#i know that there’s no one that’s a bigger critic of my art than i myself am

[tosye]

alright i did not want to clog the tl with my art ramblings but. at this point i honestly don’t know what to do jshdhdjdjdjd any advice is more than welcome!!

soooo i’ve been in the worst kind of artblock for like two months now (which is the longest any of my art blocks ever lasted so that’s. def contributing to me feeling bad). the thing is that i can clearly see how much i’ve improved with anatomy and technique and actually observing stuff yet still. i don’t like it?? i haven’t liked any of my pieces for a while now?? which fuxking SUCKS ASS LET ME TELL YOU

granted i have been trying to switch things up quite a bit lately and maybe it’s just me readjusting to the new workflow?? maybe it’s that even tho i feel kinda confident in this workflow already?? i did switch form a 10.2 ipad to a huge and i mean HUGE display tablet in the beginning of nov too and i know a lot of folks suffer a weird learning curve over the course of getting used to the new setup but then again. i feel like i’m already past that 1.5 months later?? another thing is that. inside of me there are two wolves snbdjdjdjd one wants to go really realistic and the other wants to simplify shit and i’m just. so torn between the two I HATE IT HERE ANDHHXBDJDJD

so there are just. a couple of different things going on at the same time and i’ve been trying to both wait and work this through and. neither seems to be working?? idk if i’m not seeing SOMETHING or if it’s just. gonna be like that for a while but. if anyone has any thoughts/advice for me please PLEASE share ILL DO ANYTHING AT THIS POINT LMAO

[pasta-pardner]

logically i know that jawnbie has very little fan content because he has (proportionally) very little screen time compared to other characters in the red dead franchise... but consider the following:

- i think he's hot

- i think he's interesting

- i think he should have more fics/art/gifsets

[zot3-flopped]

Sylvia Plath did not stick her head in an oven for this! When Taylor Swift took the Grammys stage last month to claim her award for Best Pop Vocal Album for Midnights, she saw that spotlight as an opportunity to announce her 11th studio album: The Tortured Poets Department. The follow-up cut to audience members—Swift’s music industry peers, mind you—told us all that we would ever need to know, and the collective disinterest across the crowd echoed through our TVs.

Folks from all walks of life took to social media to express a multitude of reactions. Swifties clamored to their beloved monarch’s forthcoming era, while others lambasted the terminally cringe title and artwork and ridiculed Swift for making a night recognizing musical achievements across an entire industry about herself—knowing perfectly well that it would send her fanbase into a surge that would, no doubt, overpower the excitement around the ceremony itself.

Quite a few people questioned whether or not that moment suggested that a critical—definitely not commercial—tide would turn against the world’s most-famous pop star. And, perhaps it has—but, to most, it will look like nothing more than a single ripple in Swift’s ocean of successes.

Swift remained relatively hush-hush about The Tortured Poets Department up until its release, leaving her fans, admirers and haters alike with nothing but an album title to ponder about. And it’s a bad title.

If you have never been in Swift’s corner, her taking the route of labeling her next “era” as “tortured” was likely catnip for your disinterest. If you are a fan—not necessarily a Swiftie, but even just a casual lover of her best and brightest work—you might be beside yourself about the first Swift album title longer than one word in 14 years.

In terms of popularity—certainly not always in terms of quality—no musician has been bigger this century than Swift, which makes it impossible to really buy into the “torture” of it all.

This is not to say that Swift being the most famous person in the world makes her immune to having multi-dimensional feelings of heartbreak, mental illness or what-have-you.

But, she has made the choice—as a 34-year-old adult—to take those complex, universal familiars and monetize them into a wardrobe she can wear for whatever portion of her Eras Tour setlist she opts to dedicate to the material.

Torture is fashion to Taylor Swift, and she wears her milieu dully. This album will surely get comparisons to Rupi Kaur’s poetry, either for its simplicity, empty language, commodification or all of the above.

And, sure, there are parallels there, especially in how The Tortured Poets Department, too, is going to set the art of poetry back another decade—as Swift’s naive call-to-arms of her own milky-white sorrow rings in like some quintessential “I am going to take pictures of a typewriter on my desk and have a Pinterest mood-board of Courier New font” iPhone fodder. 2013 called and it wants it capricious, suburban girl-who-is-taking-a-gap-year wig back!

Soaking our book reports in coffee or having our moms burn the edges with a kitchen lighter cannot come back into fashion; the cyclical notions of culture cannot make the space for such retreads.

There is nothing poetic about a billionaire—who, mind you, threatens legal action against a Twitter account for tracking her destructive private jet paths—telling stadiums of thousands of people every night that she sees and adores them.

Tavi Gevinson says it well in her Fan Fiction zine: “When 80,000 people are also crying, you become less special, too.” If Swift can return to one of her dozen beach houses across the world, kick up her feet and say “I’m a poet of struggle,” then who is to say that millions—maybe billions—of people with access to a notes app and a social media account won’t dream that dream, too?

Maybe that looks like a net-positive, but it’s inherently damning and destructive to take an art form that has long stood on the shoulders of resistance, of love and of opposition to power, systematic injustice and climate warfare and boil it down to the new defining era of your own 10-digit revenue empire. “My culture is not your costume,” yada, etc.

The Tortured Poets Department does begin with a shred of hope that, just maybe, Swift knows what she’s talking about—as she sneaks in a cheeky “all of this to say,” textbook transitional phrasing for poets, on opening track “Fortnight.”

But “Fortnight” unmasks itself quickly as a heady vat of pop nothingness, though it isn’t all Swift’s fault. “I was a functioning alcoholic, ‘til nobody noticed my new aesthetic,” she muses, attempting to bridge the gap between a behind-the-scenes life and on-stage performance—only for it to occur while propped up against the most dog-water, uninspired synth arrangement you could possibly imagine.

Between producer Jack Antonoff’s atrocious backing instrumental and the Y2K-era, teen dramedy echo chamber of a vocal harmony provided by out-of-place guest performer Post Malone, “Fortnight” chokes on the vomit of its own opaqueness.

“I took the miracle move-on drug, the effects were temporary,” Swift muses, and it sounds like satire. This is your songwriter of the century? Open the schools.

The Tortured Poets Department title-track features some of Swift’s worst lyricism to-date, including the irredeemable, relentlessly cringe “You smoked then ate seven bars of chocolate, we declared Charlie Puth should be a bigger artist / I scratch your head, you fall asleep like a tattooed golden retriever” lines glazed atop some synthesizers and drums that just ring in as hollow, unfascinating costuming.

Aside from the Puth nod, which I can only discern as a joke (given the fact that he is one of the 150-most streamed artists in the world and is one of the blandest pop practitioners alive—I don’t care if he can figure out the pitch of any sound you throw at him), I think Antonoff should stick to guitar-playing. Get that man away from a keyboard, I’m begging you.

Synths can be, if you use them correctly, one of the most emotional and provocative instruments in any musician’s tool-box. There’s a reason why keyboards defined the 1980s; they rebelled against the very oppressive nature existing outside of the cultural company they kept. There’s resistance in electronic music that, while they brandish an aesthetic that, to a layman’s ears, seems like technicolor hues for any infectious pop track, it’s a genre that aches to tell its own story. That is simply not the case here, and that electronica hangs Swift out to dry when she drags us through the lukewarm “I laughed in your face and said, ‘You’re not Dylan Thomas, I’m not Patti Smith’ / This ain’t the Chelsea Hotel, we’re modern idiots” lines, only to hit us with a softly sung F-bomb that sounds like a billionaire’s rendition of that one Miranda Cosgrove podcast clip.

I used to rag pretty heavily on Reputation—mostly because I thought (and still do, mostly) that it sounded like Swift had given up on making interesting, progressive pop music; that, in the wake of her (arguably) best album, 1989, it seemed like she’d lost the plot on where to go next. But as she’s put out Midnights and The Tortured Poets Department back-to-back, I find myself clamoring for the Reputation-era more than ever—at least seven years ago, Swift wrote songs like she had something to prove and even more to lose.

That was the always-obvious charm of Reputation, even despite the downsides—that she took a big swing from the echelons of her own musical immortality, that the comforts of winning every award and selling out the biggest venues in the world were no longer pillowing her aspirations. Even though that swing didn’t land, she still made it in the first place—and Swift is at her best either when she is clawing upwards (Reputation) or faced with nowhere to go but into the studio and noodle with the bare-bones of her own sensibilities (folklore).

You get something like The Tortured Poets Department when the artist making it no longer feels challenged, where she strikes out looking.

The mid-ness of The Tortured Poets Department will not be a net-loss for Swift. She will sell out arenas and get her streams until she elects to quit this business (a phrase decidedly not in her vocabulary, surely).

She will sell more merch bundles than vinyl plants have the capacity to make, and rows of variant LP copies will haunt the record aisles of Target stores just as long as Midnights has—if not longer.

Perhaps, in five or six years’ time, we will speak of this record just as we now do of Reputation. But right now, it is obvious that Swift no longer feels challenged to be good. The Tortured Poets Department is the mark of an artist now interested in seeing how much their empire can atone for the sins of mediocrity.

Can Swift win another Album of the Year Grammy simply because she released a record during the eligibility period? The Tortured Poets Department reeks of “because I can,” not “because I should.”

On “I Can Fix Him (No Really I Can),” Swift tries stepping into the shoes of the country renegades who came before her—the Tammy Wynettes and Loretta Lynns of the world. But her self-aggrandizing inflation of importance, glinting through via a seismically-bland bridge, is backed by a minimal set dressing of guitar, drum machine and keys.

“Good boy, that’s right, come close,” she sings. “I’ll show you Heaven if you’ll be an angel—all mine. Trust me, I can handle me a dangerous man. No, really, I can.” On “Florida!!!,” Swift calls upon Florence + the Machine to help her sing the worst chorus of 2024: “Florida is one hell of a drug / Florida, can I use you up?”

Even Welch, who is a fantastic pop singer-songwriter in her own right, delivers a grossly watery verse: “The hurricane with my name, when it came I got drunk and I dared it to wash me away.”

