#it’s a play a tragicomedy

[cto10121]

Not anti fans saying they finally understand Bella’s (romantic) appeal to Edward in Midnight Sun…when it was also obvious in the original Twilight.

I think a lot of people really struggle with the fact that Bella is a bit of an unreliable narrator with regards to herself, due largely to her major self-esteem issues. Also, she is not in the happiest of moods re: her hatred of Forks. But even beneath her self-deprecation you see her selflessness and her consideration of others. The very first thing she does in the books is to sacrifice her life in Phoenix for Forks so that her mother could be happy with her new husband. She cooks and cleans for Charlie without prompting and lowkey considers Renée as a kind of daughter from years of having to be the mature one—and thinks nothing of it. She diverts conversation away from Angela when Jessica starts to grill her on the type of guys she likes. She encourages Mike/Jessica, making them sit together in the van. She enjoys her time at Port Angeles with Angela and Jessica and helps them find dresses, perfectly content in her auxiliary role. She is diplomatic in her rejection of her three suitors. And then there is the fact that she demands answers from Edward, sees through his lies, notices his vampiric qualities, but also keeps his secrets and is not afraid of the vampiric side of him (as we all know). She is very perceptive; hence how she solves his mystery in virtually no time at all with just a tiny bit of sleuthing.

All of this is downplayed because Bella doesn’t like to boast about herself or even attract attention to herself. Not in Edward’s POV, though. Since he is fascinated with her, he picks up on all these qualities and focuses on them. We get the full, truer picture of Bella’s personality without her self-deprecating narration, and many of her graces in Twilight are highlighted and reinforced in Midnight Sun. And this time we go into detail on Bella’s likes and dislikes, past the cursory summary in Twilight, because Edward is interested in all that. Bella’s humor also comes across more in MS, since Edward finds her funny—both intentionally and not.

Because that’s how first person narration should work. You get the full internal sense of a character, but also their biases and blind spots as well. Just as Bella’s narration is wholly focused on Edward and other people and her own appeal is diminished and backgrounded, Edward’s narration is focused on Bella and other people and his own appeal is diminished and backgrounded. When both have evidence of each other’s attraction to them, they both try to justify it, sometimes correctly, but always with psychic discomfort. The smart reader was supposed to pick up on the subtext in the original book…a subtext that is then made explicit text in the companion novel.

[letojessica]

"you speak as if from a distant dream" "come with me" welcome back orpheus and eurydice welcome back patroclus and achilles

[justanotherliteraturestudent]

"The tears of the world are a constant quantity. For each one who begins to weep, somewhere else another stops. The same is true of the laugh. Let us not then speak ill of our generation, it is not any unhappier than its predecessors."

— Pozzo, Waiting for Godot by Samuel Beckett

[july-19th-club]

erica schmidt adapting cyrano de bergerac as a musical: oh my hot little husband could fucking crush this to pieces . oh this is going to sound so good when my hot husband sings it . this is so great

[ponds-of-ink]

Right after the tail events of Ruin, Vanessa decided to check on MXES. Since, y’know, she probably had a hand in making his current form.

She asks the standard “How’s everything going?”. Really trying to play it off casually just in case.

The answer she receives is an audio excerpt from the chorus of A Human’s Touch by TWRP. Punctuated by a bunch of sad emoticons.

So yeah, it’s not going that great.

[do-you-know-this-play]

[britneyshakespeare]

She's bloody. She shoots arrows. She's crazy bout the common boy. She's the Queen of Dacia's heir. She's suicidal. She wants revenge. She's gonna free her brother from his imprisonment and subvert the prophecy. She'll follow her lover into Heaven while dressed as a man in battle. I didn't say a name but someone popped into your head didn't it?

No it didn't because she's Cleomena in the Young King, a criminally underrated tragicomedy by Aphra Behn

[spitoffbridges]

Just been stood 2ft away from David Tennant please don’t talk to me for 3 days

[muninnhuginn]

huh, just skimming through the link click tag now I've seen the episode and seeing some mixed feelings over it, but I do honestly think the latest episode gave a lot of answers/much bigger pieces of the puzzle than we've been given before. I was getting somewhat frustrated at the number of questions raised every episode so this is the first time this season I've seen stuff be properly addressed. Between this and the twin swap confirmation last episode we've absolutely tipped over into the getting answers side of things.

