#so that we can reveal historical figures without you Knowing About Them Already and etc

[mantisgodsdomain]

Hello we are still alive despite it all. We have spent time on Bug Geopolitics. Eventually we'll release them but for now we just want you to know that currently in notes we have phrases like "The Age of Deception, also known as That One Time The Wasps, Roaches, And Termites Competed To Invent The Most Creative War Crime" and "everyone assumes that the leafbugs are a wasp scheme. the leafbugs would be personally offended by this if they spoke bugnish but it would take several more years before this would be translated to them" and also of course "no one wants to try and take the swamp because it sucks and the people already living there probably hate you"

[coffeebeannate]

The Old Guard: Vol 2-Force Multiplied (Summary &Overview)

I’d been meaning to make this post for a while, and kept forgetting. Because I know there are those who are curious about the comics and not sure about reading them, or can’t read them, would rather opt out etc. So I’ve put together a basic summary and breakdown of what happens within the issue. I’ll include some information about the characters, some timelines (as I can, we know what Greg thinks of timelines) and mostly keep it uncommented until my own general thoughts at the end.

The movie mostly follows the first comic almost completely, and bits of the second, so I’ve not created a summary of the first volume.

Under a cut, includes images and information. If you want a TL’DR, skip to ‘Final Thoughts’ at the end. Long post.

Content/Trigger Warnings: Mentions of Human Trafficking, Slavery, Torture (This one I need some clarification on, gonna use the word just in case but..basically that’s what it is)

**SPOILERS**

Credits: The Old Guard Vol 2 Force Multiplied is created by writer Greg Rucka and aritst Leandro Fernandez. Colouring by Daniele Miwa. Letters by Jodi Wynne. Publication Design by Eric Trautmann. Edited by Alejandro Arbonna.  Published by Image Comics. Graphic Novel Published 2020. USA. 

Characters and Settings

Characters are the same from volume one. So we still have Andy, Joe, Nicky, Booker, and Nile. As well as more about Lykon and Noriko (she’s not Quynh in the comics, she’s Noriko). There’s more Copley too.

Additional/new characters are FBI  Agent Mustafa King  (also called Moose) and people who work for Noriko *none are named*.

Setting is California, USA and historical settings for the flashbacks we have for Andy. Summary and Overview (Basically the story overall, broken down, with my own commentary)

We open here, with a flashback of Andy’s earliest life. It’s a tiny bit vague, but provides the general idea.

I believe Andy is mortal here, but I’m not 100% sure. I believe she’s providing the narration to her first death. Which comes as the result of being betrayed in battle.

(Much of the stories focus is on Andy. I’ve noted it before, but Andy is our narrator, and a lot of the story is told via her flashbacks, over narration and POV. The comics really are Andy’s story, with the cast supporting around her.

We cut to modern day, of Andy, Nile. Nicky and Joe doing a job in California, USA. I believe the whole job revolves around taking down human traffickers, and in a couple parts. The job at the beginning has a shoot-out during the day, a car chase and then a stealth take down on a dock and shipping warehouse at night.

I just thought Andy looked cool here. Moving on.

Nile and Andy have a cool sportscar. Joe and Nicky have this very stylish *coughs* but exceptionally practical large van.

After the four of them take care of their day business, we cut to Booker being confronted in Paris by Noriko. Now the scene presented in the comics here is close to what we see at the end of the movie. Except this time it’s at night, and Noriko essentially kidnaps Booker. Since she wants to know where the others are, and Booker won’t tell her.

I’ll cut right to the chase. She uh. She tends to torture him. She’s got him on a heavy chain with a metal collar, and at one point drowns him over and over again to get him to talk. He never does, but she keeps him around anyway. 

Around this time Agent King (Moose) appears, and then manages to come across Nile. Which leads to the infamous ‘stew of romance’ scene. 

However. while Nicky and Joe are amused (and making bets on him asking her out).. (I love them)

Andy is not amused at all and loses her goddamned mind over it. To which she threatens to..spank Nile (????????) and Nicky and Joe basically tell her to calm down. (Andy’s worried that Nile befriending a mortal is going to end badly, and Nicky and Joe remind her that even if it does, they can’t just stop her. And that some things, Nile has to learn and adjust to herself. Nile is smart, and she’ll come to her own conclusions in time. Interfering isn’t right.

(They all look so sad in the bottom there, help me)

After this is the night mission at the warehouse docks.

Another shot I just thought was cool. Nicky’s sniping shots are done really well.

After they finish, Noriko comes out of the actual blue to get them. Or well..attack them. Joe’s the first one to greet her, and all she does is comment about how he (Yusuf) hasn’t changed and shoots him. She shoots Nile and Andy as well. After both of them recover, Andy and Noriko start fighting, and Nicky puts a stop to it by shooting them both.

(It’s after Andy see’s Noriko that we get the first flashback from Andy to the ships, the same storm that ended up throwing Noriko overboard all those centuries ago and causing her time at sea).

After Noriko and Andy revive from Nicky’s snipe shot, they split, leading us into the next day where Copley and Agent King (Moose, our new character) are surveying the damage at the warehouse and trying to decide what went down.

Copley already knows it’s the Guard, and is trying to explain this to Moose. I do kind of like this moment, where Copley comments to himself about Nicky being a good shot.

Hey-credit where credit is due and all.

Shortly after this, Copley falls on Nicky and Joe’s radar. And they quickly accost him at night. Which is far more satisfying than I thought it would be. A lot of the outcome with Copley and them does feel pretty good. 

(Nicky’s scary face aside, I kind of love this shot, and this moment)

They don’t beat around the bush nor give him much leeway. They let him know-without preamble, that they’re pissed and his continued existence is on their good graces unless he explains himself.

I have actually discussed this before (here-also has extra screencaps) so I won’t go too hard in detail on it.  But I do love these scenes a lot. I like that they’re allowed to be as fuming angry as they have every right to be, and that they present Copley with no bullshit. Nicky and Joe are completely on the same page. And Copley is made aware of where he stands very quickly. This is where Copley presents them with the information he’d collected in his little self driven conspiracy adventure about them, and then drops the bomb that he knows Noriko has Booker.

Around this time, Andy has more flashbacks of Lykon and her old life..including participating in slave trading of humans. (Which comes back near the end) she also meets up with Norkio. Noriko’s main belief system at present is that, they are above humans *mortals* and there is no reason to behave otherwise. They have no need to stay on the same level as mortals when they’re not.

Also around this time Nile hooks up with Agent King.

Copley gives the information about how to track Booker and Noriko to a boat that Noriko is keeping him on and Andy and Nile join them up in the nick of time. This is also where Copley informs them about how Noriko has gotten her money-organized crime..and basically whatever she can get her hands on. Which is also how Noriko has her own personal army.

‘Fancy’ Joe please.

And for whatever reason, Copley seems to think ‘undercover/distracting’ means..being as stereotypically British as possible?

Though I’ll be honest, I mostly post this cap for how badass Nicky looks.

So! Everything culminates in the boat battle, and at the end, they get Booker back, and handle Noriko. Everyone goes back to a hotel to celebrate, and things are fine until Nile asks Andy about something Noriko had told her. She’d at one point accosted Nile, and told her to ask Andy about “Law 282″ which Andy reveals is the Code of Hammurabi. Which is how they all find out about Andy’s participation in slave trades. slavery etc. Back in her more..ancient warrior days. Nile, and the others are pretty appalled and Andy has a bit of a mental breakdown and explains that she can’t carry on anymore. She won’t. She can’t keep fighting, she can’t keep doing this. Which is when Nile tells them that they have to go. 

They don’t really want to leave her, and ask her repeatedly to come with them-but she won’t. So they leave, even though Andy says she doesn’t want to be alone, they leave. (This is where I say, unless they physically forced Andy to come I don’t personally see what else they could have done without Andy fighting them, and probably figure that she’ll come around).

Next morning:

I’m not sure what ‘others’ Noriko is referring to here, but I personally think she set a lot of this up. She gave Nile that law to give back on purpose. I do wonder if it was part of a larger scheme on her end to alienate Andy from her team and swoop in, but I have no true proof of this beyond theory.

So that’s the basic summary of what happens. 

Other Points:

Noriko vs Quynh

Noriko is very very much NOT Quynh, and I don’t believe the movie is going to act as such either. I’ve seen some *legitimate* concerns with having Quynh portrayed within the movie as she is in the comics, but given the complete difference between the tone of the movies, and the comics, I think that they’ve already set it up to be different. Personally, I’m not too concerned. I have a lot of faith in Gina Prince-Bythewood, and I can already sense where they’re probably going to make alterations.

Andy/Being Abandoned

Andy’s story has some issues. It’s not..great. It is legitimately hard to reconcile the Andy we know with her past, but I don’t see the ending as the team ‘abandoning’ her to the degree it’s presented. I think they FULLY intended to give her some time to cool off and get their bearings themselves, then come back for her. She keeps telling them she won’t come, but they absolutely do try. And everyone knows that nobody forces Andy to do anything Andy doesn’t want to do.

I mean, Idk, but these just..don’t look to be the faces of people who willingly want to leave her behind.

Just Because: 

Nicky and Joe looking over Copley’s work. It’s sweet. Feat WWII Joe.

Final Thoughts

There are-without a single doubt, issues with the comics. I will never deny that. I do enjoy reading them, and I enjoy the dialogue a lot. (And Miwa’s absolutely incredible colouring). I think that there’s a definite difference in tone to them and that there are places where things could be expanded upon overall.

The comics are, as I’ve said before-Andy’s story. The other characters very much exist in support of her, and do not do a lot separately themselves. The movie is definitely more..family with them? Everyone’s personality in the comics is harsher overall. A little bit more dry and dangerous. There’s definitely less comradery with the team too and way less of a family vibe.

As characters, Nicky and Joe are very very similar to their movie counterparts, and I think they are written quite well. They seem to make decisions about what to do together, always appear on the same page *when we see them* and follow the same wavelength We get the sense that they’re completely in-sync. I also do like *though I did say it before* that they’re allowed to have the appropriate reactions and some resolution of what happened to them in Vol 1.

Nile still doesn’t feel as fleshed-out as she could be, so I’m really glad the movie put way more emphasis on her.

There’s some truly strong points in the dialogue-and I personally think dialogue and writing is one of Rucka’s strong points as a writer. Even if I still want to beg him to hire any type of historian whatsoever..and someone who can do math.

I sympathize with the math bit, this is why a helper would be good.

I’m going to wrap it up here, because holy moley this got LONG. If you’ve made it to the end, hi! Feel free to message me with any questions.

[ikevamp-annalyne]

Annalyne Sonata [IkeVamp OC]

Hey guys! I am so verry happy to finally being able to officially introduce my IkeVamp OC, Annalyne! ٩(●ᴗ●)۶

This is a very long post, but I hope you won’t be discouraged and will enjoy learning a bit more about her, and the story I imagined for her (^.^)ゞ

I also commissioned the MOST AMAZING ARTIST EVER @lemonsqueazie​ for drawing my baby OC! ღවꇳවღ She is my favourite artist, and also an amazing human being that I love very much. She is so attentive to what you tell her, always doing everything to meet your ideas and make the best art for you! I highly recommend to check out her blog @lemonsqueazie​ alongside her Instagram and her DeviantArt post about her commissions! You can also find all the infos here.

NOW, ON WITH THE OC! (๑ゝڡ◕๑)

Name: Annalyne

Last name: Sonata

Nicknames: Anna, Nana, Lyn

DOB: June, 19, 1995 (25 years old)

Origin: French

Languages: French, English, Spanish, Italian, German, Japanese, Korean

Height: 160cm (5.25ft)

Sexuality: pan

Job: freelance fashion designer, blogger, gamer

Passions: fashion, drawing, eating, baking, cooking, videogames, reading, music

Phobias: larvas and maggots, bugs (except ladybugs)

Lover: Leonardo Da Vinci

"Heh? What is this? Kinda like a storage room?"

Annalyne is a very chill woman, taking things at her own pace and working hard towards her goals and dreams. When she doesn't work, she becomes a lazy slug chilling with a good book or videogames -part of why she is also a gamer-.

Her most prominent traits are definitely: her kindness, her humour -made of bad puns and references-, her caring side, her clumsiness and her supportive behaviour. Number one fan of her family and friends.

She will always go out of her way to make her loved ones feel loved, supported or just important. She can also easily throw hands if needed. No one messes with her or her close ones without getting punished.

She has a hard time trusting people. It looks like she is close to everyone, but she hardly confides in people. It takes a hecking long time to build a relationship of trust with her -due to some childhood traumas-

She is strong-willed and -way too- a tad stubborn. But she compensates by being very sweet and cute. She can be very anxious but eating calms her, explaining her chubbiness. Also, count on her for helping everyone.

She is very good at cooking and baking, and loves making things herself. She loves dogs, but honestly, she loves almost every animal ever. She has a talent with them, understanding them beyond reason: animals love her.

"Call me the PUNisher."

She is easily triggered by disrespect, racism, homophobia, bullying and abuse. She can kick your ass off if needed, being very rude and violent when angry -she already broke the arm of a racist, and slapped Shakespeare...-

Comte is the one engaging conversation with her, asking her if she likes this painting. She is hyper excited talking about it and Comte cannot help but giggle, finding a Da Vinci's fangirl in modern days being pretty rare.

How she met Comte:

Annalyne lives near Paris and absolutely loves museums. Therefore she spends a hella lot of time in the Louvre, especially contemplating Da Vinci's works. She meets Comte in front of Da Vinci's painting Saint-Jean-Baptiste.

They spend some time debating and chatting over Leonardo Da Vinci's life, works of art and other controversies. He smiles a lot throughout the whole chat, since he wonders how his old friend would react.

How she ends up in Comte's mansion:

Comte bids her goodbye after they have finally seen Mona Lisa from up close. She thanks him for the delightful conversation, happy she has met someone as knowledgeable as him on her favourite historical figure.

She is taken aback, quite surprised, and thinks the mansion is a storage room. Maybe the man is actually an employee? She is curious though so she walks through the hall and stares at everything in awe.

When he leaves, waving his hand, his pocket watch falls and Annalyne picks it up. She chases after Comte all over the museum and sees him going through a door. She opens it and ends up in the mansion's hall.

Who she meets:

While discovering the hall, she stumbles upon Leonardo who's asleep. She doesn't want to wake him up but God, she stares for a good minute at the sleeping man. "I have never seen such a gorgeous man..."

She walks past him and continues looking for Comte. But then, Napoleon appears and asks her who she is, and what she does here. She tells him she wants to find the gorgeous blonde man to give him his watch.

He offers to give to him in lieu of her. But she is wary of him, a stranger. And Comte appears, the noise having caught up his attention. He recognises Annalyne and is surprised she is there. She gives him the watch.

The first dinner:

Comte gladly accepts the watch and asks her if she wants to dine with him and the residents of this mansion. Mansion? She stares at him, dumbfounded, and frowns. "Mansion? Isn't that a storage room or something?"

Comte giggles and promises to explain it all over dinner. Her trust for Comte and her love for food makes her accepting the offer. How surprised she is upon seeing all these people gather around a huge table!

She sits down and gets served by Sebastian, under all the surprised looks. Comte then proceeds on explaining it all to her: how all the residents in there are famous historical figures, and how she is the past.

How she reacts:

She is surprised, but she believes in timelapse, magic, etc. So she just stares in surprise and shock but is soon overexcited to meet all these people who changed history and inspired her throughout her whole life.

She will ask a bunch of questions to each of them, questions she has always been curious about, like the rumours and alleged controversies. Even when she hears about not being able to go back in her time, she is strangely chill about it.

"Well, there's no helping it! I will come up with a lie when I go back there!" But she will write letters and leave them -along jewels of hers- in places she thinks her friends or family could find them in the future.

Meeting her soulmate:

Sebastian shows her her room and then tells her to explore the mansion if she wants to. What she does! She then remembers the man sleeping in the hall? He must be a historical figure as well, but who can he be...?

She wants to know so she goes to find him and stumbles upon him, nearly falling on top of him. He seems awake since he is sitting on the floor. He had heard her footsteps so he smiles at her. "Well, who do we got there, Cara Mia?"

She smiles at the Italian nickname and tells him everything about her being here. He is surprised she is so chill about it but he smiles and introduces himself. "Well Cara Mia, nice to meet you. I'm Leonardo Da Vinci."

Upon hearing the name, her eyes widen and her breath catches in her throat. She stares, her heart beating faster every passing second. His smile is intoxicating and she cannot help but blush and stutter.

"W-well, nice to meet you, Leonar- huh Sir Leonardo? How, how should I call you?" He laughs."Leonardo is enough, Cara Mia." He smiles and pats her head before standing up. "Watch yourself, Cara Mia."

Her reaction upon the vampiric reveal:

After having talked with Comte and decided to stay in his mansion, she actually wonders how he could resurrect them. She decides to ask Sebastian, her new colleague, and he just shows her the Rouge and Blanc bottles.

"What's that?" She asks, pretty curious."Take a look and you will understand." She first goes for the Rouge and recognises the metallic smell of blood. She stares at Sebastian. "What is that supposed to mean?"

"They are all vampires. Except I, who is human." She widens her eyes, sueprised, and then goes "Aaaaah, that's how he did! Makes sense!" She smiles. "Is Comte the one who transformed them all or no?" "He did, yes."

"So, is he like, a pureblood vampire? A superior vampire who can turn humans into vampires?" "How do you know about this?" "Oh please, Sebastian. Cinema, animes, mangas and books are full of vampires."

Sebastian stares at her, bewildered. "And you are not afraid? They could easily feed off of you, even kill you." "Oh please Sebastian, they're more like puppies than wolves! If they were capable of this, you wouldn't be here!"

"Plus," she says while flashing a big dumb grin. "If they wanted to eat me, they would have already bitten me and emptied me of all my blood. They are not dangerous." Sebastian is shocked at how chill she is.

Her relationships with the residents:

She gets close to every resident ofthe mansion pretty fast, especially since she is not pushy, funny, kind, calm and knowledgeable on a lot of matters. They all grow a soft spot for her, even shyer and harsher residents.

Napoleon: they bond over cooking and baking. Also, since she is French, she can tell him about the impact he had on her country.

Mozart: music is common ground for them. She knows a lot about him and will sing for him, being allowed in the music room.

Arthur: writing sessions together, in his room or hers. They tease each other a lot and she is quick to react to his flirting.

Vincent: they are very close, bonding over drawing and painting. They talk a lot about art and have art sessions.

Theodorus: she doesn't let him win with his harsh replies and he likes that. She is strong and adores Vincent: he likes her a lot.

Isaac: she isn't pushy and gives him room so he likes talking with or teaching her a few things. They often meet in his room.

Jean: he likes how pure she is but she doesn't let him avoid her. She will do anything to befriend him and he gives in.

Dazai: sharing writing ideas brings them closer. They also laugh a lot because they are both airheads amd chaotic walking memes.

William: she likes his work but hates him. She will always avoid him, or shoot sharp daggers glares at him.

Comte: the father figure. She loves going to him to talk or when she needs some calm, and having tea together.

Sebastian: always laughing and teasing each other. She will flick his forehead when he assumes things for her.

Her relationship with her soulmate:

She is a Da Vinci's fangirl so of course, she is a mess around him. At first, she just blushes a lot, stutters a bit around him and she fangirls when he is not around. "Omg I can't believe I witnessed him sketching!!!"

They bond very easily since they both love arts. And Leonardo is very curious about her fashion style, her job, and basically how the world works in modern days -she spent an entire night talking about phones-

One day, he finds her sighing in her room: "what's the problem?". "Ah, nothing, I'm just, not comfortable in Comte's dresses. I'm more into trousers or skirts from my time." He is curious so she tells him about modern day fashion.

"Ah, so women wear pants and shirts. Whatever they want." She nods excitiedly."Yeah, and I hope one day men will be able to do so as well! Wear skirts and dresses and heels. But toxic masculinity is still pretty deep..."

"Wait for me, Cara Mia" and he dashes off the room, to come back later with a stack of shirts and trousers. "Here, take these. They're mine but for now, it will do. Tomorrow, we're going shopping for you."

And they do go shopping the next day, buying loads of men clothes alongside jewels and shoes. Also, they buy fabrics, needles and everything for Annalyne to sew her own clothes. He loves seeing her so happy.

She spends the next days adjusting Leonardo's clothes and the ones they bought to her chubby curves. And Leonardo surprises her by wearing a dress. They go have dinner like this: her in men's clothes, him in women's clothes.

Legend says every resident nearly choked themselves of either shock or laughter. And Leonardo and Annalyne really enjoyed it a lot and decided to do this at least once a week -Leo enjoyed the dress, actually-

The purebloodness revelation:

She catches very early on that he is a pureblood, without him even telling her. She is extra sensitive so she kinda feels auras and saw how Comte and Leonardo's eyes are similar. His genius made even more sense.

"Leonardo. Are you like Comte, a pureblood vampire?" She asked him while they were shopping for fabrics. Leonardo nearly fell out of surprise. "What are you talking about, Cara Mia?" "Well, you know..."

"Same eyes as Comte, genius who can do anything, super strong and intimidating aura. Open-minded as if you've already seen everything, and laziness that can be explained by already having done everything possible..."

He stares at her and then laughs, patting and ruffling her hair. "You're awfully clever and intuitive, Cara Mia. Yes, I am a pureblood. Does it change anything between us? "HELL NO!" she shouts. "But I've got questions!!!"

She drowns him under questions on everything he's done, seen, lived. They spend almost all of their time together, teaching each other about their lives and their knowledge. Residents are jealous of the Leonardo monopoly.

How it "ends" between them:

She is a strong woman and will go back to her time. But she promises Leonardo she will find him, right after returning to her time. He asks her what day it was, when she entered the mansion. "March, 15th, 2020."

When she leaves, while everyone is crying, Leonardo calculates. "Okay, gone for a month in her time, so she'll be in the Louvre in April, 15th, 2020. Ah. My birthday." He smiles. Almost 200 years, but it will be so worth it.