Not even the typos on the Spotify promotional materials for this album could have foretold such offenses. I won’t even get into the sonics, because Antonoff just rewrites the same soulless patterns every time.

What separates The Tortured Poets Department from something like Reputation is that, on the latter, Swift made it known what was at stake and who she was making that album for—herself, in the aftermath of her greatest long-standing criticisms (“Look What You Made Me Do” triumphs exactly because of this).

On The Tortured Poets Department, there is a striking level of moral nothingness. The stakes are practically non-existent, and the album sounds like it was made by someone who believes that they had no other choice but to finish it, as if Swift fundamentally believes that her creative measures are firmly embedded in the massive monopoly her name and brand currently hold on popular music. That’s how you get meandering pop songs about hookups, wine moms, Stevie Nicks comparisons, Jehovah’s Witness suit mentions, hollowed-out, tone-deaf nods to white-collar crime in lieu of empowerment and, topically, Barbie dolls.

(Don’t even get me started on the Anthology lyrics, which feature these absolute barn-burners: “Touch me while your bros play Grand Theft Auto” and “My friends used to play a game where / We would pick a decade / We wished we could live in instead of this / I’d say the 1830s, but without all the racists / And getting married off for the highest bid.”) This album and its hackneyed grasps at relevance exist as “Did I just hear that?” personified, but in the most derogatory sense of the notion.

My Boy Only Breaks His Favorite Toys” features another low-point in Swift’s lyrical oeuvre, as she sings “I felt more when we played pretend than with all the Kens, ‘cause he took me out of my box”—perhaps a measure of her capitalizing on the Barbenheimer mania that none of us could escape, not even the musician who spent most of 2023 flying across the world from one country to another.

But you, us, the listener—we want to believe that Swift makes these records because she has the artistic will, drive and interest to continue giving us parts of her story in such ways that they exist as an archival of her life.

But the problem is that, on The Tortured Poets Department, Swift is packaging her life into a form that is easily consumable for the 17 or 18 years olds who pour over her music. Just because her Eras Tour film is on Disney+ doesn’t mean she has to strip her songwriting (which we know can be, and has been, phenomenal) down for the sake of it being digestible by a wide spectrum of ages.

And, sure, maybe that makes the work accessible. But on The Tortured Poets Department, Swift makes Zoomer jargon her bag—titling a song after one of the most popular video games in the world and conjuring flickers of “down bad” and “I can fix him”—and it feels like she’s cosplaying because the Fountain of Youth was out of order.

Now that Swift is in her 30s, it sounds like she is infantilizing her own audience more than ever before—that singing to them at a level that could force them to reckon with something more akin with adulthood would be some kind of kink in the coil or her consumeristic threshold, that writing lyrics that sound like they were penned by a 30-year-old would, somehow, deter the interests of the billions of people who adore her.

If making one, continuous coming-of-age album is what Swift has been doing for 15 years, folklore and evermore were hiccups in the timeline—existing as the most fully-formed renderings of Swift’s own insecurities and concerns. They mirrored our platitudes towards an uncertain future with sweet, stirring remarks about isolation and heartbreak and the unavoidable, hard-worn truth about getting older. On those records, her larger-than-life living seemed, for once, to truly feel as close to the ground as ours.

Now, though, Taylor Swift is at the top of the mountain. Far better artists have made far worse records than The Tortured Poets Department, but you can’t read between the lines of this project. There is nothing to decipher from a place of quality.

Sure, Swift’s fan base will pour over these lyrics for the rest of their lives—insisting they know, for certain, which song is about who. But you cannot place a bad album on the shoulders of lore and expect it to be rectified.

We are now left at a crossroads. Women can’t critique Swift because they’ll run the risk of being labeled a “gender traitor” for doing so. Men can’t critique her because they’ll be touted as “sexist.”

And, sure, Swift is probably too easy a punching bag in this case—and most of the time, I would argue she is undeserving of being a victim of such barbs. But, you cannot write about someone being a “tattooed golden retriever” and get away with it and still retain your title as the best songwriter of your generation. You just cannot.

Sisyphus should be glad he never got the boulder to the top of the mountain—because Taylor Swift is showing us that such immortality and success ain’t all it’s cracked up to be. And, when you’re standing on the peak alone, who else is there left to hit?

In a recent interview with The Standard, Courtney Love said that Swift is “not interesting as an artist,” and I think The Tortured Poets Department proves as much. She has nothing to fight for, no doubters left to drown.

So where does she turn? Well, to boredoms of celebrity thinly veiled as sorrow everyone and their mother can latch onto—because we’ve all had to “ditch the clowns, get the crown” at some point in our lives, right?

The billionaire is having an identity crisis, but there are no social media apps for her to buy up. So she sings like Lana Del Rey and writes meta-self-referential songs about looking like Stevie Nicks.

What’s hollow about The Tortured Poets Department is that the real torture is just how unlivable these songs really are. No one can resonate with “So I leap from the gallows and I levitate down your street, crash the party like a record, scratch as I scream ‘Who’s afraid of little old me?’ You should be.” And normally, that wouldn’t be an end-all-be-all for a pop record—but when your brand is built on copious levels of “I’m just like you!” as the demigod saying it to their fans does so from a multi-million-dollar production set, it’s hard to not feel nauseated by the overlording, overbearing sense of heavy-handed detritus we’re tasked with sifting through on The Tortured Poets Department.

Love’s words to Lana, her advice to “take seven years off,” should be applied to Swift. Now, that doesn’t mean that, to make a good album, you must sit on material for years and labor extensively through the sketching, shaping and recording in order for it to be transcendentally landmark. But it’s obvious now that not even Taylor Swift wants to be the head of an empire—that she, too, can’t outrun the damning fate of being plum out of ideas by hopping in her jet and skirting off to God knows where.

See you at the Grammys.

****

[currymanganese]

GUYS, I CAN'T ACTUALLY BELIEVE I'M SAYING THIS, BUT WHAT IF THEY ACTUALLY HAD A GOOD REASON FOR JOHN CENA BEING CAST AS SAMMY FAK?

please bear with me (pun intended) and let me know what you think of my speculation under the cut~

In a mind-boggling case of a seemingly big-lipped alligator moment in season 3 - John Cena appears in a bizarrely over the top (even by the tonal comedic standards set previously by The Bear e.g. Ecto Cooler punch at a kid's birthday party getting spiked with Xanax in Season One) and jarring scene that stretches on and on as he obnoxiously squabbles, blathers and exchanges nonsensical rapid-fire quips with his brothers Neil and Ted Fak as they buff polish The Bear's dining area before a food photographer from The Chicago Tribune arrives to take a photo for a review of The Bear.

In this scene, he also intimidates and threatens to 'haunt' (in a Fak family tradition ( that even the Faks find annoying) - that involves pranking and being an unrestrained nuisance to their loved ones especially when they least expect it) his brother Ted for, "stealing his SD cards"......

This scene and the increased screen presence of the seemingly plot-irrelevant Faks this season is currently being eviscerated by plenty of fans and critics alike.

Edit:

I now strongly suspect that John Cena's role was always in the works ever since S1

..................................

But what if there's a (debatable, but) really good reason for this scene and the increased involvement in Seasons 2 and 3 of the massive numbered siblings family of Carmy's pseudo cousins, the Faks?

See Exhibit A:

In season 2, episode 3, Sundae - after Carmy has already asked Sydney out to Kasama, a husband and wife owned restaurant run by Tim Flores, and Genie Kwon*, ostensibly just to brainstorm and gain inspiration for planning for the new menu, and after Sydney has already gone home and freshened up and changed her clothes, then arrived to Kasama early, despite the meeting only being scheduled for an hour after she last spoke to Carmy at his apartment, Claire calls and interrupts the whole hypothetical shebang with Syd and Carmy at Kasama (the Tagalog WORD FOR TOGETHER) with the words,

"Did you mean to give me a fake number? You do know that I know your entire family [translation: she must know Donna too and Claire assumes that Carmy's folks approve of her - and she's proven to be technically right throughout Seasons 2 and 3 ], right? And I know ALL the Faks! [translation: tee hee! they're bigger than you - to quote Neil and Ted with their Uncle, "We Faks do have a particular shape, don't we?😇" - and they outnumber you, you scrawny punk, slay!😉✨]"

Claire then proceeds to playfully threaten to have said "massive numbered siblings" Faks, which includes Sammy Fak, played by John Cena (a professional wrestler, from an industry that is mixes both bawdy over the top theatre, a performance art that values Kayfabe (legerdemain/slight of hand anyone?) and comedy, and an athletic discipline) that is TALL. BUILT. HENCH. AND BUFF AF.....Claire 'playfully' threatens to have THESE FAKS, beat up Carmy, who is short in stature and cannot fight well from all the previous physical confrontations we've seen him be involved in, despite supposedly being a former high-school wrestler, and who has already been seriously physically abused thrice in the series run thus far (not counting him play fighting or trying to fight with Richie) after being JUMPED by a GROUP of assailants, not once, but TWICE in season one, by the Ballbreaker nerds in the pilot, and the Bachelor Party attendees in the season finale (the first season started and ended with Carmy being beaten tf up, Holy Shit! 🤯); AND AFTER BEING SLAPPED IN THE FACE IN SEASON 2 BY HIS OWN MOTHER, DONNA.

Notice the way Carmy goes from being lost in his thoughts but being completely relaxed after his menu planning session with Sydney, and in anticipation of seeing her on their would be inspiration seeking meet-up (definitely not a date, no Sir! 👀) at Kasama, to being tense and jittery and apprehensive when Claire calls him (after going behind his back and getting his number from Fak).

Notice the way Carmy's voice shakes when he asks Claire if she really knows all of the Faks.....

Notice Carmy's defeated and annoyed reaction after he hangs up the phone.

