#( meta ↷ audio. )

[poorly-drawn-mdzs]

You made her cry, time to die.

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[katakaluptastrophy]

The Nine Houses are obviously deliberately technologically limited. Aside from having FTL capable spaceships, the most advanced piece of technology that we see in the Houses is "an electric transmitter box, with headphones and a mic." It's not clear entirely what sort of device this is, but it apparently requires you to stick an antenna out the window.

On New Rho, Cam has a beeping, and therefore presumably digital watch. Nona has to remind her that's it's called a "watch", and not the House term, "clockwork", which rather suggests House timepieces are analog.

There's a projector box embedded in the BoE conference table, which loads an image like dial up internet because they are "using shortwave" - presumably shortwave radio, which can transmit pictures. As We Suffer apologises for the slowness of the image loading because of shortwave, that suggests that other methods of transmitting an image do exist, but that for whatever reason they're not using those. Perhaps they do normally have something akin to the internet, but this is down due to the conditions on New Rho, or being avoided due to House or inter-cell monitoring.

The audio of Juno Zeta's proof of life is on "a little piece of electronics, a fingernail-shaped thing with prongs", which sounds like some kind of drive.

We also see We Suffer in the impromptu command centre in the tunnels with "a headpiece and a flip-top computer", presumably being used for some kind of communicatons or planning.

And of course, there's Cam and Pal's recorder, which from the descriptions of it making squeaks and garbled noises sounds rather like it might contain a cassette tape.

A paramilitary group on a beseiged planet may not be the best evidence for the level of technology outside of the Houses, but if it is in any way indicative, non-House society doesn't seem to have non-space travel technology beyond things that would have been available in the early 00s.

[medebaki1]

What is up dog?

[mewguca]

Something's missing.

[coolmagoloraskblog]

had to bite the bullet and animate it

[ohmerricat]

an essay about Rogue, The Chimes of Midnight, and how i believe all this ties in to the overarching themes of the series EVEN IF the inside-a-tv-show theory proves untrue

“Rogue” named himself after a stock character. he is the archetypal Handsome Rogue because there has to be a Handsome Rogue role in a period drama story set in Austenesque Regency England.

it’s all theatre — smoke and mirrors. just like the war waged against imaginary foes in boom (because there needs to be an Enemy in a wartime story) was theatre; the creation of the Bogeyman in space babies (because there needs to be a Scary Monster in a children’s bedtime story) was theatre; The Woman following Ruby in 73 yards (because there needs to be a Ghost in a folk horror story) was theatre. dot and bubble less so, but it’s wise to note — the dots created the slugs after all. they invented the slugs so that there would be a tangible Creature for the finetimers (and the Doctor) to fear, rather than simply being betrayed by their own technology. because that’s exactly what the false, harmful narratives colonialists tell themselves — stories of taming and conquering a wild Mother Nature and her ferocious beasts — have trained them to expect from the world. the dots were telling a story too, or rather putting on a play.

the penultimate episode of any doctor who series, if not always leading directly into the two-parter finale, will typically begin to tie up loose narrative strands that have stretched across the entire season. at a first impression rogue doesn’t seem to be doing that. but then you take a closer look at the antagonists: creatures that play a role for fun without the slightest regard for those around them. lethal LARPers. cosplayers out to kill. to put it pretentiously, a hyper-realistic theatre of cruelty.

to nobody’s surprise, i’m bringing up my favourite eighth doctor audio drama — the chimes of midnight. edward grove gives every person trapped in the time loop a designated role: the chauffeur, the doctor-detective, the plucky young lady of the house, the lady’s maid, the scullery girl, the housekeeper. they keep playing these roles, over and over, until they begin to forget their original identity, until the part they’re playing takes over their entire sense of self. the servants keep dying over and over because they cannot transcend their roles, because they believe themselves to be “nothing but a scullery maid”. they are reduced to the parts they play in the narrative until they become nothing outside of it, until they become confined to a single location.

the chimes of midnight is set in Edwardian-era England, a time of restrictive, prescriptive class, status and social roles which defined a person’s life and career trajectory — this strict delineation is driven to its logical conclusion and deconstructed under the unnatural conditions of Edward Grove. similarly, rogue is set in a Regency-era mansion — another historical period defined in the popular imagination by its complicated social rules, elegant courtship dynamics, strict class barriers, gossip and elitism. these two doctor who stories don’t have any intentional watsonian connection, but they are deeply linked on a thematic level.

