#and re digitize references if you are curious

[randompolykin]

Intro Post

Welcome To The Storm.

i have been procrastinating making one of these for a while now so here you go.

I don't know how people can post their names on here, or their ages. Like what :0 I could not do that. (So if you need to refer to me, you can do so by my username) I do feel comfortable telling you this stuff:

The labels I use to identify my gender identity are genderfluid, nonbinary, transgender, genderflux, xenogender, fluidflux, and specifically genderspirit. At least that's the basics.

When it comes to sexuality/romantic attraction I consider myself frayromantic and neptunic, I am also aceflux.

also with being median system, I actually have a bunch that contradict each other, aka have sexualities that aren’t these.

abit more on my sexuality can be found in this post

I might reblog centaurworld, smg4, the amazing digital circus, wings of fire, or good omens related posts or other fandom stuff sometimes too.

i am a polymorph

link to post with my complete (well not complete, but a bigger list) list of kintypes, hearttypes and kinsiderings

some of my kintypes and hearttypes in little detail:

kins: black cat, dragon, sprollie dog, attack helicopter (not jk/ i am gen) cabincore, emoticons (or the concept of) cryptidkin, stormkin (its kinda complecated tho)

hearts: fall, halloween, sloths, crows,

Now onto other things you should know about me and some silly not as important but also interesting ones:

my spelling isn't the best, sorry, i dont have auto correct.

I am afraid of being wrong (mainly because I'm worried I am somehow hurting people by it)

I have trust/opening up issues

I struggle with imposter syndrome

I probably have undiagnosed anxiety of some kind but have yet to do research on it

I probably have long term depression. it's better than it once was, put its still there.

I have associative synesthesia and the types I care to name are olp, grapheme-color and chromesthesia but I know of more things that are probably types with their own names that I have.

I'm a vegetarian (it's funny because a bunch of my kintypes are carnivores or really like eating meat)

I'm a furry and have this going on where I'm turning my animal kin and heartypes into furry OCs and fursonas but I haven't gotten far in it. I'm also questioning being my protogen oc

I'm a median system. im trying to tallk about it more, but its kinda scary as im new to it...

Uh I might post random art doodles idk tho.

Besides that mostly I'll post and reblog alterhuman stuff (mainly otherkin probably)

Also please ask me stuff!!! Curious on how I experience being an aesthetic? Want to learn more about my angel kintype? Etc, please ask!

Profile pic is my kintype, the nowhere king, with the genderfluid, frayromantic, and loveless aro flags. And my banner is light doodles of some of my kintypes

When it comes to a tagging system I am trying to make one but it is barly in existance rn but i used more of these a bit back. but the reblog tag (altho I might forget to tag a reblog as reblog sorry if I do)

Also all posts with swearing in them will be tagged with #tw swearing

I don't usually swear myself but I will reblog stuff that has swears in them

#reblog (these are simply reblogs. Can be of anything. These will not have me adding my thoughts in tags or replies)

#my reply (reblogs with my reply/my thoughts on it/ad ons, also might be tagged with #my ad ones (if it's adding on to what the poster is saying specific vs a reply of anykind))

#my reply tags(or my tag replies) (same thing but in the tags specifically. Add on version is #my tag ad ons)

#not ah related (not alterhuman related, includes reblogs)

#not ok related (not otherkin related, alterhuman related posts that are not otherkin related are included here)

#i am a mess of kinsidering (a ranty vent post about my lastest kintype to question or re-question or be confused over want to classify an identity as beyond otherkin, etc)

#silly post time (silly posts, not reblogs. This would be me making a post that says "nom nom nom garbage" and # it with therian and otherkin tags. Can be ah, ok, and not related.) (if not ah or ok related I will put those tags in)

#silly reblogs (me rebloging these types of posts)

#serious post (speaking up about an issue or trying to spread the word about something important etc)

#serious reblog (same as ⬆️ but a reblog)

#positivity spreading reblog (rebloging a positivity spreading post. can include #my ad ones posts)

#positivity spreading post (a positivity spreading post originally made by me)

#term coining reblog (coined terms not by me but that I have rebloged)

#oh me terms yas (term coining posts by others that have a term I want to use/represent me)

#flag coining reblog

#save (posts I want saved for any reason.)

#saving this to show my friend in case their ah (I'm pretty sure one of my friends I alterhuman but I'm not sure so I'll show them certain posts and see if they relate)

#storm talk (talking about being (apart of) a storm

#little grey cloud rambles (rambles as a little grey cloud)

#more about me

That's all I can think of for now, i update this from time to time tho.

[power-handmaiden]

Day 252: I Have No Butt And I Must Pound

Damn, I really loved this one. I was very curious about what exactly it would be about going in, considering that the story it references has a lot about it that would be... not exactly suitable for the overall optimistic world of tinglers. I'm no stranger to tinglers that are references to other works going off and doing their own thing, when it makes sense for an erotic story- if anything, I was surprised by just how much this one retained of the work it references, cleverly twisted (spoilers, but not really if you are paying attention to what the erotic tingleverse is like on the whole) to a utopian setting rather than a dystopian one.

This story is part that, part callback to "Pounded In The Butt By My Book "Pounded In The Butt By My Book 'Pounded In The Butt By My Book "Pounded In The Butt By My Book 'Pounded In The Butt By My Own Butt'"'"" which is in itself a reference to and re-framing of the "Chuck Tingle is an artificial intelligence on a server farm in Nevada" conspiracy. OK, I'm not sure if the Nevada detail was something anyone ever believed or just Dr. Tingle's own spin on it, but either way, it's part of the Tingle mythology now. Either way, these two ideas play together very well, melding the author's feelings on the worlds he creates with that of a fictional digital construct with the power to shape his own world.

[beatcroc]

Okay I finally generated an ask for you!!!!

What is your favourite genre of music? Or if you don't know how to categorize the music you listen to (like me), what is your favourite song? Or band? Or album? Something like that.

ohhhhh #1 question i am categorically incapable of being normal about <3

i typically just define my favorite music as "loud" or "aggressive" or "abrasive" bc most stuff that fits those descriptors will be in my faves regardless of the genre.

a more specific answer is that there are 3 main things i've noticed that will typically make me go apeshit without fail and they are: 1. hardstyle/gabber/industrial hardcore- sorta basskick 2. sickass metal guitar shredding 3. huge dramatic grandiose orchestral

if something has 1 of these i will probably like it, if it has 2 it will be a top fave, and all 3.... well i have yet to find it yet but im sure i will Ascend. here are examples of said top fave combos.

laur covers hardstyle+orchestral and i Cannot Get Enough of his shit man it goes so fucking crazy hard

metal+orchestral is unquestionably ruled by nightwish, but theyre not on bandcamp and i dont feel like finding other links so this one goes to the still-very-fucking-awesome runner-up, POWERWOLF

riikira and rabbitjunk hit metal+hardstyle, though it's less strictly hardstyle and more just general hardcore* electronica. if its got crazy amens its enough who cares. i put the ones that use actual kicks for the sake of illustrating the point here but these tracks are both pretty far from my faves from each lmao *hardcore referring to hardcore [edm] in this case, even though the genre these belong to is called "digital hardcore", which instead refers to hardcore [punk]. it's a mess out here. did you know theres two completely different things called doomcore where one is derived from metal and the other is derived from hardcore. and you never know which itsd going to be when you click on something in the doomcore tag. im dying squirtle

anyway on the other side of the hardstyle+metal combo is kobaryo [with his alias blaxervant], who's much more about the hardcore side of things and just has the metal as flair, but it is still: the best shit ever

laur also on occasion hits this side of hardstyle+metal becaue he just likes using whatever the fuck instruments

there are of course many other things i love a lot, primary examples being ambient/atmospheric, folk, and anything with a lot of Texture. im not gonna get into all that but i do have an extended list of faves/recs from the last time i was asked about this and went insane abt it. it took forever to make and my actual recs are not entirely the same as my Faves so im putting it on here too.

i keep these curated to the top of my bandcamp profile so they're the first things that display there. it's a bit old by now and some have since been shuffled out, but it's still like 80% accurate.

as for the actual recs: the angel's message is there because it's my fave brand of intense and chaotic stuff and want it to kill you full force. it already has some tracks up there so im not re-linking it

this one i recommend just because i think it's really interesting and out there and i'm curious what other people think of this sort of stuff. it's also the prime example of what i mean when i talk about Textures in music.

wolfgun is an actual rec for being genuinely just really good music. probably the most objectively cool/platonically enjoyable thing in my library

[robotnik-mun]

Getting away from Mega Man for a bit, I've been mulling over an Archie Sonic thought. One that covers EVERYBODY's favorite subject- the Overlanders!

cricket chirp

Heh, yeah, that's to be expected, but what can I say? I like to dwell on stuff. Anyway, one of the least popular and most redundant reveals in the old Archie Sonic book was that Overlanders were in fact a separate species from humans and were essentially 'Mobian Humans' the way Sonic is a 'Mobian Hedgehog'. This came about as a way to sudden explain the presence of 'humans' when the Sonic Adventure rolled around, but the supposed difference between the two species- humans having five digits while Overlanders have four- was never, ever consinstently enforced, and it remains one of the most unneeded, self-inflicted injuries in the book.

Likewise, with the emergence of said humans and the United Federation, a curious irony arises in which it seems that, according to the map, the heart of the United Federation is located in what used to be Europe rather than in what used to be North America. It seems like a puzzling development given that you'd expect these 'descendant' nations to occupy the same rough space as their predecessors, so, what gives?

Well, I had me an idea that can explain that, while getting rid of the whole 'Overlanders are Mutant Humans' thing… while explaining the origins of Overland, and how the Overland eventually led to the United Federation.

Anyway, it goes like this.

As You Know, in the face of the imminent Xorda Genocide in the 21st century, the governments of the world created a desperate attempt to preserve humanity in the form of the Hidden City Initiative, which resulted in a number of underground cities built ala the Vaults from Fallout. The idea being that a fraction of humanity would be saved and wait out the storm of the Xorda.

