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1863-project · 2 years

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Do you have any fun facts about trains and their history? I’m really interested to learn about this

Yes, absolutely! For this post, we might as well start at the very beginning...

How old are steam locomotives?

The first thing you'd all likely recognize as a steam locomotive was built by an engineer named Richard Trevithick, one of the first people to realize high-pressure steam could move a piston in a steam engine, if not straight-up the first to do so. He built a number of experimental steam engines that were capable of moving people and goods in the early 1800s, with the best known being the Puffing Devil (1801) and Catch Me Who Can (1808), the latter of which was the first steam locomotive to carry fare-paying passengers. This is a drawing of Catch Me Who Can:

Like later steam locomotives, it has a boiler, a smokestack/chimney/exhaust, and, of course, wheels. You can recognize this as a rudimentary locomotive. Trevithick's locomotives didn't exactly go into common use, but they set the stage!

Before Trevithick's early locomotives showed up, there were rail wagonways, often used in mining and other similar industries that required a lot of things to be lugged around. These wagons were pulled on rails by horses. But because of Trevithick's work, steam locomotives started to be considered more viable and worthy of exploration. In 1812, seventeen years before the Stephensons built their famous Rocket, the locomotive Salamanca was built - it helped with mining.

Oh, Mr. Stephenson...

Now we're getting to things people are more likely to have heard of. If you're into trains, there's a good chance you've heard of the 1829 Rainhill Trials. If you're not familiar with them, they were a highly significant event in railroad history. The Liverpool and Manchester Railway was nearly completed, and they were very interested in steam propulsion. George Stephenson, who was the railway's principal designer, argued that locomotives would be the best way to move goods and passengers along what would be the world's first inter-city railroad, and so a competition was opened - ultimately, five locomotives were entered, including one operated by a horse walking on a treadmill. It was disqualified for not being steam-powered and also because the horse broke through the treadmill at one point and fell. That is not a joke. It looked like this.

The winner - the only locomotive to successfully complete the Rainhill Trials - was Rocket, built, incidentally, by Stephenson and his son, Robert. No sabotage, they were just the best at it. Remember, another team literally tried to run a locomotive with a horse on a treadmill. Today Rocket happily enjoys her retirement at the National Railway Museum in York, where she lives with other famous locomotives, including Flying Scotsman and Mallard.

(Rocket at the Science Museum, London before moving to the National Railway Museum.)

Locomotive technology quickly hopped the Atlantic around this time - notable locomotives in America of the era include Hobokenite John Stevens III’s locomotive, the first built in the United States (1825), Peter Cooper’s Tom Thumb (1829), Best Friend of Charleston (1830 - the first steam locomotive to suffer a boiler explosion in the United States), the British-built Stourbridge Lion (1829), and perhaps most famously, Robert Stephenson’s John Bull, originally operated on the Camden & Amboy Railroad, partially owned by John Stevens III’s son, Robert L. Stevens. John Bull lives at the Smithsonian and is technically operable, making it the world’s oldest operable steam locomotive in preservation.

From there, the technology advanced fairly quickly! By the American Civil War (1861-1865), you had locomotives like the General (made famous by a film by noted train lover Buster Keaton):

We can use Whyte notation now - the General is a 4-4-0 American.

What is Whyte notation?

Whyte notation is how we describe steam locomotive classes. This is determined by their wheel arrangement. The General, pictured above, has two pairs of leading wheels, two pairs of drive wheels (the big ones, with the rods attached), and no trailing wheels, hence 4-4-0. Whyte notation can be applied to internal combustion and electric locomotives, but it’s most commonly used for steam locomotives. If you see me talking about a 2-8-4 Berkshire or a 4-6-2 Pacific, for example, that’s what I’m referring to!

Why did you choose the General to highlight here?

Because I minored in American Civil War Era Studies in undergrad and the General was at the center of a bizarre chase during the war - some Union spies led by James J. Andrews stole her with the intent of bringing her behind Union lines, and were pursued by a conductor named William Allen Fuller on foot and then by handcar - and finally with another locomotive, the Texas. As mentioned above, Buster Keaton made a film based on this event, and it’s widely regarded as some of his best work.

Do not try this at home. This is extremely dangerous. (Buster did all his own stunts, as usual, and in the scenes where his character is on the footplate, he actually operated the locomotives by himself in the film. I’ve always envied him that.)

Are there any other weird train things you think warrant being in this post?

I did do a write-up on the Crash at Crush once, which was an intentionally staged locomotive crash for entertainment, but I think I need to tell my favorite train story - the GG1 in the food court. Yes, I only know this story because the GG1 is my favorite electric locomotive and I’m weirdly obsessed with it.

Washington D.C.’s Union Station has a food court in the basement, with a number of restaurants including a Johnny Rockets. Before this became a food court, though, it was a baggage storage area. It’s important that you know it was a baggage storage area and not a waiting room for passengers because of what happened on January 15, 1953.

That night, a train was coming down from Boston to D.C. It was being pulled by Pennsylvania Railroad 4876, a GG1 electric locomotive. As it approached Union Station, the engineer checked the signals as usual and prepared to slow down. When he went to lower the throttle and engage the brakes, however, he noticed the train wasn’t slowing down. It turned out that an angle cock (an air brake valve) wasn’t set correctly on the third car of the train, meaning all cars behind the third passenger car weren’t braking. Somehow, the engineer managed to get the GG1 to navigate through a bunch of switches despite trying to reduce his speed with only a few braking cars available, and he managed to get it down from between 60-70 mph to around 35-40 mph. As he whizzed by, a signalman noticed his distress horns and radioed Union Station to evacuate the concourse. This was done in time, and as a result nobody died as the GG1 shot through the bumper at the station, went through the stationmaster’s office, hit the concourse, and fell into the basement. Here’s the poor thing in what is now a food court.

(image source)

Remarkably, there were only minor injuries from this event, but they had to erect a temporary floor above the crash site because Dwight D. Eisenhower was being inaugurated as President of the United States on the 20th, so the GG1 was temporarily hidden in what is now a food court for a few days. Afterwards, she was removed and actually rebuilt, and she now is retired at the B&O Railroad Museum in Baltimore in...less than stellar condition. I want to help cosmetically restore her if possible.

Hope this is the sort of thing you had in mind, anon!

#replies #I like trains #GG1 #The General #also #comedy #Buster Keaton

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deangenchallenge · 2 years

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Time for Round 12 of Dean Gen Challenge! This time the theme is WILD WEST

It's a sarape.

Dean really likes cowboys; he can nerd out about them all day and recite every Clint Eastwood movie. Looks good in a cowboy hat, too.

Watching westerns in motel rooms and singing old country songs, playing cowboys, Dodge City, traveling back in time to 1800s and full-on cowboy aus. Colt's gun and railroad, gold rush, ranchers, hunter slash sherrif; duels at high noon, peacemaking in the saloon, cowboy boots, horses and rodeo, gambling, gunslinging, bull-riding, wanted dead or alive.

You can interpret the theme of Wild West any way you want. These are just a few extra ideas to help start you off, but you don't have to use any of them.

How it works

On the first day of each month, we’ll provide a theme that you’ll explore in your works in relation to Dean

You can sign up at any point throughout the month, simply by reblogging this post and tagging it with #entered

You have until the last day of the month to publish your work. Tag it with #deangenchallenge and mention @deangenchallenge to make sure we find it

We’ll be reblogging all works to this blog; if you don’t see your work reblogged after five days, send us an ask with a link to it

There is no penalty for dropping out. This is a no pressure challenge; if you can’t finish the work, you can post it in the following month or try with the new theme

You can also create works for our past themes! You will find all of them in our deangenchallenge tag

You might combine this challenge with other events and bingos, as long as their rules allow it

The last day to publish your work for this round is May 31

When posting your work to ao3, add it to our collection deangenchallenge

Feel free to reblog to signal boost even if you’re not entering! :)

Work requirements below the cut

Work content

Dean Winchester must be the focus of the work, no putting him in the supporting role

No ships as this is a gen challenge

Platonic and familial relationships are fine

Passing hook-ups, similar to those Dean would engage in during case on the show, are also okay — they can’t however be the main focus of the works

All works must match the given theme but you’re free to interpret it however you want it, both literally or metaphorically

Mature/explicit content and dark themes are allowed, but must be properly warned for; visual explicit works must be hosted elsewhere and linked to on tumblr, not to violate tumblr’s content guidelines

No sexual content involving minors

No RPF or reader-insert works — the focus of this challenge is Dean

Works using quotes about Dean coming from Jensen, other actors, or the show’s creators are fine

You can submit more than one work for each theme

Work types

Various types of works are welcome, such as fanfic, fanart, graphics, gifsets, fanvids, fanmixes, fic rec lists

Minimum requirements (there is no maximum)

Fanfic: at least 500 words (remember to use read more when posting the whole fic to tumblr)

Fanart/graphics: at least 1 art piece, width 540px

Gifsets: at least 3 gifs

Fanmix: at least 8 songs + description of how they relate to Dean and the theme

Fanvid: min 30 sec

Podfic: read, not tts, fic of min 500 words

Fic rec list: at least 4 fics written by others + commentary on how they fit the theme

all podfic’d and rec’d fics must also fit the content rules of the challenge

Questions? Feel free to send us an ask

#dean challenge #dean winchester #spn challenge #supernatural #writing challenge #deangenchallenge #dgc post #round 12 #theme: wild west

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seattlesea · 3 years

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bad representation in the riordanverse

Racism:

-Gave Hazel and Piper gold and ‘kaleidoscope’/brown-blue-green changing eyes and pretty much went ‘Let’s add some characters of color but they cANT HAVE BROWN EYES THAT’S NOT PRETTY ENOUGH’ as if whitewashing isn’t more than just the skin.

-East Asian characters: Riordan pretty much went 'Here are my East Asian characters- one of them looks like a fat baby on steroids and is super undeveloped, his mother is strict and cold, and all the others are just described as 'Asian' because different countries in Asia don't exist and there's obviously no difference between Japanese, Chinese, and Korean'. His portrayal of East Asian characters went like this: Frank: Chinese, chubby, hates himself, underdeveloped, described to look like a 'Chinese Canadian baby man' and a 'panda' as if that's not stereotyping, and only learned to love himself when he looked hotter. Drew: Asian, villainized, rude, shallow, vain, and selfish. Ethan: Asian, rude, evil, a traitor, and deceased. Grandma Zhang- rude, strict, cold, traditional, and deceased.

-Hazel: Has gold eyes. Has 'cinnamon brown' hair even though dark brown or black hair would be way more inclusive and realistic. Had a mother portrayed as a rude and selfish witch who sacrificed, used, and trafficked her own child. Was the only character called or described as a witch while African-Americans were usually accused of witchcraft just for their skin color. Was the only character who was cursed. Had a mother who literally practiced voodoo. The only African-American character in the series before ToA who isn't dead (but she also died). Was paired with a sixteen year old guy even though African women are constantly forced with older men and that's blatantly racist stereotyping.

-Piper: Had 'chocolate brown' and then 'mahogany' hair? Has kaleidoscope eyes. Put a feather in her hair (which is stereotyping)- and it was an eagle feather, which is also wrong because eagles are extremely sacred to First Nation tribes and only spiritual leaders or warriors can wear it or it has to be gifted by an Elder of the tribe, and Riordan basically went 'Feathers are very important and it's racist to make a character wear one at inappropriate times but I'm going to make my character wear one as a cute accessory to make her look cool, pretty, and headstrong and to add to her 'Aesthetic'’ even though Cherokees didn’t wear feathers (which proves he did the bare minimum of research). Constantly oversexualized (56% of First Nation women are sexually harassed and Riordan had the audacity to put Piper in an 'embarrassingly low v-neck' and to have her constantly drooled over by a WHITE MALE and have her sexualized by her 1000+ mother without her knowledge or consent). It's said that her father was from a reservation in Oklahoma...but there are no reservations in Oklahoma, only cultural centers (which also proves that he did the bare minimum of research). She's the only First Nations character and she's the only character (besides Nancy Bobofit) depicted as a kleptomaniac (First Nations people are constantly called thieves by racist assholes). “The week before, he’d turned down several million dollars to play Tonto in a remake of The Lone Ranger. Piper was still trying to figure out why. He’d played all kinds of roles—a Latino teacher in a tough L.A. school, a dashing Israeli spy in an action-adventure blockbuster, even a Syrian terrorist in a James Bond movie. And, of course, he would always be known as the King of Sparta. But if the part was Native American—it didn’t matter what kind of role it was—Dad turned it down.” (The Lost Hero, page 165). So her father is fine with playing an extremely racist and stereotypical Middle Eastern role but not a First Nations role. Uses a cornucopia as a weapon (how she got it- cutting it off a half-bull- is disrespectful to her culture as hurting an animal is banned and she used a cornucopia- a symbol of Thanksgiving- as a weapon). Cut her hair, which is basically taboo in First Nations culture.

