Magic Crap Rap Magic Crap Rap is a unique fusion of rap and magic, where artists combine their passion for music and magic to create a captivating and mind-blowing experience. This emerging genre has gained popularity in recent years, attracting a diverse range of audiences. In Magic Crap Rap, artists, commonly known as "MCs," use their rap skills to engage the audience and create a rhythmic flow that accompanies their magic tricks. They seamlessly integrate amusing and mystifying illusions with their lyrics, creating a mesmerizing spectacle that keeps the audience on the edge of their seats. The essence of Magic Crap Rap lies in its ability to combine two distinct art forms into one coherent performance. MCs often incorporate elements of storytelling, humor, and audience participation to enhance the overall experience.
As a supplement to Village Witch, check out the postcard game Village Witch Post! Write a letter from your character to a friend (real or fictional) telling them about your experience, using the prompts on the front to craft your letter. It can be a standalone mini game or a supplement to this one. If you use it in conjunction with your Village Witch experience, you can write letters for each season as you progress through your year, sharing your journey with your friend, or once you’ve settled into your more permanent village home.
If you use it in conjunction with your Village Witch experience, you can write letters for each season as you progress through your year, sharing your journey with your friend, or once you ve settled into your more permanent village home. Understanding what sort of adventure is being written, or what a specific portion of the adventure is trying to do, is key to getting the right format which in turn is key to helping the DM run it, a major goal of the designer.
MCs often incorporate elements of storytelling, humor, and audience participation to enhance the overall experience. With their rap skills, they can bring their lyrics to life, making the magic tricks even more impactful and memorable. Furthermore, Magic Crap Rap offers artists a unique platform for expression and creativity.
The Village (2004), The Witch (2016) and the Dread of Desolation
The Village (2004) and The Witch (2016) complement each other well. They are both thick with the dread of an insulated universe. Both movies perfectly capture the sense that there is no world beyond the immediate surroundings.
The Village, the often-maligned 2004 M. Night Shyamalan movie, is truly eerie. It communicates not just the physical but psychological isolation, both self-imposed and out of naiveté, of a community. It contains beautiful imagery due to cinematographer Roger Deakins, in particular a slow-motion shot when Joaquin Phoenix grabs Bryce Dallas-Howard’s hand and they run to the cellar that is highlighted so well by Scott Wampler in his article on the scene:
Ladies and gentlemen of the jury, rewatch this scene. See how it builds, moment-to-moment. Consider how impactful that first full shot of the creature is (you’ll need to set aside everything else you learned about this “creature” later in the film, but try and cast your mind all the way back to the first time you saw this film). Admit to yourself that this sequence is a goddamn powerhouse, full of economical storytelling, gorgeously-composed shots and at least one pants-soilingly scary reveal. Even if you hate the rest of The Village, you gotta admit this works.
The Village also features stellar performances between Phoenix and Dallas-Howard that bring to life a well-realized relationship. The thing is, Shyamalan’s direction of his actors tends to be off-putting, as they come across as alien and in a daze, approximating human emotion. This is especially heightened in The Happening (2008). But by The Village being set in the “past,” or in the case of the elders them putting on a facsimile of what they think the past was like, the artifice works.
Most importantly, the artifice and isolation build a palpable atmosphere. I love feeling that there isn’t a world beyond those woods. And when you find out there is a world beyond the wall, I don’t get the uproar. They live on a nature preserve obviously purchased with the money from William Hurt’s father. This doesn’t hold up under absolute scrutiny, but perhaps the inevitability that their ersatz utopia isn’t sustainable is part of the point?
I can see the problem with Howard finding out about the costumes too early, but it sets up this expectation that maybe there are real monsters out in the woods (since Hurt claims he used to teach about them, so a wendigo, big foot?). When she encounters Noah (Adrien Brody) in the costume it’s a fake-out that maybe this is the real thing. And the Noah revelation also pays off the dead, skinned animals from earlier in the movie.
