#gotta produce content for an audience of me myself and I | Explore Tumblr Posts and Blogs

tacit-semantics · 2 years

Text

It’s 3am which means it’s finally time. Dirk OCD posting under the cut. cw for in depth descriptions of compulsive behaviors regarding scrupulosity (moral), violent intrusive thoughts (alluded to, non-graphic), and contamination, as well as mentions of self harm. If you’re prone to picking up obsessions or compulsions through reading about them, I would suggest skipping out on this one

So first of all I wanna say that this is not intended to function as a set of assumptions/inferences that point towards dirk having ocd in canon so much as a set of ways in I, as a person with ocd, saw myself in him. It’s a very… enthusiastic headcanon of mine though so this switches back and forth between long winded babbling and then its canon inspiration depending on how excited I am at any given moment. Also, disclaimer: ocd can manifest in a whole bunch of ways, and a lot of them are super specific to the person in question, which is to say that I’ll be drawing a lot (but not entirely, on account of the fact that there’s very much a limit as to what I’m willing to discuss regarding me specifically) from personal experience for the sole reason that that’s how I best understand the disorder. Now, getting into it!

- first things first: he’s got scrupulosity obsessions, I think, specifically moral. Very, very afraid of hurting the people close to him, which in turn manifests as a sort of hypervigilance in everything he says and does. I think that in this context the knowledge of Bro would be equally devastating and necessary in that he’s concrete proof of the worst case scenario, and acceptance of that possibility is necessary to overcome ocd, but also like. I don’t think theres much in the way of mental health accommodations on post apocalyptic earth (much the same as current earth actually), so in practice this would just be Bad.

- speaking of hypervigilance: his attention always being split between his physical body and his dream self reminded me a lot of how a solid chunk of my brains processing power is always devoted to various bullshit, even if the rest of me’s working on autopilot. I also think he’d be the sort to assume that not anticipating a threat to his loved ones counts as a failure, so he’s always on guard/trying to stop things before they start/jumping at shadows, effectually. For me this manifested as a contamination fear but I don’t think that would track here I think he’d be more along the lines of trying to predict his loved one’s actions and putting out imaginary/preemptive fires accordingly

- this would also work well with his fear of manipulation I think. Like he’s so worried about his actions being controlling that he tries to prod at THEIR actions to ‘protect’ them from him which ends up as a sort of bizarre self fulfilling prophecy

-information hoarder. He’s taken the tests, he’s read the articles, he knows what’s wrong with him (he thinks) but also doesn’t want to use it as an excuse (he thinks) and also gets thrown into spirals when his actions don’t match up exactly with the information he’s gathered. I also think it would be fun to try and puzzle out mental health bullshit through the juggalo-internet. Not fun for him, but for me thinking about it

-hal is basically an extended study in rumination. Dirk needs definitive proof of himself and his motives, and well. Hal is not that, but I can see how he might have been intended to serve that function

-reassurance seeker but like in the way where he continually asserts to other people that he’s bad. In his mind this functions as a warning so that they know to be on guard around him. He worries about this being a sort of manipulation too, of course. Nothings ever easy.

-this gets more difficult when he goes from living alone and isolated to living with other people, I think, because now there’s an added layer of ways he has to worry about hurting them.

-if you didn’t know, a super common way for ocd to manifest is (unwanted and frightening) intrusive thoughts about hurting others in one way or another. I think it’d make sense for him to develop obsessions like these once he starts sharing physical space with other people. Like meals and the like he’ll just be sitting there zoned the fuck out because he’s monitoring every single urge and thought he has so he can ‘restrain’ as necessary

-also think he’d still be Constantly Aware of Everything, Always, even when he’s no longer splitting his consciousness in the literal sense. The thought process might start with something like noticing a chair is slightly wobbly and immediately having to fix it because otherwise it might fall, and if it falls when another person sits in it it’ll be his fault because he knew it was wobbly and didn’t do anything to fix it, and then he applies that thought process elsewhere and it escalates

-the thing is is that all this escalation happens pretty quickly because it’s a very intense set of feelings that you’re sitting with 24/7 so like cut to a month later and he’s pushing cups of water to the center of counters because otherwise they might spill and someone’ll slip and it’s HIS job to make sure they don’t, he’s repeatedly checking food over to make sure nothing’s wrong with it, he’s mapping everything he’s touched in the past week to see if he’s done anything bad or wrong, etc etc. these just keep getting increasingly more disconnected and bizarre like shit gets weird and frankly it might not even register for him that what he’s doing is irregular like from the inside things can seem as reasonable as they’re not

-that said, once you take that hyperawareness and ramp it up in reference to like everything, you realize that it just… isn’t sustainable, which means that at some point he inevitably‘fails’ and that goes as well as you think it does. Like on a good day he dismisses an ambiguous dot on a piece of bread as an obsessive quirk (maybe because he’s tired from other compulsion sets or something it happens) and then two days later someone accidentally eats a bit of bread before realizing there’s mold on it and well now dirk can’t get up from bed for the next three days sorry

-I think there’s a lot of really interesting things to say in terms of control here too. It’s all a bit ironic of course, as in something out of your control making you feel in control even if just for a second, fear of imposition taking a turn into imposition with a different motive, the distance between motive and action for that matter. I am getting off track.

-also dirk strikes me as the sort to have a comprehensive list (either written or mental) of every bad and ‘bad’ thing he’s done, ever. Regularly combs through his memories to see if he can think of others, and considers them obsessively both within and outside of context

-also just. That one convo he has where he’s talking about drowning in himself. I love that one

-physically, think he might scratch himself during panic attacks. Lot of self harm urges (head banging, eye trauma) but those don’t bother him nearly as much as his fears of hurting others. He’s unsocialized as fuck, and I think that as such he might not necessarily realize that he processes distress and anxiety in harmful/irregular ways

-I also wouldn’t be surprised if there was like this super noticeable gap between how he perceives himself and how other people perceive him too that’s pretty common. I don’t think he would have a fear of people finding out that he’s ‘bad’ by his standards though for the sole purpose that he assumes they already know

-Anyways from there it’s just like a various grab bag of related bullshit/uncategorized neuroses and obsession/compulsion sets. I think he has trich and maybe dermatillomania too. Autistic, definitely. Probably some other stuff. Comorbidity king. Sometimes he has to finish a compulsion set to sit down but he just finished a different one and is too tired to start again so he just stands on his phone for an hour. Has weird stress dreams. Bites his nails.

-all in all, ocd tends to latch on the things you care about- hence why so many intrusive thoughts are so ego dystonic, hence the fixation. Dirk, in canon and in this spiel here, loves the people he loves very much and just does not want to see them hurt and- unfortunately- sees himself as a threat thus. Well all of this.

-this concludes OCD dirk hour. If you have anything to add, please feel free! But also please be respectful about it, especially considering the subject matter.

EDIT: wrote a sequel to this, found here. It's not as put together as this one, but it's definitely a thing that exists

#let’s get INTO it #gotta produce content for an audience of me myself and I #seriously though dirk lends himself well to natural extremes which means he also lends himself well to UNnatural extremes #extremes is what I’m getting at the boy has no chill at all #dirk strider #homestuck #headcanons #tacit rambles #unsanitary #ocd headcanons #granted I do often wonder how they would go about like. dealing with this post canon. like they’re all what 15 what are they gonna do #therapy of choice for ocd is erp and that’s like you need a specialist right so what then. what do you do #I’m an unfortunate optimist in the ‘where there’s a will there’s a way’ sort of way but even I’m coming up short #well severity does tend to fluctuate but like it’s so so pervasive and frankly an absolutely ridiculous way to live #so like ?????#food mention #ocd dirk

209 notes · View notes

rigginsstreet · 2 years

Note

I’m sorry in advance for venting but your blog is really refreshing because you say it like it is and there’s no need to use overtly complicated and polite language just so some ppl don’t lose their shit.

Anyway. I’m not even starting on St*ddie (I could go on forever) because honestly it’s clear that the D Bags and other producers or whatever knew that the ship/interaction between the characters would appeal to the audience and bring more ppl to watch the show, because it is just a cutesy little ship with no conflict whatsoever (which, y’know…boring af), so there’s no one trying to play the social justice warrior when they are shipping St*ddie.

But one thing I also don’t understand is the obsession over R*nance? Maybe it’s because I don’t like any of the Wheelers and how they are coddled every second of the show. But I just don’t see the appeal either, especially with the whole “let me help my friend try to get back to his ex” type of dynamic the group had.

Like, I get it, people want more LGBTQ+ rep, I want it too, but insisting on Nancy? I just honestly don’t get it. Like, whether the fandom admits it or not, sure Nancy can shoot guns, but she is still an entitled suburban girl. I don’t think Robin would go for her after her crush on Tammy. Not that Tammy and Nancy are the same, but still. If people want their rep, they should stop settling for crumbs and shit that just doesn’t fit.

And like maybe I am a bad sister or friend for this, but it’s getting so tiring listening to my sisters and friends raving over these ships when I just find it extremely dull. But god forbid I talk about Harringrove with any of them, since they fell for the “Billy is the ultimate villain” bullshit. But like…at least Harringrove has complexity and way more depth, so much potential. Idk.

Anyway. Thank you for being unapologetically honest! Again, it’s very refreshing. I really enjoy your blog!

Oof you hit the nail on the head about r*nonance.

I never like popular femslash ships lmfao content for femslash ships is rare enough and I always gotta make shit more difficult for myself by shipping the LEAST popular thing, just making up my own shit entirely 😂

And yeah it’s definitely because people so badly want femslash ships and get nothing so when they are served the barest of crumbs they go crazy. And I just… do not succumb to that way of thinking. Because above of all else, I want to be entertained ALSO I don’t just go around putting queer labels on characters for the hell of it (sometimes I do as a joke but right now I’m talking about when I’m actually shipping something) I have to actually see context for it within the narrative. And I know some people don’t like making it that deep and just wanna have fun but that’s just not how my brain works lmao things need to make sense to me

So when people start trying to make Nancy goddamn wheeler of all people queer it’s like…. She isn’t. Even remotely lmfao I know everyone’s all excited robin finally had a female to interact with in I guess a significant way but this is not the move it is not the vibe lmao

As far as your friends and sister go… talk about harringrove all the time. Walk into every conversation starting with harringrove. That is your right lmfao I’m so serious.

I only have one irl friend who is into stranger things in a remotely fan-ish fashion and she’s a big Eddie fan and she knows I love billy and we have this jokey beef going on but she hasn’t brought up anything about him being a villain to me… probably because we’ve been friends for over 10 years and she knows good and well my habit of latching onto whatever character has the worst personality 😂 she knows not to fight me. Which is my other advice. Be so annoying in your arguments that people eventually learn to shut their mouth around you. I condition everyone in my life to do this and I know peace because of it

#briana answers things

10 notes · View notes

sanstropfremir · 3 years

Note

I’d love your thoughts on BTS and their current image and music if you have them and aren’t afraid of the mindless internet hoards.

Personally, I liked a lot of their older stuff, but haven’t liked anything since I think the Fake Love promotions 3+ years ago. They’d started losing their personality and soul before that album cycle, but it feels like the sanitization of their image and artistry really kicked into hyperdrive after that. Now most of what they do seems like a sterile money grab driven by the Hybe hive mind which is a shame.

ok alrighty (cracks knuckles) let's get into it.

now that i've fully given myself a headache watching the majority of the bts videography, here are three points i'm going to cover:

performative character and the lack thereof

interesting aesthetics and the lack thereof, and

the inevitable cracking of perfection

ready, set, let's begin.

idol music is very clearly definited by spectacle based aesthetics. and it's had that structure for its entire existence. so i gotta hand it to hybe for this one, because they managed to revolutionize being utterly fucking average. the triumph of bts is that they're just some guys and they look like just some guys. hybe found a niche in the system and then gamed that system to the tune of one of the largest musical acts in the world. they're not marketing bts as a romantic parasocial relationship, they're marketing them as your friends. and that is just as insidious to lonely kids as a run of the mill romantic fantasy. but that's not what i'm here to talk about today.

there's a pattern i find very interesting with bts mvs and that is that i don't remember anything about them. specifically, i don't remember the stuff that's happening IN the video; not the styling, not the setpieces, if i didn't know the members i doubt i would remember them either. what i DO remember, is how expensive the production is, and specific shots. i couldn't tell you what a single member was wearing, but i sure as hell remember that first upward angle shot of jungkook and the rusted park ride in spring day. or every single time they do that birdseye shot of jin in like every video. honestly as far as i'm aware jin has only ever worn a loose fitting beige longsleeve shirt.

it took bts a long time to establish any kind of consistent visual character. and the character they did establish.... i don't know if you can call a family-friendly-style clean aesthetic 'character'. they debuted as a hip hop group to little (comparative) success, and then made a switch to doing an early version of where they're currently at right now. if you've seen any of the mvs, you know that this is a pretty significant visual change. i don't think it is inherently a bad change, since the visual branding for hiphop based groups always tips over into iffy terrritory, but it is dramatic enough and early enough that it doesn't strike me as a natural evolution. concept switch ups are common, but they usually work because the members have established a bit of character for themselves, used their performance abilities and presence to fit into a niche in the group. the idol mould is perfect for showcasing the performers; that's its function. the groups that are the most fun to watch are the ones with stage presence, the ones who know how to perform, who can act all the parts they need to play. and bts? 4/7 actual performers on a good day. in my personal opinion it's 2/7.

i'm gonna expand on what i said about jimin here (this is technically the first part of this series), because it does apply to the rest of the group on the whole:

and i think here is where we see the main crux of the difference between taemin and jimin as performers: taemin has both an artistic and an idol persona. we know and understand him to do solo work that has a separate artistic meaning to just him being an idol. even though this performance was pre-move, i would still say this applies, because he's hot off press your number, where he's acting in a story based mv. jimin on the other hand just has his idol persona. he's not known for creating the same kind of storytelling that taemin is.

bts has been very insistent on the image of the group as a single unit. despite having the size of fanbase and the revenue that would make any official solo debut a massive success, none of them have done any substantial solo work. this isn't artistically a problem, and i think it's very admirable of them to be so dedicated to the image and the legacy of the group, when that can be an uncommon trait in the industry. i do however, think it starts to become an issue when we want to discuss what the artistic visions and images of groups are. shinee taemin and solo taemin have two distinct artistic representations, and taemin himself will attest to that. it's the same with all the shinee members that have solo careers, and the same with other groups. jackson, bambam, yugyeom, and jaebeom's solo work is all very different from got7. yixing's solo work is very different from exo's. even the subunits within exo all have their own character (cbx and sc). kpop groups all ostensibly are trained under the same system, so why the disparity with bts? mostly, it's their brand of "authenticity." it's impossible to perform authentically, by the nature of performance as a medium it is unnatural, and tragically, not everyone is naturally interesting, or suited to performing: that's why the performing arts even exist in the first place. it required painstaking training to be good at performing; it is a complex set of skills and those skills are not learnt by "being authentic." being an idol is not just the singing, dancing, rapping; that's only half the work. you need to be able to act to be a compelling performer. pulling your true self and emotions out on stage every night is a fast track to burnout and psychological issues, there's plenty of evidence. the only member of bts of whom i can say for some certainty has a persona and a stage presence is jhope/hoseok, a) because he's kept up a very specific brand in the solo work that he has done, and b) he has actual dance training, not just kpop dance training. the rest of them may have the kpop dance and the kpop vocal training, but what they do not have is the ability to market themselves as compelling performers on stage. taehyung is the only other member i would hesitantly give a semblance of persona and ability to, but i think he stumbled onto that mostly by accident. and if all the pieces don't each have a distinctive colour, how can the whole machine be visually interesting?

bts may never have been able to establish an aesthetic brand, but what they did establish is an intellectual one. if you talk to a fan, the schtick they give is that "it's about the lyrics." as noble as having an intellectual or cerebral message is, what does that look like? how do you portray intellectual on stage, on film? what about intellectual is interesting to watch? cerebral, by it's literal nature as a descriptor, is very difficult to communicate in visual language because it is internal. to successfully communicate cerebrality and intellect in a short form medium like music videos requires a deft hand with metaphor that can elude even an experienced designer. and honestly? i don't know whether to applaud hybe's visual team for being the most successful subtle contemporary designers i've every seen, or to decry them as worst kpop designers i've ever seen. maybe both. regardless, i don't think they're able to cross the gap.

there are exactly four mvs where i actually remember the content of the mv and not the frame it sits in, and those are dna, idol, the singularity comeback trailer with taehyung, and war of hormone. and of an eight year career......that's not very many. these four mvs have at least an inkling of interesting spectacle and character, but even then, it's still a stretch. there is absolutely nothing to write home about in the styling for dna, other than it's well colour matched. I don't even know if I should include singularity because it involves none of the other members. idol is probably their most interesting mv because it actually has alternative styling and varies (at least a little bit) from the standard hybe boom crane shot-that-shows-off-how-we-can-afford-big-studio-spaces-and-locations. the company and the group would be loathe to admit it, but war of hormone is a well designed and interesting mv for the time it was made, with a well crafted gimmick and some actual showing of character from the members. it was the start of a potential that they squashed quite quickly because it wasn't picking up in the hiphop-group-saturated market of 2014. but the rest of their mvs? remarkably uninspired styling. like it's truly impressive how boring the styling is. and like i've said, that is the triumph in their aesthetics: they all look like normal dudes (if you had professional skin + makeup techs looking after them for the last 8 years).

all of this is a carefully crafted image that's tailored to hooking an audience, especially an international one. the mvs are boring in the relative scale of kpop, but they're just different enough from a western pop mv to catch attention. and once you do sink a hook, there's a direct clickfunnel of content that bills itself on these men being "authentic" and "self-producing," which is a huge draw to international fans, because people are racist and believe that the kpop industry is a factory that produces idols like clones, where none of them know how to do anything other than sing and dance and all the music is just handed to them by companies. and they have SO much content that there's no way a new fan can get to it all in a timely manner, so they'll never have to engage with any other kpop artists' work if they don't actively seek it out. but that's another essay for another time.

that brings us to current day, in which at least the last five bts releases have been in the same aesthetic vein of positive, sanitized, and pristine. i said it in one of my txt responses and i will say it again here: money scrubs the humanity from the aesthetic of living. minimalism is for rich white people. hybe and bts may have pivoted their style and brand directly into the lane of mass appeal, but when you pair that with the amount of money funding them, there's a cognitive dissonance between the message and the aesthetics in which it's portrayed. some people do like the clean cut looks, and i won't say that they don't work, but as you've likely gleaned from this response, it isn't my style and if you've been around and reading my writing for longer you'll know that my tastes runs much closer to the messy and the weird, so very little about any of bts' visuals have appeal to me. i do find the contradiction of applying the appeal of radical relatability with the aesthetics of expansive (and expensive) minimalism interesting; it's an extremely fine line that hybe is walking and eventually they are going to tip over, the porcelain mask will not hold forever. maintaining the all ages aesthetic is going to be difficult now that all of them are grown ass men. with other groups of this member age and generation there's very obviously been a shift to a more adult tone, and not necessarily explicitly. got7, mx, nu'est, btob, shinee, 2pm, and groups that have older members like a.c.e and sf9 have all made slow shifts in tone that are undeniably aimed at a maturing audience: they know their core fanbases are aging with them and they (the fans) are not as interested in the 'boy' in boy group. and most of them have telltale visual styles, enough so that i can distinguish a specific group's mv. the last year and change of mx mvs have a very distinctive character; got7 too, since easily as far back as if you do. i can always tell an a.c.e mv by its impeccable fashion and formic styling, and although shinee has always had a more experimental aesthetic edge, their sound and voices are unmistakable.

honestly, i can't predict what bts is going to do in the future, but i personally don't believe they can keep up their clean aesthetic indefinitely without some fallout. part of the fun of following bands is watching them grow musically, and the last couple of years of bts haven't felt like growth. there are fans that have already started realizing it, and there's likely to be more soon.

