#comedy except i have a shit sense of humor

[starrrmaaaaaaan]

I may be only one season and eight episodes into Teen Wolf but I cannot get over the fact that Derek has American girl doll teeth

that's it that's the post

[sigridstumb]

Get out of my own way

There's a phrase that is new-ish to therapy models, one that I look at entirely askance because what is now termed "pathological demand avoidance" is what I have spent my life knowing as "self-sabotaging dumbass." In most of my life, I manage to avoid being a self-sabotaging dumbass. But in one area, that of cultural trends, it sometimes sets in. Usually to my loss and detriment.

It's just that, when I am barraged with a whole bunch of people all loving a thing at the same time (Tumblr amplifies this a LOT) it *irritates* me. This is asinine, and it makes ME the asshole were I to voice it, because oh my god, Sigrid, people love what they love! Do not squash joy in this parlous existence! But internally I resolve to never watch or read or listen to the thing in question.

Why? I dunno, because sometimes I am a self-sabotaging dumbass!

At any rate, after months of being vaguely irritated with the INTENSE love people have for Dimension 20 (it's not you! It's me! I have a problem! You go on and keep loving the shit out of what you love!) I finally saw a TikTok clip of the show Game Changer. And Brennan Lee Mulligan was hilarious and brilliant.

So, I sought out the show, Game Changer. Spouse and I both really enjoy it, and agree that Brennan is our favorite. I figure out that to watch more episodes, I should subscribe to Dropout.tv. I do, and suddenly realize that Brennan Lee Mulligan is that guy from Dimension 20 that everyone loses their goddamn minds over.

Oh. Oh!

I, with a sense of letting down some internal moral code and a pervasive feeling that I am doing something shameful, watch the first episode of Dimension 20: Fantasy High. It is, as literally everyone (not literally, obviously) already knows, very very good.

I am hooked! I have become One Of Those People! And, Sigrid, the only thing keeping you from enjoying this all along was your own self-sabotaging dumbassery!! Argh!!

ANYWAY.

For those of you who do not know, you are one of Today's Lucky 10,000.

Firstly, Dropout.tv is a comedy troupe formed out of the wreckage of College Humor when it imploded. There is a core group of, I'm not sure, 12-20 people, and they invite guests. The group does a variety of different web tv shows, some of them game shows, some skit comedy, and a great deal of table-top role playing game based improvisational theater. The members are actors, impressionists, writers, voice actors, musicians, and very skilled improv comedians.

Dimension 20 is the umbrella name for the 30-ish different TTRPG campaigns they have filmed. They play in different genres, there are a handful of GMs (though Brennan does a LOT of them,) and the player group composition shifts around a lot. In later seasons, there are nerd celebrity guests.

We, the viewer, are watching people play AD&D 5th edition. That's it, that's the show.

Except it is not at all the show! Here are some points I was not expecting:

- The production values are great. The props, the miniatures, the sound effects, the models of the combat areas, it's all great. It's the dream TTRPG set-up of my teenage years. - The people are voice actors. They are fantastic. They inhabit their characters, and it is fantastic to watch. Also, Brennan Lee Mulligan as GM does all the non-player characters. He does voices for ALL of them. - These people are all IMPROV COMEDIANS. Whatever the others say, they roll with it. Unexpected things happen constantly, both because of the dice rolls and also just because players are unpredictable, and everyone picks up the event and carries on. - They are actually playing a game, so much of what happens in controlled by rolls of dice. And everyone is pretty damn good about this. They make it work, they make the plot continue, using whatever the dice has given them to work with. They are SO much better at it than any of the gaming groups I was in! - The episodes I have seen so far are all good-natured in vibe. The people playing want everyone to have fun. They want the GM to have fun, the players to have fun, and the audience to have fun. There's no sniping except in the most friendly way, there's no sulking about bad rolls, there's no vibe-kills that I have seen.

Anyway, if you like improv comedy, if you like voice actors performing SF/F plays live, if you like other people's TTRPGs, Dimension 20 might also be for you.

[shsl-heck]

So because I've seen it compared to Worm, I started reading The Boys by Garth Ennis. It's bad! Like really bad! It feels like what would happen if you let an edgy anti-feminist atheist youtuber from 2015 write a comic book. I finished the first volume of the omnibus in large part because it was a train wreck I couldn't look away from, and am debating starting the second since I hate myself. The most interesting parts are actually the little forewords. Through them I learned both that it was supposed to be a comedy, and also a critique of the military industrial complex/police (or at least that people read it as one). This was surprising to me since it is neither funny nor incisive. Anyway, now I want to ramble incoherently about my problems with it because this goddamn comic broke my brain.

Okay, so one of the most common ways it shows you which characters you aren't supposed to like is by having them do comically "gross" sex stuff. Notable examples include cocaine fueled orgies, mentions of shitting during sex, bestiality, masturbating in public to the sight of disabled people, and a little person using sex toys. One that shows up repeatedly in this context is characters being bisexual or gay. Now, I don't wanna get controversial, but I think any claims that your work is a critique of capitalism, police, the military, or whatever are rendered moot when your villains are a group of secret hedonistic sex-freaks. Like we can't pretend that doesn't sound a lot like regressives and their obsession with "degeneracy". Sexual assaults, misogyny, and slurs also appear pretty often, mostly as the punch line for jokes. Victims are rendered down into objects and denied any sense of interiority so we can instead focus on what really matters (gore porn, and middle school 4chan posters' sense of humor). Never once does Ennis deign to explore the actual impact and trauma of these things, or ask why he views these things as material for jokes.

That incuriosity is I think the real problem with The Boys. There is no actual coherent thought about why things are bad. Superheroes hurt people and are wrong because of their personal moral failings as selfish perverts, not because their whole job is to violently enforce the will of the state. It's like if someone agreed that all cops are bastards, but only because all cops just so happened to be "bad apples". The main characters literally work for the fucking CIA, and yes, I know the titular Boys are at best meant to be anti-heroes a la the Punisher. My issue here isn't that they're hypocrites who are frequently also horrible. It's that this premise for is absolute nonsense if you think for half a second. Superheroes do not function without the legitimacy granted to them by the state and it's monopoly on violence, so why would the CIA need these 5 randos with zero oversight working to take out the supers? Is the force Homelander and the others can bring to bear so great that even the apparatus of that state can't deal with them? If so, why does this group of assholes change that? Normally I'd be willing to give the story a lot more of a pass when it comes to questions like this, except I'm being told that this story has things to say about systemic problems involving the government and corporations! So I have to ask, where? Where is the commentary? What does it actually have to say about the state of the world circa 2006-2012? The only answer I can come up with is "not a whole lot". It's a story which dares to ask the tough questions like "what if the world was made of pudding" and then ignore answering those questions so it can instead recite Ellis' favorite slurs in alphabetical order while showing you a woman's tits.

On a lighter note, it's also just not very good. The plot (as mentioned) falls apart under any amount of scrutiny, pacing is bizarre in a bad way, the characters aren't compelling, themes remains stubbornly unexplored, and Ellis is allergic to doing anything interesting or creative with the premise he's decided to base a whole comic around. I genuinely do not know what people enjoy(ed) about this comic.

[snakeautistic]

I pride myself on having an incomprehensible sense of humor. I totally own that shit too. I’ll pull up the stupidest fucking image on my phone screen and laugh at it for the millionth time, absolutely convinced it’s the pinnacle of comedy and I’m a genius that and then show it to my middle aged French teacher to her complete and utter befuddlement. It’s like an inside joke except only the only people inside on it are the voices in my head!

[twiststreet]

I just wanted to type about these Katsuhiro Otomo comics I've been reading lately, while I watch my Dodgers game. Dodgers are up 2-1 in the third. Sorry if this is long and a bit of a ramble-- this is all off the cuff and it's just typing not writing, so I'm not going to edit this down too much. Sorry; feel free to ignore; thanks.

It's been this collection of comics called Sayonara Nippon-- a scanlation of material that has never been brought over to the United States… and probably never will be considering, the contents.

