#also the inherent comedy of being like

[turian]

honestly just so happy about having seen the faces of family i had previously only ever heard about like !!! i didn't know we had any photos but i got shown some yesterday and :)

[cuntstable]

leliana x morrigan is forever btw. the only dragon age ship that exists along side merrill x isabela (unparallered btw but the morriana comes close)

[ardentpoop]

ok lol

[jackienautism]

maybe i’m just being a Bitch about it but like … is anyone sad at how lesbian is mainly used as an umbrella term? like. we don’t even really have our own term

[thedreadvampy]

I mean sure, I can understand this perspective, but I'm not sure whether most people feel less shaken to be thrust into conversations about "self-unaliving" than conversations about "suicide"

and I for one as a survivor would much rather unexpectedly encounter somebody talking about "rape" than somebody talking about how funny it is to have sex with somebody when they don't want to, a normal thing that doesn't need to be named because it's So Normal.

which is to say. this is a post about words. the words are not the distressing thing about the discussion. the distressing thing is the distressing thing about the discussion. sugarcoating, dodging or renaming the distressing thing doesn't make it less distressing but it DOES often make it harder to have a frank discussion about it or address it in serious terms.

[pinch of salt: solid probability from their blog that this person is a Literal 14 Year Old and the perspective from 30 and 14 are very different. I do stand by all the points I'm making but I think this conversation lands a lot different for people at different life stages - there is something to be said for the general issue that the internet has flattened social groups to the degree that I as a 30 year old can make a post to my audience of largely adult millennials that immediately enters the same conversational space as people half my age and still in school. that seems. ungreat. as the primary way we engage in conversation. but I don't have solutions to offer.]

you gotta be able to say "die"

you gotta be able to say "suicide"

you gotta be able to talk about "sex"

they're uncomfortable topics, YEAH for SURE

because LIFE is uncomfortable. Death and suicide and sex and pain are straight up going to happen. not having words for the way it discomforts you doesn't make it more comfortable, it just makes you less able to reach out about it.

even more vital, you gotta be able to say words like "rape", "abuse", "queer" or "racist". cause we fought fucking hard to name those experiences. to identify "rape" as distinct from "sex" and "racism" as distinct from "acceptable behaviour" and "queer" as distinct from "invert"

like the function of communication is not to minimise immediate discomfort. we gotta be able to talk about stuff that's hard or sucks or causes difficult conversations.

[unproduciblesmackdown]

lavender marriage / beard for the soulmate or timeloop au

[floorpancakes]

say what you want about various things but clamp were kinda cooking when they were like 'if ur not around your gay love interest for like three hours you may just simply eat shit and fall out of a window and die' 😭

[tofixtheshadows]

You guys really need to stop and consider the ways you're talking about Kabru I am dead fucking serious. Like I know that flattening characters is just what fandom does to a certain extent, but Kabru's actual personality is getting lost to the fandom hivemind insisting that he's aggressive/cruel/sociopathic/hateful, and these are particularly concerning takes to see leveled at the only brown character in the main cast day after day. "My poor sweet golden child Laios needs to be protected from this scary brown man" is not a good look! Like, it's very telling that the bulk of the hate and bad faith readings are reserved for Toshiro and Kabru. Everyone else's flaws get to be discussed and validated and forgiven (or erased), meanwhile people are straight making up things to be mad about with Toshiro and Kabru but patting themselves on the back for being smart.

The worst part is how undeserved it all is. I'm trying to lay off anime-onlys because we're still kind of in the red herring stage of getting to know Kabru, but I would still like to gently suggest that even if you think Kabru is up to something, you don't gave to get in the tags of every fan creator's post and bring up how you hate him or You Can Tell he's totally evil. Sometimes I think Kabru's blue eyes give people license to say things about his appearance that they know would sound completely racist otherwise, but referring to his blue eyes acts as a get-out-of-racism free card. The jokes about the dog with brown contacts are getting old, by the way.