---

the third part is here, which is a short followup about some of bts' industry influence.

#this is long one dear readers #a very long one #strap in #i've sat on this for probably a week now in the hopes my brain can make some interesting connections but honestly?#not a lot about bts is interesting in comparision to the rest of the kpop industry #personally i am of the opinion that lyrics do not matter in idol music and i am not interested in them in the slightest #and bts videos ARE extremely bland visually #unless you like looking at expensive production. whatever floats your boat i guess #they make a lot of sense as an entry kpop group but once you get actually into the industry there is SO much happening #which i talk about in the third part a little bit #this is way too long i am so sorry anon and everyone else who has been asking about this topic #im not entirely sure it's coherent at this point but whatever. its out there now #i wanted this to be under 1k and that emphatically did not happen #it is double that. why am i like this #875 #kpop questions #kpop analysis #group analysis #text #answers

42 notes · View notes

maxwell-grant · 3 years

Note

Odd-ish question. Imagine, if you will, that a new The Shadow film or prestige TV Series is being made. In your head, what's the trailer?

I gotta say, it was rather disheartening to learn in film school that most directors/producers/showrunners don't actually get to have much say in how their work is promoted, because, at least as far as I know, that stuff is outsourced to a separate team. I mean, I get why this happens, it's ultimately for the best, but it's still kind of a bummer to me personally since I do like making trailers and teasers (I do make my living as an editor and all).

I'm not gonna get too into what I imagine said trailer to be like, because it's one of those things I'd rather keep to myself until I get to make something of it, but I will talk a bit about how I think a marketing strategy for a new Shadow film or series could be like.

First and foremost, I think anyone who wants to tackle The Shadow, even just to promote him, has gotta understand what about the character works, what influenced his creation, what's he got that can be promoted, what can grab audiences, what can get them to stay, and so on. "Fandoms" nowadays rule the way media is consumed and sustained, and you see it especially in modern cartoons that live or die on the audience's devotion. That is one of the reasons why I made this blog, because I want the character to thrive again and I want to provide people with a catalogue of information they can dig into.

The Shadow was, for a decade and then some, arguably the biggest crimefighter of American media, figurehead of not just one but TWO mediums, and the only reason he existed at all was because Street & Smith's marketing ploy for a faceless narrator turned out far more successfully than they could have anticipated. That he's survived the total downfall of American pulps and decades of mismanaged adaptations, as still one of the most famous of all pulp heroes, is testament to how strong the original concept still is, the appeal the character held. I made this post partially to highlight that.

And first and foremost, is to build up the character. Take advantage of the fact that the general audiences only have the vaguest idea of what this guy is like, and treat him not like an old character making a comeback, but like he's about to debut for the first time. As I mentioned prior, 1930s radio audiences were enthralled by The Shadow not just because he was the most interesting part of the stories he was promoting, but because he was completely unlike every other narrator in radio at the time, a hissing disembodied voice taunting and cackling malevolently, taunting and daring you.

Think of the marketing strategy for Godzilla 1998, and the waves it made as, instead of just plastering images of the monster front and center, they built up the idea of Godzilla through ads like these, instilling in your head the concept of an unfathomably large monster trodding it's way into the city and wreaking devastation with every footstep, even if you couldn't see what it actually was. It was a particularly genius move because even at this point, most Americans had at least a slight idea of what Godzilla was, or they were at least familiar with the concept through parody or pop culture osmosis. So what the marketing did was break down and fragment the Godzilla concept, and gradually put it back together under the heads of viewers. The movie sucked, mind you, and that reinforces my point: It didn't turn a profit based on it's stellar critical reputation or a prior American following for Godzilla, it turned a profit because the marketing was that good.

Joker is another example of a movie that managed to do well by essentially "re-selling" you it's titular character and through incredible marketing. IIf the idea seemed beyond stupid and unnecessary to most people at first, the Joker trailer did such a fantastic job at selling people on the concept that it immediately turned a lot of heads around. In fact, the trailer was so good, I suspect most people who went into the movie already had made up their minds on it's contents based entirely on the trailer, but I digress.

The film dissassembled the Joker bit by bit, both in marketing as well as it's story, and gave each of it's pieces it's own story. From the laughter as a replacement for tears, to the clown paint starting off as a form of confinement until it replaces the face of the broken man within, to even elements such as the green hair, gaunt physique and fondness for colored suits, all of these got a story, all of these had a "hook", all of these were given significance separate from the history of the character as a franchise supervillain, all of these were made interesting in ways people would be interested in learning more about. Why does The Joker laugh? Why is crying? What's "Arthur" like? What's he gonna do on the show? What the hell is this film going to have to do with Batman?

It got people talking and asking questions, and that's exactly what you want your audience to do. Even for a character as old and overexposed as the Joker, the movie still succeded, at least in marketing, in presenting as if we were going to see him for the first time, to the point all the film needed to secure it's Batman connection was just the name.

And Street & Smith was doing this even back then, when they were in the middle of transitioning The Shadow from radio narrator to pulp crimefighter. They started putting out shows where The Shadow would take a more active role, they started getting him to show up in other programs, they put out this contest where they gave out small lines where The Shadow told a detail about himself, and listeners had to piece it together. The radio show was told as if The Shadow was a real, active person, and this was something carried over to the pulps. This was, mind you, before Walter Gibson got to touch the character, but it shows that right upfront, Street & Smith knew how to market this character effectively, through mystery and build-up. I think there are ways to do that nowadays even besides the usual avenue of teasers and trailers.

And if I was going to make a trailer, if I was in charge of designing a marketing strategy or video and so on for The Shadow, this is what I think needs to be emphasized.

None of the promos show his costume in full. We get glimpses of it, like a slouch hat and red scarf abandoned in the middle of a square as a public ad, intense eyes leering over an urban landscape for a poster. A popular podcast gets hijacked in the middle of an ad break for The Shadow, and they act like nothing happened. An entire teaser goes by, and in it, all you see from him in costume is a hand with a Girasol Ring. We don't know who is the actor who's gonna be playing him, we hear laughs in the ads but never a speaking voice. A different rumor is confirmed every week.

The trailers show us scenes of agents interacting, policemen looking for him, criminals hurting others only to run terrified. All sorts of cryptic remarks, or terrified statements. We get an image of Harry Vincent standing on a bridge with gloved hands holding him, and to people unfamiliar, they think The Shadow's about to throw this guy off a bridge, and the fans know better.

Some people think this is all unnecessary, I mean, they know who The Shadow is, he's a 30s radio vigilante who inspired Batman and who Alec Baldwin played once. He's got a girlfriend named Margo, he shoots people. What's the point of all this?

And then The Shadow starts to show up a bit more, and he does the things that people seem to forget he's capable of, for good and bad. And gradually, the trailers and teasers and ads start to unveil just how little general audiences really know The Shadow. And, hopefully, they start wanting to learn more.

#replies tag #the shadow #pulp heroes #pulp fiction #joker #godzilla

18 notes · View notes

where-theres-smoak-2 · 4 years

Text

Barchie 5x06 Review.

So I usually just do one reivew for an episode but I have so many thoughts on this episode that I decided to split it in two otherwise it’ll be way too long, I figured two smaller reviews will be easier for people to read than one novel of a review. So in this part I am just going to be talking about the Barchie content. Then I’ll post a second half covering the rest of the episode later on today. As always these are just my own interpretations and opinions and naturally there are spoilers. So if you want to know my thoughts on Barchie this episode read on.

The Teacher’s Lounge

The first scene we get of Barchie is the one where they are in the teacher’s lounge. Now I have seen some people who are disappointed or using the argument that Barchie have become only sex and that they never talk. To me though I don’t think that is true at all and this scene is proof of that. When Archie first approaches Betty they are talking about the Polly situation. Betty is confiding in her friend about what is going on in her life and is sharing her worries with him. In return he tries to reassure her and comfort her when he reminds her that Alice had said Polly would disappear for days at time before showing up again. Another thing I’ve seen some people worry about is that Barchie are just using each other as a distraction. Again I totally understand why some shippers might be worred about that. But to me I’m kinda like well yeah they are. I mean maybe I misinterpreted the situation but I kind of thought that’s what their whole friends with benefits arrangement was about. It’s a friend that you can use to help you work out your frustrations and to be a distraction for a little while. Also this idea of using sex as a distraction and coping technique is hardly a new thing to riverdale both v*rchie and b*ghead have used sex in the past to distract themselves from their problems and they were both long term established relationships, them using sex that way didn’t negate from their very real feelings for each other. So I don’t think that just because Barchie are sleeping together in an attempt to escape for a moment, that means they are doomed or that their relationship is shallow and only about sex. If anything its a good thing because it shows that when they are feeling stressed and worried its each other that they choose to turn to. I think we often get so distracted by the sex part of the arrangement that its easy to forget about the friends part of friends with benefits.

What I did love about this scene was how cute it was. Like when he calls her Ms Cooper and just the fact that he came to check up on how her day was going in the first place was adorable. And of course I loved that little hand touch it was just so soft. I also thought their smiles and that playful look Betty gets when she’s thinking about a plan for where they can hook up was really funny.

The Titanic Sails Again.

Growing up Titanic was my favourite movie and in my young mind it was the most romantic of movies, so naturally I was thrilled about that iconic titanic moment being recreated for Barchie. At the same time I couldn’t help but laugh a little at it too. That being said there is no denying that the scene was on fire.I mean I don’t know if its just Barchie and their chemistry or if its because they’re depicting adults now or a combination of both but is it me or do these sex scenes seem so much more explicit than they used to be? I mean holy firecracker.

I also thought the song choice was perfect. I’ll be honest I had never heard it before but I do think the lyrics and also what the song is about is significant. I talked about songs a bit before and how in tv shows the lyrics can often hold significance because the producers have to shorten the song to fit the scene, therefore they have to chose not just a song that will fit the scene but which lyrics specifically work for the scene. Obviously it was a sexy scene so they wanted a sexy song to go with it. But the song, by the writers own admittion, is a love song. Bazzi said this about the song and I just think it is so in line with Barchie at the moment "It became more than just a love song to a girl I was with…Lyrics were just flowing out, because I had felt this certain love and acceptance from this girl, and I wanted to take that and on a bigger scale give that back to people." This is exactly how I see Barchie’s relationship, its about love and acceptance. They have always loved each other, whether that’s romantically or as best friends or both. Also they have always been supportive and accepting of each other.

So what about the lyrics that are actually in the scene. Well like I said some of them I just think are because they go with the whole sex of the scene. I mean lyrics like ‘hit it from the back and drive you wild’ and ‘hands on your body.’ Those don’t really need much analysis, pretty damn obvious why those lyrics were chosen. I mean you can look at it as simply its a song about sex and they are having sex, its not that deep. But I actually think there are some lyrics that could indicate that there’s something deeper to Barchie. The lyrics ‘girl I lose myself up in those eyes’ for example is actually a rather romantic line about how he is enamoured with the girl and I do feel like that’s how Archie feels about Betty and always has. Also the line ‘I just had to let you know you’re mine.’ Again this to me seems deeper than just sex. I do wonder if on a subconcious level they both see each other as theirs but that they aren’t willing to admit to themselves or each other. My favourite lyrics though are ‘feels like forever even if forever’s tonight.’ To me this makes me think that when they are together they let themselves feel all of those feelings they have for each other. Just for those moments they aren’t hiding, they just feeling it all and it feels like something that can last, it feels like forever. But neither one of them is ready to confront that so instead they just settle for tonight, they are willing to take what they can for now.

I also feel like when they choose a song they probably do so knowing that either the audience have heard it before or that they will go and listen to it in full. So maybe there are some more clues as to where Barchie are heading in the rest of the song? (Probably not, its probably me just over analysing everything as per usual but hey let me live in my land of denial a little longer, its fun here.) In the full version of the song it starts out with a speaking part where the guy announces that he’s had a bit too much to drink and now he needs to tell her how he feels. I do wonder if this will be how Archie ends up confessing how he feels, like he has a bit too much to drink maybe at this point Glen has shown up and he’s feeling some jealousy and so he just goes to her and admits to how he’s feeling? Anyway back to the song, he then goes on to talk about how much he loves her smile and how he gets lost in her eyes. Again really romantic notions that we often associate with being in love. Later in the song there’s another similar lyric ‘Even when it's rainy, all you ever do is shine.’ Again this idea of someone being the sunshine in the rain is a very romantic notion and again I do feel like this is how Barchie feel about each other and kind of ties into what I was saying above about how when things are bad they turn to each other. I mean those scenes when they are together they look happy, they are both each others sunshine when things are getting stormy.

Throughout the song there is also alot of the idea of belonging with the other person and this idea of a long term relationship. Outside of the obvious ‘you’re mine’ lyrics and the title of the song itself. I talked a little about the feeling like forever lyrics too but there are some other lyrics that I think are important. For example ‘Man, this feel incredible, I'll turn you into a bride, you're mine.’ Again this lyric isn’t about sex its goes deeper than that this is talking about being together forever not just a fling. But I think another even more interesting lyric in the song is ‘Swear to God, I'm down if you're down, all you gotta say is right.’ I’ve said before that I think that Archie is the one that is more willing to explore a relationship than Betty right now. I do feel like this line reflects how Archie is feeling like all Betty would have to do is say the word and I think he would be all in. Now I am fully aware that I could be reading way too much into this but I just find it interesting that they chose a song for a Barchie scene that is talking about how in love a guy is with the girl he’s with and how that guy is longing for more.

So like I said earlier there is no denying that this scene was all kinds of hot so naturally I was very amused when the fire alarm started to go off. I don’t know I just found that really funny, like a literal fire broke out whilst they were doing it. Of course this is because some Stonewall Prep footballers set a fire in the school. One thing worth noting though is that obviously those two guys saw both Archie and Betty there at the school I can’t help but wonder if they’ll go back and tell Reggie this. I mean I don’t think they will but its possible they could do some scenario where Reggie tells Hiram and considering how Archie later tells everyone that he was alone and out running when he discovered the fire, Hiram is going to know that Betty and Archie are wanting to keep things quiet and maybe he or Reggie will use it to try and blackmail Archie. Like stop what you’re doing or we’ll tell everyone about you and Betty. I mean Betty didn’t do her blouse up all the way when they came out so I think the students probably would be able to guess what they had been doing. I’m not entirely convinced on this theory but the thought did cross my mind. Speaking of Betty’s state of dress, that leather skirt and the heels with the blouse, our girl came all dressed up for Archie and I loved that outfit. Also I really loved the scene where Archie was trying to explain why he was at the school in the middle of the night to see the fire. I mean Archie does go night jogging, he has in the past at least so the excuse was a believable one but his delivery was far from smooth.

On a less fun note I have seen some people comparing the Barchie car scene with the one with Miss Grundy and that’s just not ok. They are very different situations one scene is between two consenting adults and the other was a person of authority and an adult manipulating a teenager into having sex with them. The fact that people are using that scene as a way to prop up their own ship or to try and say its evidence that Barchie are wrong is quite frankly disgusting and disturbing so please just stop.

The Shallows.

So this was on the surface such a small scene but in truth I actually think in terms of Barchie’s relationship it was one that held the most significance. Whilst Veronica sings the lines ‘Tell me something boy, aren’t you tired of trying to fill that void.’ It zooms in on Archie’s face and you can see he is feeling some things. He is clearly got some things on his mind that have been stirred up by those particular lyrics. I said before the episode aired when I saw the clip of them in the teacher’s lounge in the promo that I wondered if Archie was already beginning to get tired of sneaking around and after seeing this episode I do think that’s the case. I think Betty and Archie have been in love with each other since the pilot, maybe even before, but they’ve spent so long pushing down those feelings and ignoring them that I’m not sure they know how to do anything else. But as a result, I think not acting on these feeling has left a void in their lives/ hearts. Now they’ve reunited and they are both single and they’ve realised those feeling are still there, but like I said, I think they spent so long denying their feelings its become second nature to them. I think they both fear losing the other if they take it to the next step and it doesn’t work out, then they’ve lost their best friend. But I also think this void they’ve created is becoming too much so they instead try to fill it by sleeping together hoping that it might be enough to make them feel more complete.

When Veronica sings the next line ‘Or do you need more?’ this time it zooms in on Betty who you see gets a little sad and looks down at the ground, like Archie those lyrics have got her thinking and feeling things. Again these lyrics are so significant and I think the mesage is pretty clear. Barchie want more with each other, as much as they are enjoying the whole FWB thing they’ve got going on they’re realising that its not enough. They are also probably feeling a lot of fear and uncertainty around that revelation. The next line Veronica sings is also very meaningful. ‘Is there something else you are searching for?” What’s really interesting to me is obviously I think this lyric is suppose to indicate that yes Barchie are searching for something other than the FWB deal they’ve got going on. But I actually think the writers show us exactly what it is Barchie are looking for. At this moment they zoom in on Kangs. I think its important that at this moment they show us a happy, stable couple, who have a deep relationship and who fell in love when they were in high school and who still had those feelings for each other all these years later. This is what Barchie want with each other.