Eventually the Xorda arrive and do their thing, gene-bombing the earth into oblivion and reducing all life on the planet into primordial soup. But then, unexpectedly, life re-emerges from this soup, but life forever changed as Mobiankind emerges from the ashes of the old Earth. Their evolution hyper-accelerated, over the course of ten thousand years Earth transforms into Mobius, speedrunning through its own age of Dinosaurs (Mobosaurs), Ice Age (which gave us Mogul), to the rough 'modern' age, along with the emergence of phenomena such as magic and the like.

And all the while, humanity slumbers, deep in the recesses of the Earth… but one day, one of the Hidden Cities suffers a malfunction, and wakes up ahead of schedule. This Hidden City is located under what used to be New York, and its people are forced to adjust to life lived under ground. The old norms of democracy and representative government are suspended in the name of survival, and over the generations the society of this Hidden City becomes a centralized dictatorship with far less emphasis on individual rights. Over time, the surface world takes on a mythical, 'Promised Land' kind of place within the culture of the humans, and is referred to as The Overland. The goal of returning to the Overland is what binds the humans, and one day their hard work pays off when they at last get confirmation that the surface is safe for them to inhabit.

The humans proceed to migrate en-masse to the surface of Mobius, in what used to be the East Coast of the United States. They proceed to spread out and lay claim to the lands, which they naturally dub 'The Overland', and themselves Overlanders. They begin making cities and communities and building industry and ships to explore the rest of the planet… and of course, trouble starts brewing within the nascent Overlander civilization. Within the society of the Hidden City there was always a sizable faction of people who believed that, once humans returned to the surface, there would be a return to the democratic government of old since they were now living in the land of plenty and wouldn't need to live such controlled lives.

As you can guess, the people who had grown powerful from the Status Quo had other ideas. Overlander civilization becomes split down the middle between the Reformists, who believe old measures are no longer needed and were only ever meant to be temporary, and the Traditionalists, who see no reason to change a way of life that had safeguarded everyone during 'The Dark Age'. Things get tense, and it seems like things might erupt into civil war. Then, news comes back from scouts and explorers about a new land mass off the coast of what used to be Europe, one that didn't exist in the old maps.

A compromise is reached between the two factions- those who support he Traditionalists will remain in Overland, while the Reformists will re-settle in the new lands. A mass exodus ensues, and those humans who migrate across the sea start anew in the new lands, and in time they will eventually become the United Federation as they establish contact with other re-emerged human civilizations across the former Old World.

And that's the story of how the USA was reborn in Europe! Funny how that works, huh? ID

[junowritings]

Baldur gate matchups :0000000000

Cool nouns: he/she

Gender pref: no pref :0

Zodiac: Aries sun, Leo moon, libra rising

MBTI: intj-a

How I describe myself: huge nerd, collector of stupid shit, I am both the golden retriever boyfriend and goth girlfriend in one genderless human shaped mass. Girl kisser and dilf enjoyer (deadass men my age freak me out a little but…. dilfs….. explodes)

Hobbies: Digital art, web design, cooking, video games, reading,

How other people describe me (/pos):

- “you feel act like the embodiment of a mango monster”

- “The fact that of all of us (in reference to the polycule) you don’t have an autisim diagnosis is more of a jumpscare than you being ginger”

- “You could tell me the sky is hot pink and if you said it with the same conviction you say most things I’d trust you completely on it.”

Character flaws? Idk how to phrase this without it reading as self deprecating- issues I know I have that would inevitably be relevant to knowing me.

- I lack both empathy and sympathy almost completely, which makes me absolutely horrid at comforting people unless they want practical, logic driven solutions.

- I have a bad habit of seeing my solutions as the only viable solution, even if it’s been proven to be wrong/ineffective

- I can be incredibly arrogant (bordering on elitist) about the topics I am passionate about

- I form strong opinions of people quickly, and they are extremely difficult to shake (a bad first impression with me usually ends in a distain so strong I inconvenience myself to avoid said person, and it’s just as hard to convince me someone I like has done something wrong without extremely concrete proof, and even then I’m inclined to forgive them.)

Love language: gifts!! Usually art, or trinkets and cooking.

Miscellaneous and potentially unnecessary facts about me:

- I really like terraria

- I’m allergic to sunlight (literally)

- My bed is more categorically akin to a nest

- I’m completely nocturnal (re: sunlight)

- I’m also allergic to gluten, milk, eggs, pollen, grass, mold, citrus, red meat, cats, and dogs.

- My cats name is Fortnite Battlepass

- One of the name ideas for him was Dollarama

- I own a student grade microscope

- My favourite passtime is drawing pathetic men happy and in love

- I have Gale’s orb scar as a tattoo

Uhhhhh that’s it :0 if there’s anything specific you wanna know (or if you want pictures of my cat and/or tattoo) you’re more than welcome to ask!!

Match up time! Gotta say Fortnite Battlepass is adorable and only cemented who I decided to go with in the end! Which is,,,

So get this, two nerdy golden retriever partners walk into a tavern-

Okay but seriously, is it any wonder that Gale ends up so absolutely taken with you? 

The moment he sees your collection Gale wants to hear about it. There’s nothing quite like amassing a collection of things that bring you joy and make you happy, and he’ll gladly listen to you ramble about it if you’re comfortable to - where you got them, how long you’ve been collecting, what’s the most treasured part of your collection. These are just some of the things he’d query you on, all the while taking the time to admire your collection if you have it on display or bring it out to show him. 

He's actually got a fair collection himself, though his penchant for magical item consumption may have dwindled his display far more than he would have liked - alas desperate times had called for desperate measures back then. It’s honestly very validating to have someone show that kind of interest; though thanks to his curious nature you two may be stuck in this discussion for a couple of hours. It’s fascinating though! So who can really blame the guy? 

Will actively add to the stuff you collect so get ready to expand the space for them; one of his love languages is gift giving - so if that means getting you some of the weirdest stuff you’ve ever seen for your collection just to make you smile? By the gods he’d gift you something every other day if he could - thankfully Tara’s quick to curb that before he gets over excited and offers to refurbish an entire room in his tower back home for your stuff.

I don’t know if Gale would technically count as a dilf, being on the middle/younger side of the dilf scale (I hc like mid 30’s.) BUT he’s got the soft dad bod, bad puns, a couple grey streaks AND Tara so in my heart I would say this man is on the road to qualify.

Gale would be fascinated to see you at your computer, be it creating art or working on the code for your web pages. You’re practically working a magic of your own on your computer screen, confident in your ability to create and finishing off every piece you create with a level of detail and care that he’s sure very few people can even begin to replicate. And gods if there isn’t anything more attractive to him than someone who knows their craft and is passionate about it.

I hope you’re prepared for an audience because Gale will watch you work, leaning against the back of your chair with his head upon yours or your shoulder the whole time. You’ll have to warn him a couple times not to get too close to the screen because if he gets any closer you’re gonna struggle to see what you’re doing. When it comes to your web page designing, he would try and take up learning from you if you ever offer to teach him some basics - Gale would jump at the chance, actually. The guy’s a dream to teach, but also has a tendency to ramble as he tries to figure out whatever you’re trying to teach him. He also has a bad habit of getting overconfident, which when it comes to coding with him is a surefire way for the thing to blow up in his face (thankfully not literally.)

He absolutely LOVES cooking together. This man spent months being one of the only relatively decent cooks in the tadpole party so he’s got a decent list of recipes under his belt for each of their dietary requirements. Give him a couple times, let him learn what you can and can’t have and what foods you prefer, and he’ll make something pleasantly edible - not always perfect, but damn if it isn’t tasty. May or may not have a mental list of your favourite meals that he’d remembered from passing conversations. He certainly doesn’t use this as a means to surprise you or impress you whenever he invites you over (of course he does). The pair of you might occasionally butt heads over who cooks since he has a tendency to hover around in the kitchen trying to do stuff even if he’s not the one cooking that time.

It’s no secret that Gale’s bread and butter is books and tomes of all design and creed - hells he has an entire section of his home dedicated to his collection. He’ll happily give you recommendations and gift you books that you’ve expressed interest in without a second thought; he’s just chuffed to have someone who shares in this kind of pastime! If you guys are together around the time he does return home, he’ll ask for your company to sort through all of his books together. Sure it may not be the most riveting activity unless you’re really interested in what secret books he’s had stashed in his shelves all of these years; but it means a lot to him to have you there with him the whole time as he (quite literally) rearranges his life now that he’s home. There are some books that while he’ll still keep, they’re better off somewhere else than the main room - like the tomes and scrolls and forgotten texts once dredged up in desperate pursuits better left in the past. He’ll gladly let you fill in those gaps with books of your own, to create a space in his home that’s full of you - he can think of nothing better that would occupy that space than you.

Okay, so that one comment about the sky? Yeah, that’s Gale. While Gale’s not the kind of person to go blindly trusting everything someone says, there’s that conviction in the way that you say things that somehow makes him fall for it every time. If you ever did turn around and tell him that the sky was hot pink it’d earn you an amused snort and a sarcastic ‘haha very funny’ as he looks up from whatever he’s doing. But you’re the one who gets the last laugh because he’s the one casting a ‘subtle’ glance towards the window not even a minute later, only to be met with your knowing grin the moment he turns back. Just don’t let the others know that you’ve got that kinda one up on him, because I’m telling you now - Astarion and Shadowheart? Yeah they’ll be insisting to know how you get that kinda conviction to use on the poor man later.

While I can see Gale as the comforting type when the circumstances require, I also believe that having a partner like you who can ground him back to reality with logical solutions and practical reasoning is exactly what he needs. It’s so easy for him to get lost within the confines of his own thoughts, to allow things to become too much of a mess for him to pick apart and deal with on his own. But you’re a welcome hand, there to unravel the threads pulling taught on his mind with discussions of solutions and things that he can put into action in the here and now. That is comfort in its own way, even if you may not realise it.

