#the most fun part of these games to me is inventing my own narrative in my battle choices

[nonbylethary]

I cannot even describe how much having Byleth back has improved my morale in this game. This mission I’m sending out Jeralt & Leonie as adjutant and Shez & Byleth as adjutant and I’m just like

[roadandruingame]

RaR Musings #21: The Crossroads of Simulation, Storytelling, and Fun

I'd had this one on a tab for a minute, because a lot of things happened and I've had a lot of time to think about things.

Exertion has done a lot to emblemize division between major game design philosophies.

On the one hand, a simulation-based game engine was necessary for a GM-less game, where creatures of theoretically infinite size difference could interact, in a way that everyone at the table can collectively intuit and agree on.

But, it did mean a lot more interaction with double-digit math, and 1m-wide tiles are far too granular to make the foundation of a "1 stamina = 1m movement, or swings 1 Size of weapon, for 1 damage" environment. Doing that math isn't fun, and held back use of storytelling as a driving force.

I transitioned to approximation-banding, and made only Tiring activities cost Exertion, shrinking the numbers so it was more about What Who was doing and Why, How, Where, and When it was supposed to happen if it wasn't Here. It meant you didn't actually even need a grid, or a map, instead keeping note of locations and settings by narrative impact, rather than how many spaces you had to move your little plastic man around the playmat.

But with the loss of specifics, questions about multiattack arise; how exhausting is it to attack more than once in a 3sec span? Anyone should be able to do it, and skill should have a positive impact, but how much does it change per weapon? It gets a little bit videogamey, in a completely different way than simulation is gamey, and in a way that has no mechanical consistency, leading to disagreements at the table.

More than that, are either of these systems even fun? While I have enjoy prompt-based creativity, and get a thrill when numbers come up in sub-1% statistical probabilities, that doesn't mean everybody will. And however it runs, it needs to be fun enough and easy enough to prevent players from suffering creative and emotional burnout, which leads them to becoming hesitant about sitting down for a session.

But I also, absolutely, abhor the recent trend of DND enthusiasts ignoring all the rules in favor of goofing off with friends. Having fun with your friends is good. Having fun with your friends while you play a game is great. Changing the rules of a game so that you have more fun playing it is fine. But dismissing the rules of a game wholesale to the point that they make zero impact on ANYTHING you can do? Why even pretend to play the game then?

Tabletop rpgs, unlike videogames, are work. Videogames don't progress unless you press buttons, but ttrpgs make you have to imagine the buttons and what they do, and require everyone present to agree on what the button actually does when you press it. Inventing these buttons has to be consistent, everyone should understand what happens when you press them, and everyone should enjoy the process of both making the buttons, and the fictional pressing of them.

You need to have fun, but simulation and storytelling are important for a game too.

___________________

I talked with two people of note lately.

The first was a prospective playtester, who (apparently, according to a third party) had no real interest in Road and Ruin, but still pursued me around multiple games of Warhammer 40k and ASOIAF to ask questions about it. And, as I so often do, I fell in love with my own game all over again. It's rapidly becoming my decade-long magnum opus, and everything it does is designed to excite me just as much as it is to entertain someone else. We ended up building him a Tatzl Plague Doctor, a plague-rat harpy unaffected by most diseases it carries, who travels the world transferring the diseases of others to himself, before bottling the diseases, and a Goblin Alchemist, part vampire, and pursuing science to one day rid themselves of the otherwise incurable disease. And, thanks to RAR's Story Roster, what is otherwise a nearly statistically-impossible task to discover at random, is given several boosts in probability, without guarantee, thanks to being a personal quest.

The second, was my dad. I owe my introduction to fantasy and sci-fi entertainment to him, and though he's never played a ttrpg, he's heard me complain about mechanics and players for years. His is the opinion that making a game that tries to do everything is senseless, and one should create a game to do one thing, specifically, and well. Many would agree with him. But his is also the opinion that if you force a player who enjoys Dungeons, to fight Dragons, that they'll absolutely hate it, and throw a tantrum over not getting to play the thing they joined the game for, and vice versa. A game that blends Dungeon players and Dragon fighters only stands to disappoint both parties, who will always end up playing something they don't want, eventually.

It's absurd, honestly.

Ttrpgs are a social fabric. Bringing the people who enjoy two different things together, to alternate their enjoyments, only strengthens the hobby, and ensures that it's easier to find people to play. By bringing this alchemist playtester into the fold, I get to see someone enjoying something they have an interest in, and work to make their quest come true. By joining with me, he gets to come along on my quest, and adding a little sprinkle of creativity that I'm not personally responsible for is just the kind of prompt I like in prompt-based creativity. The session becomes collaborative, between two or more people enjoying themselves, rather than confrontational, or one-sided legwork, which plagues the GM-dependent scene.

It's silly to disparage people on their preferences, but it's sillier to declare that other players couldn't possibly have something to improve your experience.

______________________

To that end, I think I have to lean heavier on variant rules.

Other games have them, but often, they're a little twist of math that alters the outcome slightly, or even devoid of mechanics at all.

No, I task myself with the rather silly task of creating a Simulation ruleset, and a Storytelling ruleset, based on the same variables and producing similar results. Players of simulation-like grid-based bookkeeping combat, as well as storytelling-focused, theater-of-the-mind, vague interactions, can come together and use the ruleset that they prefer, in order to get to play those Plague Doctor harpies and Vampire Alchemists.

As some say, the rules shouldn't get in the way of having a good time. But the rules should BE what someone USES to have a good time. And since my idea of a good time is different from someone else's, I should be just as welcoming of their preferences, as I ask that they are of mine.

The real risk is overcomplexity. Players already don't like having to learn one set of rules, much less variants of the same rules. There's every possibility that they balk when faced with the possibility of having to learn multiple types of rules for what amounts to the same game. But then, that's what the rules-lite version is for: the opportunity to completely ignore anything complex.

[evenmyhivemindisempty]

for the ask game: 001 favorite character (sandman), character you felt the writers screwed up (any media), 002 gabby/pierce, calliope/corinthian [eyes emoji]

Oooh for favorite Sandman character, definitely the Corinthian! He’s just - he’s everything! He’s queer, he’s a fuck up, he’s weird, he’s *trying*, he’s constantly looking to partner up with other people to help him overthrow his boss, he’s manipulative but not necessarily *good* at it. I love that he loves life, and loves humanity in his own way. He’s a nightmare, so his love is nightmarish and monstrous, but he’s so capable of having fun and there is something tragic about him being punished for being true to his nature. I’m not sure he’s really capable of being any way other than what he is, and I adore that for him.

I especially love him contrasted against the collectors - they’re all so full of resentment and spite, they’ve all invented narratives where they’re justified in killing their victims, and the Corinthian doesn’t need that at all! He doesn’t hate his victims! He’s a monster, he doesn’t need to justify what he’s doing. His speech to them was kind of hilarious in that it sort of missed the mark about why *they* kill - most of them aren’t really killing to kill at all! And when they speculate on the reasons for his name, and he kinda demurs?? Because it’s just his name! It’s not some badass moniker he came up with for himself like the rest of them. It is literally just his name.

Character I felt the writers screwed up… urgh, not to drag myself back into the OFMD fandom (yikes), but as someone who binged season 1 and was hella excited where season 2 would take the story… I gotta say Ed Teach. I won’t get too far down this rabbit hole, but needless to say, if you choose to write your co-protagonist and romantic lead as an abusive monster, that’s fine, but please actually follow-through, don’t just hand-wave it all away when it starts to headbutt against the “sunshine friendship&romance” plot you wanna tell

Gabby/Pierce

when or if I started shipping it: Not until I saw that deleted scene a few months ago!! God, I’m still feral over it. That he calls her by a nickname - that there was clearly a friendship between them, if not more – and it makes so much sense with how hyped up he’s acting right after her death, like he’s keeping himself going on willpower and Ritalin, and the way he looks so solemn when he’s telling Caliban people don’t change?? GAH. It’s a ship I didn’t think about for YEARS but has grabbed me right by the throat.

my thoughts: That I love it. That I want it. That there’s an entire movie about Gabby and Pierce’s relationship we only catch glimpses of the tail-end of, and I’ll never stop screaming about that.

What makes me happy about them: That they were friends!! She’s a nurse and he was the Reaver commander, but he *knew* her well enough to know that she loved comic books (like him!) They’re very different people – she doesn’t strike me as someone that would be drawn in to his posturing, and he’s hinted at being kinda nerdy and quiet at points in the movie where he’s not fronting, and I love the implication that she saw a side of him he doesn’t normally show to people.

What makes me sad about them: y’know it’s a tough call, but probably the part where she gets killed either by him or his Reavers on his command 😭 although it does add a deliciously tragic edge to it too

Things done in fanfic that annoys me: that there’s not more of it!

Things I look for in fanfic: assuming there was more fanfic of the two of them, I’d probably look for fanfics that explored Pierce being… maybe not *softer*, but more vulnerable with Gabby, but without making him OOC (I like my boy with his off-putting, nasty streak!) Them being drawn in to the aspects of each other that they don’t feel as comfortable showing is *chef’s kiss*

My kinks: ooh definitely femdom, CNC (i can see them switching roles for that one), pegging, and MFM threesomes with a “forced bi” roleplay element, light bondage

Who I’d be comfortable them ending up with, if not each other: Probably Logan!

My happily ever after for them: Gabby was just faking being dead and digs Pierce out of the ground 😭😭 Always in love with endings where Pierce gets to be her extra good guard dog

Calliope/Corinthian

when or if I started shipping it: A while back (maybe a year ago now?) a friend of mine in a server drew a gorgeous piece of Calliope/Corinthian art (the one I attached to the tumblr post linking to my story, with their permission), and I was hooked after that!

my thoughts: Corinthian deserves a better master than Dream tbh, and I love him with an actual goddess who understands some part of his whole personhood situation. Someone who respects him as an individual, but also understands that if he doesn’t have someone holding his own leash pretty tightly (and giving him plenty of enrichment and affection), he’s gonna go off and do *sooo* many murders because that’s just who he is. And I love Calliope getting to indulge in some messy sex after her ordeal, with someone that just adores her for *her* and not that she’s a muse

What makes me happy about them: that their needs have the capability to balance out pretty well!! That I can see Calliope as someone who can survive and thrive with the Corinthian, and I think the Corinthian would be better off under her, too.

What makes me sad about them: when i remember they probably have met before, in happier times when Orpheus was still alive, and we’ll likely never see it 😭 did Calliope like Dream’s favorite nightmare?? Did she pamper him like a treasured pet? Was he jealous of her for her closeness to Dream? Did he adore having someone around that treated him with a softer touch?

Things done in fanfic that annoys me: again, that there’s just not really fanfic for them! 😭

Things I look for in fanfic: (assuming there was more to choose from!) really anything exploring the power dynamics between a nightmare with daddy issues and a goddess that’s spent the last 70 years imprisoned. I don’t think they could ever be regular boyfriend/girlfriend, free of power imbalance, but that’s what I adore about it

My kinks: femdom, Calliope as a masochistic dom, CNC with Calliope as the “victim” (specifically love her reclaiming herself and her sexuality & reconciling some of her trauma through some CNC), gentle domme, primal play, orgasm control/denial

Who I’d be comfortable them ending up with, if not each other: honestly, I just love giving Call the Corinthian. I’m not sure I really ship her with anyone else - although Calliope/Destruction tickles something in my brain too. And for Corinthian, definitely Rose

My happily ever after for them: she gets to keep the Corinthian and he’s her pampered and very enriched monster 😌😌

[lapsedgamer]

Hades (Switch)

I greatly enjoyed Supergiant’s first two games, Bastion and Transistor: mechanically rich titles with surplus mechanical depth to let the player succeed in their own preferred style, and in the latter case a variety of little nudges to try out alternatives and stay limber. Pyre honestly confused me, its sports-RPG design metaphors never quite making sense in my brain, but I appreciated that, like Transistor, it neatly rewarded you with discovery of the story if you made inventive use of its gameplay mechanics. To learn the game world, it wasn’t enough to grind out all of the content: you actually had to play with all of the toys. They were three games that punched above their weight systematically and narratively.

Hades is that same amplification applied to something much, much bigger in the first place. The looping death and resurrection premise gives space for even novice players to get out and experiment. The boons granted by the Greek gods are manifold and interact with themselves and with enemies in logical yet surprising ways. Through some clever design (discussed in this People Make Games video), a variety of plot threads rise and fall in response to your actions and attention, letting you focus on the characters or aspects of the setting you find most compelling. This is everything I loved about Supergiant’s previous games yet more.

For all its newfound scale Hades is comprehensible and hugely welcoming. Systems open up at a modest pace until there is a tidy buffet of play styles available. I am usually bad at reflex games, and steady progress in Hades expectedly unlocked alternative methods of combat, but the system of boons also let me tweak the more challenging approaches enough that I could competently practice with them. At my current point - having seen the credits once- no part of the game feels unachievable if I put in a little time. Basic interactions are so much fun, the upsides of a run so plentiful, and the downsides so absent that it’s always worth experimenting for its own sake.

Hades feels like the game Supergiant were always meant to make. It feels like a game that was waiting to be, but which nobody else had the wit and talent to put together. It’s an important step forward in gameplay-friendly narrative design and a tidy example of everything uniquely good about the modern videogame. It’s a delight. And no matter how good you are at games, it’s ready and waiting.

[kinetic-elaboration]

July 14: The Road Through the Wall

These thoughts are still very rough but I’m starting to sketch out some vague ideas about The Road Through the Wall. Still not sure how to phrase most of this, but I realized that there are multiple older and/or invalid characters lurking on the edges of the narrative, and it got me thinking about the generations on Pepper Street.

The adults are the worst. They’re shallow, selfish, catty, insincere, snobbish, oblivious, gossipy, and caught up in the various mundane details of life: their houses, their jobs, their chores. They run off their scripts: things that should be said and should be believed. Very common Shirley Jackson villager archetypes.

But then on either side of them are generations that either haven’t yet learned to care about little past what kind of house they live in, or have moved beyond such concerns altogether. The old women with their dogs. The women in the houses set back from the road, or elevated by stairs, or living in bedrooms in the dark back of the house. The woman everyone thinks is a witch. The old man who sees bad omens in the rose leaves. The cryptic words of Mrs. Mack or Miss Tyler. The frailty of them but also the secrecy, the inscrutable nature of them. It might not be wisdom. But it’s some sort of knowledge.

