#not quite absurdist

[fortunaestalta]

[17yearcicada]

is who's afraid of virginia woolf better when you see it performed does anyone know. because i'm reading it right now and it's not exactly clicking for me to be honest

[grendelsmilf]

I love how many characters on adventure time were actually evil. like straight up bad people. and yet they still had friends and people who loved and helped them despite how terrible they were. finn went from killing “monsters” to realizing that everyone is worthy of love should they want it, even the bottom of the barrel shitsacks of the world. it’s genuinely beautiful.

[a-shrieking-cloud-of-bats]

[just-about-nothing]

once again bangin my drum vis a vis gabe saporta using cobra starship as a way to advance absurdist philosophy

[gxlden-angels]

the only person who was actually right about the world and human nature was Max striner everyone else is a fucking moron

Striner? I hardly know 'er!

Anyways, I'm not a philosophy expert. I'm just some guy. I like the egoist belief that there isn't a universal moral truth. I like the absurdist belief that, because nothing matters, we should be radically sincere. I like the christian belief in a place without suffering after this life. I like the Universal Random Number Generator idea my therapist and I talk about

All of them have their flaws though. Egoism gets used to condemn social movements and civil rights advocacy. Absurdism and the RNG can create a sense of existential dread and a loss of motivation. Christianity encourages the loss of identity and free will

I'm just some psych student with a weird ass therapist that understands my weird ass brain. He encouraged me to look into absurdism since I took a class on absurdist literature my freshman year of college and he said I might enjoy looking into the actual philosophy. And I do! At least a lot of it! I like the idea of a chaotic universe and us humans trying our best to control it. I like the idea of letting that go and living authentically instead of with a direct purpose. There's chaos and mayhem and entropy and I'm just here to react to it. And I can react in ways that makes others happier if I wanted just because I can

Egoism/egotism feels too disconnected from the human need to connect to me. It traps me into that feeling that doing something good for someone is selfish if you're doing it to feel good. I'm actively working to get out of that spiral Christianity put me in now

I don't know, though, anon. I'm just some college student with an ex-christian tumblr blog and a lot of trauma. I like to believe there's some Universe-sized Abstract Computer with a random number generator that causes the chaos we call home. I skim wiki pages and reddit posts and decided if I want to engage any further/look for textbooks. I could possibly be looking at the wrong page about the wrong philosophy. I'm honestly just on this earthly plane for the bit

[gripes-withthesun]

Ik Beckett describes Waiting for Godot as a tragicomedy in two acts but might i suggest using the term come-tragedy more often for works where it's all fun and games till it's not? Tragicomedy just has a different connotation, one of some sort of resolution in conflicts. Come-tragedy will entail the fun first!!! Then the horrors 🎉 Like having your dessert at the start of the meal

[polarisbear]

mm.

[the-emerald-guard]

Im not ready for bocchi the rock to end

[capnsaltsquid]

I know the idea that a teacher wouldn't care that 8 of his students just got eaten is framed as absurdist humor, but it got me thinking more and more about a recurring theme of the show: why do the worker drones simply not seem to care when their compatriots die, sometimes quite gruesomely?

I think the answer lies with their maker, J.C. Jensen. If you were going to make millions of sentient worker A.I. whose sole purpose was to be worked to destruction and then callously discarded, would you want them caring about each other? Hell no, that's how robotic uprisings happen.

The nihilism is intentional; it's programmed right into them to keep them from caring beyond just enough basic survival instinct to keep them from damaging themselves (replacements cost money, after all). Even simple, mostly ineffective cooperatives like Khan's W.D.F. require them to push back against their own programming, and only a few individuals push themselves to a meaningful level of empathy.

Come to think of it, there's probably a societal metaphor in there somewhere.

[lesbianphan]

The Myth of Sisyphus and PHILosophy (lol) - a brief essay on two nerds playing a game that might not be that deep but hey who's gonna stop me from pushing this boulder up the hill of writing this?

Disclaimer: it's finally my turn to use my useless degree that included a lot of literary analysis for something extremely important to society: analyzing Dan and Phil content!!! yay!!! This is about to be incredibly nerdy and waffly, but like what else are you doing with your time anyway on phannie tumblr?? (pls read it, I just reread Camus for this for the first time in years okay I'm dedicated to my craft)

"The struggle itself towards the heights is enough to fill a man's heart. One must imagine Sisyphus happy." Albert Camus

As a part of Camus' essays on absurdist philosophy, The Myth of Sisyphus deals with the pointlessness of existence, through retelling the story of the greek myth about the titular character who, as a punishment for defying Death, was condemned to spend eternity pushing a boulder up a hill just to watch it fall back down. That may sound bleak, such is the futile nature of getting up every day and doing tasks, after all.