As previously stated gift giving is one of Gale’s love languages, so given that you’re very much the same, that idea of making a room in his house just for you may not be such a far fetched idea anymore. His gifts centre around your current interests and fixations - he’s got a good ear for listening out to find what you need and get what makes you happiest. Expect more than a few magical items though - protective accessories for when he’s not at your side, or even items with silly magical effects that he knows will get a chuckle out of you once you realise what they do. Gets flustered under the same treatment however - your gifts are precious, and he feels like no matter where he puts them there’s not a good enough place to show them off and admire them. Always gets this lovestruck little look on his face each time he passes by one of your gifts in the day to day, running his hands along them like the mere touch of them is enough to brighten his very soul.

Hope there’s room enough in that nest for two because Gale doesn’t mind in the slightest. But he will help you to make it more comfortable - comfier blankets, softer pillows for extra cushion; this man spent at least a couple years falling asleep in places around his home that weren’t his bed so he knows the importance of making it as comfortable a place as possible for you (and his joints).

Comes as no surprise that he LOVES your cat, and it’s also no surprise that he’ll spoil the guy as much as humanly possible. Fortnite Battlepass quickly becomes one of the most pampered cats this side of Faerun, not just because of all the treats Gale likes to think he’s being sneaky about giving him, but because of the fact his tower is a cat paradise. Not to mention that cats usually warm up to Gale very quickly - guy’s a magnet because more often than not you’ll find Gale in the middle of work with Fortnite Battlepass flopped across his lap or desk, or lounging over his shoulder like a purring slinky.

The first time he sees your tattoo you can see several stages of panic go through his face in an attempt to remain calm about the situation. He visibly relaxes when you explain, no, it’s not actually an orb scar but a tattoo. Very much a ‘same hat’ moment for your tattoo and his own scar. Depending on where the tattoo is and if you’re comfortable with it, you may find him occasionally brushing his fingers over your tattoo, calloused fingertips following the inky tendrils that curl away from the main circle in the centre. Please do the same with his scar, you’ll basically turn the man to mush in your hands seeing you pay any kind of love and attention to a mark which once caused him such pain.

[crescentisleart]

🌟I'M OPEN FOR COMMISSIONS!🌟 (Rd1: 9-29/11-29)

Greetings to everyone who is and everyone who isn't. As content as I'd be to reblog things forever, I do draw and I do need things… soooo, drawing instead of ebegging because crushing guilt either way and using my one chosen defining skill to feel useful? To be honest and fair, I just need at least $25-30 to get past instafart's bs, but I could also do so much more if my chronically ill butt just… tried? I have self-trust issues, don't @ me… Also, I'm not starving; I need sundries. 🤷🏾

✅ will draw: fanart, ocs, nudity, light gore, suggestive/light n-s-f-w. Furry, animals, therian, toon, and light kink all welcome

⛔ probably won't draw: heavy gore and n-s-f-w, mecha (not because I don't like it, I just doubt my skills in it. Ask at your own risk, I guess…)

🌟PRICES🌟

🌟NOTES🌟

The color type is the base price, the size adds as advertised

Detailed backgrounds, extra characters, and/or designs will cost extra; about +10-15 each depending on my spoons at the moment.

One-page comics are... doable, but not a thing I plan to do often, at BnW or Full Color price + $40. Comics are hard, even short ones.

One of observant mind will notice that one of the examples is traditional. DO please specify if you'd prefer traditional or digital. If not, I'm gonna randomly do one, the other, or a mixture (It's the same effort for me, either way.)

There will be times where I will NOT be able to sit up and work. I will either edit this message, or make another one with said announcement on it and pin it. An then subsequently edit or make another message again to announce that I'm well again. So goes the conditions of having a corporal body; sometimes you get stuck with a shitty one.

I plan on taking breaks. They will be announced similarly. Because breaks are good for you.

The ability to say 'no' is always at my discretion. I'm willing to try things; I am NOT willing to be uncomfortable.

I have more examples if you're curious, just nothing recent or that I personally feel represents me as an artist at the moment... It's complicated...

Reading is hard, so I made the different bullet points different colors. Um... yw?

🌟CHECKLIST🌟

Email me at angelicdirt0 (at) gmail.com. Say hi, say hey, and include "commission" somewhere in your subject line, please! OR dm me if you need to ask something real quick - but full requests with references, descriptions etc. should be exchanged via email. :v

Please include:

What type of commission you'd like - b&w/color, portrait/half body/full body, how many characters, etc. references of the character(s) - if you don't have an image of them drawn out in their entirety, please provide picture references of all their parts (hair, face, clothes, colors, etc.)... You have a reference sheet? Even better!

What you want to see - what pose do you want your character(s) to be in? what expressions? what is the vibe you want conveyed? is there something you want to focus on in particular (e.g. a character's ring, a scar, a limb, etc.)

Are you okay with your commission being public? - you will get a higher-res, un-watermarked version of your commission and the project files (Krita, FireAlpaca, or GIMP... I tend to jump around). I do intend to put lower-res, watermarked versions of my commissions up on my blog / portfolio, so please let me know if you would like it to be a private commission.

You'll receive a reply within 3-4 days, at which point we can talk a little bit more about your commission if needed!

Full payment will be required upfront through a P@yp@l or c@sh@pp. The invoice will be sent to the email you used unless specified otherwise.

Thank you so much for the look, and hope to talk to you soon! <3

[notesonlinenotepad]

Secure Text Sharing

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7. How Long Are Unread Notes Stored on Notes Online Servers?

To ensure data security, unread notes are automatically deleted after 30 days. Your privacy is paramount; this timeline reflects our dedication to upholding it. Refer to our Privacy Policy for more detailed information.

Conclusion:

Notes Online is your ultimate solution for secure text sharing. With its advanced encryption, user-friendly interface, and commitment to privacy, it offers a seamless and protected communication experience. As you explore the world of secure text sharing, let Notes Online be your trusted companion, ensuring that your private conversations remain private. 

Embrace the power of secure communication and start using Notes Online today!

[davevasico]

Demystifying Cryptocurrency: A Beginner's Guide

Introduction: Navigating the Cryptocurrency World

Cryptocurrency has taken the financial world by storm, but for beginners, it can be an intimidating and confusing topic. In this comprehensive guide, we will demystify cryptocurrency and break down the complex concepts into simple, digestible pieces. Whether you're curious about Bitcoin, Ethereum, or any other digital currencies, by the end of this article, you'll have a solid understanding of the crypto landscape.

What Is Cryptocurrency?

To embark on this journey, let's start at the beginning. What exactly is cryptocurrency? At its core, cryptocurrency is a form of digital or virtual currency that uses cryptography for security. Unlike traditional currencies issued by governments, cryptocurrencies operate on decentralized networks based on blockchain technology.

The Birth of Bitcoin

Our journey into the world of cryptocurrency begins with Bitcoin, the pioneer of digital currencies. Created by an anonymous entity known as Satoshi Nakamoto in 2009, Bitcoin introduced the concept of blockchain, a public ledger that records all transactions. This innovative technology laid the foundation for countless other cryptocurrencies that followed.

How Cryptocurrency Works

Understanding Blockchain

To comprehend cryptocurrency fully, you must grasp the concept of blockchain. Imagine it as a digital ledger that records every transaction across a network of computers. Each block in the chain contains a batch of transactions, and once verified, it's added to the chain, creating a permanent and tamper-resistant record.

Decentralization: The Key Feature

One of the most significant advantages of cryptocurrency is decentralization. Unlike traditional banks, cryptocurrencies are not controlled by a central authority. Instead, they rely on a vast network of nodes (computers) to validate and record transactions. This decentralized nature ensures security and transparency.

Popular Cryptocurrencies

Bitcoin (BTC)

Bitcoin remains the most well-known and valuable cryptocurrency. It's often referred to as "digital gold" due to its store of value and limited supply. Investors and enthusiasts alike continue to follow Bitcoin's price movements closely.

Ethereum (ETH)

Ethereum, not just a cryptocurrency but a platform for decentralized applications (DApps), has gained immense popularity. Its smart contract functionality allows developers to create a wide range of applications, contributing to its growth.

How to Buy Cryptocurrency

Cryptocurrency Exchanges

To enter the world of cryptocurrency, you'll need to sign up on a cryptocurrency exchange. These platforms allow you to buy, sell, and trade various cryptocurrencies. Some popular exchanges include Coinbase, Binance, and Kraken.

Wallets: Storing Your Crypto Safely

Once you own cryptocurrencies, you'll need a digital wallet to store them securely. Wallets come in various forms, such as hardware wallets, software wallets, and mobile wallets. They use encryption to protect your assets.

Risks and Rewards

Volatility

Cryptocurrency markets are known for their extreme volatility. Prices can skyrocket one day and plummet the next. It's crucial to approach crypto investments with caution and a long-term perspective.

Security Concerns

While blockchain technology is secure, the same can't always be said for exchanges and wallets. Hacks and fraud have occurred in the past, emphasizing the importance of safeguarding your investments.

The Future of Cryptocurrency

Mass Adoption

Cryptocurrency's potential for mass adoption is a topic of constant debate. Some believe it will revolutionize finance, while others remain skeptical. Regardless, it's an exciting and evolving space to watch.

Conclusion: Your Journey Begins

In conclusion, cryptocurrency may seem like a daunting subject, but it's an incredible innovation with the potential to reshape the financial world. As a beginner, you now have a solid foundation to explore further. Remember to conduct thorough research, stay informed, and make informed decisions when venturing into the world of cryptocurrency.

FAQs

Is cryptocurrency legal worldwide?

Cryptocurrency's legality varies by country. Some nations embrace it, while others have imposed restrictions or outright bans.

Can I become rich overnight by investing in cryptocurrency?

While some have experienced significant gains, cryptocurrency investments come with risks, and overnight riches are rare.

How can I protect my cryptocurrency from theft?

To protect your crypto, use reputable wallets, enable two-factor authentication, and keep your private keys secure.

What is the role of miners in cryptocurrency networks?

Miners validate transactions and add them to the blockchain. They are rewarded with new cryptocurrency coins for their efforts.

Where can I learn more about specific cryptocurrencies?

