#anyway idk what this is i just love the concept of genius and how relative it is and how silly it is but especially artistic genius

[whiskeyswifty]

One of my favorite things about TTPD is definitely the thread of what makes an artistic genius a genius that runs through it. Specifically, the very concept of genius as it pertains to Taylor swift and how she herself has evolved that definition within her own field, how she mocks it and interrogates it on this album. But also the way it conflates with how we dub her a genius these days; artistically, strategically, philosophically (depending on your mileage). The crux of the issue ultimately is that historically, geniuses are often characterized as men who are lonely and flawed to the point of unsociable. It is in fact their genius that tortures them and isolates them and subsumes them and makes them flawed. And then in turn, the only men who can create great works of genius must also possess those traits because they are decided markers of genius, and so on and so forth. Women geniuses, the few that earn that moniker, in turn are often marked by caveats tacked onto any praise or recognition of their genius work. (It’s all non-cis-men “geniuses” really but for the sake of this discussion, we’re talking specifically about women v. Men because Taylor is a cis woman in a predominantly cis male controlled space) In Taylor’s case, it’s fearless deserved AOTY because it’s impressive….. for a teenage girl writing about teenage girl things, instead of simply saying the album itself being a great work of genius deserving of the award regardless of her age and it’s subject matter. Another being instead of simply saying she is skilled at distilling the human experience, she is deemed adept at distilling the girl experience, the girlhood of her weepy, exuberant little girl audiences. Always a qualifier, always a subset and an othering of female genius. It’s genius…. Within the confines of the handicap of being a woman. 

If you trace back her relationship to this confine, at first, she did try to fit into this genius mold sculpted by men. Young and girlish as she was, she still peddled the idea that she too was churning out these genius songs from a sort of tortured and lonely isolation, albeit scribbled in gel pen ink with kicking feet and yearning sighs, but in isolation all the same. I say peddled not because she isn’t a fabulous solo songwriter but she wasn’t often in total isolation as per the (male) genius handbook, and there in lies the very thing her genius begins to push back on, and the genius presentation of women that often clashes with the defined genius mold of men. She’s incredibly social. Vivacious and thrives being around friends and family, and her line of work traffics in that vivaciousness as a pop star, smiling and dancing and giggling on stage for thousands. She enjoys collaboration and throwing parties and meeting new people professionally and personally. She seeks out interactions with her own fans, to varying degrees over the years but still her hand is always reaching out across the barricade. How much of this is purely a product of a public persona and how much is her innate personal qualities is a moot argument, because the fact remains the same that this is the persona we are presented with, who is the antithesis of the male genius. And it’s not to say that she isn’t lonely or flawed or tortured about it. 

TTPD specifically interrogates that idea both through the lens of observing a guy who fancies himself a genius in that very male way, but also her own representation of genius in the world and how she repudiates the male genius mold foisted upon her. Mocking the stereotypical misanthropic traits of this male “genius” she encountered on songs like the title track, but also mocking the way he (and us by extension) try to classify her as a genius with all the trappings of one. Going as far as to refer to herself as an idiot in contrast, not intellectually perhaps but in terms of her comprehension of the world and her place in it, she doesn’t feel like a genius, not the way the man she’s speaking to seems to cartoonishly categorize them anyway. She doesn’t want to hole up in the Chelsea hotel with a typewriter wallowing in the burden of her genius because she doesn’t feel burdened by it that way, but rather her genius makes her curious and compelled to continue living boldly and blindly. If his (and the world’s) idea of genius is that willfully lonely tortured poet, then she’s much happier to cast herself as a modern idiot. She continues to push back as the album progresses, wherein she doesn’t claim she doesn’t get lonely or she isn’t flawed, but simply that she doesn’t define herself that way or even let those feelings steer her. Broken Heart is a quite literal example where she endures one of the biggest heartbreaks known to humankind and touts her ability to continue to perform her job due to the fortitude of her compartmentalization, not letting it decide how she will live her life. The Prophecy, where she bangs her fists against the forces that insist that she must remain in the lonely tortured poet mold in exchange for this genius, be they arcane or the small mindedness of modern world around her. She becomes animalistic, feral as she howls at the moon even, refusing to be shackled. Which brings us to Who’s Afraid, the most violent push back against the male genius you could say. She does not retreat to the folklore cabin in the woods as she once did when she is lonely and flawed and tortured, but instead lashes out and monstrously displays her emotion in the faces of those who scorned her, promises to never retreat and to instead haunt them, and perhaps all of us, forever. A Frankenstein’s monster of herself, where she is both doctor and creation. A story whose comparison is apt for its subject matter, but also in its creation that gets to the core of how she redefined genius. 

