#which are canonically bombastic in the way that this song is.

[scare-ard--sleigh]

no children still makes me think of hojo & lu nine million years later but um it's kinda uhhhhhhh idk how to say this, uh, cyril-coded 😬🫥🫣

[misc-obeyme]

here to say i also agree with the other anon and love how you write mammon !! and if you do decide to finish one of those drafts, I'll def be the first to reblog! or at least I'd want to be lmaoo. I just love him so much 😭

I think I'm at lesson 73 in the game now?? I NEED to beat it before Tuesday, but my family is traveling tomorrow to mexico, and it's gonna be a long drive </3 minimum 14 hours, sometimes a full day if my dad naps. I'll have limited signal, but Google docs works offline so maybe writing time?! if I'm not asleep akskd.

also !! i wanted to ask if you have any favorite composers or music pieces? for research purposes of course 📝 👀

And I can't remember if you said you had a keyboard before you got the new piano, but if you do, what are the biggest differences? I'd imagine it sounds smoother and ... Crispy? (Is it hard to move a piano?? Like do they unscrew the legs to be able to get it through doors??)

you don't have to answer because I can totally google these things, but I also like seeing you talk about your piano akwkdjf

Hope you're doing well !!

- ✨ anon

omg, well maybe I will finish one of those stories... I had a handful of ideas from my last Mammon phase... okay, let's be real. I gotta stop calling them phases, the reality is that I just think about him a lot asdl;kdsfjkf. When I tell you I'm so obsessed with the Mams/Barb ship right now... it plagues me so much. BUT no my other ideas were x reader lol. And I don't know why I never finished them, I guess I got distracted? I think it was my OC's fault. In fact, I'm pretty positive it was. But even if it wasn't, I'm still blaming Arrie for everything.

AH you're SO CLOSE! I know I got really obsessed with getting through season four right before NB came out 'cause I was like, there is no way I am not having the full story before this new stuff starts! Anyway, I hope you're able to get there, even with the drive and lack of signal! I hope you have fun on your trip!

Hang on, you LIKE seeing me talk about my piano!?? I was like, man I must be so annoying about it lol. I'm happy to answer any such questions, but uh... just be aware you may be opening some flood gates!

OKAY I really rambled about this piano stuff, so I think I better put it under a read more just to save people from scrolling forever...

Now when you say composers, do you mean classical composers or more modern ones? Because if we're talking classical, the answer is Bach. Like that is a pretty standard response, probably. And maybe I'm a lil basic for being such a huge Bach fan, but I don't care. Beethoven was also excellent of course, but that guy was sooooo overdramatic, all his songs are like bombastic while Bach was like, nah it's all about keeping exact tempo. Most of my other classical music stuff is like... I have specific pieces from different composers that I like, rather than being really into one composer specifically. Like Mozart is great and all, but Fantasia in D is by far the best of his stuff as far as I'm concerned. OH but I do like most of Chopin's stuff, too. But nothing can top Bach for me asldkfj.

If we're talking piano solos specifically, though, you're gonna get mostly Beethoven. Fur Elise is like the classic piece that all piano students are taught at some point. Moonlight Sonata is another incredibly popular one from him. You'll also get a lot of Pachelbel's Canon in D, which is really boring imo. It can be fun to play if it's an unusual arrangement, but generally speaking trying to play that song puts me to sleep lol.

Now if we're talking more modern composers, my favorites are Ludovico Einaudi, Toshifumi Hinata, Alexis Ffrench, and Yiruma. This is like more modern piano solo stuff, though. All these people are still alive lol. But I love their piano music, listening to it really kind of informs how I play when I'm doing improv style stuff.

Though I feel I would be remiss if I didn't mention classic jazz piano stylings, too. I named my piano after one of my favorites, Hazel Scott. Jazz piano is insane and incredible and it always blows my mind. There are a TON of amazing jazz musicians. And you'll get a lot of good piano players that are not in the classical style too and who tend to span genres, such as Stevie Wonder and Ray Charles.

Anyway, I'm not entirely sure if that's the kind of rambling you were looking for on that first question lol! But feel free to ask me more specific things if you'd like!

As for the second part of your piano related questions, I did indeed have a keyboard before I got the piano. However, it's important to note that there are many different kinds of keyboards. The one I had was bought used and even before that, it would've been an extremely cheap one. I think you can buy a new one for like $400? Mine only had 76 keys (as opposed to the full 88 a piano has). And there are keyboards that come with even fewer keys (like 56 or something?). These are mostly good for classroom situations or where you only need to say, add a bit of piano into a larger song with other instruments. They do okay as a replacement for a real piano, but they're really not made for that.

However, there are keyboards in the thousands of dollars that I think are more commonly called "digital pianos" nowadays that are made to replace a real piano. I've never had or played one of these, so I'm not sure how obvious the difference of the sound would be. That being said, I've seen them used in concert situations many times. So I suspect the most expensive ones probably sound pretty close to a real piano. Or at the very least, they act more like a real piano does.

My cheapo keyboard still had keys that could sense how hard you were pressing them. And this let the keyboard know if you wanted your note loud or soft. But honestly it barely made a difference lol. I would think that kind of feature would be much better and higher quality on an expensive digital piano.

Similarly, my keyboard had an option of "grand piano" as the sound the keys produced. Digital pianos also usually have a grand piano setting, so they might sound more like a grand piano even if they're just a standard upright. The Yamaha Clavinova is a good example of a digital piano. It can range from like $3000 to $8000 depending on what version you get.

So I can definitely tell you the difference between the sound of a keyboard like my old one and the piano I have now, but there are a lot of versions of keyboards that might sound better than mine did.

The thing that really informs what a piano sounds like is the strings inside it. When you hit a key on the piano, a tiny little hammer (sometimes two) hits a string that's tuned to that note inside the piano. So the main thing a keyboard lacks is actual strings. It's just playing the sound of a string that was being hit somewhere else and then recorded. And a real piano is also heavily impacted by the environment it's in. If you've got a piano in a small space, with a lot of stuff around it, it might sound a little more muffled than if you had in a larger more empty space. That's more about the room's acoustics than the piano itself, though.

I think I know what you mean about "crispy" lol! Like the keyboard has a crisper sound. And yeah, it does, and also it doesn't ring quite as well. I got a sustain pedal for my keyboard, so it was able to hold notes a little longer, but it's nothing like the way it works for a piano. The sustain pedal on my piano is really amazing, it'll hold that note for what feels like a million years lol.

The piano is more resonant, there's more space for the sound to be creating within the instrument itself. I have an upright, but it's a tall upright. This is so that there's more room for the strings, kind of like a grand piano but instead of the strings being horizontal, they're vertical. Grand pianos always sound better. And you can open them to make them even louder, too. You can open an upright, but it doesn't have quite the same sound. It's very close, though, and honestly most people probably can't tell the difference lol.

And yes, it is hard to move a piano! They have to be transported by movers who are specifically piano movers. Because there's a lot that can go wrong if they're not properly handled or packaged. They're also heavy, so you need two strong peeps to do it!

How they do it depends on the type of piano. An upright will fit easily through most doors, so they don't have to take anything apart. A grand piano, on the other hand, is obviously incapable of going through a door at all, so it does need to be taken apart. I think they do take off the legs, so they can turn the top part sideways and move it through a door that way. So the strings aren't too disturbed, since that's the important part. Famous bands and musicians that use real pianos on stage have a whole crew for this specifically. If they want to use their own piano, they have to have a piano crew to move it from venue to venue for them. Most venues have a house piano, but a lot of musicians are picky about this kinda stuff. If they've got enough money to hire a crew to move their piano every time, they probably do. And they'll need to have a piano tuner in there, too, because inevitably moving a piano that often is going to require it to be tuned after nearly every move.

Pianos do better if they stay in one spot for the most part. They settle into their environment, not just the room they're in, but the strings and hammers sort of acclimate to the amount of humidity in the air and that kind of stuff, too. Generally, if you're just moving a piano to a new location that's nearby, you should be okay. But if you're moving it across states or into new climates or different altitudes, you'll want to get it tuned within two months of moving it. It just takes that long for it to adjust.

ANYWAY. I'm sure you now have WAY TOO MUCH INFO than you ever needed about this stuff asdflkjf. I don't get to talk about it all that often and honestly I didn't realize I had this much to say about it lol!!

I hope some of that helped and I apologize for getting so wordy about it!

I am doing well and I hope you are, too! 💕

[trainingdummyrabbit]

3, 16, and 18 for Susamaru for the character meme? I care her so much

SUSAMARU MENTIONED!!!!!!!!!!

3. A song that reminds me of them

. ok im cheating a little bit and picking one for swap!susa specifically because i dont have any strong ones for Canon Verse. and also im thinking abt her and i want to. break through it all - tomoya ohtani. yknow, from sonicfrontiers. it dropped when i was first hard fixating on that au and it was impeccable timing because it is So Painfully Her and i didnt stop thinking about it for a week straight KSJNFKJD its just so completely and unabashedly Loud and Bombastic and Full Of Energy and that is exactly her to a T. she means it 100% genuinely and she Owns it.

16. A childhood headcanon

ive always kinda believed she was alone from a young age-- just some lil thing running around the streets causing Problems. which, objectively, is kind of insane for a kid to go through. so, in order to more easily protect herself and do what she needed to do, she turned everything into a game! its very hard to worry about the Mortifying Implications Of Your Life when you're busy playing ninja to get food for the day. not easy worrying about getting caught when youre in the middle of a huge game of tag. shes a very brave warrior facing the dastardly wilderness and the deadly unknown! so of course she can handle taking it alone. of course she can.

18. How do you think they were as a kid? (Like, were they shy, noisy, wild, etc)

Annoying. affectionately, of course. riding off the above point, she has a very difficult time taking things seriously. she has No Boundaries and No Qualms bothering people to get what she wants. hard to have morals growing up the way she did. not that she cares too much. she's shockingly capable of handling herself all things considered, but if she doesnt get what she wants, shes prone to getting Really Emotional-- shes not immune to using crocodile tears if it means she gets her way, but shes Also prone to just... Actually Crying. and also she is Very easily distracted by anything even mildly interesting or cool. shes just all over the place, all the time, constantly.

so basicaly shes perfect. shrimple as !

[cyarsk52-20]

25 Years Ago: Rage Against the Machine’s Debut Shakes the System

Michael ChristopherPublished: November 9, 2017

As 1992 drew to a close with the musical landscape having gone under a complete overhaul, there was one more album left in the alternative rock canon that year which would be credited with changing the game. Nov. 3, 1992, the day Bill Clinton became President-elect of the United States, Rage Against the Machinedropped an incendiary self-titled debut.

Before even cracking open the album, the shocking cover photo featuring the 1963 self-immolation of Vietnamese Buddhist monk Thích Quảng Đức indicated this wasn’t going to be an ordinary record. Not since the 1968 album art of Led Zeppelin I, featuring an image of the Hindenburg airship going down in flames, had the inaugural effort of a band been hinted at in such foreboding terms.

Opening almost unassumingly with bassist Tim Commerford’s bass line, “Bombtrack” takes just over 20 seconds from things to morph into a funk-fused, hip-hop explosion. It would be the second track though, which would create a seismic shift for a new generation set to protest social injustice, rebel against authority and piss off their parents.