Also the song talks about the shallows. Shallow water is indicative of safety as oppose to being in the deep end which makes you think of being out of your element or in danger. Barchie has always been associated with safety, Betty on several occasions has talked about how they feel safest with each other. I also feel like they feel safe with the whole FWB arrangement. The song continues to go on to say that they are ‘far from the shallows now’ and talking about ‘I’m in the deep end, watch as I dive in.’ This line is talking about willingly throwing yourself into the deep end, to embracing the unknown and just going for it. I do think this is suppose to tell us that this is what Barchie will do. That eventually they’ll take that leap of faith for each other and just dive in. A large part of the reason why I think this song is about Barchie despite it being sung by Veronica and Chad (well truthfully I think it had signifcance for a few couples but I’ll cover that in the other half of the review) is because one the fact that they zoomed in on them both. But two because right when the song finishes Archie immediately turns to look at Betty and she flicks her eyes to his. I think this shows that they were thinking about each other during that song.

The Porch

Ok so now I want to talk about the scene that seems to have caused some differing opinions within the fandom. A lot of shippers are saying that the scene where Betty comes to the door and they kiss, that Archie had a strange look on his face as he closed the door after she suggested they go upstairs. Now I agree there was a strange look on his face. I did see a lot of people speculating that this was because Archie was jealous over Veronica and Chad and was distracted by that so wasn’t really that enthusiastic about hooking up with Betty at that moment. Respectfully I am going to completely disagree with that reasoning. I was actually kind of surprised when I saw so much speculation that Archie was jealous of Chad, particularly over on twitter because me personally I didn’t see any indication that Archie was jealous. He was definitely wary and suspicious of Chad and obviously still protective of Veronica but I don’t think that situation was the reason for the conflict Archie seemed to be feeling. However whilst I don’t think that Archie was jealous I do think that at some point some element of V*rchie is going to come back into play and that was being set up in this episode. One thing I noticed as I’m sure many others have is that so far the time jump has had a lot of parallels and throwbacks to season 1. But the interesting thing about these parallels is that they each have different outcomes then the original parallel. For example the scene in 5x04/05 when the core four reunite at Pop’s. This scene parallels the one, I think is in 1x02, where the core four sit together for the first time, the one where Betty and Veronica are there and then Juggie and Arch come in and Betty offers for them to join them. Both scenes are very similar but the outcomes are different, in the original scene the four of them are relaxed and laughing together, in the season 5 scene they are a little tense and its awkward. Well I think the V*rchie and Barchie storyline is going to parallel the one in season 1. I think Betty will once again feel jelaous of Veronica and Archie. I could also see Archie get confused about whether his concern for Veronica is old feelings returning or just a friendly kind of concern and whether or not what he feels for Betty is deeper or just an attraction. Basically Archie is going to find himself in the same situation he was in in season 1 but in reverse. In season one he was confused about whether what he felt for Betty was just a friend thing and whether what he felt for Veronica was something deeper or just attraction. Now I think it’ll be the other way around. Back in season 1 ultimately Archie chooses Veronica, sort of, especially after Betty shuts him down during his ‘a part of me always thought’ speech. What else I find interesting is there is another kind of role reversal here between Betty and Archie. In season 1 it was Betty who had feelings for Archie and believed he didn’t have feelings for her. I think in season 5 its Archie that has feelings for Betty but believes she doesn’t have feelings for him. I think they’ll hint at V*rchie but I don’t actually think they will put them back together. I think how it will go is Glen will show up and Archie will feel jealous when he realises that there was something between Glen and Betty. As a result he’ll start spending more time with Veronica which in turn will make Betty jealous. Evenutally in 5x10 it’ll come to a head and Archie having one too many will show up at Betty’s door and declare his feelings. But I don’t think anything will happen right there. I think Betty will just look after drunk Archie and it’ll be the next day that they’ll talk about their feelings and then get together because this time Archie will choose Betty.

Speaking of parallels that brings me back to this porch scene. Obviously I feel like this porch scene is a parallel to the porch scene in the pilot where one has shown up at the others door. Last time it ended in rejection but this time they kiss and sleep together. Also I couldn’t help but notice that during this scene and the one where they a laying in bed together the theme playing is the same one that was played during that first porch scene, which can’t be a coincidence. Ok so what about that strange look? If its not about Veronica then what was it about. Well I think it was because Archie wants more with Betty but feels like she just sees him as a hookup.

There was another parallel between this scene and the one earlier in the episode in the teacher’s lounge. In both scenes it starts out with Betty talking about how she is worried about Polly. Again this is showing that friends element of their relationship and how they still go to each other for comfort when things are troubling them. Archie in turn confesses that he himself was feeling crazy and frustrated and whilst I do think some of that relates back to Veronica and Chad, I mean Chad had been a huge dick to him right before this, some of it also probably had to do with Reggie and that situation, but I also think some of it is that he is frustrated about where his and Betty’s relationship is, which was brought on by him hearing Veronica sing shallow. Another parallel between the two scenes is in both it is mentioned that Jughead is out and at work. In the first scene Betty says its too risky for them to be together at Archie’s even if Jughead is out. But this time she doesn’t seem worried about it. I think she just wants to be with Archie and so just doesn’t care what the risk is. I do think this is a small indication that things are changing between them. There are more little hints in this scene too. For example unlike after the scene in the teacher’s lounge where we next see them going at it in the car, in this scene they don’t show them in the act. Instead they show them after. I actually really loved this scene, even more than the car scene. Because here they were just cuddling together, it wasn’t about sex in this moment, they just wanted to be near each other and were taking comfort in each other. I am going to come back to this moment in a bit but first I want to go back to the porch and talk some more about that.

After talking about how he is feeling frustrated, Archie and Betty kiss. But this kiss to me seems different from the others they’ve had post time jump. For one the others were during their hookups and so were passionate and urgent. This kiss however was just so soft. I also think its worth noting that when I first saw the scene I thought it was Betty that initiated it but I actually think it was Archie. Archie takes a small step towards Betty but also as Betty moves forward you can see Archie’s shoulders move almost like he is pulling her too him. Now I feel like if it was a case of he was distracted by Veronica and wasn’t that into being with Betty he wouldn’t be the one pulling her too him for a kiss. Also Archie is the one that deepens the kiss too. Another thing worth noting is that despite Betty’s concerns about the risk and that they up until now have been very careful about not getting caught. Well they kissed each other on his porch with the door wide open. Literally anyone could have seen them. But again in that moment I don’t think they cared, I think they just wanted to be together. Also despite Betty aksing to go upstairs after I don’t feel like that kiss was meant as a prelude to sex, or that it has anything to do with sex. The kiss wasn’t passionate or heated. It was a much more romantic kiss and maybe I’m projecting but to me it seemed to be more fuelled by their real feelings for each other than by desire or lust. And this is exactly why I think Archie had that look on his face as he closed the door. I think he poured his feelings into that kiss hoping she would know and to me the look on his face was one of frustration and I think its because when she wanted to go upstairs he felt like it was a case of her only seeing him as a hookup option. However I think judging from the look on her face as she looks at him after they kiss I don’t think that is true. Again I could be projecting but to me she just looked so in love with him.

Ok so going back to the scene where they are cuddling in bed together. Like I said they both have pensieve looks on their faces but the really sweet thing is that Archie is stroking Betty’s shoulder and Betty is stroking Archie’s side and I don’t know why but those little details made me feel all soft and gooey inside. When Betty’s phone goes off Archie is just staring at her the whole time with such a loving look, he looks completely besotted by her. Also there is that moment when Betty says that she has to go and then says ‘but this... was really nice.’ That hesitation before she says really nice, to me, showed that Betty was trying to think what ‘this’ was exactly and it seemed like she couldn’t quite find the right words to define it. Again they both just looked so in love when she was saying it. Also as a FWB type arrangement I’m not sure it was necessary for her to kiss him goodbye like that. Like the kiss on the porch it wasn’t a heated or lust fuelled kiss it was soft and tender, again as if there were real feelings behind it. Also as she goes to leave you can see Archie almost reach out to stop her and say something. It’s pretty obvious in this moment that Archie doesn’t want Betty to go and wants to say something, maybe about his feelings for her, but he changes his mind and again looks deep in thought.

Overall I thought this was a really good episode for Barchie and I do think that they are moving more towards becoming something more than just friends with benefits. I know that there is a possibilty they might go back to the original couples but as of right now I don’t see that happening anytime soon. I do feel like as a fandom us Barchies have been let down so many times that we just expect to be disappointed but for now I’m staying optimistic and I’m just going to enjoy speculating and enjoy any scenes we get.

#barchie

31 notes · View notes

storge · 3 years

Note

seeing people's reaction to utsukare is disappointing tbh, like are 'problematic/toxic' contents not allowed to be produced nowadays? smh lmao. im glad the drama is still getting attention (still much better than given drama that i equally enjoy for a jp bl this year, remember how only 2-3 people posted abt it here 💀😂😭). for kiekoi, idk man, the series is getting boring after ep4, the writing is so bad that im not that excited abt it anymore, shame that i love the manga alot though.

Friend, i see you are telling me how you really feel huh 😂😂😂😂. I wanna answer all you said, so i split it in 3 parts.

1. Dramaland audiences are different then they used to be friend. It'a a double edged sword lolol. While disappointed i can't say i'm surprised by the comments

it's a jdrama so it's already a hit against it

The relationship isn't fluff and both characters are very flawed so people tend to be more critical of that in dramaland.

The subs they have are probably not the best so they are interpreting scenes and context differently

And finally different strokes for different folks lol. I myself could name a few dramas i just cant stand that are raved by others sooo if a drama doesn't click with you.. it just won't.

Yessss i have noticed tho that slowly it is getting a little more attention, which is greattttt. Now all we need is a great ending and then maybeee justtttt maybee people will be swayed more.

At this point tho... i dont care about the negative comments/tags. I just glaze right over them. None of that is gonna damper my enjoyment. I'm gonna keep my positive dramaticccc attitude till the end 😜😜😜😜

2. Ayyyyyyyeeee so you were also a member of the small goup of people that watched and posted about Given when it aired 🤣🤣🤣🤣 I too liked given but i agree that utsukare is better. 🤝🤝🤝🤝

3. Frienddddddd... why you gotta hurt Kiekoi like thissss 😂😂😂😂 i never read the manga so i cant compare,but the drama is a mini cherry magic. I'm gonna be honest thoo... after i started utsukare my interest in kiekoi dropped by a little. I still love it but not like the other lololol. The writing is predictable yeahhhhh.... but I don't really have any expectations when i watch. I just want fluff and nice youngins sooo im happy with it. (I'm lowkey mad about akkun and hashimoto but thats another thing...)

Okayyyy thats enough talking for now. Frienddddddd.... i hope we will watch another jp bl together in the future 😘😘😘😘😘

#thanks for coming to talk friend #i cant make cohesive paragraphs so this the best way i knew how to respond #😂😂😂😂😂#its a new dramaworld now friendsss #audiences are fickle #*no anons only friends

3 notes · View notes

moondrop04 · 4 years

Text

RWBY VOLUME 8 EPISODE 8 SPECULATION AFTERMATH!!!

SPOILERS!!!

Haaaaahhhh.....What sweet relief it is to finally have RWBY back again 😌. I liked this newest episode very much and even though most of my speculations were wrong again I was almost on the mark on some of them. Though I must say that I do have some questions regarding some revelations revealed in this episode.....so let’s get started with the Aftermath 😤

-(Prison Break and Timeline Confusion) I’ll be honest this may be my only critique of the episode for two reasons. The first being the structure of the episode on certain scenes and the second myself being a bit disappointed and confused on an entirely different matter....let me explain 😑. The scenes revolving around Qrow and Robyn and Cinder’s attack to break out Watts was not bad. In fact they are perfect the way that they are, except I feel it would work better if the scenes weren’t split apart from the beginning and start again the end of the episode. Wouldn’t it work just the same if both scenes were joined together and put at the end of episode after the reveal and death of the Hound? That way we can start immediately where we left off at the end of episode 7 and when Ruby and company’s fight ends we can end off the episode with the jailbreak scenes joined together. It may be just me but I would like to hear your thoughts on that if feel the the structure of those scenes should be placed differently or just stay the same.

Now to the second reason which revolves around my speculation post on how I thought this episode should have started. In my speculation post I said that the opening would revolve around Penny after her fall from Amity Tower and her journey back to Ruby and others back at Schnee mansion. The reason why I made that speculation was because of my confusion regarding the timeline of the events of episodes 5, 6, and 7 after Penny’s fall. Before volume 8 began it was stated by the writers that the timeline of the events of the volume would be only two days. So far that has been the case since episodes 1 - 6 has spanned out for one full day, but episode 7’s timeline began at the start of day two and ends at the evening of the same day. This is telling us, the audience, that Salem’s attack on Atlas has lasted so far for more then 12 hours and continuing. Now this is where my confusion sets in.....at the end of episode 5 we see Penny fall from Amity tower after watt’s hack began, but then we see her reappear crash landing at Schnee manor at the end of episode 7.....more then 12 hours later after her fall. Now common sense tells us that given the height she was falling from Penny would have at least have had a couple of minutes until she would have crashed back down to remnant. Falling for 12 hours at that height would be impossible and even more so conveniently falling on the exact location where her friends would be. Soooooo my question is......where WAS Penny during those missing hours while Salem was attacking Atlas? Could maybe that wound that she is leaking from explain what she was doing? I was kind of hoping that we would be able to get some answers on this for this episode but as you already know no luck there. Maybe we’ll get answers in a future episode but if we don’t then even I would say it would be too much of stretch for the writers to leave us insinuating on what may have happened. CRWBY, I understand that you have a lot of faith in us to figure this s*** out, but you also gotta understand that some of us are dumber then a box of crayons and will be left more confused then a homeless man waking up in a jail cell.....so help us out please 😭.

-(Schnee Family development) Ok I’ll admit in my last Aftermath I was a bit hesitant in trusting Whitley’s latest character development.......buuuut after this episode I think the little s*** has grown on me lol. His quick thinking on how to handle transporting the citizens to safety with the Schnee company’s assets was really well done and though his attitude is still the same it is rather pleasant to see him have it on the side of good 😌.

I was hoping to see Willow do more as a badass and team up with Weiss in this episode but I’ll be content with what we were givin 😌. I got to remember some characters have to deal with some personal issues first before going full badass 😤. Willow definitely still has things she needs to sort out but I have faith we’ll see her get through them along with her kids.

Not much was developed for Weiss in this episode but I must say that one shot of her summoning that nevermore behind her was A-Mazing!!! Great job CRWBY on producing that shot 😄.

-(Action Sequences) I’m gonna make this quick because I’ve seen other posts complaining about how the action was lackluster or that the characters auras are nerfed to all Hell......and all I got to say about that is that I don’t give a s*** if the action isn’t as much as it should be. When I first started watching this show back in 2013 the only thing that got me hooked on the show was the action scenes. But over the years I have come to realize to just enjoy the story rather then only the action sequences. Whatever CRWBY gives us in terms of action going forward I’ll enjoy no matter what because I don’t want to be nit picky about the s*** 😤. And that’s all I got to say about that...

-(LadyBug) Didn’t I say back in my episode 2 speculation that we would be getting a LadyBug moment this volume? Well I’m a few episodes off the mark but we got a moment 🥳. Unfortunately for me this moment is overshadowed by a very worrisome thought I’ve had regarding how Team RWBY would go moving forward after volume 8 ends. The only thing I’ll say for now it does involve Ruby’s leadership position within the team in future volumes and that’s all I’m gonna say on that....😓

-(The Hound and Silver Eyed Warriors) Ok I can officially say that The Hound is currently my favorite Grimm within the series. Not only is it terrifying, strong and intelligent but I can say it’s the only Grimm that is the most expressive within the time we have known it. Now onto the biggest reveal of the episode......that The Hound was indeed a person, or rather a faunes, turned into a Grimm. Now I know what most people are saying is that this person is a Silver Eyed Warrior, given that his eye does show the same anime markings as other S.E.W do, so I’ll jump on the band wagon with y’all on this as well. Buuuuuut I’m gonna remain just a bit skeptical until I see further proof if this is indeed the case. Only reason I’m saying this is because I keep looking at this guy’s eye and it just doesn’t seem Silver, or rather grayish, like Ruby’s or Maria’s to me. I’m most likely wrong as always but I just want to make sure I have all the eggs in one basket before fully commuting going forward.

Alright thats about out all I got for this episode’s Aftermath and I just can’t wait to see what happens on this Saturday’s episode. Until next time............BUH-BYE!!!! 😆😆😆😆

#rwby #rwby volume 8 #rwby volume 8 spoilers #rwby ruby #weiss schnee #blake bellodona #yang xiao long #rwby salem #rwby cinder #james ironwood #qrow branwen #robyn hill #whitley schnee #willow schnee #the hound #penny polendina

22 notes · View notes

spark-translations · 4 years

Text

Translation: Winter 7th Play [Hotel Compass] Epilogue [A Parting Gift from the Trip]

Translation under the cut!

Kazuemon Fuwa: “I’ve been able to triumph for this much of my life. I have no regrets.”

Kazuemon Fuwa: “Urgh...!”

Kuranosuke Ōishi: “I have finally achieved what I have been wanting to do... All, live in good health.”

Kuranosuke Ōishi: “...!”

Chikara Ōishi: “...It is dawn.”

Chikara Ōishi: “I thought there would be nothing left to discuss, but...”

Chikara Ōishi: “Ku...!”

Audience Member A: Syu-san’s Chikara was so good today, too~.

Audience Member B: I love this performance. It’s one they started doing after Syu-san took over the troupe.

Izumi: That last scene was amazing!

Azuma: The deaths of the ronin were almost bloodcurdling.

Homare: Umu... it was also artistic.

Tasuku: We still can’t bring out that level of intensity.

Guy: It’s different from MANKAI Company’s plays, so I can learn from it.

Tsumugi: We still have a lot of work to do, don’t we.

Hisoka: ...There are a lot of female audience members.

Tsumugi: Oh, you’re right.

Izumi: Syu-san and the rest of the actors are very admirable, and I totally understand getting obsessed with them!

Azuma: Oya oya, you definitely can’t tell Masumi that.

Tasuku: He’ll never stop talking about how he’ll join this troupe instead.

Syu: Yo, so you were here.

Izumi: Ah, Syu-san—

Audience Member A: Kya!!

Audience Member B: Syu-san!!

Izumi: (As expected of him, he’s so popular!)

Syu: ...Let’s move.

Izumi: G-good idea.

Syu: Hm, so you decided on a name.

Guy: Thanks to you.