When she passes through the door, she is back in her time. Asking a guide what day it is. "April, 15th, 2020". The day they agreed upon, and Leonardo's birthday. She smiles and then proceeds to rush out of the Louvre to look for him.

But then she passes in front of Saint-Jean-Baptiste. Her favourite painting. A tall and gorgeous man is standing there, in a blue shirt and blue jeans. She feels it. She goes to the man, pats him on the shoulder, and asks: "Leonardo...?"

The man turns around, a huge grin on his face, bright golden eyes shining with love: "Was about time, Cara Mia..." she cries and throws herself at his neck; he spins her, crying as well, burrying his face in her neck.

"I missed you so much. Never do this again. 200 years was worth it but it was too long." She is a mess while crying. "I, I pwomiss Leo, I will neba leaf you again-" he laughs at her messy face. "Look at you, silly girl." He kisses her.

"I want you to see how much I love you in my eyes. They speak on my behalf."

Trivia facts:

She has a tiny water spray bottle she labelled as "Holy Water". Whenever a resident smiles or laughs, she opens it and "collects" their happiness. Thus, when one is talking shit about himself, she sprays the water on them.

"There, you have been blessed with Holy Water. Now love yourself or I agressively hug you." -the mistake on the label,on "thoughts" is intended, as it is is a mix between thots and thoughts, bitch thoughts she's gonna spray away.

She hates Shakespeare, Faust and Vlad. Whenever they pass by the mansion, she grabs the garden hose she labelled "Garden Hoes" and splashes water on them. "Oh no, you walking sin, stay away from my babies!"

She eats A LOT and puts shame on Theo when it comes to eating sweet things. They have pancake-eating competitions -and guess what, she wins-. She will be snacking 24/7 when nervous, anxious, sad and basically under negative emotions.

She listens to every type of music. She really enjoys any kind of rock music, and is also very knowledgeable on classical music. She likes to dance on Kpop and sing on Disney songs: her favourites are definitely I’ll Make A Man Out Of You and Why Should I Worry -in French-

She used to practice martial arts so she can beat the crap out of anyone being a little sh*t with her or her loved ones. She also has a very scary aura when furious, leading to most people just running away from her wrath.

She loves gossiping with Arthur. Whenever she knows about some rumours, or when she needs to talk about something that upset her, she goes to his room with coffee or tea. They both irradiate chaotic gossiping energy when together.

She is the mom friend, and becomes the mom of the mansion. She already told Jean to “get his bottoms in the living room to eat with all of them”, else she was going to kick his butt so hard he would be unable to sit or practice fencing.

All the animals LOVE her. Chérie is missing? She is cuddling with her in the patio. Lumiere is not under the bed? He is sleeping on her laps while she reads. King is nowhere to be found? She is playing with him in the garden. Snow White vibe.

She loves flowers and will put some all over the mansion. She puts one every day in front of every resident’s door, with a message written on a tiny piece of paper, something like: “You are a sweetheart and you deserve the best, keep going, dearie!”

[reachexceedinggrasp]

So the majority of the shows I’ve seen lately can be charitably described as ‘light entertainment’, including the ones with dark elements or more weighty, ponderous plots. They might be entertaining or interesting, they just... don’t stand up to scrutiny. Turn your brain off because this isn’t that carefully or skilfully made and you’ll only be annoyed if you start thinking about it as a whole. Including the last couple 'tragic’ historical dramas I’ve watched, which were not effective tragedy for that very reason. If you’re going to kill off the main cast, you have to earn it, and overwhelmingly writers don’t. Anyway, I’ve been getting despondent about whether stories which actually hang together and form a coherent narrative unit with consistent themes are the exception rather than the rule.

(And I feel like that should be a pretty low standard to meet, it’s sort of Step 1 of ‘being a story’: be about something! Communicate something, no matter how basic it is. Dead simple stories with rock basic messages can be revelatory! Just do it well!)

I’ve seen very little genuinely focussed or meaningful storytelling in my ventures for what feels like a long time. Basically, I can kind of count on one hand the number of films or dramas or whathaveyou I’ve seen from the last few years where it felt like the filmmakers were in complete control of their story and everything in it was purposeful and intentional. Most things have felt slapdash or shallow or fleeting. Story elements and character choices come out of nowhere just to derail already concluded arcs and fill screen time with empty repetitious drama, not to serve a meaningful narrative purpose. I would be watching with zero confidence anything in particular was going anywhere or that the writers knew where that should be. It’s just throwing shit at the wall, fly-by-the-seat-of-your-pants type writing all the time and it fucking shows.

But then I watched Money Flower.

Money Flower is different. Money Flower is towering head and shoulders above every modern drama I’ve ever seen. Titanically good writing which rises above its genre and makes conventions seem radically new and fresh not by reinventing them or deconstructing them, but by playing them straight, taking them seriously, and committing 1000%. This is all your familiar rich family tropes but with masterpiece execution, infused with consequence and meaning because they’re all driven by the psychology of complex three-dimensional characters. So many moving pieces and none of them are random or unmotivated. Just... GOOD WRITING. And I want to make the point that it is this wherein art lives. The difference between a rank Lifetime movie and Romeo and Juliet is not novelty or tropes or plot twists- it’s execution.

This show is such a perfect example that it is not ‘mere events’ (aka plot) or novelty or shock value or cool ideas which separates something brilliant and timeless from forgettable schlock; it is solely and entirely execution. It’s writing itself, if you know what I mean. You can describe many of Shakespeare’s tragedies and history plays as soap opera plots. What makes Macbeth a deathless masterwork and Death Wish Hollywood wank isn’t a fundamental difference in subject or genre. It’s Shakespeare’s characterisation and purposeful storytelling. It’s the poetry of the dialogue. It’s the craft of writing. Most of Shakespeare’s plots are based on existing stories or on historical events and that has never mattered because novelty is not an inherent good or of any inherent artistic value.

Like, this is the problem with storytelling right now blah blah GOT, shitty endings everywhere etc. because power over the audience (can’t let anyone guess the plot, looking ‘clever’ with meaningless callbacks) and novelty are valued over narrative structure or things making sense or emotional verisimilitude. We have so many writers thinking being ‘shocking’ is all it takes to be a genius. It’s easy to be shocking if your story makes no goddamn sense because things that don’t make sense are literally unpredictable. Not in a good way, though. A great twist or sudden swerve needs to be unexpected but inevitable in hindsight or it does not work. I should be able to rewatch your thing and think ‘oh, of course! you can see it was [x] all along!’

We have so many popular writers now who are so shallow they don’t think anything needs to make sense on a character or emotional level. They don’t think their story has to be about anything. Substance is irrelevant as long as the surface is flashy enough. That has no staying power, you can only watch it once and you will forget about it quickly.

However, if you have ever wanted to experience the constant heightened stakes and High Drama of a soap opera without being annoyed at how ridiculous it all is and while actually giving a shit about the characters because they feel like real human beings, if you’ve wanted to feel repercussions when characters make choices, and get the emotional payoff that is the entire point of drama- now you can. Watch Money Flower. And let me tell you, it is fucking riveting. This show is mostly made up of people sitting in rooms talking and yet it is heart-pounding excitement nearly every episode. It is profoundly traditional and by the book while being totally fresh. It’s the most engrossing and satisfying artistic experience I’ve had in a long time.

Like, THE TENSION, THE DRAMA, THE REVEALS!!! You can, in fact, spend most of 24+ hours on the edge of your seat about family problems and business mergers. It seems unlikely, but that is the power of this series, it creates insanely high stakes and mesmerising suspense out of the most commonplace ingredients. Familiar plot elements become brand new and surprising under the deftness and tightness of this narrative. The plot itself is certainly 100% melodrama but it never feels like a soap opera and is never ever soapy in in a pejorative sense because it handles its classic tropes with such maturity and nuance that it's like you've never seen them before. The writing is incredible.

It is on an entirely different level than the vast majority of dramas, with a total self-assurance that keeps the pacing relentless yet unhurried- taking its time to let the impact of events be felt, the narrative always knowing exactly where it’s going and how to get there. The characters are all multi-faceted and unpredictable without ever being incoherent, their motives and goals always being gradually uncovered in more detail that only makes the storytelling and characterisation even tighter, even richer. The twists and cliffhangers are always mind-blowing but always earned, never cheap or nonsensical, and I can't remember ever thinking that about another show. (There’s literally one exception towards the very end where something a bit random happens for reasons of pure symbolism- it’s a misstep imo but it’s minor in the scheme of things)

Every time I started to doubt the writing, started to think ‘oh no, they’re going off the rails’, they showed me I was wrong and they were in total control. The only 'problem' with the show is that the drama is also profoundly painful to watch unfold, particularly in the beginning, because it's a story where everyone makes terrible life choices and moral corruption is everywhere. It's hypnotic though, like a car crash. If you can handle something dark, insidious, cerebral, and character-driven there is nothing I've seen in the same vein that can approach its brilliance. It’s like The Magnificent Ambersons as a slick modern revenge drama. There is also (PRECIOUSLY!!) a core of stunning romanticism around which all the horrors revolve and that saves it from becoming hideous or cynical. There is a chance for redemption and a new beginning after all, in spite of all appearances.

The ending has apparently been controversial, and it is definitely not quite as climatic as you would have expected given how powerfully climatic almost every regular episode is, but it's a good ending. There isn't full closure, they don't provide final resolution in a bow, but to me it's an ending about hope. It suggests optimism for our characters and I was satisfied with that. It's extremely rare for a 'revenge story’ to allow this kind of room for healing and it can do that because, imo, we discover in the end that it wasn't ultimately vengeance in Pil Joo’s heart. He has not become a tragic hero who will be consumed by the cannibalistic darkness of revenge, his quest was for justice. He teeters on the edge of the abyss but he avoided falling in; he didn't sell his soul, at least not irrevocably.

He is nonetheless a very tragic figure and an anti-hero, but despite having dedicated his life to bringing down the Jang cabal, it’s not that he’ll stop at nothing. He will make any personal sacrifice no matter how desolate, he lives as a mere husk of a man, and he facilitates enormous emotional harm to others in service of his goals, but he has ethical hard lines he never considers crossing. His sense of decency and compassion is never extinguished; he does care about the collateral damage he is causing even when making justifications for it. It’s important to him to give people as much agency as possible in their choices, to mitigate the damage done by his schemes as much as he can. To try to prevent harm coming to undeserving bystanders. Not that this makes it okay that he uses people, which he does, but the point is he never completely surrenders his moral compass to avarice. He’s never okay with burning down the world or ruining innocent lives just to get to his target.

Pil Joo is less a vigilante and more an avenging angel, he wants justice more than retribution. He wants fairness and a better, safer world where what has happened to his family won’t happen again. The reason this story never becomes Sweeney Todd (aka: a full on tragedy where we see the inevitable outcome of lust for revenge) and the reason he can survive twenty years spent pursuing someone’s downfall is exactly that principle. Searching for retribution would have destroyed him, he would have become the very thing he hated, but instead he goes as far as necessary to publicly expose the Jangs for what they are and then willingly submits to penance for his complicity in their crimes and tries to atone with the people he hurt along the way. Purged, he’s symbolically reborn and takes back his real name to maybe finally have a chance at the life he should have had. He moves on, content, a positive force. He’s capable of healing from the ordeal because he realises he doesn’t need retaliation, just seeing them stopped and facing consequences for their actions is enough.

The love story is a superbly poignant part of this. Their love is the ‘victim’ of his revenge and it will forever be impacted by it, but it’s not something that can be killed, so there’s still hope. Mo Hyeon’s bookending rescues of Pil Joo from death mean first that he has a purpose he must fulfil and then the second time that he has freedom to finally live as himself, for himself. There’s a future. And maybe they can be together there. I’m emo about it.

Anyway, if there was the slightest doubt about me becoming a long-term Jang Hyuk fangirl, it’s been put to rest. This performance is easily one of the best I’ve ever seen, period. No contest it’s the best I’ve seen in a tv drama. It’s also the most subtle and masterful turn he's delivered in his whole career. He's so restrained, but he is giving absolutely everything; he has total control over every microexpression, every gesture, every molecule in his body. There is so much simmering under his surface, so much going on in his eyes; the layers and depths are endless. The intensity and sharp intellectual focus he brings to the character is breathtaking. Everyone else is doing amazing work too, but he is almost constantly on screen and has this spectacular command of such a sprawling story, such a complex character, and he makes it look effortless. All artifice has melted away. The fact that being so tightly contained is in stark contrast to the bombastic element in many of his other roles renders its delicate precision even more startlingly impressive. I thought he was a great actor before, but I didn’t fully appreciate what he was capable of until Pil Joo.

[chibivesicle]

Golden Kamuy chapter 224-226: Pirates, serial killers and a killer rabbit’s much awaited backstory.

For the sake of time, I will combine my summary of the past few chapters that I missed while I was traveling and I don’t want to break it into smaller bits.

Chapter 224 had a color cover featuring none other than our favorite solitary wildcat sniper Ogata.  I personally love the retro look for this!  It looks like a classic comic from the 1960s with the odd color scheme and the handwritten shaded boxes.

The one box highlights the “100″ in Ogata’s first name as the kanji hyaku and the rest in latin letters. 

The text refers to “Come on, Let’s Go! On wildcat Ogata’s sure-hit express! (one step forward!).  Thanks to discussions on discord the phrase is in reference to the cat moving and delivery company in Japan, Yamato transport aka 黒ねこ (Kuroneko).  A huge shout out to tsurumineko for translating the pun based on their “target hitting/sure hitting” level of service.  I was previously familiar with the company in part due to my love of cats and noticing it everywhere when I’ve visited Japan.

Here is the official logo with a mom cat carrying a kitten and their official HQ (from wikipedia).

I can’t help but wonder if this implies that Ogata is a very reliable character in regards to performing his duties or that he hopes to one day make sure bring his own “kitten” home.  Will Ogata be the one to take Asirpa back home to her kotan, Huci and her family? Either way, it implies that Ogata will get the job done, just like Kuroneko will deliver that package on time for you!  He’ll snipe that target, he’ll get that info, he’ll make sure your mission is a success etc.

The retro look also makes me think of comics like these:

Batman works a bit outside of the law and has that dark edgy feel to it and Ogata also wears a cloak!  Plus, look at the style of Batman and Robin, they’ve got quite the build just like our GK boys do.

Anyways, the cover is a combination of Kuroneko delivery and Batman.

Chapter 224 starts at the Uryu river as Asirpa is lighting a fire to attract a swan to it so that they can have it for dinner.  For some odd reason, Noda chooses to rehash the Asirpa is going to kill a cute/beautiful animal for dinner.  She pulls Sugimoto’s head when she sarcastically replies to him that they will gently grab the swan. . . .

I don’t understand this need to return to early Sugimoto-Asirpa humor.  Shiraishi has returned from pooping and a swan approaches as the two of them freak out upon noticing the other.  I personally find Shiraishi’s concern valid - swans are total assholes, so I’d also want to be upset at a swan at close range.

Asirpa beats it and they begin to prepare it for dinner in a temporary shelter as early on in the manga.  This is a repeat of when they first started working together and ate the deer that Sugimoto failed to shoot.  The three of them in Asirpa’s tent cooking some dinner.

Keep in mind Sugimoto didn’t want to eat the otter head etc etc and he still has issues with things beyond brains.

This time Asirpa really highlights the need to give it the Inaw offerings and place the head in the river.

Sugimoto still can’t eat animal heads and still looks awkward.  However in contrast to chapter 25, after eating Shiraishi begins to explain what he’s observed from Heita’s belongings.  He explains to us in a flashback what Heita told them about gold panning.  He knows now that gold from different rivers looks different so there is a way to identify where it came from.  And now, we get to see Shiraishi shine as he begins to help them lay out a new strategy for finding the gold without the skins.

He first off explains what we already know about the “Noppera-bou incident” which I find interesting based on the fact that he uses Noppera-bou - I wonder if Shiraishi thinks someone else killed the 7 Ainu men and Wilk was moving the gold, but not involved as Wilk told that to Sugimoto.

Shiraishi points out there may be people who know where the gold is hidden - and since supposedly Wilk moved it all by himself, he wouldn’t be able to move it that far. 

He then continues to state, they just need to find the region where the gold dust was from and look close by.  Sugimoto is not convinced by Shiraishi’s line of reasoning at all.  He has a look of total annoyance and he’s like - “we” can’t identify a hidden gold dust stash etc.  I’m disappointed that Asirpa simply chimes in that he’s an idiot as she eats the swan head that Sugimoto wouldn’t.

Shiraishi has to remind them what they learned from Tanigaki back when he was injured and recovering with Huci at Asirpa’s kotan.  Part of the gold was taken from the stash by Wilk and the boat capsized on Lake Shikotsu.  Therefore, they know where a sample of the gold is.  As soon as Shiraishi reminds them of what they know from Tanigaki, he catches Asirpa’s attention and she takes him seriously.

She then summarizes where he’s been going with this - they likely won’t have the skins so they need another game plan.  Bravo Shiraishi!  He has created a plan B for them, better than Sugimoto’s “um maybe we will sweep in and steal the skins from Hijikata or Tsurumi . . .”

Sugimoto immediately rejects Shiraishi’s plan on the fact it is too hard and whines about it.  Asirpa at least has a well thought out and rational reply that the lake is too deep, so they can’t get the evidence.

This leads into a flashback with Heita and our pirate convict at Lake Shikotsu the previous year.  We get a “typical” reveal of his character as he’s completely in the nude about to dive into the cold spring water.  Boutarou the Pirate’s real name is Oosawa Fusatarou and this reveals some of his background as a talented swimmer and diver.

He’s got some rather unique eyebrows - reverse Koito ones and he reveals that he’s going to dive for 35 minutes.  He then uses special breathing techniques to get as much oxygen into his system and he’s got large feet, webbed hands (due to cell death not occurring between his digits during fetal development btw) and he became a convict by drowning people and stealing their stuff.

By having a rope tied to his ankle, Heita can signal to him when his time is up and he can come up from his deep free dive.

The chapter then returns to Shiraishi pointing out that Heita and Mr. Pirate already found the gold.  This means that Shiraishi took the time to look at all of Heita’s samples and that they know the location and it is linked to one of the still remaining convicts.

Shiraishi then reveals that he knew that there was a guy who was intense, physically robust and pushed himself to the limits - so if he could dive to find the gold - he would be the most likely to succeed. The flashback shows that he was able to dive down to Wilk’s canoe and that Heita found at least 4 locations for the gold dust.

With the list of rivers, it means the gold dust found in the canoe can be traced to these four rivers: Toppu River, Saru River, Sorachi River and Shiriuchi River.  I have labeled each of those rivers on the map of Heita’s description of rivers that can be panned for gold and included a few cities for reference.  In yellow is the current approximate location of Asirpa, Sugimoto and Shiraishi on the Uryu river.  The rivers where the gold dust is from are in magenta.  The Toppu River is the closest one to them and the Sorachi and Saru Rivers are reasonably close.

The only river that is further away is the Shiriuchi River fairly close to Hakodate.  Google maps has the Shiriuchi River labelled as the Chinai River (I checked with translator GlassHouses for clarification - apparently it can also be read as the Chinai River and there is one located in Shikoku - thanks for the help!) so if you try to find it in English it won’t be labelled correctly.  Lake Shirotsu is the large lake on the map just next to my arrow pointing to Sapporo.  Only put on a few cities for easy reference, Otaru, close to Asirpa’s kotan, Ashikawa and Kushiro. 

The chapter then ends with Sugimoto holding the list of rivers as his eyes are white.  He figures if they head to those rivers, since the pirate knows where the gold is from they just need to catch a pirate [and skin him].  Stop looking so well murder-y Sugimoto.

The tag line at the end states that every river eventually leads to the sea . . . I guess this must be true in Japan perhaps, but if you live in a basin, or in the Great Lakes region of North America the lake does not lead to the sea . . . . but I digress.  This likely has to do with the pirate reference or something.

Recall that in 223, Hijikata is the one who remarks that Boutarou the pirate is making his move.

with the end of 224, it is confirmed that Boutarou is another faction entering the quest for the gold. 

Quick observations and predictions from this chapter.

1.) Ogata is about to become a key player based on his color cover (if you don’t already get that Ogata is important).  Momma cat needs to take her kittens home.

2.) Shiraishi has laid out their plan to look for the pirate.  This may lead to an alliance or Sugimoto just trying to skin him based on the ending page.  I personally think an alliance with Asirpa-Sugi-Shiraishi and Boutarou to be the most interesting. . . .

3.) Hijikata is not surprised by Boutarou’s move to enter the quest.  He was working with Heita and now we know he will likely have his own faction as well.

4.) Based on my map, some of the parties will need to visit each of these rivers in order to gather information.  With the much farther away Shiriuchi River, it takes the cast close to Hakodate.  I can see this being key in future events involving Hijikata (due to his historical death during the Battle of Hakodate), Koito, since he was kidnapped in Hakodate by Tsurumi with the help of Ogata, Tsukishima and Kikuta.  It seems like some sort of confrontation at Hakodate is in the cards.

Chapter 225 - Another convict enters the story.

So chapter 225 starts out with a clear reference to the infamous serial killer, Jack the Ripper who targeted prostitutes in Victorian London and was never caught.  Oh yay, another serial killer - just my fav type of convict. [rolls eyes] The chapter title slums seems to refer to the slums of Sapporo where alcohol and prostitution were the few releases and the area was ripe with disease and violence. 

An older woman is walking back to the inn of her client, he’s a much taller man wearing a western style of dress and a top hat.  The woman is chatting away, she explains that she used to come from a wealthy family in Nagoya, since she’s in Hokkaido, it either implied her family was on the losing side during the Meiji revolution or that her late husband was on the losing side sent up to Hokkaido.

She’s clearly flush with drink and she turns to notice that he may be Japanese based on her “Huh? You’r Japa . . .” as he then grabs her by the face and proceeds to slit her throat and then cut up her body.  As she struggled we get to see her hand pulled his jacket open a bit revealing yet another tattoo - so yep, another convict.