However, that's not really what the essay conveys. As the quotation provided in the beginning shows, Camus' takeaway about the myth of Sisyphus isn't about how easy it would be to take the option of not engaging at all with the repetitive tasks that make life what it is, or even focusing on how disappointing this pointlessness is. It's about how the journey of getting up everyday and motivating yourself to hit the peak of the hill is all there is to life, really. The absurd conclusion is, ultimately, that pushing the boulder up the hill everyday is what true revolt against the senselessness of the universe is. If there is no reason, we make the reason by climbing up with our rock everyday.

We choose to be happy every day and appreciate our rock, our hill, our existence as a whole. We choose to believe Sisyphus is happy, and, as disappointing at it may sound at first, it's worth it to live your existence, as long as you decide to appreciate your present more than your future (the destination, that elusive peak of the hill).

In Dan's words, you decide to have "just one good night" together every night on tour, you appreciate the journey of climbing out of that mental health hole again. You climb up that hill again and again, because it's worth it, and there are things - bigger than yourself or your personal boulder or even your destination, - that are worth fighting for every day. You embrace the void, and have the courage to exist today, not tomorrow atop the hill.

As Camus' Myth of Sisyphus was, admitedly, one of the inspirations behind We're All Doomed (and it shows!), it makes it even more intriguing to inquire about how much of their reactions to that particular game about Sisyphus informs their perspectives on the world and their personal philosophies.

As a disclaimer, I must add: I don't claim to know Dan and Phil personally, and I only have acess to the parts of them they decide to share, the performing side of them. So, quite obviously, I can be fully off the mark on this one. Still I think it's interesting to dive into, if not for accuracy, at least for better understanding of the personas they portray online, and how their worldviews bleed into it.

The first big point a lot of people brought to the table is the shift in Dan's philosophy ever since writing and performing We're All Doomed and (most likely) a lot of therapy and work on himself over the years. Gone are the days of existential crises being treated as a joke, or mental health in general being discussed without care for what the audience may take from it. During the video, it's quite apparent that he tries very hard to mantain that voice of reason (sometimes breaking it out of frustration, which is fair!), to somehow guide us into an understanding of what this philosophy means to him personally and to his self-proclaimed magum opus WAD.

This is relevant, of course, insofar as this becomes the thesis of the video, silly gameplay and jokes aside. So I couldn't not mention it here, as it's extremely noticeable and commendable of him to now have a different kind of perspective towards the topic of mental health, in this more mature era of their content. You can tell it's relevant to him to try to get the point of the myth across, in a way that tells his audience, as much as it tells himself, that giving up isn't a choice. You must keep pushing that boulder and you must believe that Sisyphus is happy, and so will you be during that journey up the hill. Even when it falls down again and you meet frustration, you pick yourself back up and keep trying to enjoy the present once again.

Secondly, regarding Dan's behavior during the gameplay, it's notable that he gets extremely frustrated when the boulder falls down (who wouldn't?). However, he always tries to catch it and put it back in the path upwards, instead of throwing his hands and giving up like Phil seems to do. This shows, very loosely, how he handles frustration in his own life: trying to fix things and get them right on path again. It's sometimes the most difficult choice to make, but it's extremely corageous to just keep trying in face of extreme frustration. We've seen it all over gaming videos, but also on his own personal projects getting shut down, and Dan still insisting on carrying on creating things that are personal to him, even in face of rejection.

Phil, however, seemed to give up out of frustration extremely easily, so much so that Dan kept pointing it out how he'd let go of the controls and let it happen. It might not mean much, but since he himself claims he gives up on things that are too difficult, it might just be an aspect of his personality to literally let go in face of things he perceives as impossible to achieve.

It is also notable that when he made a mistake, no matter how competitive they usually are on the surface, Phil decided to ask Dan for help, or try to tag out entirely and hand it over. This may not only be related to frustration, but also to knowing how to ask for help, and also a belief that Dan is "the strongest one out of both of us" and he will be there always to help (quite adorable). Dan's tenacity in front of difficult situations is a great complement to Phil's anxious eagerness to hand over the controls when things get overwhelming.