high society is forced theatre. a 24/7 LARP. play your part, put on your costume, don’t interrupt the performance. the audience is waiting. they’re oh so hungry for tragedy.

the biggest part of them all, the most sought-after role, of course, is The Doctor. a standard to live up to. a name to wear like a banner, a pledge, a promise. he has to be like this because this is what he’s like.

the Scullery Maid scrubs the kitchen floor. The Detective searches for clues. the Chauffeur starts up his car. the Duchess hosts a glittering soirée. the Rake hides a secret fling with the Wallflower. the Rogue breaks hearts and broods on the balcony.

and the Doctor? the Doctor dances. “onwards and upwards”. forever in perpetual motion, spinning and spinning and spinning across the stars. never pausing to breathe. never stopping.

p.s.: so, pray tell, what is Ruby Sunday in all this? “The Companion”, of course. smart, funny, sassy, quick-witted, brave, cheeky, curious, self-sacrificial. she almost feels generic because she’s meant to be. she wasn’t born. she was written. an essential part of the story too. circling the Doctor like a satellite forever.

[snowmenatwork]

Edwin's Hell

The Spider - This is the S+E page from Simon's papercut book. You have to pause to see it (31:49, Episode 7).

The Dolls - Mary Ann

[hualianisms]

in the revised tgcf, mxtx made a change to the line where XL says that HC's beloved must have been very lucky.

in the original CN TGCF novel, XL says that HC's beloved must have the kind of good fortune earned through several lifetimes. i've explained the significance of this and what it means in my old post.

in the revised TGCF, "several lifetimes" is now changed to "a hundred lifetimes". it's now canon that XL believes that to be HC's beloved is 100 lifetimes' worth of good fortune. it's now canon that HC believes that simply meeting XL was 100 lifetimes' worth of good fortune.

hualian meeting each other and being able to be together is a hundred lifetimes' worth of blessings.

i really love the idea of hualian each believing that the other is the kind of person you only earn after (metaphorically) going through a hundred lifetimes of birth and rebirth.

bc both of them had to defy heaven, fate and death to meet each other and fall in love bc the heavens never meant for them to be together. XL defied the heavens to save HC, and HC defied fate & death itself. fate & heaven & the world wanted hc to die young, but he fought and clawed his way to be able to become a ghost king whose existence is devoted to his beloved. he actively fought to be able to meet xl again and stand at his side protecting him and loving him. hualian are soulmates by choice, not by something predestined.

[gammija]

mag186, aka 'we made a character so averse to being honest and sharing openly that the only way he'll verbalise what he's really thinking is if it's literally to himself and only after being strong-armed into it for 10 minutes'

[sneakyboymerlin]

If no merwaine, then why…

Transcript and analysis below ⬇️

Transcription:

Gwaine: Thanks for everything that you did for Eira.

Merlin: There’s no need to thank me, it was the least I could do. And you seem to care for her.

Gwaine: I could hardly leave her for the Saxons, now, could I?

Merlin: [teasing] Was that your only reason for rescuing her?

Gwaine: [lying] Of course.

[Saxons attack. Gwaine fights them off, but one knocks Merlin to the ground. He curls up and shields his face, completely helpless.]

Merlin: [screaming] Gwaine!

[Gwaine turns his back on the man he’s fighting and saves Merlin. He finishes off the last Saxon without even looking, eyes still on Merlin. He helps Merlin off the ground.]

Gwaine: Are you okay?

Merlin: Yeah, I- I think so. Thank you.

Gwaine: There’s no need to thank me, Merlin. It was the least I could do.

aaaaaaand END SCENE!

To start off with, we have a self-aware parallel in Merlin and Gwaine’s dialogue. We’re going to be examining the subtext of this conversation.

Subtext is simply what can be inferred without direct statement or revelation. It is not, as fandom is wont to believe, inserting any meaning you want between the lines: it is a cohesive message expressed by indirect means. Here’s an example:

A student goes to turn in his paper. After looking through two pages, his teacher asks, “Are you sure you want to turn this in?” The subtext of this question is the intended clue to the student that the paper is not ready yet to be turned in and he should edit through it again.