The following morning shows Sapporo police officers trying to keep the press away from a covered corpse, the woman covered with a straw mat.  A member of the press is confirming what happened with a very suspicious looking police officer. Apparently, there was prostitute who was killed in the same location within the past month or less e.g. indicated by the 31st of last month (we don’t know how far into the current month things are).  The man is revealed to be a criminal inspector and he has a shaded face and interesting wrinkles under his eyes.

From the start, this criminal inspector seems to be quite tall compared to the reporter.  The next page reveals his identity as he’s trying to get a scoop on the story by bribing the inspector with food.  The inspector’s face is covered as he simply tells him to shut up as he turns away.

The action then shifts to the temple where Hijikata and Co. are staying as we the readers are reminded that the man is Ishikawa Takuboku, the reporter who meet up with the group back when they had their photos taken before Abashiri in Kitami.  Most of the group went to the photo studio with Hijikata while Shiraishi went off to the red light district with Takuboku instead as they hung out with sex workers and got very intoxicated on Hijikata’s money.  The drunken Ishikawa blurts out that Hijikata is going to buy up newspapers to control the press.

Shiraishi knew that the Russo-Japanese war resulted in sales of papers but Ishikawa revealed that the change was due to the addition of pictures!  Hence part of the reason why having a photo of Asirpa will be important to his Republic of Ezo plan.  Again this exchange between Shiraishi and Takuboku-chan illustrates that Shiraishi is a pretty observant and smart guy.  He’s def aware of more things than people give him credit for.

He’s finally back reporting to Hijikata and asks for more spending money.  Unfortunately, he’s trying to get money from Nagakura who is having none of this and reminds him bluntly that if he wants money it needs to be information not printed in the papers.

Ushiyama makes a comment on how gruesome the murders are and wonders if the man has some issue with whores.  Ishikawa comments that it is “unfortunate” since he hopes the man is apprehended quickly since he currently has a prostitute in the area that he is rather fond of.  Wow, way to show how you care about women trapped in sex work Ishikawa . . . that the were likely sold into but I digress.

The English translation has Ushiyama refer to sex workers as whores, and Ishikawa’s use of prostitutes implies a little more respect, but maybe not since he’s concerned his current interest in Sapporo may get his fav woman killed and he won’t be able to sleep with her any more.  What is clear is both men seem awkward in their opinion of how women in sex work should be perceived.

This is clear based on Nagakura’s reply to Ishikawa’s statement that he hopes he dies in a ditch.  Hijikata completely ignores the info and just asks Kadokura if there was a convict in Abashiri who fits the description for the current killer.

Kadokura doesn’t reveal the name of any other information about the killer.  Clearly, this information will be revealed when it becomes relevant and Hijikata is concerned that if this man is a convict and he is making such violent headlines that Tsurumi and his men in the 27th will certainly realize that they should investigate as well.  It seems after Abashiri, Hijikata is taking Tsurumi as seriously as possible as well as the arrival of Ariko into his group after he was beaten up by Usami.

Hijikata’s reference to the 27th hunting the possible convict leads to another mallard flying.  The final part of the panel shows Ogata aiming at the duck.  Ogata fires at the duck.

The duck flies on, but Ogata simply exhales as he works the bolt with his left hand.  He’s looking smug yet determined again.  We don’t seem him exhale like this frequently, but it does remind me of his “I shot the woodcocks” proud face or a focused “hmmph”  this is what I expected look.

The final panel shows two tail feathers from the duck fall to the ground both having been shot by Ogata.  It is clear that Ogata is pleased with his progress on re-learning how to shoot ducks with his left eye.  He’s making good progress - I’m not sure if we will get to see him make a successful kill in the manga or if Noda will keep it for a big reveal scene where he makes an amazing shot.

There are two ways to look at this i.) Ogata knows he’s getting better and he’ll let others see that he can still snipe and that he’s still a sniper.  ii.) Ogata gets better, but publicly doesn’t want others to know he’s back to “normal” and uses his injury as a way to hide his regained sniping ability as his wildcard.

Both of these can be advantages for Ogata - everyone assumes he’s a sniper and forgets about all of his other skills.  Or he makes others assume he’s weaker and than uses that to defeat them - an obvious sucker is Sugimoto - Sugimoto would look at one-eyed Ogata and think, “well if I can get close enough to break his arm again I can totally finish him off . . .” as Ogata then snipes Sugimoto again . . . (okay, not likely to happen just like that but you get my idea).

The chapter then shifts to an unnamed village along the Sea of Okhotsk.  This is a vague descriptor, and as my map indicates it can be along this entire coast of the northeastern part of Hokkaido.  Yay!  The panel is quite simple as it shows a dead horse laying down.

The final panel shows Usami looking down upon the horse.  Stares down at the horse as his eyes are white around the iris. As his head shifts a little to his left.

It is clear by the next page that Usami is the likely cause of death for the horse.  A random man yells “Who did this?  Who killed my horse!” as it shows Usami shuffling off rather quickly to avoid being caught in the act of horse murder.

Tsurumi is then outside of a shop that sells newspapers reading a newspaper with great interest. He then speaks to Kikuta who is nearby, telling him that the murders in Sapporo appear to be the work of an escaped tattooed convict.

He orders Kikuta to go to Sapporo to look into the convict.  And that he should take Superior Private Usami with him.  Wherever Tsurumi is along the coast is unclear, but Tsurumi seems to think staying on the eastern coast will allow him to find Asirpa from that area.  Plus, he has sent Tanigaki in search of them as well. . . Kikuta replies yes sir rather calmly in a typical Kikuta fashion.

Usami walks up behind him with completely black eyes when Tsurumi tells him to take Usami with him. . . Kikuata can’t be too happy wit this as his reply is hesitant . . .” . . . yes, sir . . .” as he gives him the stink eye. 

Usami then speaks up highlighting that he really doesn’t want to go with Kikuta.  This is quite bold from a superior private, but Usami seems like he can get away with this in front of Tsurumi and Kikuta almost smirks as he feels the same way.  Tsurumi doesn’t even turn to reply to Kikuta, he simply replies that Usami will be of use to him in Sapporo and Kikuta looks curious as to in what context Usami will be helpful.

Tsurumi figures that Hijikata’s group will also move there to investigate due to the newspaper coverage and that they should avoid them if all possible.  Tsurumi doesn’t want them running into each other. 

This is interesting as Kadokura is currently in Hijikata’s group and can easily recognize Usami so that may come into play.  Usami beat the crap out of Ariko so he’ll be tied to the situation.  Ogata is back with Hijikata for now and has a previous work history with Kikuta and there is enough information for the two of them to have some sort of showdown/reunion etc.

With somewhat erratic screen tones behind Usami and a equally creepy font he declares that running into Hijikata’s group is fine.  He concludes that Ariko will be a useless spy and that he will just kill them all and steal everything - problem solved.

And with that Usami gives off super creepy vibes at 110%.

He and Kikuta don’t get along at all - when they were chasing after Toni Anji which required a well thought out plan he was useless and whiny and Kikuta couldn’t take it and also trusted Ariko to succeed.

When they were chasing Asirpa off of the ferry - Usami’s solution was to simply kill Huci and Kikuta was clearly appalled by how Usami’s mind seems to work.  It was clear when Usami beat up Ariko that Kikuta was both hurt and torn about the entire situation.  This likely is setting up some sort of disagreement between the two men.  Kikuta is a sauve, sexy man, who appears a bit cocky at times but he gives off a vibe of really caring for others and avoids harming others who are not involved in things.

The next page reveals that indeed both groups are hunting down the convict in Sapporo.

Hijikata has brought his entire entourage.  He leads the group followed by Ushiyama and Nagakura.  Kadokura, Toni, Kantarou, Kirawus and then Ariko follow behind.  Ariko looks back at Ogata watching them from a distance and taking up the rear as he prefers.

Kikuta leads with Usami behind, his face partially obscured by his visor of his army cap - Kikuta is too sexy to every wear a hat and mess up his excellent hairstyle.

It is interesting that even when you zoom in a bit, Ogata has his blank expression as Ariko nervously looks back at him.  He was nervous to see Ogata and he likely thinks Ogata is onto him as a spy or maybe even thinks that Ogata is still working for Tsurumi.  

It looks like Kirawus is watching Kadokura - I wonder if he’s onto Kadokura playing dumb.  The two of them may get drunk and joke around, but I think Kirawus has been watching both Kadokura and also used him to get closer to Hijikata.  I think both of these men are carrying secrets that will be important as time progresses in the manga.  I just can’t shake the feeling that Kirawus knows more about the Ainu murders and I have a theory that he keeps his forehead covered b/c of some scar or something from the incident where the 7 Ainu men were murdered.

The next page has present day Tsurumi thinking of something disturbing based on the screen tones around him and it reveals a flashback, in Meiji 28 (1895) and back in Tsurumi’s home area of Shibata, Niigata.  The flashback starts with someone asking Tokushirou, Tsurumi’s first name, about how the battlefield was.

The next page reveals Tsurumi talking with a man who appears to be his martial arts teacher for jujitsu.  Tsurumi tells his teacher that he observed something interesting in war.  Despite the vast amount of training that soldiers underwent before battle, most of the men actively avoided trying to kill the enemy soldiers.

Tsurumi goes on to state that during the American Civil war troops went to great lengths to avoid killing each other (as the nature of a civil war that split families apart at times) and he spends the rest of the page discussing that most humans will really try to avoid killing each other, even in the case of war.

This really is the heart of one of the major issues of GK.  What happens to men who go off to war and the actually kill others?  How do men do this and how to they move forward (or in the case of many of the elite men of Tsurumi’s 27th) how do those men get sucked into killing and do all of the dirty deeds for him.

This gets at the concept of how a person can be turned into a killer and be able to go to great lengths to kill and in this quest for the gold - who can serve Tsurumi best.

After perhaps working or training with his sensei, Tsurumi has changed into his uniform and is telling children nearby (perhaps students of the dojo) to be careful of Master Takeda’s horse is ill tempered (confirmation of the identity of the man he was just talking to) and that it may kick them.  The fact that Usami killed a horse in the present time and then there is a flashback about a horse seems to indicate this will be something to do with Usami’s past.

A voice then calls to Tsurumi, calling him Mister Tokushirou, indicating a person familiar enough with him to call him by his first name but with respect.

This flashback now has revealed not one, but two people close enough to Tsurumi to use his first name either as a senior, his sensei and this unknown yet clearly younger person.  Tsurumi responds, that he recognizes who the person is - revealed to be a younger Usami.  He tells him that he’s gotten taller again, and then calls him by his first name, Tokishige.

Usami is blushing as he looks at Tsurumi before he replies yes, still blushing with black eyes as it reveals that he is Usami Tokishige, 14 years old. This means Usami was born in 1881.

Of course the editorial tagline mentions that he is yet another of the boys pining for Tsurumi.

Chapter 225 ends with several things as the main points:

1.) The next convict is a serial killer and is in Sapporo.  This will lead to a likely encounter between Hijikata’s group and Kikuta and Usami.

How will this showdown happen?  I’m hoping that Kadokura notices Usami and tips off the rest of the group and KIkuta and Ogata catch up.  They seem to be more morally centered members of the 27th concerned about others who can get caught in the crossfire.

2.) The manga is back to the concept of the ability to kill, what makes a killer? what makes a murder? and what makes a soldier?  Tsurumi wants men willing to go into the depths of hell with him to accomplish his goals.

Tsukishima will see this to the end - he’s officially dead on the outside and inside after his Koito confrontation.

Nikaido is losing all of his humanity to be a test subject for a new and improved solider.

Usami has clearly had a vibe that something is totally off with him since he was first introduced.  The fact that Koito was groomed by Tsurumi when he was 14, means that Usami’s age and blush shows that he was a previous and older Tsurumi fanboy.  The chapter ends with the idea that Tsurumi likely was involved in grooming him.

Usami is clearly a great soldier and killer for some of Tsurumi’s goals - this chapter is making it clear that Usami is “special” in the context of murder.  Or that he lacks some sort of moral compass or control in regards to murder and killing.

3.) That criminal inspector at the Sapporo police department is shady as all hell.  He could be the convict in disguise - and he’d fit the trope of the murderer working in the police so that he can’t get caught.  Or he’s a total red herring.

Chapter 226 -Sacred Ground

The chapter starts out with a brief update on the status of the Asirpa-Sugi-Shiraishi-Vasily group.  They are stopping by an Ainu kotan and Sugimoto notices another dog that looks exactly like Ryu, but isn’t Ryu.  Shiraishi is the one to remark that Ryu stayed behind as Tanigaki gave Cikapasi Nihei’s rifle so he won’t be going anywhere.  Interestingly, Sugimoto remarks that he hopes that Cikapasi and Ennoka treat Ryu well so he “let’s go” of his attachment to the rifle and move on. 

This is an odd remark from Sugimoto, since he himself needs to move on from a lot of stuff ~ he can see it in a dog’s life but not his own.

This leads to a key comment from Asirpa about Ainu dogs, that their loyalty towards owners can be a bad thing since they get jealous and ill tempered.  A Japanese man owned one and the dog was well treated but he ended up scolding it due to poor behaviour and went hunting without the dog.  The dog’s reaction to rejection was to kill of off the man’s chickens . . . Shiraishi then comments that people will do the same thing for the love of another.

The following page is the title page with the title and a young Usami and Tsurumi. Based on the fact that we know Usami is very loyal to Tsurumi and he has killed for him - I think it is clear the story about the loyal dog is Usami and Tsurumi is the man with the chickens. . . oh great - this chapter is surely getting to the root of his creepy vibes!

Usami tells him that he’s there even on a day to not train even though after he performed housework and chores to help his family he is more than willing to walk 2 hours one way to come to that very spot on the dojo grounds.

Usami’s face is completely shaded so clearly something dark is tied to that place.

The next page reveals that Usami refers to that spot as “our sacred place” as the wind dramatically blows by as Tsurumi looks at his back.

This leads to a flashback in the flashback, 2 years earlier so 1893, showing Usami’s family.  He’s 12 and he appears to have his mother and father, an older sister, younger brother and another younger sibling on his mother’s back as well. 

His father asks him if things are going well at the dojo and with his training.  He replies that Mister Tokushirou told him he’s the most talented of all the students that he’s seen there before.  Therefore, at the age of 12 he was comfortable enough to call Tsurumi by his first name - san! 

This catches the attention of his older sister and his mother as they look at him in shock and awe, his mother stopping her mending of clothing while his sister blushes.  His sister asks excitedly “Mister Tsurumi Tokushirou = Tsurumi Tokshirou-san?” followed by her having a teenage fangirl moment over him while his father looks on with shock and concern.  His mother confirms that he’s got to have talent since his father was talented too . . . I guess this implies that Tsurumi’s father was a well know ladies man and it is clear that Tsurumi is also seen as a ladies man in the area.

So, Tsurumi is clearly a charismatic, charming and a confirmed ladies’ man and is the 4th son of another man who was also very well known and must have been an important samurai family.  Usami is happy that his family are glad to hear he’s attracted the attention of an important local man.  Their family is large and it looks like since his mother is mending clothes they aren’t the richest family but they must come from a more noble/samurai background than some of our other cast members.  It looks like the Usami household is a happy and fertile one.

Clearly, Tsurumi is interested in getting to know Usami and some time later, Tsurumi is working the water wheel that his family uses to pump water for their rice paddies.  Tsurumi clearly is doing some sort of research into him and he seems to realize that using the foot powered water wheel leads to the develop strong legs.  Usami is explaining how hard the work is based on their location etc when he is interruped by another young boy.

This other boy is introduced as Takagi Tomoharu another 12 year old boy.  He really reminds me of Sugimoto a bit, that slightly messy hair and friendly look.  He clearly is another Tsurumi fanboy.

Tsurumi also calls him by his first name and asks if his father is doing well and the boy responds excitedly as Usami silently smiles with his eyes closed in the background having Tsurumi’s attention focused on another person.

Sometime after school, Tomoharu tells Usami to stay over at his house since they have training at the dojo and they can go to school the next morning.  He then adds that Tsurusumi will be at the dojo that evening!  This immediately gets Usami’s attention and he runs to the dojo yelling “Hurry, hurry!” so Usami is excited by this!

The next page shows the dojo and both boys want Tsurumi’s attention to train with each of them and Tsurumi just smiles back, again Usami’s eyes are closed.

Sometime later it shows Tsurumi in winter leaving the dojo - we don’t get the full conversation, just that Tsurumi is responding to something that Usami said. Usami will be graduating - I guess based on his age primary school - and Tsurumi who’s face is obscured asks if he will keep training at the dojo.  Usami responds with his eyes closed again stating he will have to help his father work on their family farm so it may not happen.

Tsurumi then turns and looks at him in a very friendly way telling him to continue at the dojo to become much stronger - he’ll be able to surpass Tsurumi as well based on his skills with time.

Tsurmi then states he won’t be able to visit the dojo soon, with the impending Sino-Japanese war he’s about to go off to (with Tsukishima) and finally Usami opens his eyes with concern in them as well as light in his eyes.  Usami is clearly worried about Tsurumi leaving.  All of a sudden his friend appears interrupting him and Tsurumi again telling him to go home together.  Again we don’t know what else Usami was going to say to Tsurumi . . .

The winter gives way to spring, when the school year ends and another one will begin.

We get a scene where Usami is able to pin Tomoharu down and someone tells them to stop for the day . . . maybe Tsurumi maybe not.  It is clear that just like Sugimoto’s friend Toraiji - Usami is the natural martial artist while Tomoharu will always lose to him.  Tomoharu is sulking in the dojo and Tsurumi has to ask him what’s wrong so that he and his sensei can lock up.  He reveals that he’s never been able to beat Usami before he leaves.  Tomoharu then cases after Usami who is waiting outside for him.

It looks like he told Tsurumi that he’s leaving and Tsurumi got him to approach Usami to tell him about his departure to high school? in Tokyo.  However, Usami is not surprised as he already knew his friend was leaving and tells him that he really doesn’t want to spar with him one last time.

Usami from a very dramatic angle tells hi that he doesn’t want to lose on purpose b/c he’s worried about his feelings . . . and before he finishes Tomoharu yells his reply that he shouldn’t, that wouldn’t be a real friendship, it would end it.  Usami has light and sparkle in his eyes as he says his lines and his friend sounds like a passionate young Japanese man with fighting spirit.

Tsurumi tells him that he will watch their match in the corner of the yard - the sacred place which Usami will say to Tsurmumi 2 years later. . .

The next two pages are a montage of memories of Tomoharu with Usami as he thinks to survive alone in Tokyo requires him to defeat him.  It seems that Tomoharu really enjoyed his time with Usami - but I really get the feeling that Usami just tolerated him.  It really does have this vibe of a one sided friendship, I could even see him staying over at Tomoharu’s place just to be closer to the dojo and by extension Tsurumi.

Tomoharu cries as he knows he’s fighting hard but still ends up defeated by Usami.

This scene is very much like the Sugimoto’s flashback in chapter 35 - courtship.  He met Toraji at his burnt down house on his wedding day and he attacks Sugimoto who promptly defeats him.  With his eyes full of tears, Toraji refuses to give up and goes for another round with Sugimoto as he roundly defeats him again.  This clearly is linked back to Shiraishi’s comment about humans and the people that they love.  Yes, Sugimoto is a dick to show up, make Toraiji upset, beat him and then congratulate him on his marriage which only makes Toraiji more annoyed.

Yet, in their second round ends with him declaring that he may have lost to Sugimoto in kendo and judo, but he won in the battle for Umeko’s heart. . .

This is clearly a parallel with Usami and Tomoharu and this is linked to Sugimoto.

Anyways back to 226.  Tomoharu despite being defeated pulls on Usami’s shirt and states that he’s not done yet.  The next full page panel shows Usami’s reaction -

full on murder rabbit!!!  He’s gained the white along the edge of his black pupils as he’s drooling, his veins are bursting and his entire face is contorted in rage/anger/i don’t know what else.  I call him a murder rabbit based on a nickname that the lovely Merdopsuedo came up for Usami a long time ago.

She calls him the The Killer Rabbit of Caerbannog, based on the rabbit that lives in the cave and kills many men in an excellent scene requiring the use of the Holy Hand grenade of Antioch in “Monty Python and The Holy Grail”.  This flashback has confirmed all of our fan jokes and theories and was a much better nickname the previously proposed one of “Thumper” the rabbit from “Bambi”.

Tomoharu only gets a glance of his face as he raises his foot before he firmly kicks him in the throat with his bare heel.

This action is enough to even shock Tsurumi!  We see Tomoharu make his last gasp for air as Tsurumi, the man who watched his family die in Vladivostok, perhaps killed by his own actions or those of Wik, Kiro and Sofia.  Tsurumi is a broken and twisted man by this point before he even heads off to the Sino-Japanese war, but Usami’s actions have completely caught him off guard.  He thought he was helping out with a teenage issue and he’s just resulted in the death of Tomoharu by accident.  Look at those wide open eyes, sweat on his forehead and those stress lines!  Tsurumi is completely shocked.

It is clear a man who has seen terrible things like Tsurumi (as we don’t know what his spying and previous military service was like) he is shocked by Usami’s violence that he uses as he clearly struck a killing blow on his friend.

And with that the chapter ends!

Wow!  Usami’s backstory is clearly revealed to be super creepy as I was always afraid of.  At the age of 12 he killed the boy who on the surface appeared to be his best friend.

Final thoughts on chapter 226

1.) Usami may be a natural born killer rabbit who always wants to please Tsurumi.  Chapter 227 will likely further explain why that part of the dojo is sacred to both of them.  Sei Kobiyama also mentioned on twitter that due to both Tsurumi and Usami practicing jujitsu/judo indicate they both came from samurai families.

Tsurumi has alluded to the fact that his family was once wealthy when he was young and we know he’s the 4th son and they lost the wealth.  It is clear based on Usami’s families reaction to him the Tsurumi family was well known.