Much like Bob Dylan’s “Masters of War,” “Straight to Hell” by the Clash and Public Enemy’s “Fight the Power” before it, “Killing in the Name” is a rallying cry for the youth to strike out at inequities heaped onto the weak by the powerful. In this case it’s those who “work forces” or who wear a badge – be it military or police – and are, like the Ku Klux Klan, “the same who burn crosses.” Concluding with Zack de la Rocha’s slow-build into a frenzied, mantra-like intensity with a dozen-plus repetitions of the line “F--- you, I won’t do what you tell me,” it remains the most popular Rage song to date.

“I was actually shocked,” said album producerGarth Richardson of when he first heard the track. “I thought it was an anthem. From way back then until now, every kid still feels the actual same way.”

“Freedom,” “Wake Up” and “Know Your Enemy,” the latter featuring a vocal contribution from Tool singer Maynard James Keenan, continue the assault of free thought, reconstituted political ideas and tightly wound heaviness that dominates the record.

Yet Rage Against the Machine is by no means an incessant beating over the head of pounding sonics and a wound-up de la Rocha wailing. There’s a good degree of light/heavy balance in many of the songs. “Settle for Nothing” has Tom Morello playing a surprisingly delicate guitar solo, a contrast to the storm of sound and lyrics which bookend it. Then there’s “Township Rebellion,” one of the more underrated pieces on the album. It lumbers along at a steady pace, before shifting into an almost tribal beat before returning with barely controllable bombast and a devastating Morello riff.

Though many will point to the guitarist basically reinventing the sound of the instrument as a highlight of Rage, it’s also the impassioned de la Rocha putting himself out there completely, be it vocally or via his ideals - something the group as a whole subscribed to - making it a perfect musical and activist encouraging storm.

"The people in this band are really intelligent and issue-oriented, and it's a band with a purpose," the Ivy League-educated Morello said in a 1993 interview. "The emphasis on confrontation and protest I studied at Harvard can be put to practical use by motivating the people who come to our shows.”

And while Faith No More and the touchstone union of Anthrax and Public Enemy may have originated or flirted with the genre, Rage Against the Machine were the first to fully commit to rap-metal, and they did it flawlessly.

Rage Against the Machine Albums Ranked

Sent from my iPhone

[bubblesandgutz]

Every Record I Own - Day 771: Lungfish Indivisible

Though I'd been exposed to Lungfish a few times over '90s and '00s, it wasn't until I took the leap and bought Talking Songs For Walking in the early '10s that I began to develop an appreciation for the band. Not long after, I picked up a copy of Indivisible at Academy Records in Greenpoint, and which point I went from thinking Lungfish was another great band in the Dischord catalog to thinking that Lungfish was one of the greatest bands of my generation. Picking favorites will always feel like an adolescent pursuit, but what can I say... Indivisible will always be a particularly special album for me because it will always feel like the opening of a doorway into a previously unknown room.

I tend to think of Sound In Time, Indivisible, and Artificial Horizon as representing the middle era of the band. They'd transitioned out of the more traditional bombastic early records and seemed to be testing the parameters of what constituted a song. With Sound In Time, the band created a collection of deceptively simple songs that adhered to one or two repeating riffs while still feeling like fully realized songs. On Indivisible, that formula begins to unravel. The full-band approach deteriorates, and as the album progresses, it feels like we're hearing strange transmissions of a band expanding and imploding, with some of the band's strongest songs segueing into fractured instrumentals.

Album opener "Indivisible" is probably my second favorite song in the Lungfish catalog, coming in only behind "The Evidence." It operates on the somewhat common loud-quiet-loud formula of the '90s alt-rock, but employs the band's signature cyclical tactics as the A part / B part structure repeats throughout the course of the song with Higgs repeating the same paradoxical couplets over and over again: "death to / long live / love and hate / forever." Perhaps it's lyrical nonsense, but by the end of the song it feels profound. From there the album goes into "You Did Not Exist," one of the most minimal songs in the band's canon. This song in some ways can be a bit of a deal breaker. I've tried many times to listen to Indivisible while driving on tour, and for whatever reason, "You Did Not Exist" seems designed to thwart any sort of cursory background listening experience. In that environment, Asa Osbourne's metronomic three-note guitar part comes across like Chinese water torture. But listen to the same song at home on the turntable and it feels like it somehow suspends time into a woozy, medicated state of bliss.

Things unravel further with the next two songs---the studio experiment of "e=fu" and the blown out instrumental "Urania." But then side A closes out with "Organ Harvest," a sublime and subdued slab of perfection that recalls the early REM tracks where they leaned into their Velvet Underground obsession. Part electrified folk song. Part droning outsider rock.

Side B continues to fluctuate between Lungfish's refinement of cyclical songwriting and exploratory instrumental vignettes. The guitar work is mostly stripped of distortion, with Osbourne picking out the individual notes of triads in lieu of hammering out chords. "Tick Tock" harkens back to the paradoxical riddle of the title track, but with the exception of the Sound In Time-esque "Fill the Days," side B mostly leans into the austerity and mystery suggested by the album's stark packaging.

And this is ultimately what I enjoy about Indivisible. There is little information, little context, only the bare bones musical information to guide the listener through the black empty canvas, upon which we're invited to paint whatever light and color we can render from their minimalist tactics.

[1984tilforever]

So I watched the two most recent One Piece movies- Stampede and Film: Red - in quick succession yesterday. I then let them digest for an entire day before deciding to hash out some thoughts in their regards, right here, right now

The folks at Toei had a brilliant idea for this celebration of the 20th anniversary of the One Piece anime - throw just about every character who appeared in the show in a big old scrum that concludes with a big stupid fight against a massively powerful guy whose defeat marks a return to the status quo. In a way it feels like the more beloved Dragon Ball movies and, hey, I'm all for that. You remember Wapol? Rejoice, he's here, in Stampede! What about Kunie Tanaka lookalike Borsalino? Well, duh! Does Bartolomeo the Cannibal count as a deep cut? Because he's there, obviously. The result is a joyous celebration of everything One Piece, as Luffy insists on the power of friendship while newcomer Douglas Bullet declares that, no, one's own strength is what counts in this cruel world. The CGI making Bullet's giant monster form in the finale might look out of place compared to the sumptuous hand-drawn animation making the rest of the film, but there's more then enough excitement as fan-favourite characters batter and struggle against Bullet before Luffy does like a Looney Tune and defeats him with a fist the size of an apartment building. Good stuff.

The folks at Toei had a brilliant idea for this celebration of the 25th anniversary of the One Piece manga - a musical! Wait, what? Indeed, this film's first half is particularly song-heavy, as up-and-coming idol Ado exercises her pipes in a variety of musical numbers, including one from the maestro of anime bombast himself, Hiroyuki Sawano. Ado stars as Uta, canonical (?) daughter of swaggering veteran pirate Shanks and Luffy's childhood friend from before the events in the series kicked off, a pop idol who wants to create a new world through the power of song. Which is a nice enough sentiment, if one that quickly sours due to plot-related reasons. Cue Luffy and crew going through a dreamy romp together with an oddball selection of additional characters, including - yes - Bartolomeo the Cannibal. God I love that goofy weirdo. The finale still necessitates bringing everything back to the series' status quo through a fight against a huge monster, although this time around the CGI is better integrated with the hand-drawn animation, which is some of the best One Piece has had since Stampede (although it has to be said that in its current form the anime is shockingly good looking, even more so when one considers it counts over 1,000 episodes to its name). Alas, Film: Red is hampered by its need for a neat conclusion, as its more interesting themes and ideas could - and should - have been applied to the series as a whole. But alas, that's the business of massive transmedia franchises for you. At least the fans can get themselves a brand new set of Straw Hat Pirate statues featuring the neat movie threads, not to mention a surprisingly excellent theatrical experience.

[lovejustforaday]

2022 Year End List - #14

Angel in Realtime - Gang of Youths

Main Genres: Alternative Rock, Indie Rock, Chamber Pop

A decent sampling of: Adult-Alternative, Heartland Rock, Art Rock, Maori Music, The Big Sound

Next on my 2022 year end list is a band from the opposite side of the world, who I’m told (by the internet as per usual) have been making a lot of waves on their side of the globe, and even won the J Award for Australian Album of the Year.

Gang of Youths are an Australian rock band fronted by David Le'aupepe, a baritone vocalist with that smooth, down-to-earth kind of voice that makes him a perfect fit for heartland rock and the rock radio format in general.

Everything about this band’s sound is utterly feel-good, which will definitely put some sad-boy hipsters off of their sound. I however, as a sometimes sad-boy hipster myself, fucking love the band’s unabashedly life-affirming ethos, and I think it is something severely needed in these troubling times.

On their third LP Angel in Realtime, Gang of Youths revive new sincerity with a bombastic concept album about Pasifika heritage and identity, guardian angels, lost family ties, and most importantly, David’s father and the secrets that David learned about him after his death.

The record plays out like a cinematic vignette of a son coming to terms with his own origins and everything he thought he knew about his father’s life story, set to the soundtrack of chamber-rock ballads and arena rock anthems, with elements of Maori folk music and chanting inter-weaved throughout. It’s a fresh and compelling concept, and the band makes the subject matter very approachable with their style of music, regardless of how heavy the concept may look on paper.

Honestly, it’s pretty wild to think that this is a record that came out in 2022. This album would sit very comfortably in the established canon of acclaimed noughties anthemic indie rock, among big names like Broken Social Scene and Arcade Fire. I can also imagine this record playing alongside the aforementioned artists at your local millennial craft beer bar. And I mean all of this as a compliment; I’m a sucker for that BIG, sentimental millennial rock sound.

“you in everything” is a tear-jerking opener that swells into a sublime dawn of chamber pop, as sincere as it is breath-taking in the same way that opening shots to nature documentaries about giant landforms are. “in the wake of your leave” is a song to shout drunkenly at the top of your lungs, with it’s killer chorus and bright melodic riffs, though it masks painfully bittersweet reflections on death and funerals.

My favourite cut is “tend the garden”, a track which sees David Le’aupepe directly taking on the perspective and headspace of his father, telling much of his life story through lyrics based on his son’s own interpretation. Musically, it’s particularly reminiscent of Broken Social Scene, with a very sonically rich and metropolitan sound, somehow both laidback yet meticulously crafted.

Then there’s “the kingdom is within you”, which blends 2-step dance beats with bold piano lines, alternative rock, and layered, encompassing production, all to create a track that is both enormous and stratospheric.

Things wind down with “brothers”, an introspective six minute piano ballad that largely gives context to the album’s subject matter, as David Le’aupepe explains how he came to learn about his half-brothers after his father’s death. Its the emotional linchpin of the album and, though its composition is quite simple and repetitious for its length, ends up working quite effectively and became a track I wanted to revisit often. This is all thanks to David’s performance, which he absolutely nails with his wistful but frank lyrics and soothing voice that was tailor-made for this kind of balladry.

All that being said, the record is a bit long for its own good in my opinion. The massive arena rock sound can start to wear down on some of the b-side tracks. But then part of me also understands that this is meant to be an album of epic proportions, and the band probably wanted a length to match that.

In one way, it feels more like a concert experience than an album experience, and to some people that’s a definite plus. I can definitely imagine that Gang of Youths absolutely tears it up at a live concert.

Either way, I’m very happy for the success of this band and this record. Angel in Realtime is one of the most uplifting artistic expressions of the year, and it has an profound and touching story to boot. I’m glad that there are artists like Gang of Youths that are still able to find good in the bad, and capture some of the joyous beauty that exists in this world; a very large amount of indie rock these days is about depressive reflections on an idyllic past. So here’s to more albums like this in 2023.

