#but individually that’s some really cool master storytelling | Explore Tumblr posts and blogs

taylorswifthongkong · 4 years ago

Link

Taylor Swift broke all her rules with Folklore — and gave herself a much-needed escape The pop star, one of EW's 2020 Entertainers of the Year, delves deep into her surprise eighth album, Rebekah Harkness, and a Joe Biden presidency. By Alex Suskind

“He is my co-writer on ‛Betty’ and ‛Exile,’” replies Taylor Swift with deadpan precision. The question Who is William Bowery? was, at the time we spoke, one of 2020’s great mysteries, right up there with the existence of Joe Exotic and the sudden arrival of murder hornets. An unknown writer credited on the year’s biggest album? It must be an alias.

Is he your brother?

“He’s William Bowery,” says Swift with a smile.

It's early November, after Election Day but before Swift eventually revealed Bowery's true identity to the world (the leading theory, that he was boyfriend Joe Alwyn, proved prescient). But, like all Swiftian riddles, it was fun to puzzle over for months, particularly in this hot mess of a year, when brief distractions are as comforting as a well-worn cardigan. Thankfully, the Bowery... erhm, Alwyn-assisted Folklore — a Swift project filled with muted pianos and whisper-quiet snares, recorded in secret with Jack Antonoff and the National’s Aaron Dessner — delivered.

“The only people who knew were the people I was making it with, my boyfriend, my family, and a small management team,” Swift, 30, tells EW of the album's hush-hush recording sessions. That gave the intimate Folklore a mystique all its own: the first surprise Taylor Swift album, one that prioritized fantastical tales over personal confessions.

“Early in quarantine, I started watching lots of films,” she explains. “Consuming other people’s storytelling opened this portal in my imagination and made me feel like, Why have I never created characters and intersecting storylines?” That’s how she ended up with three songs about an imagined love triangle (“Cardigan,” “Betty,” “August”), one about a clandestine romance (“Illicit Affairs”), and another chronicling a doomed relationship (“Exile”). Others tell of sumptuous real-life figures like Rebekah Harkness, a divorcee who married the heir to Standard Oil — and whose home Swift purchased 31 years after her death. The result, “The Last Great American Dynasty,” hones in on Harkness’ story, until Swift cleverly injects herself.

And yet, it wouldn’t be a Swift album without a few barbed postmortems over her own history. Notably, “My Tears Ricochet” and “Mad Woman," which touch on her former label head Scott Borchetta selling the masters to Swift’s catalog to her known nemesis Scooter Braun. Mere hours after our interview, the lyrics’ real-life origins took a surprising twist, when news broke that Swift’s music had once again been sold, to another private equity firm, for a reported $300 million. Though Swift ignored repeated requests for comment on the transaction, she did tweet a statement, hitting back at Braun while noting that she had begun re-recording her old albums — something she first promised in 2019 as a way of retaining agency over her creative legacy. (Later, she would tease a snippet of that reimagined work, with a new version of her hit 2008 single "Love Story.")

Like surprise-dropping Folklore, like pissing off the president by endorsing his opponents, like shooing away haters, Swift does what suits her. “I don’t think we often hear about women who did whatever the hell they wanted,” she says of Harkness — something Swift is clearly intent on changing. For her, that means basking in the world of, and favorable response to, Folklore. As she says in our interview, “I have this weird thing where, in order to create the next thing, I attack the previous thing. I don’t love that I do that, but it is the thing that has kept me pivoting to another world every time I make an album. But with this one, I still love it.”

TAYLOR SWIFT: I was. I wasn't expecting to make an album. Early on in quarantine, I started watching lots of films. We would watch a different movie every night. I'm ashamed to say I hadn't seen Pan's Labyrinth before. One night I'd watch that, then I'd watch L.A. Confidential, then we'd watch Rear Window, then we'd watch Jane Eyre. I feel like consuming other people's art and storytelling sort of opened this portal in my imagination and made me feel like, "Well, why have I never done this before? Why have I never created characters and intersecting storylines? And why haven't I ever sort of freed myself up to do that from a narrative standpoint?" There is something a little heavy about knowing when you put out an album, people are going to take it so literally that everything you say could be clickbait. It was really, really freeing to be able to just be inspired by worlds created by the films you watch or books you've read or places you've dreamed of or people that you've wondered about, not just being inspired by your own experience.

In that vain, what's it like to sit down and write something like “Betty,” which is told from the perspective of a 17-year-old boy?

That was huge for me. And I think it came from the fact that my co-writer, William Bowery [Joe Alwyn], is male — and he was the one who originally thought of the chorus melody. And hearing him sing it, I thought, "That sounds really cool." Obviously, I don't have a male voice, but I thought, "I could have a male perspective." Patty Griffin wrote this song, “Top of the World.” It's one of my favorite songs of all time, and it's from the perspective of this older man who has lived a life full of regret, and he's kind of taking stock of that regret. So, I thought, "This is something that people I am a huge fan of have done. This would be fun to kind of take this for a spin."

What are your favorite William Bowery conspiracies?

I love them all individually and equally. I love all the conspiracy theories around this album. [With] "Betty," Jack Antonoff would text me these articles and think pieces and in-depth Tumblr posts on what this love triangle meant to the person who had listened to it. And that's exactly what I was hoping would happen with this album. I wrote these stories for a specific reason and from a specific place about specific people that I imagined, but I wanted that to all change given who was listening to it. And I wanted it to start out as mine and become other people's. It's been really fun to watch.

I didn't think about any of that for the very first time. And a lot of this album was kind of distilled down to the purest version of what the story is. Songwriting on this album is exactly the way that I would write if I considered nothing else other than, "What words do I want to write? What stories do I want to tell? What melodies do I want to sing? What production is essential to tell those stories?" It was a very do-it-yourself experience. My management team, we created absolutely everything in advance — every lyric video, every individual album package. And then we called our label a week in advance and said, "Here's what we have.” The photo shoot was me and the photographer walking out into a field. I'd done my hair and makeup and brought some nightgowns. These experiences I was used to having with 100 people on set, commanding alongside other people in a very committee fashion — all of a sudden it was me and a photographer, or me and my DP. It was a new challenge, because I love collaboration. But there's something really fun about knowing what you can do if it's just you doing it.

Did you find it freeing?

I did. Every project involves different levels of collaboration, because on other albums there are things that my stylist will think of that I never would've thought of. But if I had all those people on the photo shoot, I would've had to have them quarantine away from their families for weeks on end, and I would've had to ask things of them that I didn't think were fair if I could figure out a way to do it [myself]. I had this idea for the [Folklore album cover] that it would be this girl sleepwalking through the forest in a nightgown in 1830 [laughs]. Very specific. A pioneer woman sleepwalking at night. I made a moodboard and sent it to Beth [Garrabrant], who I had never worked with before, who shoots only on film. We were just carrying bags across a field and putting the bags of film down, and then taking pictures. It was a blast.

Well, Aaron is one of the most effortlessly prolific creators I've ever worked with. It's really mind-blowing. And every time I've spoken to an artist since this whole process [began], I said, "You need to work with him. It'll change the way you create." He would send me these — he calls them sketches, but it's basically an instrumental track. the second day — the day after I texted him and said, "Hey, would you ever want to work together?" — he sent me this file of probably 30 of these instrumentals and every single one of them was one of the most interesting, exciting things I had ever heard. Music can be beautiful, but it can be lacking that evocative nature. There was something about everything he created that is an immediate image in my head or melody that I came up with. So much so that I'd start writing as soon as I heard a new one. And oftentimes what I would send back would inspire him to make more instrumentals and then send me that one. And then I wrote the song and it started to shape the project, form-fitted and customized to what we wanted to do.

It was weird because I had never made an album and not played it for my girlfriends or told my friends. The only people who knew were the people that I was making it with, my boyfriend, my family, and then my management team. So that's the smallest number of people I've ever had know about something. I'm usually playing it for everyone that I'm friends with. So I had a lot of friends texting me things like, "Why didn't you say on our everyday FaceTimes you were making a record?"

Was it nice to be able to keep it a secret?

Well, it felt like it was only my thing. It felt like such an inner world I was escaping to every day that it almost didn't feel like an album. Because I wasn't making a song and finishing it and going, "Oh my God, that is catchy.” I wasn't making these things with any purpose in mind. And so it was almost like having it just be mine was this really sweet, nice, pure part of the world as everything else in the world was burning and crashing and feeling this sickness and sadness. I almost didn't process it as an album. This was just my daydream space.

Does it still feel like that?

Yeah, because I love it so much. I have this weird thing that I do when I create something where in order to create the next thing I kind of, in my head, attack the previous thing. I don't love that I do that but it is the thing that has kept me pivoting to another world every time I make an album. But with this one, I just still love it. I'm so proud of it. And so that feels very foreign to me. That doesn't feel like a normal experience that I've had with releasing albums.

When did you first learn about Rebekah Harkness?

Oh, I learned about her as soon as I was being walked through [her former Rhode Island] home. I got the house when I was in my early twenties as a place for my family to congregate and be together. I was told about her, I think, by the real estate agent who was walking us through the property. And as soon as I found out about her, I wanted to know everything I could. So I started reading. I found her so interesting. And then as more parallels began to develop between our two lives — being the lady that lives in that house on the hill that everybody gets to gossip about — I was always looking for an opportunity to write about her. And I finally found it.

I love that you break the fourth wall in the song. Did you go in thinking you’d include yourself in the story?

I think that in my head, I always wanted to do a country music, standard narrative device, which is: the first verse you sing about someone else, the second verse you sing about someone else who's even closer to you, and then in the third verse, you go, "Surprise! It was me.” You bring it personal for the last verse. And I'd always thought that if I were to tell that story, I would want to include the similarities — our lives or our reputations or our scandals.

How often did you regale friends about the history of Rebekah and Holiday House while hanging out at Holiday House?

Anyone who's been there before knows that I do “The Tour,” in quotes, where I show everyone through the house. And I tell them different anecdotes about each room, because I've done that much research on this house and this woman. So in every single room, there's a different anecdote about Rebekah Harkness. If you have a mixed group of people who've been there before and people who haven't, [the people who’ve been there] are like, "Oh, she's going to do the tour. She's got to tell you the story about how the ballerinas used to practice on the lawn.” And they'll go get a drink and skip it because it's the same every time. But for me, I'm telling the story with the same electric enthusiasm, because it's just endlessly entertaining to me that this fabulous woman lived there. She just did whatever she wanted.

I found myself being very triggered by any stories, movies, or narratives revolving around divorce, which felt weird because I haven't experienced it directly. There’s no reason it should cause me so much pain, but all of a sudden it felt like something I had been through. I think that happens any time you've been in a 15-year relationship and it ends in a messy, upsetting way. So I wrote “My Tears Ricochet” and I was using a lot of imagery that I had conjured up while comparing a relationship ending to when people end an actual marriage. All of a sudden this person that you trusted more than anyone in the world is the person that can hurt you the worst. Then all of a sudden the things that you have been through together, hurt. All of a sudden, the person who was your best friend is now your biggest nemesis, etc. etc. etc. I think I wrote some of the first lyrics to that song after watching Marriage Story and hearing about when marriages go wrong and end in such a catastrophic way. So these songs are in some ways imaginary, in some ways not, and in some ways both.

How did it feel to drop an F-bomb on "Mad Woman"?

F---ing fantastic.

And that’s the first time you ever recorded one on a record, right?

Yeah. Every rule book was thrown out. I always had these rules in my head and one of them was, You haven't done this before, so you can't ever do this. “Well, you've never had an explicit sticker, so you can't ever have an explicit sticker.” But that was one of the times where I felt like you need to follow the language and you need to follow the storyline. And if the storyline and the language match up and you end up saying the F-word, just go for it. I wasn't adhering to any of the guidelines that I had placed on myself. I decided to just make what I wanted to make. And I'm really happy that the fans were stoked about that because I think they could feel that. I'm not blaming anyone else for me restricting myself in the past. That was all, I guess, making what I want to make. I think my fans could feel that I opened the gate and ran out of the pasture for the first time, which I'm glad they picked up on because they're very intuitive.

Let’s talk about “Epiphany.” The first verse is a nod to your grandfather, Dean, who fought in World War II. What does his story mean to you personally?

I wanted to write about him for awhile. He died when I was very young, but my dad would always tell this story that the only thing that his dad would ever say about the war was when somebody would ask him, "Why do you have such a positive outlook on life?" My grandfather would reply, "Well, I'm not supposed to be here. I shouldn't be here." My dad and his brothers always kind of imagined that what he had experienced was really awful and traumatic and that he'd seen a lot of terrible things. So when they did research, they learned that he had fought at the Battles of Guadalcanal, at Cape Gloucester, at Talasea, at Okinawa. He had seen a lot of heavy fire and casualties — all of the things that nightmares are made of. He was one of the first people to sign up for the war. But you know, these are things that you can only imagine that a lot of people in that generation didn't speak about because, a) they didn't want people that they came home to to worry about them, and b) it just was so bad that it was the actual definition of unspeakable.

I mean, you just immediately think of the health workers who are putting their lives on the line — and oftentimes losing their lives. If they make it out of this, if they see the other side of it, there's going to be a lot of trauma that comes with that; there's going to be things that they witnessed that they will never be able to un-see. And that was the connection that I drew. I did a lot of research on my grandfather in the beginning of quarantine, and it hit me very quickly that we've got a version of that trauma happening right now in our hospitals. God, you hope people would respect it and would understand that going out for a night isn't worth the ripple effect that it causes. But obviously we're seeing that a lot of people don't seem to have their eyes open to that — or if they do, a lot of people don't care, which is upsetting.

You had the Lover Fest East and West scheduled this year. How hard has it been to both not perform for your fans this year, and see the music industry at large go through such a brutal change?

It's confusing. It's hard to watch. I think that maybe me wanting to make as much music as possible during this time was a way for me to feel like I could reach out my hand and touch my fans, even if I couldn't physically reach out or take a picture with them. We've had a lot of different, amazing, fun, sort of underground traditions we've built over the years that involve a lot of human interaction, and so I have no idea what's going to happen with touring; none of us do. And that's a scary thing. You can't look to somebody in the music industry who's been around a long time, or an expert touring manager or promoter and [ask] what's going to happen and have them give you an answer. I think we're all just trying to keep our eyes on the horizon and see what it looks like. So we're just kind of sitting tight and trying to take care of whatever creative spark might exist and trying to figure out how to reach our fans in other ways, because we just can't do that right now.

When you are able to perform again, do you have plans on resurfacing a Lover Fest-type event?

I don't know what incarnation it'll take and I really would need to sit down and think about it for a good solid couple of months before I figured out the answer. Because whatever we do, I want it to be something that is thoughtful and will make the fans happy and I hope I can achieve that. I'm going to try really hard to.

In addition to recording an album, you spent this year supporting Joe Biden and Kamala Harris in the election. Where were you when it was called in their favor?