Mary Shelley, a woman, wrote Frankenstein, a seminal work of literary genius, and while the book is about a genius tortured in isolation by his genius creations, she didn’t write it in lonely tortured isolation herself. She came up with it in a house full of friends where they played a game to see who could come up with the best ghost story, for fun. The impetus of its creation was to share it with others and emotionally connect with them. The manuscript closes out TTPD with a harrowing but frank recounting of a transformationally damaging relationship in her life where the song itself confronts how she hid the scope of the damage from others, and even to a degree herself, behind the genius works she created about that relationship. Ironically, some of which are the single works that had the big wigs and critics and greek chorus of the music world finally cement her genius. The lemonade out of lemons she could have said and been done with it. But it wasn’t the declaration of genius that those works afforded her that brought her closure and peace on the matter, as the Manuscript dictates. It was the way the work of artistic genius was received and emotionally resonated and connected with people that allowed her to emotionally connect to it herself over the years and create more art from it until she finally understood the experience fully. Understood what the agony of it all had been for back in her early twenties, and thereby understood what the genius is all for now. If being a woman is seen as a handicap by her genius peers or by those who decide genius in others, merely a hysterical woman or a weepy little girl, perhaps it also could be a huge reason for why she’s able to redefine it, due to her access and ability to embrace those hysterical weepy emotions as only women are allowed to do in modern society writ large.

And so Taylor reshapes the identifying image of our genius as a bitter, tortured, stoic man in his cabin into a smiling face of a woman overwhelmed by a thousand emotions, clasped hands reaching out over barricades. Or one of eyes searching and recognizing herself in the faces of 80,000 people in an audience. Even seeking artistic collaboration with her friends that often results in sharing ghost stories of their own kind out of a desire to connect with each other. As sad and heartbroken and lonely she may feel, she will never be alone and the great mistake of the tortured and isolated male genius is thinking that he must be. If you believe that there is some divine purpose that bestows artistic genius upon a person, what Taylor Swift discovered and redefines and insists upon is that it is not a lifelong curse of loneliness but a gift of boundless and eternal human connection. 

[wickymicky]

wickymicky’s Top Ten Kpop Songs of 2021

7: IVE - Eleven

One, two, three, four, five, six, seven... You make me feel like Eleven. lmao. Get it? Cause it’s number 7? Anyway...

Oh my god, lol. Holy shit. Where did this song come from? I was not expecting this. At all. I love Izone, they’re one of my ult groups, but Yujin and Wonyoung were never at the top of my bias list, partially due to them being the maknaes, with Wonyoung in particular just having been very young when Izone debuted. But still, nevertheless, I was interested to see what this group would be like, as they’re the first post-Izone group, and they’re under Starship, so they’re a junior group to WJSN, and many more. Those factors do put a lot of pressure and expectations on them. When they started revealing members, I saw how young the maknae is, and that definitely concerned me, and, to be honest, made me lose a bit of hype for them, because I was hesitant about the whole thing. 

But then it came out. And while I don’t really see myself stanning this group, I know an amazing song when I hear it. Seriously, where did this come from? Where did Starship get the budget for this? lmao. This is amazing. It’s one of the most exciting debuts I’ve heard since I got into kpop. idk it’s just... I don’t know where to begin.

Alright, enough wasting time, let me just list my favorite things about this song.

I love the production and mixing. I’m not very familiar with Bollywood stuff, but this is Bollywood inspired, right? I’m not knowledgeable enough to say whether or not this is appropriation or appreciation, but I will say that that guitar (or other string instrument? idk i’m sorry) sounds so clear and crisp and sharp. There’s so much going on in the song in terms of percussion, and all of it is crystal clear. This song has so much texture. It’s like... I haven’t heard a lot of kpop songs that are this immaculately produced or mixed or whatever it is. Everything, every detail, just sounds amazing. Regardless of the melody, the rhythm, anything like that, the individual sounds just sound good to listen to. Better than anything else on this list. This song is incredible. The reverb or echo on the vocals is done so well... Sorry, I’m like tripping over my words here cause I kinda don’t really know where to begin. This song is like music to my ears. lmao. The songwriting too is just... Like what I said in the Love So Sweet review, this song is also very streamlined and focused. There’s nothing extraneous. Everything works towards the goal of the song, every detail leads into the next. It flows superbly well.

I love the curveballs this song throws at you despite its relatively simple concept. That slowdown right before the chorus is a genius touch. It doesn’t just get your attention, it grabs ahold of you with both hands and violently shakes you awake before the chorus. That slowdown leaves you on the edge of your seat, and it makes the chorus so much more explosive. The first chorus ends without a second half, but in such a way that you knew one was coming. Even before you made it to the second chorus, so you didn’t know for sure that there was a postchorus segment yet, still, the ending of the first chorus surprises you and leaves you hanging. And when the postchorus does come in after the second chorus, it’s huge. It’s so lush and rich and dense and vibrant. It’s a little bit “epic” lmao, but idk... I’m kind of a sucker for stuff like that sometimes haha. And the bridge? Oh my god. 

