#but thinking that they like another person over me is making me feel bad. WHICH AGAIN IS SO DUMB

[oswalish]

rahhhh random rant because i’m angry hater mood i HATE HATE HATE people who think miss goldberg did anything to marvin. saw someone go “set those sails is a villain song and people need to accept miss goldberg is a bad person” i’m screaming and crying and clawing at the walls you don’t fucking understand it you don’t understand the goddamn musical.

in trousers is at its core about misogyny, that is its core theme, which is shown by how marvin hurts the women in his life, specifically his wife, his sweetheart, and miss goldberg. it would conflict the themes and narrative if miss goldberg hurt marvin, as this would diminish what marvin does to the other women. marvin does come up with excuses for his actions/ tries to garner sympathy in the musical (im talking 1979 vers here, i’m not as well versed on the 1985) he is immediately hit with trina shutting him down with her telling us how his actions have hurt her more than they’ve hurt him.

another thing is that the women are mostly not themselves, but rather versions of themselves that exist in marvin’s head. this doesn’t apply to trina, as she is the only woman in the musical who tells her own story. for example, your lips and me and its reprise tell us very specifically events that are happening in her life and how she’s feeling, she also tells her about her past. she also addresses marvin directly in breakfast over sugar.

whereas his sweetheart and miss goldberg do not have songs like this. “my highschool sweetheart” doesn’t tell us anything about his sweetheart other than that she’s his sweetheart, she’s a person, and that she wants marvin to pay attention to her more. but there honestly isn’t much in the musical to confirm that she actually is a person at all, she insists her own existence but marvin never pays attention to her or even addresses her existence, in childhood or adulthood.

miss goldberg is interesting. she doesn’t play into marvin’s fantasy and feels like more of a real person than his sweetheart, having her own personality and opinions. she also sings i am wearing a hat where she seems to tell part of a story that could be her own, though it doesn’t really get more specific than “i’m wearing a hat, i am unloved”. she never quite seems to behave like a schoolteacher either, within the story she seems to be more of a narrator, likely due to her importance in marvin’s story. she is the biggest case of marvin insisting his heterosexually, while also forcing him to realise he is gay. she is not actually herself within the musical, the real miss goldberg is probably nothing like her. this is an internalised version of her than marvin came up with, though it’s more authentic feeling than his sweetheart since her role is to pull marvin out of his fantasies, since she’s probably the only way marvin can actually be honest with himself and recognise his actions.

many people bring up the lines “you might tell me you’re a victim, you might get what you deserve, but i won’t excuse, boy i cant excuse, a boy who’s lost his nerve” which i will admit. do not sound great, incredibly suspicious even. but taken in the context that miss goldberg is not actually saying this to marvin, and actually it’s a version of miss goldberg that marvin has made up to make himself “behave properly” it starts to make sense.

marvin victimises himself a LOT. he’s self aware enough to recognise when he does wrong but tends to refuse to believe that it’s truly his fault, and that he’s the victim somehow. this is pretty obvious in falsettos but it’s also true in in trousers. he sings a lot of songs trying to portray himself as the victim, facing a lot of opposition from the women. this is shown in How Marvin Eats His Breakfast where he is sure that he’s in the right and is the victim because he’s not getting what he wants, and the women in the song directly oppose him by describing all the insane things he’s doing and even insulting him. it’s also shown in The Nausea Before the Game, where he’s lamenting about how his life is so hard, and how trying to live up to societies expectations is nauseating (this is a very simplified analysis of the song, i do actually thing marvin’s feelings in this song are valid but that’s an entirely different conversation). the song transitions into his wife singing about how she met him, how he ghosted her for weeks but then came back. that part of the song is much more tragic than marvin’s, essentially telling the listener that while his feelings are valid, he also seriously hurt and damaged this woman, and that that cannot be forgotten. the musical never ever lets us believe that marvin is the victim, despite his insistence.

and then every pony, is what i think the first line of that quote is referring to. how marvin is convinced that he is the victim, he is telling *himself* that. and the part of himself who knows that isn’t true manifests as miss goldberg to tell him that no, no you aren’t. no matter what marvin says, he will never be the victim, he is the one hurting others.

“you might get what you deserve” is slightly more difficult. i can’t really tell if it’s positive or negative. it could either refer to how he got what he deserved by being in a loveless marriage, or how he got what he deserved by leaving his wife and kids (and bird) to leave with whizzer. personally i think it’s the second, going with how marvin is convinced that he’s the victim, he’s convinced him leaving his wife for whizzer is what he deserves after going through so much. he thinks he deserves something good for once. and like yay bro for breaking out of your forced heterosexuality but did you have to destroy your wife’s entire life in the process? when i say marvin isn’t a victim i do mean in the context of the musical, marvin is very much a victim of society and heteronormativity, but he is NOT a victim of any of the women in the musical, which he likes to pretend he is. it’s easier to blame them than himself.