Well, when the results were coming in, I was actually at the property where we shot the Entertainment Weekly cover. I was hanging out with my photographer friend, Beth, and the wonderful couple that owned the farm where we [were]. And we realized really early into the night that we weren't going to get an accurate picture of the results. Then, a couple of days later, I was on a video shoot, but I was directing, and I was standing there with my face shield and mask on next to my director of photography, Rodrigo Prieto. And I just remember a news alert coming up on my phone that said, "Biden is our next president. He's won the election." And I showed it to Rodrigo and he said, "I'm always going to remember the moment that we learned this." And I looked around, and people's face shields were starting to fog up because a lot of people were really misty-eyed and emotional, and it was not loud. It wasn't popping bottles of champagne. It was this moment of quiet, cautious elation and relief.

Do you ever think about what Folklore would have sounded like if you, Aaron, and Jack had been in the same room?

I think about it all the time. I think that a lot of what has happened with the album has to do with us all being in a collective emotional place. Obviously everybody's lives have different complexities and whatnot, but I think most of us were feeling really shaken up and really out of place and confused and in need of something comforting all at the same time. And for me, that thing that was comforting was making music that felt sort of like I was trying to hug my fans through the speakers. That was truly my intent. Just trying to hug them when I can't hug them.

I was really excited about "August slipped away into a moment of time/August sipped away like a bottle of wine." That was a song where Jack sent me the instrumental and I wrote the song pretty much on the spot; it just was an intuitive thing. And that was actually the first song that I wrote of the "Betty" triangle. So the Betty songs are "August," "Cardigan," and "Betty." "August" was actually the first one, which is strange because it's the song from the other girl's perspective.

Yeah, I assumed you wrote "Cardigan" first.

It would be safe to assume that "Cardigan" would be first, but it wasn't. It was very strange how it happened, but it kind of pieced together one song at a time, starting with "August," where I kind of wanted to explore the element of This is from the perspective of a girl who was having her first brush with love. And then all of a sudden she's treated like she's the other girl, because there was another situation that had already been in place, but "August" girl thought she was really falling in love. It kind of explores the idea of the undefined relationship. As humans, we're all encouraged to just be cool and just let it happen, and don't ask what the relationship is — Are we exclusive? But if you are chill about it, especially when you're young, you learn the very hard lesson that if you don't define something, oftentimes they can gaslight you into thinking it was nothing at all, and that it never happened. And how do you mourn the loss of something once it ends, if you're being made to believe that it never happened at all?

"I almost didn't process it as an album," says Taylor Swift of making Folklore. "And it's still hard for me to process as an entity or a commodity, because [it] was just my daydream space."

I'm really proud of that one too. I heard the track immediately. Aaron sent it to me, and it had this immediate sense of serenity running through it. The first word that popped into my head was peace, but I thought that it would be too on-the-nose to sing about being calm, or to sing about serenity, or to sing about finding peace with someone. Because you have this very conflicted, very dramatic conflict-written lyric paired with this very, very calming sound of the instrumental. But, "The devil's in the details," is one of those phrases that I've written down over the years. That's a common phrase that is used in the English language every day. And I just thought it sounded really cool because of the D, D sound. And I thought, "I'll hang onto those in a list, and then, I'll finally find the right place for them in a story." I think that's how a lot of people feel where it's like, "Yeah, the devil's in the details. Everybody's complex when you look under the hood of the car." But basically saying, "I'm there for you if you want that, if this complexity is what you want."

There's another clever turn-of-phrase on "This is Me Trying." "I didn't know if you'd care if I came back/I have a lot of regrets about that." That feels like a nod toward your fans, and some of the feelings you had about retreating from the public sphere.

Absolutely. I think I was writing from three different characters' perspectives, one who's going through that; I was channeling the emotions I was feeling in 2016, 2017, where I just felt like I was worth absolutely nothing. And then, the second verse is about dealing with addiction and issues with struggling every day. And every second of the day, you're trying not to fall into old patterns, and nobody around you can see that, and no one gives you credit for it. And then, the third verse, I was thinking, what would the National do? What lyric would Matt Berninger write? What chords would the National play? And it's funny because I've since played this song for Aaron, and he's like, "That's not what we would've done at all." He's like, "I love that song, but that's totally different than what we would've done with it."

Yeah, I was at the show where they were playing through I Am Easy to Find. What I loved about [that album] was they had female vocalists singing from female perspectives, and that triggered and fired something in me where I thought, "I've got to play with different perspectives because that is so intriguing when you hear a female perspective come in from a band where you're used to only hearing a male perspective." It just sparked something in me. And obviously, you mentioning the National is the reason why Folklore came to be. So, thank you for that, Alex.

I'm here for all of your songwriting muse needs in the future.

I can't wait to see what comes out of this interview.

This interview has been edited and condensed.

For more on our Entertainers of the Year and Best & Worst of 2020, order the January issue of Entertainment Weekly or find it on newsstands beginning Dec. 18. (You can also pick up the full set of six covers here.) Don’t forget to subscribe for more exclusive interviews and photos, only in EW.

#ew #entertainment weekly #article #interview #folklore promo #folklore interview #quote #aaron dessner #jack antonoff #joe alwyn

181 notes · View notes

living-undead · 9 months ago

Text

I didn't really have a good way of presenting this before, but using SQOTD seems like no better way to do so, so I'll make this the way I go about this.

I'd first like to take a second to mention all the blogs that are actually the reason I even started using Simblr and getting into playing Sims heavily, modded or otherwise, due to their amazing posts, amazing edits, amazing cc and/or their captivating Simstyle. Blogs like @pralinesims @sammi-xox @nv-games and @squea I might as well refer to as the genesis point for me deciding to join Simblr to begin with; I had always had a fascination with Sims for a long time but I didn't realise the community behind it was so expansive and diverse, and I love that I was able to experience all of that thanks to them. 💜

I would also like to send some love out towards the people that welcomed me into the Sims community with such open arms. My very first EVER mutuals on Tumblr and the people who, whenever I would post or talk about something were there, reblogging, interacting, even just being kind for the sake of being kind, always having the best energy, etc. If it weren't for @miralure, my very first mutual, such a positive light in my life. @virtualfolk, an absolutely inspiring individual who was my second ever mutual, thank you so much for being such a beacon and congratulations on developing such a beautiful blog! @matchalovertrait and @ruthplaysthesims, Y'ALL ALREADY KNOW, Amy and Ruth have ALWAYS tried to include me in any events, ask games, mutual love spreading, etc. that may happen on this site and I always know that if nobody's got me they do. @nanamail, one of the most talented visual artists (and yes, I consider what you do with your posts ART) I have ever seen, someone I will always consider a friend and always think so highly about. And finally, @nigmos, one of the realest mfs on this damn website. Someone who I consider to be such amazing, kind, caring individual with so much love to give it's insane. I probably wouldn't be nearly as active as I am now. Just knowing that I have them in my corner makes my day. 💜

I would also, finally, like to acknowledge the blogs that have inspired everything about how I play Sims, blogs whose posts I always feel inclined to reblog whenever I see them on my dashboard, blogs that I don't know if I could live without because of how amazing everything they do is; blogs like @venriliz who I definitely consider a friend at this point, someone whose renders are not only awe-inspiring but also so brilliantly devised it makes me feel like every inch of it was meticulously placed. @pearlean, I don't know how else to put it that hasn't already been said. Every post they make is like a master chef getting in the kitchen, locking in and deciding to make a dish so good it looks like an episode of Food Wars. PLEASE never stop being such a creative light! @kuroashims, what can I say? I like One Piece, Elfy likes One Piece. I like Sims, Elfy likes Sims. AND GOD, ARE THOSE SIMS SO FUCKING COOL!! I don't think I'll ever get over how PERFECT they look for the characters. @circusjuney, Hi June!! 👋🏽 Don't mind me I just wanted to say that your Simstyle is a huge inspirtation to me and every post you make is so beautiful... anyways I hope you're having a good day :). And @elderwisp literally, quite simply, so graciously, so seriously... YOUR STORYTELLING IS AMAZING!! Everything about it is part of the reason I've tried to start developing compelling lore for my OCs and everything you put out is so well-thought out I wish these were books sold on shelves more than Sims tbh 😭.

Anyways, I think I've rambled on for long enough. To any and all who I have not mentioned in this post, I wish I could go on forever because you all are lights in my life but I feel like I've rambled for long enough; know that you are loved, you are appreciated and everything you do, every like I give, every reblog I do, every message I leave is genuine and I absolute appreciate all of you and everything you have done. I hope you all are having a wonderful day, and if you aren't I hope tomorrow will be the best day of your life. Take care of yourselves. 💜

Also, another more public happy birthday to @linalinsims! 💜💜💜

📩 Simblr question of the day: any other simblrs that you love?

answer in whatever way is most comfortable for you and feel free to share this SQOTD around, make sure to use the hashtag SQOTD and tag me in separate posts ~ 💛

This question was contributed by : @/missmoodring ~thank you for the SQOTD contribution~ (This is question 7 out of 10 that they have contributed :))

#also hi squatty 👋🏽#sqotd #simblr

297 notes · View notes

ingek73 · 4 years ago

Text

Juneteenth

STORY by Team at Archewell

Jun. 16, 2021

YOUNG POETS OF GET LIT SHARE POWERFUL WORDS TO COMMEMORATE THE DAY

In honor of Juneteenth, we, at Archewell, connected with our friends at Get Lit and asked them to share poetry to honor this important day. We hope their poignant words allow you to reflect on the significance of this newly declared federal holiday in the United States and its impact across this country and around the world.

AND HOLD, AND HOLD

CORTUNAY MINOR AND TAMIA JACKSON

youtube

WHY THEY WROTE THIS POEM:

“When I wrote this poem, just a few weeks before June 15th, Juneteenth wasn’t yet a federal or national holiday. It wasn’t something I’d given much thought to, but when I had recognized that fact, it wasn’t information, it was confirmation. At first, I was upset about it. My immediate thoughts were along the lines of, ‘Where are our fireworks? Where’s our three-day weekend?’ But in reflection, I realized that this was demonstrating continued deference to a supposedly superior entity. Juneteenth isn’t the ‘Black Independence Day,’ it’s the only Independence Day. To have that nationally recognized feels amazing. But whether or not the date is printed in every calendar does not validate this holiday. We do.”

WHY SHE ANIMATED THIS PIECE:

“This poem, especially for Juneteenth, really inspired me. The color palette expresses the somber yet hopeful emotions that happen when black freedom is discussed, and what it means to be a Black individual in America. This poem as well as the visuals really emphasizes the impact that Black people have by simply existing, and the importance of our breath. We know that as long as we’re still breathing there can and will be change, and ultimately full freedom.”

ABOUT THE AUTHOR:

Cortunay Minor (she/they) is a performing artist who specializes in Stage Acting and Spoken Word Poetry. They are currently pursuing a bachelor’s degree in Theater from the UCLA School of Theater, Film, and Television. The theme and goal that Minor tries to hold in the heart of their artistry is liberation, be that emotional, intellectual, or otherwise. Expression and education are two of the most fruitful paths Minor has found that achieve that liberation, and she is immensely grateful to be able to participate in a craft that allows their simultaneous occurrence.

ABOUT THE ANIMATOR:

Tamia Jackson (animator) is a rising senior at the Rhode Island School of Design, receiving her BFA in Film/Animation/Video with a minor in Literary Arts and Studies. She has always been passionate in art, animation, and storytelling. She loves bringing stories of lesser voices, such as BIPOC, low income, female, etc., into a visual and cared-for light. Though not all of her stories or animations revolve around such identities, it is important that she shows diversity so that many people can relate and find comfort in the characters or art piece. Not only does Jackson enjoy spreading her own voice, but she also loves bringing others’ stories to life.

AND HOLD, AND HOLD

‘Holiday’ meaning ‘Holy Day’ meaning:

every second is sacred/every hour hibernates

within the spirit, huddled beneath the bosom.

To breathe is to commemorate:

inhale – exhale – cradle the thought – hold – and repeat.

When daybreak demotes breath to subconscious action,

the diaphragm still submits in reverence, still remembers that

This is Divine. This

is where jubilation begins:

in the suspension of

breathe in – breathe out – take maybe – and

forever hold the moment,

where the deferred dream stopped shriveling,

wavered in anticipation, remembered that expansion

can be soft,

recognized that it didn’t want soft

expansion.

Bodies were policied out of possession, but

the Black individual liberated their own being,

hollered themself out of state-sanctioned silence.

Words ignite, but presence sustains; this intake/expel maintains us

here

the dream explodes. The spirit absorbs the remnants and outpours,

‘holiday’ meaning ‘Holy Day’ meaning:

I hold this day as sovereign. Meaning:

I hope this day knows its home is in these lungs,

is in this breath, is in the repetition of:

inspire – expire – immortalize the memory – and hold – and hold – and release

POPLAR TREES

CYRUS ROBERTS

youtube

WHY HE WROTE AND DIRECTED THIS POEM:

“It’s easy to say “slavery was an atrocity and we need to do better” but it’s much more difficult to say “slave masters ripped babies from their mothers and used them as crocodile bait for sport.” In the average American lexicon, phrases like ‘Never Forget’ are commonplace but are rarely attributed to periods of fundamental, ongoing violence of a racial nature for the simple fact that our pain makes the people who benefitted from that pain uncomfortable. For me Juneteenth is a day of mourning; the Confederate holidays still celebrated today seem like a gruesome counterbalance. So this is my eulogy to both the country and my own being that could have been.”

ABOUT THE AUTHOR:

Cyrus Roberts (he/him) writes, acts, and directs across poetry, theater, and film. While his work has been commissioned by organizations like Toms Shoes, Adidas, and March For Our Lives, he also enjoys working on cool independent projects, whether he’s self-publishing poetry compilations, creating movies with friends, or acting in his own plays. Roberts is currently a senior in UC Santa Barbara’s BFA Acting program. Look for him in the upcoming film Summertime, directed by Carlos Lopez Estrada. His assistant director on the project was Mattie Kranz.

POPLAR TREES

Before you there was me. But before me there was (Nina Simone audio: “black bodies swinging”). And that was the gentler time period. Everything base within you, reflected in your actions. Please don’t censor me when I mention how you wrangled our teeth from our mouths and used them to seduce your own illnesses into submission. Or how you took an interest in the skin that had a monopoly on sunlight and then took what you wanted underneath the moon. Or how you used our babies as crocodile bait and our skin as shoe leather. Look right into the eyes of our demise and try to say those times are past, that I’m being rash, that I’m being bad and so full of woe and I should be glad I’m writing this on my MacBook Pro. Yeah? Who am I to complain about slavery? Because it ended, right? On June 19, 1865, Union Army general Gordon Granger made his way to Texas and proclaimed slavery’s supposed fall and us colored folk supposed to have a ball? I mean it was two and a half years after Lincoln already announced it, but we needed a white man to tell other white men what another white man already said. I mean that is until that white man found himself dead and Reconstruction found itself at a head and chain gangs, sharecropping, Jim Crow, private prison options, perc popping, bodies dropping, cops still stopping, guns cocking to ensure that (Nina Simone audio: “black bodies swinging”). Every 19th of June we celebrate the end of chattel slavery and every 20th we’re back to fighting its descendants. Private prisons / a cop’s knee is a modern lynching / it ain’t my decision to get busy dyin’ or busy living / I paid attention, to all the digitized depictions / all the people packing up pensions while we’re backed up by the system. Put your back into the system, this is wack how mother’s missing their babies kisses and I’m supposed to be celebrating? I’m sorry. Will you forgive me, I’m jaded. My grandmother looks at me and says confidently that I made it. That she can’t possibly imagine the life that I’m living, I owe a debt to her generation, and I hope that I pay it. I just get so angry, hazy laughter at the thought of thoughts and prayers ending enslavement. So after you hear me, I’ll forgive you if you’re jaded. But you still need to know the history to have an appreciation. It’s no mystery why it’s a mystery present in our education, presently the gatekeepers keep us from it and it’s heinous. On Juneteenth, Americans across the nation eat red foods in honor of the blood spilled before and during emancipation, we celebrate the secondary, pushed-to-the-side independence day, but you don’t have to know our proclamations of jubilation for us to be heard. We will be heard in our voices screaming thanks that we are not treated as herd. We dance and we sing hymns of freedom. Freedom: absence of subjection to foreign domination or despotic government. Are my brothers and sisters in jail cells free? When there’s a glaring loophole in the 13th amendment smiling from cheek to cheek I’d imagine there’d be some incentive to ensure our purity is never free. And how can I be free when I can’t sleep because my dreams keep whispering I can’t breathe. Regardless of that fact, progress is still being made. But I fear progress is just an exchange of chains for other chains. Same way they changed our names for other names, I rest a bouquet on the graves of enslaved, singing regardless this day. In the hopes that I never again have to see (Nina Simone audio: “black bodies swinging”).