No wonder Carmy is being so avoidant and conflict averse in his handling of Claire in both Season Two and Three, he has absolutely no faith in himself or his loved ones at present to defend himself should he assert the type of boundaries he may have been desiring to have with them for these past two seasons, after all - who can he count on to fully have his back even to the point of physically intervening for him if he gets into a scrape or is genuinely attacked, by the Faks on account of Claire taking offense at or misrepresenting his words and actions to them, e.g. Claire apparently twisting Carmy's self loathing stream of consciousness confession (that she eavesdropped on) and telling Tiff that they broke up because Carmy said that "Claire will ruin everything good for him?" while he was trapped in the fridge?

What if Carmy knows he has to rip the band-aid and call Claire and apologize for his part in the superficiality and disintegration of their dalliance, but is afraid to do so because he knows in so doing, if he is being fully honest with himself and with Claire, he never truly wanted to be with her in the first place?

And who knows how Claire will take that revelation - it probably won't be pretty will it?

And.....

to quote Neil Fak,

"Claire's the best."

"We love Claire."

"I did that." [setting Carmy and Claire up in Pop)

And.....

Claire. knows. all. the. Faks.....

TL;DR

They cast John Cena as Sammy Fak, and the Faks had a lot of screen-time this season because they are the physical manifestation of being haunted in their family's sense of the word:

and a satirical visualization of Carmy's desire for Syd being cock-blocked ; plus Claire is a Love-able Alpha Bitch, and Carmy is ambivalent towards her, and even a little scared to face her, because her henchmen are the Faks!

If you enjoyed this post, then thank you for reading and I'd recommend that you check out the following meta on the way Christopher Storer and Company have seemingly (and controversially) committed to sticking to the bit of lying to the audience and breaking the fourth wall throughout this entire season:

Richie and the viewer - by @whenmemorydies with my add-on in the reblogs about Richie, not Carmy, potentially being Christopher Storer's author avatar in this series (from a post originally written before season 3 premiered.

Fourth Wall being broken - by @brokenwinebox and @thoughtfulchaos773

Claire being a possible representation of addiction, being a habit that is hard to kick - by @thoughtfulchaos773 and my and @devisrina 's add-on speculating that Claire may also be meant to be interpreted or revealed as a bit of a mean girl, to reference TVTropes, she (and by extension Season 3) may be a deconstruction/ mashup /send-up / subversion of the: Girl Next Door, the Cute Bookworm, Nerds Are Sexy, MPDG, Yandere, Alpha Bitch, Loveable Apha Bitch, Childhood Friend Romance, High-School Sweethearts, Sickeningly Sweethearts, Getting Crap Past The Radar, Freeze Frame Bonus, Parental Bonus, Viewers Are Geniuses, Give Geeks A Chance, Even Nerds Have Standards, Beauty Equals Goodness, Face-Heel Turn, Cerebus Syndrome tropes etc.....and a subtler mirror version of Donna Berzatto.

Edit: See my reblog add on to @espumado 's thread on the recurrent 'haunting' theme this season and the possibility of the Claire x Carmy x Sydney love triangle being a Lilith x Adam x Eve allegory, and my webweaving about Syd x Carmy's Adam and Eve parallels. sidenote: Lilith is Adam's first wife apocryphally and in Jewish mysticism that left him, and became a she-demon / mother of demons after being impregnated by the archangel Samael - wait is 'Sammy' Fak a Samael allegory?!!

and another reblog add-on of mine to the thread linked above - on The Faks as the living embodiment of all that is fake in Carmy's life, C Storer's handy dandy tools for slight of hand,

you can't spell fake without FAK.

and please see

Clairecarmy as Ann Veal x GOB from Arrested Development

and with Richie's frustrated refrain of, "Who cares?!" whenever Claire and Claire and Carmy's breakup is brought up in 3 -

see the running gag of George Michael Bluth's (from Arrested Development) family's disdain for Ann and his relationship with her.

5. The parallels between The Bear and Burnt by @ambeauty - a post Season 2 post which was proven to be prescient and insightful given the Easter Egg inclusion of Bradley Cooper's character from Burnt on the photo wall of chefs at Ever in the Funeral dinner in the finale.

6. The parallels between The Bear and Boiling Point - a gritty film and mini-series set in a restaurant which features several plot elements and characters reminiscent of certain character archetypes and subplots present in The Bear - seriously think of this IP as The Bear's cynical, dramatic, older British cousin.

Decision to leave by @anderwater

This anon that recommended Boiling Point to me and wrote about its connections to The Bear.

The difference between The Bear and Boiling Point by @theblvckvenus

The similarities between The Bear and Boiling Point in this reblog add-on to @happylikeasadsong et. al's thread.

7. Claire/Carmy and the Walk In - my old post on the parallels between Strange Days (1995), Can't Hardly Wait (1998, and The Bear.

and @ambeauty 's meta on Claire as a representation of the fridge

8. My post on the possible connection between The Bear Season 3 and Andrei Tarkovsky's experimental, semi-autobiographical, psychological Oedipal drama film The Mirror (1975) - a film which was incredibly divisive upon its initial release, but has since gained wide acclaim and re-evaluation as a masterpiece, and that has had a legacy of subsequently inspiring multiple renowned filmmakers.

9. The Bear series' lead actress, and the director of Napkins, one of the only episodes of The Bear Season 3 to receive almost universal acclaim - Ayo Edebiri's trollish sense of humour and assertion that lying is the pinnacle of comedy.

10. And last but certainly not least with the inclusion of a Genie Kwon*'s, of Kasama fame, cameo in the season finale and the prominence of Kasama being key to Syd and Carmy's stymied relationship progression, courtesy Claire, see

The Kasama of it all by @gingerylangylang1979

@mod-doodles @lunasink @vacationship @chansoooo1-blog

@bioloyg @msmoiraine @nerdyblerd @ripley-stark @uncriticalbunny @prowitchazel @msmoiraine @mswyrr @anxietycroissant @turbulenthandholding @tvfantic87 @laryssamedeirss @tejidaepoque @angelica4equity @inalltheirgorgeouscolors @houseofevangelista @glitterslag

@uncriticalbunny @imliterallyjustablackgirl

@bioloyg and @ambeauty please don't say I told you so or welcome back, I'm flabbergasted that I wrote this, but I want to believe! 😭

P.S. If you're still reading this, do yourself a favour and read @brokenwinebox 's post

New Paradigm

and this follow up

Mocktail is a dirty word

and check out her #the magic trick tag!

and also check out these Sydcarmy and Rosalind x Orlando from Shakespeare's As You Like It parallels:

The Bear as a pastoral comedy

First Meetings

Fumbling with your crush

Separation, keepsakes and lovesickness

and also C Storer really did tell us in the music that this season would inspire

Mixed Emotions 🥴

[onlycosmere]

Brandon Sanderson on the length of Wind and Truth

PumkinFunk:  I appreciate Brandon being self-aware about the fact that he will struggle immensely to keep the word counts down for this series.

KiwiKajitsu: If only he had a better editor

PumkinFunk:  I know this has become a common criticism since Rhythm of War after Moshe Feder retired, but I don't think it's true. One of his editors for his books is Devi Pillai, the head of Tor Publishing Group. The Secret Projects were edited in-house and generally were good. He has a lot of people giving him feedback, both in-house and outside.

jmcgit:  If Brandon wanted to work on revisions for an extra 6 months to refine and streamline the book, he could do it. This is a Brandon thing, not an editor thing. What was Brandon working on up until the last minute before he had to turn the book in? He was working on making the book bigger, squeezing in more content that he wanted to add. Brandon will tell anyone who asks that he likes to write, and dislikes revising.

When an author gets big enough, the publishers and editors lose their ability to rein in the author or make certain demands. Brandon will do what he wants, and if Tor doesn't like it, they can cancel his contract and Brandon can self-publish.

Brandon Sanderson: I realize it's difficult to see behind the veil of publishing, and much is opaque, but this isn't what I was doing during the last few months--I was cutting the book significantly. However, rough draft didn't include Interludes or Epigraphs, which is why it got longer after I cut it down. This draft lost over 60k words, but then I added in the interludes and epigraphs (along with a few key scenes I decided were needed.)

So, let's be clear about a few things. No editor has ever--in my life--cut my books down. It's not what they do. They largely haven't suggested it. Every editor, Moshe included, has always suggested things to change or add--they don't do much trimming. That's all my job, and always has been. Yes, there is a line edit, which does help trim--but I haven't stopped taking those suggestions, and usually go much, much further on a page-by-page case than they suggest.

I dislike revision, which is important for me to explain because I want people to understand that even for someone who loves their job, there are parts I don't like. But I DO it. I do A LOT of it. It's the part I have to force myself to do, but I am very good at it--and if you follow my stories about learning revision, you'll find that I very clearly explain that I didn't get published until I mastered the thing that was hardest for me. I consider my it, perhaps, my greatest strength as a writer--my ability to look at feed back and apply it to improve books.

If they get long, it's not because I've lost an editor. Moshe's strong suit was always diction, not trimming--and Gillian (who does that job now) is quite accomplished at both. She's Joe Abercrombie's editor.

I realize it's odd, because "to edit" means to trim, but an editor doesn't usually trim books--they offer suggestions for changes on the larger scope, and sometimes do a line edit pass to clarify.

Stormlight books are not big because I can't stop writing. You can pick any number of my shorter novels and see I'm quite capable of doing something at a normal book length. Stormlight books are big because that's the art I want to make--and they are not, and never have been, out of control. I am perfectly willing to accept that the story I want to tell has not appealed to some in the last installments! But don't blame my editors. This is an artistic choice of mine, and their job has never been to change the art. I get the same amount of editing now as I ever have--and I take largely the same amount of their feedback.

Note: don't take this as a direct condemnation of you or some of the things /u/KiwiKajitsu said above. It's more that I want to be very clear about my goals, and the process. My stance is one of explaining, not arguing against your opinions, as those are valid and perfectly reasonable ones to hold.

I realize that a long comment reply isn't the best way to prove I can be brief, but I sincerely think the trope of "He got big so he lost the ability to be edited" is not one that I fall into--I am, if anything, the most edited person at the industry, and see more criticism and feedback of my books prepublication than any other author. Editors and beta readers collectively wrote some 800k words of feedback for me over the last two years, which I incorporate. Not just the, "Add this" but also the "this sequence feels slow or unengaging." I am extremely passionate about listening to, and incorporating, editorial feedback.