-Samirah: Had an arranged marriage (at age twelve, and she believed that she was groomed to be married to a rich and respectable family and nothing else). Ripped off her hijab in front of tons of male characters. The only Muslim character. The only Muslim character and she's the only character who married her cousin (you're supposed to break stereotypes, not enforce them).

Thomas Jefferson Jr: Said that he was thankful to the British for not siding with the South during the American Civil War even though they needed the South's cotton (but they didn't side with the North either). AKA a black man and son of a freed slave was thankful to Britain for not openly oppressing him? And at the same time he was named after a racist slave-owner.

Reyna: She's brown and her entire story revolves around her being independent, strong, alone, and self-sufficient but also desperately needing love and support but then Riordan says that she can't get her heart healed AKA she went through an abusive home, killed her father, left her sister, felt alone her whole life, worked a two-person job alone for months, and had to put on a brave face for others throughout all this then was literally told 'Shut up no one wants to hear about your struggles, just suck it up and deal with it’ and have you seen all the shit brown girls have to go through and keep silent about it?

Extra: -Latino, Puerto Rican, African-American, Chinese-Canadian, East Asian, First Nations, etc. characters and the two most powerful, best, and most skilled characters and who the stories mostly revolve around are two white guys AKA white supremacy.

-"Harriet Tubman, daughter of Hermes, used many mortals on her Underground Railroad for just this reason" and that World War II was caused by a child of Zeus and a child of Hades fighting very blatantly erases the shit those people went through and Riordan just went 'Let's use these racist movements as little easter eggs in my story'.

-Thanatos, who was chained and enslaved, is described with dark skin.

-Riordan writing the characters went a little something like this: Drew: You get common Eastern Asian features like dark hair and eyes because you're arrogant, selfish, conceited, and rude, and because you're an antagonist and you're going to be used to make one of my protagonists- who has unique traits- look good so you're going to have the basic, 'boring' physical traits so the readers know who's the more superior of the two of you. Leo: You get common Latino features like curly dark hair, dark eyes, and light brown skin cause you're the weird, hyperactive unattractive one who's very flirty but constantly gets rejected and you're the only main character without a love interest and the only way you can get a girlfriend is when she's forced to fall in love with you through a curse. Frank: You get common Chinese features like dark hair and eyes cause you're the fat unattractive loser who catches the eye of the African character who already has unique and 'special' traits so you don't have to be super attractive. Reyna: You get common Puerto Rican traits like dark skin, hair, and eyes cause you're the stoic, lonely, intimidating, and cold one who wants all the guys (two white guys for that matter) but none of them want you and they both have girlfriends with traits like blonde hair and gray and kaleidoscope eyes so the readers know who are the more interesting couples. Piper and Hazel: You two get eurocentric features because you're the main characters I have to set apart from everyone else- including other females whom I'm going to make one of you rivals with- so the readers know who's more superior so I'm giving you unique eye colors that literally cannot be found in humans so I'm going to try to validate it by saying that it's from something mildly associated with your godly parent even though neither of them have those traits. Riordan basically said that the common features are bad and boring and that unique and special features- aka features not found in those ethnicities- are good and cool. Also- if gods don’t have DNA how can their traits be passed down to their demigod children checkmate Riordan.

-Cecil Markowitz is the only Jewish character in PJO and the first thing used to describe him is "That kid, always thinking about the potential payout".

-Lavinia said that she was going to bring her date to her bat mitzvah even though you don't bring dates to bat mitzvahs or bar mitzvahs and she said that it was 'awkward' to tell her rabbi that someone was going to be her date even though you don't explain your guestlist to your rabbi, and they're most likely not even going to be at the party.

-Only three Latino and Puerto Rican characters (Leo, Reyna, and Hylla) and all three came from abusive households.

-Leo said 'Mamacita' as if that's not stereotyping.

-Made Nico ‘pale’ even though he had olive skin and gave him black hair and dark eyes despite Italians usually having light hair and eyes just to add to his ‘Goth Boy Aesthetic’.

-Hazel described Pluto to look like Adolf Hitler.

-Carter Kane said that Elvis took African-American music and made it sound like rock 'n roll and described it as cool- like no it’s cultural appropriation.

-Leo was abused and Riordan thought that it'd be funny to make all the other characters line up to punch him and then try to make it look funny.

-Gave almost every single POC character a white name and sometimes gave them white first names and POC surnames, and Reyna and Bianca are the only POC characters with names from their culture/native language and one of them is dead and reborn as someone else and the other’s full name wasn’t revealed until the fourth book in her series and she hates using it.

-Made two POC characters with names from their culture- Samirah and Olujime- go by white nicknames (Sam and Jamie) to make it ‘easier to read’ despite having white characters with the same amount of syllables in their names (like Annabeth) that didn’t go by nicknames.

-Never actually described the characters of color with physical traits from their ethnicities (Reyna, Hylla, and Leo with big eyes, thick eyebrows, brown hair, wide noses, full lips, etc., Piper with almost-oriental eyes, shovel teeth, high cheekbones, black hair, etc., Nico with light or brown hair and eyes, olive skin, a narrow nose, etc., Hazel with a wide nose and lips, dark brown eyes, black or dark brown hair, big eyes, thick eyebrows, etc.).

Anti-LGBTQ+:

-Nico was forcibly outed by Cupid and Riordan and the fandom didn't care and the only thing they thought was 'Aww, he has a crush on Percy! So cute!' AKA romanticizing a forced outing.

-Riordan said that he didn't want to make Reyna lesbian or bisexual because he thought it'd be stereotypical making her LGBTQ+ because she didn't want men anymore even though she could've been bisexual all along but Riordan casually dismissed the idea of that saying "Having a girl end up with a woman after dating men is a bad stereotype" and basically said that real bi girls don’t exist.

-The Hunters of Artemis were made so Artemis/Diana could protect those girls from men and their behavior towards women but Riordan dismissed lesbian relationships- even though nothing about that was said in real Greek mythology- meaning that he thinks that women need protection from other women just as much as they need protection from men.

-Alex Fierro is the only gender-fluid or transgender character and she/he’s seen as rude, snarky, and sharp and Magnus could magically tell when Alex changed gender.

-Riordan said that he wouldn’t make Reyna a lesbian because of stereotypes despite the reader asking if Reyna was going to get a girlfriend, not come out as lesbian AKA Riordan thinks ‘Girls liking girls’ is automatically ‘lesbian’ and completely dismissed bi, pan, poly, omni, etc. girls.

-Used a self-insert to make fun of wlw readers who saw themself in Reyna and thought she could be a cool character to relate to.

-Enforced LGBTQ+ stereotypes like the cold-hearted Asexual, the flamboyant bi/pan, the snarky gender-fluid, the emo gay, the laid-back and rebellious lesbian who dyed her hair pink and chews a lot of bubblegum, etc.

-Has one-hundred fifty-five characters total minus gods/goddesses, Titans, giants, nymphs, dryads, satyrs, monsters, etc. and only has fifteen confirmed LGBTQ+ characters (do the math, that’s exactly one out of ten regarding OCs).

-Only one character that isn’t cishet.

-Saves most the LGBTQ+ for the side characters or only confirms characters LGBTQ+ once they’ve become a minor character despite being a main character before.

-Only stated that Reyna was Asexual outside of his books and on Twitter as if that’s not exactly what J.K Rowling is doing.

-Used the LGBTQ+ community to make Piper seem like the ‘special snowflake’ and to set her apart from her siblings to make it seem like she’s better than all of them and used Hera/Juno and Aphrodite/Venus as excuses for his homophobic mindset that believes that straight is the default cause “Suddenly, much of what she and I had talked about started to make sense. Not being defined by Aphrodite’s expectations. Or Hera’s ideas of what a perfect couple looked like. Piper finding her own way, not the one people expected of her” in synonymous words is 'The expectations for love and the idea of a perfect couple are a heterosexual relationship, and anyone who 'finds their own way instead of the ones people expect' are different'. ‘Different’ and ‘default’ are antonyms AKA if he thinks that LGBTQ+ people are ‘different’, he thinks that straight is the ‘default’. Remember- an author writes their own personal beliefs.

-Josephine is the only black LGBTQ+ character.

-Reyna is said to be Asexual despite feeling sexual attraction towards Percy cause no one likes someone five minutes after knowing them and it’s anything but sexual attraction.

-Magnus and Alex are the only LGBTQ+ relationship whose growth and development is actually shown in the story (while there was also Apollo and Commodus, Piper and Shel, Will and Nico, Apollo and Hyacinthus, Emmie and Jo, Lavinia and Poison Oak, etc.).

-Riordan never canonically said the name of any sexuality and is clearly uncomfortable with the LGBTQ+ community shown by his little to no writing regarding physical affection and deep emotions in his LGBTQ+ relationships.

-Only added in LGBTQ+ relationships for publicity- Percy Jackson and the Olympians release dates: 2005-2009. 2005-2009: LGBTQ+ support was nearly at an all-time low. No LGBTQ+ characters, relationships, or references in the books. The Lost Hero-The Mark of Athena release dates: 2010-2012. 2010-2012: LGBTQ+ support was still very low. Still no LGBTQ+ characters, relationships, or references in the books. The House of Hades release date: late 2013. Mid-2013: the giant spike for LGBTQ+ support and allies. One confirmed LGBTQ+ character. The Sword of Summer release date: late 2015. 2015: LGBTQ+ support was good and gay marriage was legalized. A few LGBTQ+ references but no confirmed characters. The Hammer of Thor and The Ship of the Dead release dates: 2016-2017. 2016-2017: LGBTQ+ support was quite high. Two confirmed LGBTQ+ characters and the first canon LGBTQ+ relationship and kiss. The Trials of Apollo release dates: 2016-2020. 2016-2020: LGBTQ+ support was very high. More LGBTQ+ characters confirmed in one book than all the other series combined. Kind of obvious he was just following the public opinion.

-Legit said ‘Reyna can’t like girls cause she has had crushes on guys before’.

Ableism:

-It was heavily implied in The Battle of the Labyrinth that Rachel Dare had schizophrenia/psychosis but it's never brought up again.

-Grover's fake feet made it look like he was disabled from the Mist and it was said that he was bullied because of it but it was never brought up again.

-It was said that Tyson looked like he had down syndrome from the Mist covering his one eye but it was never brought up again.

-It was stated that every character but Frank has ADHD and dyslexia but never actually showed any symptoms after Percy Jackson and the Olympians and characters like Piper and Leo were even able to read English writing throughout The Lost Hero and the only symptom of ADHD Riordan showed through his characters was ‘a lot of fidgeting’ as if that’s not a blatant stereotype.

Pedophilia:

-Luke, a twenty-two/twenty-three year old had a crush on Annabeth, a sixteen year old. That's a six-seven year age gap.

-The only two girls put into relationships with much older men are black (Hazel and Sadie).

-Hazel, a thirteen year old, got together with a sixteen year old guy. Hazel's crush on Frank is normal- a girl having a crush on an older guy, but Frank's crush on Hazel is disgusting- an older guy looking down at a child and thinking about making out with her.

Misogyny:

-Aphrodite's kids are seen as useless, weak, snobby, shallow, vain, and selfish just because they’re feminine.

-Riordan portrayed Aphrodite’s kids as feminine despite Aphrodite being the goddess of love and beauty, not femininity, as if romance and beauty are reserved for women only.

-Piper is the only 'tomboy' child of Aphrodite and she's portrayed as tougher, stronger, and better than her feminine siblings (and it's portrayed that way multiple times throughout the story like other characters telling Piper she’s "-tough for a child of Aphrodite").

-Piper immediately stereotyped and disliked every single feminine character like Drew and the rest of the Aphrodite cabin just because they liked makeup and skirts as if that’s not shallow criticism.

-Feminine characters like Drew, Isabel, Khione, and Medea are used or even created solely as antagonists to make Piper- the tomboy- look better.

-Calypso is the only feminine character and she sucks at everything.

-Riordan’s take on female characters: Drew: a vain, rude, selfish, snobby, and bitchy mean girl. Silena: a shallow traitor. Reyna: a cold-hearted robot. Piper: internalized misogyny that was never brought up again. Calypso: an island whore. Athena: a rude, aggressive bitch with no emotions. Aphrodite: shallow, vain, conceited, and self-centered. Hera: completely evil with no backstory added into it. Marie: an evil witch who selfishly used and sacrificed her daughter.

-The Hunters of Artemis were blessed by Artemis to protect them from men but Riordan made it only about the men in their lives (again) and portrayed the whole 'losing men' thing like it was a burden and that they're 'giving men up' even though they join the Hunters to leave men. He distorted the original meaning of the Hunters- protecting women- by making it about the Hunters hating and being forced to leave men even though they're asking to have no men in their lives, cause that's the point of it.