UNTITLED

SIERRA LEONE ANDERSON

youtube

WHY SHE WROTE THIS POEM:

“When writing this poem, I really made an effort to think back to my ancestors. What was their impact? Who did they inspire? How did they carve the path for the road I now choose to take? This poem is about legacy. I am calling back to the ancestors before me to give me the strength and courage to be the ancestor I want to be to future generations.”

ABOUT THE AUTHOR:

Sierra Leone Anderson (poet) is a youth activist and professional spoken word artist from Los Angeles. Rooted in liberatory joy and armed with ancestral truth, Sierra Leone aims to bring light to the power of language, empowering Los Angeles youth of color to recognize the quantifiable influence of their voice. She has placed both second and first in Get Lit’s annual middle and high school Classic Slam respectively, co-wrote an article for the political column of USA Today, and has shared space with several influential changemakers including Dr. Melina Abdullah (co-founder of BLM-LA) and Cecily Myart-Cruz (president of UTLA). Her other organizing work includes collaborating with Students Deserve LA to make Black Lives Matter in and beyond schools. She is currently a ninth grade student at Girls Academic Leadership Academy and an avid lover of trashy teenage dramedies.

Her director and editor is Lukas Lane, an award-winning filmmaker and founding member of Literary Riot (started in his junior year of high school), and he is currently attending UC Berkeley.

UNTITLED

Every generation, the world gives birth to a new fleet of freedom fighters.

I am one of them.

I stand on the shoulders of tired women.

I dance in the footsteps of Pan-African poets, liberation fighters, and Black writers

who grew fires from a pit hungrier than a stomach. They call my name and I call theirs.

Malcolm X. Phyllis Wheatley. Maya Angelou. Sojourner Truth. Audre Lorde. Ida B. Wells.

Your resilience rivers through me. You are my founding fathers. The blueprint to a world we need to be brave enough to see, to seek.

Let us imagine a world in which we know each other’s palms

and never the fist. Not unless needed. Not unless united together.

Let us be the drum and not the war.

Let us know each other’s names and not the languages we cry in.

Let us be, let all us be more than a slave’s wildest dream

Let us beam past blueprints and what-ifs and start becoming the now we want to see, the now we want to be

Trees growing so far past the Earth, Allah would mistake our bodies for angels.

When I die, I want to ripple through lifetimes. I want my name to graffiti the mouths of the next 10 generations.

I don’t want to be forgotten. Or remembered for the way my feet wouldn’t stop running.

I wanna grow roots in this soil, in this American skin. Join the forest of my ancestors. Let my grandkids climb up my branches and tell stories of school.

And before the first pulse of morning, I want them to drip from their homes and gather at my roots.

I want to tell them my name before I forget it.

I want to tell them that morning is coming. And will always come. And will never wait for when you are ready.

I want to tell them that there is a point far beyond this tree, this forest, this temporary point in time, their bodies, their fears, their fathers, their memories. Where the sun is eternal and smiling. Where freedom rings and is never silent, never out of reach. It is called horizon. And it is right there.

#juneteenth #archewell #sierra leone anderson #cyrus roberts #cortunay minor #tamia jackson #get lit #poetry #poets #Youtube

31 notes · View notes

its-me-your-bicon · 4 years ago

Note

Can you do a kano Shuuya x reader who have Very badly anxirty?

I wasn’t really expecting requests after just two works haha 🥺❤️ you got me by surprise.

I hope you don’t mind that I did headcanons instead of a whole fic, because 1) I don’t really have a plot to work with, 2) I originally wasn’t planning on writing for Kano since he’s a really complex character who I still don’t have all that figured out, and 3) I have others works in the making that I’m struggling with 😭🤙

But anyways

Here, have some fox eyed boy:

Kano Shuuya with a S/O who struggles with anxiety would include:

First off, let’s remember something important about his character: he suffers from anxiety himself.

So he gets it, okay? He does.

And he’ll want to do everything humanly possible for you not to feel like that.

Even just helping with the symptoms would do.

You can’t hide your feelings nearly as good as him, and since he’s a master at reading people, he always knows when the worst episodes strike.

Knows that listening is key, so might (subtly) ask what would you rather do or where to be at those times.

Need fresh air? He’s already waiting at the door for a walk. Want to stay in? It’s cool, he’ll improvise activities real quick.

Lots of storytelling to distract you.

Act like he doesn’t care, but actually cares a lot.

Not in a dismissive way but more in a “I don’t want to bring your distressing state to anyone’s attention (including me) because what if that makes you self conscious?” but also “HOW CAN I HELP THIS PERSON WHO SUFFERS JUST LIKE ME WHEN I CAN’T EVEN HELP MYSELF, omg I’m dying—”

Petting services. There, I said it.

It’s been established that he can alter the way in which others feel him when making physical contact, so when he appears like a cat in front of you? It’s just like the real thing.

This is great if you find comfort in animal company, so he’ll use it as a way to help you cope if he must.

Not opposed to physical human forms of affection either if that’s what you need. He finds great comfort in them himself even if he won’t admit to it.

Touch is his love language, you can’t change my mind.

Like, he’s not the best emotional supporter when speaking, you know? He can help others feel more brave, determined or put them back in motion, but to feel less sad or overwhelmed? He’s at a loss.

Changing your face or your tone only works when he has the right words, and more often than not, when speaking serious with you, he doesn’t.

He’ll tried to divert the topics with humour, or give you his more sympathetic look if all else fails. So really, consider how to educate him in emotional intelligence, he needs it.

He also needs you, but won’t ask for help, it’s not in him to do so.

He swore to protect others, even if that costs him everything else, his sanity included.

So please also give some of it back and make him feel validated when you can.

In the end, it’s up to you both to understand that you can support one another and just listen, and do little things, and not be lonely together, but some individual work must be done too.

It’s not about fixing one another, but what you can learn from mutual care can still be very beneficial.

A relationship like this could be hard to nurture, especially with Kano always putting the Brave Face™, but if you manage to get through it and help yourselves, time will do its part and it’ll be all the more meaningful for him.

#kano shuuya #kano shuuya x reader #shuuya kano x reader #shuuya kano #mekakucity actors #mekakucity city actors x you #mekakucity actors fanfiction #mekakucity actors x reader #kagerou project x reader #kagerou project x you #would include #my stuff

38 notes · View notes

path-of-my-childhood · 4 years ago

Text

Taylor Swift Broke All Her Rules With Folklore - And Gave Herself A Much-Needed Escape

By: Alex Suskind for Entertainment Weekly Date: December 8th 2020 (EW's 2020 Entertainers of the Year cover)

The pop star, one of EW's 2020 Entertainers of the Year, delves deep into her surprise eighth album, Rebekah Harkness, and a Joe Biden presidency.

youtube

Is he your brother?

“He’s William Bowery,” says Swift with a smile.

It's early November, after Election Day but before Swift eventually revealed Bowery's true identity to the world (the leading theory, that he was boyfriend Joe Alwyn, proved prescient). But, like all Swiftian riddles, it was fun to puzzle over for months, particularly in this hot mess of a year, when brief distractions are as comforting as a well-worn cardigan. Thankfully, the Bowery... erhm, Alwyn-assisted Folklore - a Swift project filled with muted pianos and whisper-quiet snares, recorded in secret with Jack Antonoff and the National’s Aaron Dessner - delivered.

“Early in quarantine, I started watching lots of films,” she explains. “Consuming other people’s storytelling opened this portal in my imagination and made me feel like, Why have I never created characters and intersecting storylines?” That’s how she ended up with three songs about an imagined love triangle (“Cardigan,” “Betty,” “August”), one about a clandestine romance (“Illicit Affairs”), and another chronicling a doomed relationship (“Exile”). Others tell of sumptuous real-life figures like Rebekah Harkness, a divorcee who married the heir to Standard Oil - and whose home Swift purchased 31 years after her death. The result, “The Last Great American Dynasty,” hones in on Harkness’ story, until Swift cleverly injects herself.

And yet, it wouldn’t be a Swift album without a few barbed postmortems over her own history. Notably, “My Tears Ricochet” and “Mad Woman," which touch on her former label head Scott Borchetta selling the masters to Swift’s catalog to her known nemesis Scooter Braun. Mere hours after our interview, the lyrics’ real-life origins took a surprising twist, when news broke that Swift’s music had once again been sold, to another private equity firm, for a reported $300 million. Though Swift ignored repeated requests for comment on the transaction, she did tweet a statement, hitting back at Braun while noting that she had begun re-recording her old albums - something she first promised in 2019 as a way of retaining agency over her creative legacy. (Later, she would tease a snippet of that reimagined work, with a new version of her hit 2008 single "Love Story.")

Like surprise-dropping Folklore, like pissing off the president by endorsing his opponents, like shooing away haters, Swift does what suits her. “I don’t think we often hear about women who did whatever the hell they wanted,” she says of Harkness - something Swift is clearly intent on changing. For her, that means basking in the world of, and favorable response to, Folklore. As she says in our interview, “I have this weird thing where, in order to create the next thing, I attack the previous thing. I don’t love that I do that, but it is the thing that has kept me pivoting to another world every time I make an album. But with this one, I still love it.”

ENTERTAINMENT WEEKLY: We’ve spent the year quarantined in our houses, trying to stay healthy and avoiding friends and family. Were you surprised by your ability to create and release a full album in the middle of a pandemic? TAYLOR SWIFT: I was. I wasn't expecting to make an album. Early on in quarantine, I started watching lots of films. We would watch a different movie every night. I'm ashamed to say I hadn't seen Pan's Labyrinth before. One night I'd watch that, then I'd watch L.A. Confidential, then we'd watch Rear Window, then we'd watch Jane Eyre. I feel like consuming other people's art and storytelling sort of opened this portal in my imagination and made me feel like, "Well, why have I never done this before? Why have I never created characters and intersecting storylines? And why haven't I ever sort of freed myself up to do that from a narrative standpoint?" There is something a little heavy about knowing when you put out an album, people are going to take it so literally that everything you say could be clickbait. It was really, really freeing to be able to just be inspired by worlds created by the films you watch or books you've read or places you've dreamed of or people that you've wondered about, not just being inspired by your own experience.

In that vein, what's it like to sit down and write something like “Betty,” which is told from the perspective of a 17-year-old boy? That was huge for me. And I think it came from the fact that my co-writer, William Bowery [Joe Alwyn], is male — and he was the one who originally thought of the chorus melody. And hearing him sing it, I thought, "That sounds really cool." Obviously, I don't have a male voice, but I thought, "I could have a male perspective." Patty Griffin wrote this song, “Top of the World.” It's one of my favorite songs of all time, and it's from the perspective of this older man who has lived a life full of regret, and he's kind of taking stock of that regret. So, I thought, "This is something that people I am a huge fan of have done. This would be fun to kind of take this for a spin."

What are your favorite William Bowery conspiracies? I love them all individually and equally. I love all the conspiracy theories around this album. [With] "Betty," Jack Antonoff would text me these articles and think pieces and in-depth Tumblr posts on what this love triangle meant to the person who had listened to it. And that's exactly what I was hoping would happen with this album. I wrote these stories for a specific reason and from a specific place about specific people that I imagined, but I wanted that to all change given who was listening to it. And I wanted it to start out as mine and become other people's. It's been really fun to watch.

One of the other unique things about Folklore — the parameters around it were completely different from anything you'd done. There was no long roll out, no stadium-sized pop anthems, no aiming for the radio-friendly single. How fearful were you in avoiding what had worked in the past? I didn't think about any of that for the very first time. And a lot of this album was kind of distilled down to the purest version of what the story is. Songwriting on this album is exactly the way that I would write if I considered nothing else other than, "What words do I want to write? What stories do I want to tell? What melodies do I want to sing? What production is essential to tell those stories?" It was a very do-it-yourself experience. My management team, we created absolutely everything in advance — every lyric video, every individual album package. And then we called our label a week in advance and said, "Here's what we have.” The photo shoot was me and the photographer walking out into a field. I'd done my hair and makeup and brought some nightgowns. These experiences I was used to having with 100 people on set, commanding alongside other people in a very committee fashion — all of a sudden it was me and a photographer, or me and my DP. It was a new challenge, because I love collaboration. But there's something really fun about knowing what you can do if it's just you doing it.

Did you find it freeing? I did. Every project involves different levels of collaboration, because on other albums there are things that my stylist will think of that I never would've thought of. But if I had all those people on the photo shoot, I would've had to have them quarantine away from their families for weeks on end, and I would've had to ask things of them that I didn't think were fair if I could figure out a way to do it [myself]. I had this idea for the [Folklore album cover] that it would be this girl sleepwalking through the forest in a nightgown in 1830 [laughs]. Very specific. A pioneer woman sleepwalking at night. I made a moodboard and sent it to Beth [Garrabrant], who I had never worked with before, who shoots only on film. We were just carrying bags across a field and putting the bags of film down, and then taking pictures. It was a blast.

Folklore includes plenty of intimate acoustic echoes to what you've done in the past. But there are also a lot of new sonics here, too — these quiet, powerful, intricately layered harmonics. What was it like to receive the music from Aaron and try to write lyrics on top of it? Well, Aaron is one of the most effortlessly prolific creators I've ever worked with. It's really mind-blowing. And every time I've spoken to an artist since this whole process [began], I said, "You need to work with him. It'll change the way you create." He would send me these — he calls them sketches, but it's basically an instrumental track. the second day — the day after I texted him and said, "Hey, would you ever want to work together?" — he sent me this file of probably 30 of these instrumentals and every single one of them was one of the most interesting, exciting things I had ever heard. Music can be beautiful, but it can be lacking that evocative nature. There was something about everything he created that is an immediate image in my head or melody that I came up with. So much so that I'd start writing as soon as I heard a new one. And oftentimes what I would send back would inspire him to make more instrumentals and then send me that one. And then I wrote the song and it started to shape the project, form-fitted and customized to what we wanted to do.