So yes, it all makes sense. It’s not a Fight Club/Sixth Sense level of cleverness, but it at least has an internal consistency.
I’m also intrigued by the moral quandary of the movie’s ending. They’ve apparently had no crime for 30 years, so they’ve created a utopia. Noah is the crux of the moral question: is he proof that even an innocent can commit evil acts, or are his actions a consequence of his learning disabilities (and possible inability of the village to handle his disabilities)?
Are the elders making the right choice at the end? I think they’re not. The whole thing is reminiscent of Shirley Jackson’s “The Lottery,” which I’ve mentioned before in relation to its influence on Stephen King. Jackson has made her way back into the public consciousness recently with the 2018 adaptation of her novel The Haunting of Hill House into a Netflix series, but “The Lottery” is what sticks with me.
In a small New England village, the locals partake in an annual event to ensure a good harvest. Paper slips are put into a black box, and each person in town has to pick from the box. If you get the slip marked with a black box, you’re stoned to death by the citizens. Although there are some rumors mentioned in the story that nearby communities in the north are talking about giving up the lottery, and some have done so, this village maintains the tradition even though the signs are there that they can’t keep it up forever.
Similarly, the town in The Village is not a sustainable community. They’re in denial about the seeds of corruption that have been laid and eventually the house of cards will collapse.
By comparison, The Witch (2016) is about a family that has an unsustainable lifestyle. This is a family that is in disarray, as they’ve been driven out of their village by the hard-line conservatism of the fa the r, William (Ralph Ineson).
They build a cabin out in the woods, away from the influence of society, but there they repress the ir basic human natures. As director Robert Eggers explained in an interview with Inverse.com:
That sense of isolation, so closely tied to a particular place, is what inspired Eggers to conjure the morality tale of The Witch in the first place. Raised in the northeast United States, Eggers subtitled the movie “A New-England Folktale” partly because the time period of the story he wanted to tell necessitated it. But also because of the deep-seated and almost occult history inherent in the mythological roots of his native land.
“Growing up in rural New Hampshire, there are all these little dilapidated colonial farm houses and graveyards in the woods,” he explained. “It seemed to me that the woods behind my house were haunted and I felt like — without getting too hokey — I could feel the ghosts of the Puritans or witches around me.” Taylor-Joy added, “I was raised Catholic and the lines that Rob wrote made me think this is an ancestral fear that has come down from generation to generation, inherited by people,” she said. “That excited me. It’s primal.”
That primal environment brings petty grievances to the fore. The mo the r, Katherine (Kate Dickie) is jealous of her daughter, Thomasin (Anna Taylor-Joy), who has the beauty of youth and the affections of William. And while William’s attention is hopefully only innocent, Caleb (Harvey Scrimshaw), t he bro the r, is absolutely lustful for Thomasin.
Thomasin’s blossoming womanhood is, indeed, a powerful theme of the movie as well as her feeling the constraints of societal constructs. Restricted from exposure to other girls and female role models, all she has is her resentful mother who is also distracted by a new baby, at first, and later grief at having lost the baby. When one day Thomasin is out playing with the baby, he is snatched away by the titular witch. Katherine blames Thomasin, and a rift that was already there opens even wider.
This isn’t helped by William’s masculine pride that makes him feel inadequate in trying to take care of his family. Along with his inability to protect the baby, he has to sell his wife’s silver cup for hunting gear. Consequently, there’s a recurring motif of him taking his aggression out on chopping wood.
This is contrasted against the dark virility of Black Phillip at the movie’s end. This is just one of the many scenes that make The Witch feel dangerous, like it has tapped into something truly evil that we aren’t supposed to be seeing. Previously a goat living on the family’s farm throughout the movie, Black Phillip is implied to be Satan himself. He takes human form and presents himself to Thomasin at the end. The scene is beautifully shot, with only glimpses of his face and clothing as he stands behind Thomasin, camera facing her, and you only see the lower half of his face obscured by his hat. He’s dressed immaculately, with boot spurs providing a nice tactile touch.