8/10

Highlights: “tend the garden”, “brothers”, “you in everything”, “the kingdom is within you”, “in the wake of your leave”

[hellzabeth]

i have opinions about The Prince of Egypt musical adaption and you’re going to listen to them: An Essay

So, quick disclaimer: The Prince of Egypt is one of my favourite movies of all time. The casting, the music, the animation, I think it’s one of the top-tier movies that have ever been made. I went into seeing the London West End production of PoE with a full expectation that nothing I saw on stage would ever live up to how much I love the movie. I was fully aware there are plenty of limitations to what can be shown live on a stage with human actors and props.

That being said, I was enormously disappointed with how the whole thing was handled.

The Good

Now before I launch into a whole tirade of what I didn’t like about the production, it does behoove me to say what I think they did do well. 


The casting of the role of Moses was done fantastically, as was Miriam, Tzipporah, and Yocheved. The swings and the ensemble were really engaged and well placed, going through lots of quick changes to go from Hebrews to Egyptians to Midianites and back.


The two Egyptian queens, wifes of Seti and Ramses, are actually given names, lines, and character beyond being simply tacked onto their respective kings. We get to see how they feel about the events happening around them, and there’s even a scene where Ramses meets his wife and courts her, whereas in the movie, she stands in the background and says nothing. This is one of the areas I was hoping the musical, which would naturally have a longer run-time, would expand on, and I was pleased to see the opportunity was taken.

Light projections on enormous curtains were used to very good effect, taking us instantly inside the walls of the palace and then out to the desert. 


Over all, the work was really put in to be engaging and emotional, and the orchestra really worked to deliver the right musical beats.


One of two stand out scenes as being done very well was the opening “Deliver Us”, which included a bone-chilling moment of Egyptians separating a mother and her baby, with her screams as she’s dragged off-stage, and the blood on the guard’s sword. It really brings home the fear as Yocheved tries to lead Aaron and Miriam to the river with her, not to mention Yocheved’s actress nailed the lullaby. 


The second was at the other end of the show, “When You Believe” was beautifully performed by the whole cast, though it was somewhat stunted by what came before...

The Bad

Oh boy.

So the main problem with this show is not the music, not the staging, not even that sometimes the ensemble was a little off-beat (the lai-lai-lai section in Though Heaven’s Eyes comes to mind). Any mistakes there can all be forgiven, since sometimes things just happen in live performance, someone’s a bit off or something’s just not possible to do on the budget allotted. 


The problem is in the script.

The Prince of Egypt movie is a story that stands not only on the shoulders of its fantastic music and visuals, but also on its emotive retelling and portrayal of the characters within - mainly Moses and Ramses. And while the stage musical does spend a lot of time with the two mains, it neglects two other, incredibly important characters.

Pharaoh Seti, and God. 


In the movie, Seti strikes an intimidating figure. He is old, hardened, and wise in the ways of ruling his kingdom - and is voiced by Patrick Stewart, who brings his A-game to the role. Both Moses and Ramses admire him and look up to him immensely as young men, and the relationship he has with both of them deeply informs their characters as the story progresses. It’s from Seti that Moses learns that taking responsibility for your actions is the respectable thing to do (and later, the true horror of having your idol turn out to be not what you think), and it’s from Seti that Ramses takes a huge inferiority complex.

There are two lines that Seti gets in the movie, one spoken to Moses, and one to Ramses. These two lines define Moses and Ramses’ actions later on in the story:

To Ramses - “One weak link can break the chain of a mighty dynasty!” To Moses - “Oh my son... they were only slaves.”

Guess which two lines are absent from the musical?

One Weak Link is turned into an upbeat song, rather than shouted at a terrified and cowed young Ramses. Instead of being openly a traumatic, internalised moment of negative character development for Ramses, it’s treated as a general philosophy that Seti passes down to his son. Instead of a judgement that is hung over Ramses’ head like a sword of Damocles, lingering in his mind through the whole story and coming up in a shouted argument with Moses later, it’s said and then moved on from. 


The “they were only slaves” comment, on the other hand, is absent entirely. This changes Moses’ relationship with Seti enormously, as well as his relationship with the Hebrew people. Upon finding the mural depicting the killing of the slave children, Moses is appropriately horrified, and Seti shows up to comfort him and defend his terrible actions. Moses leaves this interaction... and then sings about how this is indeed all he ever wanted! He has no moment of horrific realisation that his father thinks of the slaves as lesser, as lives that can be thrown away. This means that the scene where he kills the guard doesn’t lead into a discussion of morality with Ramses as he runs away, but rather Moses breaking down about his heritage as though it’s a negative, instead of something he’s realised is just as valuable as his life as an Egyptian. Instead of Moses being shown as having a strong moral core that protests against the idea of any life being lesser, he bemoans his Hebrew blood loudly, and makes little mention of the man he killed. His issue that causes him to run away is being adopted, rather than his guilt that he’s a murderer, and nothing Ramses can say will change it.

Later on, we don’t see Ramses express this opinion either (in the movie - M:”Seti’s hands bore the blood of thousands of children!” R:“Hah, slaves!” M:“My people!”) so it seems the core reasoning for the necessity of the extremes God had to go to in order to convince Ramses to let the Hebrews go is completely gone.

Which leads us into God Himself, as a character. 


God is a tricky topic in general. He is hard to talk about as a concept and as a character, and even harder to depict in a way that won’t offend someone. The Prince of Egypt movie always struck me as a very good depiction of the Old Testament God - vengeful and strong-willed, commanding and yet nurturing, capable of great mercy and great cruelty in one fell swoop. God is incredibly present in the story, a character in and of Himself, speaking with Moses rather than simply commanding him. The conversation at the Burning Bush is bone-chillingly beautiful. Moses is allowed to question, he’s allowed to enquire, he’s allowed to express how he feels about God’s choice, and God is given the chance to respond (and reprimand, and comfort).

In the musical, the Burning Bush scene lasts all of two minutes, during which God (the ensemble cast, acting as one moving flame, speaking in unison) monologues to Moses, and Moses is not given room to question, talk to, or build a relationship with God. Later on, once some of the plagues have gotten underway, Moses rails against God, flinches in his resolve, and tries to back out... and God says nothing. It’s Miriam and the spirit of Yocheved that convince Moses to keep going. As a character, God is nearly absent. Even when it comes to calling upon the Plagues, or parting the Red Sea, God’s voice is absent. Moses does not pray. He does not even use the staff that God encouraged him to pick up as a symbol of his becoming a shepherd of the Hebrews out of Egypt. 


It’s these little changes, these little absences of such vital lines and presences, that ends up changing the whole vibe of the show. Seti is more like a dad than an emotionally distant authority figure, and God is more like an emotionally distant authority figure than a character at all. Ultimately, the whole feeling that one is left with at the end…

The Ugly

… is that the script doesn’t like God, or religion in general.

A bold statement to make, considering the source material is one of the central biblical stories in EVERY Abrahamic religion. Moses as a figure is considered so important and close to god, that The Prince of Egypt, even with its sensitive portrayal, cannot be aired in a number of Islamic states, because it’s considered disrespectful to depict any of the prophets, especially an important one like Moses. Moses is arguably the MOST important prophet in the Jewish canon.

However, I haven’t highlighted one of the most noticeable script changes - the elevation of Hotep, the high priest, to main antagonist.

In the original movie, Hotep is a secondary villain, a crony to the Pharaohs, bumbling and snide and two-faced. He and his fellow priest Hoy are there primarily to juxtapose how charlatans can control power through flattery and slight of hand, reassuring Ramses that Moses’ miracles are merely magic the same as what they can do. They even get a whole villain song, “Playing With The Big Boys” which is a lovely deconstruction of lyrics vs visuals, where while the priests boast that their gods and magic are much more powerful, in the background the staff, transformed into a snake by god, devours and defeats the priests’ snake handily. The takeaway from the song is that God’s power is true, and doesn’t need theatrics.

It’s a good little nugget of wordless world building. And it is completely absent from the stage musical, with only a vague reference to the chant of all the gods names.

Hoy is gone, and Hotep is the only priest. He actively speaks out against the Pharaoh, boasts about having all the power, and is played as bombastic and proud. He’s a wildly different character, even threatening Ramses at one point. In the end, it’s shown that Ramses won’t let the Hebrews go not because he has inherited his father Seti’s cruel attitude towards the lives he considers beneath him, but because he is being actively bullied by the priest, and will lose his power and credibility if he doesn’t do as he’s told. Ramses is even given a whole song about how little power he really has. The script desperately wants us to feel sorry for Ramses’ position and hate the unrepentantly, cartoonishly evil priest.

That’s another matter as well - a LOT of time is dedicated to making the Egyptians more human and sympathetic, portraying them as largely ignorant of the suffering beneath them, rather than actively participating in slavery. Characters speak out of turn without regard for formality and class, even to the royal family. They are casual, chummy even. And this would be fine - in fact, it’s good to have that sort of third dimension to characters, even ones who are doing reprehensible things, to show the total normalcy and banality of evil - if it were not for the fact they still include a completely open-and-shut case of evil right next to them.

Hotep has no redeeming features. And on the other side, God is barely present, certainly not in a relatable context. Moses has several lines about how cruel and unnecessary God’s plagues are - and you know what, in this version, they are unnecessary! Ramses is not the stone-hearted ruler that his movie counterpart is, he has no baggage over being a potential failure, because it was never really given to him in the same way! By taking away Ramses’ threatening nature, numbers like the Plagues lose half their appeal, as the back-and-forth ‘you who I called brother’ lines between Moses and Ramses are completely absent. Moses is faithless, and is less torn between the horror of what he’s doing and the necessity of it for the freedom of his people, and more left scrabbling for meaning that he doesn’t find. And the only thing hanging over Ramses is Hotep nit-picking everything he does and threatening him, which is considerably less compelling than the script seems to think it is.

This is best exemplified at the end, when all the issues come to a head. The angel of Death comes and takes the Egyptian first borns (which was actually a well done scene), and the Hebrews leave to a rousing rendition of When You Believe. But then we cut to Ramses and Hotep, with Hotep openly threatening to revolt against the Pharaoh - whom was believed, especially by the priesthood, to be a living god! Hotep is so devoid of redeeming features he cannot even be trusted to stand by his beliefs! - unless Ramses agrees to chase after the Hebrews. Reluctantly, Ramses is badgered into the attempt.

Back with the Hebrews, Moses parts the Red Sea… not with his faith, not by praying to God for another miracle, not even by using his staff as in the most famous scene of the movie… but by holding out his hand and demanding the ‘magic’ work. Setting aside the disrespect of Abrahamic religions to call one of the most famous miracles “magic” (and my oh my, if there was a fundamentalist of any religion in the audience they might have gasped to hear it), it again belittles the work of God, and puts all the onus on Moses, not as a conduit for God’s work, but as the worker himself. Then, the Egyptians arrive in pursuit, lead by Hotep, not Ramses. Moses sends the Hebrews through first, lead by Miriam, and stays behind with Tzipporah… to offer his life in penance to Ramses! The script has completely stripped both Ramses and Moses of their convictions towards their causes, and Moses cannot even stand by his decision to lead his people.

Then, in a moment of jarring melodrama, Moses has a sudden vision that Ramses, his brother, will one day be called Ramses the Great (an actual historical Pharaoh who reigned 1279-1213 BCE). There is no historical evidence that this was the Ramses that ruled over the Hebrews (there are 11 Pharaohs called Ramses through the history of Ancient Egypt), and maybe if the scene was acted a little better, it wouldn’t have been so sudden or jarring. Even more jarring, is that then Hotep arrives with the rest of the army, and Ramses refuses to lead the charge into the parted sea. Hotep does so himself, and is the one to have the final dramatic moment, being crushed under the water.

