#definitely not designed to be a metaphor for codependency

[divisible-official-art]

THE SILLYYY

See, I’d explain this character and some backstory stuff, like I usually do, but they kinda just say things. No one knows what’s real, when it comes to them

[candycornfieldcookie]

*stumbles into the room covered in blood, now with a brand new sideblog* SO THAT ESC UPDATE. HUH

The Eternal Sugar Follow-Up: Buried, Corruption and Possibly Lonely

Remember the days when I had to wrack my brain just to come up with one singular TMA fear to assign to Eternal Sugar? A lot can change in a couple months, I guess.

Obviously everything I said about the Web still holds up, I'd say even more than before. I consider that her primary Fear, and if I was forced to pick one it'd probably be that. But as we all know, the lines dividing the different Fears are hazy at best. They all blend in some way.

So let's get the easy stuff out of the way first, because the Buried now has tangible evidence and is no longer a stretch! Yay!

We've found out that Sugar keeps some members of her Garden imprisoned in jars, in which they enter an eternal slumber. She seems to view this as giving them a well-earned rest, and not - you know - trapping them in enclosed spaces and placing them into a coma. We will be revisiting that point later.

Going back to the metaphorical side of things, if I didn't mention Sugar encouraging her denizens to "bury" their true nature, I definitely should have, and now we have even more substantial examples of this. Specifically in Sugarfly and Pavlova. Sugarfly's wings are literally buried under layers of syrup, encased like a sticky chrysalis and unable to be used, and Pavlova buries his true self as well, trapped in an 'innocent' childlike form and not being allowed to grow up.

I think that's enough to qualify the Buried, so... what of the Corruption?

The answer to that is the Corruption fits so perfectly with Eternal Sugar's whole deal that I cannot believe I didn't notice it before. I'd say it fits her more than Mystic Flour.

Let's break this down:

The Corruption is frequently characterised as unhealthy, codependent and/or controlling love. A type of love that can and will destroy a person, something wonderful becoming a destructive force. This is exactly the kind of twisted love that Sugar feels for her denizens - her prisoners. She truly believed she's keeping them safe by locking them away from the outside world, from danger, from pain, as long as she keeps them beside her.

Speaking of something wonderful turning destructive, let's talk about Sugarfly's wish, and how Eternal Sugar allows one's worst qualities to blossom. Sugarfly is implied to be deeply insecure, believing her old wings to be dull and ugly, and herself unlovable as a result - and instead of helping her overcome this insecurity, Eternal Sugar gives her the wings she thought she wanted, robbing her of the gift of flight she had. Sugar turned this innocent wish for beauty and love into an active detriment - something about that feels very Corruption to me.

The overlap between the Corruption and the Web is one I find super interesting, and as I view it, the main thing that exists in that overlap is the concept of hive-minds. Mind controlling spores and such things. And since the "sweet scent" in the air of the Garden that sticks to you and attracts monsters when you try to leave is also literally confirmed to control people's minds, I'm counting that for both Web and Corruption.

On the subject of the literal, the whole design of the Garden fits in with the Corruption's theme pretty well imo. Appearing idyllic and beautiful at a glance, but the closer you look, the more uncanny/unsettling details you notice. I'm also counting that for the Stranger, as the uncanny is what it's all about (though it is more of a motif).

And finally, I present a question.

Is she an Avatar of the Lonely... or is she just lonely?

Because "Don't leave" is very clearly a desperate plea not to be alone. Sugar is terrified of the loss of control, of course, but it's more than that - she's terrified of the things she loves leaving her behind, not needing her. Choosing the danger and risk of reality over her flawless paradise. She doesn't want to be alone, and when this becomes close to reality and her calm facade has shattered, she is willing to destroy her perfect paradise and herself along with it.

BUT

I don't think she embodies the Lonely. In order to embody a Fear, you have to spread it - not just experience it. And Eternal Sugar is attempting to eradicate her own loneliness, exactly the opposite. She pushes it away, pushes it down, clings to all her beloved denizens so tightly it's suffocating.