And then the children. I thought about the older generation first, because I felt like there were so many of them, lurking there in the edges of the story, and that while they aren’t the sole source of this disturbing mystery air, that air becomes strongest around them. But then I realized, it’s in the kids, too.

The kids live by their inscrutable rules, rituals, and patterns. Clearly not adult, when they play at being grown, they end up with surreal facsimiles of what they imitate: for example, the infamous love letters, overwrought gibberish that they don’t even understand. The fun in the letters is the writing of them and the sending of them. They have no purpose beyond the pattern of actions itself. They play keepaway games with invented rules their parents can’t follow. They have their hierarchies and their internal laws: that the golf ball George took from the creek was stolen, that no one can mock Tod on his own lawn unless his sister gives permission. They keep secret lore about the witch. They have violent streaks: Mary’s “hatred” for her brother; Helen threatening her sister; George imagining running his neighbor over with his truck. They’re in tune with nature: Harriet imagining herself falling into the trees outside her window; Art and Pat in the creek bed. They take impulsive, reckless, actions that are inscrutable even to themselves: Marilyn Perlman walking through the empty Williams house, and Tod examining the Desmond house after, perhaps even Virginia and her reckless acceptance of the Chinese man’s invitation to tea. All of these traits are just part of childhood--practicing adult roles; using your first freedom to act impulsively, out of curiosity and because you cannot help it; caring about things that adults simply have moved past caring about or forgotten how to care about. I’m not saying that Jackson has reinvented the game, or that she’s written extraordinarily creepy children or anything like that. Rather, I think she’s captured so perfectly the mystical and the surreal and the witch-y and the disturbing and the feral elements of childhood.

So much of her writing feels like having someone behind you in your peripheral that you can’t quite see. You know they’re there, but you can only get glimpses sometimes. There’s so much unsaid, and the real and the magical so often blend together--but not magical like sparkly rainbows, more like magical like spells said while standing barefoot in the dirt. It’s UNSETTLING. I can’t always even figure out why. She brings out the unsettling in the ordinary--they’re just children, and it’s just a neighborhood, and yet--

Sometimes I wonder if I’m bringing too much of my outside Jackson knowledge to the book, if I would find it unsettling if I hadn’t read her other works. But I think I would. The second chapter in particular feels to me like a slow accumulation of bad omens, disturbances like fault lines in the Proper Way of Things. The first chapter was mostly an introduction, centered around the discovery of the letters and that first evening of summer. But the second doesn’t have as clear of a theme or a purpose. That’s why I think bad omens describes it well: scene after scene of normal summer events, tinged with foreboding. Tod throwing rocks and hitting Mary. Victoria and Harriet’s strange encounter with an older, foreign man. Mr. Martin’s warning about the rose bushes. Miss Tyler’s eerie reminisces and the mystery of her closed bedroom door. Old Mrs. Mack the witch, appearing to cast spells by drawing in the dirt, talking inscrutably about “bad people.” Pat and Art hiding themselves in the creek bed and daring to call their fathers bastards. Marilyn and Tod exploring homes that aren’t theirs.

Anyway, I would have finished Ch 2 by now if SOME PEOPLE didn’t keep INTERRUPTING ME so rudely, but I am just a few pages shy and can’t wait to get to Ch 3 tomorrow.

[scorpionyx9621]

Do you think Jason Todd fandom is kinda toxic? Because it seems like NO MATTER what DC do, there'll always be complains. Forget the bad adaptation like Titans. Even Judd Winick cannot escape the criticism with how he potrayed Robin!Jason. They just never satisfied.

SORRY, IT TOOK ME SO LONG TO RESPOND TO THIS. I just moved from Washington D.C. to Seattle, which, for my non-American friends, that's 4442km away. And I DROVE THERE ALL BY MYSELF. And now I'm trying to find new work in a new city and trying to stay mentally healthy and positive. Life is exciting but hard and scary.

*sighs*

As someone who was a fandom elder with V*ltr*n. I've seen some of the worst when it comes to fandom behavior. I'm talking people baking food with shaving razors and trying to give them to the showrunners. I'm talking leaking major plot details and refusing to take it down unless they make their ship canon (I am looking at you, Kl*nce stans) For the most part, DC Comics has had a decades-long reputation of treating their fans like trash and not caring what they think so from what I've seen, we all just grumble and complain in our corners of the internet about how we don't like how X comic portrays Jason Todd.

The challenge with Jason Todd is that he's your clinical anti-hero, the batfamily's Draco in Leather Pants, he's a jerkass woobie, and on top of all of that, he's a Tumblr sexyman. It's a perfect storm for a very fun but frustrating character to be a fan of. It doesn't help that every writer decides to re-invent the wheel every time Jason comes up so his canon lore is confusing at best and inconsistent as a standard.

I guess starting with a general brief on who Jason is and what is uniform about him with every instance he's appeared in comics/media.

Grew up in a poor family in Gotham with a dad who was a petty-mid-level criminal, and a mother who dies of a drug overdose.

Survives on the street on his own by committing petty crimes and potentially even engaging in sexual acts to keep himself alive.

Is cornered by Batman and taken in after Dick Grayson quits/is fired

Becomes the second Robin, but is known for being the harsher, more brutal Robin.

Is killed by Joker after being tortured, but somehow comes back to life and regains senses through the Lazarus Pit

Resolves himself to be better than Batman by basically being Batman but kills people.

Where there has been a lot of conflict in the fandom is the fact that Jason Todd is not a character that is written consistently. DC Comics loves to go with the narrative that Jason was "bad from the start" and was the "bad robin" when, yes, he has trouble controlling his anger, but he also still is just as invested in seeing the best of Gotham City and trying to be a positive change for the world as any other DC Comics hero.

Where I get frustrated with the fandom is its ability to knit-pick every detail of a comic they don't like while completely disregarding everything that makes the comics great and worth it to read. My example being Urban Legends. To which most people had pretty mixed reactions to. I was critical of the comic at first but as it went along I ended up really liking it. I have a feeling DC Comics went to Chip Zdarsky and told him he had 6 issues to bring Jason back into the Bat Family, and honestly he didn't do a bad job. Did it feel rushed? Absolutely. I wish there was more development of Jason and Bruce's characters and their dynamic as a whole. However, where I see a lot of people being angry and upset with Urban Legends is that they feel Zdarsky needlessly wrote Jason as an incompetent fool who needs Bruce to save him.

Whether or not that was the intention of Zdarsky is up to debate. However, and this may be controversial, but I don't think he wrote Jason Todd out of character at all. For as fearsome, intimidating, and awesome as Red Hood is. Jason is a character who is absolutely driven by his emotions. Why do you think he donned the role of Red Hood? As a response to his anger towards The Joker for killing him, and towards Bruce for not taking action against The Joker and for seemingly replacing him so quickly after he died. Jason didn't care about being the murderous Robin Hood or for being the bloody hammer of justice against N*zi's and P*d*ph*les. He only cared originally about making The Joker and Bruce pay. It wasn't until he trained under the best assassins in the world and realized most of them were horrific criminals who trafficked children and were p*dos that Talia began to realize that the teachers that she sent Jason to train under started dying horrific and painful deaths.

The entire story of the Cheer story in Batman Urban Legends was started because it finally forced some consequences upon Jason. Tyler, aka Blue Hood's father was a drug dealer who gave his supply to his wife and kids. And when Tyler's father admitted he gave the drugs to Tyler, it immediately made him fall within the self-imposed philosophical kill-list of Jason Todd. And Jason, well, he proceeds to kill Tyler's father. When this happens, Jason is in shock. Tyler's dad fit the bill to easily and justifiably be killed by Jason. We've never seen Jason having to deal with the consequences of being a murderous vigilante on a micro-level. When Jason realizes what he's done in that he's murdered Tyler's dad, he's shocked. He tells Babs the truth. He does a rational thing because he's in shock. He doesn't know what to do, he never has had to face the consequences of his actions as Red Hood and now the gravity of befriending a child as a vigilante hero who kills people just set in when he killed the father of the same child he was just introduced to.

(Oh here's a little aside because it had to be said, Jason would not have been a good father or a good mentor to Tyler and absolutely should not have been his new Robin. Jason is a man who is in his early 20's (not saying men in their early 20's can't be good fathers at all) who is a brutal serial killer using the guise of a vigilante anti-hero to let him escape most of the law. the complications of having the man who murdered your father adopt you and make you his sidekick are way too numerous for me to explain in a long-winded already heavy Tumblr essay post. There's a reason why we don't advocate for a story where Joe Chill adopted Bruce Wayne or one where Tony Zucco took in Dick Grayson.)

The next biggest argument is that they feel that Jason is giving up his guns as a means to just be invited back into the Bat-Family. To which I will tell anyone who has that argument to go actually read Urban Legends. Already have and still have that argument? Please re-read it. Don't want to? That's okay, I will paste the images from the comic where Jason specifically says that he doesn't want to give up his weapons for Bruce and his real reasoning down below since the comic isn't exactly readily accessible.

Jason gave up the guns because he felt the gravity of what he had done and knows how it'll effect Tyler. Thankfully his mom is alive and in recovery. But Tyler doesn't have a father anymore. And Jason killed Tyler's father. It may have been in accordance to Jason's philosophy, but it was a case where it blurred the lines. Jason Todd isn't a black and white character, just very dark gray. He doesn't kill aimlessly like the Joker. If you are on Jason's list you probably have done something pretty horrific, and also just in general, being in his way or being a threat to him. Mind you, in early days of Red Hood and the Outlaws (Image below) Jason almost killed 10 innocent civilians in a town in Colorado all because they saw him kill a monster. That being said, Jason isn't aimless in his kills.

(Also can we just take a moment to appreciate Kenneth Rocafort's art? DC Comics said we need to rehabilitate Jason Todd's image and Kenneth Rocafort said hold my beer: It's so SO GOOD)

That being said, the key emphasis in the story of Cheer asides from trying to introduce Jason Todd back into the Bat Family and give an actual purpose for him being there, other than him just kind of being there ala Bowser every time he shows up for Go Kart racing, Tennis, Golf, Soccer, and the Olympic games when Mario invites him, is that Jason and Bruce ultimately both want the same thing. Jason wants to be welcomed back into the family and to be loved and appreciated. Bruce want's Jason back as his son and wants to love and protect Jason. Both of these visions are shown in the last chapter of Cheer while under the effect of the Cheer Gas. It's ultimately this love and appreciation they both have for each other that helps them overcome their challenge and win.

Jason Todd is a character who, just like Bruce, has been through so much pain and so much hate in his life. The two are meant to parallel each other. While Bruce chose to see the best in everyone, giving every rogue in his gallery the option to be helped and give them a second chance, hence why he never kills, Jason has a similar view on wanting to protect the public, but he understands that some crimes are so heinous they cannot be forgiven, or that some habitual criminals are due to stay habitual criminals, and need to be put down. But at the end of the day, the two of them both try to protect people in their own ways.

I am aware that through the writings of various DC Comics authors such as Scott Lobdell and Judd Winick, the two have had a very tumultuous relationship. And rightfully so, I am by no means saying that Scott Lobdell writing an arc where Bruce literally beats Jason to within an inch of his life in Red Hood and the Outlaws, nor Judd Winick's interpretation of Under the Red Hood where Bruce throws the Batarang at Jason's neck, slicing his throat and leaving him ambiguously for dead at the end of the comic is appropriate considering DC Comics seems to be trying everything they can to integrate Jason back into the family. That being said, a lot of these writings have shaped the narrative of Jason and Bruce's relationship and have an integral effect on the way the fandom views the two. It doesn't help that Zdarsky acknowledged Lobdell's life-beating of Jason by Bruce at the very end of Cheer by having Bruce give Jason his old outfit back as a means of mending the fence between the two of them. That does complicate a lot of things in terms of how they are viewed by the fandom and helps to cause an even greater divide between the two.

Regardless, I want to emphasize the fact that Jason Todd is a part of the family of his own accord. Yes, he's quite snarky and deadpan in almost every encounter. However, Jason is absolutely a part of the family and has been for a while of his own will. There's a great moment in Detective Comics that emphasizes this. Jason cares about his family because it is his found family. Yes, they may be warry about him and use him as a punching back and/or heckle him. At the end of the day, we're debating the family dynamics of a fictional playboy billionaire vigilante whose kleptomania took the form of adopting troubled children and turning them into vigilante heroes. Jason Todd wants a family that will love and support him. This is a key definition of his character at its most basic. This was proven during the events of Cheer and is being reenforced by DC Comics every time they get the opportunity to do so.

Now, none of this is to say that I hate Judd Winick. I do not, I don't like the fact that in all of his writings of Jason, he just writes him as a dangerous psychopath, and Winick himself admits to seeing Jason as nothing much more than a psychopath. Yet Winick is the one who the majority of the fandom clings to as the one true good writer of Jason Todd because 'Jason was competent, dangerous, smart' Listen, friends, Jason is all of that and I will never deny it. However, what I love about Jason isn't that he's dangerously smart of that writers either write him as angsty angry Tumblr sexyman bait or that they write him as an infantile man child with a gun. There's a large contention of this fandom that has an obsession with Jason Todd being this vigilante gunman who is hot and sexy and while I definitely get the appeal. It is very creepy and downright disturbing that all of you hyperfixate on his use of guns and ability to be a murderer. It is creepy and I'm not necessarily here for it.

What I love about Jason Todd is that despite all of the pain, all of the heartache, all of the betrayal, and bullying, and death, and anguish. Jason Todd is one of the most loving and supportive characters in all of DC Comics. Jason has been through so much in his life, but he still chooses to love. He still chooses to see the bright side in people. Yes, he takes a utilitarian approach and chooses to kill certain villains, but at the end of the day he wants to see a better world, and he wants to be loved. It takes so much courage and so much heart to learn to love again after one has been abused or traumatized. I would not blame Jason at all if he said fuck it and just went full solo and vigilante evil. He has every right to, but he still chooses to be with the Bat Family of his own accord. That's something that I see a lot of in myself. I have been through a lot of trauma and yet I try to be a better person myself in any way that I can. It is extremely admirable of Jason to allow love back into his heart when he really doesn't need to. He kills and he protects because he has this love of society. It may have been shaped by anger and hatred, but Jason has found his place amongst people who love him and value him. I think Ducra, from Red Hood and the Outlaws put it best in the image given below.