More specifically, it was a short story from 1979 called "East of the Sun, West of the Moon", the five chapters of the Sayonara Nippon series-- Otomo's first multi-installment manga, and a 1979 manga called "Seija ga machi ni yattekuru" (which translates roughly to "When the Saints Come to Town"). And then finally, there's a comic called "The A Apartments Murder Case" which I think was a mistake to be included in the collection, but. I think a lot of this was collected in the untranslated 4th volume of the Complete Works. (I think there was talk of bringing the Complete Works over 3-4 years ago but I don't know what happened…?).

1.

East of the Sun, West of the Moon is cute but not really a big comic for me (though I sure like a drunk panel). It's about a rock band who hang out at a bar, and their relationship with the old lady that run the bar.

It's almost Otomo in the sort of sentimental mode that Naoki Urasawa excels at-- except there's this one weird page where he's got the old lady rubbing one of her breasts when she's around by herself and then sneezing…?? Urasawa doesn't really have those scenes that I can remember.

It's not lacivious-- it kind of reminds me of the sex scene in Juzo Itami's The Funeral, though I don't know if you saw that movie (I don't dig that one, not like Tampopo). My suspicion is it's in a vein of body humor that meant more to a Japanese audience and needs a little contextualizing for me, though perhaps that's, you know, me being dumb, me being the "in Japan, it's considered dishonorable to murder" meme guy; beats me.

I think Otomo's in his 20's for all of these comics, which is really what makes them interesting to me, that … if you know him as this Master comics guy from Akira, it's seeing that same guy except when he was a little bit of a punk. (In the "get the fuck outta my store, you fuckin' punk" sense of the word, not anything fancier or more meaningful than that.) But also an Otomo whose aim is radically different because he's not doing science fiction, and he just seems more purely focused on getting some kind of… you know, the breath of life in his comics.

(Like, Otomo obviously dug drawing tech shit later on for years and years in Akira but like, how did he see that evolution to science fiction? I don't know-- i've never read an interview with him that talks about that.)

I'd seen Otomo's short comics before and really, really liked them. But East of the Sun is not one of the ones that I found compelling-- it just feels a little safe…? Which isn't problem for the rest.

Because then you get to the Sayonara Nippon serial.

2.

The 5-part serial is Otomo doing a comedy series, and supposedly after going to America to spend some time over here, according to the little bio blurb I read. It's him doing a comedy about what he saw in America. That was how the bio blurb I googled the other day described it...

But uhhhhh … man, what the fuck did Otomo see in America???

Okay, so like Sayonara Nippon-- it's a 1977 series about a Japanese guy (who I think is the lead singer of the rock band from the other story) going to live in 1970's Harlem, and opening a judo dojo there.

The Japanese guy's doing bumps of cocaine by chapter 3.

Otomo is in his 20's, and it's like… seeing Otomo as an edgelord…?

Have you ever wanted to see Katsuhiro Otomo be an edgelord??

Otomo's drawing a lot of black people in the comic, but he's really in a snotty place with race in these comics. There's a funny-enough recurring bit in Sayonara Nippon and especially When the Saints where every Japanese character is terrified of black people past the point of absurdity. Which would be fun, except the black characters are all pretty vulgar, without any exception-- like, the Japanese characters aren't really presented as entirely wrong!

There's some black rapists and hookers and stuff in the second chapter of Sayonara Nippon, in particular, that I think might not be well received by modern audiences. But even When the Saints-- which I'm the most fond of-- there's an old black jazz band that are just old-men-in-manga levels of hony, which feels a way when the characters aren't Japanese, at least for me.

It's not great, in that respect, even if it's interesting seeing him draw African American characters or him trying to draw a culture clash comedy. I think Otomo's approach or thinking of what will mitigate the crassness is that if his main character is a Big Piece of Shit Too, Worse than Anybody Else, it gives him a lot of room to maneuver. So the main character is awful and almost every Japanese character who sees him is completely disgusted by him. And I guess I found that interesting because I think that was a popular way of thinking about comedy or how to approach "difficult topics" like race, etc. in a funny way back when these comics were made.

Fuck, I want to tell you about the final three panels of Sayonara Nippon so much but I probably shouldn't spoil that. It's this joke that DOES NOT LAND at all, but in such a … such a particular way, in terms of how this material has AGED BADLY… but that kind of underlined how there had been that shift in what people find funny. (I mean, it made me laugh but in a very particular "OH NO, OTOMO NO" kind of way. But a laugh is a laugh!)

But like, the moment with these comics where I went "OHHHHHHHH I GET IT, I GET WHAT'S HAPPENING HERE" is so blatant and so unsubtle and such an easy, easy "AHA moment"-- though he saves it for the very final chapter-- because it's…

It's fucking Otomo shouting out your boy R. Crumb!!!

I don't know what the Japanese understood of Crumb-- but like, Otomo + Crumb isn't really something I've ever mixed together in my head before reading these comics and it's…

I mean, there's thornier avenues of that, about how the US obliviously exports its racism or other dumbfuckery overseas through cultural product, etc., that are way beyond the scope of me decompressing tonight but…

Yeah, it's very much a Rosetta stone image for me with these comics, and might be enough for you to guess-timate your own interest in this material.

There's a joke that I think is too far even for the scanlators where you can tell Otomo was doing a joke where his character says some racial slurs as part of the gag, and like…

Man, I don't think that their choice of the word "Negro" is a 100% true to what was intended in the panel.

3.

People say "oh you can't make Blazing Saddles anymore" and they're all fucking morons, almost without fail. But at the same time, man, I don't think they can bring this comic over to the United States. I don't think that will happen…? Even though, you know… do I like it?

I mean, yeah! I'm not some YA person-- I just don't get too upset if something's a hot mess. The drawings are fucking crazy good, as you'd expect, and Otomo's pacing is just … he's doing 25 page episodic short stories mostly, and there's something really invigorating about seeing him work in that format. And he's… he's at a place in his artistic development where he's really aiming for a sort of … a very different target than his later comics. And there's just something about how he uses pages to get his characters to be alive-- this isn't hiim doing big, big imagery, and it's just that without the adornment of Toyko getting exploded. Like, it reorients you to what he's doing as a reader, to his strengths. (And you know, getting to think about "the evolution of what hip people thought was funny, 1977 to present" is kind of a good time to me, becase I'm fun that way).

I don't know if these are "good comics" exactly (the episode with the rapists is just generally a bad story, even after you set aside the "come on with this dumb shit, bro" factor-- it doesn't build to anything worth the trip). And they're perhaps "problematic" comics (I mean, not for life generally because you know, movies exist, but). But like… I think they are interesting comics. Or I'm just getting something out of them. You know: it's the greatest action comics guy doing these slice-of-life-ish 70's comedies?!? Like… that to me is very interesting.

4.

Anyways: I'm running out of steam but the one that I'd actually say is worth checking out even if it's not ALL CLEAR on the racial side of things is When the Saints, a 76 page novella that they put next.

That one's got the rock band from the first story back in Japan and back in action together in the background, as sort of a comedic distraction from the main story, which is about an older record producer. The producer is visited in Japan by old friends-- three elderly members of a black Jazz band from New Orleans who have come to Japan to drink, scream for "geishas!!!" to be brougt to them, try to sex up ladies slightly off-panel, and otherwise have a good time. And it's about the producer assigning the job of looking after these guys to a younger guy. There's also a whole plot involving another artist the music company is cultivating, a young idol.

There's not a lot of POINT to the story that I could tell, but that one just kind of juggles so much at one time that it lets the story that is there kind of sneak up on the reader, I think. There's an emotion to it and while it's a sentimental one, I didn't think it felt as cloying about it as East of the Sun. And I think what was interesting is how…

Otomo just has it stop where it stops. There's a big happy ending that you think he's going to build to, but he doesn't bother-- he just finds a moment where he wants to bow out, and I think his choice of what that moment is really elevates what he's done more than anything. Instead of ending on some big Hollywood "They All Win … Because They Learned" ending, he ends it more on a character moment and it…

It really sells the comic, more than anything about it.

And on just a technical level, the way there are all of these minor characters throughout the comic, and every one has something to them-- like, that's definitely something he brings into Akira, right? If you think about all the characters in Akira. I don't know, that's the thing with all these comics, the phrase I keep thinking--

"Breath of Life."