Damn, I really don’t know what else to say. I wasn’t expecting this. This song is 7th, but honestly I was very close to putting this in the top 5. For a moment while I was finalizing my list, I had this song as high as 4th place. Right now though, I feel like 7th place is just right. It’s hard to rank a song that is less than a month old, and I don’t wanna put something here that I feel like I’ll disagree with 6 months from now when the song isn’t new anymore, but I’ve thought about this a lot and I feel confident about this placement. I’m so impressed by this song, and I didn’t expect that at all, haha. Wow, dude.

links to the rest of the list: 10 - After School (Weeekly) 9 - Love So Sweet (Cherry Bullet) 8 - Odd Eye (Dreamcatcher) 7 - Eleven (IVE) 6 - Rub-a-Dum (TRI.BE) 5 - Holiday Party (Weeekly) 4 - Ring x Ring (Billlie) 3 - Zombie (Purple Kiss) 2 - ASAP (STAYC) 1 - First (Everglow)

[charmspoint]

THANK YOU FOR SAYING THAT ABT THE BSD MANGA ILY THANK YOU I FEEL LIKE MY OPINION IS FINALLY VALIDATED WHICH IS: BSD has turned meh. I have become indifferent towards the plot due to the fact there are no real stakes - I feel like the OP characters like Dazai will always have a solution with a deus ex machina feel to it, making it impossible for me to care. With the recent chaos happening in the manga (I too gave up on the manga a year or so ago!), I was baffled to find out I could no longer enjoy it. My memory is poor, and I can't really pinpoint it at the moment, but BSD just... doesn't engage me as it used to. Keep in mind I was an obsessive fan of it and analyzed it to the tiniest details, but all of my great love for the series has long died, sadly. But! I am glad to hear you feel similarly about it because, yes, the potential was there, but it got terribly wasted.

Bruh don't I feel it, me and @autumn-foxfire have like monthly bitch sessions about the state of bsd at this point. I was also super invested in it in initial arcs (Up until the guild arc ended) and then slowly started petering off only to drop it the first time around the hunting dogs introduction. Then after some time i was like okay ill go give it a second shot, came to the vampire arc went 'wow this is really fuckin stupid' and dropped it again. Idk will I pick it up again, maybe I'll just stick to being an anime only, even tho I also have problems with some adaptation things but that's BESIDES THE POINT.

Please click under for The Point

The thing about Kafka is: He's really good at coming up with interesting concepts and ideas and REALLY BAD at executing them in any sort of satisfying way. Like, when I say I only like bsd until the end of the guild arc, I don't mean it was perfect. It could have handled it's female cast better, it would have been fun to see more mafia and agency team ups besides soukoku and shin soukoku, I still don't get why shin soukoku is supposed to be a replacement in training since Dazai and Chuuya still work together perfectly and even if they hate each other they hate each other less than Akutagawa and Atsushi AND have way more experience fighting together but that once again is besides the point. The point being those arcs of bsd were SATISFYING. We got introduced to two organizations, seen them butt heads and then have them forced to work together against a common enemy. It's very simple but it's effective and it's satisfying.

And then the rats struck.

While up until then bsd wasn't perfect it was fun and had lovable characters and an interesting plot and engaging dynamics. Rats arc wasn't horrible per say, the idea of the cannibalization was really fun (Though I think Kafka should have used it to get rid of Mori, nobody fuckin likes Mori) but this is where we slowly get introduced to what I think are two main failings of Kafka's writing: That he's unable to handle characters properly and that he likes writing smart things but doesn't know how to write smart things.

Kafka has a very, very bad habit of INTRODUCING TOO MANY FUCKING CHARCTERS. Every arc is a new massive group with like a bunch of members, one of who may actually end up being fleshed out before they are inventiblely replaced by another large group or maybe two why the fuck not. The mafia and the guild left lasting impressions on me and I can still name all the main members but fuck me if i know a single rat aside from Fyodor (AND ILL GET TO FYODOR). Kafka feels like someone who's idea of rising conflict is 'introduce a bigger enemy each time' and it's just so annoying. Chapters and arcs end up centering around these groups of new characters while old characters, who we loved the manga for, just fall into obscurity. He almost had me in the hunting dogs arc by giving Yosano a backstory. I was so excited! I was like!!! finally development for the agency!!! But that barely went anywhere did it. I've talked about this with Foxy but it really feels like Kafka is just BORED of the og characters and is trying to silently sideline them for his new shiny characters. When's the last time we saw Chuuya again, you know, the ex partner of one of the series protagonists? The next predicted mafia head? Is he important? Foxy tells me Dazai's been sidelined too, fUCKIN DAZAI, for a good while I was sure Kafka liked Dazai a lot better than Atsuhi for protagonist and now he's getting sidelined. I know bsd is still really popular in japan but at this point i think it would have been more merciful for Kafka to just end bsd and start a new manga with new characters instead of doing whatever weird metamorphosis this is turning out to be.