[twinegardening]

Orpheus: A Tragicomedy in Six Parts by chromaticchaos [IFDB]

ORPHEUS: A TRAGICOMEDY

There once was a fellow from Thrace, Who wouldn't accept his wife's fate-- With only a lyre, He walked through the fire, To spring her from Hades' place.

But when the man met with the god, And spoke of his plight, god guffawed. "So what?" Hades said, "Lots of people are dead. Now beat it, you musical fraud."

Well, the fellow from Thrace wouldn't leave-- What's the point to a life bereaved? "But I love her!" he crooned, As he plucked out a tune, "Don't you know what it's like to grieve?"

And his music was so sweet to hear, That the god wiped away a few tears, Then said, "Fine, you sad sack, If you just don't look back, You can lead your wife straight out of here."

Now, play as that fellow from Thrace, Going down into Hades' place. To get back your wife, Your muse, your life, Just don't turn to look at her face!

[varricscrossbowbianca]

my friends telling me they'd adopt me like omfg

[idiopathicsmile]

School Gymnastics: A Tragicomedy

So one day when we were in third grade, our P.E. teacher divided us into girls and boys. (I don’t remember what the boys had to do. Wrestling? Tackle football? I don’t know, probably not at age nine, but that’s not the point. Gladiatorial combat? I still don’t really understand kids’ sports.)

What matters for this story is that all the girls had to do gymnastics. Now—and I suspect this won’t surprise you if you know literally anything about me—I was always terrible at any form of school athletics. I am intensely, almost impressively uncoordinated. This doesn’t affect my life much at 36, but it was often a miserable way to be a kid. The only playground game I liked was playing pretend, because when you are playing pretend, you don’t have a bunch of people ostensibly on your side screaming in your ear, “Pretend faster! Pretend over there! Pretend with greater accuracy!”

Anyway, gymnastics and my clumsy, doughy little body. I couldn’t do a cartwheel. I couldn’t do a backwards somersault. I couldn't do any of it. We had an entire unit on this business and I literally did not learn how to even safely attempt a single move besides the log roll (lie flat and roll sideways on your belly). In retrospect, this seems like maybe it was in part a teaching problem, not a me problem, but that’s actually not the point either.

The point is, at the end of the unit, we were told to divide ourselves into little teams and choreograph a group gymnastics routine. My group, faced with my long list of limitations (more limitation than girl, really) decide my role will be to just forwards-somersault around the rest of the group as they do their moves. (This is itself kind of embarrassing but trust me, it is but the appetizer.) My friend Ashley has the Lion King soundtrack and we all agree that it is a great choice. The movie has only come out a couple of years earlier, and it of course features some funny, peppy options. 'Hakuna Matata'? 'I Just Can't Wait to Be King'? It's all coming together.

Carried on a wave of youthful enthusiasm, none of us even think to double-check which track Ashley has picked. Foreshadowing!

So the day of the performance comes. Another group goes right before us. They had picked “Wannabe” by the Spice Girls, which was a huge hit at the time. I mean, it still is because it’s a classic, but then it was big and new. They step onto the mat and immediately begin to do choreographed dance moves, which they have worked into their routine. We had not thought of this. Oops. Dance moves, of course! So they incorporate the necessary gymnastics, it goes over really well, the energy is high, and now it’s my group’s turn.

I take my place at the edge of the mat, the mat we are required to stay on for the length of the piece. Ashley cues up the track she’d chosen.

A song starts up. Instantly, I recognize it from the movie. It is the very slow instrumental music that plays when Simba realizes his dad is dead.

‘Well, this is not optimal,’ I think. I've been on this planet for nine years; I can see that much. But it’s too late to change the track, and so I tell myself, ‘It’s okay. I’m a performer. I can sell this.’ I put on an extremely solemn face and begin to execute a series of the world’s saddest somersaults.