I think she's just lonely. Lowercase L.

Oh - real quick before I close out this post. The way Sugar describes the other Beasts while trying to convince Hollyberry to stay is fascinating to me - but specifically one line stick out for the purposes of this post.

"In the end, only silence will remain."

...Hmm. Putting a pin in that until October.

because my brain won’t ever ever ever let me enjoy something without linking it to something else:

crk nation what do we think. I am ready + willing to explain all of these placements

[therapycards]

Metaphorical Associative Cards "The Universe Allusion"

‘The Universe Allusion’ is a deck of metaphoric associative cards, that may be used as a tool for psychologists, psychotherapists, coaches, and those who are interested in self-knowledge.

I created this deck to help people to find a clue. The deck is diverse as it reflects each side of any single person’s life. 150 pictures (100x70 mm) were selected to get associations about self-esteem, health, wealth, intimacy, parent-child relationships, self-development, etc.

The cards reflect emotional states and are good for therapy

‘The Universe Allusion’ metaphoric associative cards help to work with: 🔸 the consequences of experiencing violence; 🔸 codependency and addictions; 🔸 decision making; 🔸 conflicts in communication; 🔸 mental conflicts; 🔸 choices and consequences; 🔸 victims of abuse; 🔸 psychological complexes; 🔸 psychological patterns; 🔸 relationship problems; 🔸 a search for internal resources; 🔸 overcoming fears; 🔸 situation resolving.

THE KIT INCLUDES: • 150 cards (70x100 mm), designed by V.Modenko • an instruction with therapeutical techniques • a box

! NOTE: therapeutic cards are not the same as tarot. They do not predict or prophesize anything. Metaphorical cards have no definite interpretation. They lead to transformations, but everything is individual and depends on your perception.

[themurphyzone]

Ep 9: Future Brain Talk

I HAVE WANTED TO TALK ABOUT THIS FOREEVVVVERRR CAUSE THIS EP IS SO GOOD. ALSO BRAIN IS IN CHARACTER HERE AND I APPRECIATE THAT. 

The titular character, Future Brain

“You’re not going to the Oscars.”

“This big picture plan is already doomed. Come with me if you actually want to take over the world.” 

Can I just say, I love his introduction just from these two lines alone? Also, that character design. We don’t know what the hell happened to him to make him look like this, and I hella love a good mystery. Was he enhanced with cybernetics? Did ACME do this to him? Did he do it to himself? We may or may not ever know (also please sequel to this ep in the future i have a mighty need!).��

Despite what he tries to do in this episode, he also takes Pinky up on his cheesecake offer, gobbles it all down, and then asks for seconds. Granted, part of it was an excuse to send Pinky out of earshot so he could speak to present Brain in peace, but it’s not necessarily all an act, judging from the way he scarfs it all down. 

He also mentions how there’s no proper food in the future, and that he switched to protein pellets ‘for maximum efficiency’. We know he’s definitely an Unreliable Narrator from the way he claims Pinky betrayed him, but he does genuinely enjoy the cheesecake. From the way he interacts with Pinky here, I get the impression that he does miss him to a degree. 

So what happened in the future? Is there some Soylent Green shit where the only food available are pills made from people? Or protein pellets for mice? Or...what if Future Brain switched to protein pellets after whatever happened between him and his Pinky? 

“I need to make sure he hasn’t installed any listening devices or neural implants!”

“Who?” 

“Him!” 

“Pinky?” 

Yeah...Brain is correct that Pinky wouldn’t know how to operate these things.  

“You don’t know who Pinky truly is! Pinky has betrayed me at every turn. How else can you explain our never ending string of failures? That’s why I traveled back in time! We must get rid of Pinky before it’s too late!” 

Okay so theory time here:  Future Brain looks into his prosthetic hand as he says that Pinky has betrayed him. So...what if something Pinky did caused Brain to lose his right arm? 

Also: we know Pinky is loyal. Heck, present Brain knows it. Only Future Brain has forgotten that. Pinky would never intentionally inflict permanent harm, so it would have to be accidental on his end. 