Introducing new characters isn't a bad thing of course, but bsd has become mcdonalds of new characters. They are cheap and disposable. I can't feel anything for them because I know nine times out of ten they'll barely make any impact and they'll disappear as soon as the new group slides in. When adding new characters you should do so while knowing what role those characters will play in your plot, what will they bring. If a character is just there to waffle around until they get shoved away they should probably be cut because they are wasting time and space. AND YOU SHOULDN'T SIDE LINE YOUR CORE CAST FOR UR SHINY NEW CHARACTERS YOU'LL GET BORED OF IN COUPLE OF ARCS ANYWAY, ARE YOU A TODDLER???

I still think that bsd could have been SO much better if instead of focusing on the next big evil group they just focused on shifting tension between the agency and the mafia. I mean they've had to team up for the guild and then they immediately got thrown into the cannibalization. It would have been interesting to see them pull against and pull towards those ties made during the guild arc when they are forcefully pitted against each other again (and decide that killing mori would be in everyone's best interest). Instead we got, idk I already forgot what the rats arc ended up being about, atsushi and aku team up again yadda yadda yadda, Chuuya gets done dirty and never recovers, Fyodor ruins Dazai

SO ABOUT FYODOR. As I said, Kafka strikes me as someone who REALLY likes to write geniuses and who wants people to think he's super smart but also has no idea how to show his work. At first this was okay. We had Dazai and Ranpo who were very good at pushing the plot along and sometimes you'd get explained how they got to that conclusion and sometimes you didn't but it usually wasn't a big deal. But then the writing became more and more and more of 'well he's smart so he figured it out so just trust me' without actually explaining anything and as you said, it ended up feeling boring, unengaging and very deus ex machina. You know what Kafka's writing reminds me off? That video about how Sherlock is so happy to stroke itself to how smart they look while never showing their work, you know the one. Kafka likes writing smart characters but doesn't actually know how to write smart characters so instead of giving us reasons and clues and explanations to how they come to some conclusion, how they predicted or planned or whatever, he just goes 'oh well they are super smart so they figured it out'. I don't think I need to explained why this is bad, annoying and unengaging writing. This is why i say Fyodor ruined Dazai for me, Dazai was fine as a genius but then they had to pit him against Fyodor who's another genius and things just got ridiculous. You know how in that sherlock video the guy points out the one scene that encapsulates every irritating thing about sherlocks writing. This had been it for me and BSD (thank you Foxy for helping me find the panels)

THATS NOT HOW CODES WORK, THATS NOT HOW ANYTHING WORKS, THEY WOULD JUST BE COMING UP WITH TWO DIFFERENT SETS OF CODES HERE. Even if they were both smart enough to remember every conversation in detail, how on earth are they supposed to 'guess out' what the other means. How are they supposed to confirm or deny that's what a certain word means in a way that can be understood, how can they even guess what the word the other guessed is IF THEY ARE BOTH TALKING IN CODE. KAFKA'S ANSWER: THEY'RE MONSTERS, THEY ARE JUST THAT SMART, NO NEED TO EXPLAIN IT BECAUSE THEY ARE JUST THAT SMART AND THAT'S YOUR SOLUTION AND THAT'S BULLSHIT. This scene broke bsd in half for me and honestly made me dislike Dazai for a long time (I got better), but it honestly shows so well how Kafka wanted to make his characters so smart he actually made his manga really fuckin stupid, ruining very good and interesting concept he had started with.

In the end, Kafka writes how I wrote when I was 15. With no idea where the plot is headed, adding new characters and situations whenever it strikes his fancy whether they work for the story or not, ending up just flopping around plot holes and fizzled out character arcs and boring ass writing. And that's fine for a 15yr old writing fanfiction. It's not fine for a presumably grown ass published author of a relatively popular manga.

Thank you for coming to my Ted Talk.

[tfw-no-tennis]

mtmte liveblog issue 22

oooh man, its time to feel some EMOTIONS!