To end this tangent, I love Jason Todd and all of his sexy dangerousness, but it's far more than that. As much as Jason may be dangerous and snarky, he loves his family without a shadow of a doubt. I look up to Jason Todd because despite all of his pain and all of his trauma, he still choses to love. Jason Todd is a character who is someone I love because despite all of his flaws and having a very toxic fandom, he still serves as a character filled with so much heart and so much passion. I wish more writers would understand that. But for now I will live with what I have. Even though the fandom may be vocal about it's hatred for his characterization, I choose to love Jason regardless because he is a character who chooses love and acceptance regardless of his pain. Jason Todd is by no means a good person in any sense of the word. He has easily killed upwards of 100 people by now. He is a character who is flawed and complex but ultimately is one who powers forwards and finds love and heart in a place from so much pain and anguish. That is what I love about Jason Todd. After all, to quote a famous undead robot superhero, "What is grief, if not love persevering?" Jason Todd chooses to love despite all of the trauma and pain and grief. Yes, he is hardened in his exterior, but inside there is a man with a lot of love to give and someone who deserves the world in my eyes.

[benjaminmoorepaint]

red: the color of...grantaire?

Figured I might do another meta post like the one I did for Marius to address the myths and misconceptions surrounding certain characters, so it's Grantaire's turn!

I'm sure we all know Grantaire quite well...a sensitive starving artist, with his Apollo as his muse, and a cynic who pragmatically points out the flaws in Enjolras's idealism, which they quarrel over.

Let's unpack that!

Grantaire is most likely middle class if not wealthy, he is certainly not poor. We don't know what he's studying (if he's studying at all) but he is nevertheless a quintessentially Parisian bourgeoise "student", much like Bahorel. "A rover, a gambler, a libertine..." As the foil of "severe in his enjoyments" Enjolras, Grantaire is a pleasure-seeker, indulging in the excesses that Enjolras disdains.

Again, though we don't know what Grantaire is studying (and I suspect he's just Bahorel-ing it) he's clearly an educated man, judging by the references he throws into his speeches, and he mentions that he once was a student of Gros.

So is he really an artist? He might have been an apprentice at some point, but it's clear he was not particularly enthused by it. After all, discipline is something that Grantaire…lacks. And because it's Grantaire, you can't completely discount the idea that he made it up just for a pun (though I do find that unlikely.) But it's a triple (quadruple?) play--it's important not to take this quote too far out of context because he's actually saying several things here.

It is a shame that I am ignorant, otherwise I would quote to you a mass of things; but I know nothing. For instance, I have always been witty; when I was a pupil of Gros, instead of daubing wretched little pictures, I passed my time in pilfering apples; rapin is the masculine of rapine. So much for myself; as for the rest of you, you are worth no more than I am. I scoff at your perfections, excellencies, and qualities. Every good quality tends towards a defect [...] there are just as many vices in virtue as there are holes in Diogenes’ cloak.

Gros was a well-known neoclassical painter of the time, and I believe Hugo's inclusion of him here is a jab at the neoclassicists, as Grantaire doesn't seem to care for him.

There's a pun! "Rapin"--term for a painter's assistant--is the masculine of "rapine"--to steal.

So he likely means he stole the apples intended to be painted for a still life, which fits his careless attitude... but he's ironically putting himself down for it too, and at the same time

putting his companions down, saying they're no better than him even if they do have more "good" qualities because each good quality has a corresponding downside, so what's the point, really?

You can see that even in this small sample of his speech that Grantaire often has layers upon layers of meaning in what he says. He's a smart guy! But that means you can't always take what he says at face value, as Hugo says, he's constantly "reasoning and contradicting" himself. So let me invite you further down into what I think his real meaning is here (though now firmly into the depths of my own conjecture, so others may have different interpretations.)

I would speculate that "the rest of you" who he professes to mock refers mostly to a specific person, you can probably guess who. After all, Enjolras is surely the paragon of virtue among them, and you could certainly argue that his good qualities edge on being flaws. I think Grantaire is right about that, and it's a sort of theme we see pop up again and again--the Bishop's generosity does hurt the women he lives with, Valjean's self-sacrifice hurts Cosette, and Javert is someone who's tipped all the way over to his virtues being vices.

But like, man, come on. Seriously. "I scoff at your perfections, excellencies, and qualities." Dude. We all know that you're obsessed with this man.

And you might notice that this is just a whole lot of Grantaire talking and talking over people, never letting anyone else get a word in. It's not a debate, Grantaire never actually debates anyone, let alone Enjolras. The idea of Grantaire debating Enjolras and making him see the flaws in his idealistic revolution is wholly a fandom invention.

The closest we get, really, is Grantaire trying to convince Enjolras to send him to the Barriere du Maine...and Grantaire doesn't come out of that looking so good.

“Do you know anything of those comrades who meet at Richefeu’s?”

“Not much. We only address each other as tu.”

“What will you say to them?”

“I will speak to them of Robespierre, pardi! Of Danton. Of principles.”

“You?”

“I. But I don’t receive justice. When I set about it, I am terrible. I have read Prudhomme, I know the Social Contract, I know my constitution of the year Two by heart. ‘The liberty of one citizen ends where the liberty of another citizen begins.’ Do you take me for a brute? I have an old bank-bill of the Republic in my drawer. The Rights of Man, the sovereignty of the people, sapristi! I am even a bit of a Hébertist. I can talk the most superb twaddle for six hours by the clock, watch in hand.”

I won't bother going too in-depth here since you're probably familiar with all this--Grantaire talks a big game and then fails to follow through. And we see one of two red waistcoats mentioned, neither of which are worn by Enjolras.

Grantaire lived in furnished lodgings very near the Café Musain. He went out, and five minutes later he returned. He had gone home to put on a Robespierre waistcoat.

“Red,” said he as he entered, and he looked intently at Enjolras. Then, with the palm of his energetic hand, he laid the two scarlet points of the waistcoat across his breast.

So yeah, it's actually Grantaire who wears red, at least canonically! I know their popular red/green color scheme comes from the musical, but it might be fun to reverse it sometimes...I think Enjolras would look great in a nice emerald green, and he'd be more likely to wear that, actually.

Why? A red waistcoat like would be a very obvious, in-your-face political statement--perfect for Bahorel, the other red waistcoat wearer, but Enjolras is actually a lot more reserved and less reckless than fandom sometimes makes him out to be. Wearing something that blatant isn't really his style.

The real question is, why does Grantaire, of all people, own one? Why has he read Prudhomme and the Social Contract and the Rights of Man?

Grantaire is not a super sympathetic character. He's a man of means, talent, intelligence...and he wastes those gifts and privileges on doing nothing, he has no aims in life, he does not aspire to do better or make the world better. He may be Enjolras's foil but I would also contrast him with Feuilly, who has spent his life dedicated to improving himself and the world despite the challenges he's faced. He's obnoxious to women, denigrates his friends for their beliefs, and is generally useless. He's given the opportunity to change and he squanders it. He's not so much cynical (because that's a belief) as he is indifferent, which is arguably worse. His indifference can certainly be read as symbolic within the group, their belief versus the apathy of the world.

But, layers upon layers...Grantaire does have a good heart hiding underneath all that. What I've been getting at all along here is that he does care; he may say he doesn't, he may even believe he doesn't, but he does, clearly, care. He says he hates mankind; he loves people. He says he scoffs at his companions; he admires them. He declares himself indifferent, yet he can't help but talk about the sufferings of the world.

Which isn't to say that simply caring absolves him of anything. Up to this point, he's still just been a useless layabout. What does absolve him (narratively speaking) is the first time, possibly the first time in his life, that he chooses to act. He chooses to take a stand. And this transfigures him, as Hugo says.

Grantaire had risen. The immense gleam of the whole combat which he had missed, and in which he had had no part, appeared in the brilliant glance of the transfigured drunken man.

At the last moment, he chooses to believe, and Enjolras finally accepts him.

One last thing: Grantaire never calls Enjolras "Apollo". Furthermore, he's actually the only one who couldn't have called him "Apollo". The only line where this nickname is mentioned is as follows:

It was of him, possibly, that a witness spoke afterwards, before the council of war: “There was an insurgent whom I heard called Apollo.”

Who could have called him that? Not Grantaire, he was fast asleep during the whole thing. So I choose to believe it was Prouvaire…he would.

[envythepalmtree]

4, 10 and 14 from the ask game for "don't you dare look away"?

4. Where do your story ideas come from?

For don't you dare look away specifically, I got ideas from a lot of places. The concept of doing a long, multichapter character study came from delicate by lantur which is a character study of Riza. And reading Xingese Roy fics from non-east asian authors made me want a fic that I could relate to, that was similar to my own experiences.

I love pre-canon stories. It was two novels, The Rise of Kyoshi by FC Yee (prequel to ATLA) and Ballad of Songbirds and Snakes (prequel to The Hunger Games) that really opened my eyes to how powerful a prequel story can be. Showing how the characters and the world develop into who they are in the canon timeline.

Another big one is my criticisms of canon. I tagged the fic as "technically canon compliant, (that's a new genre I invented where everything that happens in canon happens in the fic, BUT the fic narrative challenges or directly contradicts the canon narrative)"

And that might not make sense so I'll give an example. In the OVA Yet Another Man's Battlefield, we have 18-year-old Roy, Maes, and an Ishvalan kid named Heathcliff at the military academy.

I might expand this into a full criticism meta later, but the gist is: Heathcliff's harassed for being Ishvalan. Roy and Maes stand up for him. The way it's written, Heathcliff gets very little lines and (in my opinion) the racism isn't given much nuance. There's a part that goes like this:

Racist Bully Guy: Whoa. What are you doing, Hughes? We're you're friends?

Maes: You think so? You think I'm friends with cruel bullies?

Then he like. joins up with Roy to beat the guys up. It's very dramatic and framed as a whole "yeah we're good allies!!" moment.

I didn't like that, so here's how I wrote it:

“Whoa,” said Sven. “What are you doing, Hughes? We’re your friends!”

Hughes was now pointing his gun at the Year Twos. “You think so? You think I’m friends with cruel bullies?” (Hughes spat bullies as if it were the worst thing in the world.) “I hate people like you!”

Roys eyes widened.

Hughes smiled at Roy. (Not at the Ishvalan kid.) “The object is victory.”

“Heh,” said Roy. “Focus on it.”

[then they get in a fist fight with the Racist Bully Guys™]

10. When you write fics, how much of canon are you willing to ignore/skip over?

For don't you dare look away, at least, I think I mostly answered that one above! With my fancy new genre Technically Canon Compliant I like to keep all the events and dialogue while changing the themes/messaging completely :))

With Technically Canon Compliant, another thing I like to do is pick and choose which dialogue/settings/order of events I want from different versions. The manga and Brotherhood have different settings for scenes like Roy's conversation with Berthold before his death and the conversation about personal responsibility with Kimblee. Both change the story in slightly different ways.

It was also kinda fun going "well, I like this manga sentence better than the Brotherhood eng dub sentence, but then I like this eng dub sentence better" and recreating the dialogue using the translations I like the most.

14. How do you come up with chapter titles?

!!! chapter titles!!

So here are my chapter titles:

[Text:

1. wash away

2. burn down

3. the stars I need to be

4. noble gases

5. wash away (noble gases)

6. hand in hand with destiny (noble gases)

7. burn up (noble gases)

8. alkaline earth

9. wash up (alkaline earth)

10. burn up (alkaline earth)

11. halogens

12. wash down (halogens)

13. i can earn the wax and wick (halogens)

14. lanthanides

15. burn down (lanthanides)

16. wash down burn away (lanthanides)

17. don't you dare look away (lanthanides)

End text]

The 2 things you probably noticed:

Most of them have either "wash" or "burn" and a direction

Are those words from high school chemistry class??

Addressing the first point: yes yes yes!! I like water and fire imagery as much as the next writer, but what I was obsessed with specifically for don't you dare look away were the actions that those two things do. Washing and burning.

Roy's mom was named Chong 冲 which means "wash away." Her parents named her that because her family was going through some hard times when she was born, so they named her Chong to wash away their bad luck.

She gave Roy the Xingese name Feng 烽 which means fire, but not in the destructive sense. It means light and warmth and good things. Roy does not use his Xingese name.

Fun fact: In irl Chinese culture, you'd never give your kid a fire name if you had a water name. It would bring bad luck. And obviously Chong and Roy both had such good luck :)

And for the second point!! I divided the fic into five sections, each focused on a different period of Roy's life. Four of them are arcs that are named after a group of elements in the periodic table.

Intro arc: Age 4-6

No chemistry name for this one because Roy hasn't become obsessed with alchemy yet!

Noble gases arc: Age 10-12

The noble gases are at the very end of each row on the periodic table. They have a full valence shell and aren’t in need of any more electrons; they’re satisfied. They don’t react with any other elements, like a stuck-up noble who has no need to interact with peasants.

For a while, Roy was a happy child. He also looked down on those he felt higher than.

Alkaline Earth Metals: Teenage years

The alkaline earth metals are the second group on the periodic table. They’re shiny, silvery-white, and readily lose their two outermost electrons. They have low densities, low melting points, and low boiling points. In other words, they melt and boil easily.

Roy is young and has a few things to lose. He’s naive, unexposed to the world, and has shiny dreams.

Halogens: Military academy

Halogens are nonmetals in group 17 of the periodic table - the penultimate elements. Missing only one valence electron, they’re extremely reactive because if only they had one more element to fill their shell, they would be complete.

Roy just needs to prove himself. If he can erase his flaws, the parts of himself that aren’t the perfect Amestrian soldier, he’ll be complete.

Lanthanide series: The Ishval genocide

The lanthanide series is a group of silvery-white metals that tarnish when exposed to air. They burn easily, but commonly bind to water.

Roy joined the military as a naive, idealistic young man and was exposed to the reality of what his country was when he committed atrocities on orders. He burned so many, easy as a snap. Then he bonded himself onto a path to heal the country.

Gosh I'm so proud of that.

Anyway!! The promo post is here and you can read don't you dare look away here.