“I told you he’d ruin your plan! Just like he spoiled all of mine!” 

“Let me do this! For me, your future-” 

Given Brain’s insistence on how Pinky never meant to ruin a plan and that he was not in fact, sabotaging, I believe it had to be a major event for Future Brain to believe Pinky betrayed him and was directly sabotaging his plans. 

However, leading up to that...

Here’s my theory: Future Brain is what Brain will become if he continues on this reckless path. His body’s been ravaged over time, whether through science or his own doing, because of his obsession with world domination. His insistence that Pinky spoiled all his plans, and that he forgot about kindness, loyalty and the good qualities that make up Pinky are projection because he can’t accept that his failures are the result of his own actions.

Perhaps Future Brain went too far on a plan. Perhaps Pinky protested, because he’s the heart and morality, and he’s finally trying to put his years of therapy to use. But something went wrong, and there was a permanent break in their friendship. 

What if his line about ‘no food in the future, only dust’ was metaphorical rather than literal? Food tastes like dust to him because it’s no longer Pinky’s food, made and served wholeheartedly. Protein pellets are the only things he could stomach. 

However, Future Brain can’t completely erase his feelings for Pinky. He took on Blinky for a companion after all. 

Whatever happened between Future Brain and Future Pinky will be how the present mice will end up if their codependency doesn’t change. Future Brain only has his damaged mind and hubris left, and Future Pinky no longer has a companion to cherish. 

It’s the ultimate tragedy. They’ll always care for each other, but in the end, they’ll wind up alone in this world. 

[cansomebodytellmewhatsgoingon]

2010′s Cartoons Trope List

The 2010’s were undoubtedly an iconic decade for animation, with some of the best cartoons ever being made in the decade. As a big fan of cartoons, I - along with many others - noticed how there happened to be many recurrences among these cartoons. So I thought I go and compile a list showing some of the features I noticed, along with cartoons that have show features.

(NOTE: I’ma only feature cartoons that I either have watched or know bits and pieces about.)

-Prevalence of the Bildungsroman: a German term used to describe stories that focus on the maturation and growth of the young main character. In 2010’s cartoons these characters start off in the series as goofy and aloof and become more serious and mature as the show progresses.

Steven Universe (Steven), Adventure Time (Finn), SVTFOE (Star), OK K.O.! (K.O).

-Definitely Dark Moments: just about every major cartoon in the 2010’s had not only a couple dark moments in their duration but often many. 

In just about the entirety of Rick and Morty, Steven Universe (gem mutants, So Many Birthdays, and Pearl getting stabbed on-screen), Gravity Falls (demonic possession and the fucking bleeding taxidermy animals in Northwest Mansion Mystery), Legend of Korra (Korra’s torture scene and two suicides), Over the Garden Wall (the whole show being a metaphor for purgatory), Adventure Time (that damn episode with the deer), SVTFOE (every time the lizard villain grows his flesh back). Also legit apocalyptic scenarios showing up at least once in every show (Weirdmageddon, the Cluster, reuniting Earth with the Spirit Realm).

—Darker Progression of the Series: as the show progresses it gradually transitions from a mostly light-hearted show to one frequently adorned with some pretty dark moments.

Gravity Falls (fighting gnomes in ep 1 vs fighting apocalyptic forces in ep 40), Steven Universe (ice cream powers in ep 1 vs taking the blame for your ma’s war crimes in ep 128).

-Deeply Depressing Moments: cartoons of the 2010’s weren’t afraid to gut punch you emotionally. A lot. Hard.

Steven Universe (Rose’s Scabbard and Steven’s identity crisis/Atlas Personality/emotional baggage/weight of expectations/somebody get this boy a therapist), Gravity Falls (Old Man McGucket’s mind being lost and Stan’s amnesia), Adventure Time (The Ice King’s mind also being lost and Fern’s death), Rick and Morty (Rick’s attempted suicide), Bojack Horseman (Sarah Lynn’s final moments), OTGW (Greg almost getting turned into an edelwood tree), Legend of Korra (Korra’s PTSD).