It's fine to not like what I do. But don't blindly make the argument that I write it, kick it out the door, and don't pay attention to the revision process while ignoring editors.

jmcgit: Hey Brandon, I appreciate the insight! I regret that my post may have come off as if you carelessly "write and kick it out the door", as I know how hard you and your team have been working on the book over the past months and years, and how passionate you are about getting it right.

Brandon Sanderson: No problem and no offense taken! I just see a lot of confusion about these things.

I am edited far, far more now than when I was when I started and nobody cared. Though, admittedly, I think the most editorial scrutiny I ever got was on A Memory of Light a decade ago. I probably get less now, but I also have way more extensive beta reads.

It's just a complex process. And, you also ARE right in your initial post that I could go over it again and again, and some authors do. I'm middle of the road on the number of revisions I do, by my experience. Not as many as someone like Pat R. does. More than a lot of authors. I do not subscribe to the Heinline philosophy of only editing when required by contract that is very popular these days. (This philosophy believes that your initial artistic instinct will be right, and you shouldn't undermine it later on. I am not a fan, even if some people I respect follow this philosophy.)

Anyway, your initial post wasn't far off; I just wanted to offer some more context for this thread.

[genericpuff]

Why is the art so unappealing in lore Olympus now Persephone looks like a highlighter and maybe it’s just me but the proportions like the fingers in arms are soul over the place I don’t think they used to be this bad. Am I just looking at it with nostalgia or am I crazy ?

Honestly, nostalgia does play a huge part in it, even to this day there are times I look back on old S1 panels and go-

Actually here's a great example that literally just happened yesterday in the ULO Discord that nearly had me on the floor LOL This is from Episode 70:

Like I didn't even believe that that was real until I was told what episode it was from and I was just. Astounded and flabbergasted. The over-shading of the blanket that just makes it look like a really bad edit. Insane.

And yeah, there are a lot of old panels that hit different now that the rose-colored glasses have been removed, crushed, and thrown into the trash compactor.

I think that's why it makes it all the more amusing when people come into my inbox and ask me "wait, why did you like LO to begin with?? It's always been ugly as shit, I think you're just romanticizing it" because like... there's something to be said about art and subjectivity, even if something is ugly to one person doesn't mean it isn't beautiful to someone else. It's why I try not to be too mean towards the fans of this comic for still enjoying it, because while I definitely have strong opinions about how "LO has gotten worse" and what kind of following Rachel has cultivated (cough cough), there are also just as equally valid arguments that LO has never begin good to begin with that I can't necessarily disagree with now that I'm looking back on it with a more critical eye.

That said, there's tons of media that I enjoy that is objectively awful. Like y'all, you don't need to take my opinions about a dumb pink x blue fantasy romance comic seriously, I like Starfox Adventures-

Like yeah it's a badly made rushed piece of shit that was developed right on the ass end of Rare's glory days and was really an original IP (Dinosaur Planet) that got Frankenstein'd into a Starfox game so it could "sell better" for Nintendo, but I don't give a fuck, I love Starfox Adventures and some day I wanna be in the top 10 speedrunner leaderboards for it, which I know doesn't mean much because no one is speedrunning Starfox, but I do and no one can take that away from me dammit-

Anyways. Lore Olympus has, in many regards, always had "bad art". But "bad art" can and should still be enjoyed by those who find joy in it.

And in LO's case, the world it existed in when it launched was a lot smaller than it is now - more specifically, the world of Webtoons. We can look back and see how 'bad' LO looks and reads now because there are genuinely way better comics surrounding it. It was unique and refreshing and experimental back then... now it's just "that stupid blue and pink comic for horny teenagers".

In most cases I would consider that "cringing in hindsight" feeling a good thing because normally it means something has grown and that it seeming "bad" in hindsight would mean that it's outgrown itself and moved onto bigger things. But LO has the more unique problem of "its current stuff is shit and it's making us want the old stuff more, even if the old stuff wasn't good either". In that regard, LO is closer to being like Harry Potter. Remember when The Cursed Child came out at the height of Rowling being exposed for being a TERF and even people who liked Harry Potter didn't like The Cursed Child because it was just objectively worse overall (with or without Rowling's bullshit attached)? It made a lot of people go back and re-read / rewatch Harry Potter with a more objective lens and go "wait a minute guys, I think we only adored these books so much because we were 12 when we read them". Often times it's the good memories we have surrounding certain things that make us have the opinion about them that we do.

Of course, LO is definitely not as politically weaponized as Harry Potter is, so that's where that comparison ends. But my point is that LO is definitely in a situation where it's been riding off the same privileges it had back in 2018 - having an 'experimental' art style while also utilizing tropes and characters that were VERY popular at the time (remember that 2017-18 was when Tumblr was at its height of H x P "Hades was a chill accountant guy who wore socks and sandals and didn't cheat on his wife like Zeus did" fantasizing) - and thinks that those same tricks and tropes will still work today.

Because of this, the art in LO really, really hasn't aged well, even the stuff that we look back on fondly. But I think it's the panels that we specifically think of when remembering "old LO" - the ones that stuck in our memories the most - that are the ones that make us miss or just not care about the panels that don't look good (the panels that make people question why we ever liked it to begin with).

We liked it because of how it made us feel to look at panels like these-

Those genuinely wonderful panels that we think back on the most don't exist separately from the bad panels, they exist in spite of them. Even if we can look back on panels like these and pick out problems in the lineart or the proportions or the color travelling outside of the lines, that can't and shouldn't change how those panels made us feel at some point or another. And that's why when people ask me "why were you even into LO in the first place" I don't have any one answer, because I can't fully explain how something made me feel to justify why it's good to someone who can see from the outside - without rose-colored glasses - that it evidently isn't. It's very much a "you had to be there" type of thing.

Unfortunately, nowadays even the 'best' LO panels in S3 still don't come close to what the S1 panels accomplished - because for many of us, the rose-colored glasses are gone, we can't appreciate the good among the bad because we know now how bad it truly is and so the good just feels like wasted attempts at trying to recreate something it can no longer be. It "came back wrong" so to speak.

LO came back just regular. But our journey to resurrecting it changed us to such a degree that even its closest intimacies are now foreign to us. Sorry dude.

This is still probably one of my favorite panels out of the entirety of S3 for being as close to "old LO" as I've seen since S2, and even it feels like a mistake, an accident, how could a panel like this exist in S3 when so much of it is a dumpster fire? It's like a flower growing in the ruins of an apocalyptic wasteland.

But wasn't that always the case? Isn't that 'always' what LO has been, since the very beginning? A poorly cobbled together mess of writing and panels that, every now and then, manages to leave an impression that makes you feel something? Did we ever truly know LO? Or have we just been relying entirely on an idea of it that we've built up in our heads that when it does do exactly what it's evidently always done (even if not made apparent until looking back on it in hindsight) we think it "came back wrong"?

[silenceandpatiencepining]

I am dusting off my little blog here because TTPD has my mind absolutely reeling. I am really wondering if anyone else listened to this and had this feeling that the album confirmed everything that they were thinking was going on with her. I know we talk so much about reading her songs beneath the surface of muses or certain details used to craft a story, but to me, TTPD reads so strongly of her reckoning with her life in the industry. like, it's so much more than the relationships. it's the comp het, it's the religious trauma, it's the being exploited as a child star, it's deep wound of abandonment and neglect when she as a person got split off from her brand and both could not thrive, it's giving everything to this brand and career and fandom and that still never being enough. it's her codependency with the very people that exploit her. it's the fact that she is bigger than she ever imagined and none of it feels how she wanted. it's the simultaneous love and resentment she has towards her family, and relationships, and career, and yes, even her fans.

the rawness of this album, the unrefined feel, the summation poem talking about this as mania, the continuation of the cage imagery and themes of escaping to her mind/fantasy, the coping with criticism, numbing it all with alcohol, the willingness to burn it all down and disgrace her name because none of this is what she wants or at least not how she wants.

I have seen so many criticisms of the album and honestly, I understand where they are coming from, but I also think the things they criticize make the exact point of what this body of work is - something that exists for it's own sake to turn things back on the people that made her into what she is now. art created not to be acclaimed but because it demands to be expressed. it is an exorcism, an expulsion. it is something that erupted from her. and it's so meta because this fandom and the industry are voyeurs in an echo chamber so desperate to see what they want that they miss that this is about them. that is what makes it brilliant to me - it is self-indulgent and metaphorical, and complex, and so direct, but yet still masked just enough that people miss it. her entire life has become performance art. it is a play within a play. and I fear the audience has not caught on.

it feels like she is reclaiming it all. I feel like this could either be a hint at a new beginning or a signal that she has broken and this is the end. this felt like the tell-all memoir written in code that everyone else will finally understand when she really leaves this spotlight. it's the lucky one come to life. she is daydreaming about fucking it all and leaving this life behind so she can finally have some goddamn peace.

I love this album for it as art. it is so expressive. it is so heartbreaking. it's messy and nuanced, and I think it is going way the fuck over most people's heads, especially when you really dig into poetry being the theme and the specific works she references. it's only been a week and I am just starting to really dig in but talk about a fucking iceberg.

[csuitebitches]

I apologize for the long ask and if this question is a bit juvenile but objectively, how can one “gain” pretty privilege/gauge how they are viewed? I’ve done well in career pursuits for how early on I am ( I graduated in 2020) but started noticing that the invites to events/opportunities where one can really establish themselves not only professionally but socially, I was getting passed over by some higher up colleagues. In speaking to a female mentor who is related to my field and the same background as me (Black), she alluded that while my race may play a small factor in it, it’s more so my appearance that may be holding me back as the personality and poise is there. Some coworkers of mine who are brilliant and POC have similar credentials and positions as I and while we are all wonderful and hard working, they (who I feel are more beautiful and put together looks-wise) have discussed privately to me they have noticed a difference in treatment between us. While it’s not right, I am adult enough to know not to let things that can be fixed hinder the life I want. Your page is a wealth of information and I appreciate how encouraging you are!!

well. I’m going to be very blunt.

it’s all fun and games to say “oh fuck the beauty standards they’re terrible and they shouldn’t exist” yes, true, unfortunately they do exist and they play a bigger role than we imagine it to be.

the first thing you have to get right is your mindset.

you need to be strong enough to admit that you need changes in X, Y, Z area but not in A, B, C area. You also need to be a little loyal towards your racial identity (for the better or worse) because that’s what is going to make you stand out.

if you have a sensitive, overly emotional mindset and you get hurt very easily / become obsessive by nature, I highly recommend you to STOP reading now.