Certainly part of it is how he draws because there's that sort of "realism" to his line-- not realism-realism, like some shitty American photo comic, but… you know… I mean, you know who Katsuhiro Otomo is, you already know what I'm talking about-- what, do you need me to describe the fucking taste of ice cream to you, too? You already know what I'm talking about! Fuck you!

But it's also just how they move through the comics, what he has them doing, their attitudes-- it's more than just his line.

I think there's something to that Saints comic worth seeking out. Do you think someone ever gets it here legitimately though? I mean, they've had 40+ years so they're not in any kind of fucking hurry! But. I liked all these comics, to varying degrees, but that's the one where I think maybe a person could benefit from taking a look at, if they're of the "let's study some comics" mindset.

5.

(Oh and then there's the last story-- the band characters turn up for that one but that one's not interesting to me. Otomo's playing around visually on that one a lot-- distorting the figure, playing around with horror manga visual tropes-- but I just didn't respond to it. It's too much of a goof off for me. I ain't writing about that shit. Hire a priest.)

6.

You can see a bunch of photos of the collection over HERE. There's pages in there that I don't recognize so probably the collection included comics that weren't translated. But. Besides that, I don't know what you can do if you want to read these comics legitimately, unless you know how to read Japanese. So. But I'm out of stuff to say about them-- I just wanted to type. Okay. That's enough.

Anyways, Dodgers won. This is one of my favorite kinds of baseball games to see the Dodgers win-- a "We don't even have to win this game for purposes of the standings, etc., but on the other hand, fuck them" game.

[hychlorions]

If you had to rank each Apollo Justice case on a 10-point scale, what would your ratings be?

honestly i like them all so much and it's been a while since i've last played AA4 so it's hard to give an answer without having to sit down and think about it :"D but assuming you wanna sit down for something long-ish, i'll start them all off on a perfect 10 and here's what i'd give deductions for:

Turnabout Trump (4-1) - i'd leave it at a 10 tbh. absolutely banger case for setting the tone for the rest of the game. i don't recall anything i disliked about it atm so i'm assuming there's nothing at all :>

Turnabout Corner (4-2) - hickfield/hotti existence. get him outta here! but on the other hand there's an exchange about klavier pausing a world tour to see the little boy that bested his brother that can mean different things depending on if you're playing the game for the first time or if you're replaying it. on first playthrough i assumed the judge's shock at klavier returning meant he hasn't taken another case since kristoph's arrest in 4-1, which. fair i guess bc prosecutors probably take cases more regularly than the waa in-universe but it's nothing to blink twice about yknow. HOWEVER replaying it after having gone through 4-4 (esp given how he mentions the gavinners to the judge) it starts to seem as if klavier ran off with his band for seven years and didn't come back until after his brother was arrested. which. >:3 hehe

-3 points for creep factor. +1 however for the simple joy of making me tear my hair out over klavier's mystery hiatus length

Turnabout Serenade (4-3) - people give this case too much shit tbh. it's the funniest case in the game and you guys just have no sense of humor 😭 me, lover of comedy, however, can appreciate it for what it is, and it's that 4-3 is the best demonstration of aa's sense of humor. my only gripe with it is that daryan's mentioned to be the first detective klavier's ever worked with. however in turnabout succession the detective shown in the flashback for the gramarye trial (klavier's courtroom debut) isn't daryan, but gumshoe. this isn't elaborated upon any further, so i am sitting here. wondering what mystery case klavier worked on that got resolved without going to court wherein daryan is the detective AND happened before the gramarye trial. i understand prosecutors but WHY pray tell are they shoving 17 year-olds into a detective position on the police force. god.

-2 for in-universe labor laws implications. +2 for klavier's weird forehead obsession (he has about three lines about apollo's forehead) and also the fact that this case has the most canonical uses of herr forehead out of all the cases in the entire ace attorney series at ~61 uses out of the total 129 (including DD). +1 more for being so rife with lines you could use as basis for headcanons ("straight except when he's depressed" "i should've learned to play guitar" "her quiet, deep song glides through the air... lilting above a sparse, but elegant piano accompaniment" i'm so sorry as a klapollo enthusiast this is the case of all time to me)

Turnabout Succession (4-4) - gorl you know the last case of the series has to be the most nailbiting one. such is the case for turnabout succession... if only the mason system didn't royally succ. do you know how hard it is to piece together the timeline for post- and pre-gramarye trial for someone like me?!?! (is forgetful) not to mention the fact that kristoph has apparently only met vera once but already knew she bites her nails when she's nervous? did you put a camera in their house or something? weirdo. however only in burning piles of rubble will real gems reveal themselves. *holding up the scene where zak explains the gramarye powers to phoenix, subsequently revealing the trucy-apollo siblingisms all along* isn't she beautiful?

-4 for being an inconvenient pain in the ass and kristoph's nail polish murder plot that crumbles under a magnifying glass and kristoph's stalking extent implications. +1 for bracelet lore you know i love me some bracelet mechanics (taps my homemade "THE BRACELET DOESN'T TIGHTEN" sign like a proud father)

Final answer:

4-3: 11/10

4-1: 10/10

4-2: 8/10

4-4: 7/10

[protagonistheavy]

Not that I ever expected greatness but the FNAF movie sucked on multiple levels. Even if you try to squint and give some generosity to the production, i feel like the direction itself is just flawed to its base.

Most importantly I feel like all the charm and appeal of FNAF is entirely lost here. The movie simple isnt scary at ANY point and leans more as a suspense-comedy than anything else. There's no horror of basically any magnitude. The restaurant quickly loses any sense of creepiness as we get so accustomed with the limited set and rarely get to see anything that made the original restaurant in FNAF so unsettling; the animatronics look way too good and function way more like a regular robots to actually scare anyone, way too much emotion from them -- on top of the fact that we get very familiar with them as characters. They don't use compelling angles enough to sell the creepy-animatronic factor, and we dont see them in regular action to ever get that feeling of "oh god, these corpse robots are interacting with people."

There's basically no gore except cuts, only one James Bond-style death trap, and a VERY campy silhouette death. There is so much potential in this factor, all the gears and machinery that could be used to create horrible situations... but none of that is properly utilized. Violent engagements with the animatronics are just a matter of a guy in a suit pushing other people around. The most violence you get is the fucking cupcake toy, which is just a straight up ghoulie I guess, it's the only competent threat in the movie and is way overused.

But then on top of all this........... get this, there really isn't enough jumpscares in this movie. Which is so fucked up! It's normally too easy for movies to include too many jumpscares... but here, there's such a disappointing lack of them. Jumpscares is so much what FNAF is, if any movie was gonna have too many jumpscares and get away with it, this is the one!! And yet we only get three in the entire movie, including a mid-credits scene, and they're ALL THE SAME GAG. Ugh! The animatronics are supposed to be surprising and hard to see, not henchmen for a Batman villain.

And then the comedy, of which there is too much of, just doesnt normally hit. I giggled more at just the fact that I was watching a FNAF movie than I did at any intentional gag. And this sucks so much too because humor is also a key part to the FNAF feeling, how so many times it can surprise you with such a good joke, or refresh you after a scare by providing something funny in between. That just isnt present here, you just get regular old Hollywood humor, at best it's a "so bad its funny" kind of humor.

Finally, the movie tries too hard to cram in every good idea FNAF ever had into one plotline, and the result is a plotline that makes no sense -- not with the FNAF lore, and not even with its own self. You will be left with so many dumb questions that have no good answers, and even more if youre a fan of the series. Characters are completely different from their inspirations, their motivations are even more whack as hell. It's like the director read a summary of deep FNAF lore and just figured shoving every idea into one plot would be spooky and cover all their bases, but it just makes a jumbled mess of a plot with characters you never give a shit about, in a world that makes little sense and does little to draw you in.

Funny enough, I happened to watch Willy's Wonderland in the background at a party the night before, and even though I wasnt even watching it completely, I have to admit that movie just seemed more compelling than FNAF. It had a protagonist I wanted to learn about, mysteries that keep you wondering, humor that was ridiculous enough to make me laugh more sincerely, and animatronics that frankly had a spookier appeal to them, in a premise that was much more engaging. In some ways, Willy's is even truer to the spirit of FNAF, albeit with Nic Cage action sequences; there's at least a better attempt at conveying a complete story, and it does more to create spooks and frights with the setting. I really loved in Willy's the scenes where Nic Cage is cleaning the place, I love the attention to detail -- which gets you engrossed with the setting, makes you feel like youre there, convinces you it was indeed a happy place once before becoming tarnished. Im definitely thinking waaay more of Willy's than I am of FNAF lol.

