#I've been rewatching the producers on repeat as I've been drawing

[blushblushbear]

Different anon, but I am having the time of my life with your live blogging, I'm very invested.

thank you anon TTMTT

I do feel like I'm being a bit mean but IDK MAN

I'm a very opinionated musical theater person and while you could easily convince me my opinions are mean, you usually can't convince me that they also correct so

IDK MAN I HAVE A LOT OF FEELINGS ABOUT MUSICAL THEATER OKAY

also I'm only doing act 1 tonight and then tomorrow I'll do the rest

WHICH I JUST FOUND OUT THERE'S MORE AND ALSO APPARENTLY THE NEXT BIT IS GETTING RELEASED LITERALLY TOMORROW

so I accidentally picked the perfect time to do this but also haha end me it'll never stop

but no, legit thank you I have been sitting here this whole time writing this stuff thinking like 'WOW NO BODY CARES, STOP CLOGGING UP THE BLUSH BLUSH BLOG' but at least one person cares XD

so thank you anon, you've encouraged me to continue (you absolute monster)

[total-drama-brainrot]

i come humbly requesting the post about chris’ descent you teased in an ask

Of course! I'll start by outlining how Chris' behaviour changed over the course of the series.

Chris starts off the first season of Total Drama as a huge dickhead, but not an outright morally bereft one.

He doesn't have the same familiarity with the gen 1 cast as he does in later seasons, but he's friendly enough with them - as friendly as you'd expect a television host and de facto caregiver to be to a group of twenty two teenagers. Sure, he's a bit of an arse at times, but it's very rare that he puts any of them in direct, life threatening danger. Most of the first season's challenges aren't outright lethal, in fact many of them are just regular camp activities taken to their logical extreme.

The main outliers here are the two torture-based challenges, and even then most of the mini challenges within are bearable if incredibly uncomfortable and painful - none of them are outright fatal. Plus, it can be argued that Chris himself doesn't have a lot of agency or input on the challenges themselves; he's there to host the show, nothing more and nothing less. At least, in the first season, there isn't any indication that Chris himself has control over the challenges (save for when Chef takes over for an episode, but his challenges are a lot simpler in design and execution than anything Chris hosts, so it can be assumed that was a last minute change.)

Now, it's been a while since I've rewatched Island, but I'm fairly sure Chris doesn't ever show the same amount of glee in the contestant's suffering as he does in later seasons. He's sometimes amused, sure, but there's very little in terms of outright vindication. More often than not, he's just trying to host the show.

Take Island's Chris and World Tour's Chris and contrast their attitudes against each other; time, it seems, developed an almost malicious streak within Chris. He even goes so far as to take his competitor's suffering into his own hands, at his own whims, using the excuse of entertainment value. (Dropping them out of the jet repeatedly at his fancy, deciding to choose the most dangerous moments to have them sing, ect ect.)

And then we get to RotI, where Chris is almost consistantly taking a great deal of joy in exposing the new cast to the horrors of nuclear waste and chemical hazards. His blasé attitude towards their mortality in the cave episode speaks for itself, and the fact that he gives a grand total of 0 shits about Dakota's mutation is the icing on top. By the time this season came around, any semblence of care for others within Chris was diminished.

The question therein is why?

The most obvious answer here is that the repeated threat to his contestant's lives became so normalised, so mundane to him that he simply stopped caring. Or seeing it as something wrong, or anything more than a ratings tool. None of them have actually died yet, so why not continually up the ante? Raise the stakes? Add more thrill to the show he's hosting - that's bound to draw in a bigger audience!

Which is how you end up with situations like Alejandro's and Scott's, where a contestant is injured enough to warrent use of machine-assisted healing and trauma chairs. Two situations that Chris himself is directly involved in, and doesn't seem to care about in the slightest.

Because showbusiness as a whole has a tendancy to reduce the people within it into objects of entertainment. There's a lot of dehumanisation in the world of TV - even reality TV, where people oftentimes play up aspects of themselves to become characters instead of people.

Throughout the show, Chris often talks about things like ratings, or the producers, or other business-focused aspects of entertainment. In his eyes, the teens under his dubious care gradually became little more than pawns in the game of Good Televivion. They stopped being kids and started being ratings jewels - puppets for him to manipulate and torture for his own and an international audience's amusement.