-Many Mature Moments: a lotta moments in cartoons of the decade have some real mature themes in them.

Steven Universe (toxic relationships, mental illness, genocide, and overcoming obsession, codependence, and weakness), Adventure Time (The Ice King being an allegory for people with Alzheimers), Gravity Falls (the importance of trust and knowing what true manliness is), Bojack Horseman (living with depression), Rick and Morty (nihilism and the indifference of the universe), Legend of Korra (anarchism and communism).

-Insane Intricacies: a good deal of cartoons have a lot of depth and complexity to their stories and their characters.

Steven Universe (hints that RQ=PD from the very first episode with the Cookie Cat design, a whole damn bunch of other foreshadowing, character instrumentation, and flower symbolism), Gravity Falls (the massive mystery element of the show, Bill Cipher being shown in episode one in the window pane design), OTGW (on god there are so many things in this miniseries that people miss, like Beatrice and the bluejay she threw the rock at being shown in the very first moments of the show), Adventure Time (the background storytelling in episodes like Bonnibel Bubblegum), TAWOG (extremely sharp and witty writing).

-CalArts Animation: a signature animation element of the 2010’s, characterized by large heart-shaped heads, wide smiles, big eyes with colorless pupils, and noodle limbs.

Steven Universe, Gravity Falls, TAWOG, SVTFOE

-Stunning Scenery: the backgrounds of many shows often look absolutely gorgeous.

Steven Universe (stunning pastel skies and oceans), Gravity Falls (the Oregonian forests look like a design for a postcard), Adventure Time (little hints of pre-apocalyptic objects scattered all through the background), TAWOG (real life backgrounds contrasting with the insane variety of animated characters), Hilda (Trollburg’s urban fantasy).

-Hella Fine Music: a couple 2010’s shows have some genuinely amazing musical scores in them.

Steven Universe (extended version of Love Like You, It’s Over, Isn’t It?, the chiptune, and sonorous background music like Lapis’ Tower), Gravity Falls (Intro Song), Infinity Train (Running Away), OTGW (Into the Unknown), Adventure Time (Everything Stays, I Remember You, Come Along With Me).

-Lore Galore: several 2010’s cartoons build up a deep and complex lore that slowly reveals itself as the show progresses.

Adventure Time (Great Mushroom War), Steven Universe (The Diamond Authority and the Rebellion), Gravity Falls (unraveling the mysteries of the town), OTGW (The Beast), SVTFOE (the Mewni vs the Monsters).

-The Gays™: the decade was the first to have prominent LGBTQ characters in their cartoons, especially in kids’ shows. 

Almost the entire main cast of Steven Universe, The Loud House (Luna and Sam), OK K.O! (Enid and Red Action), Voltron (there’s two gay guys in there that I heard of), She-Ra (those two black guys), Legend of Korra (Korra and Asami), Craig of the Creek (them two goth lesbians).

No doubt this past decade had some of the most iconic Western animated shows of all time, and I’m damn pumped to see what the 2020′s have in store for us all.

[sunshineinmyveins]

okay but my get down thoughts:

Because it’s almost Monday and I have seen NONE YET.

Behind a cut because spoilers abound (and that’s a sentence I don’t think I’ve written since 2009).

- First and to get this out of the way, it is DEEPLY troubling that in a show that’s supposed to be as diverse as it is and as representative of hip hop/disco culture as it is, The Get Down has positioned all of its darker skinned characters as the most morally corrupt (Fat Annie, some of her gangsters, Cadillac to a certain extent) or corruptible (Cadillac again, Shao, Boo Boo, Yolanda if you count her attack of morals as the disloyalty it’s presented as). 

Meanwhile, the lightest skinned characters - Zeke and Mylene - are about as incorruptible as it’s possible for them to be. Ra-Ra is also, without question or contest, Good. And while Dizzee sits in a similar space, his queerness also removed him from much of Part Two’s larger narrative in a way that was both magical and also did a huge disservice to his character.