Guy: This is an original cocktail with the same name as the store. I’ll give a glass for free as thanks.

Syu: Isn’t the alcohol content too high for a signature? Well, the taste isn’t bad.

Azuma: Hey, there’s something I was wondering about...

Azuma: What’s the “something worth inheriting” that you found in your current troupe? You talked about it when we were at the bar last.

Syu: Ah, that...

Azuma: I won’t force you to tell me.

Syu: ...Well, it’s fine. I’ll tell you as thanks for the cocktail.

After my father died, I dropped by my house for the first time in a while.

I thought it would be a completely unfamiliar place, but the second I walked in, I was sucked straight back into my past.

The seat my father would always sit at was empty, and when I thought about how it would stay that way forever, an indescribable emotion consumed me.

My father was always writing down critiques for actors and adding fixes to the script in that seat.

Though he would usually scowl and glare down at his script.

Even then, when an actor would call out to him, he would always respond in a friendly tone.

He was the type of person to always be completely absorbed in the play.

And you’re telling me to fill his shoes? It’s a joke you can’t even laugh at.

“Syu-san.”

The one who called out to me was my father’s longtime assistant.

He’s a mysterious man, but sensible, and his love of theater is what caused him to get along well with my father.

“Hey, thanks for taking care of my father.”

”Can you take a look at this for me? It’s some new notes.”

He gave me some notes after saying that.

It even details what actors to aim to have in roles.

“It has your name in it too, Syu-san.”

Looking through it thinking that the only reason he would cast his son who left home would be the lack of those who could play female roles, I found that I had been casted as a male role.

The roles my father had cast me as up to that point had all been female.

Why now— even though I wondered, there was no answer coming back to me.

Azuma: Was that show...

Syu: Ah, it's Chūshinugura, which you saw today. Even though it isn’t Chūshinugura season now.

Syu: Chikara’s a young 16 year old boy, my father was being unreasonable when he cast it.

Syu: But if I didn’t return to the troupe then— If I wasn’t shown those notes, I wouldn’t be who I am today.

Syu: It’s just that to move forward, you gotta move back sometimes.

Izumi: (Life really is weird. It changes so dramatically because of such tiny things.)

Syu: And how was it for you?

Azuma: After that, we went to where my house used to be together.

Azuma: There was nothing left to see, but I remembered a lot of important things I had forgotten.

Azuma: I made use of it through my acting, too.

Azuma: Also, I thought about it, and I’ve decided to not sell the plot.

Izumi: Really!?

Azuma: I should go back once in a while. There’s nothing there, but it is my house, after all.

Azuma: For a while, I plan to go back occasionally to clean up, and eventually I’ll use it for myself.

Azuma: I told my uncle that, too.

Tasuku: How will you use it for yourself?

Azuma: It’s a secret. Look forward to what it’ll be in the future.

Homare: Will it be a place to sleep with others?

Guy: He could build an apartment, and as the owner and manager of the building he could have a steady source of income even without work.

Tsumugi: That matches Azuma-san.

Hisoka: ...I can be a freeloader.

Izumi: MANKAI Company members would probably live there.

Hisoka: ...We can live there after retirement?

Syu: It’s like a retirement home. Too early for you.

Citron: Everyone’s being unfair! Don’t leaf me out!

Izumi: Wait, Citron-kun?

Tsumugi: Do you mean ‘leave me out’, not ‘leaf me out’?

Citron: I love kabuki, so I wanted to see Syu’s kabuki!

Izumi: It’s not kabuki, it was taishū engeki.

Syu: There are more noisy ones now. I’ll move...

Yuzo: Oi, what is it. All of you gathered up.

Kasumi: It was opening night today, right Syu-san? Having a party?

Reni: But it’s full of MANKAI Company members.

Syu: What’s this rare group of members?

Yuzo: I was planning to go drinking with Kasumi, and we happened to meet Reni-san.

Guy: You might as well all have a drink. Since the bar’s name has finally been decided on, here’s a free glass of our signature.

Citron: I see, this is jersey, yes?

Syu: A glass of milk?*

Guy: It’s journey.

Yuzo: Huh. It’s a nice name.

Tsumugi: What are we going to do now that we’ve finished all of our shows?

Izumi: All the troupes managed to produce good results, so we need to think of our next step.

Homare: A new combination?

Kasumi: I think it’s a good idea. Challenging yourself and trying out something new is good.

Reni: And I’m sure there’s still a lot you can do.

Izumi: A new combination, huh...

Syu: When we were in MANKAI, we collabed with other troupes.

Yuzo: Now that you tell me, I’m starting to remember that. We learned a lot from that.

Azuma: Hm, that sounds like it would be good experience.

Kasumi: We also collaborated with some traditional culture and art fields groups.

Homare: Then how about the long-awaited collaboration with my poetry!

Guy: That would certainly be new...

Tsumugi: Whatever it ends up being, I’m excited for it.

Tasuku: You’re right. I want to try out different kinds of acting.

Izumi: (Even so, I didn’t think the new troupes and the original troupes would be able to have a drink together like this.)

Izumi: (I hope dad will be able to come back here soon. When he does, I want to greet him with a smile and say “Welcome home.”)

Notes:

*Referencing the jersey cow

#a3!#a3! translation #act! addict! actors!#a3! game #winter troupe #yukishiro azuma #azuma yukishiro #a3! guy

28 notes · View notes

joonsrack · 5 years

Text

+Pairing: KSJ x Reader

+Genre: SFW, S2L, fluff, maybe crack if i can manage, ongoing series.

+Rating: general audience

+Word count: ~1k

+Warning: Bad attempt at humour

+A/N: Inspired from this pic i’ll add later cause i gotta run to class like, right now. Procrastination induced drabble. Unedited, not even a quick read. enjoy. Update: I quickly went through it to fix the obvious mistake, still probably not typo-free tho. Had a bunch of ideas for a second part, so this is officially a series. Update 2.0: Betaed by @seokjinssymphony!! thank you uwu

instead of a summary, here’s what loosely inspired this:

The grocery store is quiet at this time of night, perfect for the quick in-and-out you planned on doing. After a long day at work, any type of human interaction sounds like the worst thing that could happen right now.

Your suit is a crinkly mess after alternating between slaving away at your desk and running errands for HR. You push your cart under the unforgiving light of the neons, the shrill sound produced by the badly oiled wheels mixed with the quiet buzzing of the neon serving as a perfect soundtrack for this exact moment.

You stare forlornly at the choice in front of you. The frozen macaroni is looking pretty good right now, but you’re pretty sure you’ve been eating exactly that for the last five days. Your memory of the past week is a little blurry, so you’re not exactly certain of that fact. There’s the lasagna you could pair with some cheap corner store wine, just to give your Friday night that little bit of an extra, but that would mean another stop to get said wine.

You settle on picking both, plus some other options since you’re not kidding yourself into thinking you’ll be cooking next week. You’re running low on high sodium processed meals, and you’ll be saving on gas if you just take a bunch home.

You’re just about to make your way through your carefully planned route to the last stop of your grocery run, the one that’ll make you avoid your upstairs neighbour (Mr. Kim is a nice but lonely old man. His favorite hobby is talking your ears off about his handsome son who’s currently working overseas. You usually indulge him, his quirky side enough to cheer you up on bad days, but the energy required is just not in you today), when something stops you. Or more like someone.

There’s the most handsome man you’ve ever seen, standing between your cart and the route you were about to take.

In his arms are an impressive amount of vegetables that he proceeds to unceremoniously dump in your cart.

He walks away, leaving you frozen in shock, wondering if this was a passive aggressive warning from a nutritionist or something, but then he comes back to dump more stuff. Expensive looking stuff.

You shake yourself out of your confused trance, just in time to see him sneer at your frozen meals peeking out from the heap of fresh ingredients he buried them under.

“Sir, why are you putting things in my cart?” You ask, trying to sound sane. Human interactions are the worst, but with handsome people it’s literally hell on earth.

“I’m gonna need those ingredients, obviously.” His answer sounds flippant, as if he hadn’t just basically hijacked your cart right in front of you.

“Ok but why are you putting them in my cart?” You try again, trying to drive the possession point home.

“Well, that’s because I’m gonna need them to cook a meal for you.” There’s a smirk growing on his face, making his handsome features look devilish.

“Ignoring everything that is wrong with assuming that I’m just going to let a stranger into my house to cook for me; I can very much cook for myself, thank you.”

Handsome stranger gives a pointed look to the traitorous frozen meal still poking out at the bottom of your cart, before looking back up to you with a pointed eyebrow.

“The contents of your cart before I intervened looked like a teenager’s wet dream. Clogged arteries are a real thing, you should look it up.”

“Alright, points were made. But back to the part where I’m not letting a random stranger into my house, no matter how handsome he is.”

“I’m happy to see you would have been safe from Ted Bundy. Luckily for you, I’m not a random stranger.”

“The fact that you would consider Ted Bundy handsome is probably the most worrisome part of this whole conversation.” You answer, then pause. “Also, I’m pretty sure I need to have seen you at least once for you to be upgraded from ‘random stranger’ to ‘regular stranger’. I would remember your face if that had happened.”

He gives you a blinding smile, clearly pleased you’re not indifferent to his face.

“Would a random stranger know where you live?”

At the way your face pales, his smile loses its strength and a frown mars his handsome face. “I guess I could have phrased that better.” He mutters to himself, just loud enough for you to hear.

“You think?” you say, voice weak, ready to abandon your cart and run away as fast as possible. You’re formulating the fastest way to the police station when a third person approaches you two. You praise the lord when you see it’s Mr. Kim. He’s a good person, he’ll surely help you out.

“I see you’ve finally met my son.” He says happily, eyes sparkling. You’re confused for all of two seconds before it clicks, and you turn your eyes to the man standing in front of you, who’s returning your stare with a sheepish smile.

“You’re Mr. Kim’s son… The one that works overseas.”

“See? Not a random stranger.”

You’re ready to fight him, the son probably enjoying your confusion throughout the whole ordeal. But before you can call him out on his foolery, Mr. Kim glances between your startled expression and his son’s mischievous smirk, putting two and two together.

“You just let her be confused, didn’t you? That a strange man approached her? I told you to come introduce yourself, not scare her away! I raised you better than that, how did you turn into such a buffoon? I swear I’ll rat you out to your mother once I die; she’ll be greatly disappointed.”

You have the satisfaction of seeing Mr. Kim’s son looking redder and redder by the second, blush rising high on his cheeks until it’s occupying his whole face.

The satisfaction dies fast once Mr. Kim starts dragging his adult son away by the ear.

“Wai-Wait! What am I supposed to do with all of that?” You ask, waving in the general direction of your cart.

“You buy it and take it home.” The son throws your way, and you frown, hands on your hips.

“What? Why!?”

“I’m cooking, it’s only fair you pay.” He manages to get out before he’s dragged around the corner of an aisle, disappearing out of your sight.

Well, that’s that.

#magicshopnet #bangtanarmynet #armysource #ficswithluv #btswriterscollective #bangtanscenery #bangtanhq

108 notes · View notes

0poole · 4 years

Text

Humor in Writing

Most of the time I feel like dismissing what might seem like “faults” in writing because I haven’t actually made anything myself, and especially haven’t gotten any attention to what I make, but every once in a while something really ticks me off. Of course, I still try to take it with a grain of salt because of my lack of true experience in writing, but considering I’m hoping to actually become some degree of a writer I feel like it’s worth actually trying to explain what I think is a fault with things and why.

There always seems to be one specific thing that bothers me a lot when reading/watching stuff, and it’s the hard switching of tone from comedy to sincerity, or something similar to that, or vice versa.

Honestly, even though it sounds like the motive of a cartoon villain, I kinda think there’s too much humor in the world. It’s probably just entirely driven by opinion and preferences, but I feel like so many people are striving and looking for comedy that it hinders so many other things. I feel like, both in real life and in writing, having so much humor everywhere creates a pretty big gap between that tone and sincerity, which is pretty much always needed at some point. The big line between comedy and sincerity makes it so much harder, emotionally speaking, to feel good about the switch. I’ll try to explain…

First of all, this whole line of thought, even though I’ve been thinking it forever, was spawned by me watching Epithet Erased. Took me long enough, because I’ve seen some of the characters around and really loved their designs, but I finally watched it all, and I gotta say… It was interesting. Also, this is probably just going to be very ranty and opinionated but I will (hopefully) have something more valuable to say after. But, anyways, for one, it felt just barely too close to some of the premises for the stories I’ve thought of in various ways, but I guess that’s just bad luck on my part. Second, I feel like its humor really brought it down for me. Some episodes felt so long winded (although not necessarily “boring” I guess) because I felt like I got the joke they were trying to tell relatively quickly after they started it, but carried it so far. It didn’t help that, at least for a few of them, some of the characters felt like archetypes that I’ve seen a lot around the internet, or at least were simple enough that I understood what they were instantly, and when they are carried out through long character-focused moments it felt like nothing was happening. I feel like some of the characters are fine enough, even if I may not like them, but Giovanni and Indus were the two big ones that I thought had a little too much time given to them…

But more relevant to what I’m trying to say, sometimes the writing jumps way too far from the very comedic tone it’s trying to put out and into it trying to be sincere. The worst case of this was when Sylvie met Mera in the museum storage, and Sylvester tried to out Mera’s nightmares, only to see that her nightmare was the reality she was already in. With the scene change, and Indus becoming more serious with Molly, it felt like a good enough departure from the usual comedic tone to warrant the deeper motive of the character. But, then, of course, they had to trash the whole tone by adding the line about her also being afraid of ducks. There was absolutely no good reason to warrant that line and I will die on that hill. Not only was it just humor, but it was spontaneous “random” humor, and so on… I honestly hope people could just understand where I’m coming from there by how out of place it seems. I feel like the only defense they could use, apart from “just liking it,” would be that it’s comedic relief, but I genuinely feel like since practically the whole thing up until this point was comedy there was absolutely no need for comedic relief. The scene itself is like the opposite of comedic relief, like “Sit down and pay attention” or “Turn your brain back on” or whatever. The climactic point of the scenes before it were reached, meaning the sincere conflict there should be focused on, and apart from that one tiny little line it worked well enough. The fact that it was so tiny and insignificant is basically why I hated it so much. They literally could’ve just scratched it off of the script and only good things would have happened.

Something a bit similar happened before when Molly revealed her backstory to Giovanni. It wasn’t quite as bad, but when a scene goes from comedy to “my mom’s dead and my life sucks” you do feel the shift a little too quickly. I feel like it’s not as bad because it could just be Molly’s character, seeing the tragedy of her life as just sort of normal and not really that remarkable, meaning she’s more likely to just randomly bring it up.

But I definitely wouldn’t be going off this much about it if there wasn’t at least a little bit more. Zora was literally the reason I wanted to watch the show, because I saw a drawing of her a while back and thought she was just some random OC, but when I heard she was from this show I instantly wanted to watch it a lot more. I think the same thing happened with Molly, but I think I knew she was from the show to begin with. Anyway, Zora was the main character who I loved from the get-go and loved even more the more I learned about her. She’s such a perfect amount of diversion from being a generic cowboy in the little design details, while still being 100% cowboy material. Then, when I saw that her power was “Sundial,” or more generally just time powers, I loved it. The big thing that seems little conceptually is making her key term “sundial” instead of just “time” or whatever, because of how much it relates to her cowboy-ness, with it being associated with the “sun” people often associate with Death Valley and the Wild West and whatnot. Not to mention, it’s just a cool power.

But that’s kinda the thing, though. She’s so insanely strong. She could literally kill anyone on a whim. I don’t see how anyone could be cracking jokes in her presence. It’s kinda more general of a gripe, but when she aged up Howie it was borderline terrifying, and yet… right after, they’re cracking jokes again. It’s just so jarring. She could have literally reduced him to dust, and they’re so casual about it. I know Percy is supposed to be kinda blind to some obvious things, but I feel like even she could see the horror. That said, though, Percy is also one of my favorites. Her powers feel so natural yet interesting for what she is for some reason.

Frankly, the visual character designs alone for this show are all really good. Whether or not I’m into the writing, I can’t deny that the show kept me coming back just because it feels so good to just look at it, you know? The minimal animation, vocalized stage directions, and top-down scene view was really interesting to watch, since I’ve never seen it before, and seems like a perfect way to produce more content with less budget. It made everything feel super crisp and tidy, despite being animated so simply. Not to mention that the general lack of animation meant the few scenes where there was traditional-level animation felt really good. The voice acting was also amazing, (again not directly tied to the writing) especially when the voice actors carried their character and emotion from the scene into the stage directions, instead of just reading them out plainly. And, at the very least, the premise of the show is also really interesting (at least to me, mainly because I created 2 stories with a similar idea without even knowing anything about it. Simplified, specific superpowers are just perfect for character designing, you know?)

But I am kinda acting like the writing was bad, but it really wasn’t all things considered… I’m just not really into comedy, and when the comedy I don’t like is paired with writing and practically everything else I do like it doesn’t sit right with me. Considering this idea and some of the story beats were adopted from a DnD(-esque?) campaign, I feel like it’s much more fine. Frankly, I’m surprised I didn’t realize it sooner. Once I read about that, everything just fell into place. I’m not really into DnD either, though…

So, I feel like there are things to gain from thinking about this. While Epithet Erased is still on the mind, I feel like I’ve realized something about the juxtaposition of comedy and sincerity, that being that comedic characters can exist in sincere surroundings, and vice versa. Zora specifically could be one of these characters, because she’s so powerful that she probably sees everything around her as trivial, while the other characters have more sincere reactions to her obscene power. She could easily crack a sick joke that no one laughs at because she’s the only one who can find humor in whatever’s going on. By contrast, the thing about Mera’s fear of ducks was a product of the scene and not of the character, so it just ruined things. Nothing about it was made to be funny to the characters, it was made to be funny to the audience, even though the audience should be in sincere mode then.