Perhaps there was some pressure from the producers themselves to be crueller to the contestants, to draw in a bigger audience or maybe just to add a sense of thrill and urgency to the challenges. After all, there's a reason shows like I'm a Celebrity are so popular, and it's because the people competing in them are having a decidedly bad time.

So, in his mind, making the contestants go through cruel and unusual punishments and challenges is justifyable because the show itself has benefits from it. He doesn't consider (or, perhaps, just doesn't care about) the harm he causes.

Then here it could be argued that his callousness and the detatched, joking attutide he has towards the suffering of these kids is actually just a super unhealthy coping mechanism Chris uses to get through the horrors of his job. That is to say, Chris is just as contractually obligated to host the show as the contestants are to compete in it, and he knows that they're gonna suffer regardless of his input, so being a Good Host and at least making their pain marketable/entertaining will at least garuntee him a bigger paycheck.

Or maybe he was always predisposed to be sadistic, and his relative niceness in the first season was just him testing the waters of how cruel his TV persona could be.

All I can say as a fact is this; Chris' actions and inactions become far more grevious as the series continues. He blows up a volcano on purpose. He sinks a whole island on purpose.

(He, and the series as a whole, drops any pretense of semi-realism to explore cartoonishly whacky and outlandish themes. Because it's a kid's show, at the end of the day. I'm overanalysing how a children's TV show leaned into the freedom of a fictional cartoon world.)

Saying that, he seems to have taken a step back in the theatrical and outlandish nature of his cruelty for the reboot. Maybe the decade away from Total Drama mellowed him out, or maybe the show just does't have the budget to accomodate for his more ambitious stunts. Who knows?

[felikatze]

Just wanted to say thank you so much for all the brainworms you have been giving me and my friends for the past few hours about Ayin and all the analyses you've been doing about him.

I have been losing my mind in the middle of the night thinking about all the things you've said, turning it over like crazy and trying to compare it with the gameplay I've had of Lobotomy Corporation and Library of Ruina.

Please do more analysis and share more of your ideas! Please? Please, with cherry on top? Please, I beg of you?

Especially if you have in-depth ideas of analyses for the Sephirah and how it relates to both their own characters and Ayin and Angela.

I thank you greatly in advance!

the implication that i've infected an entire friend group with my brainworms is power that will 100% go to my head i feel amazing. what else is analysis posting except trying to inflict people with the same thoughts bouncing around your skull on repeat

i DO have shit on the sephirah but mostly netzach, because i love netzach, and i in fact found my discord ramble about him (and chesed)

i dont have things on how they relate to A and Angela specifically because I mainly kept thinking abt Reverbaration Ensemble parallels... i have so many thoughs abt Netzach and Bremen.

(but if you want me to talk about, say, a specific core supression, or floor realization... i have a lot of thoughts on floor realizations.)

First off I am so sorry that you seem to think I'm smart because that means i have the perfect opportunity to inflict you with this

okay now we can get to the serious stuff

[transcript:

containment breach:

quick ramble abt lor again but i love the ensemble receptions so much. i'm at chesed's rn, and i know he's been chill the entire game, but him just refusing to comment on jae-hoon's tragedy seems, out of context, a dick move, but also is so important for chesed to do? he recognizes that another's suffering is not related to him, that he can't do anything about it, and that this is fine. The closest i'd describe chesed in lobcorp would be "activist burnout." Due to betraying the lab from garion's pressure, chesed was so consumed by guilt, he just blamed himself for everything and became more callous because it's already his fault, right? There's nothing he can do. But in lor, he knows what his responsibilities are, and allows himself joy where he can find it. I love the ensemble receptions bcuz they are just examplary of each patron libriarian's growth and i iqbfjc (sobs)

GOD this sure is a paragraph

also have to salute netzach for carrying his scene all by himself as the musicians of bremen just (animal noises) :pray:

ykno being online i realize that i'm not quiet at all i am a complete and utter chatterbox /end]

[transcript:

containment breach:

thinking abt netzach's scene where he doesn't talk to bremen, because he can't, but recognizes this who has not only lost themself in their own art but also their own suffering

i just i love netzach so much his entire character arc is abt learning to live with depression and learning to want to live again

so he becomes unable to understand, really, why someone would sacrifice themselves for their own art

when he started out just, similar yet different from bremen, completely submerged in his own misery

musicians of bremen reminds me i still have bremen bon bons at home i should eat those. they r tasty /end]

i wanna specifically dig into this scene more because i love that scene, a lot.