Moving forward… The repetition of, “There’s no need to thank me, it was the least I could do,” is a deliberate allusion to a core theme of Merlin and Gwaine’s relationship through the years: helping another soul—soon to be friend—in need, with no expectation of a reward.

The subtextual reading of this parallel, of course, is that Merlin does not owe Gwaine, and vice versa, because that is not why they help each other. They do it because they care about one another. As a result, they’ve both helped each other innumerably. Gwaine alludes to the help Merlin’s given him as a way of saying that there is no need to return the favor, because 1) he didn’t do it expecting a favor in exchange, and 2) Merlin has more than repaid the favor already.

Another instance where we see this kind of exchange between them is in this deleted scene from 4x07 The Secret Sharer (scene 47 at 15:10).

Transcript:

Gwaine: We’ll find him.

Merlin: I won’t forget this.

Gwaine: I haven’t done anything.

Merlin: One day I’ll repay the favor.

Gwaine: Considering the trouble I get into, that may prove to be a rash promise.

[Gwaine offers Merlin some food]

Merlin: I’m full.

Another deleted scene (they really did just delete every meaningful Gwaine scene in s4 huh) which we have only a script for (though it’s possible it was recorded and the audio edited out) is when Gwaine and Arthur ride out to find Merlin in 4x06 after he’s been captured by bandits. Although this scene did not make the final cut, it is referenced again when Gwaine calls Merlin “Bog Man,” so it clearly has a place amidst the canon material.

(Find the transcription here.)

I think it speaks for itself here, but, “And finding him will be reward enough?” truly captures the selfless devotion that Gwaine feels for Merlin.

Fandom generally accepts the idea that Gwaine would do anything for Merlin, but that Merlin never seems to do the same in return. However, this is likely a misconception of what counts towards a returned favor. Merlin is a physician, not a warrior. Or, as Morgana puts it, “a lover” (not a fighter). We cannot expect Merlin to help Gwaine in the same area of expertise that Gwaine helps him in. He applies himself in other ways.

When they meet in 3x04, Gwaine offers Merlin and Arthur aid in a tavern brawl where they’re clearly outnumbered. Gwaine is injured when his opponent pulls out a knife in a fistfight, and Merlin rushes to tend to his wound. Already, a favor is given and returned between the two.

And, while Gwaine does intend to help both Merlin and Arthur, not to mention the tavern employees, he takes a special interest in Merlin. Merlin is the only one who Gwaine takes the time to introduce himself to mid-fight, even as Merlin shouts for him to watch out as he is being actively attacked. And then, of course, Gwaine does fall to an attack. Merlin treats his injuries both on the spot and back in his own chambers.

One could argue that the introduction of Gwaine to Eira follows a similar format, with Gwaine coming to her rescue, only for her to save him when their attacker knocks him to the ground. Perhaps Gwaine even takes on Merlin’s role as caretaker from 3x04 when he brings Merlin in to treat Eira in 5x12, as opposed to receiving the treatment himself. Then again, it might be more similar to the scene in 4x07 where Gwaine jumps in to battle against Alator’s guard. Like Eira, Merlin also rescues Gwaine when he’s knocked to the ground (though Gwaine doesn’t know it).

As we can see, though, Merlin is not lying when he tells Gwaine, “I’d do the same for you,” in 3x08, nor when he tells Gwaine, “One day I’ll repay the favor,” in the deleted scene from 4x07. Merlin and Gwaine have different services to offer, but they offer to help all the same.

The next portion of the aforementioned 5x12 scene on our to-dissect list is the actual subject matter of the conversation, followed by a visual representation of the very same act.

After Gwaine thanks Merlin for helping Eira, Merlin mentions that Gwaine “seem[s] to care for her.” Gwaine, in an effort to avoid the sexual and romantic implications, diverts to the chivalrous explanation: “I could hardly leave her to the Saxons, now, could I?” Merlin teases him with no relent, though, and asks, “Was that your only reason for rescuing her?” Gwaine responds with a curt, “Of course.”

The subtext of this conversation is that Gwaine’s hurried involvement to protect/take care of Eira stems from a crush on her. This is true, as there were many enemies around, but Gwaine chose the one attacking the pretty “damsel in distress” to fight. He then takes one long look at her and decides to forgo the battle to take her to safety.