It's interesting to point out how their personal worldview influenced their gameplay as well. Dan was focused, sharp, driven to get to the top of the mountain by keeping in complete control of the boulder at all times. He held on tight to the challenges and kept going, and he wasn't afraid to run back and catch himself enough to try again. Phil's style showed something very interesting about him that is notable in gaming videos in particular: Phil's propensity for making little goals and celebrating the little things in the path to a goal.

Getting through one obstacle that was once difficult is enough to make Phil seem content with his progress. He celebrates every little step of the journey and, in that way, it's easier for him to appreciate it naturally. He's focused on the little tasks more than the big picture, and that makes the experience more enjoyable. His goals shift, of course, as they progress through the level, and the difficulty ramps up. Even so, he's still more likely to point out that's the farthest they've gotten and, hey look at this ramp, let's get through this ramp and then we've won, because that's my goal right now, and that's enough to make me happy in the present.

This counterbalances Dan's more bleak outlook wonderfully as well. While Dan is focused on making it to the top of the hill, and gets extremely discouraged seeing there's a lot more ahead they'll never get to experience, Phil's view is that they got through that one challenge and, surely, next time they'll get through one more, and so on and so forth. Focusing on smaller things is, ultimately, a good way of finding happiness in the process of pushing up that boulder.

Moreover, Phil's brief comment about how you could "make up little stories in your head" is also extremely telling of the kind of person he is. As Camus' philosophy claims: the only way to live with an absurd world is by living through it and learning what it means to be happy in a world that doesn't make sense. In Phil's mind, a bearable way to get through the harrowing experience of every day existence is making up stories, which matches up with his creative mind. Art and creation are indeed things that can make life worth living, and it seems that even subconsciously, that's the path he'd choose against the pointlessness of repetition. The joy of creation is, certainly, and extremely human and beautiful way to find meaning in life.

The most interesting point I'd like to raise, though, is how they got through that game together: as much as Dan accused Phil of distracting him, it was interesting to see that he didn't notice that's entirely the point. The boulder falling down is nothing compared to the stories we share, the conversations we make. What is important is the journey you take, and hearing about your best friend's weird school inter-sports anecdotes, even if you have to start over because you got distracted.

And that's entirely the point I'd like to leave this of with: pushing up that boulder is only worth it if you learn to live, if you learn to love, if you learn to enjoy the present moment, instead of focusing on that ever elusive destination. Therefore, what makes not only the video interesting, but also the game bearable at all, is their interaction with each other. Much like in life as partners, Dan and Phil would, obviously, climb that hill together. They would find the joy in the little moments together, laugh, yell, get frustrated, pick each other back up again in moments of frustration, and keep going up that hill together.

The only way to live is if one imagines Sisyphus happy. The only way to exist is if you decide that, no matter what, you'll create your own meaning. The only way is to find joy in the now instead of later. The only way to make those grueling day to day tasks happy and fun, is by choosing hapiness. Dan and Phil have, in every sense, decided to keep climbing up that hill of existence together. It may be slow and clumsy and loud at times, but it's their own experience. Ultimately, the only way to experience that gaming content is by imagining Dan and Phil are happy to make it for us, and that we can all share a little bit of our hill in moments of laughter and community. That's what makes life worth it in the end.

A/N: this may be the weirdest thing I've ever done, pls accept me for who I am, thank!

[noa-ciharu]

I'm not sure if I'm onto something here but this page/explanation plus everything that follows has always been suspicious to me

First and foremost: blood poisoning isn't most peaceful way to die, far from that. If poison is so lethal Dazai and Fyodor are supposed to die in 30 mins symptoms would have started showing right away - and yet throught whole Meursalut escape arc we see none. Not a single 'I'm feeling weak'. It's stated that Fyodor spent 5 mins just waiting for Chuuya to arrive so I'm really doubtful whole sequence of him and Chuuya nearly drowning, then killing time halting ability user, trying to drown Sigma and Dazai, Fyodor's and Sigma's confrontation and Fyodor's escape could have happened under 25 mins. Of course, it could be that whatever Nikolai gave them takes more than half an hour to kill a human but that still doesn't explain 1) why no symptoms 2) why neither Dazai nor Fyodor seem to be in the hurry to leave

Therefore my assumption is that whatever Nikolai gave them wasn't lethal in the first place.

But why lie then? Why organize the whole game to begin with?

Well, it's certainly challenging to determine motives of character as unpredictable as Nikolai. His absurdist life philosophy of seeking freedom by trying to escape himself and what makes him human certainly doesn't help the case. One of guesses can be pure entertainment, just for sake of it. For an entertainer it fits the bill. But I think there's more to it.