Was it nice to be able to keep it a secret? Well, it felt like it was only my thing. It felt like such an inner world I was escaping to every day that it almost didn't feel like an album. Because I wasn't making a song and finishing it and going, "Oh my God, that is catchy.” I wasn't making these things with any purpose in mind. And so it was almost like having it just be mine was this really sweet, nice, pure part of the world as everything else in the world was burning and crashing and feeling this sickness and sadness. I almost didn't process it as an album. This was just my daydream space.

Does it still feel like that? Yeah, because I love it so much. I have this weird thing that I do when I create something where in order to create the next thing I kind of, in my head, attack the previous thing. I don't love that I do that but it is the thing that has kept me pivoting to another world every time I make an album. But with this one, I just still love it. I'm so proud of it. And so that feels very foreign to me. That doesn't feel like a normal experience that I've had with releasing albums.

When did you first learn about Rebekah Harkness? Oh, I learned about her as soon as I was being walked through [her former Rhode Island] home. I got the house when I was in my early twenties as a place for my family to congregate and be together. I was told about her, I think, by the real estate agent who was walking us through the property. And as soon as I found out about her, I wanted to know everything I could. So I started reading. I found her so interesting. And then as more parallels began to develop between our two lives — being the lady that lives in that house on the hill that everybody gets to gossip about — I was always looking for an opportunity to write about her. And I finally found it.

I love that you break the fourth wall in the song. Did you go in thinking you’d include yourself in the story? I think that in my head, I always wanted to do a country music, standard narrative device, which is: the first verse you sing about someone else, the second verse you sing about someone else who's even closer to you, and then in the third verse, you go, "Surprise! It was me.” You bring it personal for the last verse. And I'd always thought that if I were to tell that story, I would want to include the similarities — our lives or our reputations or our scandals.

How often did you regale friends about the history of Rebekah and Holiday House while hanging out at Holiday House? Anyone who's been there before knows that I do “The Tour,” in quotes, where I show everyone through the house. And I tell them different anecdotes about each room, because I've done that much research on this house and this woman. So in every single room, there's a different anecdote about Rebekah Harkness. If you have a mixed group of people who've been there before and people who haven't, [the people who’ve been there] are like, "Oh, she's going to do the tour. She's got to tell you the story about how the ballerinas used to practice on the lawn.” And they'll go get a drink and skip it because it's the same every time. But for me, I'm telling the story with the same electric enthusiasm, because it's just endlessly entertaining to me that this fabulous woman lived there. She just did whatever she wanted.

There are a handful of songs on Folklore that feel like pretty clear nods to your personal life over the last year, including your relationships with Scott Borchetta and Scooter Braun. How long did it take to crystallize the feelings you had around both of them into “My Tears Ricochet” or “Mad Woman”? I found myself being very triggered by any stories, movies, or narratives revolving around divorce, which felt weird because I haven't experienced it directly. There’s no reason it should cause me so much pain, but all of a sudden it felt like something I had been through. I think that happens any time you've been in a 15-year relationship and it ends in a messy, upsetting way. So I wrote “My Tears Ricochet” and I was using a lot of imagery that I had conjured up while comparing a relationship ending to when people end an actual marriage. All of a sudden this person that you trusted more than anyone in the world is the person that can hurt you the worst. Then all of a sudden the things that you have been through together, hurt. All of a sudden, the person who was your best friend is now your biggest nemesis, etc. etc. etc. I think I wrote some of the first lyrics to that song after watching Marriage Story and hearing about when marriages go wrong and end in such a catastrophic way. So these songs are in some ways imaginary, in some ways not, and in some ways both.

How did it feel to drop an F-bomb on "Mad Woman"? F---ing fantastic.

And that’s the first time you ever recorded one on a record, right? Yeah. Every rule book was thrown out. I always had these rules in my head and one of them was, You haven't done this before, so you can't ever do this. “Well, you've never had an explicit sticker, so you can't ever have an explicit sticker.” But that was one of the times where I felt like you need to follow the language and you need to follow the storyline. And if the storyline and the language match up and you end up saying the F-word, just go for it. I wasn't adhering to any of the guidelines that I had placed on myself. I decided to just make what I wanted to make. And I'm really happy that the fans were stoked about that because I think they could feel that. I'm not blaming anyone else for me restricting myself in the past. That was all, I guess, making what I want to make. I think my fans could feel that I opened the gate and ran out of the pasture for the first time, which I'm glad they picked up on because they're very intuitive.

Let’s talk about “Epiphany.” The first verse is a nod to your grandfather, Dean, who fought in World War II. What does his story mean to you personally? I wanted to write about him for awhile. He died when I was very young, but my dad would always tell this story that the only thing that his dad would ever say about the war was when somebody would ask him, "Why do you have such a positive outlook on life?" My grandfather would reply, "Well, I'm not supposed to be here. I shouldn't be here." My dad and his brothers always kind of imagined that what he had experienced was really awful and traumatic and that he'd seen a lot of terrible things. So when they did research, they learned that he had fought at the Battles of Guadalcanal, at Cape Gloucester, at Talasea, at Okinawa. He had seen a lot of heavy fire and casualties — all of the things that nightmares are made of. He was one of the first people to sign up for the war. But you know, these are things that you can only imagine that a lot of people in that generation didn't speak about because, a) they didn't want people that they came home to to worry about them, and b) it just was so bad that it was the actual definition of unspeakable.

That theme continues in the next verse, which is a pretty overt nod to what’s been happening during COVID. As someone who lives in Nashville, how difficult has it been to see folks on Lower Broadway crowding the bars without masks? I mean, you just immediately think of the health workers who are putting their lives on the line — and oftentimes losing their lives. If they make it out of this, if they see the other side of it, there's going to be a lot of trauma that comes with that; there's going to be things that they witnessed that they will never be able to un-see. And that was the connection that I drew. I did a lot of research on my grandfather in the beginning of quarantine, and it hit me very quickly that we've got a version of that trauma happening right now in our hospitals. God, you hope people would respect it and would understand that going out for a night isn't worth the ripple effect that it causes. But obviously we're seeing that a lot of people don't seem to have their eyes open to that — or if they do, a lot of people don't care, which is upsetting.

You had the Lover Fest East and West scheduled this year. How hard has it been to both not perform for your fans this year, and see the music industry at large go through such a brutal change? It's confusing. It's hard to watch. I think that maybe me wanting to make as much music as possible during this time was a way for me to feel like I could reach out my hand and touch my fans, even if I couldn't physically reach out or take a picture with them. We've had a lot of different, amazing, fun, sort of underground traditions we've built over the years that involve a lot of human interaction, and so I have no idea what's going to happen with touring; none of us do. And that's a scary thing. You can't look to somebody in the music industry who's been around a long time, or an expert touring manager or promoter and [ask] what's going to happen and have them give you an answer. I think we're all just trying to keep our eyes on the horizon and see what it looks like. So we're just kind of sitting tight and trying to take care of whatever creative spark might exist and trying to figure out how to reach our fans in other ways, because we just can't do that right now.

When you are able to perform again, do you have plans on resurfacing a Lover Fest-type event? I don't know what incarnation it'll take and I really would need to sit down and think about it for a good solid couple of months before I figured out the answer. Because whatever we do, I want it to be something that is thoughtful and will make the fans happy and I hope I can achieve that. I'm going to try really hard to.

In addition to recording an album, you spent this year supporting Joe Biden and Kamala Harris in the election. Where were you when it was called in their favor? Well, when the results were coming in, I was actually at the property where we shot the Entertainment Weekly cover. I was hanging out with my photographer friend, Beth, and the wonderful couple that owned the farm where we [were]. And we realized really early into the night that we weren't going to get an accurate picture of the results. Then, a couple of days later, I was on a video shoot, but I was directing, and I was standing there with my face shield and mask on next to my director of photography, Rodrigo Prieto. And I just remember a news alert coming up on my phone that said, "Biden is our next president. He's won the election." And I showed it to Rodrigo and he said, "I'm always going to remember the moment that we learned this." And I looked around, and people's face shields were starting to fog up because a lot of people were really misty-eyed and emotional, and it was not loud. It wasn't popping bottles of champagne. It was this moment of quiet, cautious elation and relief.

Do you ever think about what Folklore would have sounded like if you, Aaron, and Jack had been in the same room? I think about it all the time. I think that a lot of what has happened with the album has to do with us all being in a collective emotional place. Obviously everybody's lives have different complexities and whatnot, but I think most of us were feeling really shaken up and really out of place and confused and in need of something comforting all at the same time. And for me, that thing that was comforting was making music that felt sort of like I was trying to hug my fans through the speakers. That was truly my intent. Just trying to hug them when I can't hug them.

I wanted to talk about some of the lyrics on Folklore. One of my favorite pieces of wordplay is in “August”: that flip of "sipped away like a bottle of wine/slipped away like a moment in time.” Was there an "aha moment" for you while writing that? I was really excited about "August slipped away into a moment of time/August sipped away like a bottle of wine." That was a song where Jack sent me the instrumental and I wrote the song pretty much on the spot; it just was an intuitive thing. And that was actually the first song that I wrote of the "Betty" triangle. So the Betty songs are "August," "Cardigan," and "Betty." "August" was actually the first one, which is strange because it's the song from the other girl's perspective.

Yeah, I assumed you wrote "Cardigan" first. It would be safe to assume that "Cardigan" would be first, but it wasn't. It was very strange how it happened, but it kind of pieced together one song at a time, starting with "August," where I kind of wanted to explore the element of This is from the perspective of a girl who was having her first brush with love. And then all of a sudden she's treated like she's the other girl, because there was another situation that had already been in place, but "August" girl thought she was really falling in love. It kind of explores the idea of the undefined relationship. As humans, we're all encouraged to just be cool and just let it happen, and don't ask what the relationship is — Are we exclusive? But if you are chill about it, especially when you're young, you learn the very hard lesson that if you don't define something, oftentimes they can gaslight you into thinking it was nothing at all, and that it never happened. And how do you mourn the loss of something once it ends, if you're being made to believe that it never happened at all?

On the flip side, "Peace" is bit more defined in terms of how one approaches a relationship. There's this really striking line, "The devil's in the details, but you got a friend in me/Would it be enough if I can never give you peace?" How did that line come to you? I'm really proud of that one too. I heard the track immediately. Aaron sent it to me, and it had this immediate sense of serenity running through it. The first word that popped into my head was peace, but I thought that it would be too on-the-nose to sing about being calm, or to sing about serenity, or to sing about finding peace with someone. Because you have this very conflicted, very dramatic conflict-written lyric paired with this very, very calming sound of the instrumental. But, "The devil's in the details," is one of those phrases that I've written down over the years. That's a common phrase that is used in the English language every day. And I just thought it sounded really cool because of the D, D sound. And I thought, "I'll hang onto those in a list, and then, I'll finally find the right place for them in a story." I think that's how a lot of people feel where it's like, "Yeah, the devil's in the details. Everybody's complex when you look under the hood of the car." But basically saying, "I'm there for you if you want that, if this complexity is what you want."

There's another clever turn of phrase on "This is Me Trying." "I didn't know if you'd care if I came back/I have a lot of regrets about that." That feels like a nod toward your fans, and some of the feelings you had about retreating from the public sphere. Absolutely. I think I was writing from three different characters' perspectives, one who's going through that; I was channeling the emotions I was feeling in 2016, 2017, where I just felt like I was worth absolutely nothing. And then, the second verse is about dealing with addiction and issues with struggling every day. And every second of the day, you're trying not to fall into old patterns, and nobody around you can see that, and no one gives you credit for it. And then, the third verse, I was thinking, what would the National do? What lyric would Matt Berninger write? What chords would the National play? And it's funny because I've since played this song for Aaron, and he's like, "That's not what we would've done at all." He's like, "I love that song, but that's totally different than what we would've done with it."

When we last spoke, in April 2019, we were talking about albums we were listening to at the time and you professed your love for the National and I Am Easy to Find. Two months later, you met up with Aaron at their concert, and now, we're here talking about the National again. Yeah, I was at the show where they were playing through I Am Easy to Find. What I loved about [that album] was they had female vocalists singing from female perspectives, and that triggered and fired something in me where I thought, "I've got to play with different perspectives because that is so intriguing when you hear a female perspective come in from a band where you're used to only hearing a male perspective." It just sparked something in me. And obviously, you mentioning the National is the reason why Folklore came to be. So, thank you for that, Alex.

I'm here for all of your songwriting muse needs in the future. I can't wait to see what comes out of this interview.

*** For more on our Entertainers of the Year and Best & Worst of 2020, order the January issue of Entertainment Weekly or find it on newsstands beginning Dec. 18. (You can also pick up the full set of six covers here.) Don’t forget to subscribe for more exclusive interviews and photos, only in EW.

#taylor swift #interview #entertainment weekly #folklore album #folklore era #video

71 notes · View notes

aikoiya · 6 days ago

Text

Huh! Maybe it's just an American version thing? Though, if so, booo! Not nice Nintendo!

Also, oh my gosh, THANK YOU!! YOU'RE A GODSEND!! I've been losing my ever-loving mind!

Like, the fruit still has some of the most creatively bankrupt names I've ever seen, but at least I have a frame of reference!

And thank you so much for the link!!

Also, yes. Psychonauts is very interesting & a little bit crazy. Though, it also has some really dark stuff, but it mostly only turns up if you explore & go out of your way to find everything & 100% the games (which, to me, is totally worth it). But what I love is that the subtext sort of gives you insight into how the trauma of the characters affected them as individuals. Though, you also get a bit of a similar environmental storytelling experience from games like Persona 4 (with Shadows) & 5 (with Palaces). Both feature this whole “getting a look at one's inner world” sort of thing & I eat that stuff up. Though, you're not always gonna get things told to you explicitly. It's more so something you have to look around the environment. Or, you can watch analyses on YouTube. Always fun to listen to someone else's interpretation of things. Like, it even goes so far as there being a power in the game that can let you literally see how other characters view Razputin & I just find it super cool because almost every single characters, plus numerous animals, each see him in a way that gives you a bit of a hint as to their relationship with him & I love that!

Also, don't listen to Sasha Nein. Those lamps are beautiful & it's just his childhood trauma getting the better of him.

But, I'm not going to go too deep into it because I fear spoilers.

Hmm… Sounds promising. Whatever helps with the worldbuilding.

To be fair, the Door of Time would likely only open the once in order to let Link out, then would shut & be unopenable without the other stones & the song. (I mean, why wouldn't it have an automatic lock mechanism without the keys to opening it present? Similarly, it has to open from the inside, otherwise that's just shit building code.) As such, so long as Ganondorf wasn't literally there at the exact moment that Link was sent back & left through the door, I don't really see too much issue. And, my guess is that the time was specifically chosen because Ganondorf wasn't looking then.

I will say that I do sort of view the Master Sword as being fairly important to how Link traveled in OoT, otherwise I don't think it'd be quite such a big deal of him utilizing the sword as a means of travel. This is part of why I hc the Master Sword's handle & the Ocarina of Time as both literally being made of the Timeshift Crystal from SS. Because then it gives a bit of “oh, I see!” To the whole thing. Otherwise, it wouldn't be so important for Link to pull the sword from the pedestal in order to go forward & for him to return it in order to go back. For all we know, it acts as a sort of anchor or even a lightning rod to bring his consciousness back to him.