Another character that I think works like this is Charlie from Hazbin Hotel, who is the sincere personality in a world of complete and total insincerity. She’s basically a more unique kind of straight man (despite being neither straight nor a man), who are always the grounding in comedic casts, like Squidward in Spongebob. I guess in sincere stories there are comedic relief characters, and in comedies there are straight men. You know, these are probably all things other people have figured out already… at least I can feel good knowing I sort of reached them on my own…

I think a good solution for stuff that’s primarily meant to be a comedy is to make it almost entirely comedic, at least with the inclusion of a straight man if needed. The big name that comes to mind is good ol Monty Python, the backbone of 14 year old boys’ humor style. At some point I realized why I like the humor of The Holy Grail, at least above other comedic movies, is that they don’t hold back at all. At no point whatsoever do they pull back the veil and put in a sincere moment. And, of course, since I can basically recite the entire movie from memory I think it did wonders. I think when it comes to comedies like this, trying to be too sincere at certain points makes it feel even less sincere than if it didn’t have the sincere moment at all. This might be a product of the 00s American family-rated live action comedies who all feel like they fall into that same boat, where the entire movie is hijinks, but then at the very end they pull that all back and have something really impactful happen, with the idea being having some shoehorned message about “family” or whatever. I can group so many movies into that category that it feels almost corporate how many there are like that, and because it’s both overdone and geared towards too generalized of an audience, trying to capture the comedy-lovers and sincere-lovers, it really just fails in both ways. Or, maybe people love them because they’re just barely bad enough to enjoy it in a so-bad-it’s-good sort of way. I dunno. If I wasn’t a little nostalgic for the time those types of movies might be my all-time least favorite.

But I’m a stick in the mud who hates comedy so I’m not really equipped to tell anyone how to do it right. Instead, I feel like there’s some seriously untapped potential in other forms of “feel-good” tones, like casual lightheartedness and just plain fun. I feel like those two things really work towards creating sincere stories that are still enjoyable, and not just one shot of sadness after another, while still having a dash of impactful emotion in them.

I feel like this is where Pixar really shines. People say “It’s not a true Pixar movie if you don’t cry at the end” because I think Pixar movies are great at making the audience lower their guard, and when the moment is right, hitting you right in your heart to make you feel the right emotions. For example, what I’d call my favorite movie of all time (for intents and purposes, if not for real), Inside Out, is all about emotional sincerity, where it’s trying to get across how it’s okay to feel sad, even though the world around you tends to say happiness is always what you want. For most of the movie, it’s a pretty casual romp around the inner workings of Riley’s mind, with some jokes thrown in (because it doesn’t have to be completely without jokes). I’m not really sure how to explain it, but the various jokes in Inside out feel like they’re sort of blended with the interesting workings of this fantasy mind-world, like the fact that earworms are just the little blobby workers in our minds sending the memory of the song back up to the control panel for the hell of it, or that our dreams are a product of a Hollywood-like place in our minds. These things definitely are there for humor, but something about them feels much more fun than just any kind of generic comedy.

Then, I feel like the most important thing about fun and lightheartedness is that they feel like they blend so much better with the sincere moments. Obviously if it’s too quick it’ll still be bad, but I think it’ll be much less bad than with comedy. Maybe you could think of it like a spectrum with pure comedy at one end and pure tragedy at the other, with fun and lightheartedness just barely crossing the midpoint towards the comedy side. Since there’s less of a gap between it and tragedy compared to pure comedy, it feels less jarring. Plus, it just feels more reasonable logically speaking, since comedy sort of puts up this insincere barrier to sort of suspend the disbelief that the events in question are supposed to be taken seriously, which makes breaking that barrier harder once it’s established. With fun and lightheartedness, there may be an expectation of it sort of maintaining itself but there isn’t as much to say there isn’t something hiding in the background. In Inside Out at least, throughout Joy and Sadness’ journey they are pretty determined to get back to the control panel to save Riley, but they’re for the most part confident they can do it (or, you know, just Joy’s confident), so they sort of interpret the world around them in a more casual light, but with that lower-level need still there. But when Joy falls into the abyss of forgotten memories and the hopelessness sets in, you feel it much more, because it was sort of already there to begin with, and it was just made perfectly clear at that moment. I think Bing Bong’s emotions during the scene also make it pretty emotional, since he’s being casual about his death while also being sincere about his sacrifice for Riley’s sake. Not to mention his inner sadness was outed while talking with Sadness.

I feel like if I were trying to write an actual essay I could probably phrase all this a lot better. I just think there’s a ton of value to lightheartedness in stories, as opposed to comedy, for the sake of “feeling good.” Pretty much all of my favorite things have that tone to them to some degree, like Wander Over Yonder, my for sure favorite TV show. It definitely feels fun in a way that can elicit laughs, but it’s not a lot like “This is a joke and you should laugh” most of the time (Disregarding the Evil Sandwich, my least favorite character in the show). I also think Steven Universe succeeds very well with that tone, creating an extremely comfy atmosphere when it comes to the less climactic episodes.

I also vastly prefer the lighthearted resolutions to the conflicts in lighthearted stories. Frankly, I am infinitely more likely to cry to a comfy and happy resolution than I am to the actual sad parts. I’m not really sure what it is about them, but I guess the characters finally being happy again after emotional turmoil warrants a happy-cry. I swear, if I think too hard about the scene where Riley finally admits her sadness to her parents and just sits in their warm embrace, I tear up. It feels so much better than hijinks-danger-hijink resolution.

But yeah, the stories I want to write the most will all inevitably have that sort of lighthearted flair to them, unless of course I choose to go more inherently serious with a story. There’s nothing wrong with that either.

With regard to the really big claim I made before about there being too much humor in the world, the themes of Inside Out, and what I said about comedy’s insincere barrier, I really think the world as a whole would benefit from valuing humor a little less. It feels like there are so many situations where people sort of want to maintain their good feelings with humor instead of more directly dealing with issues in a sincere mindset. For example, if people say something disagreeable (but not insane), It feels like too many people resort to making jokes at that person’s expense and not dealing with the issues directly. Obviously if someones saying some insane bullshit it’s fine, but when the more reasonable takes that are just barely put under the same umbrella as the insane shit are made fun of, it really deepens the trench between the people of different opinions. Of course, humor isn’t the only thing deepening that trench, but it really feels like one of them a lot of the time.

Apart from that, I feel like using humor as a way to distract from general negativity and negative emotions like what Inside Out sort of warns against can be pretty detrimental too. Obviously happiness can still be around, but putting up that kind of barrier between you and the necessary sincerity for emotion with comedy just makes the unpleasantness of the unpleasant stuff that much more unpleasant. I’m saying this one at least out of personal experience, since I have sort of developed to be too subconsciously against super sad and sincere real world scenarios. I haven’t personally felt too many of them myself, but I definitely feel myself blocking off some of my own emotional vulnerability, especially around other people. I can consciously talk against it, like I’m doing now, but I feel like it’s going to take a long time for that barrier to really break. Is humor to blame for that sort of thing? Maybe, with a dash of toxic masculinity and other buzzwords people often avoid for reasons I mentioned in the last paragraph.

Even though this one is much more unreasonably generalizable than the last two things, I feel like the popularity of self-deprecating humor across the internet also (probably?) takes a toll on some people. Obviously some people might just use it to their genuine benefit, but since it seems so common surely some people are putting on a self-deprecating face to get along, and eventually maybe even believing what they used to joke about themselves. Either way, it might be a product of an extreme departure from any kind of narcissism, making being self-confident and self-loving just that little bit harder for people.

But, while I’m not the most equipped to judge writing, I’m even less equipped to actually debate for the existence of all those things, so just know I’m kinda speaking with my heart and not my brain here. People obviously want and need different things, and I’m probably just projecting. Hell, maybe that’s me self-deprecating to not make me seem weird to everyone else. I dunno.

No matter what, all this reliance on humor really just shows who is and isn’t funny. Sometimes, people really need to get a grip. Frankly, I don’t think I’m that funny either, which is why I’ve kind of had the humor beaten out of me by one too many awkward silences after a weird joke in my elementary/middle school days. I guess that’s my cartoon villain origin story.

#rant #rambling #opinions #writing #humor #comedy #epithet erased #poole #etc

6 notes · View notes

doomedandstoned · 4 years

Text

Are You A Bible Basher?

~By Billy Goate~

Art by J. Hannan-Briggs

Words from the Bible,

...riffs from Hell.

This is BIBLE BASHER, a lumbering, sludgey beast of a death-doom band, drawing its fellows from Kurokuma, Archelon, Spaztik Munkey, and a band whose name alone intrigues me enough to spirit them out: Temple of Coke. The debut recording before us is 'Loud Wailing' (2020), just released last month on the Sludgelord Records Label and it's good stuff.

Chances are good that if you're unfamiliar with the band, you're waiting for the other shoe to drop: what's the agenda here? It bears mentioning that "Bible Basher" is an almost uniquely UK term. In the States, we tend to use the more politically acceptable (though still insulting) "Bible Thumper." Getting to the point: a Bible Basher is not someone who subjects the big black book and the pages there to beating, maiming, or otherwise spilling syrup on its Holy Writ nor turning its sacred pages into roll paper for a cheap high.

No, a Bible Basher is someone single-mindedly determined to bash you with their beliefs, clean across the head. You gotta get you on board with the whole worldview, the Last Days manifesto, the 3 steps to this place, the 5 steps to somewhere else, and however many more steps to the sanctuary doors. Usually, this evangelism has all the clumsy subtlety of a Jack Chick tract left on the Gas Station john. Sometimes it gets a bit more intrusive, like a manic street preacher with a megaphone or, more annoying still, a brainwashed politician determined to fence you into their highly selective idea of "God's Will."

All culture warring aside, it might surprise you to learn that I hold a great deal of respect for the Bible and believe it has an important role in developing our understanding of what makes human beings so fundamentally religious. The Bible is just one expression of people's religious and spiritual identity, of course. There have been many volumes written, by the gods it was said, attempting to reconcile the real and the ideal, time and eternity, the drab and the divine.

All fancy preambling aside, I wonder why more bands haven't gotten into the Bible and other sacred/profane lit, you know kinda breathing new life into old words? You have to admit, the concept is fascinating and the medium of expression surprisingly fits the unsparing nature of the content.

Perhaps afraid of appearing sacrilegious or being denounced as a Deicide wannabe, bands have just decided to walk away slowly. That or they don't even know how truly bizarre and sometimes brilliant the Bible can be. True, there are bands like Trouble/The Skull who have adapted Scripture into music, even succeeded in crossing over to a non-religious audience. Hell, The Byrds practically immortalized the words of The Preacher in Ecclesiastes back in '65 with that folk rock classic, 'Turn, Turn, Turn." Bible Basher are definitely onto a thing here.

Regardless of where you find a band called Bible Bash on the meter between "disgusting" and "fucking awesome, dude," they really aren't here to mock Scripture or Christians, not even to pronounce a value judgement. This is an artful attempt at retelling the stories of old, allowing us to gaze upon their vision.

☩

So Samson Sang

Loud Wailing by Bible Basher

Out of all books, The Bible is perhaps most prized for its collection of ancient stories, many of which become embedded in our collective consciousness over time (if not the unconscious mind itself). The tale of Samson, for instance, is practically universal (Hercules, anyone?). Bible Basher invoke its powerful imagery for this Rage against the Philistines opener. The bulldog gruff of "So Samson Sang" suits the song unexpectedly well. Perhaps the impact is greater because we feel the punch of each word, measured and metered, calculated to leave the most indelible impact.

Simson verslaat de Filistijnen met een ezelskaak (1562) by Cornelis Massijs

Plagued

Loud Wailing by Bible Basher

You'll never hear the anguish of Job expressed with as much weight as you will in "Burning and Blackened," for example. And the death-mongers among us, you'll enjoy the swirling storm of blast beats that "Plagued" stirs up and whips around Egypt, 10 plagues in all it is said. As this topsy-turvy number swarms along, the song feels like it's burrowing itself deeper and deeper into the ground in a crazed hypnotic dirge, as if seeking some relief from this madness of rivers turned to blood and a head full of lice.

Seventh Plague of Egypt (1823) by Martin John

Burning and Blackened

Loud Wailing by Bible Basher

I'm really digging the Middle Eastern vibe of "Burning and Blackened," on the tape's flip side. I could all but feel the cool of dawn and that first burning lick of the sun's rise. As a die-hard doomer, it won't surprise you that I marked this my favorite song of the experience. The way this grand skeleton of chords suffles about had me thinking of Iowa City's Aseethe (I hereby wish an Aseethe-Bible Basher tour upon the world come 2021).

Job and his Friends (1885) by Gustave Dore

Sodom & Gomorrah

Loud Wailing by Bible Basher

By the time we reach "Sodom & Gomorrah," we're battered, basted, and baked, ready for a fine finish to this four-course nosh. The vocals seem harsher than usual this time, but you have to understand that's the prophet divining judgement upon the most infamous twin cities of history (we find out in the interview to follow that there are multiple vocalists).

The whole song's got a nice, chewy groove to it. Plenty of meat on them bones. The lyrics consist of nothing more than the Bible's words, adding as much expressive liberty as death vocals will allow. The thick, smoky atmosphere of this whole song gave me flashbacks to 71TONMAN's "Phobia" and Old Man Gloom's "Procession of the Wounded."

The destruction of Sodom and Gomorrah by Jules-Joseph-Augustin Laurens

If I've any gripe with Loud Wailing, it's the runtime. Okay, yeah, sure, it's appropriate for an EP, but I can't shake the feeling that this is actually more of a teaser for something even grander in scope. Perhaps this is a toe in the water for the band, to see how people respond? Well, it's enough to reassure us that this sound and subject matter is poised to make some mighty big footprints.

Heck, I'd do the whole Bible book by book, if I was in their shoes. 66 in all, right? No problem. Okay, 73 if you're Catholic, 78 if you're Eastern Orthodox. Whatever, bonus editions. Works either way, 'cause you've got a guaranteed record deal and freaks like me to follow you wherever this piper lures. The band can break up from the repetitive bore of the long-ass genealogies in Leviticus and Numbers, but then reunite again to take on Deuteronomy.

All kidding aside, the dramatic potential of this collaboration is unreal. Bible Basher's debut is a promising record that presents tantalizing artistic possibilities (perhaps even with a roving collective of performers). The EP wears well on its own terms with repeated listens and I never found myself disinterested, even for a moment. Loud Wailing is the brutal dawning of a New Age in dirty grunts and dank riffs.

Give ear...

Loud Wailing by Bible Basher

An Interview with Bible Basher

By Billy Goate

Intrigued by this hulking beast shrieking out in my backyard, I had to move in for a closer look. Following is my conversation with band member Joe E. Allen, who most of us know from Kurokuma and gives us insight as to who Bible Basher is and what the band is up to.

☩

Would you be so kind as to give me some background on the band, how you guys ended up coming together, basically the whole history?

Tich has recorded and helped produce most of the Kurokuma releases up till now, most of which you've heard or written about. Tich mostly makes electronic music and is pretty well known for it, but he was also in a band called Temple of Coke back in the day. Daft music with two guitarists and no bassist. Some big riffs in there.

They stopped doing much after one of the guitarists left Sheffield, but Tich still had a lot of riffs lying around. Obviously, he used to come to a lot of Kurokuma gigs in Sheffield -- and even saw us in Japan -- so he felt like getting back on writing some big guitar stuff and asked me if I'd give him some input. Over the course of a year or so we just reshaped those old riffs and added plenty of new ones and as we progressed it just kept getting bigger and heavier.

What's up with the name? You've got pretty distinct religious themes (love the motto). I come from a strict religious background myself (preacher's kid). What are your own backgrounds relative to the themes you explore?

I've always thought that some of the stories from the Bible, especially the Old Testament would make for perfect concepts in heavy metal. Unrelatedly, one day we were sitting around and Tich said let's call this Bible Basher -- it just came out of nowhere. I agreed, it just seemed to make sense. Here in the UK it's what you get called if you go to church, it's an insult. I had a really Christian upbringing with my dad being a vicar, as well, so was very into all that when I was younger.

Plus I went to a religious school, so I've definitely been called a bible basher quite a bit. It's actually taken me a while to remove that whole paradigm from the way I see reality, but that's another story. Tich wasn't like me in that aspect, but he did go to a religious school, as well. At this point, I think we're both not massive fans of organised religion, but that doesn't mean we're not into philosophy and more celestial concepts. We've both read quite a bit of things like Manly P. Hall and The Kybalion. We didn't wanna make a "statement" on anything with this, though. Just wanted to present it "as is."

I'm sure we'd all love to know how the individual tracks came together. The single on this one was "So Samson Sang," which met with some pretty positive reception.

I know the Bible pretty well and it wasn't too difficult to find concepts for the tracks. "So Samson Sang" was the first one we did. The lyrics are: "With a donkey's jawbone, I made donkeys of them. With a donkey's jawbone, killed a thousand men." And then "I have slain, heaps on heaps." They were from the book of Judges, when Samson slaughtered loads of Philistines, pretty much taken straight off the page. It was that easy. We got George in to do the vocals, for obvious reasons. We sat on the track for a bit and sent it round a few mates and everyone was like, "This is sick," which made us want to finish up the other tracks, which already were mostly done.

The other three tracks all came together in one night. We basically asked three mates from other bands to come over and figured out concepts for each of them. It was good to get their input and it was pretty collaborative. I think they all enjoyed being given a bit of a brief to work within and we were buzzing to end up with four different vocal styles for each track. So on track 1 you have George from Kurokuma, then on track 2 you have Bing who used to be in a thrash band called Psython and can obviously do the really fast/rhythmic thing and his death growls were just spot on. That track ended up sounding like Pig Destroyer or something to me. Obviously, it's about the ten plagues of Egypt and the fast/swirling nature of the riffs just seemed to fit.

On track three, we have Craig from Archelon and Holy Spider, so I know him pretty well. He did more of a Neurosis style on the track about Job. That one starts off with a zurna, which is a pipe from the Middle East area. There's a spoken word section in the middle, a conversation between God and Satan. I actually only realised what this was when we were going through the Bible for the lyrics.

God calls all his angels together, Satan being one of them, and they get into this conversation where God is saying he likes Job and Satan is saying if his life went to shit, I wonder if he'd still worship you. So God is like, "Okay, go for it." It's stuff like this that fascinates me. I think there's a fairly deep message to be heard in that if you read into it, but most Christians won't. As a text of folkloric wisdom the Bible is pretty meaningful to me, but most Christians don't treat it in that way in my experience.

And then we have the demented squeals of Chris from Spaztik Munkey doing the voice of God on track four which is about Sodom and Gomorrah. It worked out well that the ending riff fit perfectly with the syllables in the phrase "Sodom and Gomorrah."

In general, this release was a right laugh to work on. The songs just came together and it was good for us all to collaborate on something outside of our normal bands. And the response has been mega positive so far. Aaron sold out the first 50 tapes in three days so we're already on the second batch now.

Get Their Music

#D&S Reviews #Bible Basher #Doom #Sludge #Metal #Death Doom #Doom Metal #Sludgelord Records #HeavyBest2020 #D&S Interviews #Doomed & Stoned

4 notes · View notes

mfackenthal · 5 years

Text

The MFackenthal Show with Special Guest @choicesarehard

banner created by the amazing @choicesarehard

Disclaimer: This interview was conducted on July 1, 2019.