Friends, when I say “sad” I mean it, in every possible sense of the word. Picture a nine year old with the gravest possible affect, determinedly doing somersaults to the slowest, most serious music she can imagine, in a careful ring around her friends who have actually learned any gymnastics whatsoever. Okay, now as the music starts to pick up and get more hopeful, imagine she gets real dizzy and in front of everyone, she rolls all the way directly off the mat, careening dangerously towards the assembled students.

Somehow, I roll myself back onto the mat, we survive what feels like hours of humiliation, we stagger away, and I blessedly avoid adding “puking my guts out in front of all of my peers” to my very short list of gymnastics tricks.

Later, I asked Ashley what in the world possessed her to choose that song.

“It didn’t have any words,” she said.

(There was absolutely no rule against using songs that had lyrics.)

Anyway, that’s why being an adult is better than being a kid.

I may have to do laundry and make my own dinner and wrestle with more complex existential angst, but you know what I haven’t been asked to do in like 26 years? Somersault for three minutes straight to the musical shorthand for “this cartoon lion cub has no choice but to process the weight of unimaginable grief for his dead dad.” And you know what? If I live another 50 years, I can be pretty confident nobody will ask me to do it then, either.

[bixels]

Now that Ghibli's new movie is coming out soon, I've been thinking about anime films and wanna talk about my favorite animated movie ever, Tokyo Godfathers.

TG is a 2003 tragicomedy by Satoshi Kon, following three unhoused people––an alcoholic, a runaway girl, an a trans woman––who find a baby in a dumpster and set off across Tokyo to reunite her with her parents.

If you like the sound of that, go watch it because the rest of this post is spoilers and I have FEELINGS about this movie.

URGHH, the fact that only two moments of true kindness, generosity, and care given to the three protagonists without any expectation of reciprocity are given by a Latin-American immigrant couple and a drag show club full of trans women. The fact that, despite her loud and dramatic personality, Hana is the glue that holds the team together and the heart of the whole movie. The fact that this movie pulls no punches at showing the violence and inhumanity committed by "civilized Japanese society" against the unhoused. The fact that Miyuki craves to be loved by her parents and ends up seeing Hana as her true mother. The fact that Miyuki starts off accidentally using transphobic language against Hana, but slowly begins calling her "Miss Hana" out of respect. The fact that, according to Kon, Hana's role in the story is as a mythological trickster god and "disturb the morality and order of society, but also play a role in revitalizing culture." The fact that Hana so desperately wants to be part of a true family, yet is willing to sacrifice her found family so they can be with their own, and is rewarded for her good deeds in the end by becoming a godmother. The fact that, throughout the movie, wind and light have been used to signify the presence of god's hand/influence (this movie's about nondenominational faith––faith in yourself, faith in others, faith in a higher power. Lots of religious are referenced, such as Buddhism/Hinduism, Christianity, and Shintoism), and in the climax of the film, as Hana jumps off a building to save a baby that isn't hers, a gust of wind and a shower of light save her from death. The fact that god saves a trans woman's life because she proved herself a mother, and that shit makes me CRY.

[ratcash-wasgud]

Tragicomedy II

hey gang, I finally finished this lol sorry it took so long, I just have some complications in my life rn

Anyways, NSFW so minors (and MEN) dni

After the day at the amusement park, Ellie walked home in a cartoonishly bummed way. Which, if you ask me, was pretty understandable. In her head, she had lost every chance in the world with the cutest girl ever, and the worst part was, that she has lost to Abby.

She didn't live in a dorm, the house she basically grew up in was just a couple blocks away from her college, and like 30 minutes away from the amusement park, so she had time to listen to music and stare at the sunset on her way. When she got home, she kicked open the door, and walked past a very concerned looking Joel, and slammed her room's door behind herself. She was acting like a child, she knew that, but she couldn't help it. If today would've went in the way she planned, you could be here too right now, listening to her playing the guitar, marveling at her comic collection, or even...I don't know, sit in her lap or something. But now, it's all ruined because of some straight jock who doesn't deserve you anyways.