I'm BACK after a hiatus, which was due in part to me getting my 1st dose of the covid vaccine! woohoo!

anyways, starting here w/issue 22....we have a great cover w/thunderclash, the legend himself

oof. the covers made me forget how much I don't like the art this issue...I hate to be mean to the artists but this art style just isn't doin it for me chief

god I love this issue though. the framing device of rewind’s movie is so so fantastic

tailgate listing off all his fake awards/accomplishments....ily 

rodimus my boy, you're a prime in my heart

the ‘not a decepticon’ label for cyclonus is so much hvbhkjfbskjf

I literally wanna comment on every single panel bc I love all the characters so much but then id be here forever...that being said whirl ily sm 

hvbjdfbhsfjhdfshja BRAINSTORM ‘according to perceptor - ships genius’ hvhdkjhbfhjs ily dumb gay idiot

and then the cut to perceptor after brainstorm like, blew up his lab vjbkdsfnbksjf dude

GODDDDDD drift ‘your name...defines you. it’s your soul expressed in syllables. hm? oh, yes, sorry. it’s drift.’ GOD he’s so fucking funny. I love early story hippy drift

god I cant stop thinking about how good this whole issue would be as an animated show...like, specifically rewinds film, it would be SO FUCKING GOOOOOOD mtmte show WHEN

rewiiiiind ;_; I fuckgin love rewind god. fellow video editing enthusiast....

ohhhh rodimus being embarrassed about his big speech at the beginning of mtmte....my boy I love u so much

gjhnbgehjsrkfbjksf magnus being suspicious of rewind oh my god. magnus ily but please, look at the lil guy, he’s a good boy, most of the time

the fuckgin footage that magnus removed hbvhakjbfhskf god. wasn't that intended to be footage of magnus dancing? I love him

minibot squad.....

and here it begins, the mystery stick rung question...

poor rung oh my god he’s just trying to polish his lil spaceship and people r throwing shit at him. taking Ls as per usual it seems

hand grenade tag hvbfjksdnfbkjdf love that callback

noooo rungs ship :( 

magnus’s censorship vhbhadkjfhdbhjsakjhfn

oh man I forgot about how they met that race of Transformers But More 

the one-upsmanship hbvkajsbehfjks

whirrrrrl lmao I love whirl sm

goddddd whirl just killing that other alien and ending the 16 million yr long civil war bvkjsdbfhjjkafs so fucking much

oh god oh god the ‘are you happy’ page, I'm not emotionally equipped to handle this like, ever

but I will say I feel like it would be EVEN MORE oof if it were milne or someone drawing it bc I feel like this art style takes away from some of the impact bc the expressions aren't really that...expressive? idk how to put it

anyways. every single answer destroys me!!! like even the happy ones, like chromedome and rewind and tailgate - well, in present time, none of those three are doing so hot, so that makes this just hurt 

and rung....that is so fucking depressing. jesus. this guy is so fuckng sad, somebody get him a friend stat

and swerve...ouch. this readthru I've really noticed how much early-mtmte swerve is not-so-subtly like, crying out for help bc he’s so alone and shit. jesus 

also brainstorms response is just plain ole sad w/context, but at this point in the story without context, it just seems very foreboding lmao. I'm realizing this readthru that brainstorm is very sketchy and ominous in a particular ‘is he evil?’ mad scientist sorta way in early mtmte

and then everyone else is also just so OOF in their own unique sad ways, but I think the worst out of everyone is drift....GODDDDDD. especially considering that at this point in the story, drift is this kinda goofy hippy guy, so seeing him just sit there with his face in his hand, not even answering the question...AND knowing that shortly after this he’ll end up banished...IT FUCKING HURTS M8!

meanwhile, the more upbeat ‘quest to see rungs alt mode’ continues...with an ‘alt mode party’ vhbadkjsdfnabskjf it looks so silly with a bunch of cars just sitting around a table lmao

I cant even tell who everyone is bc they so rarely turn into cars n shit lmaoooooo 

rodimus with the bucket on his head hbvhakjbfskjf I CANT

everyone’s reactions to thunderclash...i fucking love it

the fact that TAILGATE doesn't hate him, even though we’ve seen that tailgate tends to dislike people who are universally liked/who have achieved a lot of impressive things

rodimus you petty thot vbdkjbfdjhsakjdf ily

RODIMUS IS SO FUNNYYYYYY ‘I'm not making all these sacrifices and leading these guys into battle and being inspirational - I'm not doing that because it makes me look good’ RODIMUS VBHSKJDFNBKSJF

thunderclash talking about magnus’s article on typefaces....hdbksjfsdbkjgfb bro

AND THEN MAGNUS HUGS HIM....HGBSKJFDSHFKD I CANT

POOR DRIFT bvhajkdfbhjkjsfd rodimus saying he ‘rehabilitated him’ oh my god

the whole spectralism thing...im sorry I cant get over how funny all this is vbakdjfbksjf thunderclash rlly b out here charming rodimus’s entire crew

and then ratchet comes in, calling tc ‘thunders,’ and tc immediately notices ratchets new hands (somehow) hvbkjfhbskjf truly amazing

it cracks me up that rodimus is all 😒😒 at thunderclash, even though as we come to find out, tc really IS That Perfect, and him complimenting rodimus isn't sarcasm at all lmao