[harapeveco]

miss harapeveco since we are in the topic of anime pls drop some recommendations I don’t have anything to watch 

Omg oks so I have a very shitty taste in anime so this will be a very disappointing list but the ones I mostly recommend are:

Gekkan Shoujo Nozaki-kun: literally every scene is funny and iconic, it also invented m/f yaoi don’t ask it makes sense

Owari no Seraph: I mean this very unironically this anime fucking sucks but in a good way like nothing is ever explained, nothing makes sense and they gaslight you into believing the main boys are gonna be endgame by showing you a homoerotic scene of blood drinking. Just roll with it and don’t ask questions it’s better that way

The Persona 3 movies and the Persona 4/5 anime: the movies are really good they did a good job condensing +80 hours of gameplay in 4 movies (except the third movie but we don’t talk about that). Now when it comes to the persona 4 anime you can tell they didn’t give a shit that thing is just 24 episodes full of jokes and comedy the game wishes it had holy shit it’s really funny for no reason. The persona 5 anime is more complex in the sense that it’s very unwatchable if you go to it expecting something good. It’s bad it’s very bad it’s poorly animated and rushed and it’s just borderline unwatchable but it is really funny if you wanna have a good laugh about how bad something is I recommend it

Osomatsu-san: the first episode of the first season being yeeted into oblivion bc it was very much illegal to show all of it makes it worth it. Keep in mind this is an adult show (even if it doesn’t look like it) so there’s a lot of crude humor and sex jokes but all the characters are such trashy people I like to see them suffer 

Kiss him not me: if you are a shipper this one is for you. Basically the MC is a yaoi obsessed fan girl who wants to see her classmates date each other yaoinly but they want to date her instead 

ID Invaded: really good anime with a really good mystery and plot! Main character did everything wrong but I still love him also Sou did the opening for it 

Happy sugar life: very fucked up horror about a high schooler in love with a literal child but it doesn’t go like you think it goes, they don’t portray it as romantic or cute they very much portray it as the fucked up thing it is and how wrong it is. It’s good if you like feeling unsettled and like to watch things go from 0 to 100 real fast

The promised neverland: amazing series with an amazing mystery and atmosphere! It’s a shame it only has one season tho I hope they make a second season of it in the future but it’s a shame it only has one

Dr stone: it has science, it’s horny, you have over the top characters, what more do you want

Natsume book of friends: you love to cry? You wanna cry after watching every single episode? Ofc you do! This shit will hit you in the gut so hard you will never recover. A beautiful story about acceptance, platonic love, found family and yokai with the best and most realistic character development I’ve ever seen 

Gegege no Kitaro: this one is very broad bc no kidding this anime gets a new adaptation every decade. There’s a 60s version, a 70s version, an 80s version, a 90s version, a 2007 version, a 2008 version that is more adult and follows the manga and a 2018 version too if you like recent stuff more. Most of these are lost media tho good luck trying to find any version that is not the 2018 one. I forgot about the plot of it yeh uhhh basically a kid ghost is a medium between humans and yokai but he mostly play favorites with the yokai and sometimes fucks the humans over so idk if he’s really a medium, he’s very biased about it

The dangers in my heart: I talked about this one before but I’m talking about it again idc. Really cute and wholesome the MC is kinda horny but he’s like 14 boys at that age are pretty horny we have to stop pretending they aren’t. The first 3 episodes are so cringe they are very painful to watch but if you can go through them you will witness what I think it’s the cutest romance after horimiya. I don’t usually read manga bc I have the attention span of a rock but even I did a binge read of it bc it was just so good

King’s game: edgier than shadow the hedgehog 2006, it’s painfully bad like I can’t even begin to explain how horrible this anime is but good lord it made me laugh all the way through 

Chuubyo gekihatsu boy: one of the main characters is a catboy called Rei Tsukumo and another character is a cringe Utaite what more can I say? It’s just dumb cringe kids being dumb as fuck for 12 episodes and you know what? It’s very good at it

Horimiya: just watch it for the love of god just watch it

Sasaki to Miyano: you have miyano who is like “I wonder if I’m gay??? I’m not sure???” While he reads gay manga and straight up imagines himself kissing his guy friend in the mouth like bestie COME ON

Thats all the anime I can think of the top of my head, well adding anime classics like fullmetal alchemist brotherhood, haikyuu, my hero academia (I only follow it bc the Todoroki family drama is the only thing well written in it), dragon ball (not dragon ball z bc as much as I like it I prefer dragon ball and the cutesy adventure aesthetic it has) and ofc how to forget sonic x 

[shadowchancellor]

A Brief Rating of Ween’s Studio Discography

because i just finished their discography and have nowhere else to dispose of my thoughts. again.

1990: God Ween Satan: The Oneness

God Ween Satan is all you could ask for out of a debut record. it establishes the band’s genre bending inclinations, their sense of humor, and their tendency to hide emotionally devastating breakup songs in a pile of ridiculous bullshit so that the effect is greater. this is also the most punk Ween has ever sounded; every other track is full of screamed vocals and thrashing guitars, making for a unique sound in the band’s discography. tracks like opener “You Fucked Up,” “Old Queen Cole,” and “Wayne’s Pet Youngin’“ set this expectation, which is regularly subverted by songs like the spanish guitar rocker “El Camino,” the aforementioned breakup song “Birthday Boy,” or the 8 minute Prince pastiche “L.M.L.Y.P.” if there were one complaint to make about this record, its that they may have overdone it with the character voices. overall, though, this record is probably one of Ween’s best and worth a listen for any aspiring Ween fan.

Highlights: “You Fucked Up,” “Bumblebee,” “Old Queen Cole,” “Mushroom Festival in Hell,” “L.M.L.Y.P.,” “Birthday Boy.”

1991: The Pod

The Pod is a concept album, and the concept is mononucleosis. the band worked on this album while dealing with mono, and they managed to make the record sound like it, which is a goddamn achievement in its own right. every song sounds thick and slimy, like you’re lying in bed, sweating your ass off, trying to sleep off a high fever. its a hard feeling to describe, but when you hear it, it just sounds pestilent. this new sound allows the band to explore even weirder avenues than God Ween Satan, from the bizarre guitar groove and bellowing vocals of “The Stallion” suite to the lethargic wails on “Laura.” alongside more conventional cuts like the psychedelic “Captain Fantasy” and the nostalgic “Pork Roll Egg and Cheese,” The Pod sets a new standard of weird for Ween to strive for.

Highlights: “Dr. Rock,” “Pollo Asado,” “Captain Fantasy,” “Molly,” “Don’t Sweat It,” “Pork Roll Egg and Cheese,” “The Stallion Pt. 2.”

1992: Pure Guava

Ween is frequently misaligned as a pure comedy act, which i think does the band a disservice. they show genuine skill and respect for the genres they “parody,” and comedy is only a small part of the reason Ween works. this is true of every album that the band has released since its inception. if there were an exception to this, however, it would be Pure Guava. this the first Ween album recorded under a major label, so they took the opportunity to make the most bizarre shit they could think of. i’m not sure i can describe the sound of the weirdest songs on this record. i am equally unsure if i want to spoil them. as such, i will leave you with this: the lead single on this record, “Push th’ Little Daisies,” is the only Ween song to have ever reached the billboard charts.

Highlights: “The Stallion Pt. 3,” “Push th’ Little Daisies,” “Reggaejunkiejew,” “Pumpin’ 4 The Man,” “Mourning Glory,” “Don’t Get 2 Close (2 My Fantasy).”

1994: Chocolate and Cheese

on Chocolate and Cheese, Ween remembers that they’re on a label and makes something that you can almost listen to in public. this record takes the band in a much more commercial direction, but in doing so doesn’t sacrifice the quality or strangeness the band is known for. indeed, the genre experimentation is even more wild here than it was on Pure Guava, and as always, the band shows proficiency in damn near everything they try. from the philly soul cut “Freedom of ‘76″ to the Mexican murder ballad “Buenas Tardes Amigo,” Ween proves that they’re a regular musical multi tool. in conjuncture with their typical alt rock fare and their bizarre sense of humor (see: “Spinal Meningitis (Got Me Down)” or “The HIV Song”), Chocolate and Cheese comes out as one of Ween’s strongest showings, and one of the first records that i would recommend to someone who isn’t already a fan.