For people who have read the manga, it's disappointing. Kabru is one of the most complex and important characters in the story, and if you base your interpretation of him and all your fandom interactions on shallow first impressions you are completely missing out.

I know part of this is because Dungeon Meshi is a comedy, but the story also wants to be taken seriously. For example, it's admittedly really funny when Chilchuck calls Laios "sick in the head", but that doesn't change the fact that the way Chilchuck casually belittles Laios caused him to hide the fact that he was "hallucinating" from his friends for weeks. Those feelings matter.

Like, this

is funny.

But this?

Is not. This is just a very clear example of a brown boy with PTSD. As someone else with PTSD, just looking at this fucking sucks, man.

The only reason why Kabru thinks about killing Laios is because he is in the middle of a flashback. He's struggling through a panic attack. If he truly wanted to kill Laios because he's violent or because he finds Laios inherently annoying, he wouldn't otherwise talk with Laios normally. Notice how he doesn't act this way at any other point in the story- it's just because he's triggered by monsters. Even when he's thinking about his plans to "deal with" Laios later, he's reluctant to actually kill him and only considers it to prevent another tragedy. Despite his deadly skills, Kabru relies far more on "soft" power- insight, persuasion, diplomacy. He's a rare example of a character who absolutely is, or at least can be, manipulative, but seems to use his abilities for good. He's not a pathological liar, he isn't looking down on everyone behind a smile. He's someone who is extremely emotionally intelligent, and he's willing to put aside all his own basic wants and needs to stop the cycle of dungeons devouring humans.

I'm going to cut a potential thesis on his character short and just give some examples of things that fandom should consider about his personality more:

Racism in fandom isn't just about whitewashing in fan art, or using racial slurs. The insidiousness of bad faith readings, reductions to racist tropes, lack of fan content for characters of color, and dismissal of a character's complexity are far more common. You can believe yourself to be completely neutral or even positive about a character and still churn out low-grade bile about them into fandom's collective unconscious. Fandom reflects real life.

And I have been around fandom long enough to see how these behaviors (mostly from my fellow white fans) affect fans of color, how it makes a fandom feel hostile and unwelcome to them. It's fun to make jokes and memes, I'm absolutely not saying that everything needs to be a deeply nuanced take, but we need to be careful that it doesn't veer into toxicity. Please think about how our contributions to fandom come across, and what sort of vibes they cultivate in this communal space.

[hotvintagepoll]

Propaganda

Jane Fonda (Barbarella, Sunday in New York, Barefoot in the Park)—Feminist icon, LGBTQ+ rights activist since the 70s, Civil Rights and Native American rights advocate, environmentalist… she really is THE woman ever

Rita Hayworth (Gilda, Cover Girl)—Absolutely, drop-dead gorgeous. She steals every movie she’s in; she was Fred Astaire’s favorite dance partner, as you can see in clips from their movies [link][link]. Born Margarita Carmen Cansino, Rita's story had its tragedies—her father was awful and had her performing in nightclubs way, way too young; the studio totally remade her look because they were afraid of her hispanic image, putting her through painful treatments and diets; she had a string of failed marriages. But beside all that, I think there's something about Rita that still glows through—an inner beauty that has nothing to do with the studio, or the men who pinned their dreams on her. Rita brings an incandescence to roles that's impossible to replicate, and was truly a great actress in that she could switch from herself—shy Margarita—into a bold and glamorous femme fatale so convincingly everyone fell in love with her as Gilda. She's my favorite movie star, and I think she was a beautiful human through and through—Rita, gorgeous and real and shining bright.

This is round 5 of the tournament. All other polls in this bracket can be found here. Please reblog with further support of your beloved hot sexy vintage woman.

[additional propaganda submitted under the cut.]