AND THEYRE LOOKING FOR THE KNIGHTS OF CYBERTRON TOO HVSDHFJBSHKHDFJS OF COURSE

the vis vitalis being a life support machine spaceship is a really cool concept tho

‘rescuing some orphans from an exploding sun’ I fucking cant

evil guy: [holds a gun to thunderclash’s head] 

rodimus: :D finally something doesn't go his way!

he’s so petty I’m..........dkdjhfdabhduifadijgl

and its the aliens from earlier! oooh

GODDD I forgot that swerve used rung in mystery stick mode to SCHWACK the guy

rung casually dropping the fact that the functionists like, experimented on him...there's a lot of implications there, and that'll certainly be explored more later...

the fact that his ID card says ‘rong’ hvbhjakhdsbfakhsjfn 

oughufadkfujbsfk the circle of light throwing wrenches n shit at skids...guys cmon vbhsdjkfnslfd

the circle of light is like ‘wtf you all have trauma and a bunch of weird unhealthy coping mechanisms this is wack byeeeee’ lmao

skids calling the lost light his home is rlly sweet tho

cant believe the religious space hippy cult is being so rude about a film made by a guy who died like a week ago. unreal 

cd finally figured out how to make the pffft sound, good for him

AUGHHHHH the fact that rewind used ‘little victories’ as the title of the film and that's something that chromedome said in the video ;_; I'm fucking inconsolable 

rodimus, despite his obvious posturing for the camera during the whole issue, comes off as surprisingly genuine when he says that he hasn't thought about his own future much, but wants the crew to have a happy ending....im gonna cry

‘who knows what's around the corner?’ tailgate, PLEASE don't say that, oh my god, 

OUGHHHH GROUP SHOT 

OHHH mannnnNNNNN i love this issue SO MUCH. what a good fun emotional rollercoaster wrap-up to mtmte s1. god. 

like, this issue has it all - humor, drama, crippling sadness, intrigue, worldbuilding...it’s so excellent 

and getting to see rewind again hurts so bad but also I love him

ok quick mtmte s1 retrospective...god s1 is so fucking good. I'm gonna have to read more to say which chunk of mtmte I liked best but s1 is so fucking excellent that it might be my favorite. though its hard to pick bc there's so much good stuff later on too...whatever, the point is s1 is so so good

the plotlines and characters are fucking stellar. like I cant even believe how well Everything works, its very impressive. I cant really think of anything major that made me go ‘yeah could've done without that plotline/character’

I love how dedicated jro is to connecting everything. I've mentioned it before but basically every single moment in the series has payoff - what you initially think is just a funny moment, or a fluffy character establishment bit, ends up ALSO being an important plot point later, in some way

an example would be here w/rung and his alt mode - it just seems like a fun little B-plot for this issue, and seems to pretty neatly conclude with the reveal that rung was eventually classified as an ‘ornament’ (lmao)...but we later on get to see a lot more about this, both here and in the functionist universe 

and like, stuff like tailgate’s autobot lessons w/magnus - at first that can be seen as purely character establishment stuff, showing that magnus is a strict rule-lover and tg is a loveable try-hard good boy - but that becomes plot relevant in remain in light, with tailgate saving the day due to his knowledge of the autobot code (and its also character relevant, with magnus’s arc in remain in light). 

and I know this is like. a normal regular thing in writing, but I'm just very impressed about how cleanly jro pulls it off, and how many things he’s juggling at once, especially in early mtmte - it’s very ambitious!

and we gotta remember, this is a comic book. I've read a lot of comic books, and the quality is all over the place. a lot of writers bite off more than they can chew, and the story ends up kinda scattered as a result. 

another thing I see a lot in franchise writing like this is a lack of strong early character establishing due to the author assuming the readers are at least somewhat familiar with the characters already - which can be totally fair depending on where it is in the continuity, but other times it can come off as lazy

in mtmte, the cast is extremely well fleshed out, and not only that, the cast itself is unique in that there are a lot of relative unknowns (franchise-wise) - which I think was an absolutely brilliant move, because then jro was able to essentially create The Definitive Version of these characters - characters like swerve, brainstorm, chromedome, rewind, tailgate...mtmte is their baseline characterization, because they haven't really appeared in much else

this also allows for deviation from the franchise norms - again, a comic book classic is good writing being stifled by a need to stick to a certain status quo regard the characters, the world, the powers, relationships, etc

