#MUSIC MATTERS! MAKE ME FEEL THE EMOTION MY CHARACTER IS SUPPOSED TO BE FEELING

[northwest-cryptid]

I totally realize there's someone out there who is going to be like "ugh you don't get it fucking weeb" but the soundtrack to Baldur's Gate 3 is so bland and generic and bad in my opinion. The tense moments don't feel tense, the hopeful moments don't have that sting of hope. They're just [Generic High Fantasy Battle Music.Wav] and I kinda hate it.

Like when my partner and I seamlessly worked together fighting literally back to back against a whole camp of goblins horribly outnumbered and using our wits and teamwork to come out victorious I don't want some generic high fantasy background music I want my dramatic EMOTIONAL music with the string instruments and horns section coming in with bright triumphant chords to signify that our heroes are pressing an advantage but uh-oh another wave of stronger goblins showed up and what's this? The music has now shifted to dark dramatic tones with organs and vocal choirs signifying our struggle has turned drastic, now you know our heroes have their backs to the wall, surrounded on all sides and will need to fight tooth and nail to come out in one piece. Only to have that same motif from earlier usher in a hopeful and climactic finale where the whole thing comes together to really sell the impact of this life or death situat-

What do you mean "they're just goblins calm down"? Isn't this supposed to be immersive? Isn't my character's life supposed to be on the line? We're outnumbered 4:1! They have us backed into a corner! Yea I know they only have like 8 HP a piece but- Well no you wouldn't know that if it was real would you? IS THIS SUPPOSED TO BE IMMERSIVE OR NOT? PUT THE RULESBOOK DOWN THIS INSTANT! OH FUCK THIS I'M MUTING THE GAME OST AND PUTTING ON MY OWN.

[violet-moonstone]

once more defending my love, book!elphaba thropp

reading reviews of wicked and im seeing people say they hate book elphaba because she's "unlikable"

so many people love the feel good vibes of the musical while not seeing that they sound exactly like people who would have shunned elphaba at shiz for not being pleasant enough and making them feel unsettled instead of putting them at ease

I'm saying this because I find that people are often much more charitable towards fictional characters than real people -- and people IRL who have Elphaba's severe, unwavering personality and unwillingness to conform often face the same social stigma she did, no green skin required. Like yes, Elphaba was an outcast because she had green skin, but I don't think the green skin is the point of the novel. I think her being green is a visual manifestation of being so at odds with what you're "supposed" to be that people demonize you for it. Book Elphaba is queer and hinted to be intersex. I read her as neurodivergent, so this all tracks to me, and considering that other forms of oppression and stigmatization are very important themes in the narrative, I think the green-ness simply emphasizes to the other ways in which she's marginalized.

Trying not to go into the Wicked rant that I tend to do every few months but I feel it coming on

I'm all here for critiques of the novel, because it certainly has flaws, and I understand why people don't enjoy it -- but there is something funny to me about people wanting a narrative about looking beneath the surface to find true value but hating the version of that story that requires the most compassion to appreciate. Like the musical is fun and well-made but it does not require any effort to like musical Elphaba because she's conventionally attractive woman who's feisty and kinda quirky...oh and she's also green. And her being green matters more to the other characters than to us. We don't care that she's green (because we already know it would be wrong to judge her based on that) and the musical gives us no other reasons to judge her, so we don't really have to process any complex emotions.

(Sidenote, I think if book Elphaba were still green but more conventionally attractive, bubbly, and less political, she would not have been as much of an outcast -- at least not in her later adolescence. Her green-ness could have been a novelty or spectacle that she used to her advantage if she made up for it by being more palatable in other ways. Of course, she would never do this, because that's simply not Elphaba. She could never twist herself to be anything other than who she is, even out of social self-preservation.)

Book Elphaba is so much more prickly and unpleasant --and hell, so was I at the height of my social ineptitude and feeling like there was something so so wrong with me (because why for the love of God couldn't I just fit in and act the way the cool kids my age did).

Her unpleasantness and seriousness and insistence on talking about important things that make people uncomfortable are her green-ness imo. Those are the things that affect how we as the reader experience her, and we must experience her strangeness as well.

And while I understand that if the moral of the story is essentially "don't judge a book by its cover" then yes, you can tell a thematically sound story about a girl who is actually pretty cool but just happens to be green and talk about how she's ostracized simply because she looks different. That's a perfectly fine story -- but I think it can go much further -- because it's not only wrong to marginalize people who look different, it's also wrong to marginalize those who are internally different. Difference is persecuted whether its visual or behavioural.

Even if Elphaba weren't green, there are inherent aspects of who she is that prevent her from conforming to the ideal, both in her world and ours. And I think valuing her with all of those things in mind is a lot more rewarding than simply liking her despite the fact that she's green.

Anyway I love Elphaba Thropp and I don't think her being more palatable would have made the story better — it simply would have made it more popular, and I think on that at least, fans of both the book and musical should be able to agree is not an inherently better thing.

...

OK one last point, I saw someone saw they prefer the musical because it has more "girl power" meanwhile the book feels "obviously written by a man" and I just...dear god what a surface level take

Yes Gregory Maguire is a man (oh, the horror!), but he wrote the women in Wicked as people, without hand wringing about if they're likeable or pleasant enough. They are flawed and raw and not just there to make the audience feel warm and fuzzy. He writes about sexuality without making women feel like sexual objects -- I suspect because he also writes about the sexuality of his male characters (the women aren't just in the story to turn us on) and he himself is gay, so there may be less male-gaze going on than with a lot of men who write fantasy. Yes, characters are described in sexual ways, but this happens regardless of gender.

[theygotlost]

good afternoon here's my big rant on my pet peeves for subtitles in movies and tv

This is a post that I’ve thought about making probably for years now but never got around to. I might add more later if I realize I’ve forgotten any

When it comes down to it, the purpose of subtitles is this: to reflect exactly what the audience can hear, precisely when it can be heard. If you fail to do this, your subtitles are bad and you should feel bad. Although I don’t have concrete examples for most of these off the top of my head, I promise I have experienced them all firsthand at least once.

-> Watch for spelling and typos. Obviously.

-> Syncing issues.

This should go without saying, but the captions should be synced as closely as possible with dialogue and sound effects. Subtitles that are out of sync are worse to me than no subtitles at all. They’re unbearably distracting and I have to turn them off. I’m fortunate enough that I can keep watching without them, so imagine how frustrating this is for someone who needs to keep them on no matter what.

-> Jumping the gun.

This is basically an example of out-of-sync subtitles that are slightly too fast, but it gets its own category because it ruins the viewing experience in its own unique way. In particularly dramatic scenes, actors will often draw out their lines or pause between phrases. Captions sometimes fail to reflect this by displaying the entire sentence all at once, allowing the audience to read what someone is about to say before they actually say it, which deflates all the dramatic tension of the scene.

-> Phantom captions.

This one is less self explanatory, but it’s kind of similar to syncing. Sometimes there will be significant intervals of time between lines of dialogue, especially after a scene ends and a new one begins. The interval may include music, sound effects, or complete silence, but what I’m calling a “phantom” is a caption that stays on the screen after that last line of dialogue is delivered until the next line is spoken. I don’t remember what I was watching, but there was one that was glued to the screen for SEVERAL MINUTES over what was supposed to be an atmospheric break between scenes and it drove me nuts. In my experience this happens more often with older subtitling for DVDs and some old videos and less with modern streaming. 

-> Straight up spoilers.

Sometimes, a character will speak whose true identity has not yet been revealed to the audience. If I’m not supposed to know the character’s name yet, don’t just… tell me right there in the captions whenever they say something. Descriptors like “disembodied voice”, “man”/”woman”, “mysterious figure”, etc. will suffice.

-> Lack of musical descriptors.

It usually helps to describe the genre or emotion of the music that’s playing rather than just writing [music] or 🎵. That being said, if there is a song playing that’s particularly well known in the mainstream, I think it’s useful to actually include the name of the song. This one I do have a concrete example for: in Arrested Development, Gob always blasts The Final Countdown during his acts. But the captions on my DVDs for the show always describe it as [stagy pop]. Like yeah I would say that song is some pretty stagy pop, but I think a lot of the humor comes from knowing that it’s specifically The Final Countdown by Europe because it’s such a perfectly corny selection that Gob would make.

Another musical failure is not transcribing pertinent lyrics. If the song is playing in the background, then that’s understandable and it can be kind of distracting if there’s dialog happening on top of it because the audience isn’t actually meant to be paying close attention to the song. But if the song is front and center, like for a musical number or montage, then the lyrics can be pretty important. Last year when I watched Arcane on Netflix with my family (a recent, high budget production from the biggest streaming platform ever), the show had the nerve to write [man rapping] over a musical sequence. Imagine if all subtitles ever just said [person speaking] for the entire movie.

-> Affectations.

If a character starts using a silly voice or accent, or if the sound of their voice changes in any way, describe that. If the audience can hear the difference, the subtitles should reflect that difference. And they should reflect it informatively and accurately; for example, don’t just say [mock accent], but specify [mock French accent]. 

-> Paraphrasing.

I don’t even know why this is an issue, but it’s alarming how many times the subtitles just… straight up don’t match what the characters are actually saying. It’s like the transcriber was forced to write all the captions from memory, so they kinda sorta say the same thing, but the wording is different and some sentences or phrases are missing. When I brought this up with my mom she theorized that the transcriber was working off the script for the movie because hey, that’s all the dialogue already written down, right? But it completely fails to account for revisions, improvisation, or actors delivering their lines even slightly different than how they were originally written.

And last but certainly not least, one of the biggest offenders in bad subtitling…

-> [Speaks foreign language]

If someone says something in another language, please, for the love of god, do not just write [speaks foreign language]  and call it a day. Specifying the actual language is an improvement, but this descriptor only works if the audience members are truly not meant to know what’s being said (which is sometimes the case). If a character is only saying a single word or phrase in another language, transcribe it. As in, write down the actual words that they said. If you don’t speak that language, find someone who does. You are insane for transcribing a character saying “hola” or “abuela” in an otherwise English sentence as [speaks Spanish] (real examples I saw respectively in Rango and JANE THE VIRGIN. THERE’S SO MUCH SPANISH IN THAT SHOW). 