-The Amazons and Hunters of Artemis despise men and literally attack them if they so much as speak as if sexism is reserved for women only.

-Portrayed femininity as weakness (and masculinity as strength, it’s even in the word- tomBOY).

-Constantly pit women against women for the sake of romance and love triangles instead of normalizing women getting along despite liking the same people and let the female’s relationships get controlled and influenced by the men in their lives.

-The men always outpower the women in powers and skills. Riordan’s portrayal of powers and characters- Percy: You’re going to have epic water powers and can even create your own personal hurricanes and even though you’ve only been canonically training for eight months total you’re going to be the best swordfighter despite multiple characters having years more training than you. Jason: You’re going to be able to fly, control lightning, create storms, and electric shock people into another dimension. Leo: You’re going to be able to create and control fire and blow shit up with just a screwdriver. Frank: You’re going to be able to shape-shift into any animal you want, even a whole dragon. Nico: You’re going to be able to control darkness and shadows, literally teleport, and raise a whole army of undead soldiers. Reyna: Powers? Nah, your only ability is to lend strength to others as if that benefits you at all. Annabeth: Powers? Nah. Piper: You’re going to be able to manipulate and seduce people and are literally going to use your body and attractiveness as a weapon and your power is literally called charmspeak. Hazel: You have more powers than all the other characters combined that can literally destroy anyone in less than a second but you’re never going to use them or even remember that you have them cause screw the female character being more powerful than the males.

-The men always accomplish the most incredible feats and if the females ever do accomplish something great (Reyna healing the riff and defeating Orion while the Hunters and Amazons couldn’t combined, Annabeth going through Tartarus, Hazel learning to control the Mist, etc.) they are never praised or rewarded or all the credit goes to the men.

-Ares/Mars in real Greek/Roman mythology was the feminist patron of the Amazons who loved his daughter very much and killed a rapist but was portrayed as the dumb, cruel asshole who loved nothing but bloodshed and tried to kill a twelve year-old kid who was trying to help him while Poseidon/Neptune in real Greek/Roman mythology was a greedy, short-tempered, and arrogant asshole who raped almost as much women than Zeus/Jupiter but was portrayed as the kind, caring, and gentle father figure.

Fatophobia:

-Frank is the only chubby character and he hates himself because of it, was constantly fat-shamed, and only learned to love himself after he got rippling abs, muscles, and looked hotter (because fat = ugly in Riordan’s mind, even though it's not).

-Clovis was depicted with a pot-belly and Drew described him as 'repulsive'.

-Dionysus/Bacchus is also depicted with a pot-belly and he's portrayed as a useless, rude, lazy, and drunken asshole.

Lookism:

Basically how Riordan wrote his characters- Percy, Annabeth, Jason, Reyna, Hazel, Piper, and most minor protagonists: You’re all going to be super attractive, have at least one character or more pining for you, have your looks constantly commented on, and some of you will even use your looks as a weapon cause that’s not obvious sexualization cause you’re all the main characters and protagonists that readers need to know are the protagonists. Nico, Leo, and Frank: You three are originally portrayed as unattractive but at some points are described as cute and two of you are insecure about your looks cause you’re scrawny and chubby and one of you hates yourself cause of your body and only learn to love yourself once you magically gain abs cause more muscle obviously equals more attractiveness. Luke, Silena, Chris, and Ethan: You four are going to be super attractive because you’re traitors but all of you make up for your actions and decide to help the demigods and become protagonists again. Octavian, Bryce, Michael, Titans, giants, etc.: You all are the antagonists so you have to be super ugly with multiple physical imperfections cause you’re not allowed to be attractive since you are against the protagonists and I have to set you guys apart and show the readers who’s the better and more superior character.

-Frank hated himself cause he was chubby and only loved himself once he got skinnier and gained muscle through magic but even then was called ‘cute like a panda’.

-Leo was described as scrawny and unattractive and was insecure about being short but even then was called ‘cute in a scrawny way’.

-Piper had facial imperfections and even a pimple on her nose but once she got claimed all of those disappeared and they stayed gone even after the blessing washed off despite all the magic being gone and only then was Piper’s looks commented on multiple times.

-Lester/Apollo hated his appearance cause he had a little flab and acne and his physical imperfections were used as comedy by making fun of it as if insecure readers don’t exist.

-Percy and Annabeth had one canon physical imperfection- a gray streak in their hair- and that magically washed away.

-None of the other characters were described with any physical imperfections like pimples/zits/acne, body hair (despite none of the characters having the care or time to wax or shave), bushy/frizzy or messy hair or eyebrows, big or small hands or noses, blackheads, super thick or thin eyebrows, blemishes, birthmarks, scars, stretch marks, braces, lazy eyes, yellow or chipped teeth, eye bags, glasses, moles, dimples, love handles, flab/fat, visible veins, freckles, etc. unless it added to their ‘aesthetic’ despite none of those being bad and saves it only for the antagonists as if ‘physical imperfections’ = ‘evil’.

Bias:

-Riordan portrayed the Romans as cold, cruel, ruthless, strict, and overall horrible despite them being the more inclusive camp regarding family and godly parents, have multiple families and rules that ensure their camper’s safety, and hold the nicest characters in the series while the Greeks are portrayed as fun, wild, reckless, silly, and cool despite holding the most prejudiced and rude characters, outcasting and ostracizing characters of certain godly parents just for their parentage, stereotype almost every single cabin, and make some campers without siblings live, sleep, and eat alone.

-Every Greek traitor (Luke, Silena, Ethan, and Chris) were portrayed as powerful, kind, attractive, and awesome and each made up for their actions but each Roman ‘traitor’ (Octavian, Bryce, and Michael, and only one of them are actually a traitor) were portrayed as unattractive, cruel, ambitious, ruthless, and extremely weak and never actually did anything useful.

-The Greeks were part of the Union and the Romans were part of the Confederacy (adding on to Riordan adding racist movements as fun little easter eggs in his stories).

-Four out of seven of the main Seven are Greek.

-There are at least 70+ Greek characters and less than thirty named Romans.

-The Battle of San Francisco Bay was used for the sole purpose to weaken the Romans and make the Greeks seem stronger than them and while the Greeks went through two whole wars, their camp laid almost completely untouched but the moment the Romans are introduced, half their population is wiped?

Romanticization:

-Romanticized Annabeth judo-flipping Percy AKA romanticized physical abuse/harassment (emotions, angriness, feelings of love and affection, ‘they went through a lot together’, etc. do not excuse hitting someone) despite Annabeth knowing where Percy’s Achilles Heel was and not knowing he lost it and flipping him on his back anyways (if Percy didn’t lose the Achilles Heel, Annabeth would’ve killed him).

-Romanticized Leo killing himself to see Calypso again and to take her off her island AKA a romanticized suicide.

-Romanticized Calypso yelling at and insulting Leo and Annabeth insulting and canonically lowering Percy’s self-esteem AKA romanticized verbal abuse/bullying.

-Romanticized Will trying to help Nico through his loneliness and depression as if that can’t be portrayed as someone just wanting to help another person AKA romanticized mental illness.

-Romanticized every character kissing another character without asking first and without their consent AKA romanticized sexual harassment.

-Romanticized Piper taking advantage over Jason’s amnesia and mental state and jumping onto him despite knowing there might be a girl he couldn’t remember AKA romanticized manipulation.

-Romanticized Piper and Annabeth’s possessive, overly-jealous, and controlling behavior over Jason and Percy (even before they were canonically dating).

-Romanticized Nico being forced to confess his crush on Percy AKA romanticized a forced outing.

Rick Riordan:

-Refused to apologize for his actions even after being called out by people from the groups he was writing inaccurately and stereotyping (Muslim, Jewish, African, First Nation, lesbian, gay, Puerto Rican, etc.) and tried to make himself look like the victim.

-Claimed he was being ‘bullied’ by readers half his age who were just pointing out his books’ racist flaws.

-Showed time and time again that he is not willing to listen to the voices of minorities.

-Clearly didn’t do his research on ethnicities, sexualities, religions, etc. shown by how he got the simplest things wrong.

-Tried to say that he- a straight white man- was right when people of the actual groups he was writing about (gay, First Nation tribes, etc.) were wrong.

-Used excuses like having a ‘headstrong’ and ‘stubborn’ character who wants to ‘show their culture in their own way’ for his stereotypes. No, Riordan, you want to show the culture that way, not Piper. She’s a fictional character, you’re real. Dumbass.

-Literally said ‘Sorry I put feathers in Piper’s hair, I can’t change what I wrote in the past and I didn’t know that sensitive readers existed’ then continued to write feathers in Piper’s hair in the future books.

The Fandom:

Note: Not to all of the fandom, obviously

-Draws Piper with light skin, light hair, and kaleidoscope eyes with feathers, hippie bands, and beads (yes, it's canon, but you're allowed to change it if it's blatantly racist, and the bead and hippie band thing was created by the fandom and that's also stereotyping).

-Almost always draw Reyna, Hylla, and Leo with light skin and Caucasian traits (props to the few artists who drew them with the right skin tones).

-Draws Hazel with gold eyes, ‘cinnamon’/light brown hair, and an adult body.

-Sexualizes female characters by drawing them in sexy and revealing clothes and giving them all the same exact sexy, slim, and perfect hour-glass shaped bodies.

-Almost never include physical imperfections, muscle, scars, stretch marks, etc. in drawings.

-Fancasts white actors for characters of color and puts actors/faceclaims of white people or people of different ethnicities in the moodboards or aesthetics for characters of color.

-Participates in cultural appropriation by wearing feathers when cosplaying Piper and wearing a hijab when cosplaying Samirah.

-Supports Riordan, tries to defend him, and condones his clearly racist and bigoted actions just cause they ‘like the books’ (if you are straight, white, and/or cishet, I definitely don’t want to see you trying to defend a fifty-five year-old multi-millionaire who is clearly racist, sexist, homophobic, and transphobic).

-Romanticize physical abuse, verbal abuse, mental illnesses and panic/anxiety attacks, etc.

-Ship pedophilic, manipulative, abusive, and wrong relationships.

-Barely allow others to have their own opinions (looking at you Perachel haters) without yelling at, insulting, cursing out, and/or even threatening them for liking or disliking different things than them including ships, characters, books, plots/faults, and Riordan himself.

-Straightwashes characters like shipping Nico with female characters or setting him up with a female character in fanfics.

-Whitewashes characters like drawing Hazel and Piper with eurocentric features, Reyna, Hylla, and Leo with white skin and Caucasian traits, Nico with white/pale skin, etc.

-Try to excuse and explain abusive, manipulative, possessive, and overall very wrong and toxic behavior.

-Fail to recognize and/or admit the toxic, racist, homophobic, sexist, transphobic, wrong, abusive, etc. faults in the books, ships, and characters just cause they like them.

The Percy Jackson franchise does not add good representation. You can still like the series as long as you don’t condone Riordan’s racist and toxic writing and actions and don’t try to ignore the horrible and stereotypical faults just cause you don’t want to admit that your favorite or childhood story is horrible.

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miserabull · 3 years

Text

A very long meta-analysis on P2 Bad Grief

So, I've gone over every dialogue with this guy a few times, and there is some stuff I've never seen addressed before. This is a mix of analyzing and theory that have been in my head for a while, and I’d love to know if it all also makes sense to other people

The thing about Classic and P2 Grief, is that they are very different characters playing the same role. Who is Bad Grief? A thief, a kingpin of the town's criminal underbelly, and a smuggler working for Big Vlad. In P1, he's also a dangerous murderer who kills people for fun, but denies it, even claims that he kicks people out of his gang for daring to take up knives. Dude lies a lot. In fact, he maintains the lie up until the last route, the Changeling's, and then tries that on her too but ends up confessing. This is my very wordy way of saying that while I kinda agree with people who are like "he's not a violent murderer like P1 Grief", P1 Grief also claimed to not be one up to the last minute. I don't think they are making him a sadistic killer this time, yeah, but I'm pretty sure he's a liar, and that there's a darker secret. The game implies Grief keeps his cards close to his chest and there is more to him several times, like here, when you talk with Lara's reflection

Lara's Reflection: You see, she puts her stock in deeds and not in words. So Stakh was always close to her; for he would hear his heart, and act. A trait you share, Burakh.

Haruspex: And the most taciturn of us all, Bad Grief.

Lara's Reflection: He speaks so much yet does so much more.

or when Artemy confronts him at Aspity's Hospice:

Bad Grief: You heard about Rubin? Know why the Kin wants him dead? He's walkin' around all downcast, doesn't sleep. Says not to ask. Says it's safer like that. What's he done, I wonder? I wanted to ask Sahba, but maybe you know?