Abby on the other hand, is not home yet. Instead of going back to her dorm, she got into her truck, and just went out to the edge of the city, to just...sit there. The last couple months were overwhelming, but today? Yeah, it's taking the crown. She had just started being ok with liking girls, then you came in the picture and suddenly Abby wishes she was still in denial. You saw her cry for fuck's sake. If she wanted to achieve anything, it was the cool and chill persona she had assumed girls like you were attracted to, but nah, she had to fuck it up and almost have a panic attack because of one homophobic comment that wasn't even directed at her. She's so terrified of being gay, of disappointing everyone. That's probably the reason why it was so easy for comphet to eat her alive for so many years.

But then, both women are dragged out of their gloomy moment by a notification lighting up their phone. A new groupchat was just made, by you, and the first text was sent.

"now we have a super cool groupchat, only for super cool people"

"(˵ •̀ ᴗ •́ ˵ )"

Ellie stares at the text. You made a groupchat instead of just texting Abby, which, to her was a success. Abby on the other hand, just didn't understand why did you still think she was cool.

"i wanted to text both of you, but i feel like it's easier this way."

"btw do you guys have plans on friday??"

Perfect. Another chance.

"nah im free." Ellie texts without hesitation, already smiling as she rolls over in bed, staring at her phone. She's already starting to come up with places she could go with you.

"i don't have any plans" Abby texts, her fingers shaking a little. She's happy that you don't hate her, of course, but she's nervous. She doesn"t want to fuck up anything again.

"⸜(｡˃ ᵕ ˂ )⸝♡"

"my grandparents are out of the state for a couple days, and they told me i could hang in their pool!!"

And that is exactly how both Abby and Ellie ended up having a huge watergun fight in your grandparents' backyard. It was amusing, really. They both took it really seriously, like the waterguns you found while searching for a beach matress were completely real, and their life depended on shooting the fuck out of the other.

"Come out, Williams!" Abby yells as she walks up to the shed where she saw that pesky woman run to. "Just give up! Come out with your weapon in the air!"

But, Ellie wasn't in the shed at all, she was behind it. So when Abby tried to enter the shed, she jumped out from behind it, and blasted the bigger woman with cold water all while laughing wickedly. "I got youuuu, you died! I won!"

You just watched them, chuckling to yourself. You were happy. Having friends was cool. I mean, you were watching with a bunch of adoration in your eyes, and your heart was also fluttering, but that's a totally different topic.

"Okay, do you guys want to get in the pool already?" You ask as you start taking off your shirt just to reveal a light purple bikini top decorated with a pink bow.

Ellie swallowed hard. Suddenly her victory didn't even matter to her at all. The only thing that mattered was following you right into water. She peeled her own tanktop off, staying in her own pair of swimwear. This is the most skin she has ever seen you show, and it's already making her mouth dry. She stars sprinting towards the pool and with a huge splash, she lands in the water, drenching the frozen Abby standing next to the pool, who is in complete gay panic, and just stands there, stiffer than ever. She gasps when the cold water hits her skin, and shoots a glare to the auburn haired woman, who's just emerging from under the water. And as we know, revenge is both of their speciality, so Abby peels her own clothes off too and jumps into the water as fast as she can, and her aim is the smaller woman right in the middle of the pool. But as the waves from her jump arrive, they push you right into Ellie's arms.

Ellie, of course, sees the opportunity and takes it right away, wrapping her arms around you from behind. "I got you," She whispers into your ears, and you blush in response. You can't help yourself but lean into the touch, smiling softly. "Yeah...thanks."

Abby comes up from under the water, and sees the scheming that's happening behind her back. She can't let that happen, she can't be left out. She needs to keep up her game. She can't be a coward again. So, she moves towards both of you in the pool, where your feet can touch the tiles on the floor, and she corners both of you.

Abby needs to swallow her nerves. She has to be brave. "I pushed you on purpose." She murmurs, ignoring that you're in Ellie's arms, and puts her hands on your hips under the water. "I wanted to see you fall under the water...and get wet." She says, knowing exactly what she means.

Ellie, on the other hand pulls you closer. "She's already wet. We didn't need your help." She says, lifting her knee to rest between your legs. They didn't know is that you were indeed wet.