If the audience is supposed to know what someone is saying in another language, English subtitles will usually be hardcoded. DO NOT, UNDER ANY CIRCUMSTANCES, LET THE CAPTION SAYING [SPEAKS FOREIGN LANGUAGE] COVER THESE UP. This is actively impeding understanding, not helping it. Jesus christ

* Please keep in mind that I’m not deaf or hard of hearing and I don’t have auditory processing disorder; I almost always watch movies and tv with subtitles whenever the option is available because it helps me absorb information better. If I don’t even strictly NEED subtitles and these are issues for me, I can only imagine how much more difficult it is for those who rely on them more heavily. I invite you to add your own perspective!!

[grlsbstshot]

Join us for the next chapter of NEON LIGHTS premiering Wednesday

(Don’t miss updates every Wednesday & Saturday for NEON LIGHTS, an original character fanfic. Chapters & Special Extras found on the masterlist.)

IMANI INVITES YOU TO READ HER DIARY By: Vanessa Lawton JAN. 2026

It’s been a year since Imani St. Cirie, the sultry and enigmatic singer-songwriter, made headlines for her surprise EP release, Diary. In the following months, she became an awards show darling. Winning Billboard, AMAs, and even a BRIT Award. It all culminated in a Grammy win in Best R&B Song for the top ten Billboard hit, Kitchen. But since then? Nothing. We sit down with the superstar to find out exactly what's on the horizen.

Exuding a quiet confidence, Imani sits opposite me in the PAPER magazine headquarters. It's a simple interview, one that shouldn't take more than an hour or so but she makes herself comfortable. Imani, dressed in a HOESMAD cropped tee, baggy cargo jeans, and black and white pair of Bathing Apes, there’s a softness to her demeanor that suggests it's been a long year for the superstar. "It's been a year of unexpected successes. I really didn't expect for Diary to be that successful, but I'm grateful. I think it did what it needed to do."

From the heartbreak that inspired her latest EP to the unexpected that has helped her heal, she’s unflinchingly honest. "Love is tough. It's complicated. I don't think it's meant to be easy, but whatever is real, you'll fight for it. No matter what."

This is a different Imani—one who’s no longer defined by her past but empowered by it. And as she prepares to step back into the spotlight, it’s clear that she’s not just reclaiming her voice—she’s rewriting her story.

VL: Diary was a huge success last year. How did it feel to see it resonate so deeply with your fans? Imani: “It’s so crazy because I just released that EP to let all these emotions I felt out. I never thought that so many people would like it. Like damn, y’all really fuck with me.”

VL: Your lyrics often feel deeply personal. Do you find it difficult to share so much of yourself through your music?

Imani: “No. Music is a release for me. I use my songwriting as a way to get everything out. The hardest part for me is releasing it to the world because like you said it is deeply personal.”

VL: What’s been the most rewarding moment in your career over the past year?

Imani: “When I won a Grammy for ‘Kitchen,’ like wow. I’m still in shock about that.”

VL: Fans have speculated about the themes of Diary. Was it inspired by personal experiences?

Imani: “Yes, but all my art is. Where else am I supposed to draw inspiration from?”

VL: You and James Lucas have a shared history in music. Do you think you’ll ever collaborate?

Imani: “I don’t know…that’s a question he should probably answer.” 

VL: What’s next for you musically? Can fans expect a full album soon?

Imani: “I wouldn’t say soon! I’ve been so busy with videos and promo for Diary that I haven’t gotten a chance to go to the studio but I’m always writing and I want to release something next year.” 

VL: You’ve been linked to several high-profile individuals this year. How do you handle the constant media scrutiny of your personal life?

Imani: “I try to ignore it because the media tends to think they know everything about Imani but I promise you they don’t know even know a quarter of me. So I try not to let it bother me.” 

VL: You’ve been very private about your relationships lately. Is that intentional?

Imani: “Yes, because it’s no one’s business but my own. After my relationship with my ex, I think I’m owed some privacy.”

VL: What’s been the biggest lesson you’ve learned about yourself in the past year?

Imani: “That it’s okay to sit in your sorrow sometimes. No matter how much you try, you can’t run from it. You can’t hide from it. So it’s okay to sit and wallow for a little bit.” 

VL: You’ve spoken before about the importance of self-care. What does that look like for you now?

Imani: “Right now? It looks like a day off with sleeping in, a bubble bath with a seaweed face mask, some pasta and a marathon of Sex and the City. I know that ain’t y’all ideal self-care but it’s mine.” 

VL: What role has your family or close friends played in supporting you this year? 

Imani: “My aunt has been the most vital part to Diary’s rollout. I told her what I wanted to do and what publications I wanted to. She handled it all for me.” 

VL: Are there any misconceptions about you that you’d like to clear up?

Imani: “Nah, take what you heard about me and double that shit!” 

VL: What’s one thing fans would be surprised to learn about you?

Imani: “That I’m really a happy person. They always coming up to me, asking me if I’m okay because they heard such-and-such song and are concerned but guys, I promise y’all I’m fine.” 

VL: How do you handle creative blocks or moments of doubt in your career?

Imani: “I try to write through it. Like even if the lyric is trash as fuck, I write it out just so I can get it out of my head.” 

VL: If you could give advice to your younger self, what would it be?

Imani: “Everything will be okay. I know things are looking bleak right now but you will be fine! Crashing out all the time ain’t worth it, girl.” 

The late afternoon sun was starting to set but a few rays spilled through the wide windows of Jameson’s New York brownstone, casting golden streaks across the hardwood floors. He sat at his kitchen table, the picture of comfort. T-shirt, jogging pants, no socks. The room was quiet, except for the occasional hum of the city outside. A glass of water sat untouched on the table beside him. His phone lay in his hand, the screen glowing with the headline of an article he hadn’t been prepared to see.

Imani Invites You to Read Her Diary

He stared at the cover for a long moment, his thumb hovering over the link. She looked gorgeous, the picture of perfection. Her eyes carried a calm he hadn’t seen in them before. Maybe he was imagining it but she looked...like she was thriving without him. He felt his chest tighten. It had been a full, agonizing year since he’d seen her. Since she’d walked out of his life. And now, here she was, staring back at him from his screen like a ghost that refused to stay buried.

He finally tapped the link, the words unfolding before him like a slow unraveling of a wound he thought had begun to heal.

"After my relationship with my ex, I think I'm owed some privacy." she’d said. He read those words over and over, the simplicity of them cutting deeper than he expected but she was right. They were high profile in the best ways but also in some of the worst ways. She deserved to keep her cards close to her chest. It didn't stop the blogs from talking about her...and Amir. And Vivienne. He'd seen photographic proof that she had moved on. It seemed that space had finally evolved to over for her.

His eyes scanned the article, taking in her reflections on the past year. She spoke of growth, of self-care, of understanding herself. There was a brief mention of him but she didn't dwell. Part of him was proud of her.

Jameson leaned back against the chair and waited for deep mournful pain to hit him. It always did when he imagined the rest of his life without her...but remarkably, it didn't come. He felt hurt when she had moved on. He drank and closed himself off, eventually began therapy when his grief had taken a worrying turn, and even moved across the country to get away from his feelings for her. After a year of pouring his emotions into his music and six months into some semblance of a relationship with Camille -- Jameson had finally stopped grieving.

He still loved her, that much was clear. But he had finally accepted that their lives wouldn't merge again. He could read the article about her, feel the pain, and then...simply trust in the knowledge that she was happy.

His doorbell rang and the sound startled him, pulling him from his thoughts. He set the phone down, the screen dimming as he stood. For a brief moment, he considered not answering, but the ringing came again.

He hadn't been expecting anyone. Still, he got up and tried to leave thoughts of Imani in his kitchen -- and was met by the image of a pretty brunette on his front stoop.

Camille Lefevre.

Her long, brown hair was pulled up into a topknot, her usual style when she wasn't strutting down runways or covering magazines. If you passed her on the street, her beauty would be obvious and you'd immediately know she was a supermodel.

They met at an afterparty, amid his emotional spiraling. Imani was on her second new relationship in six months. He watched with envy, a sick gnawing in his gut. He hadn’t been able to escape updates. It ate him up to see her move on when he seemed stuck in a rut. His mother had been so concerned that she damn near moved into his home until he moved to New York. To stop her from coming with him, he promised to start therapy. He started going out more -- though he didn't enjoy it.

Camille had seen through his disgruntled demeanor. She made him laugh at a time when people didn’t even get to see him smile. She was bold, kind, driven. She wanted him and she was going to have him. Casual sex, late-night conversations, and dinner dates followed over the next few months when either of them had the time. They didn’t give it a name but it was something.

Jameson opened the door to find her holding a bag of takeout and wearing that bright, effortless smile he’d grown to appreciate. She was a steady presence in his life, a warm light that had helped guide him through some of his darkest moments. But right now, standing in front of her, he felt the weight of the article still pressing on his chest.

"Hey," she said, stepping inside and leaning up to kiss his cheek. "I figured you probably forgot to eat, so I brought reinforcements."

Jameson forced a smile. "That's cute. She came to feed me."

"Well, someone has to." She tossed over her shoulder before heading into the kitchen. She set the bag on the counter and began unpacking containers, chattering away about the upcoming party for his album, excitement evident in her voice. Jameson tried to focus, nodding and murmuring responses where appropriate, but his mind kept drifting back to Imani’s words.

Camille turned to him, her brows furrowing slightly. "You okay? You seem...distracted."

Jameson hesitated, the truth caught somewhere between his chest and his throat. His first instinct was to lie to her but he heard his therapist clear in his mind. 'Is this lie protecting you, or is it holding you back?' He sighed and told her the truth. "I read an article today. About Imani."

He looked at her then, really looked at her. She was kind, patient, and always there when he needed her. She deserved his honesty, but he wasn’t sure how to give it to her without hurting her.

Camille’s expression softened, though a flicker of something unreadable passed through her eyes. "Oh."