Art as we get to know it in the City is irrevocably tied to violence. Puppets are made of human bodies, music is played on bones and sinews. To the artists of the City, to create art is to make someone suffer. Rewatching Netzach's story bits, Roland describes it as doing nothing but seeking stimulation and being provocative.

Furthermore, there is a direct comparison between art and alcohol. To paraphrase more, the Pianist must've been one hell of a stimulant, like getting hit by a strong booze. A performance some are still hungover from.

Netzach's main struggle was addiction because of depression, and his growing appreciation for art is a continuation of that arc. He says himself that art and alcohol are linked.

However, alcohol is a step down from hard drugs. Netzach hasn't quit, but just that step down shows he learned moderation, which makes me very proud of him.

Moderation is what the other.. let's just call them artists, lack. I said in the screencaps above, initially, Netzach was lost in his own suffering, and the musicians of bremen are lost in their art. And if art is seen as equal to suffering, that just means Netzach and Bremen are more similar than expected. (Especially considering what we see of the musicians previously; they’re always trying to chase the same high they experienced listening to the Pianist by any means necessary. The addiction parallels are not suprising.)

I rewatched most of Netzach's lor scenes, and what rlly gets me is that in his first one, he seems almost the exact same as in lobcorp. He doesn't want to work, he got dragged into this against his will, he feels as if his accomplishments are futile.

But! He eventually invites Roland for drinks. He's not drinking to forget alone anymore, he's doing it as social activity. Furthermore, the more time he spends as Patron Librarian of Arts, the more he grows to appreciate art. Art is tied to suffering, still, but it is an expression of suffering. It does not produce any. Or should not, in any case. He sure wishes it wouldn’t.

So we arrive at his Ensemble Reception. This one makes a rather interesting comparison: art as the pursuit of the light. Let me elaborate.

To quote, “Honestly, I wanna tell people to stop doing the kind of art that requires ‘em to immolate themselves and others. Although, on the other hand... I can kinda see where they’re coming from. Art narrows your vision, after all.

You stop caring about the things around you. That’s how most artists seem to act, I think. And so, you indulge in the craft, not realizing that you’re throwing yourself and your surroundings into the fire you started.”

I pose this: Netzach speaks of his experience as Giovanni. Giovanni was a researcher who, when push came to shove, willingly sacrificed himself to advance the project, in hopes of seeing the light, seeing Carmen, again.

Though he dislikes Bremen’s actions, he does not judge them for it, because he recognized that it would be hypocritical. Even so, what shows that he’s grown is that he.. doesn’t want to see people harm themselves anymore. The focus here isn’t if Bremen hurt other people, which they have, but how much of themselves they’ve given up for their performance. He condemns the act, and not the people.

“If I can see that light once more... If I have to muster up the courage to reach it, I’ll gladly do it. It’s easier said than done, though; you need a lot of fearlessness for it.

And I guess you saw the same kind of light I was so desperate to see, yeah? Even if yours was a twisted creature... [...] Though, I don’t think I can tell you off like the others. At least I can see the reason behind it.”

He even explicitly mentions the light. The funny thing is, both Giovanni and Bremen tried to reach the Seed of Light, and Carmen. It’s tragically hilarious that we know Carmen is the voice the Distortions hear.

Hell, the more I think about it, the more you can just compare the Ensemble as a whole to the Outskirts Lab crew, down to Angelica’s puppet body and Carmen’s desecrated corpse.

“And I know pretty well that we have no right to devilishly pick apart each other’s way of art. I’m not very proud of mine, really...”

Netzach just.. gets it. I can’t remember atm, but I don’t think the other Patron Librarians really draw parallels like that. I’m seeing all the parallels now and I can’t unsee them ever. Bro.

His “art,” his way of protecting the light, is still violent. But he sees that perhaps it didn’t have to be, or rather shouldn’t be. I fucking love Netzach so much. His arc just means a lot to me personally, and I’d wager a lot of people who’ve struggled with mental illness would agree.

I’m not gonna get into Netzach’s floor realization here because this post is already long enough, but like, look at the specific flashback of Angela shown in Netzach’s story bits and contrast it to his arc of learning to want to live, and. Yeah.