Merlin can’t help but notice Gwaine’s feelings for her. She is, after all, staying in his bed even after her wound has been treated, so there is a connection between them… much like Gwaine stayed with Merlin for the remainder of 3x04 until he had no choice but to fulfill the demands of his banishment. This is especially interesting, since the wound that Merlin treats Eira for is on her leg, which is the same spot where Gwaine was stabbed when they first met. Merlin similarly wrapped his wound at the time.

But the main point is the fact that Gwaine rescued Eira from the Saxons with a single-minded fervency, in part because he was attracted to her, and then quickly grew attached.

Gwaine then proceeds to rescue Merlin from Saxons a matter of seconds after this is established.

Allow me to remind you of Gwaine’s sudden change of course in saving Eira.

Now compare this to his rescue of Merlin.

Let’s take a closer look at their dialogue:

Merlin: You seem to care for her.

Gwaine: I could hardly leave her for the Saxons, now, could I?

Merlin: [teasing] Was that your only reason for rescuing her?

Gwaine: [lying] Of course.

When applied to Gwaine’s rescue of Merlin, the conversation about Gwaine rescuing Eira takes on a more powerful meaning. After all, Eira is a virtual stranger who ends up being the traitor in the court. Gwaine sends her to her execution on Merlin’s word (via Gaius as the messenger), whereas Merlin is someone Gwaine has known for nearly a decade. There is a consistent history of Gwaine acting as Merlin’s body guard, which is being enacted again now as Gwaine escorts Merlin through the Valley of the Fallen Kings.

This is also one of the last ever scenes between Merlin and Gwaine. In truth, we are being shown a brief summary of their relationship as it comes to its narrative end—one last hurrah, if you will. And what they choose to show us is Gwaine protecting Merlin in an act of unconditional love.

Eira, like any character, is a plot device. Her interference leads to Merlin being trapped in the Crystal Cave, and Gwaine being tortured for information on Merlin and Arthur’s location. However, her presence as a person Gwaine wants to protect is meant to evoke the memory of every time Gwaine has protected Merlin. The chosen method to imply this was by creating a parallel between Gwaine’s protectiveness over the woman he’s currently sleeping with to his protectiveness over Merlin. Take that as you will.

[poorly-drawn-mdzs]

I'm a doctor, not a miracle worker.

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[brawlmetaknight]

“An adult arrangement heard faintly from a coffee shop in a back alley”

[commonmexicanname]

EVERY Miracle Chime Supercut

This is every miracle chime (and some related clips) I caught in Good Omens Season 2. May this fuel your needs to confirm or disprove whatever theories your beautiful minds may create. Enjoy!

Disclaimers, tags, and my rambles thoughts under the cut.

The disclaimer is that this contains mostly miracles, but I also included what I believe to be relevant moments of magic casting or character(s) dis/appearing. There are many moments such as beings casting lightning (with their own sounds to boot!) that have not been included due to time constraints, video size constraints, or relevancy to the point of the video.

If you'd like to know what interested me in making this, check out this other post of mine.

If there's anything I missed, please let me know and I'll update this video. Due note that this will only be expanded to miracle sounds in season 2. If enough people bug me about non-miracle sounds, I might make another supercut if the reason is interesting enough. I may even be convinced to make a S1 miracle chime supercut to compare the two seasons.

Tagging the interested, but please tag away in the notes and reblogs: @noneorother, @indigovigilance, @embracing-the-ineffable, @on-till-morning

Lastly, my thoughts: I really don't want to plant my theory seeds in anyone's head, but here what I've noticed:

1) Crowley's miracle sounds are very different at distinct points and I've had fun thinking about the why. 2) You want proof that Az enchanted all humans in his little ball? Listen to that chandelier. 3) In my last post, many people pointed out that the last angelic chime could be the metaturd calling the elevator, but to my ears, it sound similar to when Az's tiny miracle gets blocked in his magic act. I mean... it could just be Metatron's very specific miracle chime, sure, but then what does that mean for the miracle blocker? Portable Metatron powers in a simple punch-out card? Wait, actually... that'd be kinda fun. 4) I could be wrong about all of this and none of this matters. Something, something, pickled red herrings... but that's what makes this so fun. :)

Anyway, I've got a bag of popcorn in the microwave now. I can't wait to see what you all find or come up with.