Haruspex: You're lying. That's not what you wanted to ask. I can tell.

Bad Grief: If I did lie, I wouldn't tell you the truth now anyway, would I? So back off.

I'm not gonna go over the blowing-the-train tracks quest now, though I have some thoughts on it/what I think might be his plan there. For now it suffices to say that that whole thing is very odd, that his plan doesn't make sense(yeah, blowing up the tracks is a bad idea for his business. kinda meaningless though if the alternative is being hanged). That is to say, I'm pretty sure there's a hidden agenda there that we're probably only finding out in Changeling route.

So, what I mean is, if you think P2 Grief is harmless, or just a clown, or became a gang leader by accident, then, well. I think honey, you got a big storm comin'

A few more notes on Grief's character, and what I think of what we got so far:

-I believe the reflection(I have some thoughts about the nature of those too, actually lmao) is telling the truth, mostly. He is terrified, he doesn't want Artemy to think badly of him, he never wanted violence. P2 Grief is younger, more sympathetic, and very obviously more scared than his P1 counterpart. I don't think he's out there killing for fun. Still, I think he has a lot of blood on his hands anyway.

-I think his loyalty to his friends is sincere. He's kind of really big on companionship and loyalty, which fits, as a gang member. I really think that he wants to belong, to a gang, to a friend group, somewhere. Artemy mentions he's "always been weird" a couple of times, or stuff like "I knew you'd end up like this." and that thing with Lara's reflection... I think Grief was always a little bit on the margins, even in his own friend group, and that's why he made a place for himself as the leader of the misfits, of the people who don't fit what the town considers to be good society. I gotta get on with this because this is gonna be long enough without me rambling about every single thought and feeling I have about this bastard though

-He doesn't give away Stakh's hideout accidentally because he's goofy and dumb. He mentions more or less where it is like, three times. I think it's obvious that he's practically asking Artemy to go check on him, but he doesn't want to be a snitch, so he plays the fool like "Oooh no I gave you a hint, I sure hope you don't go looking for him now, don't ask me because I’d never tell!!". He's playing the clown, he's not that stupid

Okay, now we're getting to the heart of things. In P1, along with the reveal that he's actually a violent murderer who played another violent murderer(Barley) into taking the fall for his crimes, we get something else: he's working under the patronage and protection of Vlad Olgimsky. In P2, they put a lot more emphasis on that, Grief will tell you about it in the first AND second conversation you have. There is even a certain imagery associated with it... actually, allow me a quick digression here, I wanna go over some motifs around Grief.

Grief is pretty into clockwork and gears, going by his choice of decoration for his Lair. The town itself is compared to a machine several times, by himself, by Big Vlad, and regarding how the Kains view it. I risk to say that the way Grief sees it is rather different from the Kains, at least at first. For him it seems to be more of a blunt factory machine, while to the Kains...it means something else, more complex. Grief seems to have glimpsed what that is inside the Cathedral, near the end. That reminds me of something else, in the Diurnal End when Grief talks about how he used to be a clocksmith before, and now he's going to be "another kind of clocksmith", I don't think he's necessarily being literal in either case. Curiously, there's also a Clocksmith inside the Cathedral in Marble Nest...but I'm going off topic again

Bad Grief: Not a keeper of stores, but stories. This town, this great machine, the gears don't turn on their own, no, not till they're slick with secrets.

But so, webs and puppets. We return to Vlad Olgimsky(old), who uses the metaphor of his “web”. There's also an important character in Grief's journey that is strongly associated with (spider)webs and strings, and that's Aglaya. The most notable time Grief himself refers to it though, I think, it's in the Theatre of Death, if you let him die:

“My path was not called 'The Spider'. No, think wider. It was 'The Silkworm'! The end of a railroad, I pulled strings firm; unaware someone more cunning pulled mine upstairs.”

So about that. He’s referring to the PTB right? Probably, but not only. A theme in Patho is like...these layers of manipulation. I’m gonna pass the mic to P1 Clara and Saburov for a second:

Alexander Saburov: Begin with the Olgimskys. That is the most important sin for me, and the least for him, for it is not his fault. So did Olgimsky protect his illicit trade? Did he benefit from it?

Changeling: He didn't just benefit; he presided over it. Grief was his stooge.

Alexander Saburov: Now then, we shall skip the issue of the barber gang, since it's clear now who their true mastermind was... thanks to your courage, my brave girl.

Changeling: Don't skip it just yet. Barley was as much of a puppet in Grief's hands as Grief himself was for Olgimsky. Everyone has their toys.”

Grief is a puppet in Vlad’s hands both in P1 and P2, as there he says he’s Vlads “eyes and ears” in the warehouses. In the Cathedral, he seems to more or less realize the extent of it, and how it goes against what he always wanted in the first place: to not be trapped by anything.

Bad Grief: I used to be a thief, yet they made me a storekeeper. And what a perfect fit I made! I got my Warehouse kingdom, and with it, the insides of the Town's great machine. I kept Vlad's riches while havin' all I could dream of. Can't imagine a sweeter life.

Funnily enough, by that time he’s trapped in someone else’s web: Aglaya’s. That seems to be his thing, he thought he was in control and playing everyone, knowing all the secrets and pulling strings. In the end, he’s a Silkworm in the web of bigger fish. I mean, spiders.

Bad Grief: ...Yet they, too, are controlled by someone. Insane to think what kind of teeth you need for that.

But okay. Back to the start, I believe Grief has a lot of blood in his hands even before shit breaks loose. The things he seems to be most afraid of are also… interesting. This ties to his connection to Big Vlad, and the Kin.

Grief’s role in the payroll seems to be as a stool pigeon. He knows where everyone goes, what people are talking about, what they don’t want to become public. And he responds to Big Vlad. What I think is, hm, you know, even after Victoria passed it seems like the Kin and the Bull Enterprise never really defied Olgimsky, or had a leader in any way. Grief, too, seems to enjoy a pretty comfortable life for a gang leader. As an important piece to Vlad, he really doesn’t have that much to fear, since the guy “owns everything” and is very explicit to Artemy about how he can destroy anyone who doesn’t obey him. And probably has done that before. My guess is, Grief kept the machine working right by tattling, so no leadership or enemy to Vlad’s Enterprise could rise. I’d speculate that Vlad possibly paid the favor not only financially, but by maintaining Grief in that position. Basically, I think with Grief’s info, Vlad could eliminate any potential problem. That would mean that maybe without even having to shed blood himself there might be a lot of deaths Grief is responsible for, not to speak of the maintenance of that horrible system in the town. I think the route they are going for here is that Grief is a class traitor.

Why do I say that? Well, first let’s look at Grief’s relationship with the Kin: he’s remarkably close to them for a townie. Geographically, obviously, and also in the sense of living on the margins of society, but he also shares many of their superstitions, and seems to hold Aspity’s opinion in high regard(even calls her Sahba). I find it easy to believe that many of his men are part of the community as well, due to not being welcome in the town. At that time we see him in the Hospice though, and talking with the Kin people there, it’s pretty clear that they are planning some sort of uprising. That it’s imminent. Grief seems to know it. Seems to be absolutely terrified of that too, and to feel betrayed by Vlad.

Bad Grief: It's too late for me, Cub. I've only got one road ahead of me now. Perhaps the outbreak is for the best... Plagues are like fires, people forget old scores. And all hell will break loose here soon.

Haruspex: Any dark prophecies to share? You're the criminal mastermind here, after all.

Bad Grief: No need to prophesize. People fear hunger. Even honest workers will turn their hatchets and hammers to crime. Burglin' houses, lootin' corpses, guttin' each other. They will. Oh, they will.

Haruspex: Not all of them, Grief. Not all.

Bad Grief: The turf's so dry, you don't even need a match-a glare would start a fire. And when the Kin bares its teeth, that's when we'll all dance! They're slow on the start, but oh so fast on the draw! The Master likes them mute and obedient, but apathy makes them that way, not stupidity. They're only obedient till the time comes. And here it comes.

And the people who lose their jobs? They won't be too fond of staying home. They'll find new hobbies, like looking for food, or venting their anger. ...And Fat Vlad shut his facilities down the day before yesterday, didn't he? Crafty... Didn't whisper so much as a single word to me. Do you think he knew?

At the same time he seems to think that he deserves this, and it’s inevitable. “We reap what we sow”, paraphrasing him. He talks a few times about how there’s a vile beast inside each person in the town, about how they are all wretched and everything, including him, which I think might just be a way of coping like “yeah, I sold out, but anyone would do the same if they were in my place”.

So, yeah. What I think is that Grief was a guy that had no power and money, with absolutely no perspective, who due to his very particular skills had an opportunity to climb up and took it(all while still getting to pretend he’s an outlaw, free from the chains of society!). And it’s...very bad. And he knows it’s very bad, and he’s not evil or sadistic, but he’s immature, cowardly, and desperately wants to be in control of his own destiny, and to not be alone, and all that. He’s still Artemy’s childhood buddy, a loyal friend, and someone who never really wanted to cause that much damage. He also knows that what he did is unjustifiable, and that no matter what he truly feels, the damage is done and he’s guilty of horrible shit.

#pathologic #pathologic 2 #bad grief #pathologic meta #I forgot to talk about the shotgun. but oh well #full of spoilers both P1 and P2

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paenling · 3 years

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In the Marble Nest, Clara (keeper of the Humbles) declares Yulia, (founder of the Humbles) to be “beyond the threat of the plague,” being the only person to understand the true logic of what’s unfolding. Spoilers & gratuitous speculation (drawing from both games) ahead!

A lot of people interpret this to mean that Yulia has meta-knowledge of the world as a fantasy, especially given her association with mathematical equations a la game code, as well as the fact that her general dialogue in P2 appears to reference TMN despite it existing outside of canon. She tells the Bachelor: “Do not wake.” And these things may be true about her, but I’d also like to raise a very interesting thought:

Yulia is one of the only characters to recognize the Town-on-Gorkhon as an organism (and perhaps in some way her progeny, due to her hand in its design) and thus does not resist her own death, nor the individual deaths of others in the Humble faction, because she knows they are only motes in the bloodways of the town. She says that “I'm afraid it's natural. Simon's fate was inevitable.”

The Utopian Polyhedron represents not just an attempt to resist death, but a flagrant mockery and defiance of it. It is both aesthetically and literally a Thing-That-Should-Not-Be. That’s part of why this is the thing that puts the plague into motion, rather than the decades of (still immeasurably awful) Bull Enterprise development that came before it, or the copper mining projects from before that. The mines, pipes, wells, and the railroad -- hell, the foundations of the houses!

None of those structures triggered the Pest, and the mistreatment of the Kin had been going on for at least sixty years before canon, so that didn’t do it either: it was the hubris of the Polyhedron specifically. Capella says that there must be a price for this miracle, and she’s right. It pierces Boddho’s heart in a way that I think is, naturally, more metaphysical than literal; it’s spitting in the face of (Mother) nature by attempting to overcome the inevitable.

Those Kin who subscribe to their traditional collectivism, too, view their entire culture as a living thing animated by the movement of all of their bodies together, so they see that a single death is not the end and are thus spared of the plague. That’s what it means, I think, for the Kin to be, as characters like Oyun might say, “beasts” -- not that they’re crude or uncivilized, but that they have no hatred for death; such a thing is an all-too-human construction, and to let it go is to achieve enlightenment.

Children and babies, who are resistant to the plague, have (most often) not yet learned to fear death in the same way as adults do, so this suspension in a “limbo” of neither accepting nor resisting their end allows them an enhanced defense against the Pest.

Artemy basically treats his potential death as a “so be it” situation; he has no regard for his own life. But the thought of his loved ones dying would destroy him, so he fights against death with all he has for the preservation of other people’s lives. He perceives the tripwires of fate as anatomical & spiritual Lines, and does not understand them at their true, metatextual scale. What he (and by extension the Kin) believe is completely true, but it’s only a small piece of a much larger puzzle.

Dankovsky has dedicated his entire life to the same purpose, in a more calculated but no less fervent temper tantrum against the natural order of the world. He’s clearly pained -- very profoundly and personally -- by the thought of death “vetoing” people, a position he shares with Artemy, so he also fights against death. He believes in things beyond mundane perception, but he cannot see the Lines at all. He recognizes, like Yulia does, that reality is malleable and temporary, but he only understands theory, not practice.

The Humbles, on the other hand, recognize that there are greater evils than death, so in Clara’s ending in P1 they engage it not just with acceptance but willingly, because they recognize it as a natural and necessary mechanic of the universe.

Those who are safe from the Sand Pest aren’t safe because of any inherent “betterness” or right to life, but because they accept the inevitability and poetic necessity of death as a natural process.