She knew about him and Imani. Who didn't. When they first began, he tried to disconnect from Camille -- knowing he was still caught up on Imani but she let him know that she understood. She was taking a risk with him. It gave him the courage to take the same risk.

"It...caught me off guard," he continued, setting his chopsticks down. “I didn’t expect to see her face, to read about her life like that. I...It stung a little."

Camille nodded slowly, her hand resting on his. "It’s okay to feel that way, you know. You love her. That doesn’t just disappear overnight."

Jameson took a good look at her, lifting his hand from the counter and reaching up to brush a few tendrils of hair from her face. "It stung but it didn't...it didn't hurt me like I thought it would. I want her to be happy. Even if that's not with me. And I want to be happy with you."

Camille was quiet for a moment before she tilted her head, leaning against his hand. "You don't have to say that. It took a lot for you to get here. You've made a lot of progress. Feeling things for her doesn't erase that progress."

He wished she was a little less understanding. He wanted her to yell at him for feeling something for anyone other than her. That felt normal. But her simple acceptance of everything he was made him want to be more for her. Nothing he said or did would be good enough because he knew...she would always deserve more. She was getting half of a man. Why couldn't he just give her everything?

"I'm okay." "You are?" "Mhm. If I'm not, I will be. I'm with you. I'm good."

He watched her melt and felt proud that at least he'd gotten that right for her. Camille leaned in, pressing a soft kiss to his temple. "I'm here for you, okay? Whatever you need."

"I know." he murmured, his voice barely above a whisper. "I'm grateful."

As Camille returned to her food, Jameson’s gaze drifted to his phone on the counter. He turned it face down, trying to push Imani out of his mind once again. But deep down, he knew it wasn’t that simple. She was a part of him, no matter how much time passed or how far apart they were. And that realization was both comforting and excruciating.

[ochrearia]

RGB Trio according to my Synesthesia

Been mentioning it on and off for a bit but I experience the world differently. "What is a Synesthesia Portrait?" Good question! I have synesthesia, specifically the one that connects hearing and sight called Chromesthesia. What that means is sounds/songs will trigger visions of shapes and colors for me whenever I listen. Due to this music is a super important part of how I process the world in general, and what I grew up learning was to perceive people's personalities as music too. Everyone has a song out there that encapsulates who they are to me! Even fictional characters if I know enough. So, I bridge the gap and make it so people/characters have these abstract portraits of themselves. Stylized, of course, in reality these forms are much more blurred together than crisp in lines. I just paint them in this way to make it a little more understandable.

I've been a little disconnected from making synesthesia art for some time and this is my way of getting back into it. Turning my blorbos into art because I'm cringe and free. "But they don't really have personalities in FNF" you underestimate my ability to derive pieces of people from the smallest "insignificant" actions. I pay ATTENTION. Here's their songs in order of BF, GF, and Pico-

BF, and I describe him as a goddamn tranquilizer dart to the head because it's correct. Despite being a gremlin piece of shit he's dedicated and confident and stupidly, brainlessly fearless. And his intentions can come off very sweet regardless of him being a menace. Dude's passionate about what he thinks is right and fights for it. Weird how he always seems to win like he overpowers everyone with his own sound, talks them down and placates them without ever needing actual words.

GF, because she may also be a bit (a lot) brainless but it's with an air of mischief and mysticism that feels like dancing a waltz. She seems like the sweetest and kindness person out there because honestly, she probably is. Despite being dumb she's definitely hiding emotional smarts in that pretty head. And she's strong too, strong within herself and strong because she's a demon. But no matter what and no matter how little we end up really seeing her she manages to capture the attention like the way a violin's strings pierce through any sound.

Pico, because he's lived through so much bad and maybe he might end up considering himself bad and unredeemable too. Playing into the idea he's a merciless killer who can be bought into doing anything terrible but he didn't pull the trigger when he was supposed to, twice. Loyal and moral when it comes to the people he cares about. Outwardly spiky and cold like a snowstorm but at the center it's only a soft flurry, lonely and wondering if he's really a lost cause or not. But it's okay, he's got friends that stick around and think otherwise.

[beauty-and-passion]

And finally... the Ithaca Saga

We did it. We reached the end.

And we did it this year, in 2024! I suppose the moral of the story is: if you're truly passionate about something (and have big plans), you can do anything.

And by "anything", I don't mean just "finishing the concept album": I mean fighting against weather, bad luck and probably the gods themselves, to do what you planned.

I imagined everything, except that Mr. Jorge's plan for the final stream of his entire album, was to go to the goddamn island of Ithaca and stream there.

But, you know, it was right. It felt right. It was a very poetic choice, to bring a modern version of the Odyssey back home. To let the musical reach its artistic birthplace. And it's even more impactful that it wasn't just Odysseus' voice to (figuratively) return home: it was the entire story, through the voices of all artists involved.

However, since it's the Odyssey we're talking about, the trip to Ithaca couldn't have been simple either: what kind of boring story would it be, if everything went smoothly from start to end?

Greece's weather is overall warm, even in winter. However, there are the occasional storms/typhoons/rainfalls that last for a couple days and drown or destroy parts of the cities. And Jorge faced them not at the end of his trip, not in the middle: at the beginning, just in time to stop him from reaching Ithaca too easily.

And I believe this is all Ithaca's influence, because something similar happened to my father and brother. Last summer, they were supposed to visit Ithaca as well, but first found no available ferries, then the rain started to pour down, their car died on the nearby island, there was no available mechanic and when they finally found one, their car got fixed just in time for my brother to go to Athens and get his flight back home.

Sooo... it looks like Ithaca doesn't want visitors at all, no matter if it's summer or winter, and it does everything to keep people away - or at least, to make them have a small personal Odyssey before reaching it. Also because, according to the last shorts from Jorge, it looks like the weather changed into the usual warm, greek temperatures now. And he seems to enjoy his stay too, so I suppose the true obstacle is just reaching the island.

But enough about Ithaca, let's talk about Ithaca: there were huge expectations for this Saga. This is the final one, this is supposed to wrap up Odysseus' story and the last loose threads.

And it does. It takes its time to wrap up the last characters and it does it organically and coherently. There are no OOC moments - and this is a huge point for me, because my main complaint in the last Saga was that Odysseus moved too quickly from "let's try to discuss" to "stabbing time": here you can see and understand why he gets so angry and he even takes a few lines to further clarify his emotions.

The pace of this Saga is good too: there are no dead moments and the songs move smoothly from one event to the next. It surely helps that they cover a period of 24 hours more or less, but still.

__________________

The Challenge: this is the first time we actually hear Penelope. Not the one from Odysseus' memories, not a siren, not a vision, but the real one.

And the real one is truly the perfect woman for a clever man like Odysseus: she's intelligent, she's resourceful, she reads the signs and does the right things to buy more time. That's what she did in the Odyssey too, so it's nice to see this trait of her character here as well.

And even though the events here happen for slightly different reasons (in the Odyssey, the bow challenge was just another attempt to buy more time, while here it's something Penelope proposes right after the storm, as if she feels things are going to change very soon and her husband is coming back), it still doesn't sound forced or unnatural. It fits Epic's narrative, without damaging or going against the spirit of the original work. That's how you do a good rewrite.

One last thing about Penelope: I love how, with one single song, we can see her pride, her strength, her cleverness... and her love too. She herself says she didn't expect to end up like this, but for love, she's ready to do anything. Even waiting 20 years for a husband she doesn't even know if he's still alive, buying him time in every possible way and keeping on hold 108 dangerous, younger men who need just an excuse to rise against her and her family.

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Hold Them Down: what did I say about that excuse?

Jokes aside, this is some powerful villain song and I ADORE it. The rhythm? Great, majestic, terrifying. The drums and the chorus are chilling.

But even more than them, it's the entire song, to be terrifying. And not because of its themes: it's because of the details.

Antinous doesn't just say "We will kill Telemachus and rape Penelope": he describes step by step what he wants to do. He presents a clear, precise plan of what he wants to do and how he wants to do it.

That's what makes it so chilling: how careful he is with the details. How he pondered about everything. His willingness to do all the things he says, without an ounce of doubt or fear.

And what's even more terrifying, is how Antinous' words are welcomed by the chorus of the other Suitors. There is no coldness, no shock, no fear: there is this palpable, growing excitement, that grows stronger the more he describes his plan. The chorus accompanies his words, anticipates them eagerly: they cannot wait to hear what he wants to do next.

And when Antinous says Penelope will be at their mercy after Telemachus' death, silence drops for a moment and the line: "And then we'll" is welcomed by pure silence. This perfectly shows how all Suitors held their breath, for one second, waiting for Antinous to say it out loud, to push his plan further and say what they were all thinking: without a man in the house, they could've had access to the queen's bedroom and body. They were waiting to hear it. They wanted, needed to hear more.

This is how you make a great villain song. This is how you build a terrifying villain: it's not just Antinous, who can stir up an entire crowd, by pushing on their primordial instincts. But it's the crowd itself, that welcomes the terrible images he proposes, because they were already in their minds. They were already thinking all of that: all they needed was someone to propose it out loud.

Of course Odysseus goes into full rampage mode after that: who wouldn't?

One last detail I appreciated a lot: the allusion about how the prince was on a diplomatic mission. Sure he was, that's how Odyssey starts: Telemachus leaves Ithaca to search for more news about his father, visits Sparta, Menelaus tells him about the Troyan horse and so on. It was a nice reference.

__________________

Odysseus: a song better known as "Odysseus cleans his house from 20 years of filth".

I've already talked about the first lines and I appreciate them a lot, not just because they further clarify Odysseus' thoughts and actions, but also because they imply he spent some time in Ithaca before this moment, enough to see how the Suitors treated his palace. There's a huge lack of Argo, the only dog who lived something like 20+ years and died right after seeing his owner one last time, but I suppose that his dog's death would've sent him into ultraviolence mode instantly.

I lovelovelove the ensemble chanting Odysseus' name. It's solemn, it's ineluctable, it reminds me of old church hymns and I am a sucker for that stuff.

But I am also a very bad person, so when I listen to Eurymachus saying "hey, what if you spare us and welcome the world with open arms instead" and he gets slaughtered with a "no" as a reply, I laugh.