So, yeah, I think you've figured out a cohesive means of explaining what went down in OoT that leaves as few wrinkles as I can see! 👍

Now, I can also sort of see the Triforce being somewhat unaffected by time too, but that's mostly because of its role as a representation of the literal creators of Hyrule's reality. So, to me, this means that it likely exists outside of time, at least to a degree.

Thank you! I really enjoy finding plausible explanations to things & I just really can't help but wonder who it was that built the qānat if that is, indeed, what allows that spring to flow?

Same! It would've been so neat to have a Farore centered game & I hope that, if they ever do remake the 2 Oracle games, that they take the chance to also make the third! Though, I think they should go with something like “Oracle of Mysteries” or “Oracle of Runes.” That way, there won't be any confusing it with Oracle of Seasons the way it would be with the commonly hc'd “Oracle of Secrets.”

Really? Hmm… I was thinking that it'd be the building itself, which would also include the restaurant inside of it, but I guess that the brasserie should have its own name, huh?

Let me give it a think… Maybe something with shells or pearls to represent being sort of the “jewel of Lanayru?” Maybe even have the food served in large, cleaned out clamshells? NO!! The shells of Shell Blades! With silver & nautilus shell wine glasses! Oh! I just found a picture of some that are near perfect!!

But I think that I'd need to give the stems some pretty designs to spruce them up a bit. Though, nothing too extravagant. Just something pretty, but stylish. Like… Maybe make it look like the shell is being balanced on a spray of water, like from a fountain? Simple, but elegant. Though, they also NEED to have shell wine baskets on a sort of polished coral branch base.

Also, a single chandalier made from sea glass, pearl, nacre, & shell.

Anyway, what about la Perle de la Lune Brasserie du Clos or la Perle de Conque Brasserie du Clos? I was looking for a good reason to use moon, but I couldn't find the right place to put clair de lune. But I think this is fine.

Either way, I really like it! Plus, it can also be a reference to the Moon Pearl of LttP.

Thank you! Much appreciated! Always grateful for the gentle linguistic guidance!

Also, I had zero idea, but I now completely refuse to change it from Marée-Chant, because I love that not only did I somehow manage to make a pun, but also one that's super fitting! So, yeah. It is now an intentional pun! :D

True, at the same time, you could possibly try to find ways of spinning the Zelda sightings in a less jocose way. Oooo! I do know of a comic that shows a great way to depict the sort of havoc that the Yiga taking on Zelda's guise probably had on Link! Especially involving their hideout on the Great Plateau!

She's Gone

Hmm… For the Hateno Village quests, maybe have Reede mentioning the increase in monster activity alongside the Gloom & the return of the Blood Moons & have him mention how he was keeping the election going in an attempt to try & help keep the citizen’s minds off of things. Possibly insert a bit of an undercurrent of unease that's most visible when no kids are nearby. But even the kids know that SOMETHING'S up, just not quite what, yet. Ya know? Possibly even have it so that Reede is sort of exaggerating his end of the Reede/Cece conflict for that reason. (Which, btw, I'd still keep the whole Cece Hat thing, but have it so Link absolutely roasts her regarding the hair & make-up choice. Like, shame her. Because, good grief Cece!)

Also, you may wanna consider having Reede set up a curfew, that way, you can maybe make the nighttime attack of the Stals on the Sun Pumpkins into a more serious issue. Like, it isn't just the pumpkin patches they're attacking, but the town itself. Possibly have some of the new militia set up at what's left of Fort Hateno to do what they can to curb the bulk of it? (Btw, why is there no Stalynel??? And, can you imagine actual elemental Lynels? And a Staltantula boss in the Depths? That'd not only be so flipping cool, but also complete nightmare fuel!!!)

But, regardless, if it was too peaceful for your tastes, try shifting the tone so that it's more of a strained, maybe even slightly delusional peace? Think about it this way, these people had been tormented by the Calamity for 100 years & only recently did that nightmare end.

It wouldn't be surprising if a lot of the civies tried to keep up a veneer of peace in a vain attempt to try & maintain hold on the fraying edges of that tranquility. (I think I've brought this up as a possibility already, just with Zelda...)

Now a dungeon in Necluda is an idea I can get behind! Love that idea!

Oh, heavens! Yes! Absolutely, same! Like, don't get me wrong. I don't mind strong women or tomboyish girls or maybe 1 or 2 strong women that aren't interested in relationships. But not the absolutely flipping wave of them that we've had lately! And, you know what? Yeah, I'm very similar. It's part of why I made my oc the way I did.

Actually, I'd like to bring up something that someone else mentioned a bit ago! Did you notice the hairstyles & designs of the Gerudo in TotK's past? If you notice, most of them weren't really very feminine. And, this suggests that they probably weren't dressing to “attract the male gaze.” But, (& this is me switching to canonical TotK game talk) if that's the case & the Gerudo had also been in a war with the other denizens of Hyrule before Rauru came like I theorize, then this makes you wonder how they were getting males.

Just something to think about. Like, I know what my theory is, but I'm not so sure how dark you wanna go with their portrayal. Because, trust me, I can go SUPER dark. 😈

I tend to think similar, personally. But, for me, I tend to look at examples where a singular old man defeats an entire professional women's soccer team IRL & think quietly to myself that, despite being much taller than most male Hylians, I actually think that a single well-trained Gerudo vai would only be around as strong as a single well-trained Hylian male. And, she'd likely need to utilize her greater height against him to win. But, once more, that's just me.

As for the Rito, I tend to think that the scales from Valoo was how the Zora were initially transformed & that this new design for them is just how they evolved afterwards. Not in that this is how they evolved after WW, as I know you're not going that route, but more so that maybe something similar happened that required some of the Zora to transform into Rito in your timeline. And then, after that initial transformation, generations pass with the Rito slowly gaining more & more bird-like features alongside the remaining Zora also further evolving.

And, I actually think it's a great opportunity to have the Ancient Sage of Wind, alongside the Ancient Rito being much closer in design to WW Rito, so as to showcase that there was a change. Same with the Ancient Sage of Water & the Ancient Zora being closer to either the OoT or TP designs. Or maybe even have Zelda discover that there were once 2 tribes of Zora with the Zora of the modern day being the descendants of both?

Remember that your gonna be sending the girl at least 10,000 years into the past. Also, something else to play with? The possibility of the Ancient Goron still learning Ancient Hylian, because they had only recently resurfaced from living in Gorondia. So, I’d like to think that they’d be learning the language.

Also, I totally see Zelda frantically creating a sort of underground study with a vault of specimens, including seeds, maybe even have a few smaller critters in containment cells? Ooo!!!

Oh, wait… I forget… You're not doing the Secret Stone thing, are you? If you were, I'd have suggested making it so the Stones just sort of enhance their powers & gives them a specific ability like the ones in the game, but that it doesn't prevent the owners from learning other abilities of a similar nature. So, I guess that what I'm saying is that Zelda could've learned how to use Stasis after lmastering Recall, ya know? Though, if you're having it so that the Sheikah Slate is still a thing, maybe you could make it so that she figures out a way to use the Stasis Rune to make those containment cells. That way, she can sort of… Oh, gosh! I think that I'm essentially creating an entire dungeon! One based on Noah’s Ark! But one that travels the sea of time! XD

What if that's the dungeon in Necluda?! What if it's this massive facility in the Necluda Depths that's essentially a massive museum, library, zoo, & botany vault! That's totally the sort of thing that Zelda would flippin' do!

Anyway, I get what you're getting at with not wanting to make the Gerudo outcasts, but eeeh… I dunno. I guess that I feel like they're outcasts anyway & that it's kinda because of their own choices. Like, just their culture as an all-female race that keeps their daughters seperated from their fathers is going to make them as such.

Though, for me, part of the reason for my depiction of them as being cursed is somewhat so I can have that curse broken eventually. Like, to me, it's really little more than an opportunity that I'm trying to use in order to highlight the fact that they once had even worse practices & that it resulted in karma coming to bite them. However, because of that & their humbling, there's supposed to be a slow progression of their depictions over the timelines being something like a case study in how all cultures, all societies, have black spots & things to be ashamed of. But that it doesn't have to be the end &, in fact, the Gerudo are much much improved. So, there's hope.

You know a sort of race wide redemption arc!

As such, my point in it is, I guess, using it as motivation for the Gerudo to improve as a people.

Also, & I know it was more of a joke on your part, but at the same time, if you do go with the idea that the Sand Goddess made Gerudo voe so that the vai only get something nice to look at every hundred years, then you should probably consider how that would affect the voe, as well as the overall perceptions of the vai towards males in-general because of it. Specifically, imagine it from the perspective of the voe. What if your creator made you to have no real purpose beyond looking nice? Imagine that your entire existence revolved around that alone.

Depressing.

And if this were how it was, then the default preconceptions of the vai would automatically be, "men only exist for the enjoyment/use of women." Like, not even for the sake of reproduction because, again, like you said, they didn't need men to reproduce. So, the voe wouldn't even really have that until after the Sand Goddess was killed. And then, well…

The concenssus would likely have become deeply rooted in their ideologies (case in point, that one OoT Gerudo who mentioned that she thought Ganondorf was the only man worth anything). Then, it might've eventually resulted in a culture of misandristic exploitation not unlike one particular depiction of the Amazons of Greek myth. Possibly even culminating in a few generations where the 1 voe sort of becomes what amounts to a slave king & the designated stud for that specific generation. Likely even acting as a kind of feminist reversal of the orientalist harem trope. (And yes, I am fully aware of how yeesh that sounds. Because it IS.)

Also, there's the question of if the Gerudo were made to never need men & the centennial voe was little more than eye candy, then why the legend saying that he was destined to be king? Why the worship in OoT? Literally, how did he get so bad in OoT, HW, & TotK???

Does the legend refer to a true king or more so a pretty figurehead in a pretty crown? Like, maybe he was instead meant to act as the Gerudo queen's handsome arm-candy? A trophy husband or a sort of proof of her legitimacy as queen? Maybe even it being said that a vehvi produced from 2 Gerudo was thought to be exceptional or usher in some sort of Golden Age for the Gerudo.

I'm not saying don't. Just... maybe be aware of the implications these sorts of choices have & prepare yourself accordingly?

And, this one is more out of personal curiosity than anything: What does this choice say about the Sand Goddess? What did the choice to create the Gerudo as nothing but women with only one male every century, where the vai, rather than mating with men, instead went to the Sand Goddess in order to reproduce: What does it say about her & her intentions?

Why did she decide this? Did she have bad experiences with males that led her to do this, possibly believing that she was sparing her creations from grief? Is she an example of a tragic biggot? In this case, a misandrist who legitimately hates males of any kind, believing that they were the source of all the ills in the world, & wanted to create a species where they were commodities & treated as lesser? (An example of Tragic Bigotry. A very interesting way to make the typical bigotry thing more complicated than just “bigots are just jerks, who cares why?”) Or did she do this so that the Gerudo would be forever reliant upon her?

While it may not seem important, you'd actually be very surprised how it can spawn new ideas to explore the underlying reasoning behind these sorts of decisions.

Heck, if you go the route of the second choice, that could easily end up being an underlying reason to why Ganondorf can almost never seem to escape from his role, because in this case (though she likely wouldn't have meant it as such), it could be due to the Sand Goddess' perception of men becoming the basis for Gerudo voes' nature. In such a situation, Gerudo voe would've been created to be subjugated. Otherwise, they risk becoming too ambitious & devolving into demons. Because it would literally be the subconscious belief of the Sand Goddess, which could’ve bled into her creations without her realizing it.

Now, again, I'm not trying to tell you what to do, but I think it's important to at least acknowledge the thought process.

And, one final thing. I don't know if you brought this up before, but I think it's something that you’ll likely need to keep in mind when characterizing your version of Ganondorf.

Namely, how much of the Calamity did he have control over?

And, I need to really bring this into perspective. This… it was absolutely horrific.

Judging by the population density map, the Calamity resulted in the deaths of upwards of thousands of people.

And that’s no small number. Castle Town was sundered. And 7 entire settlements were destroyed, leaving Central Hyrule completely unpopulated. And Deya was the largest of them, but according to what I’m seeing, literally no one survived Deya.

If that’s the case, then that doesn’t just mean soldiers. It means E.V.E.R.Y.O.N.E…

Like, just take a moment to meditate on exactly how utterly horrible that is.

That means men, women, the elderly, the infirm, children, infants, pregnant mothers. Yes, I know, it's horrible. But, it's also canon.

Like, & I'm really sorry for this, but I really do think that it very much encapsulates my thoughts on what happened in the Calamity. Guilty of Wrath

Warning, it's actually pretty graphic.

Like, for me, I just think that it's really important to really take in the full scope of what happened & to properly characterize the Ganondorf that caused all of it, to ask just how aware he was of it all.

Because, I'm seriously considering making this part of my official canon for Meeting One's Match. (Not the part where Link is dead, but most everything else? Yeah, though I'm thinking of letting Rauru take the place of Link in this. Let him be the petty one to deal the final blow to Ganondorf’s psyche. However, now that I'm thinking about it. I may make him backed up by Sonia & the other Sages, then just before they leave, the Sage of Lightning points behind Ganondorf & he snaps around… Only to be met with a veritable sea of spirits… And he's suddenly forced to acknowledge the sheer amount of death that he caused… Ooohoohoohoo! This reminds me of a REALLY amazing one-shot idea I had! But we can talk about that later!)

Like, in my interpretation of events, I'm sort of making it so that he doesn't really know. As in, he was sealed underground &, I guess, sort of allowed his Miasma to run wild with a mindset of “just break everything. Break all of their toys,” but he never really thought about the full concequences of that choice. Never thought of the implications of his own words in certain scenes or what their logical conclusion would be.

So, in my story, one of the final hurdles that he's going to need to face will, in a way, be himself.

As, I'm sort of going with the idea of how hatred is an insatiable beast that keeps demanding more & the more you feed it the bigger it gets until you suddenly realize that it's taken on a life of its own & you no longer have any control over it. And I guess that I feel like it's important to nail down whether your Ganondorf really knew what he was causing. Like, for me, if he knew & was aware of the full scope of his crimes & was… I dunno… unaffected by it, then I just don't think that having him care about the Gerudo will be realistic. Like, it takes a very specific level of psycho to knowingly commit that sort of just… Horror.

Like, the Calamity was outright a flipping genocide, man. The Guardians weren't stopping. They would've eradicated Hateno too, which would've, at the time, left only Shadow Hamlet, Lurelin, & Tabantha Village. And we don't even know if they would've stopped with Hateno. We don't know if they would've stopped until the only one left alive was Ganondorf himself.

So, I feel like it's kinda important to establish whether your Ganondorf was genocidal in a very literal way. If he was, then I just don't see much hope for him coming across as any degree of sympathetic.

@aikoiya The post was getting long again so here's a new one!

I knew you were going to answer that saying "this is unfair" isn't real life logic haha (and I agree that life hasn't been fair to Sky and Sun anyway). It's just that such an ending would probably leave me feeling unsatisfied and even a bit robbed, and I think it would require a lot of other changes to be made to the story in order for it to work properly. But anyway you're right, as things are now this would just be happening behind the scenes so what I'm saying doesn't really make sense. But just thinking about it changes my perception of SS in a way I don't really enjoy, so it's not a theory I favor.