The Takeaway

After watching the show, I’m afraid I could never recommend it as either a play, an adaption, or even as a faithful retelling of a bible story. Its character drama isn’t compelling enough to be good as a standalone play, with it two main characters declawed and their core motivations reduced to a squabble between brothers rather than a grand interplay between two cultures and ideas and trauma handed down from their father. As an adaption of the movie it’s upsettingly bad, with grand numbers like the Plagues rendered piecemeal and fan favourites like Playing With The Big Boys missing entirely. As a retelling of the bible story, it’s insulting, completely cutting God out of the equation, taking no opportunity to reintroduce Aaron as an important character (which he was, in the bible, as Moses was a notoriously bad public speaker, with a stutter, and Aaron often interpreted for him) and more importantly, completely erasing God’s influence from the narrative.

I don’t know who this show was… for, in that case. If it wasn’t for drama lovers, movie fans, or people of the faith, then who the hell was it for? Why change such a critically acclaimed and well-beloved story? Why take away all these defining moments? If you wanted to tell a story about how religion is the true evil, how God can command people to do terrible things, and how those who uphold organised religion like Hotep are unrepentant, one-dimensional monsters… why would you tell that through the Prince of Egypt?

Underwhelming at best, infuriating at worst… just watch the movie. Or read Exodus. At least the Bible’s free.

[createandconstruct]

can i ask about amarant coral? the monk in red himself~

Can you ask about Amarant Coral? *cracks fingers* Oh I insist that you do. Welcome to my Amarant Appreciation Post:

favorite thing about them: First off best thing about Amarant? His theme. The percussion and the guitar. It’s great and it captures him so well. People out here like “take Amarant out of the game he adds nothing.” EXCUSE ME? You remove the Amarant you remove the Amarant Theme my friend and that is something I do NOT vibe with. 

least favorite thing about them: I wanna know more about him. Now Amarant doesn’t need a backstory or history in the game. In a sense, he already has one that connects him to Zidane and explains his motives and actions and eventual arc. But my issue is, Square never gave him anything else. If you look at Ultimania there’s additional lore about other characters, like Steiner for instance. You learn Steiner was a war orphan who was saved by the Pluto Knights - explaining his devotion to them. Amarant though? Square was like “uh... yeah he was born....? And then he uh got famous...? Idk then he met Zidane. You figure it out.” Square. I hate you. 18 years from his birth until he became “well known”. WHAT WAS HE DOING. WHY’D HE BECOME A SECURITY GUARD. WHAT WAS ON HIS RESUME. TELL MEEEE. Like, okay, what the actual in-game canon gives us on Amarant is sort of enough. He’s a purposely written mysterious “cool-guy” character so we’re given scraps to make him unknown but come on. In the published after-game canon, like Ultimania, we could have been given a bit more. He says he doesn’t remember anything about his origins or parents, but why. Was he another victim of Gaia’s wars? Probably. Was he born on a battlefield? Fighting for his life, living without comrades, taking scraps whenever he could? Was he betrayed when he was young? Is he a supposed to be a version of Zidane had he not been adopted into Tantalus by Baku??? These are questions I deserve answers to, Square.

favorite line: “’I can't just walk away. It goes against my nature...’ You're a real simpleton. Forget it, guys. There's no stopping this fool." I love this. Amarant figures Zidane out pretty quickly after Ipsen’s Castle. Zidane is hardheaded and also an actor. He acts cool and pretends his reasons for doing things are loose but when he’s decided something it’s always for a reason. You don’t need a reason to help people, but Zidane has his reasons for helping Kuja and while Amarant doesn’t give two shits what they are he knows Zidane won’t be stopped because, despite everything, Zidane saved a loser like him. Also this line “Tell me! Why didn't you kill me!?" Because I quote it all the time and it makes myself laugh. Amarant is such a drama queen and Zidane knows it. Zidane’s like “dude... what is your damage, it’s 5 pm on Tuesday in Madain Sari. I ain’t getting blood on my gloves cause you’re having a temper tantrum.” And then Amarant runs away to have an existential crisis. He’s 26 but compared to Zidane, he’s the real teenager with angst.  

brOTP: I could talk about Zidane or Freya with Amarant but instead I’m gonna say the underrated dynamic of Amarant and Eiko (and also Vivi).  Amarant with the kids is truly the greatest gift given by his presence in the game. Amarant has never known true suffering until he became a designated legal guardian of a group of minors. It also kills me how he’s the one to volunteer to carry Eiko and Vivi up the Iifa tree. He looks at Zidane and is like “you have seriously been the ‘adult’ of this group???”

OTP: Gotta say the Freya and Amarant dynamic. I really enjoyed their unlikely friendship in the game but then the content. The fan content. The Freya x Amarant fans out there, you win. Ya got me. You captured me and I am now imprisoned by their banter and begruntled allies to lovers story. Even if they’re not romantic I love them together and really wish the game gave us more of them. But even Lani and Amarant together are valid, though I prefer them as butting head bros. Not much content for my girl Lani out there either, she deserves more.

nOTP: Nothing I can think of. I tend to like platonic pairings for Amarant. The dude needs friends because he can barely define the word friendship.

random headcanon: Before Zidane returns at the end of the game Amarant wanders around a bit, unsure of what to do. He doesn’t feel any place with the others in Alexandria, Burmecia, or Lindblum. I imagine he goes off on his own for a bit like before but this time he’s not after Zidane or a fight. Instead he’s got no particular destination. Yet he somehow always finds himself running into people just like him - or the old him - friendless lonely people who are looking for a fight. He doesn’t go out his way to find these folks he simply runs into them and decides he might as well knock some sense into them. He does however make it his business to go after any murmur of people hatching any ideas of going after the far off little village on the Lost Continent. The home of the genomes and black mages. They were so helpless, so weak that anyone who’d want to mess with them is pathetic in Amarant’s book. Until Zidane returns, no one has the chance to even look at the Black Mage Village the wrong way because in the shadows Amarant lurks, making damn well sure of that.

unpopular opinion: I kinda love that he’s just there for most of the game? While I agree he gets the short end of the stick in the same way as Freya, not receiving additional individual character spotlight (which could have very well been supplied through discoverable lore in the world/npcs or through sidequests) I never considered his “standing off to the side” as a detriment to his character. 

Many would probably agree that Amarant always felt like a bit of a parody of the loner character, or at least the stereotype of the loner character. Amarant is so easily paralleled with Squall and Cloud’s surface-level attitudes because his dialogue always felt like something to poke fun at. As the player we’re supposed to align with Zidane’s way of thinking and how he views Amarant. When Amarant loses to Zidane and pretty much grits his teeth and goes “KILL ME,” along with Zidane we’re supposed to kinda raise our brow at him and go “...really, dude?”

 Amarant’s a character introduced as an antagonist who has more in common with the power hungry villains of the game. Like many of the characters in FFIX, Amarant is in search of purpose in life, which he has never found, because he was always looking in the wrong places - in places of violence and power. Very toxic-masculinity of him. Amarant is “cool” on an aesthetic level but in reality he’s the polar opposite of cool in terms of what FFIX states about the need for others to be intertwined in your experiences so that you can live a full life. 

I sort of love that he’s like a grumpy pitball following a 16 year old and his friends around. Then he sits in the corner when they all meet up and discuss current events acting like he doesn’t care (not to mention he casually walks as everyone is running as fast as they can to escape Terra - made me laugh cry on my first playthrough) He is “just there” but that’s because he has no where else to be, no where else to go, he’s a man without a home. And until Zidane offers his hand, at the point where Amarant is most willing to take it at Ipsen’s Castle, he’s not truly a party member. He IS an outsider for almost the entire game but at Ipsen Castle he joins the party, becomes a comrade, and decides he’ll allow himself to change paths and start a life where he has friends and lives, as well as fights for them. Which is why after that moment, Amarant finally has a victory pose.

song i associate with them: I was scratching my head for so long trying to think of a song or track that had Amarant vibes until it hit me. Outskirt Stand by Tsukasa Tawada (from Pokemon Colosseum). Amarant is so chill, he’s not a bombastic guy, so he needs a theme that drops me in the rocky open desert of the Lost Continent like I’m just lumbering around looking for a monkey-tailed menace. Some other Amarant tunes:  Pyrite Town, The Under, Snagem Hideout tracks from Pokemon Colosseum. This post is just an elaborate call to action for everyone to listen to the Pokemon Colosseum soundtrack. Tsukasa Tawada is so great and he has a YouTube. Check him out.

favorite picture of them:

Yoshitaka Amano’s Salamander Coral. I love him. He had too much power. 

Also everything drawn by @crispy-ghee. Everything. I will think of this Comic forever until I die. Tattoo it on my flesh. The banter, the dynamics, the post-game content, the Zidane prince-consort outfit, the new Amarant outfit, the stuck-in-the-same-place relationship him and Freya have. Perfect. Go read it and consume Crisipy’s stuff. And also check them and their current art out, they just consistently get better and better. Here’s a first panel preview of my fav comic. Read it.

 @hannahlady​‘s Amarant art and their Freya/Amarant art is just ugh. *Chef’s Kiss* Here is another preview because you should go look at it.

Here’s a piece that deserves so much more love by @snackage. I LOVE how they drew Amarant. Here’s a little preview. It’s SO GOOD

Anyway TL;DR: Amarant is love and life and you’ll have to pull him from my little gremlin hands.

[yurimother]

LGBTQ Comic Review - Amongst Us Book 1

A masterful combination of comedy, subtle romance, and incredible sensuality

I make no attempts to hide my complete admiration and infatuation with Shilin Huang's Yuri webcomic Amongst Us. The slice of life AU featuring reimagined versions of the lead characters from fantasy series Carciphona as a lesbian couple has held a special place in my heart for a long time. I named the series one of the best Yuri works of the past one-hundred years, can frequently be found lurking in the author's Twitch streams, and even have a wall in my office dedicated to the artwork of the main couple (or I did before my office became a remote classroom). So, when a Kickstarter by Shilin and Hiveworks Comics launched promising a print version of the work, I was eager to support it financially and promote it with my humble platform. The Kickstarter took place in March, and books were initially estimated for release in May of 2020. However, as you have probably realized by the dates alone, the world went very South around this time. A combination of disruptions from the COVID-19 pandemic, a healthy amount of bad luck, and what I am inclined to believe, for various reasons, was some awful mismanagement by Hiveworks led to numerous delays. Indeed, by the time the book finally shipped, I had moved, so my copy arrived a little later as it had to be forwarded. But, at the end of this frustrating and anticipation-building event, I finally have the volume in my hands, and it was worth the wait. While I adore the webcomic, this gorgeous print volume completely enthralls me. The book is absolutely the preferred way to read this spectacular comic.

Before getting into the exquisite details of Amongst Us Book 1: Soulmates, I need to take a minute to praise how well this book is put together. The paperback binding is thick and features amazing spot glass that sparkles in the light. This feature only accentuates the fantastic and bright the cover illustration of main characters Veloce and Blackbird loving holding each other is. The back cover has a simpler but more imaginative illustration of the two flying through the sky, and the character's expressions tell you everything you need to know about this fantastic, odd couple. There are a few things you will notice upon opening the volume. The first is how well Amongst Us made the challenging transition from vertical webcomic to the page. The assembly and paneling are fantastic and clear, and chapters feature stylized illustrations and title cards. You will then see the inside cover, a powerful display that perfectly contrasts the front's glowing and tender love. Finally, there is Shilin's presents moving forward and dedication, where she lovingly dedicates the book to her partner, Kristen.