Understand what is considered pretty in your country and area. Even in one country, beauty standards can different from the north and south. Don’t exactly try to become attractive for the opposite sex but understand what they find attractive because these guys are your primary responders to your pretty privilege. Women will be kind on the surface and so it can be difficult to get constructive criticism from them.

Understand what YOU consider pretty. Who are the women who you think are crazy beautiful? What do they look like, dress like, how’s their hair and their make up, can you replicate any of it? Rule of thumb when it comes to hair and beauty - look at influencers / celebs who are of your racial background for the best fit.

there are always a few things that are universally considered “respectfully attractive” not “you wanna fuck me attractive”- semi modesty/ modesty outfits (my father always told me that when in doubt, go for a more conservative look), hygiene, well kept hair, clean nails and toe nails, soft skin, natural make up, natural hair colour, perfume, clothes that fit, skin care, a workout routine.

pretty privilege is not just the art of looking pretty. It’s also bringing in something of value on the table. Value = money / connections / knowledge/ humour / being the fun social person / whatever value the target group considers to be the most important for you to be relevant to them. Work on your soft skills. It’s better to look half baked but have solid soft skills than to look amazing and not know how to converse.

things that one normally notices when meeting someone new:

Skin - is it clear, is the make up overdone?

hair - is it messy or does it suit your face structure?

how you smell

teeth, when you talk - and dental hygiene

shoes - are they filthy?

shirt/ top - does it fit you well (always check that the seams on your shoulder and your actual shoulder line up), the colour of your clothes

body type, posture, how you carry yourself

start with incremental changes. Make a list of things you think you could improve on (this is not a list of “ugly” things, it’s an “improvement/ potential” list). Sort them according to ease of improvement (is this going to be expensive and difficult or affordable and easy?) and time (can this be done overnight or will it take some time).

Use point 1 and 2 only as launching pads. You do not have to look like Beyoncé, you’re simply understanding what her MUA and hair stylist does for her that could work for you. After a point, you have to ensure that YOUR identify sticks out and is still there, you’re not born to imitate someone else and also, it’s very obvious when someone is trying to be someone they’re not.

again. I repeat. If you’re going to get obsessive and make yourself sick over this it’s NOT WORTH IT. If you’re not mentally capable of making these changes, do not go through it.

[rainbowdaisy13]

I'm so happy to see that you're being critical of Taylor's latest decisions. Some people act like we have to wait and shut up because it's all part of a plan. I'm a big fan myself but come on this woman makes more money from one concert than I will make in my entire life. If I think her performance art is stupid and ignorant I'm gonna say that. I think blindly supporting her no matter what she does is what got us here in the first place. I wish her and her family well. I really do. But this thing is bigger then her. It's about millions of people who's life depends on this election. I don't even live in the US but I know that if right wingers win in your country then they start getting bolder everywhere else. Wish she could see the bigger picture. For everyone's sake.

Look, there will always always be people on tumblr and reddit—places they don’t have to show their faces—that love to act like everyone who gets upset with Taylor’s actions or inactions are foolish children. The smugness stems from a parasocial belief that they actually know and understand Taylor and the rest of us are too emotional to understand “The Plan”. There is also a fear of Taylurking and they want to make sure she knows they are the good little ducklings she needs them to be not the angry mean people who claim to be fans 😆

I feel like I have some ground to stand on being here almost 8 years and I can tell you this—“The Plan” doesn’t have an end if it’s exists at all and there certainly seems to be no point anymore besides to keep the money flowing

I used to wholeheartedly believe this was all part of a grand coming out, and that any actions or inactions she takes are justified because this is her story—Chely Wright had a 10 year coming out plan she enacted and it seemed like that’s what Taylor was trying to do as well. But after all this time, after Rep, Lover and Miss Americana Taylor have fallen to the wayside, and truly after the beautiful tragic honesty surrounding trauma that is TTPD has not resulted in a resurrection of that brave seemingly honest person again, all I can do is go by what she’s doing not what she’s saying. Actions speak louder than words and her public actions are nonexistent unless they involve making money—it’s not about the music anymore or at least that’s what she’s showing us

And yes”blindly supporting her no matter” is exactly what has allowed the juggernaut of TS the Business to flourish

[plasticflwrs]

⠀⠀   ⠀┈─ THE ALBATROSS ⠀⠀／ ⠀⠀ an introduction to oh deurim ( 2022 ).

"The notion of my future suddenly snapped into focus: it didn't exist yet. I was making it, standing there, breathing, fixing the air around my body with stillness, trying to capture something—a thought, I guess—as though such a thing were possible, as though I believed in the delusion described in those paintings—that time could be contained, held captive." — My Year of Rest and Relaxation by Ottessa Moshfegh.

WORD COUNT. 2.7k WARNINGS / NOTES. Mentions of Oliver's suicide attempt and references to Jiyeon's eating disorder. Let me know if I'm missing anything else and please enjoy! Originally posted in 2023 but almost completely rewritten.

At the age of fifteen, you are told your debut is postponed for ‘the greater good’ and that motivates you to become the best.

The real money wasn’t with Celatum anyway. They would always be the group left behind by your company and casual listeners. They were never popular enough and with the growth of better acts, it seems that they will be forgotten to the past, waiting for their contracts to end so they could go their separate ways or get kicked out trying. You aren’t missing much by the company passing over you, but it hurts like a bitch, to be passed up by some new trainee that could barely hold a tune.

It hurts and that motivates you further.

At the age of nineteen, you reach the top of every evaluation with ease. You are the perfect trainee—docile, open to criticism, and supportive of any plan that they have for you. You have perfected the art of singing, dancing, and even rapping to maintain that spot at the top of everything. The company figures that should be enough to secure your debut in their newest project and attempt to hold their own survival show. However, the stress of the competition gets to you, and you are left in the dust because of a bad call as team leader. You are branded a villain and kicked from the show with no mercy, back to the practice room with nothing.

You realize that being the best can only get you so far. You will need the help of someone else to get you there and suddenly, you are twenty-years-old and there’s an opening in Plastic Flowers. You are picked from a lineup of seven trainees to fill the spot left by Minghui following his dramatic exit and Shin Yeonghui choses you personally. Another boy, one you have never met, is put on the back burner in case the lead singer, Oliver Song, doesn’t return from his vacation in the States.

Yeonghui is excited to work more closely with you and she hopes that extends to her career as well, promising her big things if she turns this into something bigger. You don’t understand the double meaning behind her words but smile and nod instead, promising that she would not be let down.

This was your chance to prove yourself as something more than the ‘bitch’ from Timefighter and get back on stage—where you belong. Your piano skills are rusty, something you never thought to brush up on, but there’s always time.

You are going to debut.

Cheon Garam, your new manager, picks you up from the trainee dorm at four in the afternoon. Garam looks young, maybe thirty-one at the earliest, and has an interesting look with a short pixie cut and dark eyeliner. She seems nice enough and fills you in on the recent drama in the dorm. Apparently, they were beginning to worry about the future given the recent events with Oliver Song. The second trainee makes more sense.

“Are you excited to debut?” Garam asks, glancing at you for a second before going back to the road. “It’s been a long time coming, huh?”

You nod, “I always knew I was going to debut, the question was just when.”

“I do need to warn you though,” Garam starts before swearing at another driver in front of her. The other car had cut them off, but from the amount of curses that leave her mouth, you would think it was something worse. “Sorry—but things are gonna be a bit slow for a while. Oliver just got back a weeks ago and he might say he’s fine, but I call bullshit. That kid has never been fine. You’ve been filled in on what happened?”

You nod again, but don’t reply. It had been a big deal in the trainee dorms because all the girls had a crush on him. (You liked him as well and often tried to catch his eye despite the very public relationship he had. You would never admit it to the other girls, of course). He was the only idol that gave them the time of day and was often in their monthly evaluations, giving constructive criticism rather than barking orders at them. He was nice and actually understood what being a trainee meant. It was easy to like him. Seeing him back in the training areas caused everyone to jump in excitement, attempting to impress him and win some unknown prize.

“Good,” Garam sighs, “I didn’t want to have to tell that story again.”

Oliver Song was a train wreck waiting for it’s inevitable crash and that happened just a few months ago, kick starting this sequences of events. You suppose you have to thank him when he finally returns. Child stars are always the most vulnerable to these things and he was no different. The stress of the job and the death of his father had gotten too much. You heard in the lobby that he tried to kill himself in the old dorm’s bathroom, swallowed a bunch of pills and it was Serin that found him. After that, the affair went public and he was shipped back to his hometown of Boston with very little contact.

No one has seen him since the airport photos had dropped on Twitter and you figure that was for the best of everyone involved. There’s a piece of you that wished he would be there, just to see what he looked like on the inside and brag to the other girls when your cellphone was returned. You would know Oliver Song and the members of Plastic Flowers on a deeper level than they could ever imagine.

“I’m sure it was hard,” you comment, feigning sympathy to get some information out of her.

Garam nods, pausing to switch lanes for the fifth time in a few minutes. “I guess, but I’m not as close to him as they are. Just remember that when you meet the others, yeah? They’re going through a hard time.”

“I get it,” you shrug. “The trainee dorms were probably worse.”

She doesn’t say much else as you pull into the parking lot of a luxury apartment building. With their careers finally taking off, the members of Plastic Flowers were given a new dorm to celebrate the success of their latest albums, though it seemed to be redundant as they faded back into obscurity. With no new music to chase the momentum, they would be forgotten like the other one-hit-wonders and you hope that Yeonghui has a plan to combat this.