Yes in that setting I'm pretty sure that the other Sun would not make herself known to Link and Zelda and would let them have their happy ending. But I think Zelda would likely suspect her existence and know that something is wrong. I guess even Link could notice that the Temple's doors are suddenly open and would ask Impa a few questions.

I had no idea Tingle called Farore the Goddess of Wind in WW, so I went on a little quest to see if I could find the same quote in the French version of the game. Apparently it's in Tingle's description of Outset Island and I never had the chance to play with the Tingle Tuner mode. I can't find the same quote in French anywhere and I don't even know if this was included in the HD remake (I guess I'll have to wait for a Switch version to find out… if they ever release one). This has me wondering if this quote isn't something exclusive to the English version, but I can't be sure and I'd like to know what the original Japanese text says. The French wikis mention that Farore is the Goddess of Wind in WW but don't provide any quote, it just looks like the pages were translated from English but that they couldn't find the same quote in French. It's really frustrating!!

Anyway that's a bit weird because WW already establishes Zephos as the God of Wind, and he seems to be a minor deity compared to Farore. The way I see it, wind is just the element that Farore tends to be associated with, and since a lot of myths might have been lost with Hyrule in WW this could just be a mistake on Tingle's part. I mean this is the game that gave us the Golden Triumph Forks haha.

I'm not limiting Nayru/the Golden Goddesses to a singular domain, quite the opposite ^^ To me Nayru being the Goddess of Wisdom includes different concepts such as order, law, science, magic, etc., and even time (since she's introduced as the creator of the world's fondamental laws), while calling her the Goddess of Time doesn't include all of that. That's why I wrote that I found it a bit restrictive. But sure she could have both titles, the same way Farore could be known most commonly as the Goddess of Courage and also called the Goddess of Wind in some situations.

Oh I didn't think of the blocks from OoT! I would say though that they don't really use any time powers, they're just random blocks that appear or disappear for some reason when Link plays the Song of Time (it's just as absurd as playing the Song of Storms to open holes in the ground haha). But yes they were blue and associated with time, and of course Nayru is too. The difference with Hylia in my theory is that Nayru created the rules of time (if that makes sense) among other fundamental laws, while Hylia's power specifically allows her to manipulate time and foresee the future. In a way I see Hylia as Nayru's spiritual daughter who inherited some of her powers over time (and that's why the color purple she's represented with is very close to blue).

The Master Sword has also been depicted as either blue or purple though, so that asks the question of the true color of all of these things! Nayru is definitely linked to time so it makes sense that the timeshift stones are in Lanayru (and Hylia also doesn't have a province named after her).

"From the edge of time" could definitely just be a poetic way to say that Hylia kind of recorded a message for Link before dying haha. But I find it interesting that she would phrase it like that, I like to see it as a clue.

Well if Zelda simply sent Link to a point further back in time, wouldn't there be two Links existing at the same time in the Child Timeline? But sure Zelda creating a brand new timeline also raises a few questions that kind of... make my head hurt. I'm not sure what happens exactly, I've always wondered! All we know is that Link finds himself in the Master Sword's chamber with the Door of Time already open, which hints at things happening in a different way this time (because he definitely doesn't have the three spiritual stones and the Ocarina of Time yet since this is before Ganon's coup, and the ending seems to imply that this timeline's Zelda doesn't know him yet). That's why I believe Zelda might have done something a bit more complex than sending him to a point further back in time, but there's no way to be sure. The Triforce of Courage is also visible on Link's hand during the ending, and we also know thanks to TP that the Triforce is still separated in the Child Timeline despite Link and Zelda preventing Ganon from entering the Sacred Realm this time. So maybe Zelda isn't able to change everything? It's complicated haha.

Anyway, whether OoT Zelda creates a new timeline or just sends Link further back in time, that's still huge time powers and that's not something Link is able to do by playing Zelda's Lullaby.

I also believe it is more likely that Talon inherited the ranch. True, Talon might not always have been so lazy, but maybe if that was the case the game could have hinted at hit. All we know is that he leaves his daughter alone with Ingo and only comes back after Link deals with the situation, which does not make him look so great. And he only promises to work harder after that.

I'm kind of bad with names so I'm impressed you're going through all of that trouble to rename the settlements!!

I haven't gotten to developping the technology that much yet, but I'm really interested in seeing what the different races could do with it! I love the idea of using the Sheikah to infiltrate the Yiga bases. I wish TotK had done something like that and shown the Sheikah helping Link that way.

Same, I was so excited when I heard about these pirates… and then so disappointed to find nothing more than a bunch of bokos with no backstory.

Vignoble is not related to noble (though I kind of make the association in my mind, especially since vignobles are sometimes called châteaux).

Yes I thought you could maybe use clos! Aquaticlos is funny, it can work! Though maybe you could use the same logic as for the raisins (I love this Raisins de Terre idea by the way, it makes sense!) and say that what the Zoras call a clos already refers to something that's underwater, since that's probably the case for most of what they cultivate.

I don't mind helping you with French, I'm glad to do so! You put so much effort and thought into this, it's really interesting.

#zelda #loz #zelda lore #zelda theory #aikoiya #jullbnt

19 notes · View notes

littlemisssquiggles · 4 years ago

Note

Do u think salem can only use fouus to make grim cazif the white fang show up to help, salem could kidnap the all and make more grim

Wait what if she turns oscar or rin in to a grim

White Fang? Faunus?

I think there seems to be some confusion in the FNDM in respect to the Hound. The Hound---or whoever he used to be---wasn’t targeted by Salem because he was a Faunus. Original George was targeted because he had silver eyes. As I shared in my recent post, the human form of the Hound was a Faunus with silver eyes.

That’s why he was taken.

Salem is or has been experimenting on Silver Eyed Warriors.

Given how old the Hound was, my assumption is that Salem must’ve been experimenting on captive Silver Eyes for years and the Hound probably was her first successful test subject.

This brings me to a curious question that I have now. When the Hound first debuted, one comment that I made was that surely he couldn’t be the only one. My assumption is that Salem must have an entire kennel of Hounds waiting to deploy.

Hence my question is, where did Salem get the Silver Eyed Warriors? Does this mean that Salem secretly has some kind of hidden dungeon or citadel within her Domain where she’s been secretly housing and perhaps even breeding Silver Eyed Warriors she and her pawns have kidnapped and imprisoned over the years to be used in her inhumane experiments like the Hound?

Granted that the Hound turned out to be a Silver Eyed Warrior who was actually a dog Faunus, the other curious question that I have is, will all Grimmoire (this new species of half human and half Grimm) be Hounds or will they take other animalistic forms based on the captive soul’s personality?

That being said, I do quite like the concept of the Grimmoire remaining to be Hounds. It kind of reminds me of the Cybermen from Doctor Who.

These days I’ve been slowly getting into Doctor Who and so far, my favourite of the Who villains are the Cybermen race. The interesting thing about the Cybermen is that once converted, the Cybermen’s former humanity is completely erased. One would never know whether or not a Cybermen used to be a man or a woman or an adult or child since they all look, sound and move the same.

This is why I like the idea of all Grimmoire being Hounds and looking and sounding the same---all forms of uniqueness or individuality stripped away from them as they are forcibly transformed into this monstrosity of inhuman proportions.

Not to mention that hounds are a breed of dogs and since dogs are often known for their loyalty to their masters---in this case, I kind of eerily like the idea of Salem turning Silver Eyed Warriors into Hounds.

This is because the Silver Eyed Warriors were a race of beings born to vanquish the Creatures of Grimm creatures. So apologies if the thought of these very same beings being forcibly turned into the very monsters they swore to kill and worse, made just as subservient to the Grimm’s master as they are---I’m sorry but from a storytelling perspective, I really like this concept. The CRWBY showrunners have sold me on this idea.

You’ve heard me mention the term Grimmoire once or twice in my past musings and theories. Once upon a time, I shared the concept of Salem trying to create her own new species of beings by experimenting on humans and combining them with Grimm similar to what she did with Cinder but on a much grander scale.

This concept is made even MORE cryptic by the fact that it’s a callback to what Salem told Ozma during their reign together as the New Gods of Remnant.

She basically told Ozma why bother to try and save humanity when they could be replaced with something greater than them.

So…is this what Salem had in mind when she made that remark to Ozma in the Lost Fable? Are the Grimmoire Hounds her solution to replacing humanity or are they just another means of bringing about their destruction considering that her goal is to have Remnant wiped from existence by the Brother Gods.

But the fact that the Grimmoire Hounds are in fact Silver Eyed Warriors is pretty cool. Imagine Salem revealing the truth of what the Hound is to “her Ozma”. How would Ozpin react to seeing what Salem has created?.

Even worse, how would Oscar react to this development. After today’s episode and what was revealed about George, this squiggle meister now have this haunting Little Red Ruby Rose headcanon:

Imagine if…Ruby gets turned into a Grimmoire Hound and is brought before Oscar while he was still in imprisonment?

How would the little prince react to seeing the monster that the Wicked Witch has made of his true rose?

I quite like this idea just as much as I loved the concept of Salem sicking Hound Ruby on Oscar and forcing her to “kill the boy”.

How would Oscar react to being forced to fight a Grimm version of Ruby? What if…Oscar tried to reach out to Ruby?

In the past, Oscar’s voice---his words---is something that has always been able to touch Ruby in some shape or form.

Not to mention that in today’s episode, when Ruby was knocked unconscious and Blake needed her, she commented that she was still able to hear Blake’s voice calling out to her for aid.

So…imagine if this is done again but from a much darker place.

Would Ruby still be able to hear her friend’s voice calling out to her after she is plunged into eternal darkness and turned into a Hound?

I think this would be a very interesting development to see play out. Not sure if it’ll be canon but who knows? Definitely worth tossing out for the table of possibilities.

~LittleMissSquiggles (2021)

#squiggles answers: rwby #ruby rose #oscar pine #rwby volume 8 spoilers #rwby volume 8 theories #rwby theories #little red headcanons #Anonymous

35 notes · View notes

spooky-activity · 4 years ago

Text

Just a little update on Cassandratopia 2: Electric Boogaloo (Or as it stands in my Google Docs folder rn, A Helping Hand). I’ll put it under the cut cuz it’s kinda long.

I just wanted to say that I’m still planning on actually doing it, despite all evidence to the contrary lol

I did Cassandratopia in a haze of graduating from college(where I was studying animation) and just having ended my first dnd campaign as a dungeon master (which went 3 years!). I was fishing around for internships, but since the pandemic had just kicked off I wasn’t having much luck. So I had a lot of creative energy that wasn’t getting channeled anywhere, and a lot of free time when I wasn’t applying to places. Which is how I did 4 pages a day several times per week. Which was insane.

As it stands, I’m running 2 dnd campaigns(one meets weekly, the other every other week or so), and just scored a full-time internship at a video game company! The campaigns I’m running are a homebrew open world, which, for those of you who aren’t too familiar with dnd, is a metric fuckton of work to prep for each session because I have no idea what my insane friends and siblings are going to try and do every time we play.

Anyways all this to say that my storytelling itch is kinda. Sufficiently getting scratched atm and I have a lot less free time. I’m still plucking away at the setting/refining the story of A Helping Hand, but it’s largely on the backburner. Cassandratopia was also, uh, like the first story I’ve ever told in any sort of format besides the give-and-take of dnd, so... I’m not used to having so much control over the narrative. Oddly. I’ve never thought of myself as much of a writer of stories; my main focus is character animation, so someone else is usually writing the stories I’m telling anyways, which is super cool with me. Honestly I’m surprising myself with how much I want to tell this story, which is why I’m still sure I’m doing it. Just. Slower. Than Cassandratopia got done.

But I’ll share a bit of the lore I’ve been cooking up! Specifically about Zhan Tiri and The Drops. The story will be told in an extremely dnd type setting, because that’s the kind of narrative I’ve told before and am comfortable telling: hard magic rules, neat fights, scary monsters, a dash of eldritch horror, and huge emphasis being put on magical artifacts(kinda like in the show!). Here’s some stuff that’s basically locked-in.

Zhan Tiri

Zhan Tiri is one of the many Demon Lords of the Abyss. She’s kind of a mashup of two of my favorite Demon Lords, Zuggtmoy, the Lady of Rot and Decay, and Pale Night, the Mother of Demons and Queen of the Night(with just a dash of Hannibal Lecter because who doesn’t like helpful, polite, manipulative-ass bitches lksjflkja;fj). Her domain sits almost exactly between the Sundrop and Moonstone, largely being the new growth that comes from death, and the endless cycle of life and death. Places where her influence is strongest includes the cracks in... Well anywhere really, from society to the planet’s shell, where metaphorical or physical rot could grow; musty, mostly ignored places where something could fester. Iconography related to her would include endless mazes, fungi, grasping skeletal hands, and rotting/blooming corpses. Her spores can animate corpses, which she likes to use as mindless minions when she doesn’t feel like sending one of her Acolytes. She shares a scrap of her power with those few mortals she likes. She appreciates ambition and the desire to Grow to be bigger than what you were to start with, as those are qualities she herself possesses.

Incredibly intelligent and merciless to those she deems her enemies, her main thing is pulling the strings from the shadows and seeing just how far she can push people to act with as little prompting from her as possible. She does, however, have the power to kinda bulldoze her way through things if she needs to, but she doesn’t like to because where’s the fun in that?

She first gained interest in the Material Plane when a Wizard with too much hubris from said Material Plane(Named Demanitus) contacted her trying to figure out more information about The Drops and how to control them. After indulging him for a bit, she started preparing to make a summer home on the Material Plane because it’s New and Fun here and Wow These Mortals are Really Fun to Mess With! And some of them she even genuinely liked! Demanitus then realized his mistake and locked her away in Pandemonium for what he hoped was forever, but turned out to be only around 1,000 years, due to the efforts of her followers. Her little stint in Pandemonium magnified the more... Chaotic aspects of her personality, so now she wants to cover the Material Plane in blooming mazes of fungal crops that she can break people with at her leisure.

The Drops

The drops are two semi-sentient pieces of one original artifact, whose original purpose was to be a tool of creation for the gods. Which, through some great calamity(still deciding that one), got sundered and settled into the two basic aspects of creation: the nearly unlimited well of life-energy which organizes stardust into planets, cabbages, and kings, and the “you gotta crack a few eggs to get an omlette” destructive force which breaks down what the sundrop makes so that it can make more.

The main goal of the drops is to reunite. I would want to as well if I was ripped in half! This manifests as a... General tug in the direction of the other drop. A desire in the host to Go That Way. It can be resisted, and even ignored for a bit, but it’s always there. Like being hungry if starving wasn’t a danger. Just a bit uncomfortable if you aren’t going That Way, but ignorable.

Both drops generally try to be as helpful to their wielder as possible, as originally they were a tool of creation to the gods. They are innately obliging. They’re also REALLY UNSAFE FOR MORTALS TO BE MESSING WITH. The Sundrop is a little safer because the most it can do is kinda. Overcharge you into something distinctly not human but still alive, and King Fredrick was lucky he made the Sundrop into soup before giving it to Arianna. But King Edmund got his wholeass arm blasted off for touching the Moonstone.