Jane Fonda:

" I assume she's already been submitted but I gotta make sure. I think there's an element to movies like Barbarella or her segment of Spirit of the Dead of those having been directed by her husband, who famously made movies about her being hot, and the incredible costume design also helped, but good lord. Look at her"

"She was so pretty, dear lord! She was and still us stunning. She’s great at comedy and drama."

"Shes so hot im so gay for me i will let her hit me with hers car"

"Gorgeous and also still getting arrested at climate protests, which is sexy behavior"

"Watching her in Barefoot in the Park seriously made me, a straight woman, question things"

"PLEASE I LOVE HER SO MUCH"

"Her vibes in these movies are so interesting because she, the daughter of an Old Hollywood star, went on to make both poignant dramatic movies and the some of the silliest things you've ever seen but even in the silly space adventures and sexploitations there's always this undeniable gravitas to her. It's like she's able not to take herself very seriously but at the same time never stops having this grace and elegance and makes it all work together. And she's always been very politically active which is also sexy. Her famous mugshot is from 1970 so right at the cutoff mark but come on"

Rita Hayworth:

Do you need any other propaganda? Here’s the video.

She was not called "the love goddess" for nothing: beautiful, glamorous, despite playing sexy and provocative roles her inherent shyness somehow also would shine through sometimes, creating this contradictory and incredibly attractive image

Often played "the bad girl" who tempted the male hero away from "the good girl"; but did have roles that broke her out of that mold. She was also the inspiration for Jessica Rabbit. THE pinup girlie.

HELP

She was soo beautiful when she was young and she MAINTAINED that beauty into her later years and I think that old lady glamour is hot. bombastic sex appeal

every line she delivers in gilda is so flirty and passionate or absolutely desolate and it's so good

I just have a lot of feelings about her

[enkays-den]

I have been having so many feelings about the court trial since the livestream on Skizz's birthday.

First off, the court is inherently farcical, which is already so funny you don't NEED to build on it, but they did.

Second, EVERYONE is coming to the courtroom with WILDLY different motivations, which is literally the basis of Shakespearean comedy.

First off, it is the BIGGEST stroke of luck that Joe and Skizz were the only ones available to be lawyers, because I think they are probably the two hermits that could pull of that role best. They both so smart and able to stay on their feet in this absolute KANGAROO COURT

Skizz is the most straightforward. He's playing a classic lawyer, interested in the state of the client, using logic and emotion to build a case. Effective, but for the sake of content, a little dry (not an insult i love skizz i love the lawyer character sm) This IS skizz, though, he knows how to take the MOST effective L possible.

Cleo is mainly here to have fun and make doc suffer, they don't need to win the battle, they just need to win the war, they can throw everyone out the window for the sake of the bit.

Joe as a creator wants to just make everyone have the most intense reaction to what he says possible. He'll help doc win, but it comes at the cost of his pride, which makes cleo happy, but cleo ends up as the losing party. Either way, WE as the audience win.

Doc solely wants to WIN on ALL FRONTS, no matter the cost. He is willing to play along with whatever Joe puts on the table but is also not above taking matters into his own hands and being violent and threatening. He has NO problem admitting he's a madman, but doesn't like being made the fool.

Ultimately, all parties have to play to the whims of Bdubs, who is NOT interested in settling this matter. all he cares about is the spectacle. For all he cares, EVERYONE could lose if it makes the best show.

Perhaps unfortunately for Doc, there was no way he could win. He is either found INNOCENT due to being a baby, or found GUILTY because he's a full-grown man. He had no choice but to roll with Joe's strategy. Joe had no choice but to defend doc, and thus made a situation that was going to be hilarious regardless.

While Skizz's case was perhaps a bit pedestrian and dull, the prosecution gets an advantage that the defense does not: the lure of a good sentence. The MOMENT Cleo put forward the idea that doc's punishment was boredom, it was a closed case. Bdubs knew nothing would make him more angry that being forced to do nothing but try and scavenge a pitiful existence in the middle of nowhere.

