#Audio Analysis

[book-o-scams]

Surprise!  Sally and I are back and starting to record new episodes of our EEnE rewatch podcast.  Danny Antonucci happened to notice it the other week coincidentally, so better strike while the iron's hot, lol!

We don't have a set release schedule yet, it's currently a "do 'em when we can" type of thing, but I'm currently editing ep 2, so we've got a little more momentum this time.

"Sally and Kevin are BACK and reviewing Ed, Edd n Eddy in order this time! Starting of course with the series' pilot, The Ed-Touchables, we begin the podcast once more in a simpler fashion. Help Kevin, Sally and the Eds solve the mystery of the serial toucher!"

**throughout the episode, there are references to early plans for Nagged to Ed also being in this episode; we decide by the end of the episode to not do a double-feature anymore.

[fieriframes]

our sweet overlord, do you think that music analysis is hot or cold on the path forward?

[One part hot, two parts cold.]

[extraplugins077]

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[ariyan24]

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[poorly-drawn-mdzs]

Historians Hate Him

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[poedays]

Some things I’ve noticed with icons (part 2):

—- —- —-

1. David and Milo

David’s icon is a close up of his wolf form’s teeth - because that’s what David as a character is on the outside. When we first met him he was the tsundere, the mean guy, in a position of power. Bark and bite. That’s all he was until his character was fleshed out. It’s what people who don’t know him as well, see him as - he’s a man who gives orders. He’s seen as his words, his power. The sharpness of his teeth, the force of his authority. But the phrase “all bark and no bite” doesn’t apply to David. He gives orders and lives within them. For example, he ordered for the ward to come down in the inversion - and he put himself in there to fight the battles he had a part of causing. He’s respected for his authority because he matches his words with his actions. He’s equally bark and bite.

Milo’s icon is his wolf form. As someone has said ( @breezysuffers ), Milo looses his wolf in every universe. It’s a vital part of his identity. His wolf form is what he’s made fun of in earlier audios and it’s what he uses to save thousands of lives. Milo and his wolf form are so intertwined that it is as crucial part of his identity as any other part of his life. Milo is defined by his wolf, its presence, and its absence.

—- —- —-

[worthyprnce]

I was rewatching this episode once again (for.... reasons) and have anyone else noticed how gwaine leaves a space for merlin to sit on the bed with him? after merlin helps him get to bed, after gwaine sits down, he literally moves a little to the side, leaving the other half of the bed empty for merlin.

and then merlin sits down on the edge and not on his side and he looks so disappointed lmao

[othertalearchive]

Masterpost of Othertale Masterposts:

Watch order + chronological order.

Analysis + some hcs. (Feel free to take or leave anything.)

Important, relevant, and/or funny asks.

Soundtrack.

Fanart/Submissions.

Undertale: Something New.

Epic Sanses.

Abyss Team.

Othertale Scripts.

HER.

[ethereal-feline]

"Twilight was the main character because she represented the Element of Friendship."

"You interrupted my busy schedule-"

"I'M NOT DONE."

"And Rainbow Dash was like the sporty girl."

[chaoticlandworlder]

A series of Nico Rosberg singing Max's praises during FP2 today:

Turn 8: Verstappen is like a work of art, because his car is all over the place, and he's put so much oversteer into that car, but he holds it, and dances on the rear, like within the limit. So watching Verstappen through there is just magical. It's really unbelievable.

Turn 12: You also see the different ways of people saving fuel- like Max Verstappen for example, did the best job going into here, really backing off that throttle early, carrying a lot of speed [...], and also downshifting very late. 'Cause some of these guys are downshifting very early, and creating totally unnecessary high RPM and high RPM burns more fuel. And Max Verstappen is really, really late on the downshift going in here, so in terms of fuel saving, he's really nailing that very, very well.

[nexischillin]

Bvz 1:

Mad Crow || 0:00-1:45

"Everyone deserves a second chance. We've heard that before haven't we?"

"Did you really expect me to play fair?"

Wishful thinking is the only thing honest about Karmor. Is the Crow just saying that or was Karmor a frequent liar. Maybe he put up some kind of act?

"No matter power you have you will never destroy me"

"If I had my way I'd kill you right now"

"Maybe I'll finally get lucky this time"

Theory Town:

From this all I think the relationship between the Mad Crow and Karmor was never good to begin with (why tho?). It seems their relationship was always somewhat rocky but it got to a grace period at one point for some reason (higher ups maybe?). I think they fought a couple of times before (at least two but that's rocky) but the last time is really when they tried to kill each other. It failed of course but it seems like it was because of intervention by someone leaning towards Crows side or a hidden power that Crow had. That power or someone powerful is the thing keeping Crow in check. As much as I think that Crow is doing this for the love of the game, I also think that he would have just up and killed Karmor by now if something or someone wasn't stopping him. Something has to be enforcing the rules. Otherwise, the game wouldn't have gone on this long

Mad Crow taking away Karmor speech is a way to isolate him and keep him from telling people what he knows (it also signifies that Karmor was very mouthy and probably often defiant)

Mahatma/Attilla || 13:12-20:40

Karmor freaks the fuck out at the sight of a syringe. The experimented out Theory is kinda held up by this scene but I'd also like to put out that maybe Karmor was frequently drugged/sedated by a captor of some sort. Experimentation doesn't have to be the only reason (then again, it is the most likely)

"You're never leaving" This is said by Attilla and reminds Karmor of Mad Crow. This could be a few things. Maybe Mad Crow was Karmor's captor or maybe he was in charge of keeping Karmor in a certain place and/or docile. It could also be him saying that Karmor would never leave the trial.