You can find detailed information about cryptocurrencies on their official websites, forums, and reputable crypto news sources.

[rg-notes]

Operating with intention

I’ve recently been focused on the idea of being intentional. I define that simply as having a reason, a purpose, behind doing whatever it is that I’m doing. Once you go down the path of having a purpose, it’s almost impossible for the next step not to be a plan.

This last week my effort to be intentional has been most evident as a parent. My two toddler boys are curious, adventurous and emotional as hell, and being present and aware of how my reactions to those emotions are affecting them has been challenging, but rewarding. The more I think through it as a game of life, the more I get excited about the incredible impact I can have on who they become and the relationship we’ll form over their lives. Having a purpose, or a hope in many cases, is helpful, but having a plan is necessary in order to see your purpose come to fruition.

A plan can be simple. I’ll use and share the framework from Principles by Ray Dalio, shared in a recent post. Start with a clear GOAL. Write out your intention. It’s critical to get this one paper (or digital, just write it.) Then identify the top reasons you’ll fall short of your intended goal. I call these FAILURE MODES. Write those down too. Then write out a few ways you’ll avoid each failure, Ray calls this the DIAGNOSIS. Then with every ounce of intentionality you have, write the PLAN that gets your around the failure modes. Then just go do it. The simplest part to say, the hardest part to accomplish.

In my parenting, my goal was to help my son realize why he was sad. The failure mode was me getting emotional, typically frustrated or angry, that he was so emotional. The diagnosis was that I would react quickly to his emotions so my plan was to wait 30-60 seconds before doing or saying anything to him. Let him experience his emotions for a minute to feel what that was like. It let me breath and think through my intentions before just acting. My plan was then to ask him question vs telling him what to do/feel. “Whats going on buddy?” “Why do you feel this way?” “What can I do to help you?” It didn’t work all the time, but I’ll tell ya what, it felt good. And it was better than the alternative.

With this topic on my mind I re-listened to Oprah’s podcast w/ Dr. Shefali Tsabary about Concious parenting, which will challenge any parent to their core. One simple idea to noodle on from the convo is that the child existing to shape the parent vs the generally accepted hierarchical alternative of the parents existing to raise the child. When we rethink about the expectations that we project onto our children we realize we shape them to not only be “like us” but “to be the most perfect versions of us” which is not only unfair, but unrealistic and destined for disappointment. Nothing will make you want to be more intentional than when you realize you’re daily shaping the person your child will become.

I’ve also thumbed the pages of the Patagonia (yes the clothing brand) book called Family Business about the reasons behind, and the practices within the daycare & home school offered to the children of Patagonia employees. This is a gem, more as a reference, but I love it because it weaves together family life and business life philosophies that resonate with me. And, they are business practices I wish I could have been a part of implimenting in past companies, but will certainly seek to employ in the future.

So, back to intentionality. All these micro processes take time, but you must know what it is you actual want. You must be self critical and self aware that the way you “accomplish” is as important as what you accomplish. I personally found these lessons of intentionality which start out specific to parenting to be insanely practical in operating a company, in investing into companies, and frankly for any-one wants accomplish things in their life. There is something profoundly OK with your intention being a set of ideals, and your result set being the cumulative of where you’ve fallen short. In fact, that is the only possible reality.

Ryan Graves

[uniarycode]

Redigitize Tamers (plus analog man for extra) alt arts from BT11

[spielzeugkaiser]

I just ADORE all your re-painting art! You've got so much talent, I wish I could switch between digital and traditional like you do!

Did you teach yourself all the different ways? Or go to art school? Just very curious how you got to be so good with different techniques and styles

Ahh, thank you! that is such a lovely ask, ehhhhh. I never went to art school - I thought about studying art (years and years ago) and I had a few months in my early teens where I tried an art course out, but I never drew anything there and it really wasn't for me. So I’m (more or less) self-taught! Is that good? Uhhhh. Depending on what you want to do with your art, I guess.

I think the thing is, for me, that traditional and digital? It’s not that different. Like, colour theory, shapes, the drawing portion, most of it stays the same? But there are some things I do that make it easier, I guess: 1. Planning! If I do make a traditional piece I almost always start with a digital mock up – for me it’s easier to get the colour balance and shape language right on PC (as anatomy, and contrast and stuff) so before I draw something on paper there is at least one rudely coloured digital version of it! Sometimes it’s drawn, sometimes photobashed – if you want to look into that technique I highly recommend Lioba Brückners tutorials on YT, there are a godsent.

2. Size. I think the worst thing you can do it start out too small. You have to go BIG. Especially with oil pastels, you can’t work small. GO BIG. GO BONKERS.  

3. Materials. USE THE RIGHT PAPER. Honestly. I know it sucks a bit, but the right drawing surface is so, so important. The Paper I use for my watercolor pieces is the hot pressed, 640 g/m², Hahnemühle watercolor paper. Is it expensive as fuck? Yes. But it takes even the shittiest colours and get’s beautiful results. But I also plan beforehand. Do I want to use pencils over it? Do I need fine details? Hot pressed paper. Do I want more abstractions and some grid? Cold pressed. It really depends, but I decide on the planning stage what materials I’ll use.

4. Reference and Tutorials. I need both! Before I start with a new medium I do some research, and I use some references too. There is a nice tutorial out there by Rossdraws how to find a good reference and what makes a good reference (I think it’s in the first video of his masterclass series). Another thing I find helpful is writing stuff down! I often caught myself watching tutorials but not really applying them or forgetting steps. Make a little to do list and go through it with each painting! It does wonders.

5. FLIP THE CANVAS. Do it! For traditional pieces: Either take a photo and flip it or stand in front of a mirror. It really does wonders to your brain.

[doshmanziari]

This is an announcement for those who may not be aware but could be interested that a good hack of Super Metroid, called Vitality, was released last October. Its maker, who goes by the username Digital Mantra, is the same as Cliffhanger’s and Eris’. I played through Eris in 2009 and, despite all of its unpleasantries, found it the most interesting Metroid hack to have crossed my sight, and a memorable experience unto itself. That still holds true. Most admirable about Vitality is that Digital Mantra has hit a stride of repurposing Super Metroid’s tilesets while maintaining the best traits of that game’s level design and somber, far-flung tone.

If we’re looking at these three hacks and attempting to describe a progression, I think it’s fair and comprehensible to say that each has moved further away from a gauntlet of specialized navigational challenges for “veterans” and closer towards a sort of atmospheric expressiveness. Depending on your viewpoint and what you’re looking for, then, either of the bookending titles could be what you don’t care for at all. Cliffhanger will make you do tricky things over and over again while barely offering any visual makeup that distinguishes itself from its source material. The inverse would be true of Vitality. So, I guess, Eris is the midway point, taking great delight in drawing out the textural possibilities of Super Metroid’s mechanics and environmental building blocks, yet frustrating its own potential by combining a pleasing inscrutability regarding what exactly within each of its places is what -- interactive platform or background detail? -- with a heaping load of technically ugly graphical decisions; to say nothing about its balancing issues.

But that’s enough about Eris. Even if it’s a little odd to say this about a ROM-hack, an upside to Vitality is that it’s just more accessible to a Metroid-curious public. None of the encounters should strike series-familiar persons as being much tougher than anything from Super Metroid, and you do not need to be competent with, say, wall-jumping or mock-balling to get around. The challenge has been allocated to managing your resources, alongside the expectable trials of figuring out where to go and where hidden embedded items are. But I think the real value of Vitality is that, even if it may further exasperate the opinion that Super Metroid, like Prime, has become far too much of a reference point for the series’ identity, it can, through that association and its excellences, re-emphasize what has traditionally made Metroid worthy of engagement and critical stewardship. And I do not mean worthy relative only to other series but also to its own entries, especially now that a new title, Metroid Dread, has been unveiled (a title I am sorry to say appears to be about as dull and dreary as Shadow Complex, and will likely have as little restraint as Metroid: Samus Returns). Check Vitality out!

[thekingofgear]

Hey there - I was reading the post about the latest board of Jonny and so and you say that he uses the DD-200 and the Re-20 for The Opposite. I definitely can se him changing the pedals but you mention that the Re-20 has the reverb volume at max? I heard many versions live and went to see them twice and I can’t recall hearing reverb from Jonny’s guitar. Thanks for the post btw - was great! Just if you can please explain when or how is he doing it.

That's a typo on our part, it's easy to get careless with all of these songs with "the" in the names.

These days, Jonny only uses his Boss DD-200 for The Opposite. He did use the RE-20 (with no reverb) for the Glastonbury performance of The Opposite in 2021. But so far this year, it seems like he's only used the DD-200 for The Opposite.

We meant to say that Jonny used his Boss RE-20 on The Smoke. In fan footage of the tune, you can clearly hear when he kicks on the RE-20's bright reverb.

For those curious, this is the (now corrected) post referred to in the question. If you're not familiar with these pedals, just know that the RE-20 offers a simple warm delay sound with an optional reverb. The DD-200 has a variety of delay sounds, but no reverb, and Jonny uses it for crisp digital repeats.

Jonny about to stomp on his RE-20 during The Smoke at The Smile's first Magazine show. For that song, he activates the pedal briefly for high notes, but de-activates it again before playing any low notes. This allows that high notes to stand out gives them sustain, while preventing the low notes from sounding muddy.

[buzzdixonwriter]

Tears In The Rain

I've seen things you people wouldn't believe…All those moments will be lost in time, like tears in rain.”

-- Blade Runner (David Peebles & Rutger Hauer)

The radar screen manufacturers -- RCA, GE, and others -- started jonesin’ for cash when the end of WWII dried up all that sweat & easy military materiel money.

Commercial consumer television existed before WWII in England, the UK, and Germany but it was a super-expensive technology confined to a few very wealthy homes in a few select markets or in Germany’s case, public venues such as beer halls.

Radar screens and TV tubes were basically different applications of the same thing, so the radar tube manufacturers shifted their production to TV sets pitched to post-war consumers as the must-have status symbol.