Except he doesn't really. By now we know whatever Fyodor's ability is that it isn't combat one - if Nikolai wanted to kill him he wouldn't necessarily need to know what it is. Not to mention Sigma can extract info from corpses, meaning they can kill Fyodor and then find out about his ability. While I'm certain Nikolai doesn't really want Fyodor dead, I can't claim with absolutely certain at that point in manga he's aware of that himself (of course he is after Fyodor 'dies' later on).

Much rather than that I think Nikolai is trying to kill what Fyodor evoke in him - feeling of being understood and wanting to understand other in return. That'll explain the game, trying to break Fyodor out of the prison without being too straightforward about it because he himself cannot decide what he really wants and stick by one decision, putting trust on test, wanting to know about Fyodor's ability and generally about Fyodor and so on.

While it's definitely arguable if Dazai would receive an antidote if he just killed Fyodor without actually escaping, it's also worth noting he was leisure with time (aka had time of his life soft bulling Sigma). Of course, chapter where Dazai talks with Nikolai post all the mess is yet to come out so it's impossible to tell in advance, but I have a hunch Dazai knew right from the start there's no danger of blood poisoning. Or at very least took gamble on that. Nikolai said something among "my apologies I have to poison you too but he (fyodor) wouldn't take the syringe otherwise" so it's clear right off the bat Dazai doesn't really hold his interest in that whole game. He's there for Fyodor and brought Sigma with him to extract information out of him.

As for Fyodor, did he knew blood poisoning wasn't a thing? Before chapter 111 I would have said yes given he too didn't seem to he in the hurry to escape, had no symptoms and didn't take the antidote right off the bat when Nikolai gave it to him. But then we have this:

Does Fyodor mean poison or game itself? My guess is poison because if latter that'd imply Fyodor expected Nikolai to help him break out of Mesaurlet which would imply broken trust. And we all know Fyodor and placing trust in others is like oil and water

To me Nikolai looks straightout dejected here. He's a performer that revels in these types of high stakes game, he should be grinning like a madman - but he's not. So in my opinion he was searching something from Fyodor here that he didn't quite get. It could be just in this scene/exchange or in whole game. But if my hunch that Nikolai was trying to get Fyodor out of Meursalut just needed Fyodor to place iota trust in him is correct, then Fyodor stamping over that hope and failing to see Nikolai's intention wasn't to kill him despite his theatrical proclaims it is would be reason for dejection. Whatever bids for connection he was looking in Fyodor likely won't be returned because of Fyodor's mistrust in people and abiding by cold rationale rather than intuition/emotions.

Therefore my conclusion is that whole Gogol game was a test:

- for Fyodor to put trust in others when he has no rational basis to (his major character flaw) - and that's precisely why he lost in the end. I could go miles here how Dazai put trust in Chuuya (and even Sigma) and how those bonds are very reason he managed to win but that's for some other time gives there's a lot to be talked about soukoku, I'd like to focus on doa trio here.

- for Sigma to realize the difference between being used and being of use, aka realize difference between transaction and a bond. I'd say he did well by placing trust in Dazai but it's yet to be seen if his decision to take Fyodor's hand was the 'right' one. His character arc ain't over, it heavily depends on what info he extracted from Fyodor so it's too early to tell how it'll go. Also this depends on Dazai's actions anime hasn't shown, like will he stick to his promise to save Sigma or not. Given promise he made to Oda 4 years before, I think it's definitely in character for Dazai to come back for him, fetch comatose Sigma and bring him to Yokohama.

- for Nikolai himself to realize what he wants to do with feeling of emotional/intellectual connection he deemed as 'imprisoning'. He's at conundrum himself what he wants to do with Fyodor: help him or kill him - accept the instinct or fight against it for no other reason than to oppose very self - lose sight of himself in the end just like Fyodor said. If we go by anime ending (I doubt manga one will be much diffrent), he came to realization how Fyodor changed his life and how he actually never wanted him dead but it was too late by then. Now haunted by realization only one who ever understood him and only person he ever felt connected to is dead, Nikolai will come to realize true hell of being imprisoned by own mind without means of escaping.

All three of them had some sort of downfall induced by their 'cardinal sins'; their own 'decays' as downfalls source from inner character flaws, so to speak.

[cemeterything]

I saw you like reading about beheadings so, I've got a short story reccomendation for you: The Story of a Head that Fell Off - by Akutagawa Ryūnosuke.