“Welcome to the new building. Everyone else is still living at the old place as we sort things out. We own a few floors of the building already and hope to move everyone over when they reach the same popularity. Eden Jeong and Kim Yuchan have their own apartments, though. We only manage their music careers.”

You nod along as she explains everything about the building. There’s constant security to keep all the fans out and away from loitering outside. None of them have realized that the band had moved, but that would not last very long. They were still public figures and the company needed to be vigilant. The apartment has five bedrooms, thankfully, and you will be free to decorate however you please. The elevator finally arrives and you make a note to find the stairs because going up three floors makes no sense. Your foot taps against the metal floor and the butterflies hit as you go to meet your group mates for the first time. It makes a dinging sound with each floor they move up and when the light flashes on the third floor, she fixes her posture and puts a smile on your face.

You have already seen the different rooms thanks to the few live streams they had before the hiatus. The living room was decorated by both Serin and Salem because they didn’t trust the boys to make any aesthetic decisions, which Oliver protested from the other side of the phone. It's cute with a color palette focused mainly on neutral colors and sage green as the accent. Pictures of the members and gifts line the walls from the few in-person fan interactions they’ve been able to hold last year. You plan to take down the big picture from their first photo shoot as five down tomorrow.

Your picture needs to be up there to remind both members and fans that you’re not going anywhere. Whether they liked it or not.

“Everyone!” Garam called and her voice resembled your old teachers—carrying with just the right amount of authority that it wouldn’t scare them. “Come meet Deurim in the living room!”

Following the manager, you take in all the different decorations that filled in the room. More pictures of them throughout their childhood and career lined the walls, there were plastic vines hanging across the ceiling with a warm glowing light attached to it, and an entertainment system. The place was obviously lived in and you fight the frown that threatens to appear. You needed to make your mark on the apartment soon.

Each of the members looks worse than the other.

Junyeong was the only one that seemed awake and aware of his surroundings as he took a glance at Deurim before looking back at his phone. He tapped on it, sighing at something that seemed annoying, while not even looking up at her again. Whatever on the screen was more important than meeting his new band mate, of course.

Serin was pale and despite her fragile build, looked more like a skeleton than human being. You can see the dark blue veins standing out against her skin and the way she pulls the navy blue sweater closer to her body as if trying to find more warmth in the item.

Oliver stands in a similar manner to Jiyeon, though he rocks back and forth on his heels as he obverses you, as if trying to remember something. You hope it doesn’t take long for him to remember your talents and what you have shown over the past few years. Better was a strong word to describe it, but he healthier than the last year. He was no longer blond and he didn’t look so dead behind the eyes anymore.

Salem hasn’t been sleeping. That was the first thing you notice about her alongside the redness of her eyes, though she looks determined to make it through this meeting without breaking down. She could have fooled anyone else, but you have gotten better at looking for these little details over the years.

“Hey,” Salem greets, stretching her right hand to shake yours. “It’s nice to finally meet you—uh, congratulations on making it into the band.” Her voice is strained as she says the congratulations, as if unsure this was a good thing.

“Thank you,” you smile widely at all of them and take Salem’s hand, making sure that you appear friendly and likeable. You’ve pefected the act over the years. “It’s really an honor to meet you guys and actually join. I’ve admired you guys for years.”

Jiyeon smiles back and acts as the buffer between all of you. Now as the middle member, she was going to be the mediator. “We’re really excited to have you,” she beams. “Though Yeonghui made the final decision, it was pretty unanimous that we wanted you in the lineup. You seemed like a good replacement for Minghui.”

Minghui.

The name causes any trace of the friendly smile to disappear. He had willingly left the band and they still thought well of him. You don’t like that and threw a wrench in your biggest goal: being accepted into the group. You know it was going to be hard because they’ve already been together for five years, but you selfishly hoped that the anger towards Minghui would hasten the process. That assumption was wrong, apparently.

You laugh the statement off and try to calm the simmering temper. “Those are gonna be some tough shoes to fill.”

Garam nods and clasps her hands together to get everyone’s attention. “Well, you guys welcome Deurim and show her around. I’ll see you all at eleven tomorrow, okay?”

Everyone nods or responds to her question just before Garam slips out of the door. Without that middle person, you feel off balance as the other four look at you, each one with different expressions between boredom and curiosity.

“Deurim, you’ll be sleeping in the room between Oliver and Jiyeon. It should be empty, but let me know if you find anything,” Salem explains. She moves easily across the room and puts on her leather jacket, stuffing her keys and cellphone into the right pocket. “I have some leftovers from lunch if you want them or you can always order up to the apartment. I have a meeting with Yeonghui, so I’ll be back later. Don’t do anything stupid.”

The last statement is directed at Oliver and Salem glares at him before he nods, the best response that she was probably going to get that night.

“Well!” Jiyeon says, looking between all four of them. “Why don’t we get to know each other?”

“I’m in.”

“Sure.”

Junyeong gives you an annoyed look before taking a seat on the loveseat. He grimaces as Oliver sits next to him, Jiyeon takes the armchair by the window and that leaves you with the other chair across from them. The set up of the room makes it feel like an integration instead of a conversation as you glance between each other, waiting for something to start the conversation.

“Deurim, why don’t you start since we know each other already? You play the piano, right?”

“I started learning when I was younger but stopped to try dance. It wasn’t until recently that I starting picking it up again and transitioning to a keyboard.”

“What kind of dance did you learn?”

“Ballet.”

“Junyeong might finally have some competition,” Jiyeon joked, tapping him on the shoulder.

“No, I don’t,” Junyeong said, his nose turned up and glancing fully at Deurim this time. “I’ve judged her evaluations and there was nothing special.”

In that moment, you realize you might hate Kang Junyeong more than Minghui.

“I find that hard to believe,” Oliver argues. It’s the first thing he’s said since you got here and he was defending you. It almost makes you smile. “I sat in on them too and I thought she was pretty good.”

Junyeong shakes his head. “You know nothing about dance. You think that Chaeha is also talented.”

Kwon Chaeha had somehow debuted before you as Yuel as Velvetine and was one of the least talented people you had ever met. She was one of those filler idols, just placed in the group because they were pretty and would bring in money from commercials and acting. She wasn’t there to sing or dance, she was a glorified model. The comparison is not fair.

“Well, she’s certainly trying and I think that you can relate to that, Junyeong.”

Junyeong only shows emotions through his eyes, seemingly having mastered the ability to keep his face blank in any situation. They squint just a fraction and that’s the only tell that he has any reaction to Oliver’s comment. It’s no secret that Junyeong was a poor drummer, but he’s gotten better over the years. He turns towards the other and says, voice just as blank as his face, “you also tried something new and failed recently, but I haven’t said anything.” With that Junyeong gets off the couch and stalks into his bedroom, making sure to slam the door with all of his power for dramatic effect.

You play dumb for Oliver and Jiyeon. You wanted to hear everything from their perspective to see how drama tricked down and across the company. You needed to know the real story. “What’s he talking about?”

Jiyeon’s smile becomes strained as her attention turns back to you. “It’s nothing. Just something stupid that happened last year,” she shakes her head and stands up. “C’mon—I’ll show you to your room.”

You follow quietly behind her, glancing back at Oliver at the couch just before turning the corner. He hasn’t moved from the spot and glares a hole into the wall above him, as if trapped in his own thoughts. A sigh leaves your lips as you finally look away, pretending to listen to whatever Jiyeon was talking about. You nod along and hum in agreement at the perfect times, instead focusing on what you’ve learned about the members of Plastic Flowers—your new band mates.

[ghulah]

The Papas, DND and VTM

As some of you know, I am an avid TTRPG liker, watcher, player, etc. The idea of the Papas (and the Ghouls) playing a campaign has always been very fun to me, so I consulted with the council (my wives @bonesy-doodles and @parabunny).

And so, I present to you, the Papas and their set ups for Dungeons and Dragons and Vampire: the Masquerade!

Primo

So, Primo is overall very much the traditional Dracula of the bunch. He's all dark and mysterious and probably actually evil (by some metric), despite the garden tending and the (poisonous) plants he takes care of. He for sure is a roleplay guy but will kick ass in combat.

In DND, he would definitely attempt to play a Dhampir Warlock or Artificer. Artificer especially would allow for alchemy and a lot more fucking around with spellcasting - therefore making it both challenging and engaging and for Primo to pull some insane shit during session. He could also just multiclass Warlock/Artificer, definitely pact of Fiend, Undead, or the Great Old One. The Dhampirism is for vibes, okay. It just fits.

As for VTM, he would be Malkavian or Nosferatu, but the oracle aspect of Malkavian makes it all the more ominous. There is also Hecata and Tzimisce! Either way, he's one of the more ancient, traditional vampires. Primo would play VTM and say, "I am Cain." (bones said this) Much to the chagrin of the Master of Ceremonies.

Primo is also a dice hoarder, he has so many sets and he has a specialized dice bag for it too. It's embroidered.

Secondo

Secondo is very - how you say - wild? He would bring chaos to the table I fear, but he does it in character rather than like being a frustrating player. While he does read the rules well, he does it to get around them I feel.

In DND, he'd play a fighter class, probably just straight up Fighter or Barbarian. And he'd play bigger species like Dragonborn and Orcs! So basically the tank and also main hitter. But for a little bit of religious aspects, an Oathbreaker Paladin would be perfect for him. It has those angsty, turned back on my god vibes as well as the tankiness of melee classes. a Barbarian Paladin multiclass would hit hard methinks.

VTM wise, he'd definitely be Ravnos. I considered Toreador and Gangrel, but I think Ravnos fits the best. He loves (un)living on the edge and rather than the high art vibes that Toreador embody, it's a lot more, well, wild! And also cool. Very rogue-ish and plays by his own rules.

I think he likes fun dice that are like, metal specifically. Some of them are more dark, gothic designs and then some of them are just super fun.

Terzo

Alright, this guy for sure is a roleplay-heavy player. Yeah combat is fun and all but only to get shit done. He loves taking his time curating his character's aesthetics and their motivations and all. He will stick to the bit, do not try him.