#pathologic 2 #text #pathologic spoilers #just my opinions but like #i think it's neat #untitled plague game #pathologic

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ducktracy · 3 years

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188. porky’s poppa (1938)

release date: january 15th, 1938

series: looney tunes

director: bob clampett

starring: mel blanc (porky, porky’s poppa, narrator), bob clampett (duck)

it’s safe to say that 1938 was porky’s best year. speaking in terms of solo cartoons, that is. his cartoons were genuinely funny, stimulating, and he looked great appearance wise. 1939 the porky burnout started, and he was slowly reduced to a smiling stock character whose adversaries and costars were much more alive than he was.

as daffy (and later bugs) rose to popularity, porky slipped into the sidekick role, paired primarily with the duck. with that said, the porky/daffy cartoons are some of the funniest around, and i firmly believe the best cartoons for the both of them are the ones where they’re paired together—with a few exceptions, of course.

however, let’s not get ahead of ourselves: a great year of pig stardom awaits. porky’s father, who made a few appearances during the joe dougherty era, makes his final return. in a story that has loose similarities to the premise of porky’s railroad, porky struggles to convince his father that their cow, bessie, is a much better fit for the farm than the newfangled mechanical cow his father has his eyes on.

the introduction is one of the funniest aspects of the cartoon itself. a hand erases the title credits, scrawled on a blackboard, and fills in “PORKY’S POPPA... HAS A FARM”, mirroring the underscore of “old macdonald” (with substitute lyrics) below it.

a layout of the farm cuts to our pint-sized hero, grinning at the camera as the vocals sing “...and on this farm he had a pig: porky pig, you know.” bobe cannon animates porky struggling to sing along with the lyrics, his “oh buh-beh-boy!”s lagging with the beat. the music halts just in time for porky to pump his fists in frustration, not stuttering once as he grumbles “oh, skip it!”

repeatedly cutting back to the layout of the farm in conjunction with the lyrics is practically a gag within itself. the song grows increasingly absurd, with a goose honking horns, a cow showing off her legs as the vocals sing “with a little calf here, with a little calf there...”, struggling to keep up with the rapid pace of the song. bob clampett lends his own voice to a random duck (no relation to daffy!), following a hand pointing at certain areas of the farm and quacking (”with a little quack here, with a little quack there...”)

finally, the duck in his psuedo-donald duck voice instructs “EVERYBODY SING!”, complete with some fun and unique typography. the entire song falls to pieces--before, the cutting back to the farm’s layout added an incongruous feeling of calm to balance out the wacky antics of the animals and the song. now, everything happens at once. the duck zips across the screen in a quacking frenzy, the mother cow shows off her baby calves, thrusting them to the beat of the music, the goose is a one man band of assorted horns, etc. blissful chaos.

things slow down as we cut back to porky, who smugly whips out a phonograph behind his back. the record is just him saying “oh boy!”, playing correctly to the beat of the music. he’s got this song number figured out... or does he?

even technology can’t conceal his stutter. the record begins to skip, mimicking the sound of his stutter, and porky smashes the phonograph to pieces as he slams it against the ground. the wordless yet furious stare he gives the audience as the dying record croaks out a distorted “oooooooh..... boooooooooy....” is nothing short of priceless. though he didn’t say a word himself during this scene, his motives, thoughts, and emotions are clearly visible. you can FEEL his pride at his solution, as well of the subsequent fury of his solution blowing up in his face. a wonderful end to a hilarious song sequence.

“but on his farm, he has a mortgage... woe, oh woe, oh woe!” the score turns in to a mournful, minor key dirge, with anthropomorphic mortgage papers posing proudly on the farm. some very clever posing and metaphorical play as we fade to porky’s dad, moping around on the farm, the mortgage aligning with his silhouette and becoming a physical weight on his back. more playing with typography as the narrator reads aloud the words on the screen:

this is a parody of the march of time, a radio program who would often announce the death of a notorious person by declaring “and so, today, as it must to all men, death came to [name], [age].” even without the context, the gag is rather amusing, bringing a different change of pace to the cartoon with the addition of a narrator and the typography. knowing the source of the gag makes it hit just the right spot.

porky’s dad mutters about ruination, how he has no milk and no money, etc. mel blanc does a fine job of mimicking joe dougherty, maintaining the stutter and the low voice--in the dougherty cartoons, porky’s father was just dougherty’s natural speaking voice, whereas porky was sped up considerably. you can hear both at once here for comparison.

we pan over to the cause of one of these stresses: their cow, bessie, has been quarantined (how timely!) for “hoof ‘n mouth trouble”, a play on hand-foot-and-mouth disease. clampett opts to take things just a step further--we truck inside the stall to see bessie posing for the camera, grinning with her foot INSIDE her mouth, batting her eyelashes and all. the “bull bontana” (bull montana) poster plastered inside of her stall is a clever touch.

after seeing that bessie’s production chart has dipped overwhelmingly into the negatives--a roll of paper unfurling at porky’s father’s feet, indicating just how poor the farm is doing--he places an “out of order” sign on the stall door.

suddenly, porky’s father grows aggravated. “i need to send you to the hamburger factory!” cue a close-up of bessie tearfully picturing her fate--a pile of burgers and hotdogs make up her figure. clampett would reprise this gag (albeit in a much more cruel manner) in porky’s last stand 2 years later, where daffy eagerly envisions a steaming hot hamburger in place of an innocent little calf.

this is the second cartoon to make an ACME reference, the first being buddy’s bug hunt back in 1935. porky’s father phones up ACME mail order company, asking for “one cow--airmail”. context clues are just as important to the gag than the reveal itself: porky, his father, and bessie all become alert to the sounds of an airplane making a cacophony overhead. suddenly, a package bursts through the barn ceiling, floating to the ground with a neatly tied parachute. the animation appears to be the work of john carey, from the tall, pill-shaped eyes to the slow, drawn out way that porky blinks.

norm mccabe takes over to animate the grand reveal. lots of wonderful little subtleties: porky and his father are timed slightly differently, giving them both a natural sense of interaction and movement. there’s a lovely little accent on porky’s father opening the package by pulling a string--he jerks his head up slightly as he plucks the string, allowing the audience to feel the physical impact and snap of the pluck. it’s subtle, but very well done.

instead of a flesh and blood cow, a mechanical hunk of metal slowly unfurls to life as the package opens. as porky’s father reads the label (The New 1938 CREAMLINED COW), porky himself objects to the new addition. “aww, eh-the-there ain’t no such animal!”

indeed there is: porky’s father loads a pile of hay into a chute, pressing down on the cow’s paintbrush tail. the cow pumps along to a brassy score of “old macdonald”, churning out milk from its metal udders, the milk pouring straight into an assembly line of bottles below. bob clampett’s puns are plentiful in this cartoon (notice how there’s no writer’s credit--he often said that he would write some of his earliest cartoons himself. i assume he wrote this one as well? i wonder how much input chuck jones had in the story?), but delivered nonchalantly, so they can actually be enjoyed. the cow caps the milk bottles by putting literal newsboy caps on top of the bottles, the paintbrush tail painting “cream paint” to the outside of the bottles and forming the illusion of cream. interesting business practices!

bobe cannon animates a delightful scene with porky. fun animation and fun dialogue make for a great combo. some very fluid, light, and fun animation of porky giving his pep talk as he hops around, swinging his arms, nonchalantly pushing his hat out of his face after getting so excited. “c’mon, eh-beh-beh-beh-bessie! we won’t let that old eh-neh-nuh-new fangled eh-ceh-co--heifer beat us. you just eat your uh-wuh-wee-weh-whea--eh-ha-hay, and show that eh-teh-eeh-eh-tin-can cow who can make the most...”

porky lowers bessie’s foot from her mouth by climbing on it, preparing to shovel a forkful of hay into her mouth, however, she shoves her foot right back in it, much to porky’s annoyance. “aww, every time you open your muh-mee-muh-me-eh-mou--kisser, ya put your eh-feh-eh-foot in it! eh-bee-bessie, you gotta eat! you eh-deh-dee-eh-don’t wanna be eh-seh-seeah-seeah-smothered in onions, eh-do ya?”

treg brown’s sound effects of doors creaking as her leg is lowered is the perfect touch to the gag. porky struggles to feed bessie, eventually getting stuck in her mouth himself as he attempts to hold both legs down to no avail. he frees himself, just in time to hatch an ingenious idea.

his plan works: porky places the entire pile of hay onto bessie’s legs, who swallows it up whole, her mouth comically huge as she attempts to swallow it. porky is overjoyed, clapping at her efforts before rushing off to give her some privacy.

instead of porky just milking her like a regular farmer, clampett pushes the entire scenario further. porky paces around in the manner of an expectant father, accompanied by a soft score of “lullaby on broadway”. the sound of a baby crying prompts porky to do a gorgeously animated head shake of surprise--bessie hands him a milk bottle, which porky carefully swaddles and places in a basket.

the charade continues, with clampett lulling us into a false sense of security with an already absurd gag. cue a gag that would have been incredibly risque in 1938: at about the fifth bottle, porky reaches out and finds that bessie hands him a bottle labeled “CHOC. MALT”, accompanied by an underscore of “i wish i was in dixie”. porky and bessie both grow bashful, but porky’s nonchalant whistling is cut to a half as bessie delivers yet another bottle. “gosh--eh-ceh-ceh-quin-eh-qui-eh--quart-tuplets!”

porky rushes over to his farther to share the good news. however, dad is too preoccupied with the fancy mechanics of the cow to pay bessie any mind. he shows porky a barrage of dairy-related puns churned out by the creamlined cow:

cottage cheese (cheese in the shapes of houses--and an outhouse for good measure--don the conveyer belt), limburger cheese (cheese slices with clothes pins pinned to their “noses” to ward off the stench), and swiss cheese (a cuckoo bird pops out of the cow’s mechanical side and sprays the cheese wheels with bullets, which turn into yodeling mouths). interestingly, mel’s voice for porky’s father changes in this scene--it’s still him, but the nasally undertones are absent. i wonder if he did this on a different day?

nevertheless, the staging of the next gag is genius. the majority of the screen is black, save for a small window revealing porky holding onto bessie’s udders. “c’mon, eh-beh-bessie! hurry eh... hurry eh... step on it!” the window expands to reveal bessie pouring a bucket of milk into a line of funnels (rather than udders), which are then evenly distributed to the bottles. “’ats a guh-geh-gee-eh-girl!”

mechanical cow seems to be doing just fine, plopping cherries on top of elaborate ice cream sundaes and milk shakes. the only fault in the system is the cow’s own personal whiskey bottle rolling down the assembly line, which it confiscates promptly.

porky, on the other hand, is making do. with an ice block on her head, bessie churns out ice cream cones to the best of her ability. as the cones grow smaller and smaller in size, porky orders her to eat more hay, which she happily does so.

now, it’s cow vs. cow. the mechanical cow opts to play some dirty tricks on bessie, pouring a jar of vanishing cream it produced onto the hay bessie is eating. and, thanks to the law of cartoon physics, the milk bottles she hands porky disappear by the minute. though the effect of the bottles disappearing may not seem like much today, for 1938 the ink and paint department did a wonderful job of demonstrating the illusion that the bottles suddenly disappeared.

with the rest of the hay now gone thanks to a hefty glob of vanishing cream, porky and bessie engage in a wild goose (cow?) chase to find more hay. the mechanical cow gobbles up every square inch of hay in sight--at one point, bessie heaves a dubious shrug to the audience. i love how they made her hooves look like hands, but still remain identifiable hooves. the scramble animation she does as she dashes out of frame (with porky clinging to her like a horse) is wonderfully done as well.

both porky and bessie and the creamlined cow exit the barn, chasing each other around the farm. the mechanical cow physically turns into a vacuum cleaner, threatening to suck up the last remaining pile of hay. in a gag that’s reminiscent of the harman-ising days (is it the inclusion of the outhouse?), the cow-turned-vacuum rushes into a shed filled to the brim with hay. the audience merely watches the shed itself shrink in size as the cow gobbles up all of the hay, the final result a puny little outhouse.

at last, the enemies reach a face-off. the last pile of hay--or, as porky puts it in his punny little way, “eh-thee-the-thee-that’s the last straw.” in a relatively tashlin-esque maneuver, clampett makes some fast cuts to heighten the suspense of the action. cut between porky and bessie to the mechanical cow to the pile of straw (facetiously labeled “MILK WEED”). the cuts grow quicker and quicker, the music crescendo-ing...

until BLAM! in a loose parallel to the finale of rover’s rival, everything explodes at once. nuts and bolts rain in the sky, as do neat little bundles of hay. however, clampett doesn’t allow the audience to rest just yet--with bessie nowhere in sight, the mechanical cow continues to charge forth, seeking refuge in a hay to release a humongous pile of milk bottles. so high, in fact, that the shed (and cow) are elevated several feet into the air. porky’s a goner.

porky’s father, who had been absent for the past few minutes, reappears to declare the tin-can cow a winner, much to porky’s visible dissatisfaction.

yet it’s not a clampett cartoon without a twist! bessie pokes her head out of the mechanical cow’s mouth, mooing the ever popular catchphrase from the ken murray show: “mmmmmmwooooooooooah, yeeeeaaaaaah!” porky gives a celebratory “oh, boy!” as we iris out--the goose and duck from earlier poke their heads into the scene just before the iris fully closes.

this is an early porky cartoon that’s just plain fun. bobe cannon’s animation of porky serves as one of the many highlights, from porky getting aggravated with his phonograph to his excited pep talk towards bessie. corny as the opening number is, it’s a lot of fun at the same time--the intensity in increasing chaos is a prevalent theme to clampett’s cartoons. just look at the climax/ending of baby bottleneck!

i don’t have many complaints towards this cartoon, if any at all. it’s not my favorite porky entry, sure, but it’s most certainly an enjoyable watch and one of his better cartoons of the ‘30s. the visual puns aren’t nearly as hamfisted as ben hardaway’s (as we’ll soon discover), making them more enjoyable than some of the jokes present in, say, daffy duck & egghead. regardless, there are a lot of unique gags, fun animation, and amusing dialogue to constitute a watch.

the cartoon is up on HBOmax, but you can also watch it here!