“but i won’t excuse, boy i can’t excuse, a boy who’s lost his nerve.” much simpler to understand, the miss goldberg inside marvin’s head is very much the voice of outside influence, aka wider society, the one that expects him to conform. she can’t excuse him “loosing his nerve” by deciding to cheat on his wife with a man and run away with said nerve.

anyway i hope this yap session help y’all understand that marvin was never harmed by miss goldberg (nor do i think he did anything to her, other than probably be off putting and creepy like an average 14 year old is) i doubt anyone will see this but i loooooove talking about this stupid musical so ask questions please please please or else i’ll post 5 MILLION of these because i can’t stop thinking about this musical

[k-aalia]

Breathtaking

Joey knows it's bad manners and probably distasteful. Really, he does.

Despite what others may think, he really is a gentleman. Tries his best to be, at least.

Unfortunately, his mouth has always run quicker than his brain. Usually it just gets him into a bit of trouble he can't talk his way out of, but every now and then it just leaves him embarrassed and humiliated in front of pretty people.

He will not let this be a repeat of that situation though. Not when the girl who's grabbed his heart is the most gorgeous, ethereal woman that he has ever had the privilege to lay eyes upon.

Especially not when she's Seto Kaiba's fuckin' personal assistant.

It's not often Joey comes to KaibaCorp -- okay, he never comes to KaibaCorp -- but Yugi had invited him along for one of his weekly matches with the man himself.

And for the first time in his life, Joey just cannot focus on the game playing out in front of him.

Not that seeing Yugi and Kaiba duel isn't always some sort of spectacle -- and these days, filled with so much innuendos and flirting it's like watching a particularly captivating trashy TV show -- but no matter the dramatics or the plot twists, Joey's attention is firmly held by the pretty woman sitting next to him in the spectator stands.

Kisara, Joey knows her name is after hearing Kaiba bark commands at her. Silky white hair flowing over her shoulders and curling round her pale face. Her eyes are a beautiful sparkling blue, intensely focussed on the laptop sitting on her knees.

"Hey, how's it going?" Joey says to her and fights the urge to wince.

Really? That's the best he can do?

Kisara blinks and turns her head to face him, concentration broken as she looks at Joey like she's only just realised he's there.

"Oh, hi. I'm just working," she tells him with a quick smile and fuck is it breathtaking.

She turns back to her laptop and Joey curses silently as he realises he'd missed the opportunity to say anything more, too captivated by her stupid pretty smile and now if he tries again it's gonna be awkward and god, what if he makes her uncomfortable?

Kaiba and Yugi's duel finishes soon after and Joey practically runs up to Yugi to try and escape his spiralling thoughts. The two of them are halfway to the door when Kaiba grabs his arm and pulls him back.

Joey whirls around, a taunt on the tip of his tongue. What's wrong, rich boy, want me to beat your ass too?

But he stops when he sees Kaiba's sneer.

"Don't hit on my assistant." He warns "Kisara is too good for a mutt like you."

Joey feels himself flush, pulling his arm out of Kaiba's grip.

"Fuck off man, I was just being polite!" He snaps back.

Seto's sneer falters slightly as he narrows his eyes, looking Joey over like he's some fun new puzzle to solve.

"At least wait until she's off the clock. I can't have you distracting her."

Seto stalks off before Joey can get another word in, Kisara at her bosses side in an instant. Despite recieving Kaiba's blessing -- which he didn't want or need, by the way -- Joey is almost certain it's not gonna do him any good anyway. Kisara is way out of his league, as usual, and totally not interested in him. As usual.

Joey suspects he has a type.

But just when he thinks he's done for, Kisara looks over his shoulder to shoot him a wink and a smile.

Oh. Joey thinks, heart beating so fast it could burst from his chest. I'm totally in love.

[apixieindreamland]

As always, this is a criticism of a theory, not of the beings who believe in it. 👻

The belief that EIYPO (Everyone Is You Pushed Out) is the foundation for the belief that people are in their own individual realities, over which they have complete control. I often see critics of loa say, "If you believe you have ultimate power, why are you manifesting shallow things like 'I'm the most beautiful/popular woman in the world' and not solving world hunger, wars, cancer, and suffering of all kinds?"

It's a VERY valid question, and the only response I've ever seen is something along the lines of "Because I don't have to!" 💅 That might seem like a non-answer, but it makes 𝘱𝘦𝘳𝘧𝘦𝘤𝘵 sense when you analyze the underlying spirit of EIYPO: Absolute, utter, 𝘭𝘪𝘵𝘦𝘳𝘢𝘭 self-centeredness; the belief that "I am L-I-T-E-R-A-L-L-Y the only person here. No one else is real and thus 𝘯𝘰 𝘰𝘯𝘦 𝘦𝘭𝘴𝘦 𝘮𝘢𝘵𝘵𝘦𝘳𝘴."

I'm not being hyperbolic here at all about the logical conclusion of EIYPO. If no one else is "real" except for them, why should they care about someone else's supposed suffering? Why should they care about the imaginary suffering of an imaginary person? If they're the only person here, all that matters is their own comfort, their own ego gratification, and the satisfaction of every whim - right down to manifesting that their nail polish never chips. See 99.9% of loa posts for confirmation of this. See if you can find even ONE per day which focuses on the health and happiness of another person - I'd be very surprised if you could! EIYPO does not give anyone a single incentive to care about another human being, because according to that theory there AREN'T any other human beings. There's only me, me, and ME.