The Sundrop

Best I could whittle it down, the Sundrop has power over life energy, like the sun’s light. It also has power over the energy derived from geothermal activities, so deep sea creatures Are Not Immune To The Sundrop, which was a funny thought that crossed my mind that they could be, but that will likely never come up anyways salkdjf;ljsf It is, in its basest form, Growth and Progress.

It’s a little sentient, but very much entrenches itself into whoever is holding it at the time. Like another mind looking through your eyes and seeing what you see/feeling what you feel while still retaining a bit of individuality from the host. It’s not... Parasitic because it’s in its nature to give, but it’s generally pretty firmly attached to whoever is holding it until they die( which isn’t usually for a WHILE. It ’infects’ a new host when one dies, usually a plant near their grave...) or until a solar eclipse. It wants what they want, but it’s very fussy so they have to ask it for power exactly correctly(like singing an incantation every time you want to heal someone, or doing a Ritual involving lots of very specific ingredients, Celestial Alignments, and Secret Words) or it won’t listen, like an orchid dying if the ph balance is off in the soil by a little bit. But it’s generally pretty intuitive to use, because it wants what you want and (as long as you ask right) is willing to help.

Anyways basically under the influence of the Sundrop you get a few things:

Basically limitless energy coursing through your body while you’re in a place with sunlight, which equates to rapid healing, mostly, because every cell in your body is being supercharged with free energy. Never getting exhausted in direct sunlight. (If Rapunzel lived in a place that was sunny 24/7 like near one of the poles she wouldn’t have to sleep like. until it started to get dark in the opposite half of the year. Then she’d have to sleep like a regular human being)

You stay at your prime, or if you are past it, revert to your prime. Someone who is holding the Sundrop, or who has regular access to the Sundrop’s magic can’t die of old age or illness. They have to be hurt beyond the Sundrop’s ability to heal or have it taken away from them.

The ability to share this rapid healing with others (if you ask right)

The ability to freely draw on the raw, near-limitless energy of the sun to shape into things like cool-looking energy blasts (only if you ask right)

The Moonstone

The moonstone has powers over varying levels of destruction: from destroying things by ripping them apart/ to Not Letting Things Be Destroyed(also known as protecting) by freezing them in indestructible rock. Like the moon, it can ‘reflect’ a bit of the sundrop’s power, so it can kinda provide energy, albeit a lot less than the sundrop can provide. It’s the inevitable march of The End of All Things, fertilizing the fields of time with the ashes of the old so the new can take root.

The Moonstone is a bit more in the dark(pun intended hehe) when it comes to bonding with someone, it can only try to figure out what is going on based off the emotions of its wielder, and through anything directly touching the Black Rocks. Because of this it’s... Kinda dumb? It tries to do things to help(Like shooting red fear-rocks to try and scare away whatever must be scaring its wielder so badly) but often fails spectacularly at helping.

Under the influence of the Moonstone you get:

Mortals get Neat Body Armor that’s actually just you being turned into a rock! They are very fragile! They need to be protected! The best the Moonstone can do to try and preserve you is to Stop All Destruction by.. Pausing all bodily functions indefinitely. Rocks don’t need to eat, sleep, or breathe, and almost nothing can destroy you if you’re solid Black Rock. The weak reflection of the Sundrop’s energy keeps the host animated, but they’re not exactly alive anymore. Like cryostasis. Wounds (if any) acquired in this state won’t be a problem because they’re not messing anything up, because nothing is technically working in the first place, but they will be a problem when you’re not protected in this way anymore. It’s a cosmic ‘I’ll deal with that later’ button, essentially.

Like the moon, the Moonstone can reflect the light of the sun. It uses its rock crystals to do so, which can even split the sun’s power into different shades, like a prism. Essentially, different colored rocks can mean new and exciting power sets.

Blue Lightning! The Moonstone can reflect the Sundrop’s power, so it also has access to pure bursts of energy, even if it is weaker and colder.

The Moonstone is very helpful, but usually has no idea what you want. ‘Asking’ the Moonstone for more control over its power in the same way you would Ask the Sundrop for more power reminds it of the perfect bond it used to share. The Moonstone’s incantation deepens the bond between wielder and Moonstone in such a way that it actually knows what you want from it, giving you near perfect control of its powers.

*This is kind of just a side note of the Drops: While the Moonstone is weaker than the Sundrop in an head-on fight, it could hold its own if it were on the defensive. Redirecting the power instead of trying to overpower and such.

** Cass made of rocks means I get to draw her skeleton :) not in every picture that would be fucking nuts and way too much work alskjdf;lkjs;fv

#helping hand #a helping hand #casstopia #cassandratopia 2 #mine #so yeah next comic is happening still #but I can't promise when #maybe in like 6 months when one of my dnd games wraps up #my siblings are the ones who play weekly #and I said i'd run a shorter campaign for them #like half a year campaign #then I'll only be running one game!#and I'll have time to draw comic stuff and finish finalizing my draft #I'd also like to apologize in advance for my clunky storytelling #I've literally never done this before lakjs;dlkcvj;lksjf

30 notes · View notes

itsclydebitches · 4 years ago

Text

RWBY Recaps: Volume 8 “Strings”

Happy Saturday, RWBY friends! I am, quite obviously, going to dive into the recap in just a moment, but first I wanted to take a short detour to discuss the elephant in the tumblr room. Namely, Supernatural.

For those of you out of the loop, the tl;dr is that a fifteen year, beloved show ended with a truly horrendous finale. Specifically, the finale rejected everything that the show had been building towards: the logical conclusion to character arcs, the theme that “family don’t end in blood,” the potential for a queer romantic relationship… I could go on. The point I want to make is that the fandom had every reason to believe we’d be getting these things. This isn’t a case of fans upset that the finale didn’t go the way they wanted as an individual viewer, but rather that the finale didn’t go the way the show clearly and explicitly said it would. It’s not an exaggeration to say that in many respects, viewers were straight up lied to.

(I recommend reading the reviews.)

What does this all have to do with RWBY? Well, I can’t help but think that history is repeating itself. Certainly there are some notable similarities between the two series. Both have long, meandering plotlines with no clear end in sight (though I hope RWBY doesn’t reach the 15 Volume mark…). Both began with a small, core cast, but quickly expanded—generating the expectation that these now equally important characters will be given their due. Both have moved from the small conflict of fighting everyday monsters to a god-based mythology. Both have a popular queer relationship dangled in front of the viewers, featuring scenes where they’re “obviously” in love… but will it ever be confirmed? Both have a fanbase that says loudly and confidently that the writers know what they’re doing. Just wait! It’s all been planned! We’ll be rewarded for our patience and soon all the naysayers will be proven wrong.

Thing is, the Supernatural fandom wasn’t rewarded. Right up until a week ago those fans—myself included—had faith that the writers knew what they were doing because they can’t really be that out of touch with their own story...right? It’s not possible. Yet they were, it was, and now that I’ve gotten solid proof of precisely how far a show can go to reject its own logic, themes, and premise, that just makes me more wary of RWBY’s mistakes. Before I had a solid faith that things couldn’t possibly get that bad, that no matter how much RWBY might be messing up in the short term, it will undoubtedly pull it together overall, because what show wouldn’t? Especially a show with such promise and, at times, wonderful storytelling. Well, Supernatural didn’t manage it and frankly I’m not sure what to do with that information.

Seriously. I don’t have any grand conclusion here. It’s not my intention to suggest that anyone should stop watching RWBY, or to claim that it will absolutely fail because Supernatural did. Obviously, we don’t know what will happen until we get to see it in the show. I only want to acknowledge these parallels and the similar journey I see both fanbases on. I can’t help but wonder if, a couple years from now, RWBY fans will be making incredibly optimistic posts about how it’s all coming together, just have some faith, everyone who says that the group won’t get a satisfying ending, or Blake and Yang won’t be confirmed are just mean trolls… only to wake up that Saturday morning and get another metaphorical slap in the face.

It’s something to think about.

But here I’ve spent a page talking about the wrong show. Let’s get into the episode!

We open on a black screen with lots of ambiguous noises. At first I thought this was Oscar struggling in the Hound’s grip or something, but then I remembered that RWBY likes to insert an episode between cliffhangers. I watched Ironwood (presumably) shoot a guy and he only came back this week (though that question still isn’t answered. At this point I kind of wonder if it will be). Oscar was kidnapped last week, which means we won’t get to see him until next week. Or… two weeks from now? RT skips the week of Thanksgiving, don’t they? Sounds familiar doesn’t it? Something horrible happens to Oscar and we need to wait two weeks to find out how it’s resolved.

Watch him escape the Hound off screen and return to the group with a new outfit 😂

So it’s not Oscar we hear, but Ruby, the last one coming out of the tube. Weiss is in the process of pulling Nora’s ear for that stunt… with a frankly strange looking hand. What’s up with RWBY animating weird hands lately? I’m pretty sure that’s not how anatomy works.

Anyway, Nora counters that this was a “Once in a lifetime experience,” but they were all going to go through the tubes regardless. Weiss isn’t pissed that you sent her through, she’s pissed that you did it unexpectedly when she was alone, heading into enemy territory. But of course, there’s no one in the room to hinder them, so the mistake is meaningless.

We’re setting the tone again though. For the first half of this episode everything is sunshine and giddy adventure, which doesn’t fit the situation at all. It also creates emotional whiplash when I’m suddenly supposed to be super worried about things later on. This sort of about-face works once in a blue moon, as an emotional punch, like we see in Mulan:

But RWBY does it every other episode, which makes the overall tone of the series confusing instead. Half the time RWBY feels like two different stories—the cartoony tale of girls going on fun adventures, and the traumatic tale of a fantasy war—that have been badly spliced together.

“Alight, Robo-Girl, which way?” May asks and Penny demonstrates why she’s the best for sneaking into a facility. She’s able to map out the whole place, including seeing where everyone is so they can avoid detection. Kudos to RT for going this route. I was worried that they would have Ruby and the others straight up attacking Atlas grunts, knocking them out/potentially even killing them because who cares, right? They’re the bad guys! So I’m glad they’re working to get in and out undetected. Granted, we see in some places that they’re clearly willing to fight the soldiers if it comes to that—they’re reaching for their weapons when Penny opens the final door, expecting the room to be full of people. They were going to attack—but at least they’re trying to lessen that conflict as much as possible. That’s the sort of choice I expect to see from heroes and I’m glad we got it here.

After scouting the area Penny corrects May: “And my name is Penny,” to which Ruby gives a satisfied “Heh.” I’ve got no problem with Penny rejecting nicknames, even potentially well-meaning ones, because she’s always struggled with her status as a real girl and her name is her own. She gets to decide what others call her. I do, however, have a problem with making the presumed trans character the one who is corrected. Granted yes, we haven’t gotten confirmation in the show that May is trans, but RT doesn’t get to cash in on that rep without likewise suffering the consequences for how the character is treated. You’re telling me that a trans woman is going to roll her eyes when someone asks her to use a specific name? Please give May flaws, yes, she’s a person, but out of all the millions of flaws across the human spectrum, this is the one we’re shown?

Not to mention Ruby’s continued attitude. It’s like, ‘Yeah, May. Stop being a horrible person who draws attention to the fact that Penny is a robot. I never did that.’ Except when Ruby first met her she didn’t know Penny was a robot. Just like she didn’t know Blake was a faunus—something we’re reminded of this episode. We might assume Ruby wouldn’t have ever made any missteps at the beginning of these relationships, but the fact remains that she got to know both girls before their minority status was ever revealed. Ruby loved them before she ever had to grapple with their differences.

Put in her place, May then demonstrates that she can make lots of people invisible, not just herself. That’s handy. She creates an invisibility bubble that reminds me of Harry’s invisibility cloak. In the sense that others might not be able to see you, but they can still hear and touch you, which makes sneaking around still pretty challenging.

No sooner have I thought that then two guards get into the elevator with them. The group keeps quiet as the duo discusses how no one can get close to Salem’s storm without “getting shocked right out of the air.” Interesting. And frankly one hell of a roadblock if the Hound escapes into the clouds. Oscar may be gone for a while if he doesn’t escape on his own... The woman also comments about how creepy it is that all the grimm are just hanging out, waiting. It’s “worse than if they’d attacked.”

No it’s not! RT, stop trying to implement the idea that Salem withholding her forces is some epically cool choice. She should have decimated everyone by now and the fact that she hasn’t just shows how transparent the problem is: you’ve created a villain that’s too powerful and now you don’t know what to do with her.

As the group sneaks out of the elevator Nora grins and presses all the buttons, which is, as expected, a dumb move. They’re supposed to be sneaking into this base. If they’re caught they’re going to be thrown in jail at best, killed at worst, but Nora wants to risk that for a practical joke? Again and again we see this insistence on incorporating comedy where it’s not only unnecessary, but actively interferes with other aspects of the scene.

Reaching a terminal, Penny inserts her finger and gains access via Pietro’s credentials. She’s really demonstrating this episode why she’s… pretty terrifying? I mean, Penny is an incredibly powerful fighter with a computer’s view of the world, access to everything in the most powerful Kingdom alongside its information, and she now has Maiden powers to boot. Which, I should add, it took her one fight to master (because remember, the heroes are now always as strong as they need to be to win…). Now that Watts is planning to hack her, I expect her to be an incredibly formidable enemy, just given the amount she could potentially do. I think Penny herself is too kind to exploit all that potential and as we’ll see via Pietro briefly taking control, she doesn’t always have the knowledge to use the tools at her disposal. But in the hands of someone like Watts? He’ll turn Penny into the ultimate weapon.

Access granted, they learn that they have to go “Right through central command!” Of course, Penny makes it sound like a fun game and the spy-movie music/cartoon lecture doesn’t help. Again, tone. It’s adorable! It just doesn’t fit sneaking into a military base with your lives on the line while Salem waits outside. That was a RWBY Chibi moment.

Penny explains—twice—that Ruby can use her semblance to fly them all through central command and it’s treated like a revelation. At first, I was pretty confused because Ruby has been dong this for ages? She carried Weiss in “Argus Limited” and Nora during the Geist fight. But upon close inspection, what Penny seems to have “figured out” is that Ruby can carry multiple people at once because the “mass doesn’t matter.” Okay. Not a contradiction then, though I think RT could have made it a little more clear that Ruby was shocked at the idea of carrying multiple people, not carrying someone at all.

What I do take issue with though is Ruby mastering this skill instantaneously. I mean, why is Ruby being forced to try this on the fly (pun not intended)—Penny has known the layout of the building since they made this plan. She knew they had to get past central control and that it would be packed with people. She’s obviously thought about Ruby’s semblance a great deal—and why is she succeeding? Give me a Volume 7 where Ruby actually trains in this technique, set up via Harriet’s comment early on about her semblance, and then she’s victorious here when it finally matters. Or give me Ruby assuming she can pull off this incredibly difficult skill only to fall out of her semblance halfway through, a roomful of Atlas personnel staring at them. Then what?

Not this.

This is a character who does everything perfectly on the first try without ever having to fail. Ruby is boring like this.

Crisis averted, we transfer to Ironwood who is… working with Watts.