Yes, I am a bad person.

Okay, fine, we can acknowledge how this wasn't what Polites meant with open arms and how no one has been able to fully understand his mentality... but also, it works perfectly to show how Odysseus changed. In the past, he would've been tricked by these words - and it would've led to him losing more people he loves.

But after going through so much shit, he's not willing to trust others anymore. The time of open arms is gone forever. As he says, "And as long as you're around / My family's fate is left unknown".

And so, it's ruthlessness time. Because, as Poseidon told him, ruthlessness is mercy upon ourselves. And Odysseus would find peace, only if he gets rid of all the dangers around.

Because come on, we know the Suitors would've found a way to still try to kill or hurt him and/or his family. They don't play fair, they said themselves. Sparing them would've only hurt Odysseus in the long run.

And if we consider the time period, killing all the opponents was all Odysseus could do, to regain control over Ithaca.

Think about it: he has been away for 20 years, leaving the island without an adult male ruler. Of course this led all other, younger men to become restless and prideful and do things they would never do, without a strong leader: like trashing the leader's palace or trying to hurt his family.

Odysseus' only way to regain control was to show everyone he was still the strongest. And the only way he could do it, was to get rid of all the people who were undermining his authority. This way, he got rid of the dangerous ones and taught everyone else a lesson: do not even try to oppose my authority again, because I am still the strongest man of this land - and therefore, the only leader.

__________________

I Can't Help but Wonder: so, right after showing everyone he was still the ruler and the stronger and so ruthless, Odysseus takes his time to softly listen to his son and tell him how much he loves him.

No, I am not crying, I got this song stuck in my eye.

But seriously: the softness, the love, the affection he holds for his son. And how this is all beautifully portrayed through Jorge's voice.

I know others already said it, but the way he modulates his voice is incredible. He really sounds older here, an old man talking to this young boy who is so confused and full of doubts about his own strength... and like the father figure Telemachus always wanted, Odysseus reassures him: he's sure his son is strong, he understands his pain and the troubles he experienced. And he loves him, with the unconditional love a father has for his child.

I said I am not crying.

The Athena part has been a surprise: honestly, I feared Jorge forgot and we would never see a closure for them, but we actually got it!

And it was a very good one: Athena asks if there is a world where empathy is stronger than fighting. A world where people can understand each other more and not always resort to violence and ruthlessness.

There's an implicit invitation in her words: would Odysseus help her pursue this world? Would he still be her warrior and work for this new, greater tomorrow?

And Odysseus refuses. He's too old, too tired. This world is too far beyond his reach. We are still trying to reach it and we are getting glimpses of it in our everyday lives.

Athena, thanks to her immortality, can live long enough to see this far-away future, but Odysseus? Maybe in the past, when he was younger, he would've loved to see it. Now he's had enough of adventures. All he wants is to finally see his wife again.

And Athena proves her growth, by that simple "very well". You can hear a smile in her tone. She's not angry at him, she's not resentful: Odysseus made his choice and she's okay with it. Their paths divide forever, not with bitterness but with understanding.

__________________

Would You Fall in Love with Me Again: better known as "I am not crying, I said I am not, I just got the Odyssey stuck in my eye".

Odysseus reveals his wife all the awful things he did, he insists he's not the same man - Tiresias told him too, he's not the same kind and gentle husband he was and he will never be anymore: he's a man marked by hardships, by the war, by the world.

By saying it, he reminds me of the war veterans, the people who faced horrors and survived, to come back as changed people. Odysseus is one of them: the war left a mark on him and the following 20 years deepened that mark, made new ones, scars and terrors that will haunt him forever.

So of course he's not the same and he will never be: life and its hardships changed him too much to come back to the naive, younger man he was.

And yet, despite everything, Odysseus is still the same man. And Penelope proves it, through the bed trial. Again, I love how it has been used here: in the Odyssey, it was Penelope's way to be sure the weird beggar-looking guy who just killed everyone truly was her husband. Here it's her way to prove to him first that yes, he still is her husband. He may be rougher, more ruthless, filled with more regrets and anger than before... but he's still him. And she doesn't care what he did: all she cares about is that he's finally back.

Does that make Penelope a bad person too? Personally, I think it makes her more human. She spent 20 years imprisoned in her own house, with 108 possible predators trashing her place, desperately trying to buy more time for a husband she didn't even know if he was still alive, all while trying to hold the predators down as long as possible, so they wouldn't hurt her or Telemachus. Can we really blame her, if she doesn't care about what her husband did to come back, as long as he's finally back?

__________________

A truly passionate project

Epic the musical is a project overflowing with love. Every artist, every voice, every song is filled with passions and emotions and they shine here, in the final Saga, more than ever. Jorge's voice has been incredible, the way he went from sounding like an old father, to a younger man again. How we shifted from love and affection, to anger.

Penelope? Amazing, brilliant, incredible. All female voices are A+ and she's no exception.

The instrumentals? Always on point, they highlight the emotions and the mood of every song perfectly.

All the artists? Incredibly fitting, superb voices. Each of them did an amazing job with their characters, each of them brought their own spin to it and made them iconic. I don't think we'll easily forget characters like Hermes, Circe, Calypso, Athena, Scylla, Tiresias or Zeus. I know I won't.

And yes, I will fondly keep this version of the Odyssey close to my chest. It's so hard to find good modern versions, now that I found one, I won't forget it so easily.

__________________

The end?

The concept album is done, but that doesn't mean Epic is over. Jorge already said he wants to make videogames and, hopefully, give the musical some live adaptation.

So it's now right to say this is the end: this is the first step of a bright future for this series. And I personally can't wait for what it will bring.

In the meantime, as always, do not forget to stream the Ithaca Saga (and the whole musical for that matter), support Jorge and show love to all the people involved: they deserve it. Every last bit of love. It would be only fair, considering how much love and commitment they poured into this project.

That's why I would like to thank them all again for their hard job. It has been a truly wonderful journey and I can't wait for what 2025 will bring them - and us.

[kay-jay-self-shipping]

Words of Wisdom For Fellow Writers

I've been writing stories for thirteen years, mainly fanfiction, but that's as valid and writing a full length novel, given how many words my main story alone has. (over 300k words.) And I wanted to pause to give some advice to new writers, or even writers that have been in a bit of a funk lately.

I read stories as much as I write them, but haven't done so in a while, because it feels like the amount of stories for my favourite characters has dropped significantly as the age of media changes. Hopefully, this little act of motivational speaking will remedy that a little.

Write what you want, no matter how cheesy it might seem. Yes, make your characters well-rounded and ensure they're fleshed out and interesting, but don't be afraid to experiment and come up with new concepts that YOU find interesting! Is that storyline overdone? Who cares, if you would read it, write it, because you're guaranteed to find at least one other person who would read it too!

Don't be afraid of making mistakes! My stories can range from 10k words to 100k words and even further, do you think every word is perfect? One story I've been writing for eight years ended up needing a total rewrite at one point due to some spelling errors and then a software error that caused it to get corrupted. Hell, even now, I'm still going back and fixing mistakes that I made recently! If I stopped writing because of each mistake, my Naruto story wouldn't be nearly 60 chapters long! Try to curb your need for the perfect sentence until you start proof-reading, because you won't get anywhere if you keep obsessing over that one phrase that doesn't sound right.

Imagine your story as a movie in your mind. I grew up watching anime and reading manga, so I find it easier to write if I imagine the scenes happening like a scene from a show in my head. Put in the detail you want, but don't repeat yourself, (unless its a flashback.) Actions speak louder than words, but since words are our tools, explain the actions.

Emotion makes for a compelling scene. I use music, especially sad music to help me put emotion into my writing, because if I can feel it, the audience can feel it. There are so many emotional, happy and angry scenes in my stories that were pushed on by music, and I am not ashamed to admit it. Don't be afraid to make a playlist of music you know will inspire and make you feel, because the best storytelling comes from the heart.

If a chapter seems too long, don't be afraid to split it into more chapters. While my chapters can be 10k to 16k words unintentionally when I know a chapter pushes even beyond that, I split it into two or sometimes three chapters to ensure it doesn't drag out for far too long. If I had kept up my old chapter-writing style, I'd only be 20 chapters into my Naruto story, rather than 60.

Make a habit of writing at least one day a week, and set yourself a word count limit to help motivate you! I learned this one recently, but I managed to push out a chapter I was struggling to finish within a month thanks to my goal of writing 2000 words every time I put my fingers to the keys. I also have at least three scheduled writing days a week to make sure I get work done and don't neglect my love for writing or my desire to make an original series I want to get published.

Don't punish yourself for not writing. I admit, this is something I'm still trying to do, and it is hard. But fanfictions are supposed to be a hobby, and if you have to suffer to make it work, then obviously something is wrong and you need some time to rest. Don't give up, of course, but know your limits and take time to write something else if the mood fancies you. Hell, I did this and I came back to my other stories refreshed and ready to spell out a storm on paper!

There's probably more, but this is long enough, so I'll finish by stating the most IMPORTANT tip for any writer, be it original or fanfiction centered...

Learn the difference between criticism and cruelty. If someone comes onto your story and says "You suck and your story sucks," then that's cruelty. But, if someone comes up and says "I really love this story, but the characters seem a little off here, don't you think there should be more emotion, or maybe a change of heart?" That right there, is criticism, and it is VITAL that you learn the difference. Some cruelty can come off as criticism, so try to go through each one with a fine toothed comb to make sure that you understand and desensitize yourself to the content. Criticism is never meant to hurt you, remember that and make sure you take each word with grace. Delete hate though, no one has time for that, lol.

And this is just a final word. Cherish your readers, make sure they know how much their words make your day, because if you start a project, they might be the reason you don't give up. For all my readers, just know that I thrive when you talk to me, because it makes every struggle worth it if you smile by the end of my books!

Thanks for reading... and writers? Good luck on your projects, you're amazing and as a reader, I love it when you post new content!

(And just to prove how much you need to go easier on yourself with errors, I'm not proof reading this. My OCD hates me, but who cares! I'm proving a point!)