Highlights: “Freedom of ‘76,” “A Tear for Eddie,” “Roses Are Free,” “Baby Bitch,” “Voodoo Lady,” “Buenas Tardes Amigo.”

1996: 12 Golden Country Greats

12 Golden Country Greats was born when one of the Ween boys heard that you could get some session musicians that worked with Elvis if you went to Nashville with enough money. the result? a pretty alright country record. the session musicians steal the show on this one; the rich sound of classic country instrumentation makes this worth a listen for country fans. as a Ween record, however, it feels lacking. the band does well in the genre, but the lack of variety means that this record suffers somewhat. there are, of course, tracks worth listening to, but overall, 12 Golden Country Greats is unessential in Ween’s catalog, and lives and dies on the novelty of the fact that it is, in fact, a Ween country album.

Highlights: “I’m Holding You,” “Piss up a Rope,” “I Don’t Wanna Leave You on the Farm,” “Help Me Scrape the Mucus off My Brain.”

1997: The Mollusk

to get straight to the point, this is probably one of the best albums to start with for anyone interested in getting into Ween. The Mollusk is a concept album about the ocean, and despite this simple concept, the band does a whole lot with it. every song manages to sound nautical, even when the subject matter has nothing to do with the ocean. the genre bending typical of a Ween record is also much more focused here, focusing on rock and its sub-genres, primarily psychedelic and and progressive rock, resulting in tracks like the title track or “Mutilated Lips,” which manage to be some of Ween’s most accessible material. they also manage to put out one of their funniest tracks on The Mollusk, the raucous sea shanty “The Blarney Stone.” the album really picks up on the back half, with cuts like “It’s Gonna Be (Alright),” a lament on a failed relationship, “Cold Blows the Wind,” a ballad for a lover killed in a war, or the iconic “Ocean Man,” which anyone under 30 is likely familiar with. my only issue with this album is that it doesn’t experiment as much as many Ween albums do. despite this, however, The Mollusk is one of Ween’s strongest and most accessible albums, and should be the first stop for anyone looking into the band.

Highlights: “The Blarney Stone,” “It’s Gonna Be (Alright),” “Golden Eel,” “Cold Blows the Wind,” “Ocean Man,” “She Wanted to Leave.”

2000: White Pepper

on White Pepper, Ween attempts to out-Beatles The Beatles. this album is almost entirely composed of psychedelic pop rock, with examples of the band’s typical genre bending few and far between; the only two songs of different genres, the tropical rock Jimmy Buffett-style “Bananas and Blow” and the heavy metal “The Grobe” are on opposite sides of the record. in addition, this is one of Ween’s least weird records. this album forgoes almost all of the typical features of a Ween record in favor of a fairly straight-forward pop rock approach. despite this, White Pepper manages to stand among the band’s best records, and even approach the standards of the genre set by The Beatles themselves. indeed, the tight focus of the album is highly intentional, meant to show that Ween is not a gimmick band, and that they can make traditional rock music right alongside the best, but they choose not to, because whatever the hell it is they do is a whole lot more entertaining. because it is so different from the rest of the band’s work, i can’t recommend White Pepper as a first exposure to Ween, but it is a definite must-listen in the band’s discography nonetheless.

Highlights: “Exactly Where I’m At,” “Flutes of Chi,” “Even If You Don’t,” “Bananas and Blow,” “Back to Basom,” “Stay Forever.”

2003: Quebec

i’m just going to jump right to the conclusion here and say that Quebec is Ween’s magnum opus. this record, like The Mollusk, experiments with rock music and its sub-genres more than it tries others, creating some of the most unique tracks of the band’s career. this includes not one but two post-rock cuts in “Captain” and “Alcan Road,” the heavy psychedelic “Transdermal Celebration,” and the progressive rock epic “The Argus.” in addition, Quebec is easily Ween’s most melancholic record, and the typical dynamic of “funny song disarms you so sad song hits harder” established on God Ween Satan is flipped on its head. stranger cuts like “Hey There Fancypants” or “The Fucked Jam” function as breaks from the melancholy of the rest of the record, allowing you to gather yourself for the coming emotional critical hit. this culminates in the closer “If You Could Save Yourself (You’d Save Us All),” the breakup song to end all breakup songs that may or may not have made me cry the first time i heard it. you can’t prove that, though. you can’t prove anything. in conclusion, Quebec is an incredibly viable place to start for someone who is new to Ween, and is probably their best work to date.

Highlights: “It’s Gonna Be A Long Night,” “Transdermal Celebration,” “Happy Colored Marbles,” “I Don’t Want It,” “The Argus,” “If You Could Save Yourself (You’d Save Us All).”

2005: Shinola, Vol. 1

Shinola, Vol. 1 is probably the most high-effort compilation record ever released. rather than just putting out a bunch of poorly mastered demos, Ween remastered and re-recorded 12 songs from every period in their history which never made it to official releases, mastered them using their then-current resources, and released them all on one album. the result is the most eclectic record in Ween’s discography. bizarre early period tracks like opener “Tastes Good On Th’ Bun” or “Big Fat Fuck” sit alongside more conventional cuts like the hard-rocking Chocolate and Cheese outtake “Gabrielle” or the funky Mollusk B-side “Monique the Freak” it also features at least one previously unknown song, “Israel,” which is a jewish prayer spoken over a jazz instrumental. as a result, Shinola, Vol. 1 serves as a unique sampler of every era of the band. that said, though some tracks are essential, i wouldn’t recommend this album to beginners, if only for the fact that it is a compilation album and not indicative of what a Ween album typically sounds like.

Highlights: “Boys Club,” “Gabrielle,” “How High Can You Fly,” “Transitions,” “Israel,” “Monique the Freak.”

2007: La Cucaracha

after the more melancholic and serious Quebec, Ween returns to their typical fare on this record. the band continues their genre experimentation on La Cucaracha, becoming even more eclectic than their previous records, experimenting with EDM, reggae and new age. unfortunately, all of these experiments end up being lackluster. indeed, the genre experimentation on this record feels like a lame joke rather than something done out of genuine respect for the source material. despite this, La Cucaracha has some real gems in Ween’s discography; the 10 minute progressive rock epic “Woman and Man” and the serial killer love ballad “Object” are some highlights on the record. of course, i’d be remiss to not mention the funniest song Ween ever put to tape, “With My Own Bare Hands,” which is probably one of the best karaoke songs of all time. overall, La Cucaraha is an inconsistent mess, and perhaps not essential, but i personally can’t help but love it for the incredible highs it does reach.

Highlights: “Fiesta,” “Object,” “With My Own Bare Hands,” “Shamemaker,” “Woman and Man,” “Your Party.”

In Conclusion

Ween is easily one of the bands ever. i’m a big fan, anyway. if you want to try to get into Ween, i recommend you start with The Mollusk and work from that. Quebec and Chocolate and Cheese are the two i would recommend after that, and beyond that you can just go nuts. or you can go nuts straight out the gate if you like, that’d be appropriate for this band. here’s another spotify playlist, if only because i like putting these things together. not sure what the next one will be, i just that there will be a next one. have a good one.

https://open.spotify.com/playlist/5LggAk96ajGAgjTsLLAGOn?si=987d1692c62d40c0

[meili-sheep]

I was just thinking about how our friends and loved ones leave an imprint of themselves on our lives-- like you picked up certain phrases and ways of saying things from your bubbly friend who talks funny (affectionate) or you find yourself one day doing something a certain way since a loved one youve spent a lot of time with keeps doing it that way and you picked that up from them. Just-- you and the people you love bleeding into each other, a solid proof of the love and care you have for one another

And your lil aus and versions of Diluc and our beloved genshin characters just made me think of them leaving little imprints of each other in their lives. I am in a soft, love filled mood and i shall make the SOFTEST of headcanons--

I imagine that Diluc started drinking and taking his tea the way Yelan does-- the same posture and hand gestures, even the tiny little sniff she does before taking a sip

Over time Ayato, i feel would get Diluc’s habit of pulling on his gloves-- just a thing he subconsciously picked up from him and whenever he does it, he feels a little more grounded as the feeling of his gloves tightening on his hand makes him think that one of the Bullies are there holding it and reassuring him

Shenhe id like to think would pick up the way ayato holds himself-- posture that exhudes a relaxed and calm confidence. At first id imagine she copies him to help fit in with the people around her and over time, she unconsciously starts holding herself like that whenever shes around people and beginning to feel flustered to gain some confidence. (Think kaguya from love is war holding her face to calm down)

I feel like Yelan would pick up Shenhes dry humor and sense of comedy over time. I imagine that Shenhes sense of humor is so dry that it usually flies over everyones heads except for Diluc and maybe the other bullies if they dont catch it. This is one of the main things i think she picks up because Yelan is a spy, an undercover worker and to blow off some steam at her targets i can see her sassing them on the job. And so as she spends more time with Shenhe, shes trying to pick apart her and Diluc’s sense of humor and she slowly starts to adopt it and starts talking smack about her targets to her targets faces without them realizing it. Over time, it just inserts itself into her sense of humor.