[embracing-the-ineffable]

The Ineffable Detective Agency presents: Hidden Audio in Gabriel's Returning Memory

Ok everyone, I found a big mystery and I need your help! Are there any sound engineers in the Good Omens fandom? Please spread our search for them by reblogging this!

Remember when I posted the slowed-down video of Gabriel's memory returning and we all analyzed the scenes as they flashed by?

Well.

Eventually I realized that if you play the "memory tunnels" at different speeds, there's hidden audio. Mostly it's people talking, heavily masked by lots of extra sound effects which I've done my best to minimize unless they seemed meaningful, but realistically there are probably multiple layers of meaningful audio to decode, because that seems to be how things are with Good Omens!

There are also parts of the audio I can't decipher, and I'm hoping a skilled sound engineer will be able to do a better job manipulating this than I was able to do. (Plus, if you'd like to help, there's more hidden audio in other places, but that'll be the subject of another post 👀)

And … we're all Ineffable Detectives in this fandom, right?! The audio clips aren't anything we recognize from either season of Good Omens so far. Maybe some part of this will be familiar to you, from somewhere?? Sit down someplace quiet, pop in headphones if you have them, and listen to this (the first few seconds are silent):

Before we've influenced you, what do YOU hear??

I know a lot of people just hear noise at first, so if that's what you heard, you aren't alone! Now, here it is a second time, with captions for what we THINK we're hearing, and with gratitude for input from the @ineffable-detective-agency featuring @noneorother, @thebluestgreen and @eybefioro:

And here are the video captions again, with their timestamps: 0:03 oops... oops 0:05 you say you're a musician 0:08 it helps a lot as well 0:14 pssst, musician 0:16 crying or gasping 0:17, 0:19 musician 0:23 {music} 0:27 {singing} how good it feels (to pray?) 0:33 ? 0:41 ? 0:49 …what do you think… 0:50 glass crashing 1:03 ? 1:10 things look... things look super… 1:14 you say that the musician is negotiating his business …?… 1:24 things look super… super...

Do you recognize any of these clips from any other media? If not, my assumption is it's audio that was pre recorded for season 3, and left here as a hint about SOMETHING. But what?? As always, we'd love to hear your ideas!

Also, please reblog!

And if you have the skill/knowledge/interest to make this easier to understand, please let me know. We can collaborate, or you can just run with it, whatever suits you.

See more of our posts plus a link to a Google doc with metas and clues from all over the fandom, here!

[passerkirbius]

Where are all the Audio Fiction Fandoms?

To be clear, this isn't me complaining, and I know, there are plenty of fandoms for audio fiction podcasts and the like.

But I have always found it weird how few shows get the big, self-sustaining kinds of fandoms, the ones where there's always at least a little trickle of fanfic and fanart. So weird, in fact, that I've been thinking about it on and off for the last 5-6 years, and I have a few theories I'd like to share with y'all as to why, and to see if I can't get some feedback from the audio fiction fans on Tumblr.

Theory 1: Audience Size

The first theory is mostly about demographics - fundamentally, a fandom has to be large enough to sustain itself, and only a certain number of audience members are going to become the kind of fans who make fan works, so ultimately, an audio fiction show needs to get popular enough before fan works start appearing.

There's plenty of support for this theory, of course - Welcome to Night Vale, Wolf 359, The Adventure Zone and The Magnus Archives are titans in the fiction podcast space, and indeed they have big fandoms. But, with that said, there's plenty of other podcasts that are just as big that don't have fandoms, so this can't explain it all.

Theory 2: Audience Distance

This one is similar to the first, but subtly different. A few creators in the space I've talked to have noted that they'd never make fan works of their friend's shows - that feels weird, like deliberately treading on their friend's work. They don't have this feeling when playing in big fandoms, or fandoms where they don't know the creator. This implies to me that fans need a certain level of distance from creators in order to feel comfortable playing with that fictional space. While this is less the case now with the fall of Twitter, a lot of shows, for better or worse, used social media as the primary pillar of their marketing, as well as using Patreons with special access as part of their monetization strategies.