"I think she wants my help tho." Abby says, her heart pounding in her chest, but doing her best to not let it show. "Tell her sweetheart," Abby leans closer, her eyes intense. "Tell her you need my help."

You were stunned for a moment, glancing back at Ellie over your shoulder then back to Abby. "I...I need help. From, uhm...both of you." You croak out, her legs wrapping around Abby's waist under the water, while you lean back into Ellie. "Allow me to be selfish."

Both women stopped for a second, considering their options. In that moment, they both realized they didn't hate eachother as much as they thought. Over the time of then hanging out with you, and through that, eachother. Ellie learned that the meat head jock can cry, and isn't afraid of playing with toys or laughing in such a carefree way. Abby learned that the grumpy merd is fierce, and stands up for what she believes in, and that she puts up a fight in whatever she puts her mind to. They learned that they...wouldn't mind this whole thing.

Ellie was the one who moved first, giving Abby a nod, as she snaked her hand lower, along your stomach, right into your bottoms, grazing your lips. Abby shuddered when she saw that, and she just decided to go for it and plant her lips firmly against yours. You kissed her back withouth hesitation, wrapping your arms around her neck, and Abby felt like she was in heaven for a slight second. Ellie watches as her tongue moves with yours, kissing the side of your neck softly as she felt how wet you are down there. She slid a finger inside you, then after a couple thrusts, another. You moaned against Abby's mouth, and in response to that, the bigger girl started kneading your tits gently at first, but she lost self control pretty quickly.

The next thing you knew was that your second orgasm was already fading already, your juices gushing out of you as you're next to the pool on a convenient blanket, while Abby sits right on your face, her pretty pussy reacting to every single lick, while Ellie is between your legs, her cute little cunt against yours, rubbing and chasing her own orgasm, all while they make out, moaning your name into eachothers mouths.

In that moment, Ellie and Abby both decided to stop hating eachother for now.

[waffowo]

I cannot stop thinking about how Metal Gear Solid V: The Phantom Pain ironically fits as the missing link of the Metal Gear Solid franchise by being this ambivalent and spiteful text that could only be possible because it exists after Metal Gear Solid 4: Guns Of The Patriots.

Like think about it. MGS4 is Kojima’s perfect farewell in how it encapsulates his complex relationship towards his own series, his own cynical but still very much hopeful take on The Irishman (2019) if you will. The game simultaneously reveals Kojima’s hope and affection by pulling every known idiosyncracy to a hyperbolic degree but also his exhaustion and suspicion through Snake being not a hero but an old killer and his reflections on his role as a pioneer of the military-stealth genre within the gaming industry. It even seeks to tackle the behemoth of closing at least the majority of the loose narrative threads. As a consequence, any future game is attacked with the question of purpose since Kojima has already said what he needed to say. 

Through this question is how MGSV can even be allowed to exist because it affirms that the question is rhetorical. The game chronologically exists in a liminal space in the middle, neither here nor there. It even narratively exists as a structural ouroboros, a almost completely closed system which begins and ends on a mirror. Kojima elevates this sentiment to an extreme level by denying any kind of player satisfaction (or nostalgia) by still being an encapsulation of a lot of overarching themes now filtered through a lens of condemnation. 

 There is at least this sense of valour found in the main cast of MGS4. There might not be any heroes but you can tell that at the end of the game, there is a sense of dignity. MGSV works completely opposite to that. The central cast of MGSV is so pathetic that the game plays like a tragicomedy as they aimlessly wander about, overdosing on some serious fucking copium that taking revenge will bring peace. A particular venture you know that’s doomed but can’t help but watch. Phantom Paz expresses this so unsubtly yet so perfectly in her final cassette tape. Peace Day is always going to be a mirage and has been even since the Peace Walker days, it’s just that Kojima doesn’t always focus on the other reality that these people are all still terrorists and war criminals. 