[sanstropfremir]

by request, the first post-kingdom stage roundup! this one is a best to worst by group!

some introductory notes:

i’m not going to be ranking the 100sec stages in here because they are too different of a scale. but i will be talking about them as a part of the process. i’m not going to be including the team stages here either, since i talked about them in my episode seven and eight reviews and i do think they stand separately from the individual group stages, because we don’t know who the creative teams were behind them. this is not meant to be an overall best of all the performances, i’m intending this more to be a look each of the groups’ stages overall; seeing how they adapted and improved and how effective the trajectory of their journey as a whole was. also, a very important definition to make right at the start so i don't have to explain it every time: by ‘worst’ i do not mean the stage was actually bad. by ‘worst’ i literally mean ‘not the best.’ if i break it down, i’m ranking these by ‘most amount of successful components’ to ‘least amount of successful components.’ there were no stages that were actually bad or unwatchable; they were all successful in one way or another, but some of them more so. i’m ordering these in my own personal ranking of reverse who did the best overall, which obviously is not how the actual show rankings went down, but we all know my thoughts on the official rankings.

in case you want to catch up and read my more in depth thoughts, here’s all of my episode reviews: one, two (with added tbz costume breakdown), three, four, five, seven, eight, nine, ten! oh and also here’s my very first review of the dance solo performance film, since i’m also going to be referencing this a bit.

tbz

monster - the least involved with their overarching story concept and it’s stylistically the most interesting because it’s a departure from the glittery royalty concept we have primarily seen them in. it also helps that it’s a great song that they did a relatively good cover of.

kingdom come - the solidity of the choreo is the thing that puts this stage up here, because it’s some of their best. and it’s not as explicitly reliant on the game of thrones theme as their other stages.

o sole mio - this has real potential as a good small concept vaudeville themed stage; it starts off really strong and then they blow it by shoehorning in the unnecessary lore.

no air - they tried to start off with a big conceptual bang in the first round with a semi-explicit narrative, but it relies entirely too much on the viewers knowing the references for it to make any sense.

to be honest, i’m not that surprised about how tbz constructed their stages and how they turned out. i know a lot of people have been disappointed with how lackluster their stages have felt in comparison to their rtk ones, and i think that’s fair because i agree, i don’t think they ever captured the same energy they did for danger or for shangri-la. if you’ve been following along (or have just read all my reviews now) than you know most of my complaints about how tbz have been working with their lore and concepts, so i won’t rehash them here. but i do think it’s warranted to point out that theoretically, being first in rtk would logistically put you at the bottom of the initial ranking for kingdom. i know they’re not technically the youngest group, but in the execution of their stages in comparison, it does make sense to me that they come out looking as the most inexperienced group. even though they were intending to have a similar overarching story like they did on rtk, it was not at all very fleshed out and there wasn’t a strong enough connection between that story, the themes of their stages, and the narrative shapes of those stages. which is a shame because they are not unskilled performers, and they have the most members of all of the groups on the show, so they had a lot of opportunity to be doing interesting choreo and blocking work that never seemed to materialize. i also think they never truly got used to the size of the stage in comparison to the rtk stage, and they were always struggling to fill it in an intentional way. they tried valiantly to recoup their ground and bring everything together in a full circle for their last stage, and even though they somehow came in second, i think by the finale they had been worn down and lost a lot of their steam. it also doesn’t help that they lost a member to injury right near the end, which can be very demotivating, especially for a young group.

skz

god’s ddu du ddu du - the most stylistically different and interesting of the bunch, with a lot of interesting elements and well designed movement, even if the overall arc was half baked and lackluster

i’ll be your man - this was an actual attempt at a departure from their normal bluster and even though it never makes it all the way there and they don’t do that great of a cover, it’s different enough.

wolfgang - although watchable for hilarity and/or cringe value, nothing about this stage demonstrates a significant amount of growth from the first one. it fact it just feels like they injected a load more money and time into the premise of their 100sec stage, without any of the reflection that this kind of circular final stage concept should have. it’s exactly the stage of a group that’s been propelled to first in every round through an artificially inflated system.

god’s menu/side effects - the most scattered of all their stages. there’s not quite enough material to tie everything together and it feels underformed.

we all knew what the outcome of the show was going to be the moment that very first round of fan voting came in. now i don’t actually care about final outcome of the show, because the most valuable experience of a show like this is learning from what your competitors around you are doing and how to improve your work for further rounds. if the ranking system had been solely expert + judges based, all of the weekly rankings would have looked a lot different and skz would have actually had a chance to grow from this experience. but because they have the biggest and most aggressive fandom, their stages constantly ended up in first place and they never actually had the opportunity to sit back and reflect on their performances to figure out how they can do better. because the truth of the matter is that they did not have the best performances on the show. they consistently made stylistically stagnant stages and never managed to correct any of the issues that have been plaguing them since the 100sec round. the closest they got was god’s ddu du ddu du, which was aesthetically the most different and had the most interesting subversions of the stage format, even if it ultimately fell flat because they still missed the mark on managing the shape of the narrative. if you watch all their stages back to back you’ll see that there’s an overreliance on the same types of stylistic decisions and thematic elements, including in the sound and feel of the work. this is a bit hard to explain, but even though the stages all look different, they don’t convey any nuanced emotion or intention other than ‘stray kids world domination.’ now nuanced intention is not necessary for a kpop song performance, but skz took it upon themselves to try and tackle some fairly complex thematic ideas, which is commendable, but they fall flat because the members themselves don’t know how to act. and acting is supremely important when you are doing themed stages. i talked about this same principle in this response about orange caramel and wjsn chocome, but most newer idols don’t approach performing as a character, they approach performing as themselves, and skz are big victims of this. that’s why even i’ll be your man, where they do actually attempt to be a bit more nuanced in their delivery, still comes off like all their other stages. they don’t ever push themselves beyond their performance boundaries (physically yes, obviously. i mean mentally) and so every stage has a little checklist of skz-specific personality traits that round out in the bigger picture to the same general feel. this kind of strategy works great for music shows and for general promotion because it’s super marketable, but in this particular setting, where we spend an extended amount of time with all the groups, it doesn’t facilitate the same amount of growth that letting those of personas go would.

ikon

at ease - really clear cumulation of their performance, group colour, and design elements over the entire show.

classy savage - well designed and decorated with an interesting concept, but has a few flaws that keep it from being their best work.

inception - again, very well designed; the set is so inventive and features a lot of carefully blocked movement, plus the colour palette is tight and used effectively, it just doesn’t reach the same scale as the latter two stages.

love scenario/killing me - it’s the first stage and it clearly suffers from a bit of underd evelopment as they were getting used to the format of the show. it’s still an interesting and well performed stage with the start of elements that we can see them develop further in the next rounds.

ikon had the most lackadaisical attitude toward the whole show, which i think was the best way to approach it, but also they didn’t really push much beyond their boundaries as performers. i’m not faulting them for not wanting to, they’re a very well established group and honestly don’t really need improve on anything. they did however, do a really great job of improving on their design quality and intergration after the first round, which is the one thing that this program definitely facilitates for. they’re also the only group where their finale stage was demonstrably their best stage, so they really did nail that slow improvement progression. they got what they wanted out of the show, which was new friends and a chance to make some fun stages that they wouldn’t have otherwise been able to. like i think i’ve said in every other review, there’s not that much to say about them as a whole because they just put their noses to the grindstone and did the work while maintaining a chill and fun demeanour, and those efforts paid off even if they didn’t end up ranking very high.

sf9

the stealer - great integration of theme into narrative and design, small scale concept with big impact.

believer - smart use of camera work and choreography in conjunction with the design elements. although not very narrative focused, it’s a clear and thoughtful elaboration on their intro stage that’s very well executed.

move - a risky choice that pays off fairly well for them, even if it doesn’t capture all the depth that it could have.

jealous - it’s their first stage of the competition and the first time they had worked on something of this scale before, so it only makes sense that it’s the weakest of their run. despite that, it shows a strong understanding of an unusual concept and it still holds up.

sf9 were the clear underdogs of everyone and the rankings pretty clearly reflected that. but as a group they really put in the work to improve their skills and i think they showed the most dramatic improvement of everyone, especially between the first and second rounds. they repeatedly made comments about how they were focused on creating good stages and it paid off. their stages were all conceptually and visually interesting without relying on much external lore or overly dense themes, even if some of them were more effective than others. they had a lot of strong emphasis on costume in particular and they were very well styled. their finale stage was a very clear synthesis of all of the experience and knowledge they gained over the course of the show and it wraps a neat aesthetic and thematic bow on their journey. they absolutely did not deserve last place; they were the ones hardest hit by the fan voting system and i hope that the group doesn’t internalize the official outcome too much, because they did a lot of good work that they should be proud of and deserves a higher due than it was given.

ateez

rhythm ta - simple concept with a clear narrative that uses a lot of visual referencing as exposition without being cluttered and too reliant on the source material. impeccable use of limited design elements to create atmosphere and it’s a strong reinvention of the song.

wonderland - an absolute banger of a first stage that does all the same things as rhythm ta just to a slightly less polished scale.

ode to joy - both stylistically and tonally a departure, this stage relies a lot on group lore but also has a very clear message that was surprising for its maturity and temerity.

the real - purposefully pulled back in scale and ambition as a pointed critique of the competition as a whole. looser in design aesthetic synthesis but has more freedom for the members to show more dynamism in the group’s abilities and colour.

the youngest of the six groups, i don’t think anyone was expecting ateez to come out swinging in the way that they did. oh, we were all expecting them to put up a fight, but i know that i wasn’t expecting much beyond the capabilities of what we’d seen from skz and tbz, since they all share the dubious honour of being similar aesthetic performance based fourth gen groups. but oh baby did they prove us all wrong. the fact that they have incredible performance abilities and stage presence is what carried them half of the way, but they also proved to have a top notch creative team working behind them that knew how to visually craft a great performance. wonderland and rhythm ta are two of the smartest designed stages, and i’d put rhythm ta as the best designed stage, because it does so much in such a small amount of time. this ranking was tough because all of their stages intentionally prove a point and i dont think there are any that are demonstrably weaker. wonderland and rhythm ta served to prove that they had the capacity to keep up with their seniors, and that they were ambitious and hungry and had a solid team foundation. both stages ranked them first in non-fan judging and once they saw how the fan judging skews the final results, they smartly and ambitiously made a choice in the round BEFORE the finale to make a stage that rebuffs the laurels of the competition show they were at the pinnacle of, specifically for their fans. there is so much care and thought put into the ode to joy stage that it feels wrong to rank it as their third best, especially when it also contains one of the greatest 40 seconds of acting i’ve ever seen on a kpop stage. just the dichotomy of the stage’s melancholy feel with the choice of song is so compelling, and in its context as a part of the whole now the show is over.... i’m out of words. the brain on the person who came up with this, i would LOVE to talk to them. and having the real as a followup stage? where they have the freedom to have fun and be stylistically themselves while thumbing their noses at the show? a perfect follow up and rounding out of the expression of their abilities.

btob

back door - perfect. simple concept and simple narrative extremely well executed. excellent attention to detail and atmosphere.

show and prove - perfect reflection of their journey on the show as a whole.

blue moon - same as back door, just with a slightly larger scale.

missing you - only last because it doesn’t have the same strength of narrative and design concept as the other three stages. it’s still a better stage than 80% of the stages on the show.

we all know this, but btob are the real kings. all of their stages were phenomenal and they all hit my personal top ten, so this ranking is more of a ‘which stage was the best of the best.’ they did an incredible job of playing to their strengths and they knew exactly what they needed to do in order to craft the best performance. this was actually very difficult for me to decide because they never fucking missed. watching missing you for the first time in like two months smacked me right upside the head because that stage is beautiful. the intro in the forest with changsub and eunkwang is fucking gorgeous; the lighting and atmospherics are so effective and the trees do an incredible job of obscuring the stage architecture. and their costumes. this stage screams elegance in a way that no other stage managed to capture and this was the first round. and i’m putting last on this list, which should be telling about the quality of their work. and honestly it only goes up from here. they took that one maybe valid expert critique that they got of utilizing more narrative and they RAN with it. i put back door as first because it juuuuust inches out blue moon and show and prove for smart camera work, but honestly all three of these stages could take top spot, they’re of equal rank.

btob came into this show at a pretty distinct disadvantage: they’re old, and there’s only four of them. and as we know, thanks to rtk and the fourth gen groups, this show has a reputation for big acrobatic blowout spectacles, which is just not something they can do. but they also had a distinct advantage: they’re old and there’s only four of them. they very smartly foresaw that they wouldn’t be able to compete with the fourth gen groups in athletic ability, so they specifically chose to highlight the areas they were the strongest in, which you can see right from the start. their intro stage specifically highlights their vocals, and even in minhyuk’s dance solo the design is music show themed, as a gentle reminder that they know how to work a stage. and as the show progressed they started to solidify that assumption. they used narrative extremely well to give their stages an element of emotional investment that kept the audience engaged without banking on individual idols’ popularity to keep them afloat, and spent their time on the show being gracious and generous competitors, intent on being as watchable offstage as they were on. and it worked. by the time the finale rolled around, we knew who these men were and we had seen them be individuals, so they were able to cast off the need to play to narrative and to character and instead they were able to loop back around to that very first stage; simple, clean, emphasis on vocals, with a very important addition of uniformity. the current trend in kpop costuming is to have group members dressed similarly, but not exactly the same, partially in order to be able to everyone apart, but also because the ‘sameness’ of the boy band model has fallen by the wayside. btob took all their previous stages where they had clearly been individuals and as the culmination of their journey they chose to look exactly the same, to clearly send a message that they are a singular unit and they are proud of that. and they absolutely stuck the landing. this was a perfect run for btob, they should be really fucking proud of the work they did.

[houseofsannae]

A Fistful of Munny - Extended End Notes

Notes for A Fistful of Munny that don’t fit within the character limit under the cut!

Please, read the fic before reading this post

           All right! Welcome to the extended notes, in which I go into excruciating detail over a bunch of stuff that doesn’t matter, because I like the sound of my own voice!

           Let’s start with some more broad stuff that didn’t make the exclusive end notes space. To do the Fistful of Dollars homage, I needed a place where I could have two villainous factions intersecting for Strelitzia to play against one another. After some brainstorming and asking for help from other people working on the Entwined in Trine Sorikai zine (and ultimately ignoring all their very good suggestions (Sorry, guys!)), I eventually realized that the Wasteland from Epic Mickey was a perfect place for this story, both in the sense of having mooks to destroy without Strels committing actual murder, and in the thematic sense of forgotten characters. There was just one issue.

           I hadn’t played Epic Mickey.

           And that is how I spent my summer, playing both Epic Mickey games. Both, because I was looking for a good location to set the story in in-world. Since the Wasteland is based on the Disney theme parks, I was hoping to find one based on Frontierland, their Western section. Such a location did exist – Disney Gulch – but only in the second game. Which meant I had to play Epic Mickey 2, as well. (The first one is a better game, but that’s not really the fault of the developers; they were not given the time they needed to make it as good as the first one. Here’s a video with trivia about the series that goes a little into the development.) I also needed to learn the Mad Doctor’s ultimate fate, since I wanted his Beetleworx/Blotworx to be one of the two villainous factions. In the game, depending on whether you chose the Paint (Paragon) or Thinner (Renegade) path, the Doc is either redeemed… or dead. Neither of which was helpful, so I had to invent.