#lt #looney tunes #porky’s poppa #clampett #reviews #long post

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wishonastarx3 · 3 years

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I saw this coming... I’m so fucking tired of this.

I don’t care who reads this, if you actually know me in real life then you probably know that this is how I feel from my instagram story. I apologize in advance of the language in this post. These are my emotions and thoughts. (And yes I am aware that within the AAPI community there are it's issues, but that's not the point of this post)

I’m SO SICK AND TIRED of this shit. What happened on Tuesday WAS NOT OKAY. EIGHT PEOPLE ARE DEAD and SIX of them were ASIAN WOMEN. Click the hyperlink if you live under a rock or if you just don’t watch the news. I don’t know how you people live.

The Asian and Asian American community in this country has been saying for the PAST YEAR that we are NOT OKAY and that we NEED HELP. Donald FUCKING Trump REPEATEDLY kept saying pre pandemic, “CHINA! CHINA! THEY’RE STEALING OUR JOBS!!! CHINA IS EVIL!!!” and of course his base bought into that. BUT when the freaking pandemic started it was “THE KUNG FLU” or the “CHINA VIRUS”. So now, let’s make the target on our backs EVEN BIGGER NOW!!! (I still don’t understand HOW there were Asians who voted for him... but that’s beside this point of this)

This past year has had over 3800 reports of Asian American HATE CRIMES against us. These fucking cowards are going after our ELDERLY COMMUNITY like the BABY BITCHES that they are. WHY?! JUST FUCKING WHY?! What does this do for you? It makes me SO ANGRY to see these videos of the elderly community being ATTACKED and KILLED. I watched on video of a toisan lao (old Chinese Woman) in SF who was being attacked and she fought back against her attacker (AS SHE FUCKING SHOULD. HE ENDED UP IN A STRETCHER). But that really... that one really struck a cord with me as that’s the dialect my family speaks and it made me think “fuck. That could have been my grandmother. That could have been my grandfather.” Going after the community that doesn’t speak english, LITERALLY POWERLESS and that is old like a bunch of COWARDS. I, as a 5′9 Asian American woman from New York City has dealt with my far share of harassment... but the fucking elderly? Really?

This pandemic has just gave them an EXCUSE to attack us. As if we weren’t already being harassed and marginalized before!!! But of course, one will say “but how can that be? Asians are the model! You guys are the best minority group out there. Everyone loves you!” HAR HAR MOTHER FUCKER

So lets set up some points

The Model Minority Myth - the “idea” that Asians are the smarter minorities who end up becoming the doctors and lawyers who are good at math, science and end up going to Harvard. I’m sorry... what? This is pathetic. AND A FUCKING MYTH I’ve dealt with these AWFUL cliches and stereotypes. Are they good stereotypes? Sure...? BUT do you understand:

What that does to the individual? What about the Asians who do not want tot be doctors? What about the Asians who then have to deal with the mental illness that goddamn society created for us? (I’m not even going to go into the lack of Asians in entertainment business. That’s a whole separate headache.)

WHY ARE WE IGNORING THAT IT’S ONLY A SMALL GROUP OF ASIANS THAT END UP DOING THAT?! Are we going to IGNORE the Asians who don’t go to Ivy Leagues? Or the ones that are living below the poverty line?

This literally created the Racial Triangulation between the minorities! White people have put Asians on a pedestal in comparison to the other minorities and YES other minorities HATE us for that reason.By saying that we are the “Model Minority” it LITERALLY creates this thought that we better than the “other minorities” but yet we still ain’t white. So we aren’t a part of the majority therefore putting us in no mans land.

THE NEGATIVE stereotypes - OH and TRUST ME there are A LOT. These are just the ones at the top of my head.

The FETISHIZATION of Asian Women - this shit ain’t new. This is literally what the term “yellow fever” means when referring to MEN who only like Asian women. The fetishization of asian women LITERALLY GOES BACK TO 1890s when the short story “Madame Butterfly” was written when a WHITE MAN was in Japan and fell in love with an Asian girl (WHO WAS 15 BTW). There are literal journal entries of European and American men who were in Asian at the time who said LITERALLY SAY HOW EXOTIC Asian Women are, that apparently our vaginas just “feel different”. I’m sorry... WHAT?! I HATE nothing more than when I have dealt with men saying some bullshit about how “exotic” I am. Also lets not forget how American society has de-masculinate the Asian Man. Saying that have small dicks and that they are skinny and scrawny, therefore aren’t men. So you like only half of us?

Our Food - WE DO NOT EAT DOG. I grew up being told “YOU EAT DOG! YOU’RE CHINESE!”... fuck you. And now, Asian food is seen as “amazing” I’m happy you like our soup dumplings and bao. But you were the same fucking people who told me I ate dog. So you love our food but not the people? Okay. I see you. Oh and I didn’t forget about the people who have gagged at Asian food.

Mocking how we look and our language - Am I the only Asian American who had people pulling their eyes and saying CHING CHONG at them? Please, get hit by a bus. And isn’t ironic how now “fox eyes” are a make up trend? funny isn’t it?

People telling us to “GO BACK TO CHINA!” “GO BACK TO WHERE YOU CAME FROM”

I’m sorry. Who educated you? Asians have been in this country since the 1850S. WE BUILT THE DAMN RAILROADS. SOME OF US WERE KIDNAPPED HERE TO BUILD THAT SHIT. (Another note is how ASIAN AMERICAN HISTORY IS NOT TAUGHT IN SCHOOLS. This needs to be addressed and changed.)

Also for MYSELF - my GREAT GRANDFATHER BUILT THE DAMN RAILROAD and SERVED IN THE ARMY in WWI. My Great Uncles were in the Air force in WWII and my GRANDFATHER served in the KOREAN WAR where he was shot in the ear and received a Purple Heart. I FUCKING DARE YOU to tell me to go back to my country. MY FAMILY HAS DONE MORE FOR THIS COUNTRY THAN HALF OF THESE RACIST MOTHER FUCKERS.

Hate crimes in America have been happening since the 1880s. Yellow Peril goes back to the 1880s when Asian were literally depicted as these murderous group invading from Asia. And of course, they depict us with slanted eyes and with long braided pony tails. THIS SHIT AIN’T NEW. There has also literally been LAWS banning Chinese from coming to America. i.e THE CHINESE EXCLUSION ACT oh and lets not forget Japanese Interment during the 1930s. THIS SHIT AIN’T NEW. ALSO let’s not forget the Vincent Chin Murder in the 1980s when a Chinese American was BEAT TO DEATH because his attackers thought he was Japanese and they were blaming the Japanese for taking their jobs.

As I sit here, feeling not as angry as at the beginning, if history has taught me anything, fear and anger has been the drive for these crimes. In the 1880s we were thought to be evil and that we were going to take away all of the jobs (but low and behold, some of us were KIDNAPPED here). During WWII it was right after Pearl Harbor after Japan bombed it. Vincent Chin, his attackers were angry at the Japanese. Current day, Donald Fucking Trump decided to put the target on our communities back with both jobs being sent to China and with the Coronavirus being our fault.

What happened on Tuesday with the Atlanta police officer saying that the 21 year old was “having a bad day” WAS BULL SHIT. I didn’t know killing 8 people was a RATIONALE RESPONSE. Okay then. Call it what it is, A HATE CRIME. This man was saying he had a “sex addiction” and that he wanted to get rid of the temptation and he associated ASIAN WOMEN and the ASIAN SPA to be that temptation. AND WHY IS THAT?!?!?!? THE FETISHIZATION OF ASIAN WOMEN.

And before I get off of my soap box, THE MEDIA WAS PRETTY FUCKING LATE TO JOINING THIS, AND CALL IT WHAT IT IS, A HATE CRIME. SO MANY of the crimes against the Asian elderly go unreported or are not deemed hate crimes WHEN THEY ARE. SO MANY of them do not know English or enough English and can not report what was said to them. And what sucks too, my dad even said it, I think your grandparents would just take it because they would see this as “I immigrated here, I have to take this shit”. WELL THAT TRAIN STOPS HERE. WE WILL NOT BE SILENCED. WE WILL NOT SHY AWAY. WE ARE TAKING OUR SPACE THAT IS RIGHTFULLY OURS. I fucking PROMISE you that if you try to do so, you will have hell to deal with.

I’m not going to get into the subject of the people who are SILENT during this but were ALL OVER social media for their BLM support. I’m just going to leave it at we are asking for your help and to amplify this. Please.

To my non Asian friends who have reached out to me, I do appreciate it. I really do. But please rather than telling me you are here for me if I want to talk, I BEG of you, please read and learn about the history as well as the Asian/Asian American experience in America. It’s really not as rainbows and butterflies people have been thinking. Hate against Asian and Asian Americans started before 2020.

To my Asian brothers, sisters, aunties and uncles PLEASE stay safe.

#stopasianhate #stopaapihate

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dollyllama108 · 4 years

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Thora didn't actually give the judges enough time to brace themselves before her amp wall shook with the sound of John Henry hammering railroad spikes after chugging three cases of Red Bull. This was shredding at its most literal; if she didn't have the pick, her fingertips would've gone the way of a polished stone, friction having erased all identifying whorls and divots. River had only just noticed their plastic water cup vibrating at its resonance frequency. Neala was already gripping her own cup, plus her coffee mug, like a white-knuckled fighter pilot three yards above a cornfield. And the woman playing, she didn't seem to care she was implying a whole dinosaur stampede. Notice, maybe. But not care. Mid-headbang, her thin hair stayed in suspension just long enough for Rhinannon to notice a telltale bit of medical-yellow foam plugging her ear canal.

The song changed just as Rhiannon was beginning to get used to it. People who have never been to hell occasionally theorize that eternal torment doesn't make sense---the great thing about sims, y'see, is that they're adaptable, so it's just a matter of time before any kind of torture, no matter how terrible, fades into the background---not realizing change, which people who are more comfortable with aphorisms than calculus refer to as the One Constant, is all the devil has to do to keep the screams fresh. Which is relevant, because the way the song changed is that Thora had pulled the mic up and was scream-growling in a language that might have been Proto-Indo-European for all the judges could make of it. Were the protesters all majoring in dead languages? That was the only explanation River could think of, because a concertgoer ill-versed in Heavy Metal might be lead to think the central message was one long compound vowel.

Read Venus in Retrograde Rising Catastrophe Theory splash page

#catastrophe theory sims #venus in retrograde #venus in retrograde rising #ts4 #ts4 story

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botslayer · 4 years

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Top Ten games of the 2010′s

This trend seems to be doing the rounds at the moment and seeing as I’ve been gaming for about as long as I can remember, It just feels right. So, let’s get into it. But first, worth saying: These aren't really in any specific order, it's just the games I've personally had the most fun with overall, but it's pretty hard to decide what the hard numbers on things you enjoy for different reasons are if that makes any sense. 10. The 2010's weren't exactly the best time for anyone, I think. For me they were a slog of finding myself and learning things I wish I didn't. Amid all those things I wanted some levity. The world needs something and stupid. We got a lot of it ion 2013 but I feel like we could have used it scattered around a bit more. In that spirit, allow me to show you one hell of a pick me up:

Saints Row 4

Saints Row 4 does not give a fuck. It is aggressively demonstrating that the entire time you play. It doesn't care in the slightest what you think or why, It just wants to show you cool, if juvenile, and interesting, if weird shit. It's the finer points of Ratchet and Clank's arsenal, SR3's humor, And superpowers that genuinely put Prototype and Infamous in a blender and tell you to go ape shit with them. The soundtrack isn't top shelf, it's the roof of the building the shelf is in. Saints Row Two had a better story overall but SR Four's was just plain fun and a solid enough story to still be invested.