Usami is clearly not in a wealthy household that has to work very hard to survive, yet has a connection to samurai habits and culture.  This may be a link to chapter 225 referring the the slums of Sapporo and how the murdered woman was from a once wealthy family that lost it - likely a pre-Meiji era samurai family.

Is Usami jealous of Tomoharu?  Or does he want Tsurumi’s attention all to himself?  What motivates him?  He seems off the entire time before he kills Tomoharu so I think there is more going on than we realize just yet.

Does this information from Sei Kobiyama imply that since Sugimoto and Toraiji also practiced kendo and judo that they were also from poor samurai families also fallen on hard times in the Edo area?

2.) I believe that Usami and Sugimoto are supposed to be compared in some way with this flashback.  Both men are talented in judo and when they kill both men are demon or animalistic in the way that they fight and kill.  Yet, one killed his crybaby best friend while the other one as far as we know was unable to save his friend.

Noda has kept away from Sugimoto’s past and his unresolved issues surrounding Toraiji and Umeko for a long time.  This may lead to the reveal of more of Sugimoto’s past and what really happened when Toraiji died and Sugimoto clung to his dying body, giving up the sled for Tsukishima at Mudoken.  It keeps alluding to a potential situation where Sugimoto is either indirectly or directly related to the events that result in Toraiji’s death.  And keep in mind in the flashbacks his nickname is Tora-chan or Tiger.  If Kiro is Tanigaki’s tiger, we’ve discussed that Toraiji is Sugimoto’s tiger . . .

Sugimoto currently has a broken wrist and maybe he will have to rely on Asirpa, Shiraishi and Vasily his non-friend, not-enemy-ally.  I think Usami may be a link to more background into Sugimoto.

Keeping that in mind, I suspect that Kadokura will lead to more background into Ogata as his father would have been a contemporary of sorts with Koito and Hanazawa, but on Ogata’s mother side.

Well that is all I have for now with the chapters!  I’ll work on getting a few more meta up hopefully in the next few days including as long delayed cover analysis and some Koito meta!

[eva-writes]

I was tagged by @danwritestuff (a million years ago and only now I actually got to finish this thing) so here it goes:

1. How did you begin writing? Technically I started when I was like seven or eight and was working on an illustrated story about a dog and a magical bone. Yup, true story. But I think I actually started to get into writing when I was in seventh grade and a teacher told us to write a short story as homework. I don’t even want to think back on what I wrote because it probably wasn’t good, but I will never forget that my teacher told me that she enjoyed my story and that I was good at writing. There’s literally nothing better than having someone believe in you. And I initially only wrote in Spanish but funnily enough after getting into roleplaying my brain kind of made a switch and it comes more naturally to me now to write in English.

2. What was your first writing project? Tell us a little about it. Again, the story of the dog and the magical bone. But the first serious project that I still hope might see the light of day when I stop planning and actually sit my ass down to write it is a fantasy trilogy. I started it in 2008 and needless to say my mind has changed a lot in a decade, so as a result that story has changed very much from my original idea. I think that’s why I haven’t really done much writing and I’m stuck in ‘development hell’, because the thing just keeps mutating and my ideas for that world and those characters keep growing and changing.

3. What is your preferred medium for writing first drafts? I’ve always used Microsoft Word.

4. What rituals or habits do you have around writing? I always have a cup of tea next to me. And I say stuff out loud too, especially when it’s dialogue. I also sort of act out certain stuff to find words that could describe that. Definitely not rituals, just weird habits I have.

5. We all have a “type”– of character, plot, theme– what is yours? Well, I always go for fantasy or scifi stuff because it’s easier for me to make up shit than do extensive research about things that are real (also it scares me that I migh portray something in an inaccurate way). So yay, I’m lazy like that. I tend to include reserved, quiet characters (even if not the protagonists, they’re there). I don’t know, I just have a deep appreciation for introverted people that are more of the observing/listening type than the talking type.

As for plots or themes, I like to dabble into the ‘self-discovery’ paths for the protagonists and the ‘change established structures’ in the world. As for important themes, family bonds are always there in one way or another (both biological families or ‘found’ families amongst the characters). Also I have this weird thing about names. In every story I have characters that are called a certain way by most but then they are given a different nickname or are revealed to have a different name by someone that is/becomes close to them. For some reason the way other people call each other has always had such a deep meaning for me.

6. Introduce us to one (or more!) of your OC’s. I have an army of OCs, I have no self-control when it comes to creating them... my latest one is a gentle giant of a man stuck on an island where people don’t age and those stranded there can’t escape (shoutout to Mira and Ally for @timelessrpg!). And this guy is mute and deaf because I’ve learned a bit ASL and I wanted to integrate that into a character, explore different ways to have him interact with those around him without having to rely on speaking.

7. What’s your favorite genre to read? Fantasy, science fiction, historical fiction and psychological thrillers. But I’d give a shot at every book that sparks my interest regarding of genre.

8. Your favorite genre to write? Fantasy and science fiction. I like creating my own playground rather than using our lovely little world.

9. How do you conduct your authorial research? Google searches to start off. Then once I get a general overview I start to look for more specific stuff in books, videos, etc. I use YouTube a lot. That thing is a treasure chest of information and it helps with ther ‘overview’ part so then I can do more digging about specific subjects.

10. What does your editing (gasp) process look like? I’m such a jerk to myself when I edit, so I guess that’s another reason why it’ll take a while for my stories to see the light of day. If you look up the word perfectionist in the dictionary you see my picture... But I’ve been trying not to be so hard on myself lately and instead of staying stuck on that endless cycle of writing and erasing, I’ve been allowing myself to just write on. I’ve also made a deal with my roomie: I have to pay her $15 pesos (little less than $1 usd) whenever I got back to edit a chapter I had already finished. I’ve only paid her once, but it’s a good incentive not to go back an edit stuff too much and just go ahead to write.

11. What are your favorite tropes? I have too many, especially with romantic/platonic relationships. Enemies to lovers, is definitely one. Also any sort of yin yang/light and dark representations in character dynamics, I’m such a sucker for those. Any kind of trope that involves characters not seeing it coming and then just knowing they’d do anything for the other person (not just necessarily in a romantic way, I love bonds like that with people who become siblings to each other). Any sort of trope that involves a ‘partners in crime’ or ‘ride or die’ dynamic, I’M SOLD.

12. Show off your writing space. It used to be a desk when I still lived at my mom’s place. It was in it’s usual state of controlled chaos, as I like to call it (because there’s stuff everywhere but I know exactly where everything is). Now my roomie and I share a desk, and most of the times I just end up writing in bed, using a folding bed tray as my desk.

13. What is the most useful piece of writing advice you’ve ever used? Sit down and write is one. And also something that I saw in Victoria Schwab’s instagram: “I’m not writing a book, I’m writing a chapter. I’m not writing a chapter, I’m writing a page. I’m not writing a page, I’m writing a line”. That helped me feel more confident. The work put into trying to write a book always felt so overwhelming and like something I would never really get done. But thinking that even a little bit counts has made it feel like a less impossible feat.

14. What is the least useful piece of writing advice you’ve ever ignored? That it’s wrong to repeat a character’s name or identifier (the queen, the thief, etc). I used to think it was wrong to it because ‘being repetitive means you’re a bad writer’ and you’d have me do mental gymnastics to figure out different ways to refer to my characters which, honestly, end up coming off as forced. So yeah, I’ve definitely begun to ignore that now.

Another one is that writing ‘said’ is wrong. I’d rather use ‘said’ a hundred times than throw in random shit like ‘ennunciated’ just to avoid using ‘said’.

15. Your writing beverage/snack of choice? Tea, always. Either black tea or rooibos with milk.

16. How do you compile your ideas? Quick notes on my phone when I don’t have a notebook at hand. Word documents. And notebooks. Lots of notebooks. I have a specific notebook for each story. Lately I started posting stuff on my wall. I have a summary of each chapter that I’ve already written in little pieces of paper, kind of like a timeline. Above each ‘chapter’ there’s a blue post-it note with the stuff that led to the events of that chapter, and below there’s a green post-it note with the plot points that chapter will set in motion. It’s kind of to keep in order all the information I’m dealing with. And then above the timeline I have even more pieces of paper with specific events that must happen eventually and I just keep moving them around to construct the rest of the story. It might sound weird and confusing, but I swear it helps. I’m a visual person and it’s very damn helpful to see those pieces of story and ideas have some order.

17. What are your controversial opinions ™ on the craft of writing? That being a best-seller means the book is good. I don’t know if it’s controversial or not, but I don’t think quantity equals quality. Also, LET STORIES END. I get it, sometimes as readers we love a group of characters so much or a world that we want more, but that doesn’t mean there should be more. I feel that a lot of prequels, spin-offs and extended series end up taking away from the original story/saga because they were clearly not in the author’s mind from the beginning. There are exceptions to this, I’m sure, but I just feel authors should know when enough is enough rather than try to milk their series for all they’re worth. And I might get shit for writing this, but I’m also against the idea that all characters have to be woke and politically correct 24/7. I believe characters should be allowed to be ignorant and say wrong things and make mistakes, because then they get to learn and grow and become better people, and yes, possibly get called out or educated throughout the story. I don’t know, maybe it’s just me having faith in people learning and growing, but I happen to like characters that start out not so great and begin to really become better human beings during the story.

Tagging: @azianxpersuasionwrites, @briannaswriter, @allywritestuff, @proserpinewrites, @theichthyostegawrites, @montaguew, @loeswrites, @eridawrites, @roshwrites, @rjwrites, @ashlaaaywrites, @trishywishy & @dude-im-batman

[christianslaterreview]

Mobsters (1991) dir. Michael Karbelnikoff

Synopsis:

Charlie 'Lucky' Luciano, portrayed by Christian Slater, is a young, working class Italian whose family is being terrorized by the Mafia as his father owes money to one of two main bosses, Don Faranzano (Michael Gambon). Luciano teams up with three of his boyhood friends to overthrow Don Faranzano and the other boss, Don Masseira. The film follows the boys as they quickly rise to top and become embroiled in Mafia politics, love stories, and personal conflicts that threaten to ruin lifelong friendships.

Review:

This is going to be a hard review for me to write because I really don't care about this movie. Like, at all (I mean look at my shitty synopsis lmao). Usually I'm so ardent about my reviews because I so desperately want the film in question to be good. Typically, Christian Slater's films have just enough about them that's good that elements of them are not only salvagable, but sincerely enjoyable. They're also usually just bad enough to remain interesting. Bad enough to make me care.

Mobsters, however, was so formulaic and devoid of any actual substance that the end product feels like a parody. It was so clearly hitching it's wagon to the popularity of other films in the same genre such as Bugsy and Good Fellas, but in their hurry to piece together some semblence of a film before the trend fizzled, they forgot that a movie needs elements beyond snappy one liners, empty banter, period costumes, and pretty faces with famous names. The audience is rushed through most of the narrative with focus only given to a handful of major plot points - but this is of course only when we're torn away from the laughably long and gregarious sex scenes which are peppered throughout the entire film to really help move things along - so all the opportunities to truly get to know the characters, their drives, their vulnerabilities, etc. in compelling B-plots or excellent pacing of the A-plot are nowhere to be found. The result is a film that feels like it was developed purely for flashy, promotional material with the story being tossed inside this hollow, pandering concept as an afterthought.

One of my main issues with most films is the pacing. I expect every film to have Tarentino level pacing where the story is slowly teased out in a seemingly chaotic but methodical progression. Tarentino is the fucking master of knowing just how long to let a certain plot point sit on the back burner before bringing it back full force right before you forget it ever happened. He knows just how long to keep the camera focused on one character's face, how long the back and forth dialogue needs to continue before bursting into action, how long to keep the audience waiting before a reveal (if the reveal ever happens). And before I get totally lost on this tangent and end up becoming a Tarentino stan blog, my point is that Mobsters fails in every single one of these devices.

Instead of feeling like 2hrs passed by so quickly because I was just that engaged, the run time of this film felt unbelievably long because literally nothing of real interest happened until about an hour into the movie. Right off the bat, we're thrown into the drama as Luciano's Mother and Father are assaulted and threatened by one of the main bosses, Faranzano. But rather than feeling like we're being poignantly acclimated to the brutal setting of this story, it just feels sudden and awkward, like a cheap, theatrical bid for emotion and drama. Granted, this might not be the screenplay's fault per se. None of the actors did a particularly solid job throughout this film, which did end up weakening whatever elements of Mobsters could have been salvagable.

After this point, the movie just rushes through introductions in a series of montages with a voiceover by Slater in his ... "accent". The movie barely has time to get on it's legs before we've already reached the next milestone in the boys' story as they're making a name for themselves as bootleggers. However, instead of actually demonstrating the struggle, the danger, the politcs of rising to the top, we just get another expositional montage with voiceovers. Have fun trying to remember what overlapping whispers are important plot points and which ones are just a little flavoring to show the glamorous gangster lifestyle the boys are entering into.

The stitled, awkward pacing of this film can actually be broken down to a pattern if you were paying close enough attention: major plot point, expositional montage mentioning specific Thing, the Thing happens in literally the next scene, 12 minute long sex scene, and repeat for 2 hours. It doesn't make for a very compelling narrative at all.

Additionally, the characters themselves were so one dimensional and poorly acted (sorry Christian :/ ) that not even they could save the movie. The accents were cheesy as hell, but even worse than those was the dialogue which consisted of banter and one liners that wanted so badly to be insidious and clever, but only ended up sounding like borderline nonsensical gangster jargon that was regurgitated by memory from someone who had seen Good Fellas once. And when the dialogue wasn't an unsuccesful mimicry of shrewd banter, it was equally meaningless, psuedo-artfilm dialogue. But instead of using dialogue as a device to allude to greater themes and deepen both the emotional and philosophical landscape of the film, everyone's dialogue was just a series of free floating, psuedo-intellectual lines that when strung together, didn't actually make a conversation or even develop the characters themselves.

Which is yet another problem with Mobsters. Although the characters are based upon real life historical figures, the characters themselves are barely developed on screen. Everyone's personalities are almost indistinguishable from one another because every character is so one dimensional. Despite the bounteous material the writers had to work with such as Lucky Luciano's righteous anger at the injustice his family and others have faced, Lansky's battle against the anti-semitism he faces, or the political landscape of the time controlled by the Mafia, all the characters are still underdeveloped caricatures.

The main focus of the film could have been the conflict that exists between Luciano's desire to see an end to the vicious reign of the Mafia while also seeking to be the Ringleader himself. It could have been a slow burn film focusing on the strategy and politics of attempting to dethrone the cities two biggest mob bosses. It could have been about how Luciano's and Lansky's friendship developed and devolved throughout their enterprise. It could have focused on literally any number of things to help anchor the story in a main conflict. But instead, the focus of the film flits from politics to personal drama to love scenes with only the cast of characters to connect the threads. None of those plot points were artful B-plots that helped flesh out the story and the characters; they were pitiful, unskilled attempts at creating a world to immerse the audience in without having any knowledge about how to effictively do that. As a writer, you can't give equal attention to all the different threads throughout a story otherwise the audience doesn't know what the main point is - that's why they're called B-plots.

Moreover, Mobsters used yelling really loudly and dramatically as a superficial plot device over and over again and each time it did nothing but made me want to hit mute for a moment or two. Syd Field's put it best when she said "All drama is conflict. Without conflict, there is no action. Without action, there is no character." However, what Karbelnikoff doesn't understand is that conflict is not just people displaying extreme emotion; there needs to be substance behind what is creating this conflict and that the audience needs a chance to become invested in the storylines and motivations the conflict is contigent upon. People aren't moved just by emotion itself; people are moved when they can empathize with a character's struggle. But we can't do that unless the director takes the time to walk us through the world they've created so the stakes actually seem real.

This film is chock full of scenes where characters that don't seem to have a reason to fight are fighting. I'm sure it's supposed to demonstrate what a rough business being a mobster is and how the pressure of ambition and the ever present threat it might overtake you, but instead it just makes the characters seem volatile and juvenile to the point that I don't even want to sympathize with any of them.

Lastly, this wasn't even a beautiful movie. Just like a Marvel movie, every shot was obvious, straightforward, and boring. In a movie that is all about the excess and glamour and violent opulence, you'd think the cinematography itself would reflect that. Instead, I wasn't surprised or moved by a single shot throughout the whole film. The overtop villains had such potential for unsettling, aggrandizing angles but every scene felt about as creative as watching talking heads.

And my very last bone to pick with this film is the ENDING. It felt like they decided to toss in a random moral to the story solely for the purpose of offering some kind of closure. I mean, to be fair, there's no other way they could have wrapped it up since the entire film is just a series of loose threads. But it was just the perfect way to punctuate the end of this wishy-washy movie (about MOBSTERS) with a vague cliche sentiment of "can't we all just get along?"

To me, Lucky Luciano is perhaps an anti-hero. I empathize with his desire to seek retribution and justice and instigate egalitarian politics, however, he doesn't seek to eradicate the institution of the Mafia, he just wants to run it *differently*. This could have made Luciano a supremely compelling character, but the movie never really frames him as a good guy or a bad guy. He is just kind of matter-of-factly presented to the audience with no real commentary. So by the end of the film, the fact that he's painted as this feel good hero within the last few minutes felt contrived and meaningless.

If Luciano's aim was to be the biggest mob boss around while also instituting a more egalitarian regime, why wasn't that the main focus of the film? It's definitely brought up, but it isn't given the focus it should have. We just knew that he wanted to overthrow the other bosses, but didn't delve into what his visions for the Mafia were or how much his desire for success was consuming him.

So the ending sentiment of the movie being "and then the bad guys were dead and a really Nice Guy became head of the Mafia and everyone was treated a lot nicer :)" felt juvenile and cheesy.

Mobsters gets a total of 1 Slaters out 10 Slaters. I'm not prepared to give it a zero, but I have no justification for that because, news flash, my rating system is wholly subjective and based on what I feel inside my heart. I will not be accepting criticism on this point. Thank you for understanding.

[louisrecords]

[Translated by Google from Portuguese]

RIO - Before the interview with singer and composer Louis Tomlinson, on 13/3, the team of the English musician warned: no subject was forbidden, but if possible, it would be better "not to speak very deeply" about the death of the mother of it, an episode that inspired "Two of Us," the single Tomlinson released in early March. After all, it was a sensitive subject.

Johannah Poulston died in 2016 at the age of 42 after a rapid and fatal fight against leukemia. From mourning, came verses like "this morning I woke up still dreaming / with memories playing in my head / You'll never know how much I miss you / The day they took you, I wish it had been me", they open the ballad composed by the son.

The 27-year-old, revealed by one of the most successful groups of this decade, One Direction (today on hiatus), did not imagine, however, that hours after the GLOBO chat he would have to deal with another tragic loss: his sister, Félicité, just 18 years old, suffered cardiac arrest and could not resist . So far, Tomlinson has canceled public appearances and has yet to make public pronouncements on her sister's death - her latest social media releases were on the 13th.

In the interview, Louis Tomlinson was lively and communicative. Among the members of One Direction (including Zayn Malik, who left the band in 2015), he is the only one who has yet to release an album or solo EP. Perfectionist, the artist postponed or debuted several times, but promised that the wait does not pass this year of 2019:

- My fans have waited patiently for so long that I need to make sure this album is brilliant. I do not want to listen later and have the feeling that I could have done better.

See below for other interview topics with Freddie Reign's three-year-old Tomlinson, the fruit of a relationship with stylist Briana Jungwirth.

"Two of us" is a ballad with a very organic instrumentation, with the piano as a base. It's a different song from other singles you've released, like "Just hold on" and "Back to you." Did you feel it was the only way to tell this story?

We had some conversations at the origin of the idea to make this song in a more ... let's say, friendly way to the radios. But I wanted to keep it simple. To be honest, this production may be more tied to my album than "Just hold on" and "Back to you." The beauty of doing feats is being able to live some of the world of other artists, as I did with Steve Aoki and Digital Farm Animals on these singles. But it was not exactly my sound. For the album, which will come out later this year, I will not say that we will only have ballads, but the production will be essentially organic, real, nothing super programmed.

What else can you talk about the album?

I have worked hard on him. In terms of lyrics, I can say that I am being very honest and telling stories of my life in songs that help me to know a little more about myself.

You are often singled out as a perfectionist artist. Did this feature make you stay that long without releasing a solo album?

Yes. And you get more pressure when you're doing an individual job, especially an album. I want to make sure every song comes out as good as it can be. I do not want to listen later and have the feeling that I could have done better. Time has passed and I think there is more pressure now for me to release an album soon, so I have to have even more security.

How do you deal with this pressure?

I definitely feel it, as well as the responsibility I have after having left so many people patiently waiting for this record. But again, I'm also aware that if people expected so much, I need to make sure it's brilliant.

Speaking of waiting, since embarking on solo career, you've only made appearances on television shows to promote singles, but no show or tour. Do you miss the stages? Are you ready to go back?

Yeah, I'm definitely ready to hit the road and I miss her. I spent a lot of time touring with One Direction ... But of course, you can not do that without an album, so I knew that if you wanted to spend more time molding this record, you would have to wait to go on tour. But it was a conscious choice. And it will not last until the end of the year.

And your son will be close to turning four by the end of the year so I figure this is a good time to go on tour again.

Yeah. It is always difficult to leave him, but now he is already grown. Of course, when I go on tour, it's not going to be with those crazy schedules either, being a long time away from home.

How did the experience of parenting inspire you?

Musically, I would not say it was a big influence, maybe just in one of the songs I'm recording. And personally, I always treated the idea as natural. It was a great event, of course, but I am the oldest of seven brothers, so I always had to be very responsible.

You wrote many of the lyrics to One Direction, but I imagine it's different to write for the group and for your solo career. What kind of approaches do you have today that you did not have before?

The lyrics in One Direction were a bit more generic, let's put it this way, because they had to match the feelings of four or five of us, so now I have the opportunity to talk more with my heart. In terms of production, I'm probably looking for the simplest possible. In the group, we had a lot of this pressure to make radio songs, but now I want to embrace my roots and keep myself organic, true.