[readingtoinfinity]

Secret Level part 2

The second half is out now, and like before I had completely forgotten to watch them. Well, I'm done now. There were some highs, some lows, but let's take the good with the bad and go through them.

The Outer Worlds: The Company We Keep

Like the game it's based on, this short is very bleak and kinda hard to stomach at times. The anti-capitalist message is front and center and just as horrible as the game wished it to be, but the message becomes muddled when you look at this main character, Amos. Not a smart man by any measure, the ending is ostensibly positive, with Amos working for Auntie Cleo as a gardener, and all of us watching knowing the company is going to hurt a lot of people to help their bottom line. That hidden horrible reality may be the point, in this case, but I feel like this short could've done with a bleaker, harsher ending, to reinforce the message from the rest of the short: it doesn't matter who you are or what you can do, you will be gristle in capitalism's meat grinder eventually. As it stands, it feels weak on the satire and unmemorable as a whole.

Mega Man: Start

Aah! This short was apparently made deep in the uncanny valley. It was here that you could really see the limits of the almost-realistic CGI most of the shorts use, and it would have benefited from either being less realistic (and allowing for a more cartoony, closer-to-the-games look) or more (making the original games an inspiration rather than a direct comparison, like how they designed Bomb Man).

Having said all that, it's quick, powerful and very cool. I didn't play any Mega Man games, and my only connection is the fan music by The Megas, although I love that a lot. Even without that nostalgic connection, I found this short to be a lot of fun.

Exodus: Odyssey

I found this one to be a slight mixed bag. On the one hand: a strong central thesis and conceit, with an emotional connection between the main character and his daughter that pulls you through the rest of the episode.

On the other hand: eh. I can see the narration is necessary to set up some things for later, but even so some of it is unnecessary. Honestly leaving some emotions and plot points more ambiguous would've made this episode a lot more memorable.

Spelunky: Tally

Finally, some stylized fucking animation. I found this short to be amusing, charming, but ultimately shallow. There's an earnest message about trying again and doing your best even in bad circumstances, but with little emotional weight behind it.

Concord: Tale of the Implacable

Why the hell did they try to make this game a $40 hero shooter?! The world is perfect for a single-player experience, something like the more-recent Star Wars games, Outer Wilds or even (a better version of) Starfield. Obviously these deals and animations were made way in advance so this was supposed to come out and grow the player-base for the game, but alas, it is the last gasp of a corporately-ordered failure.

And it's so fucking good. Oh my God why is it so good?!

I recognized the voice talents of Laura Bailey and Darin De Paul, both bringing their at-least B-Game to this short, but recognized nobody else. But the actors featured here were all up to the task and played their part to the hilt, and for that I must give props.

For most of the episode, you're dealing with your standard Han Solo types, only in it for the money and trying to get away with a stash. But there's a turn later in the story, and the fact whoever made this had the utter gall to give it not only an unflinching ending, but somehow managed to wrangle something beautiful and wonderful from that? I teared up watching this. And it's about fucking Concord! What the fuck?!

But let me not say that corporate slop cannot be an inspiration for art. Great art can come from anywhere, spurred by anything. So may it be for this.

Honor of Kings: The Way of All Things

I didn't like the art style very much. There's an inconsistency in the models, from the madman who looks very realistic to the bishounen (or its Chinese equivalent) Yi Xing to the strange-looking Tiangong, none of the characters quite look like they belong on-screen together, and not to the point of something like Kingdom Hearts where that's the point and it becomes its own art style.

It's not distracting for long, however.

I liked this setup, and the themes played with throughout this short. Tiangong claims to be a computer that can calculate and predict everything, calling the actions from one to the other "cause and effect" and comparing itself to the moon pulling water. Yi Xing is a boy who wants revenge, and Tiangong, the computer that is a city, would try to convince him revenge is pointless and his defeat has already been preordained.

This one benefited greatly from being a philosophical game between its two named characters. The interplay between the two, both in their game of Go and over the idea of free will was made extra fascinating to watch by stunning animation and artistic flourishes which fed back into the story. Setup and payoff, cause and effect, past and future, all of these things were wrapped up into this episode.

It also benefits immensely from a final twist ending that I found astonishing and a tough nut to crack for a bit. Even if the ending isn't a chestnut like Inception, It's still a bit of something sticky and tough, like fruit leather, that makes everything seen before take on a different light, and you question the conclusion of both the game and the argument. And I like that; I like that this ending asks you to question everything you saw, from beginning to end. It forced me to go back through and re-watch some scenes so I had a greater context; there's a confidence to this execution that is as underplayed as Tiangong's introduction and character, and I'll be thinking about this one for a long time.

Playtime: Fulfillment

Let me start with the positives. Kevin Hart, though he is still annoying in this short, is supposed to be, and in that respect he does a good job. Heaven Hart, his daughter, does a passable job as the main character, though she could use a little extra practice. And the central message against microtransactions and meager rewards in favor of a more pure competitive gaming experience is one I can respect.

But with God as my witness I will not be tricked into liking any fucking version of Ready Player One!

This episode is the only one in the season that wasn't based on an original video game, instead being about PlayStation's exclusives and IPs and about how fun they are, how better they are. Maybe you can see my disdain? Even Astro Bot got flack from people who didn't like the corporate crossovers in it, and that game had the benefit of being fun and engaging (according to Jacob Geller and the good people at Overly Sarcastic Productions; I don't own a PlayStation). How much more should they righteously hate this short that peddles more of that slop?

I am not against crossovers. I think there's a lot of fun to be had from throwing characters together in an oddball setting. Fortnite, for all its flaws, provides a lot of fun from having recognized characters going at each other in a game that's at least a little fun. So having Kratos from God of War, Gauis from Shadow of the Colossus, Helldivers (from Helldivers 2) and Sackboy from Little Big Planet all crossing over with one another could be fun.

But my annoyance at watching an ad in my free time turns to annoyance when it offers little artistic merit. All of these IPs are only here to remind you to play PlayStation games, and they are thrown in your face to force you to remember the better times you spent with other medias and games. Kratos was a big draw for most audiences and the fact he's on-screen for a couple seconds and Christopher Judge even reprises the role only to yell and then be discarded tells you the priorities of this short.

I hate it. It's not bad, not completely, barely even mediocre, but its core premise is rotted from corporate oversight. All these other shorts were about something, even at their worst they were trying to tell a story or provide a message. This is nothing; it is solely an advertisement to play other, better games, from studios shuttered by the company that bought them. It's Sony congratulating itself for projects it wasn't involved with, and to that I say: fuck 'em. They don't deserve the accolades.

I've taken the liberty of including a tier list of all these episodes. Please note letter grades are only approximations; this order is how much I enjoyed or think these shorts were of quality.

S: something new, something surprising or intriguing. Unreal Tournament: Xan (a surprisingly-powerful origin for the game's main villain) Honor of Kings: The Way of All Things (a strange, compelling argument with a great twist) Concord: Tale of the Implacable (honor among thieves, even in dire straits)

A: something I enjoyed without reinventing the wheel. PAC-MAN: Circle (a delightfully fucked-up reinterpretation) Warhammer 40,000: And They Shall Know No Fear (I mean… come on… I love these space marine guys) Sifu: It Takes a Life (exactly as artistic as I was expecting)

B: it's alright, maybe even fun, but the flaws are stark. Mega Man: Start (quite cool, but that's about it) New World: The Once and Future King (moderately amusing with a good emotional core) Armored Core: Asset Management (a good ending on a bland episode)

C: cracks start to form. Enjoyment lessens. Exodus: Odyssey (forgettable, feelings of wonder fall flat, lack of emotional tether) Dungeons & Dragons: The Queen's Cradle (uncanny at best and punchy-fighty without any emotional stakes) Spelunky: Tally (earnest but clumsy) The Outer Worlds: The Company We Keep (lacks the strong bite that made the games so good, ending fell flat) Crossfire: Good Conflict (things happened, I suppose)

Pure, visceral hatred: lack of artistic qualities drive me to madness. Playtime: Fulfillment (...HOW MUCH I'VE COME TO HATE YOU...)

So, that is Secret Level in total. Despite everything I'm still glad I went through it. It's not something you see too much of, and everyone who worked on the animation gave it their all. Even still I'm almost certainly going to watch season 2, but I've no idea what the final product will look like. And isn't that exciting?

[theheirofthesharingan]

This one's got nothing to do with your usual content, but what is your opinion on the Naruto soundtrack? If there are any, what are your favorite tracks? And why?

I love Naruto OST. Music usually adds so much to the story and Naruto is no exception. My favourite tracks would have abundance of the feelings related with Itachi and Sasuke, because I'm no expert in music and the technicalities, so I rely only on how it sounds and the feelings it wanted to evoke. The first should not be a surprise. xD

Senya (Itachi's Theme): I fell in love with this theme when I heard it in the episode #114. It captures his anguish, sadness, and darkness beautifully. It's sad, it's ominous. There's so much mystery to him, no matter how much we know about him, we don't truly know him. To me, Itachi's theme signified this detachment we're supposed to feel towards him. His theme also feels like you're walking in a dark alleyway that's inhibited by the ghosts of young souls and it's constantly raining. But instead of water droplets it's blood that's falling down. It might not make much sense, but this was my first impression of his theme.

Colourful Mist: It was played before too, but I fell in love with it when that Shisui and Itachi scene played in the Itachi Shinden arc. Shisui giving piggyback ride to him and all the peace and calm, and their deep bonding. Beautiful.

Man of the World: I loved that it was played with Sasuke's flashbacks about him and Itachi after Obito told him the truth. It's more of the effect of the scene and this music becomes even sadder because of it.

Decision: This is the track that plays during Itachi's second death and his flashbacks. The whole ambience is augmented by this music. It amplified the sadness, which wasn't as brutal as Itachi's first death, but still you know when Sasuke loses his brother forever and then the sudden ascent in the tune? That's like all that they both can't verbally say, but this bit conveys it wonderfully to us, audience.

Girei (Pain's theme): Instead of any emotional connect I love the sound of it. Pain is presented as this unattainable, godlike entity, and his theme tells you exactly that. He's dangerous, he's powerful but also a human, so there's some hint of vulnerability along with majesty too.

