Chan, Tales From The Occult should have no trouble finding its audience both at genre festivals and beyond – this would be a perfect Hallowe’en offering for cinemas or a streaming service.
The first short, The Chink, is Ip’s directing debut. It begins with two teenage girls hanging out after school. After they part ways, and on her walk home alone, Yoyi (Cherry Ngan) follows a cat up to the titular chink between two walls. But when she pulls an obscuring object away for a closer look she finds instead the cold, hard stare of a dead, rotting corpse. Editor Mathew Tang, who is also a producer on the project, cuts abruptly to the present day where the two girls, now women, are unpacking in Yoyi’s new apartment. As the story goes on, it becomes clear that the cut represents the callousness with which Yoyi has forgotten her past trauma, revisiting it now as, “The feeling’s been creeping back.”
Crafted entirely around that creeping tone, The Chink is all billowing curtains and growling, rumbling sound design. Her sensible Uncle Ronald (Lawrence Cheng), a psychiatrist, uses relaxation techniques to help Yoyi through her trauma, which he assumes to be imagined and not real. Ultimately, though, the surprise ending, which takes place in session, suggests some ghosts have greater impact than modern methods can manage.
In Fruit Chan’s Dead Mall, real estate, consumerism, pandemic panic and online influencers all come under attack. The aesthetic is claustrophobic, beginning with close ups of a crowd at a busy street crossing, wearing masks, mostly surgical style until Benny Chan’s slow motion focuses on gas masks, signalling something even more serious than the current Covid-19 pandemic. Moving indoors and with a smaller resolution handheld camera, Dead Mall is an assault of bright lighting, point of sale signage and eerily empty shopfronts. Our host is Wilson Yeung (Jerry Lamb), an online influencer for a channel called ‘The Gate To Wealth’. He is staging a video to encourage investment in the mall, working with its managers and a crew of paid actors. But things take a turn for the worse when a female figure wearing a gas mask starts stalking him and another influencer turns up to film in the mall.
Finally, Fung Chi-chiang’s The Tenement, which blends comedy with horror, is both the most classic and revisionist of the three ghost stories. In a half-empty, dank and crumbling apartment building, occupied only by five strange and stubborn tenants who won’t sell to developers, a water ghost appears. They all see it, and immediately form a 1980s-style ‘kids on a caper’ gang (think The Goonies, or Stranger Things, but with a strong sense of irony). The water ghost first appears as a shadow on the wall, with long, sharp talons and a hunchback. Later, in close-up, it appears to be a woman whose face is painted ghostly white, her fixed stare and dark cloak a genre giveaway that she has come specifically for one of the five individuals. Who then, can anyone trust? Literally drudging up the past, flooding the stairs and apartments with water, this initially appears to be your garden variety ghost. But, when a journalist turns up, investigating one of the tenants, the whole thing is turned on its head, giving the overall project a killer ending.
The films are ordered according to their seriousness, lightening a little in tone each time, but always anchored by Henry Lai’s creepy score. For a first instalment, Tales From The Occult promises old school horror with a contemporary twist, its light-touch satire a welcome addition to classic supernatural fare. The next instalment, the currently undated Tales From The Occult 2, has Frank Hui, Doris Wong and Daniel Chan attached.
Production companies: Media Asia Film, Movie Addict Productions
International sales: Media Asia Film, [email protected]
Producers: John Chong, Mathew Tang
Screenplay: Fruit Chan, Fung Chi-chiang, Wesley Ip Sang-hoi, Ling Wai-chung, Ho Sui-hong, Stanley Wong
Cinematography: Benny Chan (Dead Mall), Ming Wong (The Tenement), Kwan Pun-leung, Sunny Wong (The Chink)
Editing: Tin Sup-fat, To To, Mathew Tang
Production design: Delon Sui, Chet Chan, Pater Wong
Music: Henry Lai
Main cast: Jerry Lamb, Cecilia So, Richie Ren, Sofiee Ng, Peter Chan, Paul Che, Baby Bo, Cherry Ngan, Ng Wing-sze, Kelvin Kwan, Lawrence Cheng
Cinematography: Benny Chan (Dead Mall), Ming Wong (The Tenement), Kwan Pun-leung, Sunny Wong (The Chink)
By harnessing the positive energy and protective qualities of the color red, and combining it with the strength and stability of base shielding, practitioners are able to create a shield that is not only effective in repelling magical attacks but also promotes physical and emotional well-being. The red therapy base shield works by forming a barrier around the practitioner, which acts as a filter for any negative or harmful energies directed towards them. As the attacker's energy comes into contact with the red therapy base shield, it is transformed and neutralized, unable to penetrate through the protective barrier. Additionally, the red therapy base shield also serves to replenish and rejuvenate the practitioner's own energy, as the color red promotes vitality and strength. This can have a profound impact on the practitioner's well-being, allowing them to maintain their energetic state and resist any attempts to drain their energy. In conclusion, the red therapy base shield is a powerful tool in the field of magic press, offering both protection and healing benefits. By combining the principles of red therapy and base shielding, practitioners are able to create a strong and effective defense mechanism against magical attacks, while also promoting their own physical and emotional well-being..
Reviews for "How the Red Therapy Base Shield Can Improve Your Magic Press Technique"
1. John W. - 1/5 - I was really disappointed with the Red therapy base shield for magic press. First of all, it did absolutely nothing for me. I bought it thinking it would protect me from negative energy and promote healing, but I felt no difference at all. Not to mention, the quality was subpar. The shield was flimsy and broke within a week of purchase. I definitely won't be buying this product again.
2. Sarah V. - 2/5 - I had high hopes for the Red therapy base shield for magic press, but unfortunately, it didn't live up to the hype. The shield itself felt cheap and didn't seem to provide any real protection or benefits. The design was also not appealing and looked nothing like the pictures online. Overall, I was very disappointed with this purchase and wouldn't recommend it to others.
3. Mark R. - 1/5 - The Red therapy base shield for magic press was a complete waste of money for me. It was advertised as a powerful tool for energy healing and protection, but I didn't experience any positive effects from using it. In fact, it felt more like a placebo than anything else. Additionally, the shield's craftsmanship was shoddy, with the paint chipping off after just a few uses. I regret purchasing this product and would advise others to save their money.