- To continue in this vein, the fact that the only major Black female lead is Fat Annie is appalling. By her very nature and name, Fat Annie is a product of fatphobic stereotypes. Adding to that, she’s dark-skinned which perpetuates negative, colorist and anti-Black ideas that deliberately attack dark-skinned Black women and contribute to their continued oppression. She’s both positioned as kind of a mammy (with her creepy mommy schtick) and a hypersexualized predator (with her rape-y everything else), delivering a one-two punch that combines two of the most harmful stereotypes about Black women into one nasty character. And as one of, if not the ONLY, irredeemable villains of color on the show (one can argue that even Mylene’s father who we saw brutally beat both his wife AND daughter was positioned as empathetic in the end after the truth dropped and he killed himself), she’s aligned within the narrative with the likes of the Yale and Yuppie racists rather than being given the same nuance and empathetic treatment as the rest of the POC cast. 

- Last major complaint is also tied into something I really enjoyed about the series as a whole, and loved seeing played out again here: I needed more Dizzee and Thor and queerness in general. And I’m genuinely torn on this because I absolutely adored the comic book motif and the fact that Dizzee is the heart of the story - made sweeter by the fact that he, himself, thinks it’s Boo-Boo - means SO MUCH TO ME. I thought the exploration of this beautiful, bisexual alien was wonderfully done and minimalist in a way that worked but also edged along the line of “we’re too cowardly to actually explore non-heterosexuality in the same way we explore heterosexuality”. Dizzee and Thor’s relationship plays out in visual metaphors. And even the moment when Dizzee and Thor confess their love to each other happens in a drug-and-dream state that doesn’t actually exist. I don’t know that I needed a cut-to-black sex scene, but I wanted at least ONE concrete moment between the two of them that wasn’t just Dizzee painting a stripe down Thor’s face (which was STILL SO LOVELY). Also, you don’t get to make Dizzee the heart and soul of your story, give him a grand total of 30 minutes screentime (and that’s being GENEROUS) and leave us on that kind of cliffhanger. That’s just emotional manipulation.

- Speaking of queerness, though, I LOVE the motif of Queer Spaces as Safe Spaces in The Get Down. Though there are Black spaces that are safe, not all of them are. On the flip-side, I think all of the queer spaces we see in The Get Down are presented as welcoming, warm, restorative, and transformative. From the club Thor takes Dizzee to at the end of Part One, to Ruby Con - which is only made unsafe by Mylene’s militantly religious father’s invasion - to Jackie’s apartment in the finale, and even Thor and Dizzee’s crash pad/love nest, queer spaces are presented in a way that reminds me of how it feels every time I walk into a gay club or bar. I do wish we saw these spaces as more diverse because there’s something unsettling about how they seem predominately white, but there’s something so special about the fact that the two most open and supportive and magical environments our main characters find themselves in are The Get Down, and queer clubs/homes. It’s also historically important to the history of disco that these queer clubs are vital to the growth and development of Mylene’s career.

- MORE ON QUEERNESS BECAUSE CAN WE TALK ABOUT SHAOLIN FANTASTIC FOR A SECOND? So after Part One, we all were like “Shao, you’re obviously in love with Books, come on, son.” But Part Two leaned HEAVILY into this subtext. I wish we’d gotten something more resolute out of it (again, I don’t know if it was cowardice or what) but I will say the development of the subtext was still really emotional for me. First, there’s Shao’s obvious jealousy in the first episode. This isn’t anything new, but it’s blatant and almost uncomfortable to witness. And then, after the show at Les Inferno when shit hits the fan, things get real. Mylene confronts Shao and during their horrible, ugly fight she finally brings up what’s been lurking under the surface about Shao’s possible feelings for Zeke. Shao says “I ain’t no f****t” because of course he does, and she tells him to get his own man. And then he says more horrible things to her because Shao is kind of a terrible person and it turns out, queer or not, Zeke is basically the only person Shao loves or has probably ever loved.