Sadness and Sorrow: It was played many, many times, for no particular character, but I loved it every time.

Akatsuki's Theme: They're the most badass characters in Naruto and their theme tells you they're not the people you need to take lightly. It's just how Deidara would say: EXPLOSIVE.

[lastoneout]

Okay I'm finally sitting down to properly watch the PJO series so here's an episode-by-episode live blog I guess. (Fair warning, I haven't read the books since I was a teenager, I am a smidge of an apologist for the films, and my favorite adaptation so far has been the musical.)

Episode One:

All of the actors are doing a really good job, I especially like Sally.

The costume design for both the monsters and the humans is pretty killer. I want Percy's sweater.

I also love the little seaside cabin and want to live there!!!

This is such a mild gripe BUT as someone with dyslexia I wish there was a better way to visually depict it without like, doing the swapping letters thing cuz that's just not what it's actually like at all.

Gabe maybe feels a little too funny. Like I'm supposed to hate him and think it's justified that he deserves to be turned into stone at the end, this version of him is really.....toned down, and his banter with Percy and Sally was fun to watch. I should hate him, but really he just came across as unpleasant. Less abusive asshole and more "old married couple who share interests but can't communicate without shouting" you know?

Loved Grover's little "I'm 24 actually" lmao that was great.

Not a fan of Percy immediately recognizing the Minotaur within a millisecond of it appearing before the audience even got a good look at it. Like, I just sat there thinking "how can he even see it?" rather than feeling scared of a big monster barreling at them.

The action is uh....fine? Feels a little lackluster. Or kinda....divorced from the rest of the show weirdly?? Idk it makes me feel like I'm watching a movie of a movie if that makes sense?? But we'll see where they go with it. (I know banter during a fight isn't realistic and people make fun of Marvel for it, but like...it helps to have at least a little talking. We don't wanna be Man of Steel.)

I feel like there's been a few "slightly out of sync ADR" moments but they weren't too distracting.

Pacing into Sally saying goodbye felt a little long, kinda took the shock of her dying out of the scene, but the actress REALLY sold all the emotional beats so I'll forgive it.

I LOVE the credits sequence!!! Reminds me of the designs on that one box set of the books in a really cool way.

Episode Two:

Oh yes the ugly ass neon orange shirts are here bless!

FUCK YES THAT'S DIONYSUS BAYBEEE!! My ONLY note is that he def could have turned up the energy a little, but that's probably just bcs I love how loud and unpleasant he is in the musical and I also know how unhinged this actor can be.

Chiron is such a delight <3

I like the cabins too, way better than how I imagined them as a kid reading the books lol

Oh, I can see why the new fans fell for Luke so hard.

Grover assuming a human being squished would be like an old banana is very funny. Felt very book-humor in a good way.

Clarisse!!

Oh damn actual disabled half-bloods, very cool!

Minor but I can't actually tell what Percy did wrong with the bow? Weird editing I guess.

Aside from that I actually love a good "fuck up" montage, I honestly wish it were a little longer.

Probably doesn't matter but I don't get having them burn the food after they've started eating? I thought that was a before you sit down type thing.

Percy burning the blue candy to try to talk to his mom was sweet tho T_T

"real friends" hahahaha.....yeah.......about Luke.......

yay! hazing!

Oh I love Annabeth already >:D

Thalia.....is pronounced differently than I thought....?

(I'm sorry I'm too much of a fan of 'Tree on the Hill' for this exposition dump. That shit hits harder when coming from Grover.)

Percy giving Annabeth the "actually I suck and my self esteem is riding on this so like pls don't ask me to do anything hard T_T" talk is just, so good lmao

ofc he doesn't know what's going on Annabeth you didn't tell him anything

Okay the action is a lot better when it's between the actual characters and doesn't involve a 3D monster, though I still had trouble following all the hits Percy was taking.

Oooh I can see why people did so much art of Percy being claimed that was a good shot.

FUCK YEAH TELL HIM YOU'RE SALLY JACKSON'S SON

(I hope they kept the Oracle in the attic...)

Okay I have to go do some things and then I'll be back for more!

[partynbullshit2007]

Uhhh idk how to do introductions but here I suppose

I go by Kingsley or Valence either or is fine! Sometimes Rocky but not as much😞🤘 I really js go by any pronouns, usually half the time though it is she/her or he/him so I’m coo w either

I’m 17 I’ll be 18 in march so that’s prettaye sick i think idk

I like Fallout, Bully,Mafia but the first one mainly, Greasers in general unfortunately, uhh making ocs is fun! I do it a lot I use Roblox most of the time maybe I’ll post sum photos! I enjoy a lot honestly i also yap a lot if you couldn’t tell by the rapid posting sometimes. I love sonic and the series sandman….i can’t really name more I’ll get carried away…(Harry Potter and Percy Jackson) I’ve only seen the movies bc I ain’t reading allat

My music taste expands a lot but I really like late/early 2000s or 80s/90s rap and just 2000s music in genres honestly. I like insane clown posse and Bell Biv DeVoe, Sir Mix-a-lot! A lot more 😞 I like a lot of old music too like journey, Led Zeppelin, Pink Floyd, Billy Joel, Stray cats, Styx….a lot (thanks to my father) I enjoy more sadder too music like Adrianne Lenker, Mitski, Laufey, Car Seat Headrest, RAAAA TOO MUCH!!!! I love frank Sinatra though

I play Roblox,Fallout3 and Bully mainly most of the time or if I’m extra fancy Stardew Valley but i love looking for new games all the time…fnaf enjoyer too unfortunately…I liked the movie😞

I tend to roleplay on Roblox and stuff hence my ocs are there! But I love to text roleplay too since it gives me to do longer messages and more detail without tagging (grr Roblox!) But i haven’t done that in awhile, I’d be open to doing it though if anyone wanted…sometimes I portray Jimmy Hopkins I wouldn’t say I’m the best but I’m not the worst…occasionally Ricky bc he’s one of my favorites but I haven’t done him a lot

If you’re around 17-18 that’d be prettaye gnarly!!

If it ever comes down to shipping I’m on the side of wanting to build an emotional connection and entire story and dynamic for the ocs, bc detail is everything to me…I love small details too like it doesn’t have to be big and matter but it makes the oc feel real and better to play in my opinion. But this goes if our ocs are friends too I’d love that too even if they meet in a stupid way. …I’m not entirely the best writer I’m sorry,,,but I try my best or give ideas so you won’t be hanging😞

I tend to fixate on things for too long like Bully ngl it’s been such a fun thing to play and make characters for,,,(I have a few if i may brag) keke, but i switch topics fast sometimes during conversations 😞🫸

Hmm what else….my favorite color is red….there’s more to me I swear 🤏😭

Hope this wasn’t to bad

[hevexns-realm]

Came to talk about Iris from your previous ask and how she is lowkey relatable (father issues part) and been wondering about the lore with your versions of Nazo and Seekladoom (no really where do I start? I’m only more familiar with Nazo)-—

Sees your reblog with superscourge.

Oh ahaha, well it was flattering you thought it was me for a second, but that was not me unfortunately. If they manage to top Glaze’s and Frontier’s AUs though I will be in awe and very scared….

I think it’s safe to say we Scourge Fans tend to really hurt the poor hedgehog when we can I suppose. 😅

On the other hand, hope with whatever we’re going through that we’ll both heal from it. 

-squeals- I AM SO HAPPY YOU ASKED!! 🖤💙🩵

Okay, I have so much on these two in general, I’m going to try and shorten it to keep things from getting out of hand! Because I’ll be here until 9:00PM the next day if I do- (/hj)

Also, I appreciate you being able to relate to Iris. I try to make my characters at least a little relatable, as we’re all human at the base, no matter what we physically look like. We all share similar feelings, emotions, personalities, and blood colors. Why should we judge on one’s physical appearance when we don’t know their lives? That’s at least how I try to think, even if my intrusive thoughts make it difficult sometimes, I always try my best to make sure they don’t affect my morals and hurt others.

So here’s their physical look to describe them as of now.

Nazo is 21 in this AU. Considerably studious amongst everyone else in the group. (with the exception of mephiles and iblis, because they’ve been around much longer than him in this AU.) His fur and quills are slightly darker in color than how he’s seen in Nazo unleashed, and are arguably more soft and fluffy due to his care routine.

Nazo has this mixed style of Old money, Dark academia, and whimsigoth all in one. Lots of simple yet elegant pieces with lots of accessories. He tends to wear a lot of crystal jewelry when he can, and tends to lean towards gold jewelry rather than silver. As it makes the contrast all the more appealing. That doesn’t mean he does experiment with different styles and designs, as he doesn’t care much about societal standards all that much. He wears what he feels comfortable in, and doesn’t mind the stares.

Despite him being a literal being of negative energy, and still being regarded as a villain by most, he’s considered more empathetic out of him and seelka. We also see him have more morals than most of the other villains you see throughout the story, and that’s due to his ability to sense negative energy in general. (Also through Sonic multiverse mayhem, where Nazo shows genuine concern over seelka wanting to burn down an orphanage, so we know he’s got some sort of morals.) as negative chaos energy Isn’t the only thing he feels, it’s negative energy in general, which includes negative emotions.

This negative energy goes into creating his perfect form, which is still obtainable with or without the chaos emeralds now, he just uses them as a power boost.

He loves classic/dark academia literature and history of humans, the scent of rain and earth when a storm is about to hit, and also likes melancholy type of weather. He loves tea, particularly the more sweeter ones, as he does have a small sweet tooth, and prefers to either stay inside or go somewhere quiet. He prefers solleanna’s cathedral libraries, the ones that are open until the late evenings as he drowns out the world in the great minds of the past. The histories of the world as he sees them form in his head. He also loves classical music, as there’s usually no lyrics to them. If there are, they have no cuss words or slang, innapropriate themes of drugs, gangs, SA, etc. It feels timeless to him, and it helps him relax whenever he is angry, or when he’s in the artistry room in their home, either designing something that came from his head, or drawing something that he saw while out and about.