I assure you, as good as the book's presentation and assembly is, the contents within are even better. Amongst Us follows Veloce and Blackbird's bombastic relationship. The two women are eccentric and striking musicians in their early twenties, and I swear you will never forget them. The slice of life storylines are, per the genre's definition, mundane and include events like shopping at the mall, riding the train, and having lunch with a friend. The charming simplicity of the story serves well to the reactions of the characters. Shilin effortlessly transitions from adorable moments of affection to explosive and hilarious comedy and irresistible and delightful moments of sexual tension; Veloce's neck and jawline alone could topple a monarchy. Often, slice of life works can become dull or repetitive, but these stories and the frequent changes in tone help the reader stay engaged and excited.

Putting slice of life aside for a moment, it is also important to note that Amongst Us is also has an interesting place within the Yuri genre, or "Girl's Love/GL" as it is often called in webcomic circles (originally an analogous term of Boy's Love). Webcomics have often been a bit more adventurous with their storylines and styles than Japanese manga. While the genre rose to popularity in the space thanks to digital manhwa and manhua, some (not all) of the Yuri tropes did not carry over between the similar mediums. Many modern webcomics and webtoons take their inspiration more from manhwa and manhua GL, which has developed its own canon and tropes over the years. However, even for a webcomic, Shilin's work feels somewhat divorced from most other worlds of Yuri. This first volume exists mainly against the Yuri genre's expectations. However, the next book, which flashes back to the couple's origin, undoubtedly is more in line with convention, for better or worse. It feels like the author decided to screw the norms and write a work that she would enjoy, and I am so glad that she did. Veloce and Blackbird are young adults, out of school in an established relationship with no drama. This (sadly) unconventional setting is made all the more irregular because of just how distinctive, and unwonted Blackbird and Veloce are.

Blackbird and Veloce, originally from the fantasy world of Carciphona, take on a new life, literally, in this wonderful modern reimagining and homage. You do not need to be a fan of the original work to enjoy their bizarre and larger-than-life personalities. Indeed, when I read Amongst Us online for the first time, I had not ever even heard of Carciphona. Veloce is the quieter and more stoic of the two, although she is not afraid of showing a more relatable and human side as she reacts to Blackbirds wild antics. Veloce's (not)straight man approach is hilariously sobering. But, her best moments are in those when she lets loose a little bit, like when she is rendered drooling by the promise of her favorite smoothie or in her stoic yet alluring flirtations with Blackbird, only to get close enough to steal a healthy chomp of ice cream.

Blackbird, on her part, is completely insane. She continuously pulls of wild antics like jumping on Veloce to surprise her or singing an especially threatening song after a glorious battle over lunch. However, she is perfectly capable of showing her love and admiration for Veloce in her own cheeky way. However, true to form, each softer or more personal moment between the two is often immediately and perfectly juxtaposed with comedy, with the apparent exception of the book's touching and thoughtful finale. Veloce and Blackbird will both more than please readers individually, but you will fall in love with them as a couple. I must have read this at least a few dozen times between the webtoon and the book, and I am just as enchanted as ever by their loud and unapologetic love.

The ordinary misadventures of Blackbird and Veloce are accompanied by genuinely astounding artwork. No, that statement does not do Shilin's illustrations justice. Veloce and Blackbird lead from the page thanks to stunning, full-color illustrations that detail every moment of hilarity. Every movement from the slightest smirk to the over-the-top dramatizations of regular events thoughtfully and beautifully sprawl across the pages and invite you to stare for hours. Shilin is the only person possible who could make something as simple as someone softly singing Happy Birthday so epic and sultry. Speaking of which, my goddess of Yuri is this work titillating. No, there are no gratuitous scenes, but just the characters leaning over each other or touching the other's chin makes my hands shake. My only small complaint is that some early chapters show their age slightly with noticeably lower quality linework and flatter colors than the dazzling and dynamic work demonstrated towards the end. Still, even on its worst day, Amongst Us looks better than most of its peers and the entirety of its many inferiors.

Amongst Us is nearly the perfect work. It has a uniquely compelling and mirth-inducing way of displaying a young yet very unordinary couple's everyday life. Its characters, from design to personality, are instantly memorable and striking. Despite being ready to rip each other's heads off at the drop of a hat, or rather because of it, Blackbird and Veloce feel the perfect and natural couple we so rarely witness. Shilin's masterful combination of comedy, subtle romance, and incredible sensuality is astounding. This book is worth it for the outstanding and vibrant artwork alone, but its combination with excellent writing create a sonorous and majestic modern romance unlike any other. I believe that Shilin has created something genuinely special here, and I can confidently say that out of the hundreds of webcomics I have read, this one is the pinnacle of its kind and my absolute favorite.

You can purchase Amongst Us book 1: Soulmates exclusively on Shilin's online shop and read the webcomic now for free on Twitter, Webtoon and Tumblr​ @okolnir​.

Ratings: Story – 9 Characters – 10 Art – 10 LGBTQ – 8 Sexual Content – 5 Final – 10

[stillness-in-green]

Idk if anyone told you but the MVA OST leaked, with themes for both the League and the MLA. If you haven't listened to it yet, please do! And if you have, what are your thoughts? I think Mine Woman and RE-DESTRO slap for 2 characters that got shafted hard by canon so I appreciate them a lot.

I have listened to them, and I like several of them! I feel like I need to lead with that, because I'm about to add some criticism about my previous responses to BNHA's score for context, so it's important to know that I genuinely do enjoy quite a few of these.

So, I haven't listened to a lot of Yuki Hayashi's scores, but he's definitely done work I've liked! He composed the music for several of the more recent PreCure shows, including their movies; I particularly loved his finale for the 15th anniversary film, which prominently featured a truly delightful medley of every team's opening theme. I'm also very fond of some of his pieces for Kiznaiver and Welcome to the Ballroom.

His BNHA work, though, I feel like suffers from two main problems: the tracks are too short to work up a good head, and yet, despite that short length, they sometimes feel exhaustingly over the top. (Did Shigaraki's theme really need crying children to get across the point that he's bad news?) I've long felt that the BNHA anime wants me to feel like everything is way more Epic and Stirring and Dramatic than I actually find the material to be, so curiously, the music winds up having a distancing effect rather than drawing me in. This is frequently compounded by placement choices that feel so staggeringly poor that I'm often left wondering whether the staff chose the music out of a hat! (Seriously, why does a fairly rote test of character in Nighteye's office warrant doom choirs?)

As to the MVA tracks specifically, I wish there could have been tracks that sounded a bit more fun or heroic, given that the League in MVA really are the heroes for the arc, complete with Shigaraki suddenly having access to Shonen Nakama Tropes and getting all these little comedic reaction takes. It'd be nice if the music could cue in and let the League have some aural triumph without being all doom all the time ("Oh, no! The villains are winning!" Yes, they are; let them have this for one arc, would you?)

But that said, I do rather like most of these! There are some that I do suspect will fall prey to the This Is Too Much Drama, Would You Please Ratchet Back? problem, but there are also some that I can imagine playing better in the context of the show than they do in isolation, and some that feel like they could even be exactly what I was dreaming about, if they go where I hope they will. For some individual thoughts, see below:

The Mission of the Stealth Hawks: A reasonable enough little tense atmospheric piece. Doesn't jump out at me.

Different Ability Liberation Army: I always approach the MLA as styling themselves as an army, but in reality being more of a sect--far more cult than militia-- I appreciate that if they can't have a good dramatic march despite having Army, like, right there in the title, I'm glad I could get church bells instead. On the whole, though, this is a good example of the first problem I mentioned having with Hayashi's work for BNHA--his pieces tend to be pretty short, and it takes them so long to land on a melody that by the time they find one, there's hardly any time to develop it before the song ends. Even a lot of the hero pieces are like that, and the villain songs, even more so. That said, I do like the horror strings that creep in around the 1.25 mark, blossom at 1.45, and float on through 2.10. I just wish they went on longer. Admittedly, "erratic church bells and horror strings" is still not the choice I would have made for the MLA's main theme. I really would have preferred something with a more militant air; as it is, this sort of feels like it scores a creepy prologue that plays before the opening credits kick in and then the episode proper starts. Which isn't a bad description for the way the dinner scene played in the manga, but thanks to the anime's decision to reshuffle everything, I don't think that dinner scene's going to maintain that feeling of "prologue" when we finally get to it.

My Villain Academia: Better on the melodic front; I enjoy the drama at .43, the dancing tension at 1.05, and particularly the minor strings from 1.25 that just keep climbing until everything else drops out around 2.10. I do wish it found a better place to end rather than noodling on for a further thirty seconds, but the melody will get a more central, and more bombastic, treatment in the final track, so it's probably okay for it to trail off here. (It's also apparently a reprise of a villain theme from the very first season's OST, which is rad. More on that in the Track 11 blurb.)

Second Coming: This is a bizarre one because, while I complained that Hayashi's BNHA tracks are usually short, this one is a full six and a half minutes--except that it falls clearly into movements of about a minute each, with clear lulls in between. I wish it was twelve minutes and everything was twice as long! As it is, I'm highly doubtful that we're going to hear this one played in its entirety anywhere, since I can't imagine what scenes would require this specific sequence of musical passages at this length. 0.00 - 1.01: I love that the song kicks in comparatively quickly; the first minute's passage has a great, thrumming drive that very nearly hits major key towards the end. 1.02 - 1.53: The drive picks up pace in the second minute before the chorus arrives, and for once, I am very prepared to love a BNHA choir piece. I hope this is what plays when Deika's going up in ash. 1.54 - 3.01: I love the melodic line being carried by the intentionally hard to distinguish violin and whatever brass instrument the violin's trading off with in the third minute. It's bit out of place with the rest of the track, but I like it quite a bit on its own, and it does have a similar sound as some of the "dirty" brass in RE-DESTRO and Mine Woman. It's probably too long for RD's childhood flashback, but I wonder if it'll play for an MLA character somewhere? 3.02 - 4.07: The fourth minute has some very fun drums, but otherwise doesn't jump out at me as much of the rest of the track. I'm very curious to know when this will play, though. 4.08 - 5.32: The fifth minute, god bless, has some proper march drums--I like this passage a lot, particularly when it come back in the sixth minute accompanied by the choir. I like this because the key is minor but it's not "oooo scaaaary" minor; it's more dramatic, a bit tragic, but triumphant too--pretty much perfect for Re-Destro, Spinner and Machia's moment of revelation in the crater. I wish it were longer. 5.33 - 6.36: And here for the end we're back to the driving guitar and some fun low-thrum strings and percussive chain sounds. Like the fourth passage, it's fun, but jumps out at me less, particularly as the song's finale.

Gigantomachia: This is an extremely boss kaiju song. Seriously, that brass in the opening could come right out of a Toho flick. Extremely good walking calamity number, love that distorted synth stuff towards the end. It's going to sound great when (if) it plays over Machia leaving the villa, the hand rising up through the floor behind Toga, Momo and the other students surveying the desolation left in his wake, and so on. (I know that's all Season Six material, shhhh. I hope they use this piece there.)

Mine Woman: This is so fun. And so extremely superior that that awful Christmas insert song! I'm glad Curious got this at least, and I love the moment the beat drops at the one-minute mark, and that interwoven sax. So good. It's hard to imagine the fight between Toga and Curious being paced to this song, mind, but it's real good, anyway.