Extra Notes:

Static starts at around 27:10 i think

"Got ya" - Mad Crow. Does this not count as him intervening? Or was the bomb always there, and he just utilized it?

Karmor's powers sound less like tv static and more like electricity to me. Like a live wire

Honorable mention to my boy @bookwor-mmm for getting me into this series. Now it's my case study

[alliumms]

What HuaLian mean to each other...

A handwritten note from TGCF AD's production

Currently TL-ing the BTS of the AD production, and I came across this tidbit that I want to share. I'm pretty sure Zhang Kai (张凯) wrote this; she is also the voice-acting director for the production. And the other crew members mention this in the video, but Zhang Kai has a penchant for using vocabulary that just strikes a chord. I think here she was writing a note for the production team, and it just beautifully dives into how Xie Lian acts around others VS how he acts around Hua Cheng.

I'll include the original CN that she wrote and the image I pulled it from below as well :)

谢怜在对花城和对别人对话时，需要有明显的氛围差异。 谢怜虽然温柔善良，但人被伤害就会痛苦，这种痛苦不会因为他的温柔善良而減少，反而有可能因此而呈现更大的伤害。 为了抑制这种伤害对自己的心性造成的影响，类似脱敏疗法，他提高了自已承受伤害能力的阈值，使自己对各种形式的伤害，包括对自己本身的侮辱失去敏感度。所以我们现在能看到的是一个不太在乎旁人议论言语和身体疼病的谢怜，这其实是他的自我保护机制。 但在花城面前，这个自我保护机制自己失灵了。谢怜重新变回了一个敏感度非常高的“人”。原文说“不知道为什么，他在花城面前好像藏不住痛”。如果面前的人换一个，相信他还是能以一种近于麻木的态度处理生理上的疼病，但因为面前的人是花城，他被打回了原形。 花城面前的谢怜，是一个更加鲜活的谢怜，会窘迫脸红，会语无伦次，感觉自己修练800年的脸皮也不够用，需要有一点微妙的“破防”感。但对风信慕情就很游刃有余，甚至对南风扶摇，多少有点暗暗逗弄的意思。 总之，花怜对彼此都是最特别的存在！

Translation:

There needs to be an obvious atmospheric difference when Xie Lian talks to Hua Cheng versus with other people.

Xie Lian may be gentle and kind, but anyone would feel pain when one is hurt, and this kind of pain wouldn't just lessen because of his natural gentleness and kindness. In fact, it might, in turn, create an even bigger wound.

To control the effect that this hurt has on his own psyche, like a sort of desensitising treatment, he raises his threshold on his ability to withstand pain. He causes all kinds of damage to himself, including forgoing the sensitivity to his own humiliation. Thus, the Xie Lian we can see now is someone who does not care much for others' opinions or his own bodily harm. This is actually his self-made defence mechanism.

However, in front of Hua Cheng, this defence mechanism becomes defective. Xie Lian reverts back into a very sensitive "human being." The original texts said, "For some reason, he's unable to hide his pain in front of Hua Cheng." If the person before him was switched, you can trust that he could still adopt a sort of near-numb attitude to deal with physical pain. But because the person before him is Hua Cheng, he has returned to his original self.

The Xie Lian in front of Hua Cheng is a more vivid Xie Lian. He will flush with embarrassment, speak incoherently, and feel that even after 800 years of cultivation, his skin is still not thick enough to be useful. There needs to be a subtle feeling of "breaking down his defences."

Yet, he handles everything with skill and ease when it comes to Feng Xin and Mu Qing. Even with Nan Feng and Fu Yao, there's an element of underlying teasing.

In conclusion, HuaLian are each other's most precious existence!

[dandelionjack]

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.

[perplexedjokist]

slight character analysis, at least how I see Jonathan Crane / The Scarecrow

scarecrow is impatient and impulsive, unlike most villains he doesn't do crime for fame or money, he finds his work genuinely fascinating and completing.

his main motivation is the euphoria it brings, he's a freak and craves it. without that feeling he feels empty, which isn't a bad thing but it's boring. and makes him more irritable.

he won't threaten to hurt your family or loved ones, that's too much work and he doesn't care about them. he wants you to be scared, and if you're one of those people who "aren't afraid to die" he gets irritated.

sure you might not be afraid to die but you don't really wanna get hurt, you don't want to be slowly, continuously in agonizing pain and fear while someone laughs at you, do you?

very easily ticked off if you don't respond the way he wants, not scared immediately? no phobias to use as an advantage? fine, blades and needles. that didn't work? well, you certainly weren't going to make it out alive in the first place.

[poorly-drawn-mdzs]

Gaslighter? I hardly know her!

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[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