It's basically just a story about someone who gets beheaded and what they spend their last moments thinking about. Kinda absurdist, but also quite poignant.

:0 that sounds perfectly aligned with my interests, thanks!

[bambamramfan]

walrusfairy

Apparently there is tumblr discourse or drama over this absurdist poll question

In the middle of the night, you hear a knock on your door. You go to open it, and you find on the other side, one of the following options. Which option would be more surprising to you? -A Fairy -A Walrus Explain your answer.

Unlike the blue pill/red pill discourse, at least this question cuts to a clear ideological difference.

Sherlock Holmes famously put it "Once you eliminate the impossible, whatever remains, no matter how improbable, must be the truth." Douglas Adams in his book "Dirk Gently's Holisitic Detective Agency" (you should read it) spends much of the book reversing this aphorism: "Once you eliminate the improbable, whatever remains, no matter how impossible, must be the truth." We, after all, know a lot about human nature and practicality as we must deal with them every day, while we take scientific truths and metaphysics for granted and are actually quite ignorant of their foundation.

The question takes for granted that I even know that fairies don't exist. I don't know this!

"Supernatural" knowledge in the sense of institutional religions and recorded superstitions is falsifiably wrong, as people have put their claims to test and they don't bear out. But this is very different than "there exist things we do not know about." There's a lot we don't know! I doubt creatures resembling our stories of fairies exist, but if one did, it wouldn't upend my view of the entire world.

[rpgchoices]

What rpgs do you recommend? This blog made me find out about a lot that ive never heard of and wanna play some day ^_^

Ohhh hello!! I think it depends on what you like in an rpg in general or what rpgs you played before and your priorities!

For me the main elements I want are characters and good story, but characters will always be first so I basically only play rpgs with companions. I also love romance but I tend to play only queer romances so I mainly play rpgs that allow me to play a wlw or mlm romance.

You can also check my series of useless recs and what to expect for different recs!

Let me know what kind of games you'd like to play and I can give some more personalized recs!

In general my absolute favorites are (divided in types)

ISOMETRIC (so a lot to read, and you look everything from above):

Pathfinder Kingmaker: amazing character, fav polyamorous romance with a lady elf and an orc guy, the story is okay and the mechanics are fine, but the characters really make it shine.

Pathfinder Wrath of the Righteous: incredible customization of player character, great companions and romances, AMAZING story and villain. The mechanics and gameplay are like Kingmaker and not my favorite, but here they added turn based.

Pillars of Eternity (and sequel): amazing amazing story and very well created characters, the romances are not my favorite but I still love Tekehu!

Rogue Trader: this is set in a very bleak world where everyone is a villain so well, everyone is horrible. It is still quite a fun game if you do not mind the setting! And it has one of the most messed up romances ever (Marazhai)!

Shadowrun Hong Kong: I love the setting and the companion so much, but no romance.

Expediton Viking: Historical setting is not my favorite, but the game is still quite good and allows you do play as an usual companions rpg. It also has romanced!

DISCO ELYSIUM: I know I said I mainly play games with romances, and this has none, but everyone in the world should play Disco Elysium. One of the best isometric rpgs ever made.

Divinity Original Sin 2: If you liked BG3 maybe you will like this one too! The tone is much more humorous and absurdist, the story is quite good and the companions are amazing. The romances are also pretty good and as BG3 you can play as one of the companions.

ACTION RPG (is this even the name? Rpgs like Dragon Age and Baldur's Gate 3, so you can see the characters, and they speak)

Of course these need no introduction (but I put them in order of how much I love the companions and romances): Dragon Age 2, Dragon Age Origins, Baldur's Gate 3, Dragon Age Inquisition, Mass Effect Andromeda, Mass Effect trilogy.

Enderal: If you have Skyrim you can easily install Enderal for free, it is a mod but it is an indipendent game with its lore and characters. The only game that destroyed me and makes me cry when I think about it, so... play at your own risk. Amazing romances, incredible story.

The Technomancer: While the gameplay is a bit repetitive, the game is still pretty good! The characters are all interesting and the romance is kind of cute even if short.

OTHERS:

Sorcery!: This is an rpg that is basically the adaptation of a text game. It is absolutely perfect, one of my favorite games ever. It also has one of my favorite romances (Flanker)

Not exactly classic rpgs but still amazing: (I just wanted to recommend two of my favorite games that have roleplay elements):

Heaven's Vault

Dreamfall chapters (and the series in general)

[fuckyeahaudiodrama]

✨APRIL/MAY LISTENS✨

hi i’m back, i’ve just finished my degree and do not have enough of a brain to write an in-depth of anything. but! here’s some of what i’ve been shoving in my earholes for the past month, in no particular order.