TOGA's Nature: This one showcases the other problem I have with Hayashi's BNHA work, especially his stuff for the villains: it feels very on the nose in a way that tips over into being Too Much. The birdsong, I think, is on the nose but in an effective, playful way, with the natural beauty of the birds undercut by the lovely but ominous piano/synth melody. I am considerably less kindly disposed to the creepy child laughter, which just feels on the nose in a thuddingly obvious way--though I do like the way it slides in when the birdsong fades. I like, too, the sort of cloudy roaring reprise of the melodic line that kicks in around the 1.10 mark. It feels like an effective echo of Toga--cute but creepy as a young girl, and then, after she snaps, creepy in the same way but now you can't ignore it.

Symbol of Fear: The beginning doesn't do much for me, but I enjoy the howl that gives way to the organs at 1.15; while it's too action-heavy to be Tenko, the transition does still put me in mind of Tenko wandering the streets, internally crying for anyone to help him, and the person who finally does is--well. I like that the organ nurtures that howl into something considerably more dire, though you still get a return to that guttural cry periodically. While it is, again, difficult to imagine this scoring the scenes between AFO and Tenko's first meeting and Tenko being formally named Tomura--it's much too bombastic--it does still feel like an excellent representation of AFO sculpting Tomura's formless, aimless rage into something that really could tear down the world.

I Don't Kill My Friends: It would have been really nice if they'd let the most significant, unadulterated personal triumph of the arc sound actually fun. Why does the Sad Man's Parade song sound so upset?? @aysall predicts that it'll play over Twice's confrontation with Hawks and death scene, and I can see it working extremely well there, but it's a pretty weird call for the Dead Man's Parade bit, if that is indeed what this is intended to evoke. Quibbling about the title aside, I do like the way this pulses and throbs, something like an exposed wound, which is not a bad description of poor Jin's mentality. I still hope this isn't what scores his breakthrough, though. As I said previously, the villains are the heroes for just this one arc, and it'd be nice if the score could reflect that at least a little.

RE-DESTRO: I like this one a lot. I love the interwoven layers of that dirty sax and the Big and Dramatic orchestral strings + brass, but both of them undercut with that regular, machine beeping that could almost be a heart monitor, but mostly isn't--right up until the long beep at 1.52/1.53. It feels like a strong illustration of the titular character's different personas--his attempts at casual, friendly villainy (like menacing Giran or chatting with Shigaraki on the phone), him when he's thundering full-volume about the weight of his legacy at people (THE BLOOD OF DESTRO FLOWS THROUGH THESE VEINS I AM RE-DESTRO), and, beneath it all, the constant little thread of stress that Rikiya can never escape (right up until Shigaraki). I probably wouldn't love it so much in isolation, but I'm easy to win over with the right character association. XD

Paranormal Liberation Front: Very fun grubby guitar intro. It also has much the clearest melodic throughline, which inclines me towards it. What inclines me to it even more is the knowledge (per @aysall again) that it's the same main melody as the track Villains Theme from the very first season's OST. That track already having used its allotted Doom Choir quotient, this track makes do with less synth and a lot more orchestra and chunky bass backing, which is much to its benefit, I feel. I do wish it had any of the MLA's theme in it, to represent the merger, but admittedly, it'd be hard to make that very audible when the MLA theme has…next to no central melody, percussive rhythm, etc. Still, as an evolution of the League to something bigger, classier, and far more dangerous, it's real good--just long enough to develop into itself and explore its central leitmotif. Probably my favorite track simply on its own merits.

Thanks for the ask, anon! I'd listened to the tracks once driving around for work, but sitting down with them properly gave me a greater appreciation for them, and now I'll definitely have an ear out for them when we get to this material in the anime…

….whenever that winds up being. *sob*

[mooosicaldreamz]

Have you listened to folklore yet?? Can you do commentary on all the songs??

it’s time.

THE 1

This song has a funny vibe in comparison with “I Forgot that You Existed” - it really sets a tone of calm, quiet vibes in comparison to the more bombastic stuff on Lover. Also this song is kind of a banger. It has a very gentle rhythm, like I’m in the sun in the woods and I’m in my hammock. I have a hammock now and I’m considering moving into it. “It would’ve been fun / if you would’ve been the one.” Also I love the “I had this dream you’re doing cool shit” - so fun, so sweet. Taylor said a curse word.

CARDIGAN

This song is proof to me that this album was produced by a Dessner because it has the same repetitive piano that I would say is a hallmark of National songs - it sounds a lot like “Light Years” to me. That song is, by the way, an absolute banger. This song? Fun! It’s an interesting metaphor, and an interesting way of saying the point of the song. And I think it’s much more grounded than some more old school Taylor metaphors of like fairytale stuff. “Tried to change ending / Peter losing Wendy.”

THE LAST GREAT AMERICAN DYNASTY

As we ALL KNOW, this song is about Taylor’s wonderful little house wherein the great Fourth of July celebration took place all over Instagram in the Red era. I googled it and it’s semi-biographical! I think it’s clear that Taylor is making commentary on her life on the Cape just as much as she is telling the story of this person, Rebekah Harkness. It’s an interesting piece of self-awareness to compare herself to an oil heiress who caused quite the stir in a segment of the world that is full of big stirrers (ie the Kennedys who I’m pretty sure she was neighbors with somewhere down the beach). I’m intrigued. She is having fun.

EXILE (FEAT BON IVER)

This will sound like absurd hyperbole but between Bon Iver and Taylor Swift, I’d be hard pressed to name two artists who have fucked up my life more. Getting to hear his beautiful baritone without layers of distress like he’s been rolling with lately is a gift. Thank you to Taylor Swift. “I can see you staring, honey / like he’s just your understudy / like you’d get your knuckles bloody / for me.” VIBEZ???? ARE WE VIBING????? I AM VIBGIN!!!!!! “Those eyes add insult to injury????”” BANGER!!! IT’S A BANGER.  THAT BREAKDOWNN!!!! LET’S ROLL!!!! LET’S GET FUCKED UP!!!!!!!!!!!!!!!!!!!!! I’m PUTTING THIS ON SO MANY PLAYLISTS!!!!!!!!!!

MY TEARS RICOCHET

LET’S GET EMO !!!!!!!! You know, just recently I was discussing with Lynne (or myself? I talk to myself about Taylor a lot) about how she’s gonna go on her like farewell tour when she’s 50-60 or whatever and it’s gonna be all these low-down sexy baller mixes, like when Cyndi Lauper did her greatest hits cover release (it’s a banger!). This album is just an excuse for her to sing in her low register. God, I’d die for her. I love how sad this is. I have too many favorite lines. “I didn’t have it in myself to go with grace / ‘cause when I’d fight, you used to tell me I was brave / And if I’m dead to you why are you at the wake?” ALSO “And you can aim for my heart, go for blood / But you would still miss me in your bones.” OKAY HONEY!!!!!!! This is a clear Supercorp song. Since I know this is why you are asking. Start here for fic titles.

MIRRORBALL

Oh, okay, Taylor went to the woods and listened to Ryan Adams, Bon Iver, and just fucked around and made shoe gaze pop? What kind of talent!!!! Her last album was premium pop. Why is she like this. This song is very interesting. It’s very sweet. The phrasing on “tallest tiptoes / highest heels” oh my God. I love this song. I might cry.

SEVEN

Another absolute National-style production, God, we are living in my dream world on this album. “I’ve been meaning to tell you / I think your house is haunted / Your dad is always mad and that must be why / And I think you should come live with me / and we can be pirates.” WHAT A JOKE. WHAT A JOKE!!!!!!! What a beautiful portrait of childhood. There’s a scene in Spring Awakening (the musical, I can only assume now that Taylor is a big fan), where they talk about playing pirates when they were younger and now everything is tragic. “Are there still beautiful things?” It shouldn’t be that easy bro.

AUGUST

This, like “Seven” is an Antonoff production, which is just vibes. The dreaminess. We are vibing. As much as I am inclined to hate the line, “August slipped away like a bottle of wine” it is phrased so well and delicately that it comes across more dreamy than wine mom memey. I also just want to say that I bought the OG vinyl and the “meet me behind the mall” vinyl and after hearing the song that it comes from it’s a vibe. This is obviously a teenage romp song, which is really great because obviously Taylor wrote about being a teenager in love when she was a teenager and wrote about like, the classic world-ending Romeo and Juliet style fairytale. But this is….”meet me behind the mall.” Which is such an adult perspective on what being a teenager is. It’s so wonderful to see that artistic depth in an artist we’ve literally watched grow.

THIS IS ME TRYING

I feel like this is the depression song that should have been on Reputation but was so out of step with the rest of the album between it’s thunderous anger / thunderous oh-shit-I’m-into-this-dude that they couldn’t work it in. And it doesn’t quite vibe with Lover either…this whole song is GREAT. It’s very depression 101. It makes me cry also. “They told me all of my cages were mental / so I got wasted like all my potential / and my words shoot to kill when I’m mad / I have a lot of regrets about that.” I LOVE the way she sings “I have a lot of regrets about that.” Also “and it’s hard to be at a party / when I feel like an open wound.” Absolute banger.

ILLICIT AFFAIRS

I feel we should give this song the true banger status because Taylor wrote a song about a girl who is the other woman and it’s empathetic. God, we love progress. This song also does a good job of being about the other woman, but also has a little more universal appeal. I know when I heard this I was like, “oof, okay, I don’t miss being 16.”  The word mercurial is used in this song.

INVISIBLE STRING

Not to get too emo about it, but this song is adorable and it’s messed up that she wrote it. The idea behind it that I think must be fairly common for people who are in love, that their lives have unique crossover moments, and there’s this hope/want to believe that you were always going to end up in this place because of all those connections? That’s kind of a complex thing (imo) to express. And she WROTE IT!!!! God. If I were Joe Alwyn I would cry every day.

MAD WOMAN

The fact that Taylor would ever attempt to make me believe this is not about Scooter Braun is insane. I love this song. Proof of concept that you don’t need to yell to show how mad you are.

EPIPHANY

This song is sad. But very interesting. I don’t think I’ve ever heard her write anything like this. I think the back half of this album is a little more experimental.

BETTY

I’m not sure what I’m expected to say here. I know that this song is not actually gay. But I don’t care. It’s country twang from a boy’s perspective and you know what? We’re taking it. We are taking it for ourselves. But also, I love that she chose to write this weird “teenage love triangle” set of songs and that she chose to write none of them from like, her perspective? Right? “August” is James cheating on Betty, “Illicit Affairs” is the other woman, and this is James…when Taylor was 17 she would have written this song from Betty’s perspective. And that’s what we would have got. There’s real growth in storytelling here, and a real interest in expanding the canon of what she’s writing about. It’s really great to see an artist do that. Also the way she sings “The worst thing that I ever did / was what / I did to you.” This whole song is a masterpiece. I hate her.

PEACE

I just learned that Joe Alwyn is a Pisces. I am A PISCES. TAYLOR!!!! WE COULD BE TOGETHER.

I love the “I talk shit with my friends / It’s like I’m wasting your honor.” This song is so adult. She’s in like. Real love bro. BRO. I AM HAPPY FOR HER. BRO!!!!!!

HOAX

I am interested in why this is the last song on the non-deluxe version of the album. I don’t have a lot to say about this but that it reminds me of Wuthering Heights. Also if you wanted to get emo this is probably a good SC song.