Problem: Said TV sets needed something to show and while there was live national network and local programing, most early stations filled their air time with old movies / cartoons / serials / comedy shorts.

That was the cultural gestalt I and other boomers grew up in during the 1950s, an era when much of the on air media dated back to the 1930s.

I’ve always been more culturally observant and curious than others in my generational cohort, and while they blandly / blindly watched Bugs Bunny and Popeye and Betty Boop and Our Gang, I was asking my parents and grandmother and aunt about the odd details I saw in old media (it didn’t hurt that we had a beautiful art deco edition of Collier’s Encyclopedia that my grandparents acquired in the 1920s in the house as well).

As a result I knew far more about the Depression and Prohibition and war rationing and other major cultural events and touchstones prior to our generation than did most other boomers.

When our history and social studies textbooks finally introduced these topics in junior high and high school, I was already intimately familiar with them.

As a result, I fell in love with the Marx Brothers and continue to love them to this day.

And while I watched and re-watched The Three Stooges, once I discovered Laurel and Hardy I left Larry, Moe, Curly, Shemp, Joe, and Curly Joe behind.

But the thing is, to fully understand and appreciate and know and love the Marx Brothers, you have to understand the pop culture of their era.

The same applies -- to a lesser degree -- to Laurel and Hardy.

The key difference is that The Three Stooges are pure physical mayhem:  There is nothing to understand.

They are imbeciles who inflict pain on themselves and one another, and while far, far inferior to Groucho / Harpo / Chico or Stan & Ollie, they will outlast them.

Anybody from any era or any culture can access The Three Stooges, but if you don’t understand a “gat” (short for gatling gun) is 1930s slang for an automatic pistol, then Groucho’s line upon seeing a automatic in a drawer with a pair of derringers -- “This gat’s had gittens” -- is absolute gibberish.

Likewise Laurel and hardy require some understanding of how American cultural values functioned in the 1920s and 30s; if you don’t get that, a lot of their humor is lost.

Our Gang / Little Rascals ages better because kids are kids and much of what they do is universal.

But even there much of their references have to do with the Depression or WWII rationing and scrap drives and if you don’t grasp that then those jokes zoom past you.

The situation isn’t confined to pre-WWII media, either.

The Marx Brothers and Laurel & Hardy might possibly be recognized by the current generation as something their parents and grandparents watched, but the Ritz Brothers are forgotten by all except those who specialize in comedy / pop culture history.  Wheeler & Woolsey are even more obscure, and Olsen & Johnson obscurer still, and if you’ve ever heard of Lum & Abner my hat’s off to you.

And holy shamolley, those are just the comedians we’re talking about.  There’s a whole universe of pop culture lost as fans of old B-Westerns die off, not to mention minor pop stars of music and small movies in the 1930s / 40s / 50s.

Silent movies have virtually disappeared from pop culture today; they are things of the past, historical artefacts.

Thanks to the Internet Archive and Project Gutenberg and Comic Book + and Digital Comics Museum and other sites, literally tens of thousands of hours of old radio shows and countless pulp magazines and comic books and other media are available, but who accesses them today except the truly die-hard genre fans or the pop culture historians?

Why morn their passing?

As Theodore Sturgeon famously observed, isn’t 90% of everything crap?

Yes, it is.

But that doesn’t make it any less of the cultural gestalt, the zeitgeist of the era than the few timeless gems that shine through.

. . .

As pop culture historian Jaime Weinman points out, the boomer generation -- the late 1940s to early 1960s -- offered a particularly fallow time for pop culture.

We enjoyed access to previous generations of pop culture, brought to us in curated form.  Even if those curators were costumed local cartoon show and horror movie hosts, we got at least some understanding of what led up to our own generation.

Weinman observes that because of technical broadcast reasons, only a few avenues fell open to new programming -- and that new programming could be rerun again and again to fill in gaps in local stations’ air time.

It created a generation with remarkably deep pop culture roots, even if relative few members of that generation were aware of them.

We were, to some degree or another, aware of a vast library of older pop culture media and icons and idioms.

Ironically, this began changing in the late 1960s, slowly at first, but coming full flower in the mid-1970s as music cassette recordings allowed us to create our own playlists off radio shows and record players, and cable TV stopped being something for the hinterlands and started penetrating urban markets, thus literally uniting the country with first dozens then hundreds and a virtually infinite number of channels and streaming options.

But the real nail in the golden age of pop culture’s coffin was the introduction of home TV recordings and time shifting, meaning we no longer needed to wait for curated programing but could watch what we wanted when we wanted.

Despite a wider range of options, older material became less and less popular, and the lack of curation is a big part of that.

With nobody to supply some sort of context -- even goofy horror host context -- older examples of pop culture became less accessible.

The newer generations look less to the past, more to the future.

. . .

As I’ve written before, endings fascinate me.

Right now I’m seeing a generational shift with the boomer generation’s pop culture rapidly fading to be replaced by Generation Z and the generations to follow them.

I look at the boomer era and wonder how much will survive.

Very little, I’m afraid.

And that includes losing some of the best our era had to offer.

For example, how many people today know of The Firesign Theatre?

In the mid-1960s through the early 1970s, they performed absolutely brilliant satirical comedy on radio and recordings.  Their album Don’t Crush That Dwarf, Hand Me The Pliers received a Hugo nomination for best sci-fi drama presentation of 1970.

I still laugh when I hear their recordings -- but I laugh because I lived in that era.

Their humor relies heavily on topical subjects and the counter culture of the late 1960s-70s.  They were very much a Southern California phenomenon…and thanks to radio and TV and movies of that era, that culture permeated the entire country.

But that era is gone, and now when I listen to them I laugh, but to use a specific example I laugh because I know who Ralph Williams was and what he meant to Southern California pop culture in that time.

You don’t get that, you don’t get the joke, and the brilliance of The Firesign Theatre’s humor is lost.

Like tears in the rain.

. . . 

Cheech y Chong will survive, because like The Three Stooges, their appeal lies in their basic stupidity.

True, many of their routines make contemporary pop culture references, but material like “Dave’s Not Here” is timeless.

You don’t even have to get the drug references to find it hilarious.

Conversely, the Fabulous Furry Freak Brothers will fade.

As characters, they are of a particular time and place:  Hippie dippie San Francisco.

They can’t survive transplantation, as was demonstrated in their last few stories.

Now there’s an animated series that brings them from the swinging 60s to to Trump 20s and it just doesn’t work.

The creators Don’t Get The Joke.

I don’t blame them for failing to get the joke, but updating the Freak Bros. would be like updating the Marx Brothers.

It can be done, but only badly.

. . .

Music will always have musicians and buffs who will track every obscure item they can find, but a lot of the best and most innovative work will be forgotten by mainstream culture.

This is because in many case, the best musicians are way ahead of the rest of their field, and their innovations are only made palatable by others who take them up and reinterpret them in a way to make them accessible to contemporary audiences.

Frank Zappa, as much as I personally love him as a cultural icon, will fade fast after the last boomer dies.

Basically, he didn’t make singable music.

There are a lot of brilliant innovations in his work, but his lyrics are so idiosyncratic as to be impossible to cover.

That, and a lot of his lyrics and subject matter would not be comfortably acceptable today.

Yeah, when he did it he was trying to make a satirical point, but when modern audiences hear it, they don’t hear the sharp commentary on the culture of his time, they hear songs that seem to glorify sexual violence and racial bigotry.

Most of the people who decry so-called “cancel culture” today are hypocrites trying to justify their own offenses, but there will be creators and components of pop culture who simply aren’t going to make the cut.

I can show you on paper why radio’s Amos And Andy was a brilliantly written show.

You’re not going to get modern audiences to accept white actors doing blackface…or black voice.

Zappa is acceptable today because there are still enough people who get the joke.

When we’re gone, so are most of his songs (his instrumentals hopefully will live on).

. . .

Quentin Tarantino’s star is already starting to set.

His copious dropping of the n-bomb seemed daring and edgy in the early to mid-90s now seems boorish and tiresome.

People don’t want to listen to that, and how can you make them watch what they don’t want to watch?

The Hateful Eight might endure since it gives a sorta context for its racial animosity, ditto Django Unchained, but even they will be problematic due to Tarantino’s Red Apple universe -- a world similar enough to ours to be mistaken for it at first glance but ultimately completely different.

Inglorious Basterds will ultimately fail the history smell test by audiences who will perceive it as wildly inaccurate.

Once Upon A Time In Hollywood probably has the least problematic elements in it, but it too is so firmly set in a specific time and place that only those who lived it can truly appreciate it.

When we’re gone, who can follow the pop culture breadcrumbs that lead us through the movie?

Tarantino is a brilliant writer / director, and film students in the know will study his movies to see how he pulled them off…

…but they’re going to move far past him.

(He may enjoy a revival 50 years from now, the way certain film makers get rediscovered a half century after their deaths.  If so, it will be by people able to see past the pop culture references to the real story beneath.)

. . .

Roger Corman and other exploitation film makers aren’t going to as welcomed once the boomer generation departs.

Boomers see them as transgressive artists, tweaking the nose of so-called respectable society.

New generations will see they as creeps who exploited violence and sexism.

(And we shouldn’t mourn its loss; most of it is soft-core pornography.  But there were a few shining moments that shine only if you know the context, and that is fading fast.)

. . .

Superheroes probably won’t die out just as Westerns never completely died out, but like Westerns their audience is rooted in a very particular time and place.

I mentioned B-Westerns earlier; once upon a time there were literally dozens of B-Western stars, each with their own face base and merchandising and movies…

…and now there are no more B-Westerns.

We remember Roy Rogers because he’s culturally referenced elsewhere (and Gene Autry because he left a great big museum in his name).

B-Westerns’ success was based on fulfilling audience expectations, essentially giving the same thing they’d seen before, only slightly different.

Superheroes have degenerated into that.

In their current form, they’re deconstructions based on what a previous generation’s pop culture produced.

The superhero market has been supersaturated in the past and collapsed before.

This time when it collapses it will take along countless near-identical characters and storylines.