(I've mostly read DC comics, and some marvel, so I'm thinking superheroes w/all these comic comparisons)

so mtmte had a good recipe for genuine creativity in that the characters were relative unknowns, the plot was basically ‘space road trip,’ the status quo of ‘autobot vs decepticon war’ had been demolished throughout the entire franchise...so jro was able to take all that and run, and it turned out so fantastic

and luckily it isn't over yet! so many comics suffer from premature cancellation...and sadly mtmte/ll isn't exempt from this, as we’ll see later, but I've seen some awful ones, where comics are forced to wrap up in like 2 issues while in the middle of an arc. yikes. 

but another comic staple...one of my least favorite things about comics books in general...something that was basically responsible for driving me away from comics after reading a bunch...the dreaded crossover event

yep, even mtmte isn't immune to this unfortunate plague on the comic industry. crossover events are the absolute worst, and I'm saying this as somebody who adores crossovers (in concept more than execution usually). they SHOULD be my favorite, but unfortunately they p much always completely suck

they're essentially a ploy to get you to read the other ongoing titles, but they usually only serve to bog down whatever story you're reading to the point where you don't even wanna read that one anymore, let alone read all the other ongoings. at least, that’s been my experience 

it doesn't help that reading orders tend to be hard to find/keep track of, and that you need to go read the other series to know what's going on. I just hate it, like, I came here to read THIS series, I don't want a bunch of other series showing up too - even if I was reading two series, I wouldn't want them crossed over, because they're separate stories! augh!

I'm totally losing my focus here but my point is...crossover events suck, and mtmte unfortunately is involved in one. I have not read dark cybertron, and I'm not about to. I've heard nothing but bad things so I have no desire to inflict that upon myself 

soooo ill be reading through the tfwiki articles for those issues to give myself a better understanding of what went on - which is more than I've ever done in the past - and maybe ill even make a single post summarizing my thoughts on what I read in the wiki, lmao

but yea ill be skipping to the mtmte s2 stuff next 

phew ok I'm super tired, my vision keeps blurring out and stuff lmao. its time for bed, I probably have more thoughts but ill save them for later. for now...peace out!

[eyecicles]

idk if you want to answer this but I've come across a theory several times now and I'd like to know your opinion: B creates 'Ryuzaki'. L adopts some of B's 'Ryuzaki' traits. L is still naturally quirky but he amplifies his weirdness. Thoughts?

Short answer: No

Long answer:

The biggest problem with theories like that, is that “Another Note” and “Death Note” were written by different people and I don’t think at all that AN is anywhere near the level of canon the manga is. This is actually a good thing, because otherwise we would have a lot of annoying contradictions (AN is filled with them already, lol) and I’d rather not have that.

So I could make this relatively short and point to what we have in the manga about the LABB case, which is this scene:

A case L hardly even remembers, since he has to google Naomi first, even though it was only one and a half years ago.

I tend to not believe that we’re supposed to read a book - not written by Obha/Obata - about a case L probably doesn’t even care about, to understand why L is so “eccentric” or “more eccentric than he naturally was even though he still is a bit weird”.

Not to mention that AN!L isn’t exactly like manga!L to begin with. If we don’t even consult HTR13, B isn’t canon at all. He’s briefly mentioned in the HTR13 as someone who “challenges L, a man he admires” (l o l). In the manga, there’s only a “perpetrator” of the “Los Angeles BB Serial Murder Case”.

The manga doesn’t offer an explanation to why L is the way he is and, really, do we even need one? A lot of characters use codenames, a lot of characters have strong personalities, Mello and Near are just as “quirky”, so why should L’s personality need an explanation when no one’s else does? The manga doesn’t ask why L is “weird” while “Another Note” asks us all kind of questions about who’s “Ryuzaki”. Chances are, the answer is not one to a question the manga doesn’t ask. We, as the readers, made that an issue and maybe there’s nothing to solve. Seriously, I think that’s a perspective not enough people think about.

I do, however, believe that everyone can decide on their own how seriously they take “Another Note”. So let’s talk about the novel:

The theory doesn’t work without first!L (except if you want the most vague concept of “L” possible, maybe). And, uh, I don’t want to kill anyone’s mood but *whispers* he doesn’t exist. In HTR13 Ohba and Obata famously talk about the changes in L’s design, but ok, you don’t have to take HTR13 seriously either, if you really don’t want to. We can all just look at the actual story in the manga and wonder why L’s face, shoulders, neck, and hair suddenly look different even before he decided to show his face to the task force. Why not.

Anyway, let’s pretend for a moment that first!L does exist, despite everyting pointing towards the opposite direction; what does first!L do?

Well…… He’s barefoot, crouching on the floor, wearing jeans and a simple shirt… Oh wait! That’s mostly stuff B does, as Ryuzaki, too. Did B, by change, create a persona that closely resembles first!L?!