           But let’s talk about characters and why I picked them in order. The short version for why these choices, at least on the Final Fantasy side, is set-up for later. Obviously I can’t go into detail why. Before that, let’s talk about the Beanie Baby.

           Chi is, as I hope you were able to guess, Strelitzia’s Chirithy. I’ve brought it up several times, but I personally do not like mascot characters. There are a few exceptions, but Chirithies are not one of them. Like I said, KHUx isn’t what happened in this AU, so you’ll have to wait for in-universe answers on why it’s a cat now. Out-of-universe reason is this was the only way I could make it palatable for myself. I arbitrarily decided on a gender for it because as a real cat, it would have a sex. Canonically Chirithies appear to be genderless, and in Japanese refer to themselves with the gender-neutral (but masculine-leaning) boku. I would’ve left Chi that way, save for the fact that he’s a completely normal cat now. (And before you ask, no, not every real cat that appears in KHΨ from this point on is a Chirithy.)

           As for Strelitzia herself, it’s hard for me to pick up a character’s voice when they’re… not voiced. Intonation and cadence do a lot for me mimicking the way a character talks, so it’s a bit more difficult when they don’t technically speak. I tried for a mix between Sora and Kairi, while still keeping her defining character traits of being shy, but also impulsive.

           You may notice that while she’s started remembering faces, if not names, the Player’s name and face still eludes her, despite her (canonical. Deal with it.) crush on them. There is a story reason for this, and will become clear once Luxu takes centre stage.

           The name “Jane” was chosen with more consideration than just “Jane Doe” being the standard name in (at least my corner of) the English-speaking world for a woman of unknown identity. See, the Man With No Name actually has three names. In A Fistful of Dollars, he is referred to (by one character in one scene, once) as “Joe”. “Joan” might have been a more clear homage, but I figure Jane makes sense. And as you might guess, in the next fic, Strels will be going by a different name, still not her own. She’ll remember her name… eventually.

           One might think I could’ve picked any old Cid, and one would be wrong for reasons I can’t explain yet. In fact, I can’t explain much of anything surrounding him yet. What I can say is no, Cidney Aurum is not dead, she’s just not related to Cid Sophiar in this fic verse. An unfortunate consequence of where I wanted to put each of them in the narrative; making them not be related was the only way it made any sense, geographically speaking.

           Hyperion on the other hand, I can talk about. He’s one of the Gremlins in Epic Mickey, and… wait, first things first. Gremlins are from an abandoned Disney film based on a Roald Dahl book, itself based on the cryptids that supposedly haunted airplanes and caused them to malfunction, the earliest known written-down mention of the concept being from the 1920s. The film never got made, but the designs Disney would have used were adapted into a second printing of Dahl’s book, and they were later used in Epic Mickey. Hyperion is, like the publishing imprint that Disney owns, named after a street that Walt Disney used to live on. In-game, Hyperion is in Bog Easy (based on the Haunted Mansion), not Disney Gulch, but his name stuck out to me as being particularly fun, so I picked him instead of trying to figure out what Gremlins actually are in the Gulch (they have names in the files of Epic Mickey 2, but not in the actual game, so it would have been a hunt).

           Regardless of where the setting ended up, for the second villainous faction, I was always going to plop down the good old Don. More things I can’t talk about. For everything FF7, know that I’m always going to be pulling from a mix of the original game, Remake, and Machinabridged. Hence, Corneo’s outfit is a mix of his original and Remake designs (which basically just means he’s wearing blue jeans instead of brown). I didn’t think bringing in his three lieutenants from Remake was necessary, especially since this was supposed to be a kind-of small operation.

           Leslie is picked up and dropped from Remake pretty much unchanged. I needed someone to do the murders Strels couldn’t, and even if he’s not a complete asshole, he’s still mostly an asshole. Have we ever seen small, Materia-like balls used to cast magic before…?

           Onto the fun bits, which is the Disney characters. We’ll start with Percy, who is from a Goofy short called “How to Ride a Horse”, from 1950. And that’s about it. The conceit in Wasteland is that all of the Toons there were basically actors, and they wound up in Wasteland if they were forgotten (that’s not exactly correct, but I’m generalizing). This is interesting, since two of the Toons in Epic Mickey are Horace Horsecollar and Clarabelle Cow, both of whom… are residents of Disney Town in Kingdom Hearts, having shown up in Birth by Sleep. So that’s an interesting continuity snarl that I’m going to just ignore.

           Persephone and Pluto, on the other hand, are from an earlier short called “The Goddess of Spring”, from 1934. It was one of the projects Disney tried as practice for Snow White. If you’re about to protest that his name should be Hades, not Pluto, then you’re going to need a time machine so you can tell them back in the 30s. The Goddess of Spring is a musical, in the sense that every single line is sung. Watch it for yourself. There’s a video with better quality floating around YouTube, but for some reason it’s the French dub. And that’s why both of them sing most of their lines. I tried matching the meter of their actual parts, but Persephone’s doesn’t actually follow a syllabic pattern that I could make out. I eventually gave up and just gave her the meter from the start of the short. Pluto’s was easier to manage (and more consistent).

           The skeletons are Disney veterans, presumably the same ones from “The Skeleton Dance” (1929), but more specifically they’re mimicking what they did in “The Mad Doctor” (1933), the first appearance of our other villain. They’re fun.

           The original Mad Doctor was supposedly named “Dr. XXX”, according to the name on his door. This was before the modern film rating system was put in place; it was a different time. In the original short, the Mad Doctor kidnaps Pluto (the dog) with the intent of cutting him in half and putting his front half on a chicken For Science!, and Mickey follows him to his castle to rescue the purloined pooch. The short wasn’t a musical in the same vein as “The Goddess of Spring”, but… the Mad Doctor’s only spoken lines were a song (aside from evil cackling). While I had already decided to do the “Toons that sang in their short can only communicate through song” with Persephone and Pluto before starting on Epic Mickey 2, I hilariously discovered that the game developers had done the exact same gag with the Mad Doctor, most of his lines in the game being sung. (In Epic Mickey there were no fully voiced lines, so he speaks as normally as anyone else does). Which made it easier to write his songs here, since I could just rewrite his songs from the game. I used to write alternate lyrics for songs back in high school, so this was an interesting trip back in time for me. They were stuck in my head for weeks afterwards, but it was worth it.

           I believe that’s everything for the characters. Let’s talk about Keyblades.

           It irks me that three people in KHUx have the same Keyblade. Ephemer, Skuld, and Strelitzia all have variations of Starlight. Now, in KHΨ, there is only one Starlight, and it belongs to Luxu, so I’m going to have to decide on different Keyblades for each of them. (Ephemer’s has already been decided, and I haven’t started brainstorming for Skuld yet. No I do not need suggestions, thank you). Pixie Petal bears a noted (by KHWiki) resemblance to one of Marluxia’s alternate scythes, so that tangential connection was enough for me. Both siblings have flower-themed Keyblades – it makes sense to me.

           You might notice a few disparities in the magic. These are on purpose, and will eventually make sense. And that’s all I can say on that at the moment. ;)

           Oh, yes, one important thing I probably should have said on the main notes: I’m not going for a realistic depiction of amnesia here. Anything I got right was entirely accidental, and I’m fairly certain there’s not much. There might be a story reason for why it works the way it does… and it might be the same reason why other people from KHUx have or had amnesia in the present day…

           You know what’s funny? Although Orcuses look more impressive than Invisibles, their stats in Days are actually worse. I’m fairly sure that this is because the only time we see an Orcus, it’s actually an illusion cast over Xion so that Roxas will fight her to the death. There are no other stats for them (according to KHWiki), since they’ve never been used elsewhere.

           A friendly reminder that Apprentice Xehanort invented the term “Heartless”, which was why Aqua didn’t know what to call them until Mickey told her. Thus, nobody from the era of the Keyblade War should know the term “Heartless” without being told by someone in present day. “Darkling” was the term they used instead. I’m fairly certain KHUx ignores the continuity on this (so why should we trust its continuity for anything else, hmm?)

           I think that covers everything! Or at least everything I’m willing to share at this point. If you’ve read this far, thank you! I appreciate your dedication! ^_^

[clarste]

listen-and-reflect replied to your post:

Um, just wondering, why aren't you around much...

… I’d be curious to hear your thoughts on Arknights. I’ve paid no attention to it whatsoever, but if it impresses you, I’m curious.

To boil it down to its component elements, I’d describe Arknights as “urban fantasy catgirl tower defense gacha.” If any of those words viscerally disgust you, there’s probably not much I can do to convince you otherwise, but personally that was enough to intrigue me. And what I found when I tried it surprised me in a good way. Honestly I’ve been struggling for like a month for how to talk about this, but for the purposes of this post I’ll boil it down to three major elements: Aesthetics, Worldbuilding, and Gameplay.

First of all the Aesthetics. Might as well start with a picture or three:

For the record, yes, 90% of the characters in this game are women, and there’s no explanation for that, that’s just how it is. I am 100% fine with that because I am a Touhou fan. Anyway, what I want to draw attention to is the way these women are portrayed. IE: they are posed/costumed to be seen as “cool” and while they certainly aren’t unattractive, it isn’t in a horny way that emphasizes their breasts or butts or anything. It’s not a perfect “practical clothing only,” I mean high heels aren’t great for fighting and there are other characters who show more skin, but the philosophy carries through in all the official art: these are cool, capable women who are never once reduced to sex objects for the male gaze. I respect that.

Also you don’t get to marry any of them which is a huge plus in my book.

It’s hard to say any more on that without moving on to the Worldbuilding. Basically, the world of Arknights is both blessed and cursed with a magical rock called Originium which is the source of all their problems. First of all it’s a miraculous power source, the resource that fuels the engine of modern society. Not only that but it can be used as a medium to cast actual magic spells (which is of course a well-studied phenomenon that’s treated as a science). On the other hand, its very presence warps the environment, causing large-scale city-destroying natural disasters on a regular basis. And more importantly for the conceit of the narrative, it can get in your blood, eventually causing an incurable disease called Oripathy which involves your body slowing turning into crystal from the inside out. Basically magic rock cancer. Later stages of it involve visible “crystal lesions” growing on the skin, but even internal growths can have serious medical problems. This is sometimes shown in character designs too:

This is important to the worldbuilding because “The Infected” are a major source of discrimination and political unrest. Oripathy is only mildly contagious (you’re more likely to get it from mishandling the rocks directly), but the stigma of it is such that anyone with Oripathy is immediately quarantined, exiled, or worse. Both the player characters and their enemies are generally Infected, with the “good guys” (scare quotes intended) being a medical institute that takes in patients to treat the symptoms and vaguely hoping for a cure someday, while the “bad guys” are revolutionaries violently overthrowing the society that treats them as subhuman. There are analogies you could make to HIV, leprosy, or heck even current events with COVID-19.

Anyway, I say all this so I can turn to the in-game character profiles and how they’re structured. Specifically, they’re all medical reports written by the doctors of your institute (who are themselves playable characters who are Medics in-game):

(Incidentally everyone uses codenames in this game). Anyway, my point is that these are not neutral, objective “word-of-god” profiles, these are the facts as they appear to some particular person in-universe. In Touhou terms, these are written by Akyuu: some clinical facts mixed in with rumors and speculation. And I absolutely love that.

More than that though, we get this amazing invention:

Why yes, that is an in-game chart of all the characters’ relationships, grouped by people who belong to the same organization, that fills in as you play. And yes, raising trust with characters by using them does fill in the names of people close to them who you haven’t met yet, as well as new connections to unknown people. Who is friends with Croissant?! I must know!

Er... Anyway, I think having this chart in-game is quite frankly a genius move on the part of the developers, since it gets you immediately invested in seeing how the characters are connected. But wait, there’s more! When you pull a dupe from the gacha, you get a little token that can be used to upgrade a character slightly, pretty normal. But even these little tokens have tiny bits of story on them!

These are the items that are important to these characters, and they can change the way you see them. Every little thing in this game has story attached to it! It’s incredible! And they actually tell stories with these things. There’s one in particular that fascinates me (and others), but unfortunately I have exactly 0 of the characters involved so I’ll have to pull quotes from the wiki.

There are three characters from a faction called Rhine Lab: Ifirit, Saria, and Silence. The details are pretty vague, but basically Ifrit is an Infected child with incredible Originium channeling powers who’s been experimented on, and Saria and Silence are two doctors who were involved in those experiments but had a falling out after an experiment gone wrong. But how does the game tell you this? Well, lots of ways. Saria’s profile is the most explicit:

The relationship between Lady Saria and Rhine Lab is very complicated. Though all Rhine Lab Operators who work with Rhodes Island show some amount of respect for Lady Saria, Rhine Lab's Medic Operator, Silence, shows nothing but hatred for her. At the same time, Lady Saria appears unsurprised by Silence's feelings toward her. Whenever Lady Saria attempts to talk with Caster Operator Ifrit, Silence gets in the way. According to available information, the animosity between Saria and Silence stems from an experiment at Rhine Lab led by Silence. The experiment was an unfortunate failure. Lady Saria acted alone in suppressing the experimental materials that had gone out of control. Similarly, because of this experiment's mishaps, Lady Saria left Rhine Lab. It is not known why she chose to cooperate with Rhodes Island after leaving Rhine Lab.

But then you have Ifrit and Silence’s tokens:

A long novel telling a legendary story. It is badly burned and you can only barely make out the words.

A patterned feather decoration. This ineloquent researcher from Liberi shows her sincerity by gifting her own feathers.

But oh gee, guess who are wearing feather tokens in the designs?  (it’s Ifrit and Saria)

Also here’s Silence just so you aren’t left wondering what she looks like:

Anyway, the point is that the writers know how to throw tiny bits of characterization and hints of an untold story into literally everything in this game, and that is exactly what I live for.

Oh yeah, there’s also Gameplay.

Game’s pretty fun:

I enjoy it as a game too.

[randomestfandoms-ocs]

Hamilton Prompt List

Made by request, a list of prompts from Hamilton!  If there’s a specific artist or album that you’d like a prompt list for, send me a message and I’ll let you know what I can do!

Will they know what you overcame?  Will they know you rewrote the game?

If you stand for nothing, what'll you fall for?

I imagine death so much it feels more like a memory

Tomorrow there'll be more of us

Look around, look around at how lucky we are to be alive right now!