What emerges from it will be as different from the current iteration of superheroes as The Good, The Bad, And The Ugly was from My Pal Trigger.

. . .

Likewise, if James Bond is to survive, there will be a drastic retooling of the property.

It is possible; Sherlock Holmes has been retooled often.

The original Connery Bonds, the ones we consider to be “iconic” will eventually be viewed as an embarrassment.

The world and its attitudes are changing, and while there will always be room for heroes, audiences will be a bit more discerning about which heroes they want.

The attitudes of the original Bonds will not fly with future generations.

. . .

Finally, one prospect that will make it into the future, though not necessarily on its own strengths, no matter how significant they are.

Mystery Science Theater 3000 has skewered pop culture via bad movies since 1988.

Supported by a legion of fans, there are several books and websites that annotate all the references found in the various MST3K series.

Scholars 500 years in the future will thank these fans and researchers for their efforts.

Mystery Science Theater 3000 and its various annotated spinoffs will be the Rosetta stone of 20th century pop culture.

It will provide a context to make the jokes understandable, but more importantly than that, it will open a window into what people were thinking and feeling in the last decade of the 20th century.

It and the films it spoofed will be studied with near Talmudic intensity (you think I jest; I do not).  They’ll provide insight that will help future generations and cultures understand this one.

  © Buzz Dixon 

[cateringisalie]

9 years later and we have at last got a new Eva film and the end of the Rebuild project.