One of the challenges of stardom is not being able to control the image that people create of you from news, gossip, and everything else, even when it comes to a reserved person. In a scenario where this public image could be effectively built, how did you want to be seen by everyone?

This is difficult. I think the natural stereotype of a musician or a celebrity is not always incredible. Sometimes, for various reasons, people expect me to be rude or bad, for example, when in fact I just wanted them to understand that I'm a really nice guy.

One Direction is one of the most popular bands in the world and you have always had to deal with harassment at airports, hotels, get away from paparazzi etc. Is it calmer now?

It's less intense, definitely, in every way. The calendar is calmer, my routine too, I have appeared less. So nowadays I get more time and space when I want to play or watch a football match, for example.

Although new, you've sold millions of albums, traveled through dozens of countries and lived quite a bit. What are your personal and artistic ambitions?

As an artist, I definitely think that in a solo career, I'm starting over. I'm very proud of my experience with One Direction, but now it's my name, so I want to conquer my things too as an individual. That makes me have ambitions to be achieved. As a person, I expect to get old, look back and feel satisfied. I think at some point in my life, when I'm a lot older, I want to go back to a more formal education, maybe a college or something that interests me academically.

In 20 years ...

I hope I'm still making music, I think it's everything (laughs) .

Brazil is one of the main markets of One Direction. One of their solo singles, "Back to you," had 17 million streaming footage coming from here, and I imagine you get a lot of messages from Brazilians on social networks ...

(STOP) MANY messages. Tons of them.

How is your relationship with the country and with your fans from here?

For starters, I'm completely in love with football. And historically Brazil has formed legends of this sport, so I have a great admiration. About the fans when we play there ... There are a few places that stick to your head when you rank the best, craziest, funniest fans in the world, and Brazil is definitely one of those places. I really feel the support of the Brazilian fan base and I can not wait to go back on tour to see them again.

[clonerightsagenda]

Here are my collected thoughts, so far, about the ASOUE television series as a whole. I'll preface this by saying that I really enjoyed it and it was one of the best book to screen adaptations I've seen. It was fun, visually appealing, pretty darn faithful to the original material, full of Easter eggs for fans, and skillful at adopting supplemental material to flesh out the story. Some more organized thoughts below:

Unreality

Every time I started a new season of the show, I had to get re-accustomed to the rapid fire, almost stilted way the characters deliver their lines. However, I think that's intentional, along with the way that the outfits look more like costumes and the settings look more like sets than the real world. It gives the whole show the feel of a historical reenactment on TV, like we're watching a simulation of what Lemony could uncover with his research. Once I got used to it, I liked it, along with the overall surreal atmosphere.

Olaf

At first I found it odd that both the movie and TV series make Olaf far more of a humorous character than he is in the books, but book!Olaf is legitimately scary. Watching a sinister grown man terrorize three children for 25 episodes might become too distressing to function well as entertainment. Allowing us to laugh at him occasionally breaks the tension, even if it does fundamentally change his characterization.

The desperate for approval angle in the third season was also new (as far as I can remember, I haven't read the books for a year or so) but I can see where you could extrapolate it from his general theatrical behavior. As I mentioned in my commentary about previous seasons, the TV show is more of an ensemble cast rather than focusing solely on the Bauedelaires' story, so it makes sense to give Olaf some sort of arc as well if we're going to keep cutting back to him. It further undercuts his menace, but they'd already done that. It allows the show to push harder on the parallel between him and the Baudelaires as he complains that every parental figure in his life died or let him down. We may or may not pity him, but we can begin to understand and respect the children even more for not turning out like him. That also helps set up the strange, unfamiliar situation where all his confidence and power is stripped away in The End, since the tv version slimmed that down.

VFD

This is probably the change I found most frustrating, but to be fair, it wasn't a change at all from the books. ASOUE!Lemony is pretty nostalgic about VFD. Most of the more straightforward clues that neither the firefighters or firelighters were really great are present in the unauthorized autobiography. It might have been tricky to work the whole 'We stole children and brainwashed them into donating their fortunes to finance our organization for years until half of us decided burning down their houses and stealing the money right then was way more satisfying' without distracting from the Baudelaires' story. I get that. I'm not entirely sure how I would've done it. (I will probably let you know once I think of an idea.) Anyway, we still get the chef's salad speech and hints about moral grayness (the fire fighters created the mycelium, Olaf's accusations, grooming children to be secret agents and dragging kids into dangerous missions with no preparation, etc.) but framing the opera incident as an accident stole the series' best example that allegedly noble people can do wicked things just as wicked people can do noble things. It dropped a lot of the inner conflict from the last book as the children tried to grapple with their parents’ legacy. Their parents’ past research ends up saving their lives, but their past actions were part of what triggered this long series of unfortunate events. That ends up robbing the series of a lot of its complexity, especially since it spins the schism as a much simpler issue.

The Ending

I wasn't sure how they would pull off giving the show a more uplifting ending after having the narrator announce multiple times that it was going to be unhappy, but honestly I think having Lemony not know how things turned out past TPP until the last minute was a brilliant way to handle that. It gave us some much needed closure not only for the Baudelaires (we don't know much, but we know they're alright) but for minor characters (ymmv but I enjoyed the more sympathetic henchpeople and am glad they're ok) and for our long-suffering narrator himself. I loved the meta gag of seeing Lemony writing the first book and then quoting it with Beatrice; I'm always a sucker for that kind of thing.  As a kid, it was valuable for me to read a series that suggested adults aren't always right, things aren't always simple, and happy endings don't always happen, but right now, I want to think that they can. (Plus, some stuff in the Beatrice Letters and a few throwaway lines in ASOUE imply the Baudealaires survived anyway, so it's not a total divergence from canon.)

The Randomness and Unfairness of the World

Snicket warns readers the ending will not be happy or satisfying, and the books certainly fulfill that promise. You don't really know what happens, and there's a possibility some of the main characters drown or were eaten by a sea monster. The show obviously does not do this. I already mentioned that I preferred this based on our rather distressing modern times, which could also be described as an incomplete history of injustice, but what about theme? A big theme in the books is uncertainty and randomness. The Baudelaires are dropped in the middle of something they don't understand and are shunted from place to place, victims of adults' complicated machinations or genuine incompetence. There's a lot they don't know and will never find out, and the reader is left in their shoes - stuck only knowing what the children learned or Lemony was able to uncover. We're shown over and over again that the world is not fair. It does not always makes sense. It is not interested in tying up loose ends for you. I think that's a valuable message for kids to see, dark as it is. It's realistic, and we're supposed to share the Baudelaires' distress and confusion.

The show does not stick with this theme. Consistently, it reveals things that were only hinted at in the books. Viewers get to stay a step ahead of the Baudelaires. As I mentioned in commentary on previous seasons, I think that ends up working because the TV show spends a lot of time expanding the universe, although it does rob the impact of scenes like the children realizing the underground passage from 667 Dark Avenue goes to their house. We're no longer as lost in the world as they are.

I think both have their place, honestly. The books allow us to relate very closely to the protagonists, while the show creates a more satisfying holistic experience. Since many of the viewers have read the books, it's almost like we're gifted with the benefit of hindsight.

Does giving us answers ruin the theme of the book entirely? YMMV, I think. It does mean we lose something, I think. However, Handler didn't leave all the gaps in his narrative to torture us. He doesn't hand us the answers, but he provides plenty of clues in the series and its supplementary material. By piecing together that apocrypha, you may not be able to answer every question, but you can take a good stab at it. So I don't think Handler wants you to be a frustrated reader as much as a critical and active one. That's hard to do in a television show, so they had to lay more out there. They're different: different formats, different themes, different reader/viewer experiences. Imo, both are effective at what they try to do.

[lookslikechill]

WIP Song Summary Game

Tagged by: @requiemesque​ and @katerinarevel (thank you so much, I love writeblr tag games that incorporate music!!)

Rules:  what are three (3) songs that really embody your wip? how do they relate to it?

3 songs that embody Daydream Walking below the cutoff!  Warning, I got super rambly, especially for the first song.

Tagging: I’m not sure who hasn’t already done this, soo if you wanna do it, just say I tagged you!!

**Even BIGGER Warning!!!!  I dug much deeper into the many many heavy/hard to stomach themes that are very much present in/going to be present in this work!  For the first song I mostly just talk about masculinity, but for the second two content warnings for: abuse, murder, death, drug abuse/addiction, mentions of cocaine and alcohol, mentions of accidental overdose and vehicular deaths, police neglect/incompetency, mentions of weapons (guns, knives, etc.), and one single rape mention.**

Man to Man by Dorian Electra

So you want to play rough in the parking lot See you acting tough, but I know you're not We can take it outside, scuff up in the streetlights I just really wanna fight with you

Man to man, hand to hand One on one, friend to friend Are you man enough to soften up? Are you tough enough to open up? Man to man You gotta let me in 

This song perfectly represents the elements of masculinity vs. toxic masculinity, and internalized homophobia in DW.

Admittedly, when I first started writing Daydream Walking, I felt rather guilty for a period of time about how male-centric it is, with three main men and a whole lot of male side characters.  However, I realized there’s no reason for me to feel bad about it. It’s there for a reason. I’m a man, a trans man, and I often recognize and am bothered by the presence of toxic masculinity around me, the way a rigid standard of masculinity hurts both men and women.  And I certainly hope to address it in DW.

Clay is what would be considered effeminate today, he certainly comes off as gay.  In the futureverse of Astervale 4146, he does not stand out, it is okay for him to express himself the way he does- dramatic and charismatic, grinning and talking, dancing and joking.  When he’s plunged into the past, into the grim reality of 1947 Port Cassandra, California, he sticks out like a sore thumb, even when disguised and toned down.

Alistair actively conforms to the standards of masculinity of his time, both because that was what he was taught to do and also out of a sense of paranoia, a fear of what will happen if he’s caught, a fear of being viewed as weak, as less than a man.  Though some of this protects him, it also leads to his mental health issues(PTSD) being unresolved, which harms him. His stoic refusal to share his feelings and express emotion also harms his relationships, and though he may not recognize it, is part of what leads to his wife wanting to divorce him in the first place.  Not only is he different when he returns, supposedly alive and well, from war, but he won’t say a word about it to her.

Despite how progressive the future may initially seem, harmful ideals about men and women and their roles still exist, especially among Astervale’s rich and powerful, and this has an impact on Quince; on his belief in himself, his willingness to look more closely at his own situation, to speak out, to say no.  It certainly doesn’t help that it’s the men in Felicity’s life that Quince is most often coming in contact with, whose opinions of him he knows. The existence of Quince and Felicity’s relationship in this wip, this novel-beast of mine, is partially to prove a point, to bring the issue of abuse against men, but especially at the hands of women, to the forefront of the mind.  I can’t believe how many men I’ve spoken to who believe they can’t be abused- if a women tries to rape him, he’ll just hit here, right? Because all men are inherently stronger than women, right? Because any man would be willing to, and capable of, physically fighting off an attacker, right? It just comes with so many more harmful ideas, I simply cannot unpack them all right here.

In short- Men should be allowed to express, or not express, masculinity in many different ways, as long as they are healthy and do not harm women or other men.  Men should also be allowed to express emotions, and not only that, be but taught how to express them and deal with them in a way that doesn’t harm others. This is definitely a broad theme in DW.

Freaks by The Hawk in Paris

We have a flair for the shade and the inbetween We like to run with the wolves from the darker scene When we turn the safety off, the shots are automatic All our friends tell their friends we're so dramatic

We'll have you wrapped around our trigger finger Queen bee yellow, you're the skin for our stinger We'll make you swoon, make it hurt just a little We're the boys and the girls and the freaks in the middle

We know the halls you walk are unforgiving It's not the kind of place to find your place among the living We have a plan, we've got the means for your liberation You'll only have to blur the lines on a few occasions 

This song hits the themes of corruption and manipulation right on the head.  I also just love the sound of it- shady and smooth, lyrics flowin’.  In both the future and the past in Daydream Walking, there is corruption.  

In the past, it is more deeply rooted, at least in Port Cassandra.  The Captain is listless, dispassionate, and careless, past his prime and clinging to glory days gone by.  He largely ignores problems growing right underneath his nose.  Half the police forces is using, and addicted to, cocaine, as well as drinking heavily.  There are many more ways in which the police force in Port Cassandra is SUPER flawed, from each individual officer/detective to their aged/out of date vehicles, but it all tracks back up to the man in charge.  Not only does he not take care of brewing issues, he actively makes choices that get in the way of the productivity of the force.

In the future, well, I choose not to reveal how corruption has a role there, quite yet. >:3c

As far as manipulation goes, Quince is most certainly being manipulated/gaslit by Felicity, and manipulation also plays into corruption in Astervale’s government.

To end this section, the lyrics “the boys, and the girls, and the freaks in the middle” are fitting because of the many different characters appearing in DW, including quite a few nonbinary characters! (Note: Not that I think of nonbinary OR trans people as freaks, just seems to reflect some general societal outlook, especially historically unfortunately hhhhh)

Florida Kilos by Lana Del Rey

We could get high in Miami, ooh-ooh Dance the night away People never die in Miami, ooh-ooh That's what they all say (You believe me, don't you baby?)

Come on down to Florida, I got somethin' for ya We could see the kilos or the Keys, baby, oh, ya Guns in the summertime, chic-a-Cherry Cola lime 

And this one nails the drugs. Port Cassandra is up to its nose in cocaine, and not only it is inside the police, but many of them are also heavy drinkers.  The majority of people also smoke.  Quince is an alcoholic self-medicating subconsciously to deal with the abuse he’s been experiencing at the hands of his wife, and Clay is temporarily out of commission when he comes into contact with a new street drug.  Themes of addiction, recovery, and, yes, accidental death all show up in this thing.

The murder and death.  We start off dipping our toes into the waters of the investigation into the murder of the Morgans in Astervale, and many follow after that.  In Port Cassandra, many murders and “accidental deaths”(read: cocaine overdoses/drug associated car crashes) crop up, keeping the small police department stretched thin.  

And the presence of weapons, including guns, wands(which are treated as weapons/only issued to certain Government officials, mostly Enforcers(wizard cops)), knives, and even, cars. Clay’s means of travel into the past is an enchanted knife that cuts through the fabrics of time.  Alistair is almost constantly armed, or has a weapon nearby.  Clay, Daphne, and the rest of the Enforcers all possess wands, which allow them to do things with magic that cannot be done without a wand (for example: bodily manipulate somebody without their permission).

Additionally, the dreamy, slow sound of it feels really fitting, especially to the portion of the novel-beast set in Port Cassandra.  

(End note: Quince DOES get a happy ending, goddamnit!!  I feel like that is very important.)

If anybody has any further questions, please please please send them in!! I would love to answer them, and thinking about these things helps motivate me and figure out the rest of the story and what I should do next!

[icarusatmidnight]

Novel Prep Tag!

I was tagged by @indecentpause to do this, so thank you! I get a bit distracted yesterday watching a certain music video and looking for pictures, hence why it’s a little late~ :D

Rules: Answer the questions and then tag as many writers as there are questions answered (or as many as you can) to spread the positivity! Even if these questions are not explicitly brought up in the novel, they are still good to keep in mind when writing.

1. Describe your novel in 1-2 sentences (elevator pitch)

Three twentysomething year old insomniacs attend an informal late night support group to deal with their magical trauma, or maybe become gods? The wording is pretty unclear.

2. How long do you plan for your novel to be? (Is it a novella, single book, book series, etc.)

I'm still not honestly sure. When I think about it, I always personally break it into Act 1, Act 2, Act 3 but I'm still not sure if those will be just acts with a single book or something more. o:

3. What is your novel’s aesthetic?

Modern magic, mundane magic, runes and signals littered as graffiti in subways, redcap blood drives on the weekend in the park, friendships are rad, failure as a positive, that good old city night life, curling up in diner booths at 3am because why the heck not, found families and getting better

4. What other stories inspire your novel?

The Raven Cycle by Maggie Stiefvater, definitely! I had this hazy vibe and the character for Icarus before reading those books but seeing how ...matter of fact and mundane magic was described in the books just clicked something in my head. I ended up tossing out the old half-plot it had, and by the end of month, I had this new one and much much happier with it. :D

Also, the Serenity Rose comic book series. I have a thing for near-god characters that still have really relatable issues and just want to live their mundane life. It's one of favorite ...tropes, I guess, and that series does it great. It also deals with growing past your trauma (working through your negativity, so to speak~) so, yeah! It's free online too and I'd highly recommend it. Fair warning though, second book is a fair bit bloody at times. 

5. Share 3+ images that give a feel for your novel

I will always love this gif and the whole scene in MIKA’s Make You Happy video (the whole video really) but the playful vibes of dipshit friends is like, Icarus’s core to me. ( ´͈ ◡ `͈ )

Also, just... a lot of Hydrae’s art especially her old Teen Wolf fanart (like the bottom left picture). Fun fact! I first created the concepts of Oleander and Daed when I was watching the first season of Teen Wolf, so seems pretty fitting I still draw inspiration from one of my favorite artists from that time. Her DnD art is amazing too! :D

MAIN CHARACTER

6. Who is your protagonist?

Oleander Thistle is the main-main protagonist~.

7. Who is their closest ally?

While he dearly loves Kingcup and Thyme, his closest ally is Daed and he will always be. They're known each other the longest at this point and Daed does have Oleander's best interest at heart and can look out for him without overstepping his boundaries either.

8. Who is their enemy?

I want to say Lund because it's Lund. But he doesn't really feature in the story outside of mentions and flashbacks, so it's probably easiest to say shitty societal stigmas and shitty coping mechanisms on a whole?? 

9. What do they want more than anything?

Oleander ...wants to know more about himself and his past especially how he survived losing his heart back when he was like six. He has some theories that make sense, but he's lacking some good hard facts about that. Not knowing actually causes him a fair amount of internal conflict that he can’t seem to rationalize away like he can with most other things.

10. Why can’t they have it?

The easiest to swallow answer is he simply lacks any way of knowing or finding out. Both of his parents are gone and Lund wouldn't know so unless someone has a time machine, his hands are pretty much tied.

The harder one is that Oleander is honestly terrified of finding out that he's not who or even what he thinks he is, so he doesn't try and lets his fears fester inside of him. Like, what even is he? Who can honestly survive having their heart ripped out of their chest still beating and live on without it being much of an issue? It's fucking weird. One of the ideas that refuses to leave him alone is that he's nothing more than a confused spirit possessing the corpse of a dead six year old, and what if that's true? He spent years trying to get his life back. What was all that for if he's even not himself?

11. What do they wrongly believe about themselves?

That he's not him, but that's less wrongly believed and more his worst fear, you know?? Wrongly believed is honestly more Kingcup and Thyme's areas, and that's part of why they like Oleander. The kid is pretty matter of fact and reasonable with his opinions especially about himself (or so it seems on the outside, and even then it’s the what ifs that drag him down). He's like their unflappable little rock! :D

Until, of course, he isn't. :’D

12. Draw your protagonist! (Or share a description)

I really love doodling Olly so thank you. ^o^! Fun fact, his natural hair is like a dark auburn brown. His original plan was to screw around with his hair for funsies for a bit while he was traveling with Daed, only for someone to tell him blonde was a really bad look for him one day in a grocery store. He’s spitefully kept it blonde ever since because fuck you too, lady.

PLOT POINTS

13. What is the internal conflict?

Outside of his ‘what am I’ conundrum which is his main internal conflict, he’s also figuring out how to better navigate the bitter raging sea of anger inside of him. He may want to know more about himself, but that doesn’t mean he’s completely a-okay with the years he spent under Lund’s control. The trauma is still real.

14. What is the external conflict?

They've all been burned and traumatized by magic, and instead of doing the more rational approach to healing like talk to a therapist, they ...do other things that are less helpful. There's also a massive social stigma to having been burned by magic so it's not like they actually have a lot of options at hand. :/ Starting Icarus is actually helpful in that regard because at the minimum, it builds a nice little support system.

15. What is the worst thing that could happen to your protagonist?

Oleander is screaming the worst already happened, what could be worse than his past?! But off the top of my head, losing his heart again would been such a devastation to him. Or, just giving up completely.

16. What secret will be revealed that changes the course of the story?

That's a good question. o:

17. Do you know how it ends?

There's plenty of bits and pieces that I know happen, but it's not absolute yet.

BITS AND BOBS

18. What is the theme?

Mistakes don’t have to define you. Recovery isn't a straight line, but it's possible. Found families are neat.

19. What is a reoccurring symbol?

We will see. I’m sure they’ll pop up at times. xD

20. Where is the story set? (Share a description)

Most of the story takes places in a small port city named Dead Leaves. Less of it takes place in the Inbetween and The Romneya Backwoods too, but Dead Leaves is the main spot. Like I said, it's smaller city but still thriving and lively. The Icarus verse has a slight solarpunky vibe to it so despite the name, it's very green with lots of parks and trees and plants. It's common to see ivy climbing up old buildings and rooftops to have their own little gardens. There's plenty to do with an ton of shops and venues and museums and old historical spots too. Its home to the ever famous Clove Archives that's a massive tourist spot for all to visit, and because of that, there's a few universities and colleges within the city too.

I definitely write it with Boston in mind too, so yes~ c:

21. Do you have any images or scenes in your mind already?

I'm a super visual person so, oh god yes! Do I ever! So many scenes! One of my favorites involves Kingcup punching a wall and Oleander throwing up a wall. :D

22. What excited you about this story?

I just really like these characters, this concepts and the story I have so far. It honestly feels me with joy when I doodle and write about them and it's one of the first stories I've worked on that doesn’t really ever frustrate me either. I also just want to write a story about queer kids finding friendships, falling in love, dealing with the shit and learning from the lesser mistakes you make in your youth. Failure isn’t a death sentence, you know?

23. Tell us about your usual writing method!

I beat my ADHD down every so often and just write write write until it regains its strength? o: I’m gonna look into seeing a specialist this year to learn a better way because it doesn’t work well enough anymore. :l

Tagging: Mhmm. It said lots of people so @elliot-orion @loopyhoopydrabbles @mirror-of-too-many-books If y’all don’t want too, that’s totally cool too! :D And anyone else who would like to do it, please do it! I loved to see it! <3

[eldritchsurveys]

1036.