People who expected Big Boss instead got a confused, empty and depressed war criminal who can be found roleplaying as a cowboy. His other hobbies include non-stop vaping and managing war criminal spreadsheets. Mission 43 doesn’t feel like a descent into evil because Venom is already kind of evil but instead works by acting in perfect opposition to Chapter 1 where you sort through your digital files to identify patterns and promptly send them to death in the quarantine ward. He’s so high up the military hierarchy that of course he can’t help but have a crisis when he is directly confronted with the physical reality he used to be able to meet with mechanical detachment. 

Venom Snake also serves as a perfect way to comment on the overarching theme of agency. However, there’s no final monologue to tell you to think for yourself, no Raiden throwing away the dog tags, no Naked Snake refusing to shake an official’s hand. Instead all these typical moments are denied in every way possible to the point it’s very funny. Venom is not only a castrated protagonist but is also basically a preprogrammed AI with no hope to break free because he’s narratively doomed. Your actions don’t really matter. Even funnier, the ending is perfect by hitting you with the “you, the player, were the war criminal all along” that heightens the tragicomic beats through recontextualisation. What is more mortifyingly funny than realising that you’ve just been playing as Raiden AGAIN but instead of someone that exists beyond the player you have become canonised as an in-world character complicit in perpetuating imperialism. This works so well with how if you listen to the tapes and mission briefings closely, you realise that there are so many contradictions that no one are bringing up. Everyone is lying to you and everyone is telling the truth but it doesn’t matter. Venom just captures the disorientated position of the player, caught in this Pynchonesque paranoid labyrinth that it leaves you confused and speechless. What other choice do you have but to smoke a fat one, it’s not like you can actually resist the game if you’re completely out of the loop. 

Aside from Venom, there is of course Huey who has descended into full on pathological lying and delusion. Even if he didn’t cause the second outbreak, he’s so overwhelmed by guilt and paranoia by his other crimes he’s most likely guilty of that he’s able to beat the truth serum. When you’re rescuing Huey, he literally blames you for the destruction of the MSF. Like literally as you’re hauling ass to get him out. Even more pathetic is Kaz who makes these grand statements alongside Venom about taking revenge that you know doesn’t mean shit. His monologues are so passionate and are so depressing and yet he is met with awkward silence constantly that it’s depressingly funny. 

There’s this amazing usage of comedic timing, after you rescue Kaz and bring him back to Mother Base, where he monologues and says, “Dogs of war for nine whole years…that ends today. Now you’re not sleeping, and we’re not junkyard hounds. We’re Diamond Dogs.” The swelling of the music at the last moment is instantly followed by Kaz being shut the fuck up by a medic who puts an oxygen mask on him and lies him down. No one responds to the speech. Ocelot merely only talks to stop the medic and allow Kaz to get a few more words in out of pure pity. Likewise, Kaz’s extreme cognitive dissonance as he believes he can return to the good old days is so pitiful and poignant you can’t help but to stare with sympathy. 

The end of Chapter 1 shows how far gone he is with a very clever cut as Venom turns away from a vision of Skullface where Skullface is replaced by Kaz himself. Chapter 2 then logically shows him becoming full on paranoid, going full on 1984 Minister of Truth because what else does he have left if he doesn’t have an object of revenge anymore? I remember a moment, where he’s calling you, with this sense of manic fanaticism as he rambles to Venom that it’s time to dig up dirt on Huey and finally get him out for good. It becomes so absurd that even OCELOT tells him to shut the hell up. 

Ocelot is maybe the only normal person on board but that title means nothing in-universe. He’s thriving because he’s happily going along with War On Terror 2. He’s normal because he flat out embraces this and even goes out with his crush dressed as a cowboy. Of course there won’t be those moments where he’s of central dramatic focus here, he is simply here for the ride, his true goal to win the game of 8D chess for the man he’s down bad for. 

This band of losers are completely devoid of real purpose and are so…beta and it works because of how it both confronts an equally important reality of the characters not usually as overt and how MGS4 already closing off the franchise sets up how MGSV’s narrative and characters are already and should be dead. Peace is only possible in the case of war criminals when they’ve been buried. Evoking dissatisfaction might not always be intentional and is sometimes accidental but it works because there is no real satisfaction in beating a dead horse just to see your faves perform one more song. Especially if they already aren’t good people.

[do-you-know-this-play]