Or does B already know a thing or two about L? “Another Note” is weird and dumb and confusing and tells us that B has never met L (which doesn’t bother me that much, considering how shit B’s L impression is, haha), but let’s look at this quote:

“If L’s a genius then B’s an extreme genius. If L’s a freak, then B’s an extreme freak. Now it’s time to get ready. There are things I must do before B can surpass L. Henh henh henh henh.”

B thinks L is a freak (”a genius and a freak” makes it clear that his freakishness is something seperate from his brilliance as a detective). Why? Because he knows that he’s weird. Somehow. Even if he didn’t met him. And this simultaneously tells us why B’s impersonation of L is so shite and totally over-the-top: B wants to be the extreme freak. B wants to surpass L’s level of brilliance and weirdness (don’t ask me why). L doesn’t soften B’s quirks, B amplifies L’s.

And I know people who believe in the Ryuzaki Persona theory tried to discredit this quote:

There was something about him that reminded her of Rue Ryuzaki—of Beyond Birthday. But the resemblance was backward, like this was the original, and the other had been a copy.

But, uh, I, for one, think it’s pretty straightforward. There’s nothing vague about it in my opinion, and I’m convinced it isn’t some secret brain twister. By now, we’re supposed to already know that Ryuzaki isn’t actually L. We’re at the end of the novel and Mello (who met L in person) tells us through Naomi what happened. It would be completely redundant to tell us that “B imitated L” even more obviously. (By the way, L has never seen B as Ryuzaki and Naomi doesn’t even describe him to L - she only tells L vaguely that he’s “weird”, which seems to upset L.)

Thankfully, we have another quote like the one above (this time directly from Mello):

I need hardly explain again that the murders themselves were not his purpose. So what was he doing? Again, I hardly need to explain—he was challenging the man he copied, the century’s greatest detective, L.

“Copying” implies more than just challenging someone in a detective war. “Copying” doesn’t mean that B wants to become L - he doesn’t - and it doesn’t mean that he’s “copying” his investigative methods, because, again, he actually doesn’t.

But okay, cool, let’s pretend B copied L and then L copied some of the quirks B added (?). Which ones? His love for sweets? His bad posture?

A burden so great it would leave you hunched over. A bitter taste in your mouth that would leave you longing for sweets.

That’s how Mello describes L.

The dark circles under his eyes?

There were lines under his (L’s) eyes so dark she wondered if they were actually done with makeup. Like he hadn’t slept in days—or like he had never slept in his life. Like his sense of justice would not allow him time to sleep, since he had so many difficult cases to think about, battling unfathomable pressure on a daily basis.

Again, Mello - via Naomi - disagrees. Mello has some weird theories indeed, but since the novel paints L as waaay more sympathetic than the manga does anyway, I’m pretty sure we’re meant to believe him here. (Not to mention that the manga tells us very clearly that L has some weird sleeping habits.)

By the way, I’ve seen this line -:

There were lines under his eyes so dark she wondered if they were actually done with makeup.

- quoted out of context, which is pretty dishonest. The novel goes on to explain us why L looks like that and even very clearly contrasts it to B:

Still grinning to himself, he (B) faced the mirror, brushed his hair, and began applying his makeup.

He probably sleeps pretty sound at night. Another interesting B & L contrast:

Apparently he (B) was capable of consuming non-sweet things too.

Yes, unlike L. B is willing to break his act then and now, L is canonically very uncompromising .

And B also picked the name “Rue Ryuzaki” specifically to fit his entire L masquerade:

B approached Naomi Misora, calling himself Rue Ryuzaki. Rue Ryuzaki– L.L. For anyone from Wammy’s House, there could be no higher goal than identifying yourself with that letter—andBeyond Birthday seized this case as his chance.

Everything about “Ryuzaki” is about L.

You know, I’ve talked about this before, but beside the fact that L’s quirks are added gradually - and not with a BANG! for the task force or whatever - L’s crouch, L’s posture, L eating and drinking lots of sugary stuff, L biting his fingers, L having dark circles under this eyes - all of that is heavily connected to L’s emotions, thoughts, and general personality in the manga. Stress, feeling depressed, fear, even joy; all of that makes L intensify his crouch, makes him bite his nails, makes him show some weird facial expressions, or eat some more cake. Not the other way around, like, y’know, you would expect from someone who puts on an act.

All the nice little details about L’s character tell us so much about him. Obha and Obata beautifully use them to give us some hints about his psyche, and taking that away from L makes him incredibly hollow. While B’s “Ryuzaki” act is alllll about his L obsession. If you take that away from B, he becomes hollow as well.

Yes, L utilises his quirks to confuse people and he’s a liar, but that’s got nothing to do with B.

Conclusion: B is obsessed with L. L doesn’t seem to care all that much about B. He contributes very little to the case (it would be fair to say that Naomi solves the case), the manga implies that he doesn’t even really remember it, first!L is not real, and I’m tired.