5k Survey LXXVI

3901. What is the most annoying tv ad? >> Implying that they aren’t all annoying? 3902. If you died, how would you hope others would remember you? >> I’m not concerned about that right now. I’m still on “are people even going to care?”, so. 3903. Name 2 questions that you will most likely never say 'no' to: >> This reminds me of how Sparrow and I have “body snatcher” questions -- like, questions you’d ask if you’re suspicious that the other person has been possessed or replaced by a lookalike impostor or whatever. And one of hers for me is “do you want Red Robin?” because I never say no to Red Robin, lmao. 3904. What is the softest part of your body? >> I don’t know, man. My organs??? 3905. What family do you want to see in place of the Osbournes when they finally stop doing their show? >> ---

3906. If you could pick 3 bands to go on tour together who would they be? >> I don’t care. We can’t go to concerts right now anyway. 3907. What is a main differance between western and eastern philospohy? >> Location. 3908. Would you be fooled by Joe/Josephine Millionaire? >> Who? 3909. Do you believe Michael Jackson does innoprpriate things at his Neverland Ranch? Like what? >> I don’t care. I don’t care I don’t care I don’t care. When he died the first thing I thought was, “oh, good, then I won’t have to hear about this shit anymore”. That’s how much I do not care. 3910. What do you think of gov. Ryan who cleared out Illinois' death row? >> This means nothing to me. 3911. Would you want a $500 gift certificate to: Kmart or Target? Target. Kmart doesn’t even exist in this area anymore. Macy's or Hot Topic? Macy’s. As much as I nostalgically love Hot Topic, let’s be real -- the clothing quality is shit, not to mention that they really don’t sell the same shit I used to love about them anymore. Border's Books or Spencer Gifts? oh, I miss Borders! :’( Victoria's Secret or Frederick's of Hollywood? I don’t wear lingerie, so I guess you’ll be giving that Frederick’s gift certificate to Sparrow. 3912. What do you think of this website: www.blackpeopleloveus.com/ >> Oh, that’s hilarious. I’m glad I actually went to see what it was, considering I’m usually lazy about that on surveys, lol. 3913. Man vs Elephant. A zookeeper was treating a constipated elephant. He gave her too much laxitive. Suddenly everything exploded out onto the zookeeper. He was knocked to the ground where he hit his head on a rock and got knocked out. There he suffocated under a pile of elephant dung. True story. Is it a funy story? If yes, what is funny about it? Why is it so taboo to laugh at death? >> I can see the humour in it -- I love ridiculous death stories -- but the concept is too gross for me to think about. And it’s taboo to laugh at death because people often feel like if you laugh at something you can’t also take it seriously when need be -- which isn’t true at all, in my experience. I laugh at death jokes and funny death stories without fail, but if someone told me someone they loved just died in [insert ridiculous way here] I’m not going to fucking laugh in their face about it. (People are welcome to laugh if I die in a ridiculous way, though. I’d probably do it on purpose just to add some levity to the situation.) 3914. What are your favorite five things from this list: alternate realities, animals, astronomy, birds, camus, cats, cheap trick, cocaine, cooking, costumes, dancing, elvis, gambling, greta garbo, james dean, jeff buckley, joy division, marilyn monroe, mixed drinks, moody blues, morrissey, mozart, my bloody valentine, orbital, pizza, playing flute, prince, radiohead, rummy 500, scrabble, table tennis, talk talk, van morrison, writing >> Alternate realities, astronomy, dancing, James Dean, Joy Division. Also mixed drinks. Preferably while listening to Joy Division and looking at the stars. 3915. Do you have to read lots to be able to write well? >> I think it helps. 3916. Vanilla ice. Everyone loved him, suddenly everyone hated him. What was the deal?? >> I’m sure there was a story, but I certainly don’t care enough to know it. 3917. If you could kick one person out of the grammies who would it be (Avril, Eminem, etc)? >> --- 3918. Studies have revealed that when sending out a resume a person has a 50% higher chance of getting a responce if their name is white sounding than if it is black sounding. What do you think about this? Why do companies respond this way? >> I don’t know what these “studies” are, whether they actually existed, or whether they were even reputable (or repeatable...), but in the case that that does happen, it wouldn’t surprise me. Like, racism is a real thing that has real repercussions, lmao. We been knew. 3919. Should Big Fat Greek Wedding really be a Big Fat Greek sitcom? >> I don’t know??? 3920. What are you addicted to? >> Nothing. 3921. What fascinates you? >> A lot of things. 3922. What is fascinating about you? >> I’m not sure. 3923. Personality wise, is anything the same for all human beings and if so, what? >> I don’t know, and I wouldn’t dare to speculate. 3924. What kind of a contest woud you have a shot at winning? >> I’m not sure. 3925. You see a dirty punk kid who had a giant cowboy hat on who is rolling his own cigarettes. Your impression? >> “hah, check out Mini Odin over here”, probably. 3926. What would you never want to have more than 2 of? >> Ears??? I don’t know, dude. 3927. Is there a movie you just could not finish watching? What and why? >> Yeah, there’s quite a few movies like that. Beyond the Black Rainbow was one. It was just too fucking esoteric for me. 3928. Is there anyone that you love and want to be around for no explainable reason? >> Well, I mean, there’s a reason... it’s because Can Calah is wonderful and makes me feel good to be around. 3929. Would you go to times square for new years? >> Fuck no. I used to live like a 15-minute walk from Times Square and I still wouldn’t go on NYE. That is literal pure hell and I really don’t know why people do that to themselves. Watching it on TV at home with people you like (or even just by yourself/with your dog) and some snacks and a bottle of champagne is the true ideal. 3930. Do you think that there are to many signs blocking up the scenery? >> Like... street signs??? Is this a reference to something 3931. Did video really kill the radio star? >> *shrug* 3932. What was your favorite atari game? >> I’ve never played Atari. 3933. what is your favorite neon color? >> Neon green. 3934. Do you get depressed eveytime it rains? If yes, why? >> No, although a rainy day may exacerbate an already gloomy mood (I am absolutely solar-powered). 3935. 'The more you admit that all your actions are robotic, the less robotic you are.' What does Tim leary mean by this? Do you agree or disagree and why? How much of your actions do you admit are robotic? >> I personally don’t know what the fuck he’s on about, but all those “LSD gurus” said some weird shit like that on a regular basis. It was part of their charm, I guess (and definitely fit in with all the counterculture stuff going on in that era). 3936. Are we not men? >> Well, I’m not. I’m a spider. 3937. Is it easy to be you? Would being someone else make it any easier? >> It is very much not easy to be me. Being me is often so exhausting and energy-consuming that I can’t do anything else some days. I don’t know what it is like to be anyone else, though, so I can’t comment on that. I’m doing my best with what I’ve got. 3938. Why are sex religion and politics such taboo subjects? >> Because people usually have very strong, deep-set beliefs and opinions about those things, which can lead to strife if everyone in the room is not in agreement. 3939. Is there really a differance between republicans and democrats? >> Yes. Otherwise the divide wouldn’t exist in the first place. I would allow that the differences are changeable (as the foundational policies of both parties have shifted over time), but they still exist either way. 3940. Imagine someone has a great personality, sense or humor, family and job. they also really really like you a lot. Would you consider dating them if they: were fat? limped? were a midget? had hiv? were paralized in one arm? had a glass eye? had only 6 months to live?

3941. What makes you experiance nostalgia? >> I mean, a lot of things. 3942. What do you remember about these historical figures: Woodrow Wilson? Hellen Keller? Christopher Columbus? 3943. Out of the above three figures, one is a huge racist, one is a socialist and one is a slave trader. Can you guess which is which? Racist: socialist: slave trader: 3944. Betcha they didn't tell you that in american history. Wilson, Keller and Columbus are painted as heros, impossibly good, ideal people. Why are so many things ommitted from and lied about in american history text books? >> *sigh* 3945. Do you drink super caffinated energy drinks? >> I don’t drink energy drinks, and I avoid caffeine levels higher than that which is in a cup of black tea. 3946. eminem or moby? >> Eminem. 3947. spongebob or the animanicas? >> I’ve never seen the Animaniacs, but I don’t much care for Spongebob, so I guess I’d watch Animaniacs if I had to choose. 3948. Why do people rush to grow up only to wish they were a child again? >> Social pressure, and then disillusionment. *shrug* My best guess. That’s not the experience I had/am having, so I can’t speak from experience. 3949. Why do people sacrifice their health to obtain money and then use the money to restore their health? >> Because capitalism is hell. 3950. Jetsons or Flintstones? >> I don’t have a preference. They kind of strike me as the same show just set in wildly opposite time periods, lol.

[bobbystompy]

My Top 75 Songs Of 2019

Previously: 2018, 2017, 2016, 2015, 2014, 2013, 2012, 2011

First time going below 100 songs since 2015, and I cannot wait. Giving this extra juice already.

As always, criteria and info:

This is a list of what I personally like, not ones I’m saying are the “best” from the year; more subjective than objective

No artist is featured more than once

If it comes down to choosing between two songs, I try to give more weight to a single or featured track

Each song on the list is linked in the title if you wanna check them out for yourself; there is also a Spotify playlist at the bottom that includes the majority of the songs

This is usually the part where I put up a pump up video, but we are going with something a little different this year.

(It was stuck my head. Blame Blink-155.)

75) YG - “In The Dark”

The video begins with YG chugging a full tequila bottle -- sure. This song is very bad. It’s like he’s in a competition to make the verse lyrics worse than the chorus lyrics (spoiler alert: the verses “win”); not even satanic imagery can save this.

74) Solange - “Stay Flo”

Here’s a weird take: wouldn’t Solange’s career be way more fun if everyone slept on her? Instead, it’s hype on hype -- plus being Beyoncé’s sister -- which makes it nearly impossible to deliver. This has a fun beat/vibe but is kinda boring... and was still easily my favorite off her album.

73) Art Alexakis - “The Hot Water Test”

My doctors told me that I had a disease / I will slowly fall apart until there’s nothing left that looks like me

This song makes the stakes clear immediately. It was released a few months after I saw Art play in June 2019 on my birthday. At the intimate show, he revealed his multiple sclerosis diagnosis as if we were all his closest friends. Something like this is never easy to deal with -- a similar announcement by the Lucky Boys Confusion singer did not help matters -- but music can help such a painful situation, and it’s clearly Alexakis’ exile here.

72) The Cranberries - “In The End”

A very suitable sendoff for the band following the passing of singer Dolores O’Riordan. The recording story (via NPR):

O'Riordan died suddenly in January 2018 at 46 years old and left behind the vocal tracks to what was intended to be the band's latest album. Now, O'Riordan's bandmates have decided to complete that album, In The End — the last album the band will release — in her memory. 

[...]

In June 2017, O'Riordan and Hogan started emailing album ideas and demos back and forth to each other. O'Riordan had been very open about her struggles with mental health and addiction, which would affect the band at times, but they wanted to make a new album. Hogan says that when they were emailing those demos, she was in a good place. They started laying down her demos.

"All of that was kind of behind her," Hogan says. "She's kind of found a way to cope with the mental health thing. That's why she wanted to write so much. That's what she kept saying, 'I have so much to say, I just need the music to put it to.' "

Hogan says O'Riordan's apparent stability is what made her death even more tragic and devastating. (Officials ruled O'Riordan's cause of death to be accidental drowning due to alcohol intoxication.) But after a period of mourning, the remaining band members remembered they still had O'Riordan's demos. As Hogan remembers, they finally had the courage to start listening to them again in late February and, with her family's permission, started recording in April. "We spoke to her family and said, 'Look, how do you feel about us finishing the album?' And they were really supportive," Lawler says. "They were delighted, actually. They gave us their blessing."

Hogan says, in a sense, they were used to O'Riordan not being in the studio when they recorded — "Dolores hated hanging around the studio once we worked on our parts" — but, of course, this time was different.

71) Raleigh Ritchie - “Time In A Tree”

Exercise time. Play the first minute or so of this song without looking at any YouTube visuals.

/waits for you

OK, who are you picturing singing this? Got your image?

Well, whatever it was, you’re wrong -- it’s GREY WORM HIMSELF.

This was the best thing about “Game of Thrones” in 2019, sadly.

70) Culture Abuse - “Goo”

Simple, effective, gets out before you can dislike much.

69) Lil Pump f/ Lil Wayne - “Be Like Me”

Sometimes, a song starts, and you can just tell it’s going to be ignorant. Even before the vocals kick in. This was probably our moment here:

Between that and the beat, it’s like the only thing you can think is “Ohhhh, he’s about to say some horrible things about women.”

Other choice lines:

- “Yes, I’m hella ignorant, I don’t give a fuck” (he even says it in the song)

- “I take drugs like it’s Vitamin C / I’m a millionaire, but I don’t know how to read”

This song almost feels like it existed already.

68) The Get Up Kids - “Satellite”

Finally, our first rock song with some punch. This probably takes the crown from both DMB and P.O.D.

67) Bad Religion - “My Sanity”

BR is historically my favorite band, so it is rather deflating to see them so far back on this list. That said, it is Year 40 (!!!) of their existence, so some can be forgiven. Yet... we’ve never needed them more, you know? It’s this weird mixture of resentment but understanding.

66) Billy Liar - “The Righteous & The Rats”

Gonna see him (them?) open for The Bombpops in March; looks quite promising. Has an old school Brit punk feel.

65) Beach Slang - “AAA”

Beach Slang never lets you forget they love -- no, like, LOVE -- The Replacements. When this cover dropped, I googled “replacements AAA”, and, surprisingly, nothing came up.

Ohhh, what I fool I was. After more digging, I discovered a band called Grandpaboy who performed “AAA”.

“Oh, damn -- he finally went outside the box with this pick.”

No. Grandpaboy is fronted by Paul Westerberg. Singer of, you guessed it, The Replacements.

James Alex wears his heart on his sleeve so hard, he might as well give the heart a little jacket so his heart can wear its own heart on its sleeve.

HE DID THAT TOO?!

You can’t even make jokes about this band; they live in the jokes with their damn earnestness.

64) Gesaffelstein & The Weeknd - “Lost In The Fire”

Even lesser known Weeknd-involved tracks sound like they could lead a soundtrack or close out a festival. Are you familiar with this one at all? It has 87 million views on YouTube. Abel is never not not playing.

63) FIDLAR - “By Myself”

Started from the bottom and I’m still at the bottom

Falling apart never felt so carefree and burdenless.

62) Constant Elevation - “Fuck Runnin”

As hardcore punk as this list is gonna get. All glory to Vinnie Caruana. Though none of his solo tracks from 2019 made it, this has an undeniable energy and confidence. Plus probably the best song title of the year.

61) Maren Morris f/ Brandi Carlile - “Common”

A focused duet that drills into relationship dynamics before throwing a personal theology wrench in the middle of the chorus.

60) Anti-Flag - “Christian Nationalist”

AF going in on the white, religious right. This is like throwing a 50 mph pitch to -- /looks up good baseball players -- Pete Alonso.

59) Cokie The Clown - “Punk Rock Saved My Life”

This is less of a song and more of a confessional essay, and it gets harder and harder to look away with every revealing detail. If NOFX’s Fat Mike needed this character as a vehicle to get all of these autobiographical details off his chest, hopefully it’s a helpful therapy.

58) White Reaper - “Might Be Right”

“Judy French” is such an untoppable song, but “Might Be Right” has a similar dynamic.

57) Denzel Curry - “RICKY”

Denzel Curry as a rap moniker is such a slam dunk.

/looks up actual name

!!!

56) Ariana Grande - “break up with your girlfriend, i’m bored”

It takes a special kind of hot girl twisted to issue this unflinching request while totally pulling it off.

55) Goody Grace f/ blink-182 - “Scumbag”

Not sure if Goody is a Soundcloud rapper, punk rocker, or some kinda emo hybrid of both.

A few asides:

- Have we ever -- ever -- heard Travis Barker this subdued on drums?

- On the Blink-155 podcast, Goody said he gave Tom from the Plain White T’s a songwriting credit because he unintentionally lifted some melodies from “Hey There Delilah”, but... I really don’t hear it at all; like, it sounds maybe in the same key but not much else?

54) Jonas Brothers - “Sucker”

Despite their popularity in the past, I do not think I could name a single JoBros song. That changed in 2019 with this poppy, light, clappy, Maroon 5-style single.

53) Goo Goo Dolls - “Money, Fame & Fortune”

Someone -- coulda sworn it was Brendan Kelly -- said this was Goo Goo Dolls sounding like Fake Problems, and that is spot on.

52) AJJ - “A Poem”

A poem is song that no one cares about

This short, folky tune led to one of my favorite Twitter exchanges of the year, when I reached out to a music journalist with a question and AJJ came flying off the top rope.

51) DaBaby - “Suge”

This song is fun, but I really don’t get it. Beat is cool, flow is fine... this is the new face of hip-hop? His name is DaBaby! What are we doing here?!

50) Laura Stevenson - “Jesus, Etc.”

Taking a classic and doing it full justice/adding some harmonies.

49) blink-182 - “Not Another Christmas Song”

Blink’s 2019 album “Nine” was very, very bad because it tried too hard and was not good. This song, released later in the year, takes an opposite approach and actually works. We get lyrics that are discontent, even clumsy at times -- the “I miss fucking in the rain” line is so out of place/cringe-y but actually feels real and not workshopped by 10 producers. The trio can hopefully use this better b-side to figure out the best songwriting should flow out of you without having to go through multiple stations on a conveyor belt first.

48) Dave Hause - “Eye Aye I”

This song has a lot I love (catchy chorus, wistful thoughts, hairline analyses) and a lot I don’t (genuine use of the word “old bores”, Van Halen getting respect), but one thing is clear: Dave Hause is in complete control.

47) Beck - “Up All Night”

I’ve casually followed Beck’s entire career and would not have guessed this was him if given 100 chances. As an exercise, I’m going to pull up the 2020 Coachella lineup and randomly point to an artist.

/pulls up lineup and points

I got Daniel Caesar. If you told me this was Daniel Caesar, that would probably make more sense here.

46) Shawn Mendes - “If I Can’t Have You”

Randomly came into Shawn Mendes tickets in 2019, and good gracious, that was something. Other than parents, we were the oldest people there by a lot. Getting to watch thousands of teens and preteens legitimately having the best moment of their lives was downright inspiring. When you’re that young, it’s not even hyperbole. Phones were flagrantly out; I’m talking 20+ minutes of straight video being filmed. I wanted to judge so badly, but if you gave me an iPhone at my first concert when I was 14, who the hell knows how egregious my behavior would’ve been. As fun as the whole experience was, I never wanted to be in a grimy punk club more. Sometimes, leaving your comfort zone makes you appreciate your home base more.

This is a rock solid pop song, but there are way too many you/you rhymes to not penalize it some.

45) Big Thief - “Cattails”

The whitest song you will ever hear that isn’t written by Vampire Weekend.

44) Bayside - “Prayers”

Bayside went super metal with their 2019 release “Interrobang” (such a sick name). So yes, the guitars are a touch harder than you might be used to, but the chorus soars; a great hook transcends genre.

43) Naughty Boy & Mike Posner - “Live Before I Die”

Few had as interesting of a year as Mike Posner. Following a breakup, the death of his father, and the death of Avicii, he decided to walk across the United States of America. He legit became Forrest Gump, right down to the beard and grown out hair.

In the video, you can see how a snakebite hospitalized him and almost derailed the whole trek. After a rehabilitation period where he almost lost his leg, our man finally makes it to the Pacific Ocean. If nothing else, watch for the ending -- it’s exhilarating.

42) Post Malone - “Wow.”

Post is flexing in this one; we’ve got slow motion jamming with the Red Hot Chili Peppers, international flights, a dancing beard guy, and a Fall Out Boy name check which really makes them sound cooler than they are now.

41) Bryce Vine f/ YG - “La La Land”

Sometimes, these summertime Cali songs write themselves. That is until YG comes in and flips over the board before you can finish the game. By the time the Coachella reference is dropped when Bryce comes back in, you realize 1:47 may have actually been a better endpoint for the song than its 2:47 length.

40) David Rokos - “Backseat Drives”

It’s winter in Chicago, again and until forever. If you haven’t been to the Jewel in the South Loop or Marshall Field’s before they changed it, just listen to this so you don’t actually have to.

39) Simple Creatures - “Drug”

Mark Hoppus and the dude from All Time Low give us this synth-pop bop that feels like the duo shooting their shot at a real mainstream pop hits. It didn’t quite get there, but they should feel OK about where it landed.

38) Chris Cresswell - “To The Wind”

My interest in The Flatliners ramped up considerably in 2019, as their near decade old record “Cavalcade” got plenty of spins (peep “Filthy Habits”; just stunningly incredible punk). Though they did not release anything this year, their singer put out “To The Wind”, a longing song about missing someone.

37) Kesha f/ Big Freedia - “Raising Hell”

Kesha, with the help of New Orleans’ Big Freedia, gives us another one. I’ve personally dug Kesha for a while now, but when is it time for us as a society to put her into the all-time conversation for pop artists? She has at least, like, seven HOF certifiable bangers. Plus she kills a guy in this music video.

In conclusion, I think this could translate to a country song very easily.

36) No Lenox - “Marquee”

Illinois/Japan’s No Lenox are back with Reuben Baird on the mixer and legendary masterer Collin Jordan (of The Boiler Room) on the, well, master, and the fullness in sound leads to the assault that is the “I saw your name on the marquee / Your friends were milling around outside” part. They only play it once, but I really could’ve gone for closer to five.

35) Red City Radio - “Love A Liar”

Rapid fire Red City Radio gets this one done in exactly 120 seconds.

34) Barely March - “Lead Single”

This sounds like Joyce Manor turned up to a 17 out of 10 before unexpectedly turning into a hellogoodbye song.