Megs: Welcome, welcome everyone to my 10th show! I am so blessed that this show has done so well and the network has given me a full 23 episode slot. I have to tell you - the remaining 13 slots are currently filled! Which just means that my producers are working on a season 2. If you want to be on the show - please let me know. And if you think someone else should be on the show - let me know that too. In fact, today’s show couldn’t have happened without the help of @leelee10898.

Tonight, I have a wonderful special guest with me tonight, everyone please give a round of applause to @choicesarehard!

Ellie: stays seated next to Megs on the couch, gives a little smile and waves to the audience.

Megs: Ellie, I am so excited to have you on the show tonight. When we were chatting backstage, I promised I would start today’s show with a story - something to help you forget that my amazing audience is staring at you. Hmmm .. I’m trying to think of an embarrassing one … let’s see ... I’ve been taught to always sing loud and proud … but that means people often catch me not quite knowing the words to the song I’m singing. That’s not terribly embarrassing though … Oh! I understand that you like to travel … I have to be really careful that I don’t sing when I’m on a plane. It’s harder for me than it sounds. Ooooh oooh oh - idea forming right now! We should have plane karaoke. I really think flights could be more fun if we had a little more to drink and a few more songs to sing together. Plus I never forget the words when I’m singing karaoke - the words are always right there on the screen.

Ellie: laughs. You would certainly have a captive audience.

Megs: Exactly! Okay, your turn. Tell me a travel story.

Ellie: Hmmm ... well, Megs, you see, I’m a Texan, and we tend to be really friendly people. Sometimes, a little too friendly. On a flight home from London recently, a British man in front of us was struggling to fill out his immigration form. He asked the flight attendant “What if I don’t know where I’m staying?” This Texas woman next to me, who does not know this man at all, immediately pipes up, “Sugar, don’t give it another thought, you’ll stay with us. We have a spare room.” And the British man looks absolutely terrified, and squeaks “I meant I don't know the address!” It was the most perfect culture clash I’ve ever seen, and I loved every second of it.

Megs: Oh, that is a great story. Gotta love Texans.

Ellie: Agreed!

Megs: Okay, so Ellie, tell me, when did you join the fandom and what brought you here?

Ellie: I joined Tumblr in January, after reading every single Damien x MC story on the Choices Fan Fiction Archive. No, seriously, like, all of them. I was desperately Googling for more content, and discovered all the amazing creators on here. I made an account that night!

Now, as I can be pretty shy, I didn’t make a single post or even comment on stories my first month on Tumblr. I probably would have stayed a wallflower if @walkerismychoice hadn’t written a story so amazing I had to say something. So I sent her a DM and panicked until she responded. Turns out I had nothing to worry about. Maggie took me under her wing, showed me how to tag and post, sent me my first Ask, and even encouraged me to write my first drabble! Friends like her and what really brought me away from the metaphorical wall and onto the fandom dance-floor.

Megs: And we’re so glad you are here! Megs turns to the audience. As there may be a few of you here who don’t know Ellie very well, let me tell you - she is multi-talented. Not only does she write, but she also creates gorgeous edits. Seriously, did you see that banner of us when you first turned on the show? That was all Ellie! She’s amazing.

Ellie: Megs - stop, you’re making me blush!

Megs: Nope, won’t stop. Seriously Ellie, you should charge a commission fee! I would have paid for my icon and banners!!! *wink* Ellie: Ha! You are the sweetest, and I actually get that a lot. But edits are my little way of saying thank you to the fandom for being so kind to the new kid!

Megs: Awh, you’re not so new anymore, friend! So tell us a little about your work. What’s your favorite work that you’ve written?

Ellie: Oh goodness, I can be pretty critical of my own work, but I’m trying to shake that habit. And I am definitely proud of His Hands. Sometimes the things we hate about ourselves are the things that draw others to us, and it was fun to show both those perspectives in one piece.

Megs: Oh, that is so beautiful! Can you tell me more about your edits?

Ellie: The edits started as a way to illustrate one of my Outfit Drabbles — these kind of insane little stories I write about the worst outfits in the game. But I started doing edits seriously about two months ago! Clearly, it has kind of spiraled out of control since then, and I’m slapping wrinkles and tattoos and prison uniforms on everyone. I’ve also started making Choices Aesthetics recently. I love trying to capture the feeling and mood of a book or character in just six panels. My Wishful Thinking Emu board is probably my favorite thing I’ve ever made.

Megs: Everyone should check those out. That Wishful Thinking board is amazing! So, do you prefer writing or the edits?

Ellie: Oh Megs! Don’t make me choose! Oh goodness, let me think. Making an edit is definitely more fun than writing. I’m giggling almost the entire time I’m creating one. And it’s a much, much faster process. But I pour so much of myself into my stories, and I really love getting to share them with other fans. And I think my stories mean more to me on a personal level. So uh...both? Can I say both?

Megs: Of course! I mean, I should probably share something really fast ... if ever I am playing a game - I will look for a way to cheat. So in either/or questions - I highly respect an answer of both.

Ellie: That does explain so much about you, Megs.

Megs: Laughs. Okay, well, getting back to you sharing your work with this fandom. What do you love about this fandom? Is there anything you’re less than happy with?

Ellie: I love how welcoming the fandom is to new writers and artists. My first drabble was literally 77 words… and I had a whopping 13 followers. It should have been totally lost in the noise. But wonderful people like @bobasheebaby @sinclaire-made-me-sin and @ritachacha were so supportive; it made me feel brave enough to write a second story, and a third, and…well, here we are!

And listen, I know no online experience is going to be perfect, but if I don’t like a given topic or series I just filter it from my dashboard, or unfollow the user. Beyond that, I just try to surround myself with people who are kind.

Megs: Do you have any advice for other people in the fandom? Especially other fanfic writers?

Ellie: I’m an incredibly slow writer. Seriously, trees grow to maturity while I finish a single drabble. And it can be intimidating to see a flurry of new content appear as I’m writing. But I’ve had to teach myself not to worry about what stories have already been told or are being told as I write. Our voices will always be unique, so even if the trope or setting is familiar, our work will be something that only we could have created.

Megs: Well … I can’t say much about anyone’s speed of writing. I’m lucky if I get something out every other week. Those are truly beautiful words about uniqueness. Thank you, Ellie! What’s your writing process?

Ellie: Simple - I write three words. Then I panic. Erase two of them. Panic some more. I’m kidding…mostly. In all seriousness, most of my writing wouldn’t exist without @brightpinkpeppercorn. We’re both night owls, and tend to brainstorm ideas long past midnight. Telling a story’s concept to a friend helps me develop the idea without the pressure of formatting or picking the perfect words — especially when that friend has an incredible sense of narrative and how to move a story forward. I really do think writing takes a community sometimes, and I’m so lucky to have one on Tumblr.

Megs: I love hearing about the community really coming together. And speaking of community and coming together … fangirl with me about Choices for a little while. Have you read all the books, what’s your favorite book, favorite One True Pairing (OTP), etc?

Ellie: Well, Megs, don’t tell anyone but … I actually haven’t played three of the biggest series — The Crown and the Flame, Endless Summer, and It Lives Beneath. I really want to, but there’s so much amazing new content each week, how’s a girl supposed to find the time?

Megs: I don’t know! I often whine about not being paid to read all the fanfiction out there. I’m behind right now on both canon and so much fanfiction ... and that is so weird for me. Oh, but I saw that you’ve decided to read Veil of Secrets next. Everyone, check out this post on how you can read or reread it with Ellie, if you want!

Ellie: Awh, thanks Megs. Yeah - everyone should read it with me. As for a favorite choices book … Saying this in an interview makes it real, doesn’t it? gets up and starts to pace in front of Megs Oh gosh, oh gosh … sits back down and takes Megs hands … I’m so sorry Damien, but...it’s Ride or Die. Releases Megs hands and faces the audience. Listen, this wasn’t supposed to happen. Ride or Die was supposed to be a fluffy little story I’d play for diamonds and laugh at. But the narrative has so much more depth and nuance than I’d expected, and your decisions have real consequences. And did I mention the three incredible Love Interests?

Megs: You actually didn’t no.

Ellie: Oh - shush you! Laughs. Well, let me get back to my OTP - It will always be Damien and Kai from Perfect Match. Damien is a man who loves every part of you — your bad jokes, your terrible cooking — and has loved you for years. Besides, his banter is hysterical, and his ability in bed is literally legendary on Tumblr. I mean, come on. It’s a no brainer.

Megs: I do miss Damien! Sigh And, on that note, we are out of time. Thank you, Ellie, for joining me on today’s show. It was a pleasure to have you on the show.

Ellie: Wait, wait - Megs. Before you go, I have one thing I have to give you.

This is an edit of us on today’s show. Thank you for having me and for helping me through my shyness.

Megs: It is gorgeous, Ellie! Thank you soooooo much! I love it!

Ellie: You’re so very welcome.

Megs and Ellie hug then turn to the audience and wave.