Seelkadoom is 22 in this au, and is almost the complete opposite of Nazo. While he is also quite intelligent in not only books, combat, and street smarts, he’s also quite loud and brash when in particular groups of people. He’s quite extroverted, and is much more physically active than most of the others!

He loves anything grungy or alternative, this goes for both clothing and music. He loves the smell of metal, roses, leather, and rain. He loves comfort foods like soups, cultural comforts like onigiri, shrimp Alfredo, and just anything that’s warm and soft, warm, and filling. Although he’s not afraid of trying all sorts of culinary tastes from all over the world! He particularly likes music artists like Troy, Johnathan young, etc!

Cozy games from independent developers like lost in random, subnautica, and cult of the lamb are some of his favorites to play. Although he isn’t afraid of loading up overwatch or COD if he’s up for it!

Seelka has less morals than nazo, but not so few he’s considered a borderline monster. Even he has his limits and boundaries, and it’s best to be wise and not purposefully cross them too much, less you wish for death.

Seelka is a night owl. You cannot get this man to sleep at night unless you shove melatonin down his throat, which is why he likes to sleep all day and participate in cool stuff at night!

The only real “family” either of them have outside of the gang is seelkadoom’s creator/father, Dr. Eggman. They actually have a good relationship of father and son, and they tend to still hang around him on holidays.

How do they meet? Well, given the context that Nazo doesn’t die and he isn’t immediately taken into G.U.N’s custody, he’s basically Eggman’s right hand man. He’s the one that’s in control while the doctor is gone doing villian shit as he rests and recovers from the huge fight between him, shadow, and Sonic.

Few days later, seelka comes out of his coma after his fight with hyper sonic. With an itch to fight, he starts heading towards the doctor’s chambers to either get a fight out of him, or figure out where Sonic and shadow are to give them a beating maybe.

That is until the two lock eyes, and then the confusion begins. Who is this guy? Why is he in the doctor’s lab? Is he a friend or a foe? And why does he look conviently attractive?

So after a lot of confusion of the two wondering what the hell was going on, Eggman introduces them to the other and makes them work together.

It’s a slow process, but it’s not like they actively hate each other’s guts. It’s the usual strangers to friends thing with a little bit of awkwardness from Nazo. Eventually he warms up to seelka, and they become good friends.

Then a world pandemic happens, and G.U.N requires not only Dr. Eggman’s assistance, but seelka and Nazo’s help as well.

Then after a lot of soft moments while under G.U.N’s care, seelka finally got the guts to confess to nazo, which leads to a very soft and sweet moment between the two of them!

Once the experiments are done, and the pandemic subsides, Nazo and seelka are both paid generously by the government for their contributions and cooperation.

They both expected to get maybe like, $10-$20k, at most $30k. What they didn’t expect was for Eggman to come out crying tears of joy, showing they have almost $20 million in the bank.

So then Eggman takes on the role of seelka’s dad figure and helps them with the adult stuff. Taxes, bills, credit, investments, etc. In return he ends up being gifted $2,500,000 by the two, allowing him to be able to retire and live his life abroad. Not needing to keep fighting Sonic, as they’re willing to be the ones who cause mayhem for him.

Does that stop egghead? Nope, if anything it helps him get started on his empire! But instead of trying to take over the world, he starts with becoming the leader of a small nation, and start from there. Then he uses the money to invest into the people, the country, everything. Plus, unlike in Sonic prime, he’s actually a good and genuine leader, not blinded by the greed of wealth. As he knows wealth builds in the long run, and if he does it right, the world will be his. He just needs to keep a level head!

However, seelka starts getting bored staying inside all night and sleeping all day in their new home. So he eventually decides to take a shot at a night shift job, and is lucky enough to be taken under the wing of solleanna’s most prominent employer in the entertainment industry, Mary Jane the Cat, or MMJ for short.

She teaches him everything he needs to know about being a bartender and a card dealer, and eventually hires him for the job.

And that’s where they are now in my AU! I’m so sorry it took me so long to make this, school has been wacky, so I hope it’s worth the wait anon!

Taglist for any mutuals who want the lore:

@thebreadmeower @hunniegl4zed

[fromtenthousandfeet]

The fact that people only talk about Euphoria and still with you for JK but for Jimin every army knows the roster of lie, serendipity, filter and promise. I genuinely do not care which member is the "most famous" because for example currently Sabrina Carpenter is more famous than Olivia Rodrigo but OR will surge up again with her next album release and in the end I enjoy listening to them both. This comparison stuff is idiotic. But I genuinely laugh when people say JK is better than Jimin - because by what measure? Jimin has better songs and has more iconic performances. I guess people could say JK has better vocals but I'm gonna be honest that's highly subjective. It's not like we're dealing with a Beyonce or an Adele here. JK's level of vocals can be found in any SM groups vocalist. I'd say Jimin has the edge with vocal colour and JK's vocals are getting more bland with every passing year (why's his voice on still with you better than anything on golden?) while Jimin's getting better and better with vocal control which was the only area JK had a clear edge over him. Man is coasting by because he's the company favourite and has 11 years of company narrative pitching him as the main character but somehow Jimin's still keeping up with half the tools and half the support.

I suppose JK has a bigger army of femcels who want to f*ck him as fans and loser kpopies are also by his side. Poor Jimin missing out on that demographic of fans - very sad. But JK better hide his girlfriend better in the future because his crazy brood of fans may lose it if he ever decides to get into a public relationship. Ask kth on how quickly your fans turn on you for the cardinal sin of not being single or screwing your bandmate.

Old asks! This one is from August 5th.

Hmm. What to say? I don't like Jungkook's voice. I just don't. I didn't like it in Dynamite, and I don't like it now. When listening to BTS songs I find myself waiting for Jungkook's parts to end. I'm not sure what it is about the quality of his voice that bugs me, but it started long before I lost all respect for him during chapter 2. It feels too forced, maybe? He tries to use power to make up for a lack of emotion? A little too nasal? (Pro tip - address your food sensitivities to clear up your allergic rhinitis). My dream is for someone who is good with Garage Band, or another music app, to put JK and Justin Bieber singing the same notes side by side. I think the difference in quality and tone would be interesting.

I've said this a million times already, but the US is NOT lacking in exceptional singers. This country isn't suffering from a Jungkook deficiency, or a K-pop deficiency for that matter. What made BTS stand out in the first place was their original music and the impressive choreography/performances. Jimin's lovely, clear singing voice (plus the growls) and insane dance skills have always been central to BTS' success. There is definitely a precedent and passion for performers like Jimin, though. We love a good song and dance man!

Based on the few photos I've seen from JK's exhibition in Seoul and the upcoming I am Still, it looks like HYBE is leaning hard into the sex symbol concept. Lots on naked chest and abs. Lots of tatted, pierced bad boy stares. And what else is there? There's no artistry to focus on, unless you're super into his dancing style. I hope that works out for Jungkook and HYBE. Like you said, there's a demographic within the fandom that's completely down with lusting after him. To each her own, I guess.

Jimin will shine no matter what. He has integrity, artistry, sex appeal, and sings with emotion. Don't sweat Jungkook. He'll have his fans, of course, but I don't think he'll ever have the loyal, committed following, let alone the media attention, Jimin naturally attracts. Look no further than the difference in their birthday celebrations in Korea. One is a national holiday, the other is definitely not.

P.S. OMG, I can't wait for Jungkook's girlfriend reveal. A good chunk of the fandom will need psychiatric help.

[a34trgv2]

The Problem With Exposition Dumps

In any form of entertainment, it's important to establish some context for the events of the story. There is a right way to do it and a wrong way. Dumping exposition onto the audience is most certainly the wrong way. For this post, I'm going to explain my problem with exposition dumps and how to better convey exposition. And in case you're wondering, no, I'm not going to put down writers who use exposition dumps as "lazy" or "pathetic."" My intent is always to educate, not belittle.

You should be familiar with what an exposition dump is as they pop up everywhere. In movies, TV shows, video games, radio podcasts and etc.. Characters will stop the story dead in it's tracks to spend more than a paragraph talking about lore, character backstorys, or the setting they're in. This makes for boring entertainment because at that point, the characters are just spouting random trivia from the story bible and not actually telling a compelling story. I'm all about fun facts and interesting lore, but not at the expense of good storytelling and creative world building.

Let's dissect this clip from Moon Girl and Devil Dinosaur. Moon Girl says that she's tired, yet the way she's animated in the clip leads me to believe otherwise as she's not panting or sweating. She also mentions that the bad guy is getting stronger, then asks "but how?" I can suspend my disbelief enough to get behind a child prodigy befriending a dinosaur and fighting bad guys in New York, but I don't buy for a second she doesn't know what a troll is. But okay, let's actually assume she doesn't know what a troll is (as unlikely as that sounds); she should still put 2 and 2 together when she sees that everytime she takes his petty comments personally, he gets stronger. She should've known before this particular clip that he was feeding off her negative emotions like a parasite, or in this case, a symbiote. She then zooms in on the troll and realizes that it's a symbiote before spelling out for the audience what a symbiote's weakness is. First of all, even if people didn't know what a symbiote was, you could've still showed us what it's weakness is by having Devil roar immediately. Or better yet, leave it a mystery to be solved in a latter episode because it honestly doesn't matter too much in the context of the episode. Second, you mean to tell me this kid knows what an alien symbiote is but not a troll? This makes her less of a relatable kid who just so happens to be smart and more like a socially inept outcast who's so caught up in science and math that she's basically stupid when it comes to being a human. Not only was this exposition dump useless, but it was also poorly constructed based on what we already know about Moon Girl and what kind of girl she's supposed to be.

Is there a way to give exposition without it feeling pointless and boring, though? Actually, yes. One of the best examples I can think of is the opening to Samurai Jack. It perfectly sums up the main driving force behind Jack's quest with the late-great Mako's chilling and sinster voice, and eerie flute plaing, and the still images that look like ancient Japanese artwork. The lines used are also vague enough for the audience to fill in the gaps and we're told just enough to be invested in the story. Exposition can also be told in a way that's funny, such as in the Wander Over Yonder episode The Ball, where Beeza nonchalantly explains to Wander and Sylvia that the world is ending (again) at the paws of a giant space puppy. The comedic timing is on point as Tara Strong gives a very relaxed and soft spoken delivery as Beeza mentions cannibalism and starvation as possible fates for her people. Exposition can even be sung in a banging musical number, such as Part Of Your World from Little Mermaid, One Day More from Les Miserable, or the iconic Oompa Loompa songs from Willy Wonka and the Chocolate Factory. In the hands of the right storyteller, the exposition scene could be an audience member's favorite moment from the story.