33) New Lenox - “Old Words”

Not a typo from two songs ago -- legitimately a different band. This one was written by your boy. The first 15 seconds were from a demo recorded 1/2/16 before developing the rest in 2019 (after some encouragement). We have Dave Rokos on guitar/bass, Dave Hernandez on hums, and Brian Bedford on some very temporary sleigh bells. Themes: online dating, resolutions, exes, currents, Black Wednesday, hope, and Carly Rae Jepsen stage banter.

32) MakeWar - “Sails”

Honey, I can’t make it on my own

You might get some Gaslight Anthem vibes as the vocals come in, but by the time the song ends, MakeWar leaves their own imprint on this impassioned ballad.

31) Sheryl Crow & Johnny Cash - “Redemption Day”

Was gonna say Johnny’s voice could move mountains before realizing no, Johnny’s voice is the mountains.

30) American Football f/ Hayley Williams - “Uncomfortably Numb”

Sensitivity deprived I can't feel a thing inside I blamed my father in my youth Now as a father, I blame the booze

An unlikely collaboration that makes you forget about its unlikeliness by the two minute mark. The two voices trade spots, mesh, harmonize, and weave throughout this beautiful song.

Asides:

- Blake from “Workaholics” in the video?!

- Choose to interpret this song’s title as a Pink Floyd diss

- “I’ll make new friends in the ambulance” should be a 2005-level emo lyric that we all mock, yet it’s somehow one of the most stunningly appropriate closers of the entire year

- I wish my friend Luke was with us to hear it

29) Stuck Out Here - “Embarrass You”

Stuck Out Here got onto my radar with 2014′s amazingly named “Getting Used To Feeling Like Shit”. Five years later, they’re back -- and not feeling much better. The Toronto quartet’s Bandcamp describes the song like this:

They’re fucking up, but unlike previous releases, they’re finally holding themselves accountable. 

You can even kinda hear their Canadian accents in the “I’m sorry I embarrass you...” part.

28) The Weeknd - “Heartless”

The Weeknd will be on these lists as long as he continues to make music even 1/8th as good as this.

27) The Chainsmokers f/ blink-182 - “P.S. I Hope You’re Happy”

A simple song that’s a touch more clever than you first realize. The Chainsmokers guy is giving me some real Owl City vibes. Also, how airtight of an apology is the line “I blame myself for when I was someone else”. It’s like the modern way of saying “When I was a child, I spoke like a child”. 

Also also, the “I will find a way somehow...” harmony in the pre-chorus is as pretty as music got in 2019. The Chainsmokers are so sonically pleasing, whether you end up liking the music or not.

26) Vampire Weekend - “Harmony Hall”

ooooooooh, that crisp guitar in the intro

25) Alex Lahey - “Don’t Be So Hard On Yourself”

If Carly Rae Jepsen can get a sword, why can’t Alex Lahey get a god damn saxophone? HIT ME.

That solo, combined with the “Mighty Ducks” reference in the chorus, make this song untouchable.

24) Lizzo - “Truth Hurts”

Let’s be clear: this did drop in 2017 but was technically re-released in 2019, so it does qualify for our list despite the criteria threatening timeline. Anyway.

The walking piano part, the iconic intro line (with a lawsuit!), the Minnesota Vikings reference (causing a Green Bay radio edit), and all of the damn positivity. Lizzo was among music’s big winners this year, and her success made you wonder how the hell someone this talented was slept on for those two years.

Let’s end with the purse.

23) An Horse - “Ship Of Fools”

Awkward band name, but a song that makes you pay attention. Kinda like Tegan and Sara, had they stayed more rock. So much urgency in the vocals and lyrics.

22) Charli XCX f/ Lizzo - “Blame It On Your Love”

Trippy vid; Charli continues to give us anthems. Wasn’t super high on the Lizzo cameo, but it somehow made more sense in the context of said video.

21) Sincere Engineer - “Dragged Across The Finish Line”

Sincere Engineer is back -- you can tell from the second those guitar leads get goin’. Drums from 1:19 to 1:36 = /heart eyes emoji. My buddy Cox said his next tattoo very well could be the outro lyric “Too dumb to succeed, too honest to cheat”.

(Bonus fact: they did a beer collaboration/show with Pollyanna Brewing Company in 2019.)

20) Lil Nas X - “Old Town Road”

Was unwilling to listen when this first dropped solely because of how horrible Lil Nas X’s name is (”What if a rapper came out named ‘Lil Jay-Z X’?!”)... what a foolish notion. One billion streams and a Billy Cyrus cameo later, I wouldn’t have been able to miss out on the Song of the Summer (and year) if I tried. More notes:

- Picked this because I had to, but “Panini” is legit good (200+ million streams)

- Went with the original (sorry, Billy), which is a beautiful 1:53 long (brevity, brevity, brevity)

- Did you know: Lil Nas X uses a Nine Inch Nails sample on the beat? This Rolling Stone interview with Trent Reznor is super interesting

Reznor calls “Old Town Road” “undeniably hooky,” but once it exploded, he took a back seat to the phenomenon. “The reason I haven’t stepped in to comment anything about it is, I don’t feel it’s my place to play any kind of social critic to that,” he says. “It was a material that was used in a significant way and it turned into something that became something else, and those guys should be the ones the spotlight is on…. They asked if I wanted to do a cameo in the video, and it was flattering, and I don’t mean to be disrespectful, but I don’t feel like it’s my place to shine a light on me for that. I say that with complete respect.”

Still, Reznor is amazed at how the song became a juggernaut. “Having been listed on the credits of the all-time, Number One whatever-the-fuck-it-is wasn’t something…I didn’t see that one coming,” he says. “But the world is full of weird things that happen like that. It’s flattering. But I don’t feel it’s for me to step in there and pat myself on the back for that.”

19) Gryffin & Carly Rae Jepsen - “OMG”

What doesn’t this little bop have? It’s kinda Chainsmoker-y and tingles like cool breath hitting the back of your neck.

18) Craig Finn - “Blankets”

You travel your whole life just to get out to the place you’re gonna die

I love everything about this song: the artwork, the intro, the climax, the command Craig Finn has from start to finish -- with such a payoff. Now several albums in, the greatest compliment we can give is that his solo stuff now feels more essential than Hold Steady releases*. You can even hear it in this line: “When we got to the Twin Cities / I said ‘Man, I know some songs about this place’”. Another life.

17) Carly Rae Jepsen - “Now That I Found You”

Carly always keeps us in the sky; picking one song was difficult because the album is even more fulfilling as you get to put the pieces together.

16) Billie Eilish - “Bad Guy”

Different genres*, but Billie Eilish lived up to her hype in the exact same way Lana Del Rey did in the earlier part of the decade. Lana said she was the gangster Nancy Sinatra and totally fucking was. Billie feels like something potentially even bigger. Nearly everything about her aura lets you project (or even second guess, if you’re a skeptic). Is she dead-eyed because she’s high or disaffected? Or just Aubrey Plaza? Is it her or her brother that’s pulling the strings? How can someone so young be so good already? In the skinny fashion era of All Achilles Everything, how is she rocking such loose fits?

“I never want the world to know everything about me. I mean that’s why I wear big baggy clothes,” she said. “Nobody can have an opinion because they haven’t seen what’s underneath.”

“Nobody can be like ‘Oh, she’s slim-thick, she’s not slim-thick, she’s got a flat ass, she’s got a fat ass,’” she continued. “No one can say any of that because they don’t know.”

It almost seems too easy, but how much sense does that make to you?

Great jokes aside, I have so much anticipation for what’s next, with assured belief in its potential. Pitchfork: 

In 10 years, she will still be well under 30. Let’s hope the planet survives that long.

Yes.

(* - though not totally)

15) Ben Gibbard - “Filler”

Before you check Gibbard’s, please listen to the original by Minor Threat. That’s what he had to work with. From there, a total transformation while doing the near impossible -- keeping its beating heart.

14) Martha - “Wrestlemania VIII”

Third favorite song title of the year/favorite music video of the year. This is energetic, bratty punk at its finest; also surprised to find out it was British, but, based on the upcoming tour dates and YouTube description...

This is a silly & frankly quite rubbish video but when you are a band trapped within surveillance capitalism's endless hunger for content trying to promote a tour sometimes things will be a silly & frankly quite rubbish. 

I love them. Seriously didn’t even notice the accents in the singing until I knew to look for them; now, it’s all I can hear. Also, the part in the video where they finally show someone with an instrument, only he stops playing guitar halfway into the solo (/crying emoji).

THEY SAY ABSENCE MAKES THE HEART GROW FONDA

13) Chance The Rapper f/ Ben Gibbard - “Do You Remember”

Chance The Rapper dropped a one hour and 17 minute album in 2019 because he is a monster. I could not name three songs on it, but this one stood out big. It’s Chano doing what he does best: reminiscing and evoking summer in his city. Gibbard on the hook gives it that 2005 nostalgia while also making you say “Damn, it’s been nearly 15 years since 2005?!”

Fav two lines:

1) “Used to have obsession with the ‘27 Club’ / Now I'm turning 27, wanna make it to the 2070 club / Put the 27's down, Lord, give me a clean lung / Took the ring up out the box, I know this ain't no brief love”

2) “That summer left a couple tan lines / I love my city, they let me cut the line on the Dan Ryan”

(If you know, you know.)

Two more asides:

- If you Google “death cab for cutie”, the next autofill from there is “do you remember”. Rough for the legacy.

- “My daughter on the swing like the 2017 Cubs” is a line that confused me, but here’s how Genius explained it:

Chance is talking about a memorable summer and the things that made him happy. This line continues that theme when he raps about his daughter happily on a swing and how that’s similar to the 2017 Cubs. The Chicago Cubs won the World Series in 2016; therefore, the 2017 season was one of celebration and relaxation as the pressure of the 108 year drought was over. 

12) Lana Del Rey - “The Greatest”

I miss Long Beach, and I miss you...

Listening to this song feels like watching the cement dry on a classic in real time. Lana Del Rey’s galactic “Norman Fucking Rockwell!” dominated lists at the end of 2019, and she -- to borrow her word -- fucking deserved it.

- The Beach Boys line is so god damn perfect

- The guitar solo (soooo sick)

- The breathy singing; the crooning; the notes that go up and then down until you’re surrounded by melody

- The perfection of this album name (minus the very iffy exclamation point) will have me comparing nearly any other all-time album title for probably the rest of our lives 

- Tried playing this album during my Monday night pickup basketball run, and it very much failed... but that’s about the only thing it couldn’t do

- I’m told the dude with her on the album cover is Jack Nicholson’s grandson (named Duke Nicholson, because of course)

11) Off With Their Heads - “No Love”

If you do not like punk rock, this will be unlistenable. If you do, what a treat! I love how dissatisfied and put off he sounds, and, while there are a few more lively songs remaining on the list, none in 2019 got fast-tracked to my workout/pump up playlist at this speed.

Factoring in the band’s van accident (occurred after the release of this song), the “There’s nothing I could say that’s ever gonna make it right” outro becomes hauntingly clairvoyant.

10) Drake f/ Rick Ross - “Money In The Grave”

We need to face facts: it was a down year for stadium hip-hop. Nowhere on this list do you see Jay, Em, Kendrick, or Kanye (rest in peace). This was my favorite rap song of the year, and it couldn’t even crack the Top 5. Similar to his beloved Raptors -- who are being celebrated here -- it’s almost as if Drake needed some injuries outside his own locker room to get the crown. But I’m done being bummed, let’s focus on the good:

- Ohhhh, the intro (”I mean where. the fuck. should I. really even start?”)

- The way he says “grave” in the hook like he can barely contain 

- The hook itself -- read it out loud: “When I die, put my money in the grave”

- How cool Ross sounds when he breaks in

- The Zion reference

The bad:

- Rarely take this angle, but really wouldn’t mind if it were longer

- Misogyny

9) PUP - “Bloody Mary, Kate And Ashley”

Second favorite song title of the year, 6/8 time signature, satanic references, drugs, hallucinations (maybe), and, yes, the Olsen twins.

8) Better Oblivion Community Center - “Sleepwalkin’”

“It’s impossible to count...”

The intro, as the tempo gets jarringly slower and slower, ironically helps you acclimate quicker. This Phoebe Bridgers/Conor Oberst collab was my No. 1 played track of 2019 (the album coming out in January definitely helped). The song builds to Phoebe’s solo part:

You like beer and chocolate I like setting off those bottle rockets We can never compromise But fighting 'til the death keeps us alive

It’s sung so well, you can almost feel the heat of the spotlight on her through the stereo. The lyrics could be anything.

The chill guitar solo takes us out.

7) AM Taxi - “Saint Jane”

Adam Krier is such a rockstar, he had me shouting “I’m no hero, at best a zero!” within my fifth listen -- and I was skeptical as hell when I first heard the line. But that’s about where it stopped. You can tell this song is going to rip even before the vocals come in. When they do (”These fears don’t die, you get older and they multiply”), it’s just fucking time to go.

6) Taylor Swift - “Paper Rings”

My favorite pop song of 2019. Tay is firing on all cylinders; every lyric is exactly where it’s supposed to be; boppy and fun and sincere (while still being light-hearted). Still holding out minor hope it will be a single in 2020.

5) Pkew Pkew Pkew - “The Polynesian”

I’ve always said the best songs make you want to live the lyrics, whether they are positive or negative. This one had me researching “polynesian wisconsin” faster than I’m comfortable disclosing. And yes “bed bugs” and “needles” were both in the Top 7 recommended searches after those first two words.

Pkew Pkew Pkew collaborated with Craig Finn on some of their lyrics on 2019′s “Optimal Lifestyles”, and I’d be blown away if he doesn’t have fingerprints on this one -- the storytelling is pristine. Go into this open-minded, and I’d be shocked if you weren’t shouting the “Goatees, tall cans, camo pants, and Packers fans” mantra by the end.

Bonus story: this St. Patrick’s day in Chicago, I asked my friend Sara (Wisconsin native) if she’d ever stayed there, and she held up her elbow and showed me a scar from the hotel’s water slide. Your boy was over the moon.

4) Spanish Love Songs - “Losers”

It gets harder, doesn’t it?

Dylan Slocum has a way of not just writing depressing songs -- many lyricists are good at that -- but specifically depressing songs. This song contemplates death, homelessness, squandering your limited time on the planet, credit card debt, leeching off your parents because you have no other choice, crippling illness, and completely giving up because there genuinely is no other choice. The last lines are, without any hint of winking, “We’re mediocre. We’re losers. Forever.”

It’s wonderful.

Two straight Top 4 finishes for SLS; their 2020 album should be something special.

3) oso oso - “the view”

If Jade Lilitri is making personal progress in “microscopic strides”, you wouldn’t be able to tell by his songwriting. Every tune has a way of warming up your entire body and being. This grabs you, whether it’s the laid back guitar or the mismatched quick drums or the big ass chorus. While it came down to this one or “basking in the glow” (an actual single), the bridge here puts us over the top:

But not as much as the phone ringing Not as much playing my house Not as much as the way her goddamn voice sounds It's like taking in sun And then taking it back I fall into old habits I'm stepping over your cracks again

Her voice? This song.

2) The Menzingers - “Strangers Forever”

This song makes me want to rip up walls, sprint through streets with no destination, shred my lungs screaming off rooftops, bash hands drumming the steering wheel until my sprained fingers beg me to stop. It is such a perfect encapsulation of my favorite band of the decade and possibly of all-time.

Scranton’s sons gave me everything and more from 2010 through 2019, so it’s fitting they end so high here. This is probably the most clownable sentence of them all, but I am so constantly thankful I am alive to experience Greg Barnett’s songwriting. What he creates, I can only compare to the best books or movies or athletes or even personal relationships.

The way the guitar alternates in the headphones to start, the drums that go big and push the song along, the reverb vox that certainly could have less reverb, the “it is what it is”-style lyric of “My miserable memory’s making me more miserable”, the oceanic imagery, the quiet bridge that explodes into a final chorus. Barnett said the overall theme was inspired by Leo Tolstoy’s “Anna Karenina”.

In it, the character Darya Alexandrovna learns of her husbands infidelity and declares: “Even if we remain in the same house, we are strangers — strangers forever!” The idea of becoming a stranger to someone you so intimately know stuck with me, and became the overarching narrative to this song. Dolly’s statement is definitive, but she also realizes the trappings of 19th century patriarchal Russian society. It’s a complex conundrum, and while lyrically I speak in the first person, this song exists in a world outside of my own personal experiences. I wanted to write about the finality of relationships that need to end this way. Strangers Forever. 

My only gripe is I wish there were more. But I’m the same person who never wants them to stop.

1) Signals Midwest f/ Sincere Engineer - “Your New Old Apartment”

Only one song could make me fear missing the chance to be with the love of my life the same year I married her. As discussed in “The Polynesian”, the best songs have the consistent ability to put you in someone else’s shoes. You are either reliving something you personally experienced or maybe taking it all in for the first time. And that can be powerful -- especially dealing with anything big picture.

“Your New Old Apartment” launches me into 2009 without ever asking. Age: 23. My life was transient, I had no career, I didn’t even believe in marriage. I left my retail job in the Chicago suburbs for an unpaid newspaper internship in New Jersey. When I saw the people I loved, I always tried to make it count. Still do.

The descriptors and feeling are suffocating, right from the jump:

I only saw you a couple times last year Once at a wedding, once at a funeral I wore the same clothes to both, and I was worried you would notice ‘cause yours were impeccable

That’s me, then. Not knowing how to dress but hoping to get by anyway. I remember talking to my buddy P before buying my “work clothes” and learning you needed to match your shoes with your belt. Boyish adulthood.

The song continues, and the narrator is filled in on 5-year plans. It may be cliche to speak, but every current moment is simultaneously your youngest and oldest. Being in my early 30s now, it is so easy to scoff at anyone’s best laid plans, but I’m also the same cat who thought The Wonder Years’ “Jesus Christ, I’m 26 / All the people I graduated with / All have kids, all have wives, all have people who care if they come home at night” was life-defining, because I was the same age when that dropped, and it always hits the hardest when it’s all around you.

What I love about these lyrics are the careful observation mixed with mature-behind-his-years restraint. For a very long time in my life, I did not think I would get to be with my wife as anything more than a friend. When you are forced to come to terms with those potential realities, you must make concessions and convince yourself they’re OK. So when it’s revealed the narrator’s muse is married, he resigns himself to hopefully seeing the person more and at least being adjacent to the life they are living. It is tragic but still something. It is alternate hope in the hopeless.

I can picture myself listening to this song that wasn’t yet written while leaving a 2009 or 2010 or 2013 wedding and wishing I told her everything. But I wouldn’t have -- not then. I would have poured my heart out into a diary and quoted a line or three from this at the bottom. But that was then, this is now. 

In 2019, her new old apartment will be my new old apartment, and that will never be lost on me.

* * *

Bonus coverage. Since we are at the end of the decade, I rounded up our No. 1 song from each year and have that below:

2010: The Menzingers - “Time Tables” 2011: Jay-Z & Kanye West - “Gotta Have It” 2012: Carly Rae Jepsen - “Call Me Maybe” 2013: Kanye West - “On Sight” 2014: The Menzingers - “Where Your Heartache Exists” 2015: Big Sean f/ Kanye West - “All Your Fault” 2016: The Menzingers - “Lookers” 2017: The Menzingers - “After The Party” 2018: Horror Squad - “I Smoke The Blood” 2019: Signals Midwest f/ Sincere Engineer - “Your New Old Apartment”

* * *

It’s time to stop writing. Thank you so much for reading.

Spotify playlist is here, featuring 70 of the 75.

[megacircuit9universe]

Impeachment Eve

TUE DEC 17, 2019

Yesterday’s entry was entitled, “Distant Thunder,” to describe how people seemed to be waking up to the true gravity of this impeachment... feeling it’s historic weight as one might feel the rumble of an approaching storm, and begin to worry that it might be a bit more serious than the idea of a storm seemed to be, when the skies were still mild and blue.

I’ve touched on this theme several times now, in recent entries... that it’s easy for the public, the media, and especially the GOP, to be very flippant about the impeachment, when it’s far away... but that the closer we get to that final vote, the more sober we will all become.

Yesterday, it was a little tick in the polls, showing a solid 50% in favor of both impeachment and removal, with another 10% favoring impeachment as a kind of censure to shame Trump, but feeling that removal is not called for.

So... what might cause that 10% to lean more in favor of removal?  Anything?

Well, today, on Impeachment Eve, Trump sent Speaker Pelosi a six page, flaming screed... available for all the public to read... described by all who’ve read it as, “unhinged,” in which he screams at her and her party, in the poorly constructed English he is famous for on Twitter, for conducting an illegal coup because they hate the Constitution, etc.

(I’d love to read a, “de-projected” version of the letter, where every, “you,” is replaced with, “I,” to reveal the full confession...)

 But at any rate, in the letter, he holds himself blameless and innocent of all charges.

So, it’s not only a ridiculous tantrum... made all the more cringe worthy because it was written on official White House stationary... but also a blatant declaration that, if acquitted by the Senate, he will proudly continue on with all the same illegal bullshit as before, and probably worse.

So, I have to believe that this will push some, if not most, of that 10% of the public who’ve been feeling like impeachment without removal would be enough to set Trump straight... into the removal camp.

It’s not gonna push anybody into the no-impeachment camp, because remember... Trump only loses followers.  He never gains them.  That’s been true since he took office in 2017.

But the frothing rage of hysterics that is today’s letter from our President to our Speaker, is also part of this weeks trend for those in the junta to make nakedly plain their scorn for the rule of law... not on some esoteric plane, but as it is spelled out in the original draft of the Constitution.

These Oaths in here?  Fuck them.  Separation of powers?  Well, fuck that! Checks and balances?  Fuck that too!  

Fuck the truth.  Fuck pretending to care.  Fuck all of it... we are going for broke as out-of-the-closet authoritarians.  We make the rules now.  Try and stop us!

(It’s worth a mention here that all of this is happening thanks to the midterm elections, which exist as a voter check on the general elections, and in which we gave the House back to the Democrats... with a mandate to impeach... that they still resisted doing for some twenty months.  So any argument that this is an illegal coup to undo 2016 is delusional bullshit.)