Megs: Have a great weekend, everyone!

~~~~~

And now for the tags. If you want to be added to the tag list for these or removed, please let me know!

@hopefulmoonobject @queen-among-writers, @hopelessromantic1352, @lilyofchoices, @msjpuddleduck, @theroyalweisme, @lady-kato

#Guest Star Choicesarehard #Episode 10 #13 more in the season #I love glasses #She created my icon with Ethan #I wish I actually had that shirt and necklace #And the necklace she is wearing #The Mfackenthal Show #I almost forgot to tag my own show #Oops #If you hear singing on a plane that will be me #Plane karaoke

72 notes · View notes

comicteaparty · 4 years

Text

June 27th-July 3rd, 2020 Creator Babble Archive

The archive for the Creator Babble chat that occurred from June 27th, 2020 to July 3rd, 2020. The chat focused on the following question:

If you could do your webcomic for a living, how would that change things in regards to how you work on it (if at all)?

Deo101 [Millennium]

I'd definitely put out more content, cause I could focus on it fully every day of the week.

Eightfish (Puppeteer)

i would probably start hating it and get burnt out

Deo101 [Millennium]

thats why I would also have to start another comic or do short stories on the side or something, too.

I would probably keep individual comics update schedules the same, I'd just do more comics

LadyLazuli (Phantomarine)

If it became a part-time job, I don't think anything would change. It kind of feels like that already. If I were in a position where it became a full-time job, I do dread how my relationship with the work would change. I don't think I could ever make as much doing comics as I do in my day job (which isn't crazy, but is comfortable) so I don't know if I could ever 100% transition unless it was really, really worth it It's something I've thought about a lot, for sure.

Cronaj ~{Whispers of the Past}~

In a way, my comic is my full-time job? I don't make very much money with it, but I do put over 40 hours a week into it, and I don't have another job. I am in the very fortunate position of having an SO who is able to support me financially while I try to get my footing with my passion. If I was depending on it for a paycheck though, the main thing that would change is my style would probably get simpler, because there is no way I can make enough pages a week otherwise.

Holmeaa - working on WAYFINDERS

It is really the dream to be able to do it! Right now I am unemployed, so I basically treat the comic as my fulltime job, until I find the next short project. I want to be able to work on it full time! In Denmark there are some cool possibilities to get funding from the government and I hope we can get enrolled with some of those programs with our comic.

I would also just love to do small videos, podcasts, animations etc. Small fun projects

Mitzi (Trophallaxis)

If I had to do it full time, I think i'd put a LOT more hours into learning how to paint, watching speedpaints, ect. It'd also make a huge difference in my living situation, as the first thing I'd honestly do with a full time at-home job is move to another city with cheaper rent. Another state, maybe! Oh, and I'd do a lot more promo work. posters and animations are fun, but they're not quite worth it with an audience consisting of two my writing partner's friends, and my older brother.

Shizamura 🌟 O Sarilho

the biggest difference, I suppose, would be that I would make a lot more pages, a lot faster. But I like it that it's been pointed that the relationship with work changes when you have to do things full time, so there may be some unpredictable variables there

eliushi [Keyspace]

For a living for me can mean many different things: able to sustain living expenses vs full-time. There’s overlap but one gives financial security meaning an element of creative freedom. The opposite end will probably entail working on other comic projects with the current one as a passion story on the side (no change but probably might not want to draw so much after drawing for work!) If we’re discussing the ability to do the webcomic full time without financial worries then I do believe my output will increase but also I will be dedicating more time to the craft (studying story structures, art directions etc) as well as marketing/joining professional associations/pitching/connections. There are a lot of career options within the comic world and I’d love to explore everything before deciding what’s best for the current story. Ultimately if I were to do this as a living, I’d treat it like any other job: a routine, a strive for improvement, and wellness to recharge. I follow several artists not only for their art but also their schedule/workflow to see what worked for others. It’s very interesting!

In reality though, I might work on smaller scale projects on the side to build up the experience and platform needed to tell the story of Keyspace. As a full time comic creator, I’ll be seriously thinking to covert the seven novel series into a hug comic project. So TL;DR if full time, I make more pages

varethane

I'm in an odd place with my comic because.... well, I sort of had an opportunity to spend all of my time on it for a few months, when I was in between contracts at work. But I found that I wasnt getting it done all that much faster than I did when also working full time

To be fair, it's kind of hard to compare my speed between the three periods, because when I returned to work after a few months away, it was after work from home had started and now I no longer have a commute, so perhaps my ability to squeeze comic pages into my free time has expanded.... but I feel like my attention span caps out around 8 hours on any single task

So I didnt work that much faster. But... I'm also bad at keeping track. I could be wrong.

Yung Skrimp (Carefree)

8 hours is a long attention span

varethane

It's not all in one go, haha.

eliushi [Keyspace]

I definitely have to take breaks between pages, whether or not I have just a few minutes to a chunk of hours

It’s about finding a balance that works for you!

keii’ii (Heart of Keol)

I don't think I could put more hours daily into my comic than I currently do. I have a chronic issue with my drawing shoulder, so my body won't be able to handle that much work. Probably wouldn't be great for my eyes, either. I also don't know if I want my livelihood to depend on how many people like my story. This story is a pair of custom-tailored skinny jeans for my heart (and I have an unusual body type, making it impossible to wear skinny jeans regardless of size). It's a story I want to read. It's meant to fit ME. I don't want to worry about how to also make it fit a bunch of other people.

That being said, some people do find themselves in a situation where they're making something they want to read, and a bunch of other people just happen to like it, too. I think that would be nice

chalcara [Nyx+Nyssa]

I physically can‘t draw for more than four, five hours a day, found that out the hard wayy

eliushi [Keyspace]

I most recently developed pain likely due to RSI and have made accommodations since then but yeah it was scary to think that I have a limit in drawing time. Gotta find ways to take care of yourself for the long run

cAPSLOCK (Tailslide)

I think if comics were my only job, I'd feel a lot more anxious about what I create, and would struggle to work consistently. Having another pursuit makes me feel like I have more freedom to experiment, learn, and make what I want to make.

Eightfish (Puppeteer)

That's a really good point keii

Would drawing a comic for a living push me to change it to have more mass appeal?

I don't know but it is definitely possible and would be on my mind

Joichi [Hybrid Dolls]

It is the dream, if I could get a decent monthly wage on my comic, yes I will dedicate more time, work out a better schedule. Get an editor and colourist on board to help make a polished series. Altho I'm still doing this method to build good working habits But I agree with Eli's point, have to assign days for breaks for myself to prevent RSI. At present I have a trained mindset to work on schedules, but I may feel the pressure to produce as fast as I could.(edited)

Desnik

Well, for starters, my comic would actually be released somewhere, so it'd be nice if it made something back for me

Miranda

I’d actually release it. And work on it regularly, instead of sporadically like I have been! I’d definitely be more critical of what I was doing, and probably way more anxious every time I posted.

keii’ii (Heart of Keol)

You know, when I was only like 6 years old, I was like "I don't want to be an artist when I grow up. I love art too much, and I don't want to burn out and stop enjoying it. So I'm gonna be a singer instead." I have no idea how 6-year-old me knew about burnout, but I definitely remember saying that in response to an adult asking something like "what do you wanna be when you grow up"/ "wow, you're drawing all the time; do you want to become an artist?"

sssfrs (JOE IS DEAD)

The more I do comics the more I think I want to do art stuff as part of my main career. I would love to make sequential art that's for science purposes

sagaholmgaard

Ah that would be the dream! I'd probably feel more secure in my ability to build up a backlog of pages, and be able to make more extra content for the PDF version! And more content for instagram and twitter as well

kayotics

If I were to be able to do comics full time I think it would completely change my current lifestyle. Not even money wise but I’d need to switch up a lot of things. Like make sure I get a good amount of exercise in. I’d probably add in another page a week, but then use the rest of my week to project manage the comic, and promote my work. I’d spend a lot of other time working on creating an online store, because I can’t see the comic working full time without some supplemental merch keeping me afloat. And I’d also use that time to create and work on another comic series I think.

Yung Skrimp (Carefree)

If I were to do comics full time I’d flex on everyone I know

Feather J. Fern

If I was able to do comics full time, be able to pay off debts, substain rent and food, and extra saved for small spluges, I will shove my comic in my family's face(I got a family who doesn't believe in me at all), dancing around screaming "I MADE IT IN LIFE" And then jump out the window because haha this can't be a reality because I don't think I will ever make it in comics. I will still keep my other job of working at a library and drawing on the side becuase I want working job insurance and also I am the type who wants to save all their money if possible(edited)

eliushi [Keyspace]

I was on board until jumping out the window

Yung Skrimp (Carefree)

I wasn't on board until jumping out the window

Now I am

Moral_Gutpunch

If I could do this for a living, I could do so much. I could afford to put my mother ina home, start my dream farm and start a bunch of conservation as well, I could help my husband fund his own sidegig, and I could afford to foster pets like I always wanted.

shadowhood {SunnyxRain}

Personally, if I was able to do it I would be a lot more invested in it. I would also make a lot less excuses as to why I'm not practicing as much; it took a pandemic to happen for me to dry taking it more seriously!

I think overall I might have been more happy.

On the other hand, there's also the danger of burnout, of constantly doing the same thing over and over again for me. I'm the type that needs constant change, so I think I'm more suited to having another occupation be my main profession while comics/art would be a secondary one, where I don't have as much pressure. Furthermore, it's also my backup plan in case anything happens to my main job.

Moral_Gutpunch

^ This. I'd be focusing so much more on comics. And I'd be expanding into more comics and writing more stories. I'd be happier I'm writing more, but more frustrated at writers block

Tuyetnhi (Only In Your Dreams!)

Man if I could do it full time, might be able to pull more page updates and actually get deep into doing some long term projects I had planned for years. I won't have much of an issue as long i can also do my zine projects on the side. also would be nice to have some job insurance too along with it lmao. the only danger that could take it away if I get incapacitated for no reason lmao

TaliePlume

If I could do comics as my full time job would be awesome! But all that focus would go only to the comic and nothing else which is bad because I would be neglecting a lot of things and not getting other things done.

AntiBunny

I'd finally be able to tell my whole story and start telling another. It drives me crazy that I have more ideas than I can pursue.

snuffysam (Super Galaxy Knights)

In terms of my actual production, I'm not sure doing my comic as a living would change much lol. I already spend upwards of 40 hours a week on it, I seriously doubt there's more I could be doing. So, earning a living off my comic would just be... one less thing to worry about.

#ctparchive #comics #webcomics #indie comics #comic chat #comic discussion #comic tea party #ctp #creator interview #comic creator interview #creator babble

1 note · View note

spidercakes · 5 years

Note

Starker for 002 in the ask thing if you wouldn't mind dear author 💜 -StarkerBrain3000

002 | send me a ship and I will tell you:

when of if I started shipping it.

Hard to pinpoint. I saw it probably just after Civil War for the first time, thought ‘hmm’ and then watched the massive backlash to it appear. Never paid much attention to it, though, mostly because starker didn’t sit in any of my inner circle of blogs I follow at the time, so most of it was peripheral and given the weird amount of hate Tony’s character got I already only followed hella select blogs in the MCU fandom.

I got way more into the ship about 3 months ago though. Went on a reading binge and then made this blog. I’m not sure why it happened to be when it was, but I’m already established as a fic writer elsewhere and felt a bit burnt out. This pairing has been like a nice vacation because I like producing content for it and this is a surprisingly interactive fandom? The most interactive I’ve ever dealt with anyway.

my thoughts:

Good lord people on this site take shipping and fiction in general way too seriously. Don’t get me wrong, I live and breath social justice- I have a gender studies degree- its a big part of my life. But antis seem to fundamentally misunderstand how fiction affects reality and how reality affects fiction. They remind me a lot of anti porn feminists in the 70′s claiming that porn made men violent towards women when that’s A- not definitively proven even now and B- you don’t watch an hour long porn flick and become a misogynist, you were already misogynistic and then the porn reaffirmed your shitty values, and the shitty treatment of women in the porn was because misogyny already existed in mainstream culture and was thus included in the porn. Which is generally how fiction affecting reality works- something preexisting in the culture is reinforced by mainstream media and then reabsorbed by the audience, which is why people can watch slashers without you know, turning into one.

And the fact that antis remind me of that particular group of feminists doesn’t leave me with a high opinion of them really. They lack a lot of critical thinking skills, don’t even seem to understand how fan fiction works also, and they also keep redefining the definition of pedophilia for... fuck knows what reason because it sure shit isn’t to help victims of actual CSA. They’re irritating at best and absolute hypocrites at worst- like who the hell says ‘save the children, kill yourself’ and thinks that’s actually acceptable?

As for the ship itself I’ve always preferred AUs, and this pairing is no exception though I’d never actually write it in canon. Canon sideways maybe, but it’d have to be pretty sideways for me to consider it. Plus I find it more fun to make my own sandbox to play in rather than the writers of the MCU’s box. I’ve already seen them in that setting, I want to play with them in new settings lol. That said I’ve not written much of this pairing before so its all new stuff and this particular fandom offers new tropes to play around with! That’s what had me most excited walking into the fandom, the way people toyed with the characters.

What makes me happy about them:

The unique dynamic they have- I’ve always been drawn to characters who have an interesting dynamic. Plus Tony Stark is one of my fav characters in anything anyway and I ship him with almost everyone (minus Pepper, no hate to Pepper!). I figure that’s why this ship came about too- Tony is interesting and well drawn out as a character, and I loved Tom Holland’s Spidey. He’s the best who’s had the character in my opinion so pairing them together was probably something inevitable. Other than that I like the way the fandom toys with their characters- not always in character, but still a lot of fun to read and imagine!

What makes me sad about them:

Well, half of them are dead, so...

things done in fanfic that annoys me:

Good god, daddy kink. Its not even that I find it annoying, its just that its a hell of a squick for me so its difficult to find something that doesn’t include that and surprise daddy kink is not where I’m at as a person. Granted most people warn for it, which I’m grateful for, but it does permeate the fandom in a way that makes it a pain in the ass to find something I want. And honestly that’s really only it, and its more of a personal preference (seriously, no hate to anyone who likes that- you’re clearly all in good company lol, its just not for me) than an actual annoyance.

things I look for in fanfic:

I’m really picky about how I like Tony written. I’ve been writing the character for years now and fell into my own habits with him, though I do get pretty consistent compliments on how I write him so I’ll assume I do an okay job. But the result is that I have a hard time when people write him in ways I don’t like or wouldn’t write myself. Sometimes its just random squicks that pop up in a story, or sometimes I outright dislike the way he’s written. That said I do find that the starker fandom does the things I hate with Tony’s characterization in fic much less.

This, I think, is primarily due to the fact that he’s made the more dominant one in the relationship always (and people treating top/bottom like its a fucking dominance thing is something that annoys me in general mostly because its built on the misogynistic idea that being penetrated is being dominated but also because sex positions aren’t a fucking personality trait but I digress). As per my previous rant I don’t care for the idea of the ‘top’ being the dominating one based on that alone, but I do like that people writing Tony in that way reduces the amount of Wuss Tony fics in the fandom. Actually, I don’t think I’ve read a single one like that. Its my Number One I Hate That in other MCU pairings, making Tony some weak little waif in need of protecting. Though I gotta admit I don’t care for Peter in that position either- clearly he’s capable and able, please don’t turn him into the wuss. Bonus points if everyone thinks he’s soft but then oh no he’s actually dangerous shit lmao.

Still though, my pickiness over how the character is written can sometimes hinder my ability to enjoy a fic.

My kinks:

Bro finding an entire fandom who likes feminizing dudes if fucking mint. I have my issues with the term, but I do feel men get the ass end of the stick when it comes to aesthetics and the easiest solution is to stick them in aesthetically pleasing shit and if that’s women’s clothing and lingerie so be it lmao. I also like the kind of gender bending that goes on in that too, I find it subversive in a way that doesn’t need to be spoken aloud if I want to swing it that way, or flat out more pleasing to imagine. Seriously, men’s clothing is boring as fuck so skirts? I’m here for it. Though I wish there was more fem!Tony stuff in the starker fandom- its actually something I write a lot of when I write him in other pairings (particularly winteriron).

Other than that I’m a big fan of anything sensation play related. So ice play, things fucking about with heat, sometimes electric play stuff, taking away someone’s senses (blind folds, bondage, blocking out hearing in some way- that type of thing). Things like feathers are nice too. I’m also fond of gags, preference for ball gags or impromptu cleave gags. Theoretically soft dom stuff though I will never understand why bondage is considered not terribly kinky. I know a lot of people are into it but the idea of trusting someone enough to tie me up and actually listen if I decide I want out of it? I have too many trust issues to relate lmao. But it does make for a good bit of fiction as I’m sure some of you have noticed in my writing (given that I do love to write some kinky stuff). If you want something sex related specifically for whatever reason public sex gets my goat, not sure why because if I were a random passerby I’d be pretty fucking annoyed at the people in the bathroom but hey, whatever floats your boat on the page, right lmao.

I’ve thought about some more extreme things too, knife play and toying with things like fear being two of those things. But I’d have to have the right opportunity and context to work them in.

Who I’d be comfortable them ending up with, if not each other:

Well, Tony is dead so. I would have preferred him with literally anyone but Pepper though. He literally had more romantic chemistry with Rhodey (who I do incidentally ship him with). But the MCU is bunch of cowards so clearly they would never end up together. But they’d make a better pairing than him and Pepper, in my opinion.

Peter I’m fine with him being with MJ, I like them together on screen and I really like her character. If not her than Ned would also be a good pairing for him!

My happily ever after for them:

Well we gunna have to unkill some people but that’s what fanfic is for, right? Beyond that because I prefer AUs so much their happily ever after will depend entirely upon what universe I’ve imagined up for them :)

#spider answers

4 notes · View notes

poppytheorist · 5 years

Text

Me Laughing

must’ve been one hell of a joke

Preamble

So, I was in the middle of writing a piece on [redacted] when Poppy released a 27-minute video of herself laughing. Naturally, that took priority. Sorry for my absence, this post took some time. And by “some time,” I mean “45 hours.”

This may be the best thing I’ve written, but it’s also the most insane thing I’ve written. In fact, I would label this post as ‘maddening.’ It’s possible you won’t be able to look at Poppy the same way again. I know I don’t. You can’t unread this, readers beware, [other dramatic warnings], etc., etc.

Descend when ready.

…

I thought “Concrete” was pretty #wild, but “Me Laughing” takes the cake. This video is pure lunacy, and I mean that somewhat literally since Poppy does laugh at what appears to be nothing for almost half an hour.

Due to the sheer insanity of “Me Laughing,” I’ve put together a handy little collage to help readers follow along. Behold: my barely passable Paint skills!

the pic for Section 4 basically explains everything

Before we begin, I need to address a few things. There’s at least, like, nine people who read this stuff, and while I can’t say that I envy you, I can say that I appreciate you. Thanks for sticking around.

However, there’s a funny thing that happens when you know you’re writing for an audience. You feel pressured to adapt your style. I feel the need to be a little more careful about some of the things I say, but that’s probably for the best. Hopefully this extra care will result in more coherent posts, but I doubt it.

This post will be long. Partially because “Me Laughing” is long, partially because I’ve padded this out with shaky theory about how the world works. Guess that’s no different than my other posts, but still, feel free to tune that out if you’re just here for the Poppy stuff, though maybe you’ll find some of it interesting.

I tend to write authoritatively, which may be misleading because I’m not always confident about what I’m saying. I simply enjoy taking things to their natural conclusions. Typically, there’s something interesting at the end. Or, at least, a premise insane enough to make writing about it enjoyable. See, for example, my post on “Concrete.” This post won’t be much different, maybe just a little crazier.

Now, I’ve got a funny feeling that some people may think I am “reading too much into this” or that Poppy’s work “isn’t that deep.” Hey, I get it. Those objections are completely understandable. I was once there myself, but now I’ve moved away from thinking that way. I’ll do my best to explain why.

From what I’ve seen, aesthetics (roughly: the study of art) is a total battlefield. Nobody agrees on anything, everybody thinks that only they can ‘properly’ understand art and that everyone else is wrong. There’s people who think beauty is objective, there’s people who think “no, that’s stupid, beauty is obviously subjective,” and there’s even the people who outright deny that aesthetics exists. Recently, we also had the pleasure of witnessing the aesthetics debate become another facet of the everlasting culture war. Think a line from “Play Destroy” sums my thoughts about that up: “oh boy!”

Needless to say, it’s a massive shitshow.

Despite my rather war-torn depiction of modern aesthetics, it might be a good thing that we can never ‘understand’ art. I hear that’s, like, part of the point. If art was ever ‘solved,’ well, we’d be faced with the idea that there is nothing ‘special’ about being human, that we’re just sacks of meat bumbling around with no purpose. Then everybody would, like, die or something. Truth hurts, art heals, let’s stay alive.

Anywho, I mention all this because there’s no rigorous way to determine how ‘deep’ a song (or any piece of art) is. You can’t just take a stick, poke it into some art, and say: “yep, this Poppy song is 75 [metres/fathoms/hands/whatever nonsense unit] deep!” Besides, nobody even agrees what ‘artistic depth’ means, and most attempts to define it flounder. If you listen closely, you can just faintly hear Goodhart laughing.

This is also why people who think they can ‘objectively’ analyze art are dogmatic blowhards. Any amount of rigorous thinking reveals that our standards for what make art ‘good’ or ‘bad’ are entirely baseless. No, seriously, it’s a case of channeling your inner Socrates and repeatedly asking ‘why’ until the other person throws their up their arms, leaves, and stops answering your texts.

We don’t even know what art is, so thinking you can ‘understand’ art and judge its ‘depth’ is pure arrogance. At least, until someone finds a way to math that shit. “Sounds solipsism.” Well, ya gotta start somewhere.

Now, does this mean we should also throw up our arms, say: “screw it” and return to binging Netflix and eating foods that you know aren’t good for you but you eat them anyways because they make you feel good and that’s what you need right now? Well, no, actually.

Even if we aren’t 100% sure what art is, or what we should do with it, there are some theories on art that I would call: “pretty not-terrible.” Some people have spent their entire lives thinking about these things and their insights are fascinating. However, I’m not here to talk theory. If you want to learn more, go pick up a book or something, nerd.

Anyway, one time this German guy said: “without music, life would be a mistake.” He also said that looking at things from multiple perspectives is pretty neat, so that’s what we’re here to do. Turns out art is kinda fun and spending a bit more time thinking about it pays dividends.

See, art just wants to be understood and so does Poppy. I want to give her and Titanic the benefit of the doubt and take them seriously as artists. While I don’t think everything they produce is God’s gift to earth (see: [redacted]), I do enjoy the majority of their work. Plus, the abstract and absurd nature of their content means writing about it is a blast.