Doc has been gloating that no one in the server can truly match his power or that of the hivemind, but he now has to face the worst opponent of them all: his own innate flaws.

I love this server sm

[sminny-wew]

I had a long discussion with friends earlier about the gender bias in how YA books are marketed and it somehow evolved into me saying "We need more fiction that questions the concept of attraction itself"

We got into how easily romance can be latched onto other genres (romantic comedy, romantic drama, fantasy romance, historical romance, etc.) and I started asking myself what an arocom (aromantic comedy) would look like. I decided, based on an old Tumblr post I can't find that joked about some comedy movie being aro representation b/c it had no romance, that it can't just be "a comedy with no romance at all", because then that's just a regular old comedy. By that logic, SpongeBob would be an arocom, which doesn't make sense b/c it largely focuses on non-romantic plots (SpongeBob working at his job, failing to get his license, the general shenanigans he and his friends get into) and only addresses romance sparingly, depending on the plot of an episode.

It sucks to admit but at least from my perspective, in order for a piece of media to qualify as "aromantic/asexual media" in the heavily sex- and romance-catered media landscape, it kinda needs to address sex and romance in the first place. As wonderful as it would be to escape for a few hours to a book or show or game where romance isn't addressed at all and think of that as aro rep, you can't really call attention to a character's lack of romantic or sexual attraction without acknowledging, even indirectly, that those exact things exist within the text.

I'm not saying sex and romance are inherently bad either. There are aces who engage in sexual activities, aros who date, folks on both spectrums who engage in kink because kink is not inherently sexual and just approach relationships in so many incredibly nuanced ways. It's not just about aspecs also having parents and siblings and pets either, we have friends and coworkers and neighbors. We have interests and skills and hobbies. But it's not just the cishets who place sex and romance on such a high pedestal as "fundamental aspects of what makes people human", I see it within the LGBT community too. There are more than a few openly queer folks out there who don't know or have forgotten that because asexuality and aromanticism are a lack or absence of attraction (and thus a lack/absence of conformist heterosexuality), that we are, to varying degrees, queer as well. And thus media with aroace subtext (or just text for that matter) tends to get excluded from discussions of queer subtext.

I feel like I got a little off-topic and rambly but Idk I just think we need more aspec fiction where people are free to explore all spectrums of attraction as much as they want, ask questions about what defines a relationship, and just generally bear in mind relationship anarchy when they create. I'd like to see it in mainstream media but I'd also like to see it in fanfic too

(Btw everything I just said also extends to people who are poly)

[halfway-house-in-hell]

vaggie valtiel redesign!!

(two alternate versions of her angelic weapon)

+ramblings under cut

-valtiel is a fallen angel who fell from heaven around the 1950s. she was heaven-born and enlisted in the angelic "army" (the one that mainly focuses in killing demons) and was an active member she failed to kill a demon she had been assigned, resulting in the death of an angel, and she was kicked out and stripped of her angelic status(including wings and also eye i guess) (i dont really have too specific of a reason why she was kicked out might change it later but all that matters is she was forcibly exiled to hell).

-she managed to sneak an angelic weapon with her to hell before she was exiled (maybw there was a trial which gave her time to prepare?? im still figuring this shit out)

-initially she was extremely distrustful of the demons, and lied about being a sinner sent to hell as she did not want to attract attention to herself (being a fallen angel in hell will guarantee you a reputation) but she began to open up when she met charlie.

-she is very closed off and a very stubborn person. after falling from heaven she took an oath to become a pacifist, something she will inevitably have to break.