Just-- them giving each other pieces of their lives-- ah sHIT NOW I NEED TO MAKE A DILUCS KIDS VERSION OF THIS AUGHHHH

Awww this so cute.

I also love the idea of them becoming stronger and better people by the little habits that others have brushed off on them. Like Ayato's less of a jerk, Diluc is more careful, Yelan is more trusting, and Shenhe is much more comfortable.

[starrrmaaaaaaan]

Please and thank you

[sirenalpha]

So one of the things I wanted to talk about with the RK adaptations is tone

the manga got criticism for being too mature for a shonen audience

but the manga actually does have a sense of humor and doesn't take itself 100% seriously all of the time, not all of the jokes land and it does get more serious, but it still has a sense of humor even during a flashback to the Bakumatsu

like this is Kenshin a year into being an assassin having the worst time of his life so far and we've seen him kill multiple people on screen now including just the chapter before, and here he is face planted and bowled over

I like the tone of the manga, it's probably the best thing choosing to be shonen does for it

and after the anime, it feels like all the adaptations ignore this

it's literally the one complaint I have about Trust and Betrayal, it's such a close adaptation of this particular section of the manga but these little bits of humor are entirely removed and like maybe as a stand alone piece the tone it did take is the right one but it isn't a stand alone, it's an adaptation

it feels like it got on the grim dark wave a little early and that bled into the rest of the adaptations where that tone really didn't work because the whole point of the Meiji era in the manga is that it's a better time than the Bakumatsu

the live action movies are slightly better in tone because they're like yeah we can have some humor, but it's just going to be Sano being an idiot we're going to take ourselves seriously

and I take issue with this difference in tone because it's characterization problem

as soon as an adaptation decides that it's serious, Kenshin's sense of humor is the first to go, it changes who he is as a character

in the manga, Kenshin makes fun of Kaoru's cooking and tugs on her ponytail and fakes a groin injury to get out of a fight and side eyes people when they call him a recluse and gets into stupid shit with Sano and complains like a kid about Hiko's teaching and delivers one liners both badass and cheesy when he gets done doing a cool move and it matters that he's not only genial outside of battle and stoic or angry during battle, he has a personality

and beyond it being part of his characterization, it provides continuity to his character, the manga (unfortunately imo) starts the series by almost treating Kenshin slipping into bad habits during battle as if he is becoming Battousai like it's a separate personality, but that dies down over time and when you get to the flashback and you see Kenshin face planted and bowled over you see that even during the Bakumatsu and performing assassinations at night, Kenshin is still Kenshin

Trust and Betrayal removing Kenshin's humor is the most forgivable as its in the Bakumatsu and doesn't need to concern itself with continuity of personality with Kenshin

Reflection is forever and always unredeemable and the New Kyoto Arc honestly Kenshin's like barely in it somehow so like whatever

but the live action movies are much less forgivable, after rewatching them I don't like their portrayal of Kenshin at all

like they'll allow some humor (more than the OVAs at least) and let Kenshin be smiley as a rurouni and say oro when weird shit happens, but the only humor he's allowed to have is a little physical comedy when he's pretending he's not as good as he really is

except in the movies when he's doing that, it kind of feels like the movies are making fun of his attackers (Kaoru and Misao stand out but it happens to Sano too) because Kenshin's not allowed to be an idiot in the movies, he has to be a cool hero all of the time

like in the manga, Kaoru ends up seeing the sakabatou because Kenshin straight up jumped backwards into a fence and it's quick and treated like his mistake, he didn't know what was behind him when he jumped and that's his introduction, this dude's super good at killing people watch him prove it by immediately bashing his head on a fence

in the movie, there's no obstacles around them save a tree, it's a much longer scene, and it's choreographed like a Buster Keaton routine except Kenshin doesn't seem particularly fast so it makes Kaoru look extra pathetic for not catching him, it changes from Kenshin making a mistake to Kenshin messing with Kaoru and it's not the intro, the movie has already set its tone and Kenshin's personality and vow have already been established even if he hasn't fought in the Meiji era at that point yet

I would just like directors to stop making humor the enemy of good characterization and storytelling, like the only options are not grim dark or MCU quips I swear

[unproduciblesmackdown]

another nd realization like i’m always going “it’s better when there’s an Ensemble Comedy & no ‘relatable’ audience standins or fixed Straight (comedically) Roles imo like why do we Need the back and forth where someone’s clearly doing the sillier / more spontaneous / Not Ordinary thing & someone else is just weirdly flatly Pointing Out like ‘hey...This isn’t normal’ or otherwise issuing Bemused Reactions questioning How this makes sense or Why it’s happening” like not only does it make everything less funny to me imo but i’m like why would you even like, react like that, even in a clearly fictional scripted situation why would it seem Normal for someone to just like insistently react Only in this way or act like they cannot function in this situation / they simply can’t wrap their heads around it

i find it all the more exasperating irl lol and then like ah right i mean i Guess nt people can learn how to be funny, man, but also like got it, it’s also clearly another manifestation of like dealing with The Brick Wall of [this is The social approach & if that’s not what other people are playing at you truly cannot adapt at all to their routine (except Maybe to recognize Goofarounding & only react by laughing / being the Audience)] in the way that you know, it’s like wow autistic people are so rigid & inflexible (as autistic ppl mask all the time / have to try to learn how to best accommodate any/all allistic individuals they interact with; & allistic ppl react to talking to an autistic person with kneejerk assumptions that’ll never be changed, hostility, &/or disinterest / rejection / exclusion, & think that their individual social approach is the sole correct one that they’ll never be changing, thanks) & oh autistic ppl lack Theory Of Mind & are never realizing that someone’s mind doesn’t work the exact same way as theirs (while autistic people Know there’s this lack of alignment from experience, vs allistic people unknowingly misinterpreting shit through their own lens & assuming their “oh this person Must have meant xyz by abc behavior” is immutably correct & never that they might be wrong abt this other person’s thoughts/feelings/intentions actually, and even if Knowing someone’s autistic & thus having some concept that they operate differently it’s like oh so it’s a Lesser version of how I operate then? & they should learn how to think like me? right)

anyways it’s also like obviously getting some more control over your situation if you’re being “weird” in a way people have a framework for like ohh a Joke, i see lmao, various reasons people might try to be The Funny One and/or just like connecting / communicating via humor & having a capacity to do Unusual things on purpose, since they also already exist weirdly / wrongly anyways, and the various reasons they might be seen that way.......like why do i find it irritating to like do anything silly & get the [i am being the straight person here] response of either essentially pointing out it’s Weird / not how things usually work! or Only laughing is like, yeah i already knew it’s b/c like cmon someone get in on the Bit, is the hope here, what was the point if that ball’s completely dropped. like i’m seeing it as a way to have an Exchange, not have a monologue moment (although if i Am monologuing it’s gonna be theatrical / trying to be humorous/entertaining while i am) or so like, not Just this one sided moment, it was an invitation to that Exchange with a clearer setup like, here’s how you can operate at All closer to [on my terms] than like, an nd style group convo which doesn’t really work great lmfao, like being Funny = not small talk, not only/mostly Listening, not getting distracted anyways thinking abt xyz or Knowing if i talk in earnest abt info i have it’s like oh well that’s too much if it’s an interest, that’s also too much if it’s like relevant trivia/fun facts, etc etc. and of course that your being Odd is more resented if you’re just hanging out / trying to participate the way other people are, vs like ohh they’re odd in the good, at all deliberately funny way, that’s more acceptable lol