But queer or not? That’s the question. WE DON’T KNOW. One super significant, absolutely beautiful scene to me was when Shao realized where they could find Dizzee and tracked him to the crash pad/love nest. This is where I think we could’ve at LEAST seen Dizzee and Thor in a more compromising position but either way, Shao walked in and knew exactly what was up. Even before the tag to the scene, I thought it was incredibly significant that of all the characters to find Dizzee alone (by entering not only a literal queer space but Dizzee’s very queer narrative), it was Shao. But the tag is lovely, with Shao essentially designating himself as a safe space for Dizzee and validating Dizzee’s sexuality. This from the one character who uses the f slur the most out of anyone other than, perhaps, Cadillac. Which may or may not be purposeful and significant (but is certainly as annoying and hurtful in Part Two as it was in Part One).

Also I have to say here that I don’t know if I’m mixing up Shao’s story with Todd Chavez in BoJack Horseman (which I also just binged) but I feel like there’s a moment in Part Two where Shao implies that his romantic/sexual life and/or understanding of sex/romance is stunted because of what Annie did to him. This obviously doesn’t mean he’s queer, but if this moment happened it does indicate that Shao’s never really had the chance to figure out what he is. Either way, we see exactly how much his trauma has affected his relationship with Zeke during their breakup. Later, when Annie threatens to kill Zeke she refers to him as Shao’s boyfriend. It’s an attempt to emasculate him, but Shao’s response now - rather than saying he’s not gay - is to say that Zeke’s not his “fucking boyfriend” in a tone that’s at least as defeated as it is defensive.

There’s something innately Other about the way that Shao’s feelings for Zeke are framed and that’s been the case from the beginning, but combined with some narrative play and the way third parties are starting to respond, it’s pretty clear the question of Shao’s sexuality hasn’t been answered. Whether he’s bisexual, gay, or homoromantic ace, I think the door  has at least been left open.

- And while we’re on Shao, I have to say I don’t remember if Part One really delved into his history of abuse. I think the implication was always that his relationship with Annie was toxic and abusive but in the way of a drug kingpin with a favored pet. So while I definitely read it for what it was, it wasn’t confirmed until Part Two. Shao comes as close as he can to admitting that he he’s been raped and brainwashed by Annie and the thread of his story that addresses the wounds he obviously still carries is subtle and powerful and PAINFUL. And the way that Cadillac is folded into that story was really moving, too. The show went from playing their jealousy as the trope of “inadequate son hates the favored adopted son” to really looking at the roots of abuse leading to that situation and to Cadillac’s codependency. And the moment between Shao and Cadillac when Shao lays it all out there and tells Cadillac he knows they both suffered the same abuse was HEARTBREAKING. And shocking in the best way. The fact that this show allowed this kind of vulnerability between two of the more hyper-masculine characters in the show is HUGE. And this is where yes, I’m probably reading too much into it, but I do find it really fascinating that these two men who were sexually abused and are still BEING abused use the f-slur the most liberally. It probably means nothing but it is really fascinating. 

- Though I think they did Yolanda dirty (and I get it, it made for great conflict, just really annoying) I DO appreciate Mylene’s loyalty to her girls. And their loyalty to, and belief in, her. Yeah, there’s some sketchy purity stuff involved with Mylene that contributes to this, but it’s also really refreshing to see a story where the most drama the girls had was because one of them wasn’t comfortable being half-naked and grinding on strangers in a club. The rest of the time they love and support each other and that’s awesome. 

- The love story between Mylene’s mom and her uncle-dad was SO BEAUTIFUL. I mean it was beautiful in Part One but other than Shao/Zeke and Dizzee/Thor, I think it’s probably my favorite. Just so well-written and well-acted and lovely and painful.

- Still love that The Whites are pretty much globally THE WORST on this show. And love that their proximity to queerness actually indicates how trustworthy they are. Thor? The best. Jackie? Troubled, possibly not to be trusted, but all-in for Mylene. The Australian director guy? Suss until he comes to Jackie’s apartment party. And everyone after that is pretty much trash.