And I do see this as another iteration of the truth virus, touched on in earlier entries... McConnell baldly admits he’s working with Trump on the trial, and means to acquit him.  Graham openly brags that he will not be an impartial juror.

And today... Trump basically screamed that he is above the law and can do no wrong... stopping just short of threats.  Closest he came to a veiled threat was to tell Pelosi she will have to live with this decision to impeach him, but he will not.

Well... how will he not, unless he rewrites the history books, while she’s rotting in Guantanamo with the rest of her deposed House members?

I’ll admit that’s a stretch... with just the material in today’s letter to go by.  But let’s not forget he threatened to put Hillary Clinton in jail while he was still just a candidate for President... and that this whole impeachment is based on his intention to gin up criminal charges against Joe Biden and son.

But not to fear, because these displays of bravado, by McConnell, Graham, and now Trump, this week, are all very obvious signals of fear and, in Trump’s case, a severe panic attack.

Some say this is not the behavior of the innocent, and while that it surely true, it’s more relevant right now to note that this is not the behavior of those secure in their power.

If Trump’s acquittal in the Senate were really the foregone conclusion that even the liberal media has been granting as a given... McConnell and Graham would not need to be bragging about their bias, and flipping the bird to their juror oaths in order to impress voters on the extremist fringes of the party.

They only do this because they already know such fringe extremists are their only real hope of holding on to anything in 2020.  Please, please come back out of the woodwork for us!  We need you!  Haven’t we done everything you wanted us to do?

But the only voters who came out of the woodwork today, were pro-impeachment, pro-removal people holding simultaneous rallies across the country, from Times Square, to Chicago, Detroit, Austin, Las Vegas, Portland and Los Angeles, and many small towns in between.

The few counter-protesters on site at a few of these rallies... all displayed the ensigns of white supremacy.  

Not the best optics to show that 10% who already support impeachment, but figure maybe removal is too much.  

All that McConnell, Graham, and Trump with his six page, “defense,” can mobilize is a fractional smattering of racist and nazi scum, and that’s not a great look.

Early today, before most of this hit the news, McConnell did respond to Chuck Shumer’s demand to hear from witnesses with a flat out refusal, arguing, with extreme irony, that impartial jurors should not be calling for witnesses or some bullshit like that.

Trumps letter drowned that out later in the day, but I did see a couple headlines on my phone to suggest that Senate GOP members did not agree with  McConnell’s stance, and were indeed interested in the possibility of hearing from new witnesses in... what, after all... is a trial... Mitch... trials do call witnesses.  That’s not abnormal.

If those headlines I gleaned have any merit, then it would seem Mitch is in for a bit of a fight with some of his own party members... who are looking to Chuck Shumer as the voice of reason in this body which must pass every little detail of the coming trial with 51 votes. 

That about sums it up for Impeachment Eve.

Yesterday, a bit of distant thunder.

Today... a hell of a lot of lightning!

I’m going to bed now.

[deomnibuscontradictionibus]

Circuitries, by Nick Land

LAND, Nick. Fanged Noumena: Collected writings 1987-2007. Edited by R. Mackay & R. Brassier. 3 ed. Urbanomic, 2014, pp. 289-318.

“Our human cam­ouflage is coming away, skin ripping oJff easily, revealing the glistening electronics.” (p.292)

“Since central nervous-systern functions -especially those of the cerebral cortex -are amongst the last to be technically supplanted, it has remained superficially plausible to represent technics as the region of anthropoid knowing corresponding to the technical manipulation of nature, subsumed under the total system of natural science, which is in turn subsumed under the universal doctrines of epistemology, metaphy:sics, and ontology. Two linear series are plotted; one tra.cking the progress of technique in historical time, and the other tracking the passage f rom abstract idea to concrete realization. These two series chart the historical and transcendental dominion of man. 

Traditional schemas which oppose technics to nature, to literate culture, or to social relations, are all domi­nated by a phobie resistance to the sidelining of human intelligence by the coming techno sapiens. Thus one sees the decaying Hegelian socialist heritage clinging with increasing desperation to the theological sentimentalities of praxis, reification, alienation, ethics, autonomy, and other such mythemes of human creative sovereignty. A Cartesian howl is raised: people are be.ing treated as things! Rather than as ... soul, spirit, the subject of history, Dasein? For how long will this infantillism be protracted?” (pp. 293-294)

“There is no real option between a cybernetics of theory or a theory of cybernetics, because cybernetics is neither a theory nor its object:, but an operation within anobjective partial circuits that r1eiterates 'itself' in the real and machines theory through the unknown. 'Production as a process overflows all ideal categories and f orms a cycle that relates itself to desire as an immanent principle.' (G. Deleuze and F. Guattari, Anti-Oedipus: Capitalism and Schkophrenia, Minnesota: University of Minnesota Press, 1983, p. 5.)  Cybernetics develops functionally, and not representa­tionally: a 'desiring machine, a partial object, does not represent anything' (Ibid., 47). (Its semi-closed assemblages are not descriptions but programs, 'auto'-replicated by way of an operation passing across irreducible exteriority. This is why cybernetics is inextricable from exploration, having no integrity transcending that of an uncomprehended circuit within which it is embedded, an outside in which it must swim. Reflection is always very late, derivative, and even then really something else.” (p. 296)

“Reality is immanent to the machinic unconscious: it is impossible to avoid cybernetics. 1We are already doing it, regardless of what we think. Cybernetics is the aggrava­tion of itself happening, and wha1tever we do will be what made us have to do it: we are doing things before they make sense.” (p. 297)

[superação do design e de toda teopolítica]

“Long-range positive feedback is neither homeostatic, nor amplificatory, but escalative. Where modernist cyber­netic models of negative and positive feedback are inte­grated, escalation is integrating or cyber-emergent. I t is the machinic convergence of uncoordinated elements, a phase-change from linear to non-linear dynamics. Design no longer leads back towards a divine origin, because once shifted into cybernetics it ceases to commensurate with the theopolitical ideal of the plan. Planning is the creationist symptom of underde:signed software circuits, associated with domination, tradition, and inhibition; with everything that shackles the future to the past. All planning is theopolitics, and theopolitics is cybernetics in a swamp.” (pp. 298-299)

“A machinic assemblage is cybernetic to the extent that its inputs program its outputs and its outputs program its inputs, with incomplete closure., and without reci­procity. This necessitates that cybernetic systems emerge upon a fusional plane that reconnects their outputs with their inputs in an 'auto-production of the unconscious' (Ibid, p. 26) [...] It is thus that machin:ic processes are not merely functions, but also sufficient conditions for the replenishing of functioning; immanent reprogrammings of the real, 'not merely functioning, but formation and autoproduction' (Ibid)” 

[para além da moral]

“Wiener, of course, was still a moralist: 

Those of us who have contributed to the new sci­ ence of cybernetics stand in a moral position which is, to say the least, not very çomfortable. We have contributed to the initiation of a new science which, as I have said, embraces technical developments with great possibilities for good or evil. (N. Wiener, Cybernetics or Control and Communication in the Animal and the Machine. NY: MIT Press, 1965, p. 28.)

Whilst scientists agonize, cybernauts drift. We no longer judge such technical developments from without, we no longer judge at all, we function: machined/machining in eccentric orbits about the technocosno. Humanity recedes like a loathsome dream.“ (pp. 209-300)

[superação do transcendental e do juízo; dominação X controle]

“Transcendental philosophy is the consummation of philosophy construed as the doctrine of judgment, a mode of thinking that finds its zenith in Kant and its senile dementia in Hegel. Its architecture is determined by two fundamental principles: the linear application of judgment to its object, form to intuition, genus to species, and the non-directional reciprocity of relations, or logical symmetry. Judgment is the great fiction of transcendental philosophy, but cybernetics is the reality of critique. 

Where judgment is linear and non-directional, cyber­netics is non-linear and directional. It replaces linear appli­cation with the non-linear circuit, and non-directional logical relations with directional rnaterial flows. The cybernetic dissolution of judgment i:s an integrated shift from transcendence to immanence, from domination to control, and from meaning to function. Cybernetic innovation replaces transcendental constitution, design loops replace faculties. This is why the cybernetic sense of control is irreducible to the traditional political conception of power based on a dyadic master/slave relation, i.e. a transcendent, oppo­sitional, and signifying figure of domination. Domination is merely the phenomenological portrait of circuit inef­ficiency, control malfunction, or stupidity. The masters do not need intelligence, Nietzsche argues, therefore they do not have it. It is only the confused humanist orientation of modernist cybernetics which lines up control with domination. Emergent control is not the execution of a plan or policy, but the unmanageable exploration that escapes all authority and obsoles:ces law. According to its futural definition control is guidance into the unknown, exit from the box.” (pp. 300-301)

[beyond psychoanalysis; beyond Oedipus]

“In its early stages psychoanalysis discovers that the unconscious is an impersonal machinism and that desire is positive non-representational flow, yet it 'remains in the precritical age' , (Deleuze and Guattari, Anti-Oedipus, p. 339) and stumbles before the task of an immanent critique of desire, or decathexis of society. Instead it moves in exactly the opposite direction: back nto fantasy, representation, and the pathos of inevitable frustration. Instead of rebuilding reality on the basis of the productive forces of the unconscious, psychoanalysis ties up the unconscious ever more tightly in conformity with the social model of reality. Embracing renunciation with a bourgeois earnestness, the psychoanalysts begin their robotized chant: 'of course vve have to be repressed, we want to fuck our mothers and kill our fathers' They settle clown to the grave business of interpretation, and all the stories lead back to Oedipus: 'so you want to fuck your mother and kill your father:' (Ibid.)” (pp. 302-303)

“The word 'schizophrenia' has both a neurotic and a schizophrenic usage. On the one hand condemnation, on the other propagation.“ (p. 305)

“Since the neuroticization of schizophrenia is the molecular reproduction of capital1, by means of a re­axiomatization ( reterritorialization) of decoding as accu­mulation, the historical sense of psychoanalytic practice is evident. Schizophrenia is the pattern to Freud's repres­sions, it is that which does not qualify to pass the screen of Oedipal censorship.” (p. 306)

“Far from being a specifiable defect of human central nervous system functioning, schizophrenia is the conver­gent motor of cyberpositive escalation: an extraterritorial vastness to be discovered. Although such discovery occurs under conditions that might be to a considerable extent specifiable, whatever the progress in mapping the genetic, biochemical, aetiological, socio-economic, etc. 'bases' of schizophrenia, it remains the case that conditions of reality are not reducible to conditions of encounter.” (p. 308)

“conditions of reality are not reducible to conditions of encounter.” (p. 308)

“It is not merely that schizophrenia is pre-anthropoid. Schizophrenia is premammalian, prezoological, pre-biological ... It is not for those trapped in a constrictive sanity to terminate this regression. Who can be surprised when schizophrenics delegate the question of malfunc:tion? I t is not a matter of what is wrongwith them, but of what is wrongwith life, with nature, with matter, with the preuniversal cosmos. Why are sen.tient life forms crammed into boxes made out of lies? Why does the universe breed en tire populations of prison guards? Why does it feed its broken explorers to packs of dogs? Why is the island of reality lost in an ocean of madness? I t is all very confusing.” (pp. 309-310)

“Capital is not overdeveloped nature, but underdeveloped schizophrenia, which is why nature is contrasted to industrial organization, and not to the escalation of cybertechnics, or anorganic convergence: 'reality ... is not yet constructed' 36 Schizophrenia is nature as cyberpositive mutation, at ·war with the security complex of organic judgment.” (pp. 313-314)

[comebeforegod]

Why Do Almighty God’s Work and Word Exceed the Bible?

Hello Brother Xiaoyang,

After your bearing witness to Almighty God’s work of the last days for me, I have watched many gospel movies, videos and songs, and artistic performances on The Church of Almighty God’s website. 

I can see that The Church of Almighty God truly has the work and guidance of the Holy Spirit. Especially after I read several passages in The Word Appears in the Flesh expressed by Almighty God, I feel that Almighty God’s words are quite practical, carry authority and power, and are something that cannot be said by any man. So, I do want to investigate. However, when I think of what the pastor and elder often say—“All of God’s words and work are in the Bible and there is no word or work of God outside of the Bible. Our belief in the Lord must be based on the Bible. As long as we don’t leave the Bible, when the Lord comes we will be taken up into the kingdom of heaven”—I get confused and can’t figure out why the work and word of Almighty God goes beyond the Bible. Please fellowship this aspect of the truth with me.

Yours sincerely,

Xinzhi

Hello Brother Xinzhi,

I have received your email. The question you have raised in it is very crucial. It is exactly the same one with which many people who are investigating Almighty God’s work of the last days are concerned. Since the pastors and elders in the religious world often say, “God’s words and work are recorded in the Bible and can’t appear outside the Bible. We must practice our faith in accordance with the Bible. As long as we don’t leave the Bible, when the Lord comes back we will be raptured into the kingdom of heaven,” when we hear that the last Christ, Almighty God, has performed new work and expressed new words, we can’t figure out why His work and word exceeds the Bible. But have we ever thought about whether the words of the pastors and elders accord with the words of the Lord or the fact of God’s work? Did God ever say anything like that? Did the Holy Spirit ever say anything like that? If the answers are all no, then are we right in holding such a view? Next, let’s fellowship about this issue.

First, are God’s words and work all within the Bible? Is there no word or work of God outside of the Bible?

People who understand the Bible all know that God’s work and word came first, and then the Bible. The Bible was put together by mankind many years after God’s work. As is known to all, in the beginning, God created the heavens and earth and all things with His word, and He destroyed the earth with the flood, burned Sodom and Gomorrah, issued forth laws and commandments through Moses, and so on. When Jehovah God did the work at that time, the Old Testament didn’t exist. Some people who followed God compiled and arranged the five books of Moses, David’s psalms, Isaiah and Ezekiel’s books of prophecy, etc., to be made into a book—the Old Testament. In addition, when the Lord Jesus appeared and performed His work in the Age of Grace, He expressed the way of repentance and performed many miracles, healing the sick, casting out demons, and He was ultimately crucified, completing the work of redemption. At the time, the Lord Jesus’ work and words were not recorded in the Bible at all; it was in a religious conference after AD 300 that religious leaders of all nations selected the Four Gospels from the disciples’ records of the Lord Jesus’ work, some of the apostles’ letters that they wrote to each church, and the Book of Revelation written by John, to then be made into another book—the New Testament. From these facts we can see that the Bible came after God’s work and word and is just a historical record of God’s past work. If God had not worked or spoken, there would not have been the Bible.

Moreover, we all know that, it is inevitable that some content was missed or deleted during the process of compiling the Bible. This is a fact. Just as in the Age of Law, some words of God conveyed by the prophets were not collated into the Old Testament but into the Deuterocanonical books. Besides, the Lord Jesus said more words than what was recorded in the Four New Testament Gospels. He worked for three and a half years, and during that period, He gave many sermons, completed lots of work, and said countless words. The amount of words of the Lord Jesus recorded in the Four New Testament Gospels is far too limited. As John said, “And there are also many other things which Jesus did, the which, if they should be written every one, I suppose that even the world itself could not contain the books that should be written” (John 21:25). We can clearly see from these facts that the work and words of Jehovah God and the Lord Jesus were not completely recorded in the Bible, and that the Bible only contains a limited account of God’s words. These words are only a drop in the vast sea of God’s life, only a ten-thousandth, a trillionth of God’s life. So the words “The work and words of God are all within the Bible, and there is no work and word of God outside of the Bible” aren’t consistent with the fact, much less do they conform to the truth. They are absolutely the conception and imagination of man.

The Lord Jesus once said, “I have yet many things to say to you, but you cannot bear them now. However, when he, the Spirit of truth, is come, he will guide you into all truth: for he shall not speak of himself; but whatever he shall hear, that shall he speak: and he will show you things to come” (John 16:12-13). “And if any man hear my words, and believe not, I judge him not: for I came not to judge the world, but to save the world. He that rejects me, and receives not my words, has one that judges him: the word that I have spoken, the same shall judge him in the last day” (John 12:47-48). Moreover, there are many places in Revelation with prophecies that say, “He that has an ear, let him hear what the Spirit says to the churches” (Revelation 2-3). The words of the Lord Jesus and the prophecies clearly say that the Lord Jesus will return to express the truth and carry out the work of judgment in the last days. How could this work be compiled into the Bible in advance? If, as we believe, the work and word of God did not exist outside the Bible, and when the Lord Jesus returns in the last days His work is unable to go beyond the Bible, how could these prophecies of God be fulfilled and accomplished?

Almighty God says, “If you wish to see the work of the Age of Law, and to see how the Israelites followed the way of Jehovah, then you must read the Old Testament; if you wish to understand the work of the Age of Grace, then you must read the New Testament. But how do you see the work of the last days? You must accept the leadership of the God of today, and enter into the work of today, for this is the new work, and no one has previously recorded it in the Bible. … The work of today is a path that man has never walked, and a way that no one has ever seen. It is work that has never been done before—it is God’s latest work on earth. Thus, work that has never been done before is not history, because now is now, and has yet to become the past. People don’t know that God has done greater, newer work on earth, and outside of Israel, that it has already gone beyond the scope of Israel, and beyond the foretellings of the prophets, that it is new and marvelous work outside of the prophecies, and newer work beyond Israel, and work that people can neither perceive nor imagine. How could the Bible contain explicit records of such work? Who could have recorded every single bit of today’s work, without omission, in advance?” (“Concerning the Bible (1)” in The Word Appears in the Flesh).

God’s word is spoken very clearly. The judgment work God does in the last days is higher than the work of the Age of Law and the Age of Grace, and is new work God has never done before. Thus it couldn’t be written into the Bible in advance. In the last days, Almighty God has opened the scroll, broken the seven seals, expressed millions of words, and revealed the truths and mysteries that man has never known. For example: God’s six-thousand-year management plan for the salvation of man, the significance of God’s names, the mystery of God’s incarnation, how God does the work of judgment, how man escapes sin to receive cleanness, what kind of person God saves and perfects and what kind of person He eliminates, humanity’s outcome and destination, etc. These are precisely the words of the Holy Spirit to the churches and the truths God gives us humans that we require to be saved. It can be seen that God’s work is an ongoing development. If we only stick to the Bible and refuse to accept the new work and word of God, then we will fail to receive God’s salvation.

Second, does our believing in God only based on the Bible conform to the Lord’s will?

As we all know, the Pharisees of that time were familiar with the Bible, but had no real knowledge of God and no reverence for God in the slightest. When the Lord Jesus appeared to do His work, they condemned His work and word according to the Old Testament, saying that His work and word went beyond the Bible. Ultimately, they crucified the Lord Jesus, offending God’s disposition, and were thus punished and cursed by God. Obviously, in our belief in God, if we only judge and treat God’s work and word based on the Bible, and do not seek the work of the Holy Spirit or the truth, then it will be easy for us to do things that resist God and offend His disposition as the Pharisees had done, and the consequences will be unthinkable. The Bible is merely a record of God’s work and word in the past and a testimony to God’s work. In seeking and investigating the true way, we can use the Bible as a reference. The main thing is to confirm it based on whether or not there is the work of the Holy Spirit and the truth. As Almighty God says, “Christ of the last days brings life, and brings the enduring and everlasting way of truth. This truth is the path through which man shall gain life, and the only path by which man shall know God and be approved by God. If you do not seek the way of life provided by Christ of the last days, then you shall never gain the approval of Jesus, and shall never be qualified to enter the gate of the kingdom of heaven, for you are both a puppet and prisoner of history. Those who are controlled by regulations, by letters, and shackled by history will never be able to gain life, and will never be able to gain the perpetual way of life. That is because all they have is turbid water that has lain stagnant for thousands of years, instead of the water of life that flows from the throne. Those who are not supplied with the water of life will forever remain corpses, playthings of Satan, and sons of hell. How, then, can they behold God? If you only try to hold on to the past, only try to keep things as they are by standing still, and do not try to change the status quo and discard history, then will you not always be against God? The steps of God’s work are vast and mighty, like surging waves and rolling thunders—yet you sit and passively await destruction, sticking to your folly and doing nothing. In this way, how can you be considered someone who follows the footsteps of the Lamb? How can you justify the God that you hold on to as a God who is always new and never old? And how can the words of your yellowed books carry you across into a new age? How can they lead you to seek the steps of God’s work? And how can they take you up to heaven? What you hold in your hands is the letters that can provide but temporary solace, not the truths that are capable of giving life. The scriptures you read are that which can only enrich your tongue, not words of wisdom that can help you know human life, much less the ways that can lead you to perfection. Does this discrepancy not give you cause for reflection? Does it not allow you to understand the mysteries contained within? Are you capable of delivering yourself to heaven to meet God on your own? Without the coming of God, can you take yourself into heaven to enjoy family happiness with God? Are you still dreaming now? I suggest, then, that you stop dreaming, and look at who is working now, at who is now carrying out the work of saving man during the last days. If you do not, you shall never gain the truth, and shall never gain life” (“Only Christ of the Last Days Can Give Man the Way of Eternal Life” in The Word Appears in the Flesh). In the last days, Almighty God has expressed the truth of millions of words. These words are abundant, fruitful, and comprehensive, allowing us to greatly open up our vision and our life to be nourished. No matter what problems, difficulties and confusions we have, we can find solutions to them in God’s words, which truly makes us see that Christ is the truth, the way and the life, and that Christ is the way of eternal life. Only by following the work and word of Almighty God, Christ of the last days, can we follow the footsteps of the Lamb, and can we gain the truth and life. If we blindly cling to the letters of the Bible and refuse to accept the way of eternal life brought by Almighty God, we will become the foolish virgins that will in the end be left weeping and gnashing their teeth in the disasters. By then, regret will be too late.

Brother Xinzhi, I hope the above communication will bring you a little help. In investigating God’s work, as long as we recognize the voice of the Holy Spirit and can confirm the work of the Holy Spirit, we should accept God’s work without delay. Only thus can we follow God’s footsteps and gain God’s full salvation.

Yours truly,

Xiaoyang