Whether I truly believe any of the interpretations I come up with is irrelevant. Hell, I’m not even sure half of what I say even remotely resembles what Poppy and Titanic envisioned. But, that’s not the point. Shallow readings are a dime-a-dozen, see: Genius; I’m here to provide something better. To show that Poppy’s work, or any art, really, can be a whole lot more fun if you spend even just a teensy bit of time analyzing it. Hopefully I can also provide some of the tools to do so.

Enough rambling, let’s get into it.

Intro

At first glance, “Me Laughing” seems like Poppy doing cute ASMR for 27(!!) minutes while simultaneously trolling anyone who expected a video titled “Me Laughing” to be about anything different. Sure, but that reading gets a ‘B’ for ‘Basic.’

Yes, Poppy and Titanic often troll their audience. See: “A live Interview with Poppy.” But the trolling is both part of the delivery of their message and part of the message itself. So while “Me Laughing” looks like a simple ASMR troll video, I’m going to argue that it’s not.

Previously, Poppy released videos like “Delete Your Facebook” and “I’m Poppy.” Fun vids, but they’re made of looped clips. Thirty seconds in and you’ve watched the whole thing. Consider: “Me Laughing” is 27 minutes, but no parts are looped, it’s all original. As always, I’m just here to ask: why?

Since “Me Laughing” is not made up of looped clips, but is instead all original content, there is an inherent progression to the events. Each segment is unique, and when considered sequentially, pieces from each section build on each other to produce an artistic whole.

Yes, that’s a fancy way of saying it has a ‘story.’

Also, if you’ve watched the video, you’ll know that something just feels ‘off.’ If “Me Laughing” was ‘just’ Poppy ASMR, why does she constantly focus on a single point in the distance? What’s with Poppy’s frequent stares into the camera? And why the fuck is she wearing latex?

Clearly, something else is going on.

Detailed Summary

Let’s recall what actually happens in “Me Laughing.” Hopefully this recap will convey a sense of what ‘else’ exactly is going on and make the insane claims later on in the analysis a tad easier to swallow.

“Me Laughing” starts off pretty normally. Sections 1 and 2 are mostly Poppy laughing, as promised. Even in these early sections, however, we can still pick out some peculiar things.

In Section 1, and throughout the video, we see Poppy looking upwards as she laughs, as if she was remembering something funny that happened. Or as if she was thinking about something for a while and suddenly found it hilarious. “Maybe Poppy just looks upward when she laughs.” Doubtful. Try doing it right now. Feels weird, right? Whatever, moving on…

Next oddity: there’s a strange transitioning shot at the start of the video and between Sections 1 and 2 where the camera sweeps over Poppy’s latex-ed body. “Well, maybe Titanic just thought it would be cool to do it like that.” Yes, but why did he think it would be cool? Why that transitioning shot, out of all the possible ones? What purpose does it serve?

Also: Section 1 was a very steady shot, probably filmed using a tripod, or whatever fancy word camera-people use. However, the shot for Section 2 is shaky. Like, weirdly shaky. Maybe even too shaky. And this isn’t the only section filmed this way, half of “Me Laughing” is too. “Well, maybe Titanic can’t hold a camera steady.” No, that doesn’t seem right. We know Titanic can, in fact, hold a camera steady, or, at the very least, he possesses the means to take a steady shot. See: literally all Poppy videos. No, the shaky-cam is intentional. Again, I’m just here to ask: why?

Now, I don’t mean to tip my hand too much here, but to me, the camera’s sway resembles the unsteady gaze of a curious observer. Perhaps one who is timidly stepping around the beheld, drinking in all the angles. Recall my post on “Touch Poppy.” With steady camera shots, it’s easy to forget someone is on the other side, but with unsteady shots, it’s downright impossible to ignore, e.g., “wow, that shaky-cam is really noticeable. What is this, a shitty sequel to the Blair Witch Project?” Perhaps these sections were filmed this way to emphasize the presence of an observer. As for why such a thing would be emphasized—well, we’ll get to that.

Around the 3:30 mark, Poppy shakes her head and clearly utters a, “m-mm,” as in, “nuh-uh, no way.” This gesture is repeated throughout the video. I’ll let you think about that one.

The video continues, and at 3:52 the camera lazily pans down, focusing on Poppy’s body and cutting her head out of the shot for several seconds, similar to the transition shot from Section 1 to 2. Thirty seconds later, the same thing happens. Guess this isn’t just Titanic diversifying the shot composition. It’s also about this point where attempts to pass “Me Laughing” off as anything resembling a ‘normal’ video start to fall apart.

Poppy’s sitting position in Section 3 is both clever and hilarious. It shows her whole get-up, highlighting how absurdly tall her platform shoes are. She also flip-flops her feet back and forth several times as if to further emphasize her mega-shoes. Why would she wear such crazy shoes for a simple video of herself laughing?

That’s not all that’s ‘off’ about Section 3—this is also the first section where Poppy stares at a spot in the distance for a prolonged period of time. In several instances, she quizzically tilts her head to the side, not unlike a faithful dog trying to decipher commands from her master. At 6:23 we also get a clear “huh,” a noise of acknowledgement, of understanding. Further, Section 3 has several stretches of silence where Poppy is no longer laughing. She just sits there while you watch. It’s… unsettling.

Section 4 is shot in a similarly shaky-style to Section 2, but this time with Poppy sitting down. Also, we see instances of Poppy focusing on something off in the distance both when she is laughing and when she is not, as was the case in the previous sections. However, there are some weird things about Section 4 that set it apart from the others and further develop the video.

Around the 8:38 mark, Poppy utters a “mm-mm-mm” sound while shaking her head and staring off into the distance. It’s fairly clear that she is communicating with something off-screen. Perhaps entities that are invisible to us. It wouldn’t be a stretch to say these off-screen entities are the things making her laugh.

We will see more evidence of Poppy supposedly communicating with invisible beings later, however, this is bordering on fetishizing Poppy’s lore as opposed to analyzing her artistic message. If you’re half-learned on Poppy lore (which, you better be, considering the fact that you’re reading this), this would be like focusing on the identity of ‘They’ instead of the significance of ‘They.’ Another example would be focusing on the ‘origin’ of Poppy, e.g., is she an android? Who is her creator? Etc., instead of asking why someone would create the artistic work of Poppy in the first place and/or considering the implications of said work.

If you’ve read anything else I’ve written, perhaps you’ve noticed that I try and stay away from acknowledging that Poppy even has lore. I want to take Poppy seriously, not literally. Or, in “pretentious asshole” terms, to consider her work artistically, not canonically. There are many reasons for this and I didn’t just get here randomly overnight, but that’s for another post.

Edgy ranting aside, there’s another part of Section 4 that I’d like to point out. Before this section, there was only a single instance of Poppy looking into the camera (happened in Section 2), but in Section 4, she frequently looks into the lens, acknowledging that an observer is present. She shoots this observer a flurry of dark and mischievous glances. Then she laughs.

Section 5 features more head shaking, distant staring, etc., but it is also a relatively sad section. Poppy laughs very little, and frequently looks down. Yes, a pun. Poppy has been laughing for most of the video, so why, all of a sudden, does she seem so sad?

Section 6 is shot shakily and close-up. I mean, really close-up. Like, right-in-her-face close-up. To the point where the camera is often out of focus. We’re also given a blatantly voyeuristic sweep over Poppy’s chest as the camera shifts position around her. Further, there are several instances where Poppy looks deep into the camera, with what I refer to as a “model pout,” where she slightly parts her lips and opens her eyes wide. Recall my post on “Computer Boy” where I talked about the fan-idol relationship. That lustful look? It’s for you, except everybody knows it’s not.

Quick note: I will elaborate on this when I talk about “You’re Too Close,” but it’s important to stay mindful and know that despite some uncomfortably voyeuristic shots in “Me Laughing,” it doesn’t necessarily mean that the video, or anyone who worked on it, is, y’know, perverted or something. Depicting the voyeuristic nature of idolism is how we talk about the voyeuristic nature of idolism, the same way that depicting racism is how we talk about racism.

The problem is that nowadays, we are trained to think quickly, not critically. Your initial response (also called your ‘knee-jerk’ response) to Poppy’s work shouldn’t be your final response to it. It’s important to consider context and think carefully. Ask yourself: why would Poppy choose to show you this? What does she want you to think about? What is she trying to tell you?

Section 7 is where things start to get really fucking weird.

Previously, I said that there was something darker lurking in “Me Laughing,” and Section 7 is where this darkness begins to manifest. The segment starts with Poppy having another one of her imaginary conversations with demons or whatever where she nods her head and gives some “mm-hmms” in agreement. Shortly after, she looks right at the camera and laughs in your face. Not only is her laugh absolutely maniacal, but it seems completely sincere too. This section really relates the feeling that you are not in on the ‘joke’—maybe the joke’s about you.

Section 7 also provides a sense of violent foreboding: a creeping feeling that something is going to happen to you, but you don’t know what that ‘something’ is, and you have absolutely no power to stop it. What really drives this sense of helplessness home is the way the scene is shot. At one point, the camera spends a few seconds just looking at Poppy’s hand. This emphasizes your lack of control. You are completely at the mercy of the camera’s whims. You only see what is shown to you. Then, as the scene closes, the camera is put down in front of Poppy, and, after a few tense seconds, she slowly reorients her body and starts crawling towards you. Luckily, the camera is picked up before she reaches it—you were saved, but what if you hadn’t been?

Oh, right, I forgot to mention: Poppy didn’t laugh much in this section.

Section 8 is a more amped-up version of Section 6. We get Poppy staring deep into the camera for almost the entire scene’s duration. Her lustful gaze relates a feeling of vulnerability, like you are spying on a defenseless little girl, but at the same time, it feels like she is giving you one last dose of what you want before she brutally murders you.

Section 9 is fairly straightforward. We have Poppy staring at a fixed point in the distance as if she is receiving orders from her alien overlord. We also get several rapid glances toward the camera, as if her orders somehow involve you, or as if she and someone else are sharing gossip about you right in front of your face.

…

…And then Section 10 happens.

Poppy says: “goodbye.”

In Section 10 we have a bit of a climax. No, not that kind of climax. Well, unless this essay is really doing it for you.

The first interpretation of Section 10 is fairly basic, Poppy is waving goodbye because you’re about to die. Obviously, whatever scheme she and her invisible monster friends cooked up is going to be carried out, and it’s probably going to result in the destruction of everything, yourself included. This is sad, probably, but she seems to find it highly amusing. Again, I’m not a fan of obsessing over canon or lore, so I’ll tackle this one slightly differently in the analysis, but I do think this reading of “Me Laughing” is at least semi-faithful to Poppy and Titanic’s vision. This interpretation also serves as a very nice teaser for P3. I mean, if “Do you disagree?” has told us anything, P3 will have a lot of destroying.

The next reading of Section 10 involves the objectifying nature of idolism. Yes, the $5 words are starting to come out, brace yourself. Anyway, in this section, Poppy giggles as she waggles her hands around, back and forth then forth and back, as though she is using her hands for the first time. Almost like a shiny, new automaton discovering its motor functions. It’s cute, but silly. And by silly, I mean overly silly. You have to remember that Poppy is played by a woman in her mid-20s. Reminds me of some lines from “Hard Feelings”: “my arms and my legs are so stiff / Is that the way you wanted it?” Or, rather, is this how you want her to act?

At the end of the section, the camera moves right up to Poppy’s face and she looks at you and just… stares.

…

And stares…

…

And stares…

…

She knows.

Finally, we get to Section 11, which would be my main argument against the totally boring ‘Poppy communicating with demons’ reading. Poppy is seated, again, with her arms wrapped around her thighs. Note again the sense of her smallness and vulnerability transmitted by her sitting position. Also note the way the shot is filmed, with the camera looking down on Poppy and frequently swooping in for close passes.

And then, in the last two seconds, something really bizarre happens. For a brief moment, some foreign object enters the shot, just in the very corner. Now, I’m about to make a weird argument, be wary of it. Other than the random piece of equipment entering the shot, “Me Laughing” does not end off on a noteworthy moment. Just Poppy sitting there, looking up at the camera. Plenty of instances of that. The video could have easily been trimmed by 2 seconds and nothing would have changed. We can also (probably) assume that somebody carefully reviewed this video before it was uploaded.

We’re left the possibility that those last two seconds were left in the video for a reason. And that reason is—

Hey, wait a minute, was that a mirror?

Analysis

“Me Laughing” is a really interesting video, and you can have a lot of fun if you spend some time looking into it, so that’s exactly what we’re going to do. We’ll tackle it from several different angles, watch for the switches.

Quick words of warning here: I’m about to use the words ‘parody,’ ‘satire,’ and ‘sarcasm’ interchangeably, a practice some would refer to as: “really fucking lazy.” Frankly, I don’t give a damn, I’m not a professional, I’m going to type my silly words anyway and you can’t stop me.

As content loses any sense of shame in attempting to draw your attention, nuance withers away and it becomes harder and harder to differentiate parody from parodied. For example, is “Old Town Road” criticizing the state of the music industry or embracing it? Now, I’m positive that Lil Nas X has the self-awareness of my pug when he’s lapping up his own boogers, yet I personally couldn’t write a song that so perfectly encapsulates everything wrong with modern music. So, is “Old Town Road” a parody or not?

This is where someone ripping off Westworld would say: “if you can’t tell, does it matter?” to which I would answer: “yes, yes it does.”

Context may be fleeting, unreliable, and arguably nonexistent, but I still believe it’s possible to differentiate parody from parodied, it just takes a little more effort. See, I think “Me Laughing” is satirical as hell, especially considering its context within Poppy’s body of work and how it compares to mainstream internet content.

First, consider that the frankly-titled video “Me Laughing” was hyped up for three days before it ‘premiered’ on YouTube. Hilarious, but also incisive. Who waits three days to see someone laugh? “Well, I did.” Ah.

The sarcastic nature of the video also shines through in the description, which reads: “A motion picture starring Poppy.” There’s a tired, yet necessary, statement here on the continuing degradation of internet content. What won’t people eat up?

We all know Poppy’s no stranger to sarcasm. See: “Bleach Blonde Baby” or “Poppy loves Politics.” She will often refer to her videos as “high quality internet content,” while uploading videos of herself eating cotton candy or ‘ooo-ing’ at things. With “Me Laughing,” a video where she laughs for 27 minutes, Poppy further questions where the line is regarding what content people will happily consume.

Fun story: I’ve seen people call “Me Laughing” ASMR. In fact, I think I did, at some point. Huh, I should probably change that. This isn’t totally wrong, but know that “Me Laughing” takes so many shots at ASMR you’d think the video shared a set with Sicario. And, if that’s the case, they could have saved some money and just filmed the video in my neighborhood haha… hah… ha… (seriously though I’m in danger)

Considering “Me Laughing” as a genuine ASMR video would obviously be antithetical to Poppy’s entire body of work. Recall lyrics like: “Poppy is an object.” No, “Me Laughing” is much more than simply Poppy recording cute ASMR.

Poppy has been questioning the nature of people’s ASMR obsession since her first YouTube video, “Poppy Eats Cotton Candy,” where she had the mic uncomfortably close to her throat so her little gulps and coos were clearly audible. What leads to people wanting to hear these things?

Zoom out: many of Poppy’s videos are about obsession. Forget that and the point will fly right over your head. Let’s now reframe the question: why would people want to hear such intimate sounds from Poppy? Answer that and “Me Laughing” will make a lot more sense.

What I’m about to say next will be very dense because it will outline the thesis of a large part of Poppy’s work. Sorry, hopefully it’s still readable. I’m still developing my interpretations of her work, and I promise to expand and explain them more in the future.

I’m also sure some fans will want to stab me in the neck with a rusty spoon for this post because it’ll appear like I am directly criticizing them. In reality, I am actually insinuating that Poppy is criticizing them, but nuance is dead, knee-jerk reactions reign supreme. Whatever. If you react that way, it means you’re so eyeballs deep in obsession that you fail to realize why Poppy courts your obsession in the first place. Poppy’s work entices fans to obsess over her, but it also berates those who do so.

Note that this is all as a means of criticizing the status-quo. And guess what: fans are part of the status-quo. It stings when you realize your idol’s criticisms are actually about you, but I’m not convinced Poppy is malicious. She wants you to be a better person.

This is my best estimate of her thesis: the nature of the objectification of celebrities is rooted in a sexual obsession—that is, a desire for their bodies. Pun intended. Objectification stems from fantasizing over what the celebrity shows you, which is almost always physical, or at least results in the fantasy manifesting itself as a physical representation.

In other words: “everybody wants to be Poppy.”

Poppy recognizes the inherently sexual obsession with figures in the ASMR community. She wears latex in “Me Laughing” to draw attention to this. It’s as if she was saying: “this is what you’re here for, right?”

Note that obsession is inherently progressive. It grows and grows, eventually leading to fans voyeuristically observing the objectified person’s intimate bodily functions. This culminates in “Me Laughing.” Poppy knows what you want, but as payment, she’s going to leave a nagging feeling in your brain that somehow you have done something wrong. That you shouldn’t really be watching this video, but she knows you are.

Recall Titanic’s comments about making people slightly uncomfortable. Consuming is harder with a lump in your throat. The key to understanding Poppy’s work is to ask why she wants you to feel uncomfortable. What about your behavior does she want you to realize?

Earlier in the post, I mentioned that I’m not a huge fan of the whole ‘Poppy talking to demons about destroying the world’ reading because it comes dangerously close to obsessing over her lore. Lore is like history without the usefulness, so I’m going to ignore it. Regardless, I said I would use that interpretation for something more interesting, so I’d like to ask:

What makes someone want to destroy the world?

Throughout “Me Laughing,” Poppy shoots dark glares at the camera. There’s something sinister in her eyes, something genuinely evil lurking in her gaze. We know she obviously has an immense disdain for the status-quo. What else would lead to lyrics like: “down, let it all burn down / burn it to the ground”?

Preceding any cries of “viva la revolución!” or “apocalypse, now!” is an implicit judgement that what is left of the world is either not able to be saved, or not worth saving. That tearing everything down and beginning anew is preferable to salvaging what remains. To reach such a mindset, one would need to see modern society with such disgust and be so disenchanted with our current world that it no longer appears worth preserving. One would also need to have given up hope on the ability for people to come together and solve their problems. To have lost hope in humanity’s ability to adapt and overcome. To think that perhaps our problems have become too big for us to solve, that perhaps we have finally dug too deep a hole to climb out of.

Again, people don’t reach a hopeless mindset overnight; it takes many steps to descend into the darkness. But, the numpties on r/GetMotivated tell me, “every journey begins with a single step,” so let’s take one together.

In a tweet, I mentioned that “Me Laughing” was also about absurdism. No, that wasn’t a typo for ‘absurdity.’ I may write ridiculously deep-dives into Poppy lyrics and lore, but I try not to waste words.

Anyway, let’s play a game. I call it the “imagine something real quick because I need to prove a point” game.

Imagine being stuck in a system. Yes, it’s cliché to use the word ‘system,’ and any time you do, it carries the connotation that you are some conspiracy nut, e.g., “you can’t trust the system man!” I understand all this, please just bear with me and let me use the word, it’s useful. Anyway, you don’t like the system because a lot of the system is bad and it’s slowly, but surely, getting worse. The cracks are starting to show and the whole thing is poised to come crumbling down. Okay, that’s not good, you want to tell people about this. To warn them. However, in order to obtain a sizable audience for your message, you need to first succeed within the system, and to do that, you need to play by the system’s rules.

Okay, no sweat, you release some pop songs. There’s a couple of them that people really dig. Unfortunately, the songs people like don’t contain much of your message. They have a watered-down version of it at best. That’s a little sad, but oh well, at least you’re getting some sort of message out there. Hey, maybe if you make the music video really weird, people will realize there’s something more going on! Hm, that didn’t seem to work either.

So you release some YouTube videos too. Some of them are pretty biting, especially that one on politics. Should get people thinking, right? Hah, no, wrong. People like them, yes, but not for the reasons you want. They like them because they’re “weird” and “addictive” e.g., “its 3 AM on a school night and I’m still watching Poppy videos why can’t I stop lolol.” Imagining that the videos contain some sort of Illuminati-esque hidden message to decode is preferable to examining the real-world implications of the work. Plus, like, there’s experts for that, right?

Anyway, a couple albums and hundreds of videos later, you have a sizable following, sweet, now you can transition to doing what you’ve always wanted to. Change the persona to something a little truer to yourself. Make your message a little clearer. Finally, you have the power to change the world like you always promised you would.

Uh-oh, Houston, we’ve got a problem. Your audience listened to you for X, but now you’re giving them Y. It’s not a total loss, though. You have a lot of loyal members in your audience, and they like your new stuff too. Doesn’t matter what you make, they’re loyal, they’ll watch/listen/whatever to it. Their dedication has become investment which has become even more dedication. In fact, they’ve been following you since the start, when you were first trying to get big. “Yes, but I was trying to get big because I wanted to spread a message and to do that I had to make compromises to grow an audience so people would liste—“

They also have their own ideas of what you��re saying, plus, like, they make neat art, here, check this out, please give this a listen, look at this, read this, please, please? “Hey, nice article. Wait, the next one is how many words?!” And you keep every piece of fan art because it really does mean a lot to you. “Wow, I appreciate it, that’s beautiful, thank you. Oh, what? There’s even more?” Hey, if you have spare minute, could you give a shout-out to my friend? It’s her birthday. “Sure, hold on…” It’s also my birthday tomorrow, could you give this post a like? “Um, okay, just give me a minut—“ Also, could you answer my DM on Instagram? It’s important. And after that there’s only 100 more to answer! kk thanks! “Wait… one second… whoa!”

Now you’re releasing Z, hopefully that will get your message across…

…

Wait—what was your message again?

…

Oh no.

…

Somewhere along the way, probably between performing [this] and signing [that], the essence of your message was lost. Whatever remains has been drowned out by the noise of the system. If we’re talking decibels, notifications are loud, problems are whispers, and these days everyone’s got ear plugs.

Thinking about problems is hard, thinking about them for too long is sad, being sad is uncomfortable, hey, look, Taylor Swift just dropped a new album, that “Lover” song is dope, let’s look at memes.

So, you want to change the system. But to change the system you need power. To get power, you need an audience. But the only way to get an audience is to make content that gets rewarded by the system. And the content that gets rewarded by the system is that which is easily digestible for a large audience, i.e., devoid of substance. I mean, I don’t know about you, but I don’t think “Turn Down for What” resulted in much positive social change. “Well, maybe the system should reward content that is creative, challenging, and conscientious instead!” Ah, yes, I see what you mean. So, you want to change the system…

Pass the mic, Camus, I’ve got a real knee-slapper for ya. Oh, right, guess I’ll just grab it myself.

These days, we’re faced with a new kind of absurdism, one which involves recognizing that societal systems are getting worse and need changing, while simultaneously recognizing that you are chained by said systems, and thus, powerless to change them.

This new absurdism describes the maddening exercise in doublethink where people wrestle with the knowledge that they should be Making The World A Better Place but also the knowledge that they cannot possibly live in a way that satisfies such capitalized phrases. The end result is a mental tearing fueled by impossible societal expectations and the inevitable guilt of failing to live up to them.

After a while, people stop fighting. They give up. They give in. When enough people throw in the towel, all that’s left is to hold on tight and enjoy the ride, e.g., the trajectory is set, all aboard, no, there aren’t enough seat belts for everyone, must have been one of those damn cost-saving initiatives.

“Yeah, that definitely sounds absurd. So… what do we do about it?”

Well, sometimes all you can do is laugh.

#poppy #me laughing

8 notes · View notes