- Honestly some great, shocking moments and zingers in the dialogue. The musical set-pieces were all FABULOUS. The use of music throughout was just top-notch. I was deep in my feelings and loved every minute of it.

- But mostly I LOVE MY PRECIOUS BRONX BABIES AND WANT THEM ALL TO BE SAFE AND HAPPY FOREVER.

. . . I think that’s it. A day has lapsed since I started this tbh so I think some of my thoughts have since drifted to the back of my mind and might yet come back. 

[ricardosousalemos]

The Menzingers: After the Party

The Menzingers are classic rock bards with expired Warped Tour laminates, as rooted in Social Distortion and ska as they are Springsteen and Kerouac. This is their thing, and five albums in, they have it so down that it threatens to leave nothing to the imagination. Their fiercely beloved and unabashedly nostalgic dirtbag opus On the Impossible Past challenged Celebration Rock for 2012’s most accurately titled album. Its follow-up led off with “I Don’t Wanna Be an Asshole Anymore,” which emphatically slam-dunked its premise and left the rest of the dispirited Rented World to pick up the shattered backboard. And if there’s any doubt about what After the Party is getting at, the very first chorus rants “Where we gonna go now that our 20s are over?” 

“Post-30 punk” feels like a subgenre of a subgenre at this point: age isn’t a number for Beach Slang, it’s a nullity, whereas Japandroids embraced maturity with the same legendary fire as their younger selves. After the Party works with more typical talking points: the buzz is shorter and the hangovers are longer. Can I hide these tattoos at my day job? Is playing Minor Threat on laptop speakers keeping it real or just lame? Am I too old to be sleeping on floors? Am I too old to be too broke to afford a hotel?

 On first glance, single “Lookers” plays too much to stereotype, name-dropping Dean and Sal, “Julie from the Wonder Bar” and a hook of “Jersey girls are always total heartbreakers!” (also, lookers). Maybe it’s the “sha la la la!” in the chorus, but “Lookers” has a self-aware, sarcastic edge, an added pain of looking back on a seemingly rebellious youth and seeing just another kind of conformity. The Menzingers earn the benefit of the doubt when “Thick as Thieves” opens with a sly skewering of the songwriting process (“I held up a liquor store/ Demanding topshelf metaphors”) and “Tellin’ Lies” hits on a point where the difference between 29 and 31 really does feel like an entire decade: “When buying marijuana makes you feel like a criminal / When your new friends take a joke too literal.”

But this is a Menzingers album, so the laughs are momentary and ultimately futile deflections of fear. The narrators in these songs are people racing through their 20s who find themselves trapped in tour vans or, most of the time, relationships they can't convince themselves they deserve. “Midwestern States” provides a gutting account of a codependent and deeply-in-love couple couch-surfing across the country, unsure of when things will ever be different as their options and prospects dwindle with each passing year. 

The Menzingers’ way with an anthem never fails them, even when the tough talkin’ boyfriends on “Charlie’s Army” and “Bad Catholics” lack definition beyond their bluster (“To everyone you’re such a sweet church girl/but I know your secret”), or the record’s best melody searches for the rest of a proper song (“House on Fire”). After the Party might actually be too well-designed for jukeboxes, as the relentless, face-to-the-glass production results in the sad cowpoke shuffle of “Black Mass” and the Meatloaf-inspired “The Bars” clocking in at about the same volume as everything else, denying a dynamic range that’s needed on a record that lives up to its title by sticking around one or two songs longer than it probably should.

At least it seems that way until “Livin’ Ain’t Easy.” The preceding title track could’ve easily been an exit ramp for Menzingers, a wizened, hard-earned moment of contentment where a couple looks back on their drunken nights and wake-n-bakes to a new morning, confiding, “after the party, it’s me and you.” But on the very next song, singer Greg Barnett remembers the foreclosure sign in the yard and the empty bank account, and hits I-80 to another show that will surely be the start of someone else’s debauchery. After the Party, though? It’s the hotel lobby and, “they’re always out of coffee.”