and like the [smh]ocity of getting along more easily w/people sometimes if they’re at all drunk b/c ppl will get more vivacious / spontaneous like well woe to you but that’s just my usual shit wherein like, the other side of that is someone like oh those antics you were engaging in?? were you drunk lmao??? like no, no i was being myself & engaging my Personality. live a little. you gotta learn how to be funny, man 

or at Least just learn to roll with it or god forbid Only have the “lmao” response to other people being spontaneous / silly / responding to something in a way you don’t find Makes Sense / wouldn’t be Your train of thought

this is very much most directly inspired by that text post reblog chain about the dna & someone copy pasting a genome & the other person is like awhat........why would you.......huh..........how..........who........... and the other person explains it like yep a little bit nonsequiturry but the connection is clear & everyone was already joking around, makes sense. with the Other belabored “but............Why” & the final “eh” like i think it’s funny in that i think the copy / paste dna sequence side is fun but i find the Other like “wha??? why????” side Exhausting lmfao, or let’s say, tiresome. but it makes me go “oh yeah, back to the concept of [the Normal One who goes Wha Why Omg] in comedy scenes that i find tiresome & impeding the humor, i guess that just is how plenty of people would react lol” still think it’s unnecessary just full ensemble comedy, anyone can play off of another character or play Against them, we don’t need the person throwing up their hands & looking at the camera quite that hard

[suckitsurveys]

What’s the most worthwhile thing you’ve done in the last year? I went to a bunch of comedy shows and concerts last year and honestly had one of the best summers I’ve had in a while.

What foods make you want to gag? Nothing, really. There’s a few things I don’t like but it doesn’t make me gag.

Do you consider yourself to be organized? Yes, I do.

Have you ever made out with someone? Yes.

What time do you get sleepy? Always.

What music do you listen to? A buncha different stuff.

How old were you when you started to walk? A little before 1yr.

Which member of your family do you get along with the best? My dad.

What cheers you up when you’re sad? Kitties, watching TV, my husband, food.

What do you sleep in? Tshirt and undies usually.

Have you ever tanned topless? Nope.

Wear jewelry? Yeah, earrings and my nose ring mostly. Sometimes chokers and necklaces and bracelets.

What’s something you’ve been told you’re good at? Planning stuff.

How much can you eat? A lot.

What’s the furthest away you’ve ever traveled? SLC I think?.

Are you a cat or dog person? Cat.

Have you ever done drugs? Just weed.

What does your room look like? It’s cozy and taken over by cat trees lol.

Recommend a really amazing book. Nah.

Recommend a really amazing song. I’m really into Olivia Rodrigo right now so anything by her.

Recommend a really amazing movie. Wet Hot American Summer.

Who’s your favorite actor/actress? Paul Rudd, Aubrey Plaza, Will Arnett.

Have you ever run away from home? No.

Do you exercise ever? I do. I’ve been going to the gym every day except Wednesdays when I do an in home work out.

Do you like your hair, the way it is and the colour? It needs to be dyed again already. I wanna do something dark again before I go to NYC.

Do you have any friends named Baloo? Or is he just in the Junglebook? I don’t know anyone named Baloo.

Are you a Disney movie fan? Sure, I have ones I like.

Do you eat seafood? Yes. I LOVE seafood.

When was the last time you cried? I think I got teary eyed over a tik tok the other day.

Do you have good working habits? Hahahahahah I’m literally doing this survey while I’m at work. And the other day I almost missed my time to clock out because I was talking to someone.

So where the hell do you want to go in life? I don’t know.

What are your boundaries? I have different ones for different situations/people.

What are some of the funniest things you can think of? certain SNL sketches or stand up comedian bits.

What are two quirky little things about you? I hate self-describing things as quirky.

Are you claustrophobic? Not really.

Do you like getting wasted? Not so much anymore.

List three things that you look for in a friend. Good sense of humor, similar values, ability to put up with my hyper-fixations hahahaha

Do you prefer Angels and Airwaves or Rhianna? Eh.

What religion are you, if any? I’m not.

If your house was on fire (and your family escaped), what would you save? My kitties, hands down.

Do you have any sash belts? No.

What do you have on right now? Include everything, nail polish, makeup, etc I don’t feel like listing everything.

Does caffeine make you hyper? I don’t think it does jack shit for me.

[goddamnwebcomics]

So, what grade or rank can you give the humor in each of the webcomics you've riffed on this blog so far and why?

Humour is subjective, so I am not gonna give it a grand presentation or anything, but here is humour of every webcomic in this blog ranked from worst to best.

Spinnerette: This comic's humour is just...abhorrent. Every attempt at comedy and quirkiness fails so hard. It's all pop culture references, fourth wall breaks and characters that have a certain quirk forced upon them with a fucking hammer. The only thing coming close to resembling comedy is "You do pack quite a lot of ass for a white girl", but you're not laughing with it, you're laughing AT it. You know it's the worst humour on this blog when the only funny part is only funny because it's so fucking unfunny it loops back to being funny.

Chugworth Academy: Probably the worst comedy in this blog that isn't from Kraw's comics, a lot of the humour in this blog is pretty much "lolrandom" or teen sex jokes. At best, you're just left asking "what is the joke". It has a really dirty feel to it, even without knowing what Dave Cheung will do to teen girls in his other comics.

Warmage: Warmage's attempts at humour and in general Dumok's sense of comedy is GODAWFUL. Take the quippy Marvel humour that was revolutionary at the time and combine it with Chugworth Academy's humour and all you get is characters talking about their asses and shooting cum in their mother's face. Ugh. It's a good thing this series tries so damn hard to be melodramatic it doesn't spend too much time on tickling the funnybone, or funnycock because GEDDIT??!?!??!?!

Kit N Kay Boodle: Kit n Kay Boodle is all sex jokes...except when it isn't. The whole comic is surprisingly serious, especially after the first few chapters. When it does try comedy however, the comedy is really really repetitious. Like remember that piece of shit dog who just kept masturbating and didn't answer the phone? Everything about her fucking sucks. Maybe it's better this comic was a pornocratic drama most of the time, because at least there is some unintentional comedy with some of the seriousness.

Carnivores: Carnivores's comedy amounts to "funny pop culture reference", "gore joke" and "something copied from a better thing. It's also surprisingly meanspirited at times, most deaths outside of the deaths in Death Note arc and the Son and His Father Get Lost Arc are often treated as something funny. Also, one of the first jokes in the comic is a shit joke, need I say more. At least it's not jokes about teen sex.

Console Girl: Take Carnivores's pop culture humour, add in few cliche anime jokes and fetish jokes and we're all set. The humour is bad enough it holds most of the serious stuff down.

Carry On: Carry On's comedy stylings are baffling to me, most jokes amount to main character yelling, an obscure furry inside joke, and setup that is so painfully obvious from the first panel you forget to laugh at the punchline. Carry On was probably a laugh riot when it was first released, but it feels like a whole bunch of inside jokes combined with a whole bunch of jokes that aren't...jokes. That being said the reason it's above Carnivores is Daddy Giraffe who is arguably the funniest character in the comic and has provided some good punchlines.

Monster Girl Academy: Meme references, pop culture references, some of the worst, most atrocious fucking dogshit comedy on this blog by a country mile, and yet this comic STILL manages to have some funny moments and out of context lines that are chuckleworthy. If this comic didn't have stuff like the crying and praying spanish girl, Zack shooting himself in the eye with cum and "Shipping up to Boston whoa oh whoa oh", then this comic would be much lower on the list. I feel dirty ranking MGA this high.

TwoKinds: TwoKinds's comedy is pretty inoffensive, I hate the jokes about sex but they're less...overtly sexual? It's from early 2000's and written by an 18 year old. It's not gross like some of the earlier sexual stuff, but also there is an attempt at humour. I guess it imitates all the lewd stuff from ecchi, which doesn't really go that overboard like the more explicit comics I've riffed.