As the saying goes, less is more. This is especially true when you're writing exposition. Dumping exposition on the audience will either frustrate them or bore them to sleep. If you're gonna give exposition during the story, try having it delivered in a way that's interesting; i.e. during an action scene like in Kung Fu Panda, a funny scene like in The Bad Guys, or in a musical number like in The Hunchback of Notre Dame. Just because exposition is necessary doesn't mean it has to be boring. Exposition is the avocado of storytelling. Alone, it's as bland and boring as paint drying on a rainy day. With the right ingredients, though, it can make for some pretty good guacamole. See you next time ✌️

[ms-cartoon]

I gotta be for real, I actually like this episode. The only reason why is because Vox is introduced and I'm starting to like Vox. He might be my favorite character second to Husk. As a matter of fact, I change my mind about what I said about his voice, it actually fits pretty well! Maybe not with his character appearance, but Christian still did a great job fitting the rest of his character.

I also like his rivarly with Alastor as well as their song! Though I wish the musical number had less talking in it since it was hard for me to keep up.

Now that I got my positivity out of the way, let's start complaining.

WARNING: SPOILERS!!!

-- Alex Brightman as Sir Pentious does NOT work for me. He doesn't match with the pilot voice actor at all. It's too high-pitched and annoying.

-- It's kinda off topic and I should've brought it up earlier, but Vaggie's voice acting is off too. Stephanie doesn't sound completely bad. She still fits the role sorta, but at the same time, she also sounds dead, like she doesn't have much emotion in her when she speaks, unlike her pilot version.

-- As expected, the three V's don't seem much of a threat AT ALL. They're so unserious, that you forget they're overlords. Their dialogue is like they're still in high school especially Val being the youngest baby of the litter. Honestly, I think Vox acts much more of a villainous overlord than the other two. He may not look it, but he still fits the role and is much more serious than the other two.

-- Valentino is NOTHING like how he's portrayed in the addict video or the comics. In the comics and music vid, he actually looked like someone you don't wanna mess with in any circumstances. And with the way Angel Dust gets so nervous around him, you'd think he'd look and sound like someone we're supposed to see as abusive and controlling. Not to mention that he's an overlord so he's most likely powerful than he seems to be. But in the show, all I see is a stupid, whiny little brat who throws a temper tantrum when pissed off and is babied by Vox who feels he needs to "calm him down."

-- And what is up with his voice???? No disrespect to the voice actor, but this is NOT what I was expecting him to sound like. So Val is supposed to be hispanic, but dude keeps falling in and out of his spanish accent. It's like he can't even decide whether to stick with it or not. Whoever voice directed him didn't do the best job. Also, this is mostly a preference, but I also pictured him to have a rather deeper and sleezing tone in his voice, along with some sass.

-- Valentino: "That slippery twink is gonna remember who owns him. I'm going to f**k everyone in that rancid shithole, I swear to god!"

Yeah okay Slickback

Val is fully aware that Alastor works at the hotel now. Alastor, the same scary-ass demon that could even take on Lucifer in a fight. Not to mention Lucifer's daughter is currently owning that hotel. What makes Valentino think he could even stand a chance against either of them??

-- Angel Dust: This chump was trying to kill us, like, 6 hours ago. Now you wanna bring him in here to live with us??"

Why does Angel care so much about Pentious staying in the hotel?? Dude doesn't even take the snake seriously enough to even care about him being around. Is he worried about him trying to kill him or something? If so, where was this care when you got involved in the turf war with Cherri or when he showed up to try and kill Alastor? All he ever did was mock Sir pentious with his carefree attitude.

-- Charlie: I'm so excited to have our first real guest!

Angel Dust: What the hell am I then??

Umm . . . NOT their guest. You were a TEST SUBJECT. They brought you in to see if the chances to be redeemed and sent to heaven are possible, except you never cared enough to compromise. Don't be surprised that their not giving you the same treatment.

-- Vaggie: "You constantly make us look bad, sexually harrass the staff, and never once tried to improve.

I mean- she ain't lying. Is Angel Dust making a sad face supposed to make me feel bad or something, cuz . . . . it isn't. He didn't even participate in the game Charlie was trying to set up calling it "stupid", which further proves Vaggie's point. If you want approval so badly, actually try to compromise. Doesn't even seem like he can make up his mind about it anyway. He'll find all this redemption activity to be stupid and a waste of time, but then looks at Charlie praising Sir Pentious instead of him and he'll start to act all sad and jealous??? Like dude- PICK A LANE!!

-- Not that the way Angel's acting makes sense anyway. In the pilot, and even in the addict video, it is clear as day that he doesn't give a shit about the Habzbin Hotel! He doesn't even wanna behave and he doesn't trust the idea of sinners redeeming themselves. He wasn't even all that friendly with Charlie or Vaggie. Now in this episode, he'll start to feel all bad and jealous when Charlie is praising Sir Pentious. It's like Viv can't make up her mind on how she wants Angel to feel.

-- Also Vaggie openly calls out Angel Dust for sexually harassing the staff and the fans (including Viv) will look at this as "Haha heehee, that's funny" and not "Eww! What is wrong you? That's disgusting!"

-- Instead of sounding like Angel's pimp, Val sounds more like an crazy ex-boyfriend in the dozens of voicemails he sent. Am I really supposed to take him seriously as a villain???

-- Angel was chugging a bottle of booze like its a Gatorade bottle. Idk why, but something about that bugged me, lol!

-- This is a genuine question I don't get, so feel free to answer. When Angel catches Sir Pentious setting up the spy camera like he was instructed by Vox to do, how does he immediately assume Pen is working for the three V's?? Is it cuz of the camera? Does he recognize it as belonging to Vox??

-- Once again, I don't understand why Angel cares so much about what Sir Pentious does since it's been shown how much he doesn't care about the Hotel. So it doesn't make any sense why he's angry and trying to stop him. Also, what causes him to jump Sir Pentious is when he's called a whore by him! WHY??? Back at the pilot, he was called a slut by Travis and didn't give much of a reaction, back-talking him. Which only shows he doesn't care about what people's opinions are of him. He'll be called a tramp and he'll reply with an "i don't care" smile. However, with Sir Pentious, he's immediately triggered and attacks him?? Something tells me that Angel's character is a whole other retcon. Viv can't decide if she wants him to be someone with a devil-may-care attitude who doesn't care about redemption or someone who really does want to change his ways and cares about the well-being of Charlie and the rest of the characters.

[jaxlol5]

copy pasting my review of the helluva boss music video here just because

for further context when i wrote the review on discord i had no idea that this was a COVER of an already existing song made by PARANOiD DJ back in 2021. just so i don't look stupid imma be tweaking a bit of my review that's just saying 'why would viv write THIS' because at most she just slightly changed it a bit, or that's what i'm assuming anyway.

i'm also gonna add a bit more to my review here such as the lyric changes and the overall emotional weight of the song. i'm not really gonna review it animation or song-wise, because the animation is fucking specTACULAR, and the song aspect doesn't matter much to me. i think the original 2021 version is pretty good at least.

this song [i'm guessing at least] comes after S2 E6 'OOPS', which was a half-sequel to S2 E1 'The Circus', meaning that Stolas finally has the Asmodean crystal that he plans to give to Blitzo, either to cut ties from him completely or to see if he'll keep talking to Stolas after he has a new way to get to earth that doesn't involve his grimoire.

(side note idk why viv keeps tryna push 'Stolitz' so much when Blitzo has actively said he doesn't like Stolas romantically and only sees him for the book. but she's gone on to change that multiple times so we went from Blitzo being forced to sleep with Stolas and hating it, to him actually having some kind of feelings, back to hating him, and now back to feelings, over and over. i know Blitzos whole character is that he can't accept affection properly but it's different when this 'affection' is just consensual r4pe via power imbalance and then has to be turned around so that neither Stolas or Blitzo are the bad guys when they clearly are.)

because of the song being made in around 2021, before season 2's downfall, the lyrics had to be changed to fit. which is completely fine to do, mind you, but the issue is what what lyrics in specific were changed. in the original 2021 version, Stolas mentions Octavia and how she must feel about everything happening in her life, but in the new version, it's cut out entirely. Why?? i know the main focus is supposed to be his relationship, but this entire situation is affecting his family as well, and especially Octavia. it makes no sense to completely neglect his own DAUGHTER for someone that he repeatedly fetishizes and treats as lower- but also someone that he idolizes and sees as his true love. i could go on and on about how the changes of their dynamic piss me off but that's a bit of a tangent.

speaking of which why is there 2 songs for stolas doing the same fucking thing. in S2E1 he's singing about blitzo while thinking about leaving him. now in THIS video he's.. singing about blitzo while thinking about leaving him, the only difference is that in the former song he didn't have the crystal, and now he does.

the song in general feels so forced especially with how the Stolitz arc has been progressing, which is barely. they last talked in S2E4 'WESTERN ENERGY' and the very little character it added was all shoved into a 3 second scene of Stolas scrolling thru text of them talking about the events after 'OZZIES'. and then we exclusively see Blitzos side of the aftermath, but not Stolas. he seems perfectly fine compared to Blitzo, or maybe he's not; why not fucking show that! and no the video doesn't count because it's talking about the events that take place after 'OOPS' not 'OZZIES'. pretty sure that former episode canonically takes place months before the latter.

i saw an amazing thread that breaks this video down if you compare it to pearl's song 'It's Over, Isn't It'. it just doesn't work the same way because of the insane power dynamic and the fact that Stolas wanted to keep Blitzo for so long, manipulating him for that want as well. at least he's finally going to let go NOW [i assume], but it feels long overdue, especially with how much these 2 have been forced to deal with.