The only people I see who use manifestation to heal or help others are the ones who believe we're in a shared universe with other real beings who are also facets of God, and thus worth helping. (Read Ernest Holmes' work as an example of this - he was a hugely influential manifestation author who founded the Religious Science movement, which focuses mainly on healing and helping others with the power of thought.) Those who don't believe that other people exist have no incentive to try to help them - and often don't.

I think there are certain ideologies and influences in the world which encourage our lower natures; our tendency toward self-centeredness and mean-spiritedness. For example, something that encourages mean-spiritedness would be those shows which make fun of people who've obviously had rough lives and little education (like Jerry Springer.) That doesn't mean that the people watching that are bad people, but it is encouraging the less compassionate side of human nature.

Likewise, people who believe in EIYPO and get wrapped up in themselves are not bad people, but it's encouraging our tendency toward self-centeredness (which we all have), and the worst part is that the theory is a 𝘭𝘪𝘦. You're being encouraged to see your fellow creatures as literal non-entities; to detach from real connection (because how can one truly connect with someone you don't believe is real?), to feel no real concern about them, and to care about nothing but yourself. Does that sound healthy?

Please question everything, and always look into the heart of your most deeply held beliefs.

[lightbulb-warning]

i used to freehand comics all the time as a child and since the part i liked was the drawing part i would just draw panel after panel because i didn't want to stop drawing to think about icky icky words, plus the story TOTALLY still made perfect sense! to me! and noone else, but 'whoooo caaaaares omgggg its not like comics and sequantial art are a communicative meeediummmm lmaoooooo'. i spent my entire childhood telling myself stuff like "oh pfft I know this story by heart- ill SIMPLY remember the dialogue and write it later" ...and. I can't help but admire baby maiora's (call that a minora ba tm tsk) fucking audacity? hubris? confident wrongness? kid couldn't even remember to finish the comics in the first place? INCREDIBLE levels of unearned self assurance, wish that were me, genuinely- what an icon!!! anyway i think i have forever cursed myself

[rinbylin]

watching the first episode of the 2017 webdrama and then skimming through the sanitised 2021 remake (starring whr - fun fact) is the same bewildering and depressing experience of watching addicted 2016 then moving on to what SWM 2023 did to the story in the process of what it believed to be "fixing" the problematics of its canon

[puzzlekinq]

cant sleep because im seething with anger

[opens-up-4-nobody]

...

[monsterbisexual]

i hate how i feel doing or not doing certain stuff for/because of the pain + fatigue since im a fat person :///

[galmiahthepigeon]

Oh I'm so embarrassed about the reaction I'm having to The News

[szczylpierdolony]

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[gawainism]

i am going to move out and make friends. manifestation is real and im doing it

[sabertoothwalrus]

tips for getting people to like your ocs

*disclaimer: this is based on what’s worked for me, aka an artist that likes to make comics/storyboards. so this advice is directed at people who do that

you can do things like this:

Which is fun! Character sheets like this are great, especially for personal reference! But frankly, I don’t think most people engage with this (at least I personally don’t). You could have the coolest character in the world, but it will be harder for most people to feel invested when they’re presented so neutrally like this.

My main piece of advice is: get better at writing.

That might sound harsh when said like that, but let me explain what I mean! (Not trying to imply you’re bad at writing either!)

What I tend to do is just throw characters into situations with as little handholding as I can. Give enough context that readers can follow along, but don’t feel like they’re being explained to.

what can you learn about the characters through their designs alone? (age, personality, economic status, occupation, etc)

what can you learn about the characters’ relationship though their interactions alone? (are they close? familial? romantic? is there hostility? are they tense/relaxed?)

what are the characters currently doing? what were they doing previously (how long have they been talking)? what are they going to do next? can you convey this without dialogue?

how do they feel about what they are doing? are they content? focused? over/understimulated? would they rather be doing something else?

where are they? does it matter? would establishing a setting in at least one panel clarify the scene? is there anything in the enviroment that could tell some of the story?

what time of day is it? what time of year is it? what is the weather like?

Now, with all this in mind, I'm going to give you another example. I'm going to use completely brand new characters for the sake of the experiment, so you won't have any bias (aka I can’t use Protagonist from above, since you already know all about him).

Did this get more of an emotional response from you than the first example? Why do you think so? Who are these characters? How do they know each other? What else can you infer about them? What happened? Who is "she"?

Now, you don't have to actually answer all those questions. But think about them! You can tell people a whole lot about your characters without ever showing them a list of their likes and dislikes.

Obviously, comics aren't the only way to get people invested in your original characters! But regardless, easily digestible formats will grab people's attention faster than huge blocks of text, and comics are a lot less work than doing wholeass storyboards.

Now go and share your ocs with the world!!!

[yongseungkim]

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[bingmeification]

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[causticsunshine]

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[opens-up-4-nobody]

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