-her loyalty lies first and foremost in the hotel. despite being rejected by heaven she still believes that it is a better fate and that charlie's plan is ultimately helpful

-charlie is the only person she can really open up to. they just click. when they met valtiel was hostile towards charlie, but her optimism made valtiel realise that demons weren't inherently evil and gave her hope for the future

-charlie does not know valtiel is a fallen angel

-valtiel does not plan to tell her

-charlie finds out anyways

-it starts with valtiels spear that she is forced to use to protect charlie (maybe its like,, demons often try and kidnap or harm charlie as they wish to threaten lucifer/lilith and she is an easy target)

-"hey where did you get that angelic weapon v"

-"dont worry abt it kitten"

-"ok❤️ yay❤️ wanna cover it over so it doesnt draw attention to you"

-i dont know exactly how charlie finds out valtiel is a fallen angel but i will have it soon

-if im pretending this is an animated show jtst like the real version then comedy would come from how edgy valtiel is all of the time deviantart oc ass girl (affectionate)

-her design went through the most changes since i drew it up originally she had white shorts and no red ribbons (i had to add the red from her canon design back in bc the purple was too much. v*vsiepop redesign improved by adding the red back in ..... truly shocking)

- i really hope this is all readable

[ardentpoop]

physically recoiled at how much i dislike this take. dont pit the girls against each other like that weirdo . it’s giving *retches* supernatural fandom discourse 

[room-surprise]

PSA: There are no Dungeons in Dungeon Meshi! They're labyrinths!

(WARNING FOR MANGA SPOILERS)

When the characters in the manga talk about dungeons, in Japanese they are actually using the word 迷宮 (meikyū) which means labyrinth. The connotation based on the kanji used is a palace or castle with many confusing rooms. The word “dungeon” (ダンジョン, danjon) is only every used in the manga’s title, when the narrator of the manga is referring to the title ("ahh Dungeon Meshi!"), or when Kui discusses dungoniums (ダンジョニウム/Danjoniumu) which she describes in the world guide as miniature dungeons, built to emulate a labyrinth.

The English loan word “dungeon” is most likely intended to catch Japanese reader’s eyes because it is foreign and exotic, and lead them into a false sense of security because of the Japanese pop culture perception of “dungeon” as a relatively harmless place where characters have formulaic adventures and gather resources as part of a game, or a game-like story.

“Dungeons” in Japanese pop culture can be sinister, but they have come to mean something as innocuous as “level” or “environment.” The early story of Dungeon Meshi is lighthearted and full of comedy, which reinforces this idea and leads readers to believe that the labyrinth in the story is just a generic backdrop with little inherent importance, like it is in many fantasy stories. However, Kui repeatedly suggests the labyrinth is not benign, that it is itself a monster and that anyone foolish enough to go into it is at risk of becoming food, and being devoured.

Before the word dungeon came to generically mean “place to exploit for resources” in fantasy fiction and gaming, its primary meaning was prison. So then the title “Dungeon Meshi” actually means “prison meal.” But who or what does the prison in Dungeon Meshi contain? Of all the people in the dungeon, who are the prisoners? And what does a “prison meal” really mean? A meal eaten by prisoners? A meal cooked by prisoners? A meal cooked using prisoners as ingredients? All of these meanings are implied and hinted at in the manga.

The characters in the story call the dungeon a labyrinth, which is a word that means a maze-like prison, specifically one that traps innocent young people and a man-eating monster inside. Both the monster and its food, the people, are prisoners… But which of them will die and be eaten? Who will escape the labyrinth in the end, and what will it cost them?

You’ll have to read Dungeon Meshi to find out!

======================

But so, you may ask, Mushroom, aside from all that stuff you just said, why does the dungeon/labyrinth distinction matter?

ARIADNE SPIDERS

(Using the cute version here to protect anyone with arachnophobia)

These are giant spiders that the elves use to produce silk, which they use to make the armor the Canaries wear. Though we don’t know for sure, it’s likely the spiders are domesticated in order to make farming their silk easier.

Ariadne is the name of an Ancient Greek mythological character, and may be derived from the Ancient Cretan dialectical elements ari (ἀρι-) "most" (which is an intensive prefix) and adnós (ἀδνός) "holy", but the exact origins of the name are unknown. It may be pre-Greek and not from the Indo-European language family at all.