The DLC was just as irreverent and madcap, Featuring everything from an evil Santa Clause to evil Gimps on Game of thrones chairs made of dildos Or Tropey-ass costumes and weapon reskins that I'd be genuinely surprised the game dev didn't get sued over. It has earned its place in my top 10 and I will die by that decision.

2016 saw the advent of a new genre. They blended TF2 and MOBAs, and we got hero shooters in their first AAA forms, Overwatch and Battleborn. But neither of these games is on this list, much as I liked them. Partly because the whole time, I kept thinking of one simple question: "Why do I keep thinking of...?"

Anarchy Reigns

Anarchy Reigns is my favorite Platinum game. Full Stop. The Story mode is interesting and has genuinely good character moments, the characters themselves are completely mental, ranging from a mercenary with a bionic cat leg that secretly has a gun built into it to a giant cyborg bull-man with a jet-powered hammer. The soundtrack is mostly angry hip-hop, making every song a banger and fittingly speedy for things like random bombing runs from jet fighters that come from absolutely nowhere.

There are giant monsters, cars with mounted flame throwers, giant robots, and the online is still pretty sweet because even when abandoned, loading it up with bots still rules. I regularly have more fun with this than I ever did with Overwatch, and I don't care how insane that sounds.

Some games want to make you feel something and fail. Some games make you feel some things accidentally, for example, a desperate need to laugh. This game made me feel like a human blender. Like a Chthonic god of mangled flesh and raw destructive power. Nyarlathotep ain't got nothing on me. I speak, of course, of...

[Prototype] 2

There's no end to the absolute destruction you feel like you're causing in this game. It feels more fluid than the first, the main character is a pinch more relatable, and all the body horror, superpowers, zombie hordes, and big old monsters make for some of the most memorable and fun moments and fights in gaming. The DLC is also pretty solid, adding new fun side challenges, and new powers and weapons that elevate you from "Flesh god" to "Screw physics, I made them" Omnipotent. Best god/monster simulation of all time.

Sometimes some games are at an honest tie in your mind. Be it that you like them for essentially the same reasons, or for completely different reasons, but the overall total joy or entertainment they bring is roughly equivalent. Here, we have a case of the former:

Furi/Cuphead

Both games have a tight focus on giving players a unique, boss-centric challenge, both have interesting, somewhat minimal narratives, and both are absolute eye candy.

Furi has a more "Samurai Jack" Quality to me. A complete badass on a relatively simple quest with a somewhat minimalistic art style learning some things as he goes.

Cuphead on the other hand, nails that rubber hose animation style, and the fun levity of such animations while still making the player's ability to interact with the world damn impactful and fun.

They share a spot in my soul, games I love everything about but will never be able to finish. Hats off to both dev teams.

Now here we have another tie. Mostly because the games are so close together, they need to be evaluated more or less as one product IMO, not enough changed for me to consider them separate games, fortunately, that is the furthest thing from an insult it can be in this situation. I present to you, my next pick(s).

Costume Quest 1/2

Now, This might seem pretty random considering my other picks, but honestly, I love Halloween, I love creative madness, I love subversion, I love good characters, and I love cool action, these games have all these things by the bucketload.

The first game is a wild ride through Halloween in multiple very lively locations and the second, slightly confusing as it is, is pretty awesome for the things it introduces, including time travel. Other elements, like the battle stamps, the truly epic forms of everything in the fights, The ability to customize your costumes, etc. they blur together in a pretty big way, but again, there's not a thing wrong with that when both games rock like crystal candy.

Now, if you hadn't noticed, all of the games on this list have had some hard action at their core, and while I don't HATE calmer games, a lot of the time, so many are kinda dull to me in that with the exception of easter eggs of some sort, most farming sims, for example, just have you doing normal farm stuff with very few twists, may as well start a real farm in that case. My most chill entry is a game that tosses that to one side, asks you to grab a suck cannon, and start harvesting gelatinous monster poop.

Slime Rancher

While you don't spend a lot of time actually interacting with other characters, they just talk at you, the story of the game is pretty effective, the player character of Beatrix has left Earth for a simpler life of Slime Ranching, which entails the raising of alien crops, delightfully derpy and colorful chickens, and going all around in an attempt to farm new breeds of slime for their genetic material to sell off or trade-in for the creation of gadgets while being surrounded by a cast of interesting characters. It's all very wholesome family fun.

The game looks great, has great ideas, and is genuinely the best farming game I have ever played. @ me all you want.

The 80's are almost fetishized nowadays. Given all the property reboots, games that go for the vibe and aesthetic of the time, etc. It almost seems as though the eighties vibe train ain't gonna stop rolling any time soon. But we owe it to ourselves to remember the first big swipe of madcap neon-colored actiony B-movie bullshit and how mind-meltingly epic it was. Ladies, Gents, and whatever else, I present:

Far Cry 3: Blood Dragon

Blood Dragon's story is relatively simple, you play Sargent Rex "Power" Colt (A name said in full so many times I thought his last name was "Powercolt" for the longest time), a former "Omega force" cyborg. Rex and his friend "Spider" were sent into a secret island base to investigate the supposed defection and treachery of their old commander, Ike Sloan. It turns out he has gone rogue and taken an army of "Mark 5" Omegaforce cyber-soldiers with him. What follows is a long story of betrayal, science fiction of the highest nonsensical level, comedy, and brilliantly cathartic action.

The collectibles range from data on animals, to research notes from a scientist, to literal VHS cassette tapes that have full descriptions of movies that I would legitimately watch if I could. "You may now kill the brides" is not a real film and I am angry for every day that that is true. Anyway, play Far Cry 3: Blood Dragon, I dunno if it's on PS4 but it's one game I'd buy a new/old console for.

A lot of superhero games NEED to railroad you. Your goals MUST be to save the lives of the people and help the weak and all that. But one dev asked the simple question: "What if it didn't?" "What if the player chose how to use their power? What if the player could be as evil or as good as they damn well pleased?" One game gave you the powers of thunder and lightning and asked what you'd do with it. It's sequel asked you the same, but against more... interesting forces.

InFamous 2

InFamous 2 is a game about making choices, just like the first one, also just like the first one, it can have an effect on gameplay. That effect went from "What does this particular power do in this allignment?" To "Which new set of NEW powers would you like?" The forces of the last game went from “Three flavors of gun-toting whackos” To “Possibly an allegory for the Klan, Swamp monsters, and Ice-powered super soldiers.”

This was, and still is, the best game in the whole series, The powers felt distinct from anything else and still do, the story is solid as a rock, and the enemy types were still varied enough to be interesting, I miss the Reapers from the first game, but that's about it. Everything else was a massive step up. If you have something that can run it, play it.

Action is something I think we can all appreciate on some level. We can understand when it does or does not work, we can understand when we do or do not like how it feels when we are the ones partaking in it. EX: Any schlep can tell you when the weapons in your game lack impact, or when your character moves too slow for the game to be fun. The following game is something I can't say anything of the sort about. And it's kind of like Wolfenstein, when you have enemies this bad, who the hell cares how many you kill?

Doom 2016

Y'all are lying if you say you didn't expect this one. It's DOOM 2016. This game is made of hate and fuck. AND I LOVE IT. You move so fast, you may as well be half cheetah and half sports car. You slaughter the dregs of hell by the dozens and even the biggest, baddest things this game throws at you can be beaten with the starting pistol if you have the stones for it. It looks amazing graphically, the demons all look appropriately threatening, and even the Multiplayer is a great deal of fun in my book.

Something worth noting: The story presented by default is pretty barebones, but that's where supplementary material fills in the gaps, the difference between supplementary material in most games and supplementary material here is the material is till IN THE GAME. You're free to ignore most of the plot as it happens around you, and even interesting tidbits of the lore like how certain demons function. Not only are these things missable collectibles, prompting continued play to find them, they are also pretty interesting reads. So yeah, just about everything you could want in a sequel/remake, builds the on lore and gameplay very organically.

And here we are, the last game I'd put in this category. An entire decade, and here, we end on the last game that left such an impact I'd put it in my top ten. But first, let's talk about expectations and delivery: When you say a game is coming out, there are certain expectations you have for gameplay, EX: I say "Ratchet and Clank" and you expect a TPS with platforming elements and crazy guns. I say "Gears of War" and people expect something to do with lumbering about in big armor, dismembering things with a chainsaw gun and otherwise shooting them to paste. We might also expect changes to things, better graphics, innovations in grenade variety, something as that franchise goes on.

After the last game in this series was released, there were tons of people who felt let down and disappointed by it. Then they released the still somewhat disappointing special edition of it. They were both still fun, but neither really felt like the full next step in the series. After a failed reboot, they returned to the original story and the lot of us rejoiced. And when it finally came out? It was a step up in most, if not, all regards, to its predecessors. You know what this last one is. Please, give a warm round of applause to:

Devil May Cry 5

A game that was not only a return to form, but a major escalation in gameplay for one character, and a new style of gameplay all together by way of yet another new character. It didn’t exactly hurt that the story kicked ten kinds of ass and that the game looked spectacular in both the design of everything and the actual graphical fidelity.DMC 5 is, like DOOM, Like InFamous 2, Like [PROTOTYPE] 2, everything you want in a good sequel. It built very well on already solid foundations and it was generally just a fun, slightly goofy, massively stylish, and ultra badass ride. I recommend this, and all these games, to anyone.Good night everyone, have a great 2020. And the rest of the decade, for that matter.

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candoia-aspera · 5 years

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Orange Cat got into our garden, got under the pond netting and killed and partially ate Blue. Orange Cat’s owner had the audacity to be angry that Scruff chased him down and snatched a chunk of fluff from Orange Cat’s tail.

He’s literally the only cat in the neighbourhood that’s still dumb enough to come into our garden. It’s totally fenced in, and we keep the back door open most of the day from mid April to mid October, depending on the weather. The dog has free roam of the garden and house during this time.

Scruff’s not just a pet, he’s pest control. He hunts rodents and silverfish, and he chases away intruders. It’s his job to protect the property, and he does it very well. Since we got him, the numbers of small birds, frogs and insects has increased noticeably year on year. We even saw a wild lizard in the garden for the first time ever this year!

But still, Orange Cat’s owner insists her pet murder machine should be free to come and go and kill as he pleases, even when he kills other people’s pets.

One day, he’s going to slip up. He’s already slowing down. He’ll be a little too slow, a little too clumsy, and my dog will be too quick. That’ll be the end of Orange Cat, and I will have to take his big fluffy body back to his idiot owner, who’ll cry and scream and get angry over the completely preventable, horrible death she’s responsible for.

If it’s not us, it’ll be the Dalmatian down the road, or the big grumpy old dog at the mechanic, or the Bull terrier three doors down. Or it’ll be a car or a train, since we live between a main road and a railroad.

I’m upset about Blue, but my heart aches for poor old Orange Cat.

#outdoor cats #all the fancies are now indoors #at least until Orange Cat meets his untimely demise #he used to be a lot quicker but he's getting slower and Scruff isn't #and neither is the traffic on the main road

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vaguely-concerned · 5 years

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Since he’s apparently the one thing from Mass Effect Andromeda that won’t leave my brain alone even after two years, have some assorted Reyes Vidal thoughts

- The one thing that really keeps niggling at me: he tells you that he came to Andromeda “To be someone” -- in a moment of rare unguarded honesty; I’m willing to bet that’s the only thing he says in the entire game that’s completely true lol -- and yet he (admittedly with great success) goes about doing it specifically in such a way that no one fucking knows who he is. So... be someone in the eyes of who, exactly? Just himself? He clearly has an ego, but it’s curiously introverted; he doesn’t seem to give much of a fuck what other people think of him, so long as he knows in himself that he’s running circles around them. Where the hell does he come from that this is so important to him?