In short, it's never been easier to get close to the creators of your favourite shows, and for smaller shows, the most exuberant fans - the kinds who might make fan works - are also the kinds of fans who will take those opportunities to get closer to the creators. In short, there just might not enough social distance for fans to be comfortable creating works, not at least until the audience grows sufficiently that a creator simply cannot be that close with their entire audience.

This theory I'm not so sure about these days - this one is probably a lot more dependent on the generation of fandom you belong to. Older generations of fandom are more likely to have this queasiness around creator closeness, because they were creating in a time where fandom was a shadow realm, desperately hidden from The Powers That Be, and "No Copyright Infringement Intended" was carved into fan works as an eldritch attempt at legal protection.

Theory 3: Audience Age

To be clear - there are fans of all ages out there. But it is clear to me that fandom trends young, and part of that is just the time needed to participate in fan culture - creating and consuming takes a lot of time, time that tends gets scarcer and scarcer as you get older (there are obvious exceptions of course - stay-at-home mothers have consistently been a major force in fandoms!). It's possible that audio fiction fans just tend to trend older, and thus don't have the time available to create and consume fan works.

Honestly, I'm not sure how relevant this one is - Audio fiction is becoming more popular with younger audiences and slowly shedding the "old fuddy-duddyness" that surrounded it when I was first getting into the space. And, ya know, there are audio fiction fandoms out there, so obviously either the youth aspect of fandom isn't a thing, or it is, but audio fiction audiences are still trending young anyway.

Theory 4: We're getting what we need!

A lot of academic discourse often focuses on the idea that fandoms create for a reason - and that reason is often to focus on parts of a fiction that the original text, for whatever reason, doesn't. The most obvious form of this is the many, many, many examples of ships and erotic fanfiction. You, as a fan, watch a show, see something between two characters, and get frustrated that the show isn't giving you more of that, won't make what is clearly obvious to you, explicit. So, you consume and/or create fan works that help relieve that tension instead.

Or, in shows where the focus is primarily on plot advancement or action, you feel a desire to get to know the characters better - you see the stirrings of these characters, you want to know them better, but the show just isn't the type of show to give you that slow, character-heavy scene/episode that you know would give you exactly what you need, so, again, you go consume and/or create fan works to fix that.

It's very possible that a lot of audio fiction is already built to give these sorts of fan audiences what they want. There's already romantic relationships, characters are openly queer, the nature of the audio medium means that character-heavy scenes are something that the medium directs creators towards, so there's already a lot of character engagement. So, for many fandoms, there just isn't much need to create fan works - there's no tension between what the show is and what it could be.

Theory 5: We can make our own at home!

One interesting theory is that one reason that people make fandom is because, fundamentally, the creators understand that they're not going to be making a film, or a TV show, or a book. They have creative urges, and they're not in a situation in life where they're likely to overcome the enormous barriers to entry in mainstream media, so, in combination with the stuff in theory 4, they play in other people's worlds instead. They know that there's already an audience who will consume their work (they're part of that fan community, after all!), so they can get that validation of creation without needing to create their own TV show or film or book, etc.

Podcasts, however, are different. Now, it's not true to say that podcasts have low barriers to entry - to create a podcast, there's a lot of skills you either need to learn yourself, or find collaborators with those skills. But, those barriers to entry are much lower than visual media. At the very least, audio production is significantly cheaper and less complicated for an equivalent runtime.

Better, podcasts have absurdly low barriers to publication - There are no gatekeepers to satisfy, no distributors you have to convince. Once your thing is made, pretty much no one can stop you from distributing that work. You don't even really need to pay for a podcast host - there's a few free podcast hosts now. So, once you've done the work, pretty much nothing stops you from publishing said work.

So... If you're a creative fan, who loved a show but thinks you can do better? Well, you can! You don't need to play in other people's spaces, you can be inspired by the podcasts you listen to to create your own original work, in the same medium and genre.

What do y'all think? Which of these feel right, which of these feel obviously wrong? Are you part of a audio fiction fandom? What does your fandom feel like to you on the inside? As a audio fiction creator, it's kinda hard for me to get into the inside of fandom culture, so insider perspectives would be super neat for me, so please reblog this to anyone you feel might have an interesting perspective on the whole thing!