Ariadne was a princess of Crete that helped the hero Thesus escape from the maze/dungeon that contained the minotaur by giving Theseus a ball of magic thread. 

The spiders in the manga have a pattern on their backs that looks like a maze, and their silk thread is the thing that protects the Canaries while they’re in the dungeon, and allows them to make it back out alive. The elves may consider the spiders “most holy” because they provide the means for them to protect themselves in battle.

Having the elves use a giant spider as a type of livestock might also be a playful reference to the drow (dark elves) of Dungeons & Dragons, since they worship a spider goddess, and Kui’s elves probably don’t worship the spiders if they’re using them as livestock… Though it’s also possible that they have a reverence for the spiders similar to the way cows are worshiped in parts of India, since some of elven culture appears to be based on South Asia!

THE CANARIES ARE BEING SACRIFICED TO THE DUNGEONS

Minos, Ariadne’s father, prayed to the God Poseidon to help him defeat his brothers and become king. He was sent a snow-white bull as a sign of the God’s favor. Minos was supposed to sacrifice the bull to Posiedon to show his gratitude, but because it was so beautiful Minos kept it, and sacrificed a different, inferior bull instead. 

To punish Minos, Poseidon made Mino’s wife fall in love with the bull, which resulted in her mating with it and giving birth to a half-man, half-bull monster, a minotaur that could only survive by eating human flesh. King Minos constructed a labyrinth to hide the proof of his family’s shame and keep the minotaur trapped inside it.

In order to avoid war with King Minos, the people of Athens made a bargain, and every few years they sent 14 youths from their noble families to Minos as a sacrifice. These young men and women were sent into the labyrinth, where they became lost and trapped, and were eventually eaten by the minotaur. This continued until Ariadne fell in love with one of the Athenian youths, Theseus, and gave him a ball of magic thread which allowed him to kill the minotaur and escape the labyrinth.

There’s many ways this tale parallels the story of Dungeon Meshi. The ancients used the demon to accomplish their goals, and eventually their use of the demon’s power and their failure to control it led to them having to imprison the demon in a maze, and conceal its existence from the rest of the world. Now the elves, the descendants of the ancients, regularly “sacrifice” some of the children of their noble families to the dungeon, in an attempt to keep the demon from breaking free and destroying the world…

(This is an excerpt from my Dungeon Meshi essay.)

[deconstructthesoup]

I think the reason that Dimension 20 really scratches all those itches in my brain is that it really shows what you can do with D&D---and TTRPGs as a whole.

Fantasy High, by itself, is an incredibly compelling concept. What would D&D look like in a semi-modern setting? What would a high school that's all about teaching teens how to be adventurers look like? And the way it's done is beyond inventive, especially if you look at all the encounters in the first season---we've got a literal food fight, a high-speed road chase with tiefling greasers, a nightclub brawl with zombies, vampires, and werewolves, a skating match with a bunch of dwarven middle schoolers and a concrete golem, a high-stakes game of football (ish) with undead jocks that give off major teen slasher vibes, a fight done in an arcade where characters can get trapped in the consoles, and the final battle is done at prom. PROM! How cool is that?

And then we get to the Unsleeping City, which takes the urban fantasy elements that Fantasy High already had and elevates it. The way the D&D lore and magic is interpreted in a modern New York setting is excellent, as is the whole take on the "American Dream," magic literally coming from dreams, ideas, and the imagination. I know that I need to actually finish the UC saga, but from what I've seen and experienced, it is truly fantastic.