[imissthembutitwasntadisaster]

For the Speak Now/Lover ask game: I haven’t read your TSwift/Lunar Chronicles post yet cause I still need to do mine and I want to see how they align serendipitously but Lunar Chronicles; Star Wars if you want; and which one is Beatrice and Romeo? :D

Ok so Lunar Chronicles

Scarlet and Wolf are Speak Now.  There’s that constant difficulty to their relationship, he might accidentally turn on her and her friends and try to kill her, you know, kinda puts a damper on them.  Also Haunted.  Also “you made a rebel of a careless man’s careful daughter.”  Also “you’re the kind of reckless that should send me running.”  Also “ I guess you really did it this time, left yourself in your warpath, lost your balance on a tightrope, lost your mind tryin' to get it back.”

Whereas, I am barely into Winter, so I don’t know, but if Cress and Thorne end up together they are definitely Lover.  Even when they’re not together, there is this joy in them which is very much in Lover.  I know I keep going on about it being a mature album, but it is also definitely the most joyful and glorious of albums as well! 

Alternatively, I barely know Winter and Jacin, but Winter’s personality has led me to think they might be a bit of Lover as well.

(Cress and Thorne also have a lot of Fearless in them, and Cinder and Kai are Reputation, no question). 

Star Wars:

I am very not on top of things in the Star Wars universe, I’ve only seen some of the films and the Mandalorian.  However, I shall try. 

Han and Leia are Lover, because I know they’re enemies to lover, but Han was always kind of interested? And their romance moved quite quickly in just one film? And “the wine was cold like the shoulder that I gave you in the street, cat and mouse for a month or two or three?” “back when we were card sharks, playing games?” I refuse to accept the new canon that they seperated.  That didn’t happen. 

Padme and Anakin are Speak Now because it’s about endings more than it’s about beginnings or middles, isn’t it? And it’s about personal flaws tearing apart relationships.  Most of the songs on that album are ones of loss, but that doesn’t mean there wasn’t anything good in it. 

(Reylo is Evermore). 

I’m so excited you asked about Beatrice and Romeo!!! Um, this is hard.  Honestly a part of me says just, Reputation.  Neither Lover nor Speak Now, Rep.  Because of the downsizing, because it starts these two people who aren’t really people, they’re more like images, this is emphasised in the different names and identities given in Ready For It, none of which are real, and then it goes all the way to New Year’s Day, which is about people.  And Bea and Romeo, Beatrice is defensive and spikey and full of humour and it keeps her safe, and Romeo is big and bombastic and throws himself into things so much that he can lose his own identity in doing so.  But at the end (hopefully), they’ll be picking up bottles with each other on New Year’s Day. 

However, I said Lover or Speak Now, so if I have to pick one, I’d say Speak Now.  There are a lot of complications and flaws and problems and changes that have to take place.  They are neither of them the maturity or the unbridled joy of Lover. 

Send me a work of fiction with two couples and I'll tell you which is the Lover couple and which is the Speak Now couple!  

[disneyat34]

Dumbo at 34

A review by Adam D. Jaspering

We remember things as we want to remember them. Memories distort perception and perception distorts reality. Childhood is especially remembered well. If not the entire childhood, elements. People romanticize memories from the feelings they evoke, and discard the reality. 

The circus is a prime example. The circus was once a staple of American pleasure. It brought entertainment, excitement, and exotic animals to small towns across the US. In days before the internet, before TV, and before movies were mainstream, it was a necessity. 

People remember the old-timey charm, the whimsical environments and otherworldly aura. Nobody wants to remember the adverse working conditions, the high rate of injury, or the gross abuse of animals. Nobody remembers the smell of port-a-potties or the heaps of animal manure. People remember the calliopes and cotton candy. 

It’s quite appropriate Dumbo takes place at a circus. Everybody remembers the movie fondly, but nobody seems to acknowledge its flaws. It’s heralded uncontested as a Disney masterpiece despite a number of problematic issues.

For starters, the film is only 64 minutes in length. This includes the opening credits. From a logistical standpoint, one can understand the purpose. Disney Studios took a financial hit from Pinocchio and Fantasia. They needed something not only profitable, but cheap. The same way that a three-wheeled car saves money on tires.

The story of Dumbo is one of growth and confidence when faced with adversity and doubt. However, the plot is about a young elephant finding an act in a circus. Dumbo tries, and he fails. He tries again, he fails again. Finally, he tries and he succeeds. An entire plot thread seems missing from the film. Dumbo learning to fly (both literally and figuratively) should support a larger narrative.

There are no stakes for Dumbo. His failures don’t affect the circus’s income or popularity. Dumbo is ostracized, but still cared for as well as any other animal in the show. He is ridiculed, but still performs every night. 

The movie ends before any growth or change is displayed by the secondary characters. Everybody likes Dumbo once he can fly, but do they like him, or do they like his profitability and popularity? If a lion with an extra long tail is born, will he be mocked until he earns respect too?

Everybody in the circus feels comfortable calling him “Dumbo” at the movie’s end. Canonically, his official name is Jumbo Jr, named so by his mother. Everybody calls him Dumbo, a deliberate insult. The name sticks, even for the viewing audience. Either Dumbo begrudgingly accepts this epithet, or reclaims it. Either way, at least his mother should refuse it.

Dumbo’s mother is Mrs Jumbo, a pariah and outcast among the other circus elephants. What causes this exclusion is never explained or hinted at. The other elephants are just jerks. She has no friends, no confidantes, and is apparently widowed; there is never a mention or allusion of a Mr Jumbo. She has nobody in her life. This is presumably why she is so desperate to become a mother at the movie’s inception.

The film begins with a muster of storks delivering babies to various circus animals. It’s a cartoon staple and a very convenient workaround, explaining the miracle of a baby without the depiction of childbirth or implications of procreation. It also justifies how Dumbo is born despite there being no male elephants anywhere in the circus.

For whatever reason, these storks all deliver their parcels on the same night. All except for Mrs Jumbo’s coveted baby elephant. Baby Dumbo is delivered the following day. After seeing everyone else enjoying their children. After her hopes are dashed. There’s no explanation why the stork arrives late, well after the circus is dismantled and loaded aboard a train. Dumbo is delivered a day late for the sake of drama.

The train itself is almost a character itself. It has a name: Casey Jr. It has a face. It emotes. It speaks. But can he be rightfully called a character? Casey Jr doesn’t interact with other characters. He has no goals or desires besides acting and moving like an ordinary train. It’s an odd design choice, leaving Casey Jr halfway between being a robot and the pathetic fallacy.

Casey Jr is an interpretation of the famed children’s story, The Little Engine That Could. Casey Jr even uses the famous line, “I think I can, I think I can” as he climbs a hill. The story’s most famous interpretation was a 1930s picture book by Watty Piper (a name one could only have in the 1930s). The character and story itself belongs to the public domain. 

It wouldn’t surprise me if somebody at Disney Studios tried and failed to make an animated short based on the story. As consolation, they retrofitted the character for a bit part in an unrelated, developing film. The cumbersomely named 'Little Engine That Could' was renamed ‘Casey Jr,’ and a new character is added to Dumbo's universe. A character Dumbo never meets or interacts with, and has no bearing on the plot. If nothing else, he adds five minutes to Dumbo’s anemic runtime.

Design is one of Dumbo’s weakest points. Human characters are hyper-stylized caricatures of actual people. Perhaps intentionally, so we empathize more with the comparatively realistic animals. But the animators went too far. The Ringmaster is so rotund, he seems inflated. The clowns have bizarre proportions which are somehow reigned in by their baggy costumes and floppy shoes. The rowdy child who assaults Dumbo looks more like a chimpanzee than a boy. 

The character of Timothy Q Mouse is perplexing. Is he employed by the circus, or just a circus enthusiast who hangs around the fairgrounds after hours? What would a circus gain from hiring a mouse? Why does he dress like a bandleader? Does this imply an unseen mouse marching band? He never displays any musical ability. He’s there because the movie needs him to be there.

Being Dumbo’s sole friend is Timothy’s secondary purpose. His primary purpose is to outwardly verbalize the thoughts and emotions of Dumbo. Our protagonist is mute throughout the film and most characters avoid talking to Dumbo directly. Without Timothy, Dumbo would stare at camera sadly for the movie’s run.

The circus folk themselves are weird, and not just their physical attributes. The Ringmaster is a bombastic Italian man who, as Timothy describes, “never had an idea in his life.” He seems genuine, eager to entertain his audience with an entertaining and original show. His real malice is never workshopping ideas. He will not hesitate to endanger the lives of his employees or animals on his fanciful whims. 

Can six full-grown elephants balance on a rubber ball? Who knows. Let’s put it in the show. Is it safe to have a baby elephant drop twenty feet into a washtub full of shaving cream? We’ll find out. Is it a good idea to start a fire underneath a canvas tent for the sake of a firefighter sketch? The audience likes it, so who cares? Go stand next to the fire, clowns.

There’s an old adage about doing anything for a laugh, but the clowns from Dumbo take it to a sociopathic extreme. The clowns develop an entire act around humiliating Dumbo. When the skit is a success, they drunkenly decide to put Dumbo in more humiliating situations and more precarious stunts.

It’s implied the clowns are the low men in the circus’s caste; those who cannot perform elsewhere are subjected to the humiliation of clowndom. Does the scorn beget the malice, or did the malice beget the scorn? 

Perhaps this is why the clowns are never shown as actual humans. Throughout the movie, they either appear in their grotesque, make-up clad personas, or in various states of undress as silhouettes inside a circus tent. At all times, they are either 100% clown or some spectral figure. They are never seen as human, because there is certainly no humanity to them.

However, the most questionable employees are the laborers. The laborers are not entertainers; they have no face time with any circus patrons. And yet, they are the most important employees of the circus. They are responsible for unloading the train and erecting the many circus structures. 

These laborers, tasked with the most arduous and backbreaking of work, are all large black men. As a stylistic choice, they are all depicted faceless. Not even worthy of dignity, they are robbed of any identity and distinguishing characteristics beyond skin color. 

To cushion our objections, the laborers sing about how much they like the work. The song is no comfort. They sing about being illiterate. They sing about being underpaid, and routinely subject to wage theft. They sing about how its their very nature to be irresponsible with money. They literally use the word “slave,” and “ape” to describe their circumstances. Thank you, 1940s.

The only other black characters are a murder of crows introduced in act three. These crows must be less racist in depiction and demeanor than the laborers, right? They couldn't possibly be worse, right? Then one learns the leader of the avian posse was named “Jim Crow” on all Disney material until the 1960s. 

The entire Civil Rights Movement needed to happen, but somebody eventually realized a children’s cartoon character named after the most provocative blackface character in history, the namesake of the American laws that enforced segregation, was a bad idea. It didn’t help Jim was voiced by a white actor. Cliff Edwards voiced Jim Crow (later renamed Dandy Crow), the same actor also voiced Jiminy Cricket in Pinocchio. Jiminy Cricket has appeared regularly as a beloved figure in Disney merchandise and material. Dandy Crow has not.

To Disney’s credit, the other crows were voiced by actual black actors. Although, one has to wonder if the AAVE was written into the screenplay, or if the director asked the actors to create it on the spot. There’s no good answer.

The crows’ musical number was performed by the all-black Hall Johnson Choir (with the exception of Edwards’s vocals). Their number, When I See an Elephant Fly, is one of the better pieces of music in the Disney catalog. It's full of jazz scatting and clever wordplay. It’s a shame its existence is marred by its racially charged source.

How an oversized pair of ears grants the ability to fly is not important. It’s a cartoon. The ears are a means to an end: the physical feature that made Dumbo a laughingstock also granted him a most unique ability. Differences make us strong. It’s a good moral (even if the film is hypocritical).