Much was made at the start of Rebuild of the desire to introduce Eva to a new audience. 1.0 more or less leant into its original goal and restaged episodes 1 to 6 of the TV series with a bigger budget, CGI, some more blunt and early reveals and a few weird alterations for the existing fan base. The Angel numbering was off; everyone knows Lilith is stuck in the basement, Seele just default to their monoliths. Kaworu is actively introduced at the tail-end rather than alluded to in the opening titles. As an intro, its fine (though most would agree the equivalent stage of the TV series isn’t really a struggle to cope with either), though a few stylistic and environmental changes lead many to conclude this was a direct sequel to End of Evangelion. 2.0 seemed content to build off of the intro but steer away from the relevant section of episodes – roughly 8 to 17. Recognisable moments like the falling Angel, the corrupted Unit 03 and the ribbon angel and Unit 01’s impossible reactivation share the screen with altered relationship dynamics. Now we get Mari one of the few wholly new characters who gets to open the second film in a wildly dramatic fashion. The key of Nebuchadnezzar (which does at least re-enter proceedings in the final film, but I am even shakier on what it is or used for – even fandom seem to have struggle to explain this as anything other than a blunt drop-in replacement for the Adam embryo in the TV series). And come the end its time for Third Impact already, Shinji altering the world around him to rescue Rei from the depths of an Angel. Kaworu uses an unfamiliar spear to incapacitate Shinji and the preview hints at a story further from the rails than ever. 3.0 is as promised more or less completely divorced from anything Eva had done before. Just not the off-the rails version 2.0 advertised. Some will be quick to note that none of the Rebuild previews have entirely accurately advertised their subsequent instalment; 1.0’s features at least one key scene that never happened (Mistao slapping Ristuko in a seeming allusion to the Sea of Dirac Angel) while even the sequences of animation that did make it look nothing alike. Which is fair, but even then 2.0’s bears absolutely no resemblance to 3.0 and even 3.0’s very strange preview doesn’t really jibe with 3.0+1.0 ultimately. 3.0 is post-post-apocalypse and with a whole 14 years just evaporated between films. There’s a distinct last third of Nadia feel to it. About the only part similar to a former incarnation is Kaworu and Shinji’s relationship which while not even roughly mapping to episode 24 serves the same function; to make Shinji distraught before the climax of this story. But 3.0 is also the point where that initial premise of the series slams headlong into the drift from familiar territory. Where the film is a quantum leap away from the mystery terms and slow reveals. The oddities and confusions pile up given the glimpsed state of the world, the strange gridded moon, the sea of Eva corpses, the strange state of Lilith in the depths of Nerv. An awful lot happened while Shinji was (for reasons no one has explained or seems to care about except me) IN SPACE and the film only ever alludes to the sequence of events occurring between these two films in the broadest of strokes. Which if done a certain way can be compelling though I did not find it to be the case here in the slightest. It’s a huge struggle to build up even a vague idea of what went down and that’s with heavy deferral back to the TV series again. If you’re new, none of this means much of anything. Even mixed media doesn’t help. The reveal there was a limited run manga of events prior to 3.0 had a potential for answers, but upon reading a synopsis... Nope. Helps not even a tiny amount. Also this mixed media attitude is never to be encouraged. So, I didn’t like film 3 much at all. Film 4 does little to not be based on where it left off. Which is a small mercy that it doesn’t effectively toss everything out again and skip further ahead in time. And 3.0+1.0 does at least make use of some of what 2.0 revealed and setup in the spirit of trying to get this into something cohesive. It fails, but it tried. Maybe the points it touches on were the intended direction of the films. Maybe Anno changed his mind on this one. It’s not like Rebuild’s failure to cohere should be a surprise – the title of the film is simply confusing in sequence. Titled neither 4.0 nor 4.44, instead we have the pretty inexplicable 3.0+1.0 which is just annoying to type. Even thematically this doesn’t feel right given its more like 2.0 mushed into 3.0 but I suppose that’s technically film 5 so... Unless, 1.0 here is supposed to mean the original TV series or EoE, which... End of Evangelion figures unexpectedly largely in the film. Could be that its meant to infer some collection of the Eva cast (the original pilots + Mari? The Ikari family + Mari? The pilots from 1.0 (Shinji and Rei) plus the pilots from 3.0 (Asuka and Mari)?). The other part of course, is that the three prior films had titles in the form of [Thing](Not)]Thing]. 3.0+1.0 decides to dispense with this entirely and instead is titled “Thrice Upon a Time”. Nothing like confusing matters (and instead media library ordering) by not only giving the film a title that puts it before the 3rd film (since prior to this cinema releases are .0 and the home media (excepting the first release of 1.0) are triple digits of their instalment number) but also has another reference to three within it. It might be some kind of holy trinity allusion, some play on Third Impact, or an acknowledgement that this is theoretically the third version of events surrounding the end of the world (if you take TV series as 1, EoE as 2, and Rebuild as 3). Also potentially a literary reference about cyclical time and messages from the future which is all well and good and fits into a whole other essay about how Rebuild and FFVII Remake are operating on the same basis and making many of the same mistakes by both trying to be fan-service for the new fans and draw in new ones and do the big fan-moments similarly but diverge wildly off in others. Good start! The final film starts with bombast as per 2 and 3 (and thus focused on Mari) though the setup and point of the action is possibly more confused and less explicable (which is saying something given 3.0 opened with retrieving Unit 01 from space. No, I will continue to complain about not getting this. Yes it was very exciting but why was Unit 01 in space? In a strange crucifix coffin. Anyone at all?) – and only vaguely connected to anything resembling the plot. At least 2.0 and 3.0 had some immediate and long term stakes with a cover for Kaji stealing something and bringing Shinji into the plot. This film opens with a scrounge for spare parts in a red Paris that the tertiary cast make no longer red while Mari fights off a massed horde of Evas while battleships are puppeteered from orbit. It’s all terrible cool and everything, but given at no point do we even begin to understand what is going on or what the stakes even are. Which is a problem with the latter half of the sequence. 2.0 might have started with an Eva vs Angel fight but while there was ambiguity over the situation it at least seemed to lead into the eventual plot. Here we’re getting Eva spare parts for later and a whole dose of new terminology the film has no interest in explaining. Which is par for the course for prior Eva incarnations but again, I feel there was more explanation setting the weirdness up. Here we are reduced to keywords that sound important. The film proper opens with our familiar trio of Eva pilots winding up at a village with their old classmates (which of course, to follow the proliferations of 3 all the way down and also match to Tokyo-3, is in fact, Village 3. The far future sequel to Resident Evil 8 presumably). Who are necessarily now 14 years older than them. Asuka is naked (in a sequence to contrast to 1.0 and 2.0) or in her underwear for far too much of this sequence (and just as creepy as 2.0 got with this) as Shinji struggles in the aftermath of Kaworu’s death, Ayanami (critically not the Rei of 2.0) learns about life (and visits a library with – I’m not kidding – a poster for Sugar Sugar Rune on display. I like to think not many in the audience caught this slightly odd reference). 30 minutes of the film are taken up with Rei being happy and contented with her life while Shinji slowly recovers and re-enters polite society (sulks, throws up at the sight of the DSS collar, is insulted and force-fed). There’s a good case for this section just being an unnecessary time filler, though you don’t need to fill time in a film that is 2 ½ hours. But if it was cut down, perhaps it would have the same strange feeling as 1.0 had where the aftermath of Shinji’s second Angel fight lead was mostly skipped and left that part of 1.0 feeling strangely hasty and actively (and badly) abridged. Maybe that’s just my familiarity with the source material again. There’s still an edge of weirdness in the air on the film hits the 45 minute mark; even prior to this gigantic sections of the land are missing, and some things just float around now (apparently because). Past this mark is where weirdness creeps in; the barriers keeping the village from suffering the fate of Paris – the structures a curious match to the Cocytus facility at the start of 2.0. There are headless Eva copies who roam the landscape. An indicator on Ayanami’s suit runs down. Shinji is advised to talk to his father before he loses the opportunity forever. This one made me laugh, and even Asuka comments that given who Shinji’s father is and what he’s done don’t really make this plausible (or sensible). Ayanami concludes her pastoral life and this stage of the film by transforming back to her original white plug-suit; her AT Field then dissipates and she bursts in a familiar spill of LCL. For such a previously central character, Rei or Ayanami or Lilith will have exceptionally little bearing on the remainder of the film. The plot now kicks in properly as Gendo decides enough is enough and he’s going to be doing some world ending. Our Eva pilots are ready but not the same; we have Asuka, Mari and Shinji. And standing orders for Shinji to be shot if he tries to pilot anything (but given we’re at the end of the world and basically the original plan fails to stop Nerv bringing about the end of the world, that people still try to shoot him is... a little weird and an almost pointless resolution of factors the quaternary cast brought up in 3.0). The entire rest of the film is even more impenetrable and confusing than Kaworu’s sweeping explanations of what happened between films 2 and 3. If 3.0 fumbled the ball on being newcomer friendly 3.0+1.0 actively doesn’t care. Not that familiarity with series helps since so much new terminology is thrown at the audience. The entire cast – literally the entire cast – are not only caught up on but also understand the varying levels of psychological, biological and religious nonsense that Eva has formerly wielded as something almost coherent. You, as audience member, are not privy to a fraction of this understanding and thus left to flail for the remainder of the film making what you can of the maddening breadcrumb trail of exclamations and partial explanations. Shinji is no help here and infuriatingly asks barely a single question about what is going on (thankfully he does prompt Gendo to explain a few things – presumably where even the staff had gotten lost on what was supposedly going on). For existing fans, you might get a sense of it by application of known quantities from the previous incarnations (I pity newcomers struggling to make sense of this). What the Lance of Cassius is a thing introduced abruptly into the series – and contrasted with the Lance of Longinus you can muddle through to get some idea of what was going on. 3.0+1.0 however, decides that even that grip on its story is too much and adds a bunch more unnamed spears. Some of them formed from Lilith. This is a thing of some import apparently, though ultimately is effectively buzzword name-checking. We know who Lilith is in context from both 1.0 and the TV series but how that relates to spear formation is beyond me. And then there’s the part where one of the flying ships (there were four made according to Seele’s plan. Seele, the former sinister puppet-masters, who died in film 3, and if the flying ships were their idea or this stated at all, I had totally forgotten it in the last 9 years (checking wikia seems to indicate no one else knew this either so I feel vindicated). Seele feel an artefact of the old Eva Anno has no time for – EoE had what equated to three groups vying for control of the process of human instrumentality. Seele are adhering to a prophecy of sorts, Gendo is trying to subvert that process for his own ends, and Misato is trying to stop it. In terms of economical story-telling, the distinction between Seele and Gendo’s goals in causing Third Impact are so slim as to be basically zero (few critical differences though), I suspect Seele were deemed unnecessary and shuffled out of proceedings hastily despite their continued name-checking at this late stage) is turned into another spear because if all the spears are used up, the end of the world can’t be averted. You will have to forgive me for failing to notice how and where most of these spears (save three) wound up or what most of that means or why or how or anything. But we have a budget to squander and why not channel the Gurren Lagann energy for action one last time? And there is some action, this presumably part of what a good section of the audience have waited for with baited breath, that thing the TV series so rapidly lost interest in; that EoE staged for narrative cruelty. Smashy giant robot action time! So we get billions of Eva enemies for Asuka and Mari to cut through without problem. They explode and fall away despite exhaustively overwhelming numbers. There is a palpable lack of threat here. A few hitches but nothing the pilots can’t cope with. It’s just empty fan-service, a boast about how much can be rendered into a single frame. We get Asuka, unable to stab critically important Unit 13 (looking distinctly Unit 01-like just with four arms), and then hooking into an odd leftover thread from 2.0. Her accident in the activation test of Unit 03 has left her with a part of herself now more correctly classified as an Angel. And like 2.0 for surprise value, her Eva has special Angel blood injectors to again overcharge her Eva (which seems to be a thing in the latter three films – turn the Eva safety off and go beserk. As if Unit 01 didn’t do that all on its own in the first and second film). And this too fails. But this too is just another moment of important and pretention. Where the audience is meant to gasp at Eva/Angel hybridisation (not that the dividing line between Angles and Evas is ever completely clear (not least Unit 03)), at Asuka revealing herself to be part Angel (as if Kaworu and Rei weren’t established examples). So her Eva bloated and animalistic is... just another moment. We saw this in 2.0 with Mari releasing her limiters. We saw it in 3.0 in almost the same way. The distinction isn’t meaningfully different to the last few times the Evas were let off the leash and became more brutal. And just like the prior times this escalation of Eva body horror, ferocity, blood and over-indulged violence doesn’t actually help the situation. Asuka fails in her task as the Unit 13 counter-attacks. She’s saved by getting pulled out of reality moments before her end. Of course this being narrative, this being Eva; Gendo, the architect of this situation, is three steps ahead. Misato’s flying ship is badly and perhaps critically damaged so Gendo can retrieve the limbless body of Unit 01 formerly powering the flying ship. Shooting Gendo doesn’t work thanks to the key of Nebuchadnezzar (which did... Uh. Something? Kaji noted it as the lost number kept as a spare in 2.0 which implied Angel or Eva or... No I don’t know nor can I make sense of what it’s done to Gendo. Wikia informs me that while it’s never seen on-screen past the one time, its case is in some shots of 3.0. How amazing) and he leaves. And thus, of course, Shinji must get in the f-ing robot once more. But we’re back to the confident, more certain Shinji who 2.0 birthed as we enter the last (but still very long) final stage of the film – and restage End of Evangelion. Curious of course; EoE by turns can feel like a legitimate replacement for the final two TV series episodes or a bleakly, darkly, disturbing and flippant retort to the low-budget metaphysic version of the TV apocalypse. EoE to some has been not so much the intended ending (though buying a complete set of the old Eva in Japan will always net you the 26 original TV episodes, the four amended episodes and EoE), but more a poisoned chalice for the people who wanted a less introspective version of the end of the world and the process of human instrumentality. Anno was free to do what he wanted and veer off the tracks here – he can’t get away from the end of the world – this is integral to Eva’s base concept. 2.0’s glimpse of Second and the starts of Third Impact depict a process completely unfamiliar from the TV series’s version (reading Wikia explains some of 2.0’s imagery but is still bewildering with reference to 3.0+1.0’s reveals). In Rebuild, the end of the world is staged in the space below the strange aftermath of Second Impact, in an anti-universe where humans cannot venture. And yet, we are still clearly revisiting End of Evangelion. Not exactly the same, but a lot of imagery (the symbols in the sky, the gigantic form of Lilith at multiple points, the crucifix explosions across Earth’s surface) – to say nothing of some actual sections of animation – are taken straight from the 1997 film. Those moments and images were haunting and disturbing (the more overtly sexualised imagery has been completely removed). Clearly no matter what was said at the time or in the interim, EoE is in fact how the ending must play out; this is, or has become, what happens externally and internally when these characters attempt to force a next stage of evolution. The End of Evangelion will always be the end. ...just not quite the same. Not least it is missing most of the infamous moments (Shinji in Asuka’s hospital room is notably completely absent). There’s no moment where Shinji strangles Asuka, Komm Susser Tod is missing entire (in favour of something similar sounding but in Japanese), the live-action sequences of the empty cinema or the world without Evas aren’t utilised (though some live action footage is included), Rei betraying Gendo and beginning Third Impact outside his control etc. It's actively absurd to type this, but Lilith – Lilith! – has less character here. Which is so astonishingly absurd given the only depiction of Lilith we get is effectively Rei/Rei was Lilith the entire time, but those introspective sequences hinting at something more involved with Rei or the points Lilith does talk directly to Shinji are gone too. This shouldn’t be a surprise – we are after all missing a Rei character at the climax. Mostly. 3.0+1.0 almost expects you to remember the last time you saw Eva end the world and contrast it to this new version. The EoE imagery, the footage of Lilith descending from the crucifix, the looming figure of Lilith rising as humanity ends. Even something like the sequence of the backsides of cels running backward is reused – this footage also cribbed from EoE and played out on a wall between two characters. The animation breaks down into scratchy storyboards and later degenerates from finished footage down to outlines, animatics, and storyboard. The end of the world is this time around is more heavily meta. Both EoE and the TV episodes “staged” the process of Instrumentality (or parts of it) for Shinji. It occurs in filming spaces and on sets, there’s lighting equipment and dolls as stand-ins. The strange artificiality of pulling back the curtain on the TV or film production, or else the effect of  setting the camera back further than you should for filming a theatrical experience. But even that’s a false layer given a true pull-back would be to people in front of computers or previously drawing key-frames. Here the staging is more blunt still. It begins with an Eva vs Eva fight between Gendo and Shinji in the anti-universe where their brains make sense of the impossible space with artificially staged areas of familiar locations. A fight in a city has a huge sheet as a backdrop and carboard buildings the Evas kick around. They fight in front of Nerv headquarters and in Misato’s kitchen. A blow knocks over a section of scenery and sprawls Shinji in the studio space surrounding the set. A crossroads of sort where Shinji will move on from Gendo to meet with Rei, Kaworu and Asuka. The major difference to EoE is that the end here is much more concerned with Gendo; we dive into his psyche and his past. His isolation and desire for it. This feels extremely confessional for Anno all things considered given Gendo was always previously kept at arm’s length. This feels revealing about the man behind it all, a reflection of the director. He has admitted during production that at his stage of life he is far closer to Gendo than Shinji – I think this is barely obfuscated here. The flashback is more about understanding Gendo and how Yui changed him than anything about Evas or the end of the world. Gendo’s motivation is revealed to be the same as always; this is how he gets to be with Yui again. Odd details catch as this past plays out. And is that Mari in his memories? Mari, who Fuyustuki calls Mary Iscariot upon meeting her and has prepared something for her. Which feels much more like religious buzz words; there’s an obvious implication coached in that selection of a name, but how it actually relates to the story or the circumstances is really unclear. Nor am I clear on what Fuyutsuki prepared. He explodes into LCL like last time too. The process is so close to EoE but the mood is lighter and the reasoning behind the cast a little different. Asuka is part of a clone series – same as Rei. Just without the physical signifiers that Kaworu and Rei exhibit and the prior short-hand for clones in this universe (as noted, their design is intended to invoke lab rats). Nice consistency there. The beach ending from EoE is re-done under a blue sky; Asuka is saved thanks to Shinji and Mari working in concert. Kaworu’s beach meeting with Shinji is restaged, the newer, confident Shinji discussing the circular system that delivers Kaworu into his place at the end of the world. So Eva has happened before, meta-wise or time-wise or dimensionally. Take it as you will, no interpretation is more valid than another. Only that Kaworu remembers them all. It’s happened before and it’s expected to happen again. But Shinji’s different now, so the end of the world is different. Now it’s time to move on; Kaworu is left with Kaji to tend the earth assured the cycle of Eva productions is at an end – both have been dead all this time. Anno’s attitude to his seeming forever association with this one franchise his and his desire to set it down and move on? EoE finished in space; 3.0+1.0 finishes beneath the Antarctic. The idea of Unit 01 living forever as a testament to humanity is no factor at all Shinji intending (and his parents possibly driving) the final riddance of the Evas from reality – none can be allowed to remain. But now, the film takes an odd turn, and as with EoE, there’s the coda. In EoE this was the beach scene. For Rebuild: The sun shines, the sky is blue. An adult Shinji sits in a train station and meets with Mari. She’s older too now; the pair share a kiss and run from the station hand in hand. So. Uh. Yeah. That happened. There’s Kaworu and Rei seemingly alive and well as adults. And Asuka of course. But Shinji winds up with Mari. Mari who knew everything the whole time and might somehow have been part of Gendo’s group at university and known Yui and no, we are not getting any insight into those peculiarities! (or more plausibly it could be Mari’s mother who looks near identical to Mari but... What are we meant to take from this, really?). Mari who met Shinji in a handful of brief moments and has never spent any actual time with him. Mari won the love-triangle! But this is not some simple alternate reality, a different better take world where the cast existed in something resembling our reality; Shinji still wears the exploding DSS collar given to him before rejoining the giant robot fray. Mari effortlessly removes it from his neck. The film ends with a live-action sequence – this is reportedly Anno’s hometown. The world without Evas; we passed the relevant date while 3.0+1.0 was stalled. Shinji made it to 2014, or more plausibly past it in a world without Second Impact. And he’s happy, well-adjusted, and... Not really recognisable as Shinji. Shinji now exists in the present, not the future as he had for so long in pop-culture. But he’s in a different 2021; a world without the pandemic. And that was Rebuild; a project intended as a new introduction to Evangelion that blatantly had its entire core conceit revised at least twice (the 4th film delayed because of Shin Godzilla and then a struggle to write at all) that increasingly and confusingly leant more and more on its famed initial incarnation even as it veered increasingly and erratically away from the familiar sequences. I liked 3.0+1.0 more than 3.0, but can’t help but still bemoan whatever 3.0 was going to be when 2.0 happened. The alternate other sequence. And despite it all, despite the allusions to a repetition of Eva and of this being the break in the chain, even those working on and involved with the film see even this as a definitive end. Even Anno’s not convinced that’s the last word. Eva will come back all over again; naturally – there’s money to be made here, and what’s yet another alternate take to add to the TV series, the manga, the games, the other manga, EoE, Rebuild and so on. Kaworu apparently is indeed doomed to revisit this forever alongside everyone else and also remember that for once he was gifted a true end. An impossible conclusion for modern pop-culture it feels.