I'd rather be divisive than indecisive

You say our love is draining and you can't go on

Dying is easy, living is harder

Look into your eyes and the sky’s the limit, I’m helpless

I romanticize what might have been

I’ll see you on the other side of the war

If there’s a reason I’m still alive when everyone who loves me has died, I’m willing to wait for it

And every day's a test of our camaraderie and bravery

Pray that hell or heaven lets you in

I'm more than willing to die

Let me be a part of the narrative, in the story they will write someday

The world will never be the same

History has its eyes on you 

When you knock me down I get the fuck back up again!

It's much harder when it's all your call

We’ll give the world to you

The fact that you’re alive is a miracle

But the sun comes up and the world still spins

Hey, turn around, bend over, I'll show you where my shoe fits

Run away with us for the summer

Someone under stress meets someone looking pretty

We dream in the dark for the most part

I swear your pride will be the death of us all

Where do we draw the line?

We won't be invisible, we won't be denied

We'll teach them how to say goodbye

They will tear each other into pieces, Jesus Christ this will be fun

Do you promise not to tell another soul what you saw?

I couldn’t seem to die

I know my sister like I know my own mind

The world has no right to my heart

They used to say I would blow us all away

Save your breath and stay alive

There is suffering too terrible to name

Don't let them know what you're against or what you're for!

You stand only for yourself, it's what you do

Best of wives and best of women

I survived but I paid for it

You have no control, who lives, who dies, who tells your story

When you're gone, who remembers your name?

And when my time is up, have I done enough?  Will they tell my story?

I can’t wait to see you again, it’s only a matter of time

I may not live to see our glory, but I will gladly join the fight

You don't have to bring a gun to a knife fight

I never wanted a crown; I never wanted to lead

That doesn't wipe the tears or the years away

I'm not here for you

You have invented a new kind of stupid

We bleed and fight for you; sometimes it seems that's all we do

[soysaucecas]

oooh for the ask game 24, 30, and 44!

MAGPIE MY BELOVED HELLO

24. What are your favorite episodes?

The only episodes I've really watched are TMWWBK (which is my favorite episode and I'm certain would still be my favorite if I watched every single one because it has the only SPN character and the only SPN line), The French Mistake (which was funny enough but honestly in the Just Okay category for me, which makes me pretty sure I wouldn't enjoy actually watching SPN if this is one of the funniest/highest-rated eps), and Reading Is Fundamental (my best friend was watching it and asked me if I wanted to hop on Discord, I thought it might be fun to see Kevin's first introduction but instead this ep found the two of us taking like 90 minutes to get through it bc we kept pausing and screaming (derogatory) as the model minority stereotype jokes piled up and up and up... Unfortunately not a favorite even if we got Meg AND the "pull my finger" joke AND the "Sorry" shot). Other than TMWWBK, from clipping and transcript-reading, I like Wayward Sisters (who doesn't?), The Things We Left Behind (Claire!!!! Cas trying to be a dad! The diner scene aka my favorite destiel scene of all time bc being in love just looks so good on Cas! Also the parallels between Claire and Randy and teen Dean and the adults at that club in his story... woof.), Golden Time (Eileen gets to be HERE and be sad and loved and fight people with ghost powers and Cas gets to do a cool speech and a stabbing and do the Asian community a favor), and Lucifer Rising (just immensely sexy on all counts for Ruby, Sam, Cas, and myself). Also I am SO fond of Steve!Cas so I'll add Heaven Can't Wait even if I barely know anything about it.

30. What is an unpopular opinion or headcanon you have about the show?

Ooh okay hm I think. So I adore confession scene, but I don't think the "I cared about the whole world because of you" is like. The Objective Truth the way that most bloggers seem to take it. Cas was lobotomized tons of times before he met Dean, he was described as coming off the line with a crack in his chassis, he's always been the weird little angel who likes humanity too much! I don't think Dean came first, and although gay love was part of what helped Cas invent free will, he *Ruby voice* didn't need the feather to fly, Dumbo! I do think Cas believes what he says in the moment, but I also think he sorta... made himself believe it? This is probably just me deciding that cas-coding should go both ways, but like. I very much crush as a coping mechanism and I very much overascribe my actions to love because it simply seems more noble/poetic to do so. Being miserable because school is hard is cringefail but being miserable because of unrequited love is Good Shit. And I have been in unrequited love with my best friend for at least 7 years (probably 9 but I didn't realize it earlier) and if you asked I would 100% say that she taught me love and defined love for me and that she will be my first and last, but I also know that that is not entirely true; it's just the narrative that I like for myself. And I think that being in an Empty deal contingent on whether or not he LETS himself feel happy would lead Cas to do plenty of mental maneuvering, which I think involved intentional self-poor-little-meow-meow-ification via overascribing his choices and happiness to Dean (and I also think he'd already been doing that for a while just because of personal self-worth issues and because it's a nice narrative). I know as Cas's last Moment on the show it was probably written to be The Objective Truth, but I am perceiving him and I say no.

44. If you could write an episode of Supernatural, what would happen?

Oh scream okay! This is a fun one! I am going to start out with two ideas from other people:

1. Months ago Nate from the pocnatural discord had the idea of an episode from the "monster"'s perspective where the Winchesters are just clearly the antagonists while not doing anything different than they usually do. I think the idea was that all these supernatural beings live in a self-regulating community together and we have one Very Likable pov character who's a member of this community, but one of the newer members messes up one day and kills someone and the Winchesters come on a case and wreak havoc on this Very Much Functioning (there was going to be a whole rehab and reparations thing for the new member who messed up!) system and kill pov character and in the end you just HATE Sam and Dean for it.

2. It's hard to adapt anything from bad moon rising (aka my favorite spn fic) very well because the point of an Arab Winchesters season 1 rewrite is that it doesn't really work with the white characters we have now, but I think I could see a version of chapter 2 adapted as long as Haley (an Ojibwe hunter who lives in the area affected by what Sam and Dean are hunting) takes the lead. I'd especially like to see this section:

Dean laughs, a little disbelievingly. The question has never crossed his mind. “Do you like it?”

This gives Haley no pause at all. “Yeah,” she says. “I mean, it’s not really about killing monsters, though, for me. Or, it’s not always about killing monsters. It’s about community. Not violence. It’s a spiritual thing to build a home, you know?”

“Oh,” Dean says. He can’t think of anything else to say. It has never crossed his mind before that hunting could be compatible with a community.

I don't have any original episode ideas to add to the hunting discourse, so we're on to my ideas about character-driven eps. I think I would like to see a version of my sastiel possession fic (ty again for beta-ing that! you're a real one) as an ep around the time of 9.11 because Sam deserves to work through their trauma, but idk what the Dean plot should be for that. Another thing I would like very much is TFW drunk history storytime (so like. Tall Tales bass boosted), where for some reason they all need to go over what they were doing during Stanford era but each of them is telling someone else's story. It's gonna be either Sam->Dean->Cas->Sam or Dean->Sam->Cas->Dean. It starts out very funny (they all have terrible wigs and makeup in the flashbacks. Cas is Jimmy wearing a giant mask with googly eyes on it.) but as it goes on it gets increasingly sad how much these three don't really know each other.

In the Sam->Dean->Cas->Sam episode, Sam's telling of Dean's past veers wildly between "crushing pussy and killing things" and "feels like absolute shit all the time" and it's funny but Not Right and afterwards Dean goes "I didn't know you thought of me that way" and Sam says "... I am basically reading off the voicemails you left me back then" and Dean has to sit there and contend with the mythology he himself wrote for Sam to believe in. Dean->Cas provides the comedic beats for the episode as Dean awkwardly narrates Cas's Life As A Weird Little Guy who watches trees grow and heals babies and in the end Dean goes "so how did I do" and Cas is like "well actually I was either getting lobotomized or murdering people so like 3/10?" The moral of this plot line is that Dean is bi. Cas gives a fairly faithful retelling of Sam living her trans little life at Stanford and veering between trying to be Normal and being a total weirdgirl and feeling guilty and angry and happy and free. It becomes clear that Cas admires Sam a lot (but also feels like. guilt and some self-recrimination for not being that) for rebelling from their dad and exploring their queerness during a time Cas was still to his knowledge in total soldier mode, and Sam is having an a_good_soldier's Thesis 5 moment about how she failed the kid she used to be and how very sorry they are about all the things that happened to them, and Dean hates that this is the first he's hearing about so much of this but is also quite emo about the parts where Sam is struggling. The ep ends with them all in the same room not looking at each other and not knowing if they want to group hug or never talk again.

Dean->Sam->Cas episode is similar but the storytelling dissolves a lot faster as it becomes clearer way faster how much their own emotions are getting in the way. Dean is upset that Sam could leave their family so easily and probably swing a normal life, Sam keeps wondering what it would be like to live millennia just KNOWING that you were right and good and clean, and Cas is gay and veering between fitting Dean's life into a larger Righteous Man narrative and just being very tender (and sad and angry) about Dean's pain. Episode ends in a rather cathartic shouting match where they all end up apologizing to each other for many things.

Oh also I would like to see Cassie again but I don't have an episode in mind there. Also would love to see Kaia adjusting to life in Sioux Falls and befriending the others and dealing with Bad Place trauma.

tysm for the questions sorry for taking so long!

(ask game)

[shemakesmusic-uk]

Wallice has shared her subversive new single 'Hey Michael'. 'Hey Michael' amplifies her blood-thirsty nature, a revenge anthem that finds Wallice turning into a worse villain than her erstwhile love interest. A song about toxic tendencies and how they manifest in our lives, 'Hey Michael' twists and turns around American Psycho imagery. Wallice labels "a revenge anthem for anyone who has encountered a gaslighting, manipulative person. It’s what I wish I would have said to all the ‘Michael’s’ I have met in my life. It can be substituted by many names, we all know or have met a ‘Michael’ though. Somehow the world revolves around them and they just can’t catch a break, because they never do anything wrong and it’s usually your fault. You should have listened to your gut instinct and swiped left on this Michael. This isn’t a man-hating song, it’s just something many people can relate to. Sometimes it’s embarrassing to admit just how bad a friend, date, or romantic partner was and a lot of the time, I would just smile and laugh off stupid remarks but when I think back, I wish I had told them off. But at the same time, my persona in the song is not the best person either. I literally say: I think I want to start a fight, which one is your girlfriend? The whole song is funny because I am so focused on how shitty Michael is that I don’t even think about how shitty I might be as well." Directed by Phil Stillwell, the video takes place at a house party, with Wallice interacting with various 'Michaels' before her behaviour spirals into something much, much worse. [via Clash]

In the same vein as Massive Attack’s suburban groove and social commentary in the mid 90’s, KITA have captured the rhythm and heartbeat of suburban Pōneke; a city abuzz with a vibrant music and dramatic performance scene in their brand new track and official video, ‘Private Lives’. Weaving together elements of vintage rock, pop and soul, and warm hints of synth, KITA have created a skin-prickling piece of magic with ‘Private Lives’, a deeply beautiful track penned in 2020’s lockdown, that delves into the unknown of what happens when the blinds are shut – the parts of life that are unseen by others. "Standing from my kitchen window during lockdown in Aotearoa, sinister thoughts entered my mind about what could be happening behind closed doors for people”, says front-woman Nikita 雅涵 Tu- Bryant. The video tells the story of a father and daughter’s relationship amongst snapshots of everyday life and its monotonous anonymity, while things aren’t always what they appear on the surface. Late at night the father can finally reveal his true self, adorning makeup and sequins, only to be spied by his daughter. The two then share a special moment of dressing up and dancing together, a true celebration of individuality, self-love and the beauty of self-expression.

'Just Chemistry' is the third single from Dance Lessons, a London-based, female-fronted and produced trio, creating what they define as Serrated Pop. 'Just Chemistry' is a delicate hymn to the unspoken. Dance Lessons return with their signature sound – minimal production, sleek vocals and intricate arrangements. Ann says: “'Just Chemistry' is about the over-complication of our relationships. It’s about the things that are left unsaid in-between the awkward text messages and conversations, and how the absence of knowing can be misinterpreted as doubt. Last year was a difficult one. For a long time, I felt at the mercy of my emotions. I doubted where things were going. I lived in the future and found it hard to commit to the present. But these moments of not knowing can be equally thrilling and beautiful. And that’s what the song is about: finding beauty in the unspoken. In most cases, it’s chemistry that makes us fall in love. Things end, all is temporary. Let’s not go to war with one another over it.” Nat says on the video: “A friend told us about this weird and wonderful house in North London that feels a little like stepping into an acid trip. We obviously wanted to check it out. It’s completely surreal, all over the place (in a great way) and generally eclectic, which felt inherently us. We instantly wanted to do something there and asked the owner for permission to shoot a music video. We filmed during lockdown and were let loose embracing all the oddness of it. Ann also designed and created the outfit she wears in the video, something she does with most of her wardrobe. It was shot, directed and edited by our hugely talented friends Ben Hanson and Simon Frost from Borderland Studios.”

Returning with her first offering of the year, North London’s rising star Laurel Smith is ready to reveal her anticipated new single, ‘Out the Cage’ accompanied by an action packed and thrilling cinematic style music video directed by Jeremie Brivet and Jai Garcha. Sticking to her winning recipe of moody, dark, electro-pop production paired with effortlessly edgy tales of narrative lyricism, ‘Out the Cage’ is the next huge single from the young, innovative artist that is sure to follow the same trajectory of success as its predecessor, ‘Game Over’ released late last year. A songwriter and recording artist, Laurel Smith has been writing songs since the age of sixteen. With each single she’s released, Laurel has continued to adapt her sound and aesthetic, consistently honing her craft and evolving her brand. She has carefully carved out her place in an ever crowded industry and proceeds to turn heads at every corner. “‘Out The Cage’ is a song about breaking out from your constraints, both physical and mental. Although it can be interpreted in any way, when I wrote it I created a story around a bored housewife, falling out of love with her husband, she fantasises about tying him up and leaving him to be a badass assassin in a video game type world, roaming the city at night and living a life of unpredictability and excitement”.