And yet there is a clear tension between that whole wreathed in secrets business (which he equates with safety and survival in the dancing scene) and the wish (need?) in him to be seen and known, in a personal sense. This is why I do think he genuinely likes and cares about Ryder. He offers them the truth of why he came here as a first hint of vulnerability and if they don’t meet him on that -- if you blow it off with a joke, “Wow, finally an honest answer” -- he slips the mask back on and the romance doesn’t go through. If you answer his claim that he doesn’t want any more secrets between you with (a probably accurate and clear eyed) “dude you live and breathe secrets don’t go promising things you can’t give just don’t lie to me about important things” he is touched by the fact that you know him for the sneaky bitch he is and still want to stay. So there’s clearly something genuine going on here, under all the layers of bullshit haha

- Considering all the resources he has at his fingertips literally the only conceivable reason he’s consistently sneaking out of paying for his drinks at Kralla’s is the instinct to be a little shit. reyes umi can & will stab you, pls rethink your life choices

- I’m pretty sure he’s the romanceable character where the player has the most agency over how Ryder responds/relates to him. There’s really a quite wide range of outcomes here: if you side with the Collective you can romance him, either all the way or break up with him once you know who he is, or you could build up what looks like an actual burgeoning friendship or at least alliance, or you can make it clear you’re only working with him out of necessity and not because you like him (if you refuse the handshake towards the end he goes “You know, Ryder... you’re kind of a dick. But I’ve worked with worse” and I think that is beautiful)

Even on the Outcast side there’s a lot of nuance depending on what you do and the preexisting relationship: if you shot him in the back after romancing him his email reads as barely holding a grudge at all, really, in a ‘ah well c’est la vie guess I should have seen it coming this one’s on me’ way. If you shot him in the back and you’re not even bros he’s p i s s e d and vowing revenge (the only time he resorts to naked hostility). If you’re friendly with him and just let him get away it reads more like a warning about Sloane/trying to manipulate you and give you doubts but without personal animosity.

I actually super enjoy this range of possible responses and outcomes -- with a lot of the squad mates I feel really railroaded into becoming BFFs or romantic no matter what bullshit they pull (pEEBEE), but considering all the ways his storyline can end... romancing Reyes is a very bad decision you have to consistently pursue for quite a while lol

- I’d say the two times he seems to be openly really angry is when Zia is having a go at Ryder for admittedly being naive about him (something about that ”Leave him/her out of this” would make me rethink trying to fuck with the Charlatan i m m e d i a t e l y lol), and in one permutation of the email he sends after you’ve shot him in the back when there’s no friendship established (and you sort of have to go out of your way not to be at least friendly with him, I’m pretty sure).

- He is 100% a control freak disguised as a laid back charming laissez-faire sort of dude (more or less the same character type as Iron Bull, only without y’know the loyalty or basic morality or extenuating circumstances of being raised under the Qun lol)

He has eyes and ears everywhere, knows exactly what strings to pull, and moreover seems to take a special enjoyment in not only outsmarting people but also doing it without ever giving away who he actually is ...but interestingly lying to Ryder about who he is quickly appears to mostly make him mildly uneasy, there’s none of that triumph or smugness there in that specific relationship/situation (unless you uh well shoot him in the back, which... actually, fair, hard to begrudge him that)

- Keema seems genuinely quite fond of him and thinks him stressing about what Ryder is going to think once they know the truth is equally parts hilarious and cute lol you get the feeling this hasn’t happened before while they’ve known each other

- The only goddamn explanation for why a romanced Ryder is SO upset with him over hiding his identity despite them knowing each other for like two weeks max is that they absolutely fucked at least once and it was fantastic, I don’t see any other way to parse that

BONUS THOUGHT: the fact that these two assholes hold hands like goddamn school children as they run away after stealing Sloane’s whiskey and that Reyes smiles into every kiss except the one you surprise him with is STUPID and AWFUL and UNFAIR and I resent it all deeply

#mass effect andromeda #mass effect #reyes vidal #reyder #meta #maybe it's just nicholas boulton's voice that's hotwired to my heart but yeah here's my shameful secret he's my ultimate me:a bae #ryder really comes alive in the kadara arc too there's some real chemistry there no matter what #(not in the romantic sense necessarily of course it just brings out a lot of cool things in ryder to have someone to play off of)

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antiquesounds · 5 years

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A440. Not A435. Why?

I had a wonderful time looking through the original armistice and supporting document that showed that in 1919, the post-war European community and North America committed to 435 Hz for the standard Diapason Normal.

However, anyone who follows Western music knows that the current standard is 440 Hz. The next phase of this quest begins with the looking at some political impact of the Treaty of Versailles. Not only is what I am going to write, “arm-chair” history, it is also based a lot on my limited grade school training (may I say, ca 1970′s-biased) and based upon very small selected reading about the era of mid-late 19th and early 20th century geopolitics. And, as an amature affectionatto of comic art, a lot of what I see about U.S. posturing and waffelling during the early 20th century is based upon the wonderful political comics from the era. As my parents used to ask me when I was young, “How’d you know that?” And I’d point to the political cartoon from the paper that day.

Source Ohio State University - https://hti.osu.edu/opper/lesson-plans/wilsons-14-points/images/barring-his-way

Coincidentally, I heard a wonderful interview with an author that has just released a book on this subject in general. How to Hide an Empire by Daniel Immerwar is on my to-read list. The book has more to do with territorial United States. But the general imperialist drive was as strong as ever post-war. Like a nasty big brother trying to take most of the cake after the fight was over, the political posturing inside and outside the U.S. was mostly to take and make itself more globally important and culturally powerful.

In the 1930′s (pre WWII), there is little argument that the United States delivered a global political posture of Imperialism - if not outright colonialism that had extended from the Spanish-American war through the Roosevelt era. A lot has been written about Wilsonian policies. You wouldn’t think this would have anything to do with concert performance standards in Europe post-war, but in fact, one of the most amazing things I learned while perusing the Treaty of Versaille is this entire section 2. Section 2- Article 282, has all of the kitchen sink items that the countries deemed necessary to settle once and for all. I liken this to being the part where the negotiators say to the parties, “And sirs, is there anything else you guys want to settle here once and for all?” Like a kid saying, “Yeah, and I wanted that candy, too!” So a whole bunch of interesting stuff came out of that list. I will share some of that later.

Deeper reading into the history of diapason normal debates going back to the 1855 treaty mentioned in the prior post taught me that this battle over both the creation of the “normal” and the value of the normal (435 versus 440, versus other frequencies) went way back prior to the 19th century especially in Europe (North America still being a western world social pariah in the 18th century.) So I can easily accept that this would be on the list of “wish we coulds” for the armistice of 1917. Now that I saw the context of the list of things included in that section, it became more obvious that it actually makes sense to have this in the treaty. I am a converted man on this subject now. I am not longer scratching my head about it being referenced here. “No more fighting, boys. We addressed all of your issues. Okay?” If you want to be shocked at how extreme this is, check out the actual list (see page 170)! Here it is:

So far, pretty mundane. Mostly agreed upon tolls and tariffs and an interesting standardization of railroads #4 (tracks and such if you look into it). I will note some things that put this into context and save the details for my next post on this subject. But #2 is REALLY cool. I will share more on this that later. Any reference to “motor-cars” piques my interest. Also note #1 which makes sense post-war. And we go on...

With 12-14 back to tolls and tariffs. Then come the SOCIAL ones. This is what is so interesting. Again, take this in context. The winning powers (big brothers) after the fight are now going to pick the things they get to enforce on the world (or at least for Europe for now). The war to end wars is supposed to stop the bickering and delivery all the rules on how to behave. This includes a new set of social norms. I keep saying this, and I will say it again. I will get back to a few of these specific items on why they seem so silly here, but were of huge geopolitical social importance in 1919. Amazingly, look at #15, 17-18, and 26 as progressive and at the same time regressive social rules. And then look at #16 (what is that about? Matches???) and 25, bird? and our favorite “Concert pitch”. It is like a kitchen sink of items. I assure you that when you look at these in detail, they each represent a longer term social issue that was unresolved. And, often, the issue was quite significant to the overall worldwide population.

But I digress. The diapason normal was 335 Hz in 1919. After this, there was a push to make a formal standard committee embrace this diapason normal under a different set of standards - literally. I found evidence that going into this battle in Europe, in the United States, there was a belief that “science” showed little difference between 435, 438 (the compromise proposed) and 440 (the German standard). Even in the United States, there is documentation that describes how some scientists wanted to leave well enough alone and leave it at 435.

However, between the wars, it seems that the United States and German did not participate in the 435 standard. The Acoustical Society of America decided that the standard should be 440. Why? I do not know. But by 1936, the Americans sided with the 440 and placed it into their standard. This does not make it diapason normal, though. So for what seems to be the time between 1936 (WWII) and 1955, the United States joined with Germany in continuing to use 440 as the tuning standard, while the treaty said it should be 435! I was surprised by this. Several documents point to this, but do not explain why The U.S. was so bull headed about this. If the research (and I dare say, common assumptions) would tell you that once established, nobody can tell the difference, then why did the U.S by themselves put it into their standards in 1936 (less than 20 years after Europe resolved the issue). I have no answer on this. I have a post facto answer/excuse that arrives after the next stage, but nothing as to why this was such a big deal to the U.S in 1936. There are conspiracy theories about this because of the German connection but those seem like they are contrived.

After WWII, the same push that drove the standardization post WWI happened again after WWII but as far as I can tell, there was no post-WWII declaration of standard pitch. However, there was a push again for the scientific community to come together on international standards. In 1947, the International Standards Organization was formed (ISO). Many people are familiar with ISO. It establishes, documents, and helps evolve standards for just about everything. I have had personal experiences with ISO over the years with data communication and quality standards. One example that everyone experiences daily is the ISO 9000 standard suite for quality.

The ISO came out of a drive in the post-war era to deliver a more generic solution to that problem described in the post WWI days. In other words, for those things that require universal standardization (like concert pitch?), we need an international organization to address this need. For example, if we want to standardize on household electrical power norms -- even if we cannot change our world-wide deployment (110 volts versus 220 volts for example), at least we need to document and define these differing standards so that the worldwide community can interoperate. I consider this to be more of a meta-level approach to solving the same issue that the Treaty of Versaille Section II, Article 282 tried to address. This is a guiding principle of the organization, and remains a lofty goal. In 1955 the 440 Hz standard was officially entered as ISO 16. I did not pull it because it costs money to see it but it is here: https://www.iso.org/standard/3601.html.

This still bugged me though, because why would they have taken the U.S. request for 440 over older established 435? And, does this mean that diapason normal is not the same as ISO 16? Well, frankly, I am not completely sure on the last point. I see no formal migration to the ISO standard although I do see a relinquishing of stature in some supporting texts from the era. It is fair to say that the world has conceded, but I still do not see where it did so with a revised diapason normal declaration. Here is a funny clip from The Acoustical Society of America as late as 1971 was lamenting that Europe still had not come around on this.

[Note that ISO reformalized ISO 16 as A440 Hz in 1977. A coincidence?]

So here is where I found the most useful reasoning behind the continuing push by the U.S. to make everything based upon 440 Hz. It is because of warfare and communications. This is the punchline to the whole thing.

I found out that starting way back around 1949 the U.S. government was looking at which frequencies were best for different broadcasting needs. Assuredly, these all had to do with military and espionage usage There is evidence that they believed 440 and 600 to be the best for delivery of communication tones (audible). It is not a huge leap to assume that this belief also drove a campaign to enforce the standard on the world. The organization to look at is NOT ISO but rather, NIST (U.S. National Institute of Standards.) And, in hindsight, this makes complete sense to me. NIST would drive all U.S. standards especially as pertains to radio broadcast and military.

Here is an example of such a document. I misplaced the one that originally capped my discovery. But this is a representative similar document. And this one, too.

In fact, to this day, there is a growing stack of documents that describe how and why 440 Hz is used as the standard for synchronization tones. It’s the tone that is used when we listen to NIST WWV timeclock at the top of the hour. The reason is that this tone is apparently what was believed to be the best (least-lossy) audible tone frequency.

So possibly, the push to deliver a hard 440 Hz standard had something to do with 1949 -1960 thoughts on best possible audible tone over radio. It sure seems that way. And it is definitely the common NIST mantra since 1960. See the end of this doc for oodles of examples:

https://tf.nist.gov/general/pdf/1969.pdf

One parting thought on the A440. While researching this I found a whole bunch of crackpot theories about A432 being some sort of universal vibration. A432 is just another of the possible frequencies one could choose as a standard. And, indeed it was in the mix of options over the centuries this has been fraught. If you wanted to tune to any frequency that you want, you could. Who gives a darn? And just because 432 was used by someone for some reasons long ago doesn’t necessarily mean that it is “better”. It is a fixed tone used to derive other relative tones in music. So it really doesn’t matter until or unless you get all freaky-deaky about the differences in relative microtones for western scales. And if you care that much, 432 doesn’t solve all of those issues anyway.

All I can say is that it made me feel a bit better about myself seeing that others are more nonsensical about their 432 Hz desires than I was about my historic research. I thought I was wasting MY time doing all of this research. But think of all the wasted energy surrounding this sort of notion and the other various conspiracy theories about various pitches being part of betterment of life.

Next post will be about those other amazing discoveries associated with The Treaty of Versailles. cars, birds, and sulphur matches up next. Those side discoveries were the best part of it all.

#A440 #A435 #Diapason #ConcertA440

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