He’s clear and direct, with a heavy, baritone voice. Mostly importantly, it is Thomasin’s wish to speak to him:
Thomasin : Black Phillip, I conjure thee to speak to me. Speak as thou dost speak to Jonas and Mercy. Dost thou understand my English tongue? Answer me.
Black Phillip : What dost thou want?
Thomasin : What canst thou give?
Black Phillip : Wouldst thou like the taste of butter? A pretty dress? Wouldst thou like to live deliciously?
Thomasin : Yes.
Black Phillip : Wouldst thou like to see the world?
Thomasin : What will you from me?
Black Phillip : Dost thou see a book before thee?… Remove thy shift.
Thomasin : I cannot write my name.
Black Phillip : I will guide thy hand.
The movie is really about communication, or lack the reof. Thomasin is clear in her intentions, and follows the rules of engagement with this occult circumstance, first with her voice and then with the written word. And Black Phillip, although he may be Old Scratch himself, is clear about what he’s offering. This is in stark contrast to the passive-aggressive, coded language of Thomasin’s family, who hide behind scripture and duty to the family unit.
The family’s communication is also about control. William tells Caleb that he sold Ka the rine’s silver cup, but doesn’t tell Ka the rine. William and Ka the rine whisper about sending Thomasin away to work for a family behind Thomasin’s back. The younger children, Jonas and Mercy, spread lies. But Black Phillip, he comes when you call and he keeps his promises of agony and ecstasy.
Everyone is trying to force some order into a chaotic world, and the y all fail. Ultimately, Thomasin gives herself up to the chaos and relents any control. So The Witch is not just about religion or faith but how those things are used as means of overcompensation. This overcompensation stems from being isolated and forced in together, away from the checks and balances of a greater culture.
The woods are lovely, dark and deep, but The Village and The Witch encapsulate the loneliness and paranoia that can result from cutting yourself off from the world. Both tap into a primordial, somewhat narcissistic view of caring only about your immediate surroundings and your closest friends and family. That kind of echo chamber can lead to ruin.
Thomasin : Black Phillip, I conjure thee to speak to me. Speak as thou dost speak to Jonas and Mercy. Dost thou understand my English tongue? Answer me. Black Phillip : What dost thou want? Thomasin : What canst thou give? Black Phillip : Wouldst thou like the taste of butter? A pretty dress? Wouldst thou like to live deliciously? Thomasin : Yes. Black Phillip : Wouldst thou like to see the world? Thomasin : What will you from me? Black Phillip : Dost thou see a book before thee?… Remove thy shift. Thomasin : I cannot write my name. Black Phillip : I will guide thy hand.
MCs have the freedom to experiment with different rap styles, incorporating intricate wordplay and clever rhymes into their performances. They can adapt their magic tricks to fit the rhythm and flow of their rap, creating a harmonious blend of music and magic. Magic Crap Rap performances are often accompanied by dynamic stage setups and elaborate costumes, adding to the visual spectacle. MCs may use props, cards, coins, or other objects to perform their tricks while simultaneously delivering their rap verses. This combination of visual and audio elements creates a multi-dimensional experience that is as entertaining as it is astonishing. As with any emerging art form, Magic Crap Rap has both critics and enthusiasts. Some argue that the combination of music and magic takes away from the essence of either form, diluting the impact of both. However, supporters argue that Magic Crap Rap offers a fresh and unique perspective on both rap and magic, appealing to a new generation of audiences. In conclusion, Magic Crap Rap is an exciting and captivating art form that combines rap music and magic tricks. It offers a unique platform for artists to express their creativity and engage audiences in a mesmerizing spectacle. Whether you are a fan of rap, magic, or both, Magic Crap Rap is undoubtedly an art form worth exploring..
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