Hailing from the Philippines, singer-songwriter Laica is coming off a breakout 2020. Now the 21-year-old is gearing up for the release of her debut album I’m so fine at being lonely. The first single off the project, 'love u lately' is here, accompanied by a music video directed by Cooper Leith. 'Love u lately' is a relatable and infectious track. The song revolves around dating, understanding mixed signals, and the confusion that surrounds that world. Lyrically, Laica walks us through her experiences here, voicing her thoughts and frustrations about someone who she just can't seem to read right. Production-wise, the track is carried by a pulsing synth and a groovy bass. Together, the track feels upbeat. The vibe created by the production stands in contrast with the more emotional lyrics, making the track complex and interesting. The music video takes the concept of 'love u lately' to the extreme, in a fun and playful way. Laica is seen capturing her dream boy and attempting to use witchcraft to finally win him over. The video has a very DIY feel, which could serve to add to the reliability of the track. It’s a great extension of the track and taps into everyone’s most fantasy-driven realities. [via Earmilk]

At first, Emily C Browning wasn't sure what to think. Spurned, rejected, and cast aside, she was angry, furious, and - at times - utterly bereft. Usually she'd utilise songwriting as a vessel for her emotions, but when she was so conflicted, and feeling so negative, that it just didn't enter her mind. The Christchurch, New Zealand artist needed to take a step back, and when she located some perspective, she was ready to act. New single 'I Wasn't Into You Anyway' is a soaring slice of revenge, one that finds Emily C Browning taking full control of her music. Her first solo production credit, its reminiscent of those surging, empowering Maggie Rogers bops, while also containing similar DNA to Sharon Van Etten's work. Lyrically, it's absolutely her own creation, with Emily leaning on those often-hidden feelings. She comments... "Everyday for a month I wrote in my journal: I want to write a song about feeling rejected. But I couldn’t figure out how to keep it light and funny, it can be quite a painful topic and I didn’t want to sound too heavy. But I kept working on it everyday and came up with this song. I then spent another month recording it, trying to capture a sound that stayed upbeat and playful. I put so much time and energy into the song that I ended up completely forgetting about the person who rejected me in the first place (honest, I swear)." [via Clash]

Alt-pop force Holly Humberstone returns with new single 'Haunted House'. The songwriter's potent debut EP Falling Asleep At The Wheel was a sensation, racking up more than 100 million global streams. A bona fide phenomenon, Holly returns with a single that displays a more nuanced, reflective side to her work. 'Haunted House' digs into childhood, and looks at the way memory can frame the way we construct our identities. She comments: "I wrote this song about the old and characterful house I grew up in. The house is such a huge part of who I am and our family. With my sisters and I moving out and living separate lives, coming home feels very comforting and one of the only things keeping us all connected." Playing with concrete imagery and no small degree of invention, 'Haunted House' connects art to life in an enchanting fashion. She adds: "The house is almost falling down around us now though, and we’ve realised that pretty soon we’ll be forced to leave. There’s a cellar full of meat hooks and a climate so damp mushrooms grow out of the walls. Loads of people have probably died here in the past but I’ve always felt really safe. It’s like a seventh family member. It’s part of me." [via Clash]

In 2019, the Boston-born and Brooklyn-based indie rock album Crumb released their debut album Jinx. Crumb haven’t yet announced plans to follow that album up, but they’re definitely working towards something. Last month, the band came out with a one-off single called 'Trophy.' Now, they’ve followed that one with two new tracks, and they’re both winners. The new songs 'BNR' and 'Balloon' both fit nicely into Crumb’s comfort zone. The band’s sound is a rich, sophisticated take on psychedelia, with blissed-out lead vocals from Lila Ramani and with some great funky drum action. The band co-produced both songs with Foxygen’s Jonathan Rado, who’s done great recent work with people like Father John Misty and Weyes Blood and the Killers and who knows how to make oblique ’70s-style pop sound good. But Crumb themselves deserve a ton of credit for coming up with a sound this layered and weird. They’re the rare circa-2021 band who might remind you of Broadcast. In a press release, Ramani says, “‘BNR’ is an ode to my favorite colors. I had a weird obsession with those colors in winter 2018-2019 and felt like they would follow me around everywhere I went." 'BNR' also has a cool music video. Director Joe Mischo starts the clip off as a hallucinatory reverie, but he turns it sharply towards horror at the end. [via Stereogum]

Last year, Limerick poet/musician Sinead O’Brien released her debut EP, Drowning In Blessings. It was a unique work, a handful of songs featuring O’Brien’s sing-speak over spindly, post-punk guitars. It garnered O’Brien a bit of buzz overseas, and it left you wondering where she might take her music from there. Now, O’Brien’s back with a new song called 'Kid Stuff.' “‘Kid Stuff’ shows up all different tones on different days,” O’Brien said in a statement. “There’s something alive in it which cannot be caught or told. It is direct but complex; it contains chapters. This feels like our purest and most succinct expression yet.” Like Drowning In Blessings, 'Kid Stuff' found O’Brien working with Speedy Wunderground mastermind Dan Carey. Musically, it hints at a level up moment for O’Brien. There was something alluring and jagged about Drowning In Blessings, but 'Kid Stuff' places her usual approach over a song that is surprisingly groovy — maybe even a little danceable. It comes with a video directed by Saskia Dixie. [via Stereogum]

Das Beat are made up of German actress and vocalist Eddie Rabenberger and Agor of Blue Hawaii. The pair have just shared their first single 'Bubble' online now and are set to release their debut EP Identität on June 4 via Arbutus Records. Born in Berlin during 2020’s legendary lockdown, Das Beat seeks to blast both boredom and boundary. Dabbling in German New Wave, Italo Disco, Indie & Dance, their sound is unified by vocals from Eddie Rabenberger, sung in German and English. Amidst playful lyrics one finds a strong underlying pulse (das “beat”), pinning down the duo’s meandering atmospherics, dreamy synths, guitars and percussion. The duo is half-Canadian and half-German. Agor (of Blue Hawaii), moved to Berlin from Montreal in 2018. Eddie is a theatre actress originally hailing from a small town in Bavaria. Together they find a strange but alluring symbiosis - like Giorgio Moroder meets Nico, or Gina X Performance meets The Prodigy.

St. Vincent has fully embraced the ’70s aesthetic for her retro-sounding new record, Daddy’s Home. Now, she’s diving headlong into the animation styles of the era with the video for 'The Melting of the Sun'. Presented as a “betamax deluxe release” rip from “Candy’s Music Video Archives,” the clip blends live action shots of St. Vincent herself with the wavy, intermittent animation frames any Schoolhouse Rock student is familiar with. The psychedelic lines fit a song called 'The Melting of the Sun' perfectly, as do the drawings of the legends mentioned in the song’s lyrics like Nina Simone, Joni Mitchell, and Tori Amos. St. Vincent co-directed the clip with Bill Benz, while Chris McD provided the animation. [via Consequence]

Bay Area slowcore trio Sour Widows have released a new single, 'Bathroom Stall,' from their forthcoming EP Crossing Over, which they announced last month with its title track. The song’s build-up is subtle and poignant like Sufjan Stevens, but Maia Sinaiko’s evocative, sweeping vocals are one-of-a-kind, and the lyrics are graphic and tragic: “Do you remember it like I do?/ Your lips turned blue I had my fingers in your mouth/ And I couldn’t get them out.” Sinaiko said of the song: "This song is about a relationship I had with someone who struggled with addiction, who very tragically passed away three years ago while we were together. It’s about some moments we shared, and how it feels to walk around carrying that person and those experiences with me while the world stays normal. I wrote the song because I wanted to preserve and document what happened to me. to write out the scary stuff and just let it sit there forever. I think its funny that its called 'Bathroom Stall' and that it has that image in it: the song goes from heavy and dark to ordinary and totally pedestrian in a sentence, which feels absurd. And that’s kind of what it’s like to grieve. That’s kind of what’s hard to explain about grief, how absurd it is. Part of you goes to a different planet and part of you stays walking around like an alien on Earth, going to the bathroom and looking at the moon and shit." [via Stereogum]

As JUNO-nominated singer Kandle Osborne prepares to launch her new project, Set The Fire this spring, she shares the album’s third single, 'Misty Morning.' From being penned on a napkin while abroad to a Vancouver studio, 'Misty Morning' is a sonic journey that echoes soulful vulnerability and an honest reflection of realizing true love. For the video, Kandle reconnects with 'Honey Trap' director, Brandon William Fletcher, to create classic 40s noir-inspired cine-magic, filmed along the Vancouver coastline and within the lush landscape of Stanley Park. Kandle says: “‘Misty Morning’ is my first real love song, captured on a napkin while in Ischia, Italy when I was truly happy. My songwriting usually comes from a place of turmoil and catharsis, but this was simply a snapshot of a perfect, vulnerable moment. In recording it, I wanted to hide behind lush orchestration, but my producer/ best friend Michael Rendall had other ideas. He wanted to strip it down to just piano & a single vocal to take me out of my comfort zone and re-capture the open-hearted feelings I had while writing it. The song and the recording both hold for me a time when I dropped my guard for pure authentic love in spite of all my flaws and failures. In that moment, I felt my true value as a whole person for the first time.”

On 'Vertigo,' Alice Merton’s first single of 2021, the 27-year-old describes the long road from uncertainty back to self-confidence. It emphasizes the unrest that seizes her again and again, the thought: “Why can’t I just let it go?” These contradicting thoughts and emotions that are so familiar to all of us sum up to an overwhelmingly positive effect - 'Vertigo' leaves you empowered rather than anxious: A powerful indie pop arrangement with distorted guitars, plus Alice Merton’s crystal-clear voice. The result is reminiscent of the British Invasion, with no air of self-doubt. With its energetic live qualities, 'Vertigo' feeds an appetite for summer festivals and concerts that will definitely return at some point. Largely responsible for this is the Canadian producer Koz, a multiple Grammy nominee, who has worked with Dua Lipa ('Physical') among others. Here, too, he adds on to what has already made Alice Merton stand out from the crowd in the past - her classic pop appeal - with an uncompromising and indie attitude. This enables Alice to take another big step: She equally encourages a shaken generation and herself that there will be easy summers again. That you can dance again and lie in each other's arms. That it is absolutely fine to have many facets, to not always be clear, and that strength and weakness are not mutually exclusive.

Canadian artist Olivia Lunny's new release 'Sad To See You Happy' is a shamelessly poppy track centering an acutely relatable break-up narrative. The Canadian artist follows up her breakthrough success with a bouncy cut to soundtrack 2021’s long-awaited spring. There's a relatable tale of break-up at the heart of the gloriously poppy new single, belied by percussive instrumentation that creates a warm, nostalgic feel. [via Line Of Best Fit]

After sharing the single last month, Charlotte Adigéry is now revealing the brand new video for ‘Bear With Me (and I’ll stand bare before you)’. The first new music since her 2019 debut EP Zandoli, Charlotte says of the video, “The video is about being confined thus confronted to the way we live. The cruel irony of having the privilege of standing still, questioning and observing my life in all safety while others are fighting for theirs. On the other hand, the video is about trying to stay sane while feeling that the walls are closing in on you. Embracing boredom and finding joy in the little things in life.” Director Alice Kunisue adds, “When I listened to Charlotte’s song and what it meant for her and Bolis, I wanted the video to visually encapsulate that feeling of being stuck inside and confronted to our deeper selves while paradoxically sensing the chaos going on in the outside world without being able to do anything about it. Choosing to film an apartment room from one single angle was a way to reflect that narrowness of thought that we all experienced, but also a constraint that allowed us to explore and develop visual ideas within a narrow system, in a way having to think only inside the box, which artistically was a fun challenge.” [via DIY]

Millie Turner has shared a video for ‘Concrete Tragedy’. It’s a cut from her upcoming mini-album Eye Of The Storm, set for release on May 16, which also features a rework of breakout song ‘(Breathe) Underwater’. “This video is a visual representation of dancing on your own,” she says of the clip. “Combining the many parts of who we are when we’re by ourselves, I wanted it to feel like you’re entering a world of imagination that comes alive when we express ourselves.” [via Dork]

Doja Cat and SZA have come together for a new single called 'Kiss Me More.' When the song was announced Wednesday night, the internet flipped out, which is to be expected with these two — especially Doja Cat, who is regularly going viral these days for all kinds of reasons. When it comes to collaborations, she always finds the best people. That includes Saweetie, who appeared on Doja’s recent 'Best Friend' but then claimed that it was released against her wishes. Given SZA’s long history of public frustration over TDE Records holding back her new album, she is probably happy to have any new music out. Despite recent single 'Good Days' hitting the top 10, her restless fanbase is still awaiting a follow-up to 2017’s iconic Ctrl. 'Kiss Me More' is the first single from Doja’s new album Planet Her, scheduled for release this summer. It returns to the disco vibes of Doja’s #1 hit 'Say So,' this time with no apparent resemblance to any Skylar Spence song. [via Stereogum]

[anhed-nia]

BLOGTOBER 10/17/2020: SPOOKIES

What do we watch, when we watch movies? This question was sparked by my SOV experience with the very different, and differently interesting BLOODY MUSCLE BODYBUILDER FROM HELL and HORROR HOUSE ON HIGHWAY 5. Within the Shot On Video category, one can find inventive homemade features that are driven entirely by blood, sweat, and the creators' feeling of personal satisfaction. The results are sometimes fascinating, in their total alienation from the conventions and techniques of mainstream filmmaking, and after all, one rarely sees anything whose primary motivation is passion, here in the late stages of capitalism. But, all this talk about what goes on behind the camera points to a discrepancy in how we consume different kinds of production. The typical mode of consumption is internal to the movie: What happens in it? Do you relate to the characters? Are you able to suspend your disbelief, to experience the story on a vicarious level? One hardly needs to come up with examples of films that invite this style of viewing. Alternatively, we can experience the movie as a record of a time and place in which real people defied conventions and sometimes broke laws in order to produce a work of art. SOV production is usually viewed through this lens, where the primary interest is not the illusory content, but the filmmakers' sheer determination to create. We find some overlap in movies like EVIL DEAD, which simultaneously presents a terrifying narrative, and evidence of what a truly driven team can create without the aid of a studio, or any real money to speak of. See also, Larry Cohen's New York City-based horror films, in which a compelling drama with great acting can exist side by side with phony but beautiful effects, and exciting stories of stolen footage that would be dangerous or impossible to attempt today. I'm thinking about these different modes of consumption now because I just watched SPOOKIES, a legitimately cursed-seeming film whose harrowing production history has superseded whatever people think about what it shows on the screen. The lovingly composed blu-ray from Vinegar Syndrome includes a feature-length documentary that attempts to explain the making of the film--which is accompanied by its own feature length commentary track by documentarists Michael Gingold and Glen Baisley. The very existence of this artifact suggests a lot about the nature of this movie, in and of itself. The truth behind its existence is as funny as it is tragic.