The depiction of the moral’s resolution, however, raises eyebrows. Upon discovering he has the ability to fly, Dumbo seizes the opportunity to take revenge on those who wronged him. He circles around the big top, swooping at the ringmaster, scaring the clowns, shooting peanuts at the other elephants like bullets from a machine gun. ‘Make your enemies pay,’ is the takeaway. Suffer all, enemies of Dumbo.

Some may argue Dumbo’s character arc is not redemption for himself, but for his mother. Mrs Jumbo spanks a young boy who assaults her infant son. The circus folk misinterpret this act as a rampage. She’s is subsequently shackled and imprisoned for the forseeable future. 

Even after being deemed hazardous and mad, Mrs Jumbo is never sent away. There is no indication of punishment beyond isolation (why the circus keeps a dangerous rampaging elephant on circus grounds is a creative liberty). The true punishment is being separated from her son.

The movie ends with Dumbo as the star of the show. Everyone sings his praises, he has his own personal train car, and Mrs Jumbo is freed. The question is, why is Mrs Jumbo freed? Just because Dumbo is beloved, why is Mrs Jumbo’s perception as a threat forgotten? Why is she forgiven because her son is popular? Dumbo cannot speak, how can he serve as a character witness? Why does Dumbo's achievement redeem his mother's actions? The writers delivered a happy ending by solving a problem that was never actually solved.

Dumbo is a film full of illogical scenes and developments. It's grandfathered into the cultural pantheon despite outdated imagery and storytelling. It has good intentions, utilizing themes of overcoming adversity, the endurance of familial love, and appreciating each other's differences. But these good intentions are drowned in too many narrative shortcuts and a sloppy execution. It’s a pleasant movie the less you remember, and most people’s memories are hazy. What’s more appropriate from a film whose most famous scene is a surreal drunken musical hallucination?

Fantasia Snow White and the Seven Dwarfs Pinocchio Dumbo

[bubblesandgutz]

Every Record I Own - Day 768: Lungfish Rainbows From Atoms

I tend to view Lungfish as having three stages in their discography (well, four if you count their debut Necklace of Heads, which always felt like an outlier in their catalog). The first stage encompasses the albums with John Chriest on bass---Talking Songs For Walking, Rainbows From Atoms, and Pass & Stow. This era of the band still bears a strong sonic connection to the DC post-hardcore sound, even though Lungfish toyed with the template from the get-go. But in this first era, they hadn't quite ascended to the strange and mystic power that became synonymous with the band.

But hints of that hypnotic, mantra-like power are already apparent on their third album, Rainbows From Atoms. First off, I'm a sucker for any album that opens with a one-or-two chord rocker like "Instrument" (see also: Constantines Tournament of Hearts, Rocket From The Crypt Scream Dracula Scream, Helms Alee Keep This Be the Way, etc), and the band's decision to kick off the record with a driving, minimalist anthem with cryptic riddle-laden lyrics would likely have been equal parts perplexing and invigorating if I'd initially picked up this record in 1993.

As I mentioned earlier, I was late to the Lungfish game, and taking in their entire discography over the course of months rather than years meant that some of the magic of watching the gradual development of the band was lost on me. But there's the latecomer advantage of taking in their output as a whole, as opposed to weighing each new release against their earlier works. Perhaps this is why Lungfish got less and less attention over the course of their active years while seemingly increasing in popularity after they slipped into an indefinite hiatus. In real time, their evolution was gradual, and it's reasonable to assume that feisty, angsty teenagers in the '90s got their fill of Lungfish's esoteric drone-rock after one or two records. But for folks like me, coming into a whole catalog of this stuff after the fact rendered their degree of tinkering with the formula moot. I could take in the trajectory of the band in one fell swoop instead of patiently waiting a decade-and-a-half to see where the road led.

And for me, Rainbows From Atoms is a snapshot of a band from the Dischord world taking further steps away from the post-hardcore trappings of the era. "Mother Made Me" shows the band exploring the druggy, hypnotic territories that would later be at the forefront of their sound. The song also captures a developing approach of their guitarist Asa Osborne, who would gradually eschew the big roaring power chords and palm-muted chugs heard elsewhere on the album in favor of arpeggiated chords, a style that reminds me of the Southern gothic-era of early R.E.M., as heard on albums like Fables of the Reconstruction.

You can also hear echoes of Annapolis neighbors Moss Icon on the cryptic spoken word ballad "Creation Story." And you can pick up on the influence of Fugazi's rhythm section savvy on songs like "Fresh Air Cure" and "Axiomatic." But the album highlights are ultimately the songs that sound like a band in the throes of self-discovery---tracks like "Abraham Lincoln" and "Seek Sound Shelter" where Lungfish lean into their singular magic-eye impulses.

In my experiences, Rainbows From Atoms isn't one of the more lauded albums in the Lungfish canon, likely because it straddles the line between their more bombastic origins and more meditative future. But the band were in a constant state of reevaluation and refinement, and taken in as a whole, Rainbows From Atoms remains and invigorating document of a band in a volatile state of creative calibration.

[some-cookie-crumbz]

Some Huwumi AUs!!!

Putting them under a 'Read More'. May have to write some of these!

Grease AU: This happened solely because my iPod shuffled to the soundtrack the other night and I was feeling the Huwumi in the air. It could really work, though! Fuyumi as the sweet and compassionate Sandra D, and Hawks as the "bad boy" T-Bird with a heart of gold Danny? It'd be such a good fit. A fun time, though I'd have to make some changes from the source material both for modernization and if I want there to still be Quirks or not.

Footloose AU: I've only seen Footloose one time in my life as a production by the high school I eventually attended when I was in grade school. The whole plot is absolute nonsense and kind of goofy, but it could be a lot of fun! Hawks seems like the type who would thrive in a bombastic settling like that, peacocking around to woo the girl. Plus, Enji putting a ban on dancing/ music because he blames it for Touya's death? Feels like an in-character approach for the man if he cared more about his family.

Anastasia AU: Another one that could be a good fit for these two, either running with the main premise from the Bluth film or with changes made to fall a little more in line with canon! For example, if wanting to run with a world here Quirks and Pros are still a thing, the inciting event could be the downfall of classic Hero society under the weight of Villains. Endeavor and maybe Rei??? are killed in the downfall and Fuyumi, in helping her brothers escape, ends up taking a nasty blow to the head and developing amnesia. Many years later, and following a few rather sizable victories by the new wave of Heroes, a plea is issued by upcoming Hero Todoroki Shouto; help him find his older sister, and be repaid most handsomely. Hawks, a double-agent who has been leaking information to the Heroic rebels, quite literally stumbles upon her hidden in a room in the villains base of operations. This leads to a slew of issues regarding his relationship with certain members of the League, as well as a debate on helping the daughter of a man he still admires.

Parental!Fuyumi AU: This is a bit of a weird one, but I think it could be interesting. The premise is that Fuyumi is the first born, and there is a huge gap between when she is born and when her brothers are born. My thought is that there are 11-12 years between she and Touya, with a 3-4 year gap between the boys following that. After the incident with Shouto and Rei, Fuyumi - around 20-21 years old - moves back in at home to take over raising her brothers. While she struggles to complete college/ adjust to her work place, tend the home, and raise her brothers, she also has to deal with the Winged Hero, Hawks, frequently dropping in unannounced and adding even more chaos to her already hectic life.

Soulmate AU: In which everyone has an important phrase their soulmate will say to them written somewhere on their body, in their soulmate’s handwriting. For Todoroki Fuyumi, the mocking words “Ah, so you are Daddy’s Little Princess!” etched along her collarbone have always felt like a heavy weight to bear, reminding her that the world isn’t always kind and some shadows are too immense to step away from. Takami Keigo had lived his life without knowing about the words “Being superficially charming isn’t worth much out of the camera’s lens, you know,” between his shoulder blades, just above his wings. After all, the Hero Commission has bigger plans for him than chasing down a soulmate. A canon compliant fic in which Todoroki Fuyumi and Takami Keigo have multiple messy meetings and find that a soulmate isn’t always the person you want, but rather the person that you need.

Demon Hunter/ Body Guard AU: All Heroes are Demon Slayers in this AU. Endeavor is known as one of the best of the best, a long list of victories and successful slays under his belt, if not a bit abrasive and callous. Due to his high success rate, his family is a target for all demon kind; specifically, his only daughter, Fuyumi, who has no proper training regarding fending off demons and lives miles away from the Slayers stronghold city. Enter Takami Keigo, alias of Hawks, a highly-praised Slayer with a track record that rivals the senior operative. After an attack in the town Fuyumi lives in, Hawks is sent to play bodyguard and escort her to the safety of the Slayers main base.

Matchmaker AU: Takami Keigo is a world renowned advice columnist/ talk show host who specializes in relationships. He is particularly praised for his ability to salvage any relationship and kickstart any romance. His skills are called into question, however, when he meets Todoroki Fuyumi, the enigmatic daughter of his executive producer who doesn't immediately fall for his charms. When this begins to have a negative impact on his ability to do his job, it becomes a matter of principle; solve the riddle of Todoroki Fuyumi and get his mojo back.

Random Soundtrack AU: I can think of no better way to refer to this one. It has no real plot or anything to it, mostly just a bunch of scenes and ideas in my head brought up by certain songs on my iPod. Mostly just your stereotypical, goofy little story about two dweebs falling in love. There’d still be Quirks in this AU but probably no Heros and most of the drama would just come from the interpersonal relationships. And the Todoroki Brothers collectively going feral over their precious sister dating Hawks.

Neighbors AU: No Quirk AU in which Todoroki Fuyumi is a college student with way too much stress between school and some salacious family drama. Her life is even more compounded when Takami Keigo, an obnoxious and rowdy young man, takes the apartment right next door. And to make matters even worse? Turns out that he’s a friend of her older brother - who she hasn’t spoken to in nearly three years - and likes shoving his nose into other people’s business.

Former Child Actor AU: Years ago, Todoroki Fuyumi was a household name in Japan, adored for her starring role in a popular sitcom between the ages of six and fifteen. Upon the series completing, she was slated to begin working on a new series with up and coming teen heartthrob Takami Keigo. However, after an undisclosed incident occurred on the first date of filming, the young woman seemed to disappear into the obscurity. But Takami Keigo was there, that day, and the event has never really left him. Years later and at the peek of his career, he decides to start doing some digging to see if he can relocate his near co-star and find out where it all went wrong. But when someone disappears for almost eight years, there may be a reason. And they may not be so eager to be found.

Fake Dating/ Sugar Momma AU: Todoroki Fuyumi is the daughter and personal assistant of her father, Todoroki Enji, and one of the key players overseeing the continued success of Endeavor Electronics. She takes pride in her work and personal life balance and that, specifically, her father only has control on so much of the latter. But when he begins to talk about marrying her off to one of a selection of bachelors, she fabricates a story about a boyfriend to get him off her back. When this backfires to his insistence she bring the man around, she’d forced to hire on Takami Keigo, a law school dropout and male escort, to play the part. The only problem? Keigo is a bit of a wild card himself and only works to further complicate the situation. Might include some 18+ content in this AU if I write it; don’t know yet.

Reaper AU: Takami Keigo is your typical Reaper, collecting the souls of those that have run out of time, and assuring that those with short time frames left make the most of their remaining time. He is, however, also given some of the more complex cases his superiors occasionally run into. Enter the case of one Todoroki Fuyumi; a healthy young woman whose soul was traded by her father to save his own. Now with only a year to live, Keigo is charged with making sure that time is as fulfilling for her as possible. He's pretty sure that falling for her wasn't recommended in the case notes, though.