And the same energy carries through to the other seasons---my personal favorite outside of Fantasy High being A Court of Fey and Flowers, just because I'm a sucker for any Fey Realm content and I've been raised on Jane Austen---where the genre mashups shine through in the best way possible. I'll admit, I haven't seen A Crown of Candy, purely because I know how heartbreaking and devastating it is and I don't think I can physically handle it, but the concept of Candyland Game of Thrones is so beautifully bizarre that I totally get why people love it so much. Escape from the Bloodkeep hitting that workplace comedy vibe that we love to see in villains. Misfits & Magic being a love letter to the "magical boarding school" genre while also calling out all the weird contradictions inherent in it. A Starstruck Odyssey literally being an homage to Brennan's mom and exactly the kind of madcap and unhinged energy I need from my sci-fi. Neverafter perfectly encapsulating the true horror of fairy tales. Mentopolis hitting my noir-loving heart and personifying hyperfixation in the best way possible.

I'm not even kidding when I say that, if it weren't for Dimension 20... I probably wouldn't have even started my own campaign. I'd had snippets and ideas ever since officially getting into D&D and joining a game with some old friends (and getting back in touch with them in the process), but after I saw the Mentopolis trailer, I realized just how much variety TTRGPs had to offer. I could do a time-blending, history-meets-future campaign. I could go out-of-the-box. I could have endless amounts of options available to my friends and still tell the story that I wanted to tell. And when I sat down and watched Fantasy High---and when I got that Dropout subscription so I could consume whatever I wanted---it felt like the show was actually giving me advice. It's fantastic.

Also it helps that the episodes are usually only roughly a couple hours instead of being, like, an entire afternoon long. And that each season is 20 episodes, tops. No offense to Critical Role, but the sheer amount of content literally makes it impossible for me to get into it.

[bisnes-socks]

i added my thoughts to the takavoltti lyrical analysis here but today i want to talk about why i think takavoltti is one of käärijä's most finnish songs ever.

this got a bit long, so just so you know what to expect going in: what i mean by most finnish is that there are references and tone of voice that are very specific to finland, there is complex use of the finnish language AND there are melodic/musical choices in the song that sound very finnish to me.

okay, here goes.

the dialogue that opens the song is already a sort of key moment to this finnishness of it all. when he says "emmä tiedä, kolisee jos kolisee, mut mun on pakko sit koittaa vetää tosi matalalla" he is doing a bit of a voice but more than that, he is talking in a way that is not quite his. his inflection, the rhythm, those are not natural to him or his dialect. you can hear it particularly when he says "koittaa vetää tosi matalalla". i don't know if it's at all easy to hear if you're not finnish, but it's not.. a serious voice or tone. the other two voices, one of them is modified to be high and the other talks like a sports announcer. the whole scene is quite comedic and it's a very specific genre of comedy that is very finnish indeed. it's also the type of thing he has been doing since always. (EDIT: OKEI MORE CONTEXT IN A REBLOG HERE)

funnily enough, you guys know köpi kallio now, the therapist in skit and autiomaa video? yeah köpi and his long time partner in crime viki are good examples of this type of humour i would say. they have their own podcast/show called viki ja köpi show but before that they were radio hosts and have been working together for ten years. the character voices and the whole vibe of the scene in the beginning of the song is very viki ja köpi to me, very ylex type comedy (yes ylex the radio station who did the ruisrock interview who still isn't back from the war).

and the small comedy bits stay in there through out the song, and they continue to have the same delivery instantly recognisable as comedic.

and that isn't to say the subject matter can't be serious. i think, again, this is something that feels inherently finnish to me. other finnish people feel free to chime in because this is hard to explain, but our culture is one where coping through making light of things is quite normal. and our sense of humour tends to be on the darker side, at least if you compare it to the american style of comedy that has taken over globally. so to make a song about there being too many demands on you and how you have a problem with setting boundaries and agreeing to insane shit, but to do it by interjecting the song with jokes just idk.. it sits in our culture lmao.

i honestly don't know how to explain this better, but quite dark comedic elements like this (after all he gets properly fucked up in the stunts it seems) in a song with a serious subject matter is something we've been doing for decades in this country (juice leskinen, for example) and it is something so loved by finnish people. we love a song that is just fucked up on multiple levels. käärijä is just adding his own style to this cultural history.

okay, onto the language.