That being said, of course he's playing a Bard in DND. He would play either a Tiefling or something of the Elf variety. College of Eloquence would be what I'd assign to him. The bardiest bard to bard, you know? However!! He could also play a Warforged, specifically one with Art Deco elements and that could also reference Frankenstein. It always comes back to Frankenstein with him.

To riff off of the artistry of bards - Terzo would be a Toreador. They're known for being artisans. They're beautiful and charming, seductive...all of which fits the bill for the type of character Terzo likes to play. On the other hand, he could very well play a Brujah. They're known as rebels, warrior-scholars. Terzo would play a vampire that's very Vampire Chronicle-esque.

He's also pretty superstitious about his dice, like if one of them rolls badly he will retire it.

Copia

I think Copia also enjoys the roleplay aspect of TTRPG's a little more than the combat but he gets super giddy whenever he hits a critical hit or takes someone down.

For DND, he would play a Tiefling Cleric. He's got that vibe that he enjoys both the aesthetics and the idea of Tieflings conceptually! Personally I think he always has a Tiefling PC on hand at all times, like it's just his thing. Other than Cleric, he might also take Druid for Wildshape, so he could turn into a little rat. Otherwise, he might also enjoy Sorcerer (magic nepotism /hj). Who has time to learn spells? Not him!

VTM though, it'd be funny if he played a Lasombra. Definitely hilarious considering their whole social-climbing thing and the administrative aspect! Tangentially, the Ministry Clan would also be kinda ironic. I just think he plays that sort of vampire that is less Ancient but more like What We Do In The Shadows vampire.

He likes having dice for each of his characters, he might reuse some, but he prefers having one set for one PC.

Extra

They all play an Oops! All Tiefling Bard Game, at some point. It is so stupidly fun.

There have been fights over in-game choices. Many of them. It's okay, they get through it.

The Ghouls do play as well! I have not figured out their own preferences yet, but trust, they get to have their TTRPG time.

OC tidbits

My OC, Sibling Nephtys would run games like Monsterhearts (college ver) and Monster of the Week.

Bones's OC, Sibling Rigorian, would run Dungeons and Dragons.

Para's OC, Bunny, would run Vampire: The Masquerade.

[untoldsoup]

Something scary about drawing fan comics is when you're faced with a pose, or a background, or a color scheme that is needed to move the plot forward but you *know* is beyond your skill.

Or even just a character that's hard to draw (looking at you, early versions of bowser lol).

You know it's not turning out and it's not going to be perfect. And it won't be perfect for a while as you figure things out slowly, and the fear everyone else can see you struggled with that one panel, or that one page. Just feeling like everyone can *tell* this is where you faultered and the scope of your story was bigger than what you could do but you pushed forward anyway.

And then I read other artists comics and I wonder if they are having the same struggles. And they *must*, I can't be alone in this, but I don't see those struggles in their work. So surely If I'm reading their comic and I can't see where they faltered or struggled or feel that 'this is the worst page I've ever drawn' then no one else can see it in mine, and we truly are our own worst critic. We judge our own work on a scale we wouldn't judge others by.

You got to remind yourself the viewer most likely won't see those mistakes. And if they do they are already reading the next panel and moving on. They didn't stop to analyze and judge that one mistake that you agonized over yet couldn't properly resolve.

Sometimes when I'm struggling, when a panel is just...not how I want and I realize I've spent so much time trying to fix small things no one will give a shit about I hear that meme in my head, the one that says "fuck it, we'll do it live!" And I move on. It's just gunna be like that. I gotta keep the momentum going. I can't be hung up on one thing.

And the momentum is crucial with comics. You gotta keep moving. Every panel or page you finish helps the next one be better, because soon things you once struggled with are second nature. You gotta use the tools in your toolbox. References are not cheating and every person who ever said that to an artist held that person back from improving. You're never going to fully know how to draw that angle if you don't *look at it*. It wont become second nature to draw if you just hope you can guess right through sheer force of will.

And coloring is fucking hard. It's tedious. Its boring but god when you finally get it right it's so rewarding. When you learn a new thing that makes your work pop.

And you gotta just accept your art will not look the same from page one to page 50 if you're learning as you go. You got to stop being embarrassed. Because it shows you were *learning*. It shows you improved and yes the early pages wont look as good but look!! Look at what you can draw now. It's a visual representation of every new skill, every new technique you learned on the way and we gotta stop cringing at our old work and instead thank it for getting us to where we are now.

[dailyrothko]

Thoughts on Barnett Newman? Since his "Stations of the Cross" series is right next to a room of Rothko paintings in the national gallery I was curious about what you think of him, personally I prefer Rothko's work but Stations of the Cross is nice imo :)

I do like the Stations of the Cross, and it's really nice the way the NGA has them all together much more effective as a group I think. They are my favorites of his paintings.

Newman was a writer and become a painter later than Rothko or Gottlieb or Still. I think there was tension about him as he was seen to be getting on the bandwagon. They say Gottlieb was enraged called him "Bullshit Barney" (i think that's right, something like that). But depending on who you ask, Rothko was less wound up about it, I think he didn't feel as threatened. However, Clement Greenberg, the most influential critic of the time, embraced Newman and didn't like Rothko. To me it's all politics but I think it may have hurt Rothko's feelings, he was sensitive.

Newman appealed to Rothko's intellectual side but they were very different. Newman affected a pose, wore a monocle, posed in a suit with a cigarette holder. Everyone seems to say he was a very smart person but some of his peers I think were less impressed with his actual painting. One annoyance was that he apparently changed the dates on some paintings to make it appear as if he had done them earlier than he had.

I hesitate to say anything is 100% true, I only know what I read.

Jack Tworkov said, "I think that Rothko's struggle was an intense one. And now that I know his work much better, his earlier work that I've seen a great deal more of, I can now see what he started from, what he worked through in order to get where he did. Whereas Newman began painting I think in 1947 with that stripe and that was it."

Without being even more digressive, I do think as a society we place too much emphasis on the single artist and whole genius idea. People are parts of groups and their groups are part of a society that has different functions depending on when they exist (Tworkov has good things to say about that). Ginsberg had the Beat poets, for instance, it's part of a bigger tapestry, if you will. I think Americans love this genius myth, (everyone is a goddamn genius, apparently)and that obsession fuels the art world too. There are plenty of painters who do great paintings as good as anyone, but if they are not anointed, they don't sell the same, so i think it invites the idea that one artist is the best and the others must be lesser. If you're an Orson Welles type, you are great but also great at fueling your myth to get work, other people just don't have it in them. Newman could play the whole game a lot better than Rothko.

For me, I do like his paintings and especially Stations of the Cross, but I would say I find his painting less deep than Rothko's. He kind of stuck to a simpler thing than some of the artists of the period. It's not about these personalities really, it's about the art. But I thought I would give some Rothko context to your question.

[thefirstknife]

lightfall was a lot of fun, i think the only gripes i have with it is that i wish the patrol zone was a bit bigger and i wish there were more of those little holo-cats. i’m almost tempted to speculate that the people getting so up in arms were partially looking for a reason to call it a bad expansion because of nimbus.

the main criticism i saw was about the tone of the expansion not being tense enough, but i don’t think it would’ve worked to make lightfall a super tense and grim expansion because there wouldn’t’ve been much payoff for it

Yeah agreed. People got SUPER obsessed with the placeholder art we got 3 years before Lightfall which was... placeholder art. But it was basic black-and-white image that looked edgy and if you look at the fashion Destiny players prefer, you know that they like their edginess. Lmao! But yeah, the complaints about "placeholder art was a better direction of Lightfall" is so bizarre to me because like. It's placeholder. Lightfall wasn't being developed yet at the time. There was no direction.

But people wanted some incredibly grimdark expansion which is insane to me because like... This is Destiny? It does have exceptionally dark themes and background stuff, but on the surface it's never been grimdark. Even the most serious expansions have humour and whimsy in it. I also think that Lightfall was fairly tense due to the high-paced action and the looming threat of "The Witness wants this incomprehensible paracausal entity to finish the Collapse and we have no clue how it means to do that, but we know what the Collapse is and we have to prevent this at all costs."

I personally think that a lot of people just do not understand the aesthetic Lightfall went with on the account of not being old enough to know it. I don't know how much merit there is to this and there's definitely people who DID understand the aesthetic, but just don't really like it, which is fine; we all have different preferences! I personally do not vibe AT ALL with the aesthetic of Forsaken. However, I understand what they wanted to do with that aesthetic and I understand that they nailed that aesthetic for those that do love it and that made the campaign click really well for them. Lightfall wasn't made "wrong;" it had a really well defined and perfectly executed style. It's just not everyone likes that style. This is true for every expansion as well.

The 80s action movie vibe has a goofy and campy feel, but to me it did not detract from the real threats and tension because that's just how that vibe works. And I'm a huge fan of that vibe so Lightfall landed perfectly for me. There's a really silly and over-the-top quality to it, but it's underlined with a lot of emotional journeys between characters and larger-than-life threats.

Also! I really enjoy how Destiny does genre switching with each expansion and even each season. It's one of my favourite things about the setting: the flexibility to just do whatever, without messing up the base of the setting. It's probably the reason why I genuinely have NO issues with any of the campaigns or seasons. They all have problems naturally, but I can never pick what's my favourite or least favourite because they all fill different niches for me.

[the-iron-shoulder]

It says the way to your heart is through a good boss theme so if a guy started playing Molgera's theme -

Molgera is SUCH a bop! My symphonic sandworm~

so fun story, I had the idea a few years ago of a tiny baby version of Molgera: Smolgera. (Can’t you imagine it? It’s so cute, right?) I tried searching everywhere for it, but the Internet disappointed me. Nothing to be found. In fact, there wasn’t a hell of a lot of Molgera fan art at all! What the hell, right?

I then reflected on this and realized that Molgera is a late game boss with a cool but not necessarily unique design who isn’t exactly plot-critical (you could replace it with any arbitrary boss and the story would be the same) and who doesn’t have any dialogue. It’s only actually going to be famous to VGM-heads like us!