The Magnus Protocol — (season 1 ongoing) continues to blow my fucking mind. the sound design/music combo for this series is of particular note, it really just… mwah. elevates the text so much for me. i also continue to be impressed by how well this works as both a standalone series and as a delicious trail of candy for those of us who loved Archives. we’re halfway through s1 now and all i can think about is alice dyer.

Beef and Dairy Network — (ongoing @ 109 eps) a partially improvised absurdist comedy pod set in a world that is bizarrely obsessed with beef. my qpp listened to one episode and called it “distilled british humor” which feels… correct. i’ll be real, i’m actually mad at myself for not getting into this one sooner, but on the other hand having a long binge of it has been divine. i would kill to go to one of their live shows.

The White Vault — (5 seasons, 10 eps apiece) not including goshawk because i’ve barely started on that. but the main series… woah! god, i totally didn’t think this was going to be my thing but i could not put it down? the first season is definitely slower than i usually prefer but the characters kept me hooked and by season 3 the narrative completely took over my brain. i also love how well they sold the found audio format, it WORKS. gold fucking star, highly recommend.

Jackie the Ripper — (3 seasons, 5 eps apiece) put this one aside for a rainy day and binged it all at once. deeply wish there was more of it. it’s a raunchy crime drama with a downtrodden detective at the helm who i SWORE i wouldn’t root for but ended up doing so anyway. do recommend! if it sweetens the pot, the protag has the same VA as watson in the currently popular Sherlock & Co.

The Mistholme Museum — (6 seasons, soon to be complete) people have been recommending this to me for years and i just never got around to it, but on the bright side — it was an incredible binge. anthologies aren’t my strong suit but i found the framing device really strong and, crucially, it develops a meta plot that balances really well. biggest strength for me was the narrator, but i can’t explain why without spoiling some key plot developments. just trust me.

Wake of Corrosion — (4 seasons, final ongoing) very cool apocalyptic suspense/horror. i initially loved this show for the dynamic between the two leads, who are brothers trying to reconnect on a solitary camping trip when the world decides to go wonky. i ended up loving the worldbuilding as well. final episode drops very soon.

Neon Inkwell: The Pit Below Paradise — (miniseries, ongoing) this one has a bit of a western vibe and heavy religious/culty overtones, which isn’t my favorite genre. but i think each of the main characters has been developed really well thus far. + many fun cameos from members of the production team, those are really fun to try and spot :)

Twits: A Steampunk Distraction — (2 seasons, 5 eps apiece) very silly comedy of errors from the pov of a bumbling aristocrat. can’t say too much without giving the end of s1 twist away. i highly recommend it if you’re looking for some lighthearted listening. the ending credits are also very cute.

Planet Arcana — (ongoing @ 71 eps) i’m so bad at TTRPGs but this one has such a unique setting, i’m just captivated. tarot-flavored sci-fi adventure for anyone interested. i’ve made it through the first arc and the party has already experienced a crazy amount of development; stoked to see what happens next.

Selene — (ongoing) anthology about a spooky little town with a vintage vibe. single narrator, quite talented. i’m not always easily invested in anthologies but the narrator here really sells it for me, and (!) i think he writes children — both their thought processes and dialogue — very realistically. which is my grandest compliment.

Camp Here & There — (s1 complete @ 33 eps, hiatus?) i put off listening to this for a rainy day because i’d heard nothing but rave reviews and they weren’t lying. this is quite literally the ONLY pod i’ve come across that completely captures the same magic that WTNV did for me on first listen. the creator is kinda going thru it so idk if s2 is going to happen but i really hope so. even if not, s1 is very worth listening to. it’s wacky and sinister and i just love the narrator, it’s hard not to.

We’re Alive: Scout’s Honor — (8 ep miniseries, complete) imagine WA from the perspective of some awkward tweenagers. what’s not to love? the gore is really heightened by each characters’ stage of emotional development. i especially loved the conclusion but i won’t spoil it here ;)

Among the Stars and Bones — (2nd season ongoing) sci-fi drama with a solid first season, really nice narrative tie-up, but the second season was SUCH a glow-up nonetheless! + the most memorable karim kronfli performance of all time IMHO.