the verse opens with "tekevälle sattuu" which is a finnish proverb.

quick finnish lesson: the word sattua in finnish means both to hurt and to happen. the word tehdä means to do but tehdä kipeää means hurting. like.. now that i think about it tämä tekee kipeää = this is doing (me a) hurt is valid and correct finnish lmao.

tekevälle sattuu, the proverb, actually means "things happen to those who do" but he is playing with the different meanings here, because he goes on to say "ain sattuu ku tekee" which can both mean "things always happen when you do" or it can mean "it always hurts when you do". then he goes on to say "ku tekee, ku kipee, ni kipeetä tekee" which is once again playing with words, because kipee here means both pain but also being sick. "ku tekee, ku kipee" would translate as "when you do as if you're sick" and "kipeetä tekee" means that it hurts.

so to recap (i'm not trying to provide a smooth translation, but highlight his wordplay:

tekevälle sattuu = things/pain happen to those who do [things]

ain sattuu ku tekee = shit happens/you get hurt when you do [things]

ku tekee, ku kipee, ni kipeetä tekee = when you do [things] like you're sick [in the head], you get hurt

so this is all to say two things: he's using the finnish language in a very clever way that really only becomes clear if you know the language and all of these idioms and proverbs. and also that he is very good at what he does. it has taken me four paragraphs to explain 13 words.

and he doesn't even end there. "oon yllytyshullu, ain hulluksi yllyn" is more play on words. jesus, jere. okay guys, stay with me.

yllytyshullu i explained in my previous analysis, but recap: yllytys means incitement and hullu means crazy. yllytyshullu is someone who does crazy shit when prompted.

"ain hulluksi yllyn" here he is using the word yltyä which is the same root as yllytys, but yltyä means usually more like.. to intensify. (for example: sade yltyy = the rain is getting heavier, or tuuli yltyy = the wind is picking up)

so to say hulluksi yllyn, he's saying like.. i let myself be incited and/or i always take it to the max, to the point of crazy.

and then he uses very clever rhyming words: "ja tää hullunmylly on kylmempi kylpy". hullu means crazy, mylly means mill, hullunmylly is basically a hullabaloo.

as you can tell, all of this is like bordering on impossible to translate accurately into a smooth translation. and that's just the first verse, but i'd be here all night if i explained the whole entire song 😭

and this to me is a very clear sign that no matter what sort of an audience he has internationally, he's not compromising on his language. and i find that admirable and, as a finnish person, very comforting too. this song is sort of reassuring, like he is reinserting himself very firmly into finnish culture, with the language and the comedy that do not translate very well. 

and if you look at the pre-chorus and chorus, the specific references keep coming: calling him kärtsä (finnish people have a lot of nicknames for him), "hyppää kybäst pommi" the slang use of kybä to mean ten meters, he mentions duudsonit (the dudesons) and he mentions jorvi hospital. all of these feel like he is signalling to a very finnish audience. (also "oon syypää sun hymyyn" could count as a cheek reference, cheek used to be like the biggest rapper in finland).

okay, time for melody and music speak. i only have one simple point here: melodically and musically speaking that has to be the most suomi iskelmä chorus i've heard from him. ever.

you could take that melody and insert it as the chorus to like any song on iskelmä radio. iskelmä is a finnish schlager music genre. kind of impossible to describe but something that finnish people will instantly recognise. the opening, with the piano synth could also open an iskelmä song.

very suomi, very iskelmä.

so.

all of this is why i think takavoltti is about as finnish as it gets. a suomi iskelmä about having serious issues with boundaries that uses clever finnish and paints a comedic picture of a banged up black-eyed käärijä who has dislocated his shoulder but is still showing thumbs up is like.. so much finnish condensed into three and a half minutes.

i know not everyone thinks the song is hilarious but i do. it's both hilarious and very serious and that's how we like it here.

and of course the fact that there is an "ai vittu" in there. we like that too.