I mean I’m just saying, you go to MAGFest and mention Molgera and I bet you’ll get a bigger response than at your other average con, even with a similar proportion of Zelda fans in attendance. (Source: trust me bro, I know the vibes)

aaaaanyway I’m not a visual artist, so I instead went on Fiverr and commissioned an artist to draw Smolgera for me, as seen above. Definitely one of my best art purchases 😁

[inspector-montoya-fox]

You know sometimes i like using my tumblr as like a brain rot bank? Like a time capsule for thoughts and opinion that cater to no one but everyone is welcome to enjoy and partake. And today i'll be doing just that because i have finally finished The Great Ace Attorney Chronicles. If you've been following me for a while you know that this is lowkey monumental because (a) it means that i have officially played all Ace Attorney games, and (b) i have been struggling to finish these two games since their bundled release three years ago. So, i just wanted to share some general thoughts, some tier lists, and feel free to let me know what you think if you read what i have to say!

Ok so, my main takeaway from playing the two games is that... Dr Courtney Sithe is a bad bitch deserving of the same praise as Franziska, Lana Skye, Justine Courtney, Dee Vasquez and Calisto Yew. I genuinely love her so much. Miss Buttplug Hair got her PhD in being a girlboss and i'm so upset she was only in one case. For such a cool character with an amazing design, she was criminally underdeveloped. Same goes for my other fav, Rei Membani. Soon as it was mentioned that Professor Mikotoba and Judge Jigoku were on their way to the UK, i was one hundred percent sure she'd accompany them, and i was ultimately disappointed. To have her right next to Susato on the game's cover art and give her such an amazing takedown of Raiten Menimemo... and then just not have her be anywhere else was such a shame. I need more Dr Sithe and Rei !

The rest of the games' characters were a bit of a mixed bag with some obvious (and some unexpected) stand-outs. Here's my tier list:

Notes:

The biggest surprise that came when i was making this is how high i placed Herlock. I started off hating him so much and then he just suddenly grew on me so quickly, i hadn't even noticed. One of my favourites for sure.

I think we can all collectively agree that we have, at some point in our lives, embodied Pop Windibank... poor guy...

I don't know what Kazuma's deal is. He starts off as Ryunosuke's Mia Fey before um... just becoming a jerk? Why does he have beef with his best friend who was literally mourning him for almost a year? Can't lie though, the bitch looks hot in his white uniform.

Some of the jurors made a bigger impression than actual characters/ witnesses, just by having cool designs. Mainly the green lady, who rightfully earned her spot in the third tier after i found out she's supposed to be a reincarnation of the teacher from PLvsPW !

Eggert Benedict or whatever the fuck that rich breakdancing asshole is called, cannot be a final villain i'm sorry. Seriously, what were they thinking?

The two redheads are such a shameless rip-off of the Skulkins. Two ruffians taking the witness stand for the game's climax AGAIN !? And during the credits, they pose in their prison cell with "Gossip" in the middle the exact same way Eggert and the Skulkins did in the credits of Adventures, like no thank you.

I love how my overall bottom 3 are an annoying str*ight couple and a child.

If Stronghart wasn't in the second (very coveted) tier, he'd be in the bottom of 'like !' because he was ok. It's blatantly obvious he's the big bad from the second he's introduced but that's not necessarily a bad thing. Also, i need him and Damon Gant to have a fat titty bounce-off.

Moving on to criticisms, i can't help but feel like the fact that Shu Takumi decided to split his original script into two games only served to hurt the entire project. Because, for starters, each game has a different feel and the two don't match. Adventures is reminiscent of PLvsPW, Takumi's whimsical and eccentric love letter to the UK that hinges heavily on exposition. Resolve, on the other hand, is a bit of a mix between its predecessor and traditional Ace Attorney, its cases focusing more on driving the narrative to its conclusion rather than experimenting on the classic formula (as with the first game). It also echoes aspects of the first Investigations, bringing in diplomatic immunity, international relations, "tracking down and going against the head of the evil organisation" (the Reaper storyline is very similar to the Yatagarasu one). Personally the two vibes don't mesh, even when Resolve tries to latch onto Adventures with Memoirs of the Clouded Kokoro, for example.

Then, the pacing in both games is all over the place. Adventures is just so unreasonably and unashamedly long-winded and slow, it's the reason it took me literally three years to get into it. The game repeats the same lines of dialogue again and again until they're made painfully clear, subsequently making the player (or at least me) feel like an idiot who needs to read the same thing 13 times in order to get it. This, coupled with the fact that actual gameplay was almost nowhere to be seen and that progression in the courtroom almost always relied on not pointing out inconsistencies but pressing the witnesses adjacent to the one testifying, made the game such a slog to get through. And once the game started to pick up, it was over before i even knew it and in a very unceremonious fashion no less. In comparison, Resolve is very streamlined, albeit a bit too fast-paced. With the exception of Memoirs, which felt like shameless filler, it's clear that they wanted to waste zero time and crammed so much stuff into the episodes, to the point where it became difficult to keep track of everything going on. Because, keep in mind, the second game was tasked with tying up all the loose threads from the first one.

This leads to my final criticism regarding the split: inconsistencies and unresolved mysteries. I think it reads as careless writing when questions keep sprouting everywhere and their answers are reserved for the final two episodes of the second game. Even Unspeakable, a final case, introduces mysteries tied to the overarching narrative just for them to be shelved until Twisted Karma, leaving the player with a sense of dissatisfaction when the game ends. Not only is it frustrating to keep track of all the unsolved mysteries, a chore which good writing would not expect from the player, but it also has you questioning whether or not some of them will get answered at all. Why was the selection of jurors obviously rigged? Why did Van Zieks stop appearing in court five years prior? Where did he lose his gun in Twisted Karma? Why didn't Stronghart assassinate Madame Tusspells as well? Why is Kazuma fully exonerated after admitting to his involvement in the assassin exchange? I grouped the unresolved mysteries with inconsistencies as one problem because the latter is a result of the former. The majority of mysteries spills over from the first game to the second, giving way to different phrasing, details getting glossed over and the plot's consequences getting ignored. There's a very apparent shift in Gregson's character, for example, going from uncooperative and rigid in Adventures to more forgiving and helpful in Resolve, all the while his misconduct from Unspeakable is seemingly forgotten and met with zero ramifications. There's also the government's secret message about the assassin exchange Herlock deciphered at the end of the first game, which sets up the second game nicely but then doesn't get mentioned until the very last day in court. Like, come on now. It feels like Resolve continues Adventures' story without wanting to acknowledge it because, in the grand scheme of things, McGilded and Eggert Benedict seem to not matter at all. And then there's Memoirs, which... Inconsistency City, honestly. This episode's lack of impact on the overall story allowed it to be literally anything else. It's such a bizarre choice to have it be something which only achieves in taking away from the first Clouded Kokoro case! Like ok, i can get behind it being a case no one wanted to talk about so it didn't make the first game. I can turn a blind eye to the inconsistent character development and timeline, whatever. But it absolutely drives me nuts that, for an Ace Attorney game where the murders are explained in full detail, they couldn't stay consistent with the direction Olive Green was walking in. Hate. Loathe. Get it away from me.

That pretty much covers it in terms of complaints, because otherwise i enjoyed my playthrough quite a bit actually. I know i've just spent like 3 mega-sized paragraphs complaining but the games have great elements as well. The Deduction dances are easily the best thing about the gameplay, especially when you didn't see them coming. They were so much fun to play, very animated and cartoony with amazing banter, and effortlessly accelerated the investigation segments. Equally, i loved Judicial Findings. Undoubtedly my favourite part of the courtroom sections and a welcome change of pace. I tended to stall a lot because the jury's music fucks so hard. While on the topic of what i liked, Ryunosuke and Susato's chemistry rivals what Phoenix and Maya have going on. Susato leaving at the end of Adventures was a genuinely effective point in the plot, even though i knew she'd be back.

Now, let's take a closer look at the episodes. Here's my overall tier list of all Ace Attorney cases, the Great Ace Attorney ones being highlighted in yellow:

Notes:

Blossoming Attorney gobbled the rest of the girls right up (a court-only episode, no less). They gave us Susato gameplay, what more can you ask for? An amazing case. Gay Women in STEM !!

Return kinda strikes a nice balance between the different feels of the two games i mentioned before. You've got exposition and world-building with the whole Great Exhibition, turn of the century mad science thing, but also classic Ace Attorney with tracking down Drebber (very Matt Engarde's apartment) and Madame Tusspells as just some witness (very Lisa Basil). A very fun case right before the clusterfuck of mysteries ensues. Also, Dr Courtney Sithe !!!!! Girl you're such a star and you don't even know it spit in my mouth

Was tempted to put Unspeakable in the second tier but i think it's earned its high placement on its own merit and not because of personal bias. It's a great case. Maybe not for a final one, but it's still great. It tries its hardest to tie up some loose ends before the game ends and that's worth something.

Resolve of Ryunosuke is objectively better than Twisted because i could not give less of a fuck about the purple guy's headache and Espella Cantabella selling firecrackers, but they're both very much one single package. Extra points to Resolve of Ryunosuke though for having its villain sit at the judge's seat. That was neat.

The two Clouded Kokoros are giving stinky Bri ish culture with the whole apartment building background, like Ribena, bad teeth, rusty Union Jack, horseshit breath at the pub, you awrite luv? Slander, i'm sorry.

Slightly unrelated but when i was making this tier list it became so obvious that Investigations 2 is the crown jewel of the franchise. Like it has two cases in the top 5, how can you even argue against that?

Arriving to a conclusion, i'd say both games belong on the same level as Apollo Justice: a blend of good and bad. My experience playing the Ace Attorney franchise has followed this trend of attaching each game to a pivotal moment in my life. I finished the first game while i was still a soldier, Justice for All during my first year at university, Dual Destinies during Covid lockdown, Investigations while helping my parents set up their shop one summer. So i know i'll look back at playing The Great Ace Attorney Chronicles right after handing my dissertation very fondly. In other words, despite not quite sticking the landing, it's left a very pleasant aftertaste. Thank you for reading!