[battle-of-alberta]

OCtober: Lilith and Red

Once again take a look at the tourism sites. Is there a city you’d rather visit? I’m curious to know!

Lethbridge | Red Deer

Below is some meta stuff about the ‘research’ (if you can even call it that, it was more of a vibe check) I did for re-doing the profiles. Read on, if it intrigues you.

Mid-Sized Cities: Lethbridge and Red Deer

At first glance, it's hard to tell whether trying to fit Lethbridge and Red Deer into the major city rivalry mold is either productive or relevant. The two cities are distribution hubs of their respective regions, have closely competing populations as well as a growing post-secondary community, and are both hitting their stride in representing parts of Alberta that are typically overshadowed by its larger urban centers. There were "no hard feelings" between the two as Lethbridge's stability and its position as a city uniquely independent of the oil and gas boom/bust cycle allowed it to once again surpass Red Deer in size. It seems that there's a long history of commonality and always just enough room to share the third place podium

Website Round Up Premise

While I was revisiting these character profiles, I took a look at how cities represented themselves on their municipal sites and tourism sites rather than how cities were represented in the news or in stereotypes, as the latter already tend to live in the back of my head. I was interested to see who the target audiences for each city were, what they considered their strengths, and how much effort each city put into putting its own identity on display. I was also interested into what ideas sort of fed into any pre-existing confirmation bias I had about each city's personality as well as interested in what narratives might be used to counteract negative stereotypes.

The first thing I tended to notice was the overall information architecture of each city's website. How easy were they to navigate? What kinds of information did they have? How did they organize it? How did they communicate that information?

Municipal: Out and About

Lethbridge's information architecture leaves a little to be desired... instead of the obvious first tab "Living Here", the "About Lethbridge" page was hidden under "Things to Do" (in an ever extending sidebar reminiscent of older web design). The city portrays itself as a "central" location despite being the last major stop before the U.S. border, which is an interesting contrast to Red Deer's "true" central nature. Still, as southern Alberta is the true "birthplace" of the modern province, the city's pride in being the centre of the South is well earned. The About Page includes a lot of geographical and climate statistics and also helpfully defines words such as "coulee" and "chinook" and "viaduct", which are integral to understanding the environmental context. Lethbridge makes up for what it lacks in organization by being the only city to offer a downloadable colouring book on its about page. Underneath this page is a separate City Identity page for city emblems and symbols, with brief explanations and images of each. There are also a couple pages about the history of the city.

Lethbridge also has a page in their "About" section for visitors, linking them to the tourism pages of the city, the region, and suggesting their own "Top Ten" suggested activities for visiting families.

Red Deer has its "About" section as the first tab on its site, although the large number of categories provide different pieces to the puzzle rather than directing a visitor to a single page. Emblems, symbols, facts and trivia are all squirrelled away under "History" (although many of the facts are short of a little context). The "Moving to Red Deer" page has a more general overview, describing the city as "easy to get around" but with amenities of a larger city. There's also a "Downtown Red Deer" page which describes the three districts of the city centre with six themes: great streets, great places, great connections, vitality, authenticity, and sustainability. Finally, there's a section called "We Are Red Deer" with a promotional video and statement about the city, emphasizing "real" (work-life?) balance, a can-do volunteer attitude, and a city that is the ideal blend of urban and rural.

Red Deer also has citizen-contributed stories and i was Entranced by The Case of the Bolting Bovine in which a cow just. got loose in a suburb. great video.

Overall, both city sites struck me as accommodating and trying to be welcoming and accessible, even if those goals weren't always reached. Lethbridge tended to focus more on environment while Red Deer tended to focus more on the welcoming temperament of locals. I also got the initial impression that Red Deer had put a little more thought in their branding than Lethbridge in both organization and self-description; the site was more oriented to new residents than Lethbridge's as well. However, Lethbridge has an excellent "internal" brand in its promotion of its colouring book and the adorable illustrations and animations I found scattered here and there. They also refer to their history through mural art, which strikes a unique contrast with the extensive archival material featured on Red Deer's deep historical pages.

Neither city had a particularly strong guide for prospective residents, but neither city is as concerned as smaller municipalities might be with attracting them.

Tourism: Staycation Destination

Finally, both cities also have tourism pages.

Both cities are providing regular COVD-19 updates and encouraging local tourism. Lethbridge encourages the hashtag #YQLocal while Red Deer suggests #ExploreRedDeersBackyard.

Interestingly, both tourism pages feature "Ask A Local" or "Local Insider" stories and tips that are very cute. Red Deer has a panel of local experts which visitors can direct questions to, such as "What should be the city's motto?" or "What is an iconic Red Deer dish?". Lethbridge structures an entire section of the website as "Insider Tips", which includes frequent blog updates about local events, an "About Lethbridge" page, but most interestingly includes an "Authentic Lethbridge" page. This page features links to sites like TripAdvisor and Twitter where visitors can explore the reviews and hashtags for the city outside of their tourism page, which struck me as an interesting option considering that it was the only tourism site that encouraged looking at information or opinion that was not curated to paint a 'sunday best' portrait of the city.

Tourism: We’re Headed Downtown

Both cities describe themselves on distinct pages.

Lethbridge has an impressive about page in the sense that less is more, a large image of the viaduct sets the tone for the short description below, which is concise if not vivid or particularly unique. It feels as if the site is confident that Lethbridge speaks for itself.

Red Deer's about page is a little more informative, but you'll have to scroll down and squint or you might overlook it. The description is very warm and genuine, painting the city as the heart of a beautiful agritourism destination filled with active and friendly volunteers (which echoes Calgary's Olympic branding...). It also bolds the sentence "We are fiercely proud of our community and the quality of life it affords." and for some reason it sounds just a tiny bit threatening?!

Tourism: Hitchhiker’s Guide

Both cities have downloadable guides.

It's kind of adorable that Lethbridge takes full advantage of having a digital guide and embeds teeny tiny YouTube videos on the cover and throughout the pages. This year's guide also basically admits straight up that 2020 kind of sucks, and I respect that.

Red Deer's guide is from last year and has a beautiful, colourful design. The theme of this guide is "Adventure" from cover to cover, and the image/text balance is well employed.

It's interesting to see the different priorities of each guide. Lethbridge tends to focus more on museums, galleries, cultural experiences and interpretive centers before looking towards the great outdoors, dining, and sport. Red Deer's guide launches right into extreme sports and the local food scene, which are similarly reflected as the top two draws on their website. It is pretty interesting that this is very often the case for other analyses I've made: Southern Alberta seems to be more concerned with arts and culture while Northern Alberta is a little more sport and recreation. (And since the major cities are the only ones left and I have an Edmonton bias, I'm interested to see how my own tourism site is going to spin what I think I know to be true, haha.)

I got the impression Lethbridge assumed its visitors would be visiting family in the area - maybe it's due to COVID-19 restrictions that family is their focus this year, but I'd be curious to see if this continues. Red Deer's guides were naturally much more focused on the urban corridor traffic and really stressed an "escape" for commuters.