Las Lindas: "Las Lindas has humour?" was my first thought. It's so goddamn forgettable, I can't think of any jokes that stood out besides the "Digit feels Mora having sex" joke, "Randall likes shopping clothes" joke and "Idward's that time of the month" joke and all also all the "Mora gets drunk" jokes. It's probably the most middle of the road in terms of comedy, nothing offensive but nothing funny either. I guess Tootsie driving into a river was funny.

Roommates: Again, "Roommates has humour?". Yes I can only think of the scene where a guy gets his dick slammed, which is more painful than funny, but also there is Captain Peregrine, is that supposed to be funny? This is probably the comic with least amount of comedy in it, so it's probably better it doesn't try to dwell in comedy too much.

Bloody Mary: This comic is also surprisingly humourless, outside of Johnny Test swearing, Roger from American Dad swearing and moments of Mary snarking. It's really strange how a fancomic based on several comedy series seems to not have any consistent moments of comedy in it. So yeah, the three most serious comics in this blog are a porn, fancomic and a porn fancomic.

Daisy's Fall Apart: Daisy's Fall Apart's humour at worst is Chugworth Academy level inappropriate sexual humour but it has had more than one funny punchline, it doesn't TOO OFTEN rely on now-cliche Mario parody punchlines either.

Gene Catlow: Most of the humor in Gene Catlow is unintentional. Matt can sometimes be pretty funny, but other than that I can't really think of any times this comic was laugh out loud. The humour is more clean compared to other comics, aside from a few "geddit it's sex" jokes, but it's only implied, rather than directly stated.

Dominic Deegan: I feel bad for ranking this comic so high, because this comic at some point treated alliterations as punchlines, the jokes in general are pretty repetitive and sometimes are horribly timed, but there have been more than enough times a punchline has actually made me laugh and there is at least an attempt in comedy.

Alien Dice: Alien Dice's humour is often sort of awkward, and relies way too much on chibi faces, even during moments that aren't supposed to be funny. However, the humour is always preserved for lighthearted moments, so it's ranked way higher than other comics.

Peter and Company: Honestly, when the focus isn't on clownshitters and characters being assholes to eachother, the comic is actually funny. Like when the comic doesn't try too hard for the comedy it's really decent. Good job P&C, you created the unfunniest character in the world that is Korgar, yet still you're the funniest comic on the blog.

[hedgewitchh]

growing pains are an interesting thing to consider, especially since i've always been a bit of a late bloomer. and i don't mean the literal kind necessarily, moreso the emotional and social sides. sure, the first puberty results in a ton of new physical sensations and shifts, but you can also see a grander sense of self arise as well. except middle schoolers don't quite have the practice at being a capital p Person yet that comes from years of having this social awareness under their belts. so they're bumbling, awkward, brash, shy, and so on.

i am going to do my best not to ramble too much. each time i go to start a new sentence i think of three things i want to say simultaneously and its resulted in a number of meandering paragraphs with no purpose (like this one ;p). i trust anyone who reads this (if anyone even does (not that it really matters)) to be able to do so without my millions upon millions of disclaimers and elaborations and vain efforts to contain the entire scope of my thoughts as well as their infinite addendums that strive to acknowledge the depth of discussion that i am not engaging with, because if i didn't allow myself to just fucking say the thing i would be here typing until the heat death of the universe. holy fucking shit dude that's all only three sentences. physically restraining myself from deleting that entire post-intro preamble and MOVING ON

so. i was a late bloomer. i've always struggled with this. the people around me seem to move through life at a pace i'm not quite capable of. i remember anxiously waiting for hair to finally start growing on my body years after my friends had fallen prey to voice cracks and gangly growth spurts. between this and my short and scrawny body i've always had a bit of a complex about my masculinity. it felt like something that others found very natural and yet i was constantly having to work to maintain mine. i once got very upset at a girlfriend who would not stop calling me cute. i wanted to be handsome, i wanted to be hot, i wanted to be desirable and respected as a Man. cuteness reeked of femininity and emasculation, of a debasement that felt awfully validating of my inkling that my grasp on manhood was tenuous at best. it's bad enough to think it, but now other people thought it too, and worse, they Liked it

as i got older i approached this issue by carving out a niche into masculinity that felt more comfortable for me, as opposed to trying to live up to an ideal that i didn't fit into. i began taking pride in looking bad. i grew out my facial hair despite being very aware that it was sparse and scraggly and unseemly, clad myself in garish, loud and clashing clothing, and played up my voice cracks for comedy. being me became a comedy performance, and it was around then that i think my fixation on finding social acceptance through humor really blossomed. i found that if i discarded my shame and made myself a spectacle purposefully, it became a kind of confidence that many people were attracted to.

this isn't to say that i didn't find genuine happiness in these things, whatever "genuine" means in this context. making people laugh made me very happy! it's satisfying, and almost nothing on this earth compares to a strong audience reaction to a piece that is honed as closely to perfection as possible. i took to theater like a fish to water because i think that i carried that infamous fourth wall with me anywhere i went. i was content to plop it down wherever and whenever i felt and make myself into a kind of show. behold!! an iconographic class clown, the ever-watched ADHD wonderboy! David himself is democratically constructed in the purest fashion! go ahead dear audience member, cast your vote with nothing but a laugh, and see as your pleasure becomes flesh manifest.

i'm getting pretentious. i'll back off it a little. the point is that i've spent a very long time struggling incredibly hard to figure out who the fuck i even am. i am obsessed no longer with an ideal of masculinity for my fixation is now one on an ideal of the self. as i say that i think that they are the same hunt, merely with different labels. it just so happens that i've found masculinity no longer essential to defining who i am as a person.

my egg cracking feels very similar to that middle school awkwardness. i can see in my younger brother, who is about that age now where he has begun to conceptualize the world in firmer terms than however the fuck a four year old does it. i watch him fumble about and play at a burgeoning sense of style (inspired by the perceived men around him, including me, funnily enough. i've lent him shirts and accessories of mine a number of times now) as well as dig deeper into what he wants out of life at large. his future career is no longer a mild dream but a goal to be worked towards, and with that comes both self-actualization and the growing need to define a goal to fulfill.

i also am going through the hell of puberty once again, even though the hormones haven't come yet (working on that though, fingers crossed on my HRT consultation going well and my anxiety not making me shit myself to death about it all). but even then, isn't that the norm for me? to experience that social awakening and then have to wait for my body to catch up? i'm a bit of an old hand at this song and dance, which one would hope means i'm more adept at it than otherwise. that doesn't really seem to be the case, however, hence the growing pains in question. i've become once more painfully conscious of my body and voice and self and expression and the way that the world interprets all of that and paints a picture of me in response.

it's.... harder now, even. maybe that thought is born of the distance between the me now and the me who yearned to be a proper Man, but in this case i am striving to break out of both that masculine box and the box that i've constructed myself independently to cope with it. there's a russian doll of eggs to crack here and they only become more intimate and raw and tender as i make more progress. instead of this threshold crossing becoming one in which discomfort is assuaged by the crafting of a persona, it is one in which i escape the comfort of falsehood and attempt to come down from my stage and be "me". how terrifying! what does that even mean!

there's a concern in the back of my mind now. one that wonders if chasing femininity now is not just another side step into a box. even now, on the eve of being twenty years old, i have not really figured out what it means to be content or happy with something. it's hard for me to conceptualize joy and to recognize it as it happens. or perhaps i can recognize it, but acknowledging it is what is hard. because it is true and real and things that are true and real are a little foreign to me. i'm making strides to remove the performative filter and in doing so exposing myself to a world of sensations, and well, it's overwhelming.

it would be easier to stop. it would be easier to sink back into this role and play the part of David the Man.

but just as much as i hope becoming Lily will be "good" for me, i must consider that remaining David will be "bad".

it's aggravating that there is no real way to quantify this, but that's just sort of how the cookie crumbles i guess.

but for now i am Lily. my name is Lily. my friends and family all call me Lily. i am a girl, even if i don't look the part yet, even if the painting that the world constructs based on the input i give it contradicts this idea. because that painting has always been wrong anyways. it's always been subject to my own manipulations and i am well within my power to separate my Self from it, because that's how it's always been anyways.