I'm not going to do a whole breakdown of the tortured origins of SPOOKIES, which is much better told by the aforementioned documentary. To summarize: Once upon a time in the mid 1980s, filmmakers Brendan Faulkner, Thomas Doran and Frank Farel conspired to make a fun, flamboyant rubber monsterpiece called TWISTED SOULS. It was wild, ridiculous, and transparently fake-looking, but it was loved by its hard-working creators; as a viewer, that soulful sense of joy can rescue many a "bad" movie from its various foibles. Then, inevitably, sleazoid producer Michael Lee stepped in--a man who thought you could cut random frames out of the middle of scenes to improve a movie's pace--and ruined it with extreme prejudice. Carefully crafted special effects sequences were cut, relatively functional scenes were re-edited into oblivion, and the seeds of hatred were sown between the filmmakers and the producer. Ultimately, everyone who once cared for TWISTED SOULS was forced to abandon ship, and first time director Eugenie Joseph stepped in to help mutilate the picture beyond all recognition. Thus SPOOKIES was born, a mangled, unloved mutation that would curse many of its original parents to unemployability. For the audience, it is intriguingly insane, often insulting, and hard to tear your eyes off of--but in spite of whatever actually wound up on the screen, it's impossible to forget its horrifying origin story as it unspools.

As far as what's on the screen goes: A group of "friends", including a middle-aged businessman and his wife, a vinyl-clad punk rock bully and his moll, two new wave-y in-betweeners, and...a guy with a hand puppet are somehow all leaving the same party, and all ready to break into a vacant funeral home for their afterparty. Well, this happens after a 13 year old runaway inexplicably wanders in to a "birthday party" in there, that looks like it was thrown for him by Pennywise, and he has the nerve to act surprised when he is attacked by a severed head and a piratey-looking cat-man who straight up purrs and meows throughout the picture. Anyway, separately of that, which is unrelated to anything, the island of misfit friends finds a nearly unrecognizable "ouija board" in the old dark house. Actually this thing is kind of fun-looking, having been made by one of the fun-havers on the production before the day that fun died, and I wonder if anyone has considered trying to make a real board game out of it...but I digress. Naturally, the board unleashes evil forces, including a zombie uprising in the cemetery outside, a plague of Ghoulie-like ankle-biters, an evil asian spider-lady (accompanied by kyoto flutes), muck-men that fart prodigiously until they melt in a puddle of wine (?), and uh...I know I'm forgetting stuff. One of the reasons I'm forgetting is because of this whole side story about a tuxedo-wearing vampire in the basement (or somewhere?) who has entrapped a beautiful young bride by cursing her with immortality. That part is a little confusing, not only because it doesn't intersect with the rest of the movie, but because sometimes it seems contemporary--as the bride struggles to survive the zombie plague--and sometimes it seems like a flashback, as our heroes find what looks like the mummified corpse of the dracula guy, complete with his signet ring. So, I don't know what to tell you really. Those are just some of the things that happen in the movie.

Some people like this a lot, and have supported its ascendance to cult status, which is a huge relief when you know what everyone went through to make this movie, only to have it ripped away from them and used against them. I found SPOOKIES a little hard to take, for all the reasons that the cast and crew express in the documentary. It holds a certain amount of visual fascination, whatever you think of it; something of its original creativity remains evident in the movie's colorful, exaggerated look, and its steady parade of unconvincing but inventive creature effects. But then, you have to deal with the farting muck-men. What was once a scene of terror starring REGULAR muck-men, that sounded incredibly laborious to pull off, became a scene of confusing "comedy" when producer Michael Lee insisted that the creatures be accompanied by a barrage of scatalogical noises. Apparently this was Lee's dream come true, as a guy who insisted everyone pull his finger all the time, and who once tried to call the movie "BOWEL ERUPTOR". But, of all the deformations SPOOKIES endured, the fart sounds dealt a mortal injury to the filmmakers' feelings, and even without knowing that, it's hard to enjoy yourself while that's happening.

Actually, all the farts forced me to ask myself: Is this...a comedy? Like for real, as its main thing? As the movie slogged on, I had to decide that it wasn't, but I was distracted by the notion for around 40 minutes. I was only released from this nagging suspicion when the bride makes her long marathon run through throngs of slavering zombies who swarm her, grope her, and tear off her clothes, before she narrowly escapes to an even worse fate. The lengthy scene is strangely gripping, and sleazy for a movie that sometimes feels like low rent children's entertainment. Part of the sequence’s success lies in its simplicity; it is unburdened by the convoluted complications of the rest of the movie, whose esoteric parts never fall together, so it seems to take on a sustained, intensifying focus. The action itself is unnerving, as the delicate and frankly gorgeous Maria Pechuka is molested and stripped nearly-bare by her undead bachelors, running from one drooling mob to another as the horde nearly engulfs her time and again. Actually, it feels a lot like a certain genre of SOV production in which, for the right price, any old creepy nerd can pay a small crew-for-hire to tape a version of his private fantasy, whether it's women being consumed by slime, or women being consumed by quicksand, or...generally, women being consumed by something. I wish I could describe this form of production in more specific or official terms, because I genuinely think it's wonderful that people do this. Anyway, Pechuka's interminable zombie run feels a little like that, and a little like a grim italian gutmuncher, and a little like an actual nightmare. Perhaps it only stands out against its dubious surroundings, but I kind of love it--and I'm happy to love it, because apparently the late Ms. Pechuka truly loved making SPOOKIES, and wanted other people to love it, too.

Which brings me to the uncomfortable place where I land with this movie. On the one hand...I think it's bad. It's so incoherent, and so insists on its impoverished form of comedy, that it's hard to be as charmed by it as I am by plenty of FX-heavy, no-budget oddities. Perhaps the lingering odor of misery drowns out the sweet joy that the crew once felt in the early days of creation--which is still evident, somehow, in its zany special effects, created by the likes of Gabe Bartalos and other folks whose work you definitely already know and love. But I feel ambivalent, about all of this. On the one hand, I can be a snob, and shit on people for failing to make a movie that meets conventional standards of success. On the other hand, I can be a DIFFERENT kind of snob--a more voyeuristic or even sadistic one--and celebrate the painful failures that produced a movie that is most interesting for its tormented history and its amusing ineptitude. I'm not really sure where I would prefer to settle with SPOOKIES, and movies like it. (As if anything is really "like" SPOOKIES) With all that said, I was left with one soothing thought by castmember Anthony Valbiro in the documentary. At some point, he tells us how ROSEMARY'S BABY is his personal cinematic comfort food; he can put it on at night, after an exhausting day, and drift to sleep, enveloped in its warm, glowing aura. He then says that he hopes there are people out there for whom his movie serves that same purpose, that some of us can have our "milk and cookies moment" with SPOOKIES. Honestly, I choke up just thinking about that.

[found--family]

‘Supernatural’ season 15, episode 15 screener secrets: We’re ‘Highway to Heaven’-ing this bitch

[everything is from this Hypable article] 

This week on Supernatural, Amara returns and are angels solving people crimes now? Hypable previewed Supernatural season 15, episode 15 “Gimme Shelter,” so read on to find out more.

After a sweet and fun return to ease us back into the world of Supernatural last week, things are heating up pretty dramatically – I knew there wouldn’t be much more time for messing around.

“Gimme Shelter” sees Supernatural dip its feet into what the Winchesters currently believe is their big plan – eliminating Chuck by also taking down Amara, resulting in what they believe will be a cosmic-being-free balanced world. But first, they have to find her. Sam and Dean get a pretty good lead on her location, which results in a very interesting conversation between Amara and the boys – especially with her most favoritest Dean, of course.

Meanwhile, Castiel is persuaded into taking Jack to investigate a nearby case in Missouri – which all three adults suspect is probably the work of a human criminal – for the sake of humoring Jack and keeping him both busy and supervised. On the way home, they have a very interesting conversation of their own.

Spoiler Warning: This article contains generalized spoilers for Supernatural season 15 episode 15, “Gimme Shelter.” If you do not wish to be spoiled at all, do not read this article in advance of the airdate.

The official synopsis for Supernatural season 15, episode 15 reads:

MATT COHEN DIRECTS — Castiel (Misha Collins) and Jack (Alexander Calvert) work a case involving members of a local church. Meanwhile, Sam (Jared Padalecki) and Dean (Jensen Ackles) go off in search of Amara (guest star Emily Swallow). Matt Cohen directed the episode written by Davy Perez (#1515). Original airdate 10/15/2020.

If you want to know what to expect from this week’s Supernatural, here’s 10 teasers plus 15 single word clues from our advance viewing of Supernatural season 15, episode 15 “Gimme Shelter.”

‘Supernatural’ season 15, [10] episode 15 screener secrets 

1️⃣ During the filming of this episode (27 January – 5 February) Jared Padalecki and Jensen Ackles both spent much of the week at home with their families in Austin, a detail which was made clear on their and their wives’ public social media accounts – possibly the result of scheduled time off as they’ve mentioned occasionally requesting? The result is that the episode is weighted much more towards Cas, Jack and the murder investigation they’re chasing than towards Sam and Dean, but on the flip side, the Sam and Dean arc is more crucial to the long game of the show, so what it lacks in minutes, it makes up for in impact. 

2️⃣ However, the episode still begins and ends in a grounded family group way, at home in the Bunker – one of those “we know we should be doing this together but there are Reasons we have to split up” situations. This detail, in my opinion, really speaks to the motivation of the creative team towards honoring the four leads as parts of a whole – in earlier days, this kind of episode would have been two entirely non-touching threads. This one is, if not a tapestry, at very least a braid – tied up together at both ends, and intertwined in the middle.

3️⃣ You might have seen pictures or ominous trailer footage of Castiel and Jack digging a hole at the crossroads. We all know what that means! However, don’t worry. They simply want to talk – and the demon they summon has some really interesting – and dare I say positive? – news about the state of Hell under Her Most Gracious Majesty Queen Rowena. Let’s just say the demon is actually pretty friendly… and extremely bored.

4️⃣ The two main guest stars on Cas and Jack’s side of the episode are both actors who have been briefly featured on the show before, in a couple of pretty famous episodes – one from season 2 and one from season 5. I don’t think there’s meant to be any meta or Easter Egg element to this, just the usual Vancouver casting industry cycle (see the ‘Weren’t You In Another Episode‘ reference page on the SuperWiki) but one of them is one of those cute “I appeared on Supernatural as a child and now I’m here as an adult” situations, and the other, well… the original character’s very name has become the stuff of Supernatural legend, and if I were in charge of this episode I would have put the actor in a particular piece of footwear and made sure we got a shot of it, just for kicks.

5️⃣ Castiel steps into a prayer circle when the church group members are meant to give a testimony – presumably of their journey so far and their relationship with faith. That’s what Cas chooses to share, at least – in a non-specific, humanized way – and fans of the character will be moved to hear the ways he verbalizes his own growth.

6️⃣ Speaking of growth, some of Dean’s is spelled out for him in the most miraculous way by Amara. After Sam and Dean meet up with her and have a conversation about Chuck that’s ultimately a bit of a non-starter, Dean returns to ask her another, more personal question. Her response gave me legitimate chills. It’s a very weighty mic drop and the combination of the level of impact and the level of clarity (it’s entirely airtight, no room for interpretation) feels like the culmination of all the self-actualization work the show has been doing on Dean in the last four years. (I wish I could tell you Sam got a big special moment like this in the episode, but he doesn’t. Amara’s return was always going to be Dean’s thing.) Amara’s speech to Dean… it doesn’t feel isolated, like the idea of it was invented just for this episode. It feels more like concrete evidence of what the show has been trying to prove for ages. And the funny thing is, Amara is the anti-Chuck, right, and all season, we’ve learned about the version of the story Chuck thinks is good, and we’ve been told to root against that. Chuck’s version of Supernatural isn’t how the writers really feel. But I think Amara’s might be. Dean has obviously struggled to see what she tells him, all in one piece, but here it is – this was the point, laid out on the table, from the entity behind the curtain – both onscreen and off. Amara knew what she was doing, and so did the writers. This was always, always the point.

7️⃣ Even before this massive scene, Amara’s return is just great. Emily Swallow does such an incredible job with this character – she really is the anti-Chuck even without the whole writer comparison. Swallow imbues this character with such an incredible peace and stillness in comparison to Chuck’s histrionics – this was true in the way she spoke and behaved even in season 11, but this Amara also feels kindness and patience and tolerance. She radiates power, even when she’s also slightly goofy. There’s no fight, there’s no antagonism, but the boys in her presence are like little fish in a vast ocean – they quickly realise they have no real control in this conversation. The way that we leave her indicates she’ll be back and has more to say or do, and what she shared during her reunion with Sam and Dean makes me really curious about the role she’s due to play in the show’s endgame.

8️⃣ I’m not very religious but I really like the version of a church group or ‘faith-based community,’ as they say, featured in “Gimme Shelter.” Supernatural has a shaky history in terms of how the show portrays people in-universe who believe. Sometimes they’re treated like a joke, or stupid, or dangerous, or hypocrites, but occasionally civilian acts of faith are shown as great and powerful things, even in a world where we know that what they believe in isn’t strictly accurate. That concept became an even bigger question mark for me when we got the reveal that Judeo-Christian God is not only absent, but our actual villain. However, this was a really nice look at why faith can still be a framework for a good way of life – loving thy neighbor – for some people, no matter the truth about Chuck. The episode also features a callback to writer Davy Perez’ very first Supernatural episode “American Nightmare” in terms of the way that some people have weaponized faith and religion to the detriment and harm of others or even themselves, but this factor does not negate the positive point mentioned above.

9️⃣ Supernatural alum and newly minted director Matt Cohen really got the full old-school Supernatural episode experience when it comes to leaning into the spooky horror element. The murderous case-of-the week featured in this episode is heavy and lingering on the gore and even contains a little bit of a jump scare, so view responsibly.

🔟 So, um, you know that line, in this week’s teaser trailer? The line that a lot of people are freaking out about because it seems to pertain to something important that we know about Cas’ fate that Dean and Sam aren’t aware of? Yeah, it is 100% absolutely not about that at all. It is about something super important, but it’s not that. It’s also the last line of the episode, but trust me – it’s not a cliffhanger and it’s not a red herring and it’s not a twist. The information is gleaned within the episode and you’ll know exactly what Cas is telling Dean about after seeing it – narratively, that’s the reason it isn’t in the episode, because the show clearly assumes you’ll get the picture and can skip a rehash of information. But what you were probably expecting – maybe even hoping for – it’s not that. You’re gonna have to hang on for that one.

Finally, have 15 random yet significant words from this week’s episode without any context whatsoever: Gaia, Ronald, mother, pierogies, cats, philosophy, target, blind, permission, lockdown, Kool-aid, buffet, gift, trial, choice.

‘Supernatural’ airs Thursday at 8/7c on The CW