What else is there to say? I’ve already laid out all the reasons why this is stupid and makes no sense. Others keep coming onto my posts to explain to me how Ironwood’s awful deeds up until now fully show his decent into villainy, conveniently ignoring the numerous limitations he was under and his choice to do what he thought was best for the world using inaccurate information. Ironwood was always a divisive character and many are happy to ignore the years’ worth of deconstruction done—a man who looks like the Evil Military General but actually isn’t—because they never liked him to begin with. Not liking him is fine, no one has to like any character, but I’m honestly shocked by the number of viewers who refuse to acknowledge how bad the writing is, even if it means defending a character they hate a teensy tiny bit (#SupernaturalVibes). As a friend put it, Ironwood now feels like a caricature of his former self, a Pure Evil Ironwood who appeared out of nowhere and is now here to stay. He shoots kids. He shoots unarmed civilians. He teams up with Salem’s men and tries to hack Penny. These are undeniably horrible acts, they’ve just been given to a character who never would have done them until RT randomly flipped the Evil switch.

The “RWBY” tag, alongside all the fluff moments of this episode, is now filled with posts encouraging Marrow to turn, yelling at the Ace Ops for being “bootlickers,” and capslock screaming at anyone who dared to speak up for Ironwood. It still sucks to have bad writing twisted into an attack on the fans and it’s going to continue to suck until at least the rest of Volume 8. I’d like to again remind everyone that Qrow teamed up with Tyrian a few episodes, yet because he’s again in Ruby’s graces, that was twisted into a ‘not that bad’ situation. The issue isn’t really that Ironwood is teaming up with one of Salem’s subordinates, but that he’s doing it to go against RWBYJNOR… the second a character teams up with Salem to get what Ruby wants (to not have her team in jail) then that’s totally fine… but that’s a wrinkle a lot of people are happy to ignore.

So yeah, Ironwood is an idiot now too. Like Qrow also was last Volume. He really thinks Watts isn’t going to betray him somehow? Although, I do wonder if the chance to ruin Pietro’s creation outweighs his loyalty to Salem, but the point is that Ironwood can’t be sure of that either. At least he’s smart enough to keep Watts under continuous guard. He puts his hand on Watts’ shoulders and goes, “I’d hate for us to have to try motivating you. Again.”

So he tortures people too now? Like I said, caricature. This was Ironwood and we were given no clear idea of where he disappeared to.

RIP a great character.

Watts notices though that Pietro has apparently accessed a secure area and alerts Ironwood to it. I laugh that the information is just ¡EMERGENCY! In large, red letters. Ironwood immediately makes an announcement for everyone to be on guard. It’s a level 3 lockdown — that won’t impede the group leaving via airship! — and they’re to use “lethal force” if necessary. Weiss is disgusted.

As much as I disagree with making Ironwood into a shoot first, ask questions later kind of guy — he’s definitely wrong to be doing this — I also find myself rolling my eyes at reactions like that. Yes, Weiss. You attacked four operatives until they were knocked unconscious. Prevented an entire city from escaping Salem’s wrath, endangering them all. Now you’re breaking into the most classified room in the Kingdom to steal an equally qualified project and use it for your own means. There’s no reason why Ironwood would level his might against you. Is death still an extreme response? Yes. Should Weiss be acting like Ironwood is crazy for responding to them in an extreme manner? No. Her remark makes it sound like Ironwood is attacking her poor, innocent, defenseless team… not the team that’s been lying to him, betraying him, attacking him, and stealing from him. Not the team carrying deadly weapons into a facility to take what they want at any cost.

With their presence known, May wants to go grab an airship. That’s the series now.

Meanwhile, Penny insists that they can still complete their mission and we see Nora come up with some sort of plan.

Except, what plan was this?? What did she say to the group? ‘Hey, let’s wait around until some guy conveniently walks by with a full cup of coffee. Then we can trip him and the mug will fly alllll the way across this gap to land on a terminal, startling at least two workers. Except this guy will be hated by the whole room because he’s always messing things up—his coffee mug has been changed from #1 Dad to #1 Dud—so that this little mishap will create a ruckus that gets everyone involved, giving us the opportunity to slip by them all.’

Seriously, what? This kind of “plan” only works with someone like Clover, where we know he has a good luck semblance and thus all these unlikely pieces fall into place. I could absolutely buy Clover smiling smugly, working under the knowledge that he just has to wait around a few minutes and something will come along that works entirely in his favor. But Nora? How did she know any of this would happen? Obviously she couldn’t have, so what exactly was their intention if this coffee carrying, hated guy didn’t show up? RWBY, your contrived plots are showing.

I do, however, love the grimm Jaws poster. Jaws is an absolute favorite of mine, so seeing a reference to it in RWBY? A funny one at that? It almost makes up for how bad this episode is lol.

Because frankly I’m bored. The group sneaks around, criticizes May and Ironwood, briefly confuses me about Ruby’s semblance knowledge, and gets through tons of Atlas personnel in the stupidest way possible. I have to watch this guy running out of the room with coffee on his pants screaming, “WHHHYYY???” and he doesn’t notice the five girls standing right next to him. It’s silly. It’s boring. Luckily for RWBY, things are about to pick up in the second half.

After Ruby gets them upstairs and the final room is also conveniently devoid of people, Pietro takes control of Penny—including yellow possession eyes like Oscar has with Ozpin—and he...gets Amity started. That’s it. After a whole volume of ‘It’s not finished yet’ and ‘We barely have the resources’ and ‘Robyn stole what we were using to do idek what with’ he presses buttons for a while and they’re in. How good for them!

I do love that Penny calls Pietro “Dad” though. I’m here for the android-father relationship.

While Pietro works we turn to Blake, Weiss, and Nora. Blake tries to convince the audience that Ruby and Yang had an actual fight with, “I’ve never seen Yang and Ruby fight like this.” Yeah, because no one in this group has ever said the sliiiiightest thing against Ruby, so you all read the tinniest disagreement as a “fight” to be worried about. I mean, doesn’t RT have friends to draw inspiration from? They’ve never disagreed about Huge and Complex Questions before? Never gotten pissed and then shrugged it off the next time you want to text? RWBY’s idea of a diverse friend group feels like many other writers’ idea of a sibling relationship: anyone with an actual sibling goes, “What is this?” Speaking of, Weiss explains that sisters often have “very different ideas about what’s right” as if, again, people don’t have different ideas? Just in general? Why is this suddenly a sister thing? She’s clearly thinking about Winter, but doesn’t actually bring it up, so all we’re left with is the same situation we had last Volume. Weiss thinks she’s right, Winter is wrong, and they’re just going down their separate roads because there’s definitely no reason to re-examine any choices here. It’s all static.

Until Winter betrays Ironwood, of course.

Nora tries to reassure Blake that the group will be fine (ha) even though they’ve split, the irony being that we, the audience, know they just got wrecked by the Hound. Jaune is a great leader though, Oscar has grown so much, Yang could defend them all in a fight, and Ren… well, she can’t think of anything to say about Ren. I hate the Nora is acting like Ren has drawn away from her for no reason, after she chose to kiss him—without consent—rather than listening to what was bothering him, then proceeded to pretend that this mystery problem never existed. What does she expect? I do, however, like the general acknowledgement that she doesn’t know who she is without Ren. Who is Nora? Someone who is “strong and hit[s] stuff?”

See, this feels like RT writing self-consciously because Nora doesn’t have much of a personality. Oh, on a surface level she’s bursting with it, but past the bubbly exterior? That single layer? We can add maybe one thing to this “Likes Ren, is strong, hits stuff” list: she’s funny. That’s it. Anything else we might add like “she’s loyal” or “she’s kind” is just a generic characteristic of this entire team. They’re all meant to be crazy talented good guys and even the “is strong” aspect is suspect when others frequently pull off attacks as showy as Nora’s hammer hits. So who is she? What are Nora’s dreams? What are her hobbies? Her fears? Her history? We’ve seen a single flashback of her on the streets and one scene back at Beacon where she listens to music and reads a magazine. Seven years worth of material and that’s it. There’s a reason why the go-to, non-combat action for Nora in fics is “makes pancakes.” We know so little about her still.

So I was excited for a brief, shining moment. Yes! Explore who Nora is outside of being strong and hitting stuff! … and then her big action this episode is, as she says, being strong and hitting something. Don’t get me wrong, outside of that setup it’s pretty epic. I like Nora going to those lengths to save Penny and I absolutely love the repercussions of the choice: a broken aura, passing out, and badass lightning scars all over her arms and neck (especially when women often aren’t allowed to accumulate scars in visual media). That’s pretty damn awesome. It’s just that it comes on the heels of the story insisting that Nora is more than this, that we’ll learn something new about her… and we haven’t. This is indeed cool, but we already knew that Nora was willing to crazy lengths by hitting things really hard. That’s already her established norm.

At least this moment has some really nice characterization alongside the stupidity. The conversation between Ruby and Penny is just plain stupid. Penny wants to stay to help with the evacuations, but Pietro says she should come with him in Amity. Why? As Ruby says, because then she’ll be up in the sky and Salem won’t be able to access the relic.

That’s what Ironwood wanted to do! We could have had this conflict episodes ago with you all working with him! I really can’t with this cast. Also, the rest of this is still confusing. I thought pretty much everyone was in the slums by now, so what evacuation are they talking about? Do they plan to evacuate everyone in Mantle out of the kingdom somehow… like Ironwood wanted to do with Atlas? And why are they acting like Amity is evacuating some people too? I thought they were just using it as a communication device? To add insult to injury, Ruby then contradicts herself a minute later when she tells Harriet that Ironwood can’t have the relic because “Salem will find her way to the relic no matter where you go.” Ruby, if Salem can access the relic high in the sky she can also access Penny in the sky. If you believe that literally nowhere is safe then why are you sending Penny away under the claim that she—and via her the Relic—will be safer? If you want Penny in Amity to lessen the chance of Salem getting the Relic, why can’t Penny be in Atlas while simultaneously (hopefully) getting a whole slew of people to safety?

I’m continually confused by this “plan” of theirs. Their claims just flip-flop according to what (supposedly) contrasts them with Ironwood. Even though that’s not actually the case.

Penny is me, sad while watching this train wreck of a scene.

So yeah, the Ace Ops are here. I’ve wondered since the trailer why Weiss looked smug while everyone else was startled. Turns out it’s because of her line, “So, your first time losing to us wasn’t enough?” I can’t express how much I dislike all the girls’ personalities now. I want to shake some compassion and humility into them. Plus, they never should have won that fight in the first place. Marrow yells, “We were holding back!” but coming from the team’s weakest member it reads as defensive. Like we’re supposed to go, ‘Lol yeah right, Marrow. Just admit you got your ass kicked,’ even tough the Ace Ops should have wiped the floor with them, holding back or not. That’s my biggest takeaway from this fight: it’s the reverse of what we should have gotten. The Ace Ops should have beaten Team RWBY with ease and struggled greatly against an android Maiden, not falling before a bunch of teens and succeeding against Penny if not for Nora’s timely breakthrough. Your half-trained cast of growing heroes should not come across as more powerful than an intelligently designed weapon now wielding magic.

Before the fight starts we get a whole lot of lines that are, frankly, frustrating. Vine tells Penny, “I thought you were supposed to protect the people, not hurt them” which is true enough. Penny is taking action that is putting a lot of people in danger, regardless of the fact that Ruby is at the helm. Problem is, the Ace Ops then blame her for Winter’s injuries and “stealing” the power? That’s not the issue here. The issue is Penny’s blind loyalty to Ruby, but by having the Ace Ops back a stance that is clearly inaccurate—Penny didn’t cause Winter’s injuries, Cinder did; Penny didn’t steal the powers, she was encouraged to take them—it makes them come across as Very Evil people who will twist things to make poor Penny look like the villain. Even if this is a case of Ace Ops having bad intel (which seems unlikely. Wouldn’t Winter have told them what happened?) RT has avoided letting the Ace Ops take a justified stance here because that would make them look too sympathetic… even though they do have multiple justified stances to take. Like, ‘Hey, stop keeping half a kingdom here where Salem can easily kill them all’ or, ‘Hey, why did you spend months betraying Ironwood and then turn on us instead of trying to find a compromise?’ Even, ‘Why did your uncle help kill our leader?’ There’s plenty that the Ace Ops should be rightfully pissed about, so choosing Penny and Winter out of everything feels like RT is firmly backing them into Ironwood’s corner: you’re just bad now and bad people blame innocent girls, rather than acknowledging the actual wrongs done against them.

So we have Ruby contradicting herself and the Ace Ops backing warped ideas that make them look worse than they actually are. Adding to the stupidity is the fact that Elm mentions that Winter is in “critical condition” and Weiss… doesn’t care. Harriet then tells Ruby that she’s “throwing [her] in jail right next to your uncle, runt” and... Ruby doesn’t care. Qrow is missing and Ruby just found out he’s been captured by Ironwood, yet there’s no reaction whatsoever. This show continues to go hard on the ‘screw adults’ mentality, huh? Ozpin needs to keep quiet and is horrible for coming back. Ironwood is now a cartoon villain. Winter made the wrong choice so no one cares about her anymore, not even her sister. The Ace Ops remain enemies despite trying to talk things out. Qrow? Barely know him. Who’s he? This is a Ruby loves Penny episode. There isn’t enough emotional nuance for her to care about him too.

The sad thing is I adore Nuts&Dolts. In a different context these moments would be a goldmine for me.

If anything, this episode feels worse than the majority of last week’s because there are good things here that have been thrown into a bad setup. I can’t get excited for the group’s battles when I see who they’re attacking. It’s hard to squee over Ruby hugging Penny when she doesn’t react to Qrow. Watching Nora go all Thor feels like it only has half its potential when it’s coming out of a very messing, ‘I’m more than just being strong and hitting things… which is why I’ll continue being strong and hitting things.’ RWBY has excellent moments set into a terrible story.

The fight, at least, is exciting. The Ace Ops goad Penny into stepping away so they can trap the rest of Ruby’s team—smart—and she’s forced to hold her own while Weiss tries to break through with her knight, then Nora overloads the system. To be frank, I’m not great at analyzing combat. Not unless I’m looking for something specific like whether a win is justified. I’ve already mentioned above the broad issue of the Ace Ops very nearly beating the most powerful fighter next to Salem herself, yet failing so spectacularly against Team RWBY. Outside of that context though? I really enjoyed this. Lots of tight action, creative attacks, teamwork, some emotional pauses throughout… it feels like a pretty solid battle. Put it on Youtube as a clip, outside of the rest of the story’s messiness, and you’ve got yourself a fantastic watch.

We can’t stay in the combat forever though. During all this Weiss calls the Ace Ops “cowards” for making it four vs. one. You know, RWBY should really just do away with dialogue and make the show purely action because the cast frequently sounds so stupid when they speak. Like her comment about Ironwood’s lockdown… really Weiss? ‘Yes, we might be wanted criminals who betrayed this group in the worst possible way, but how dare they not do the honorable thing and have three of their teammates sit out while trying to capture us? Even though the girl they’re trying to capture has magic. I mean, the nerve of them!’

Weiss, at this point I’m not sure how to explain to you that the people you’ve made into your enemies do not owe you a fair fight.

Another detail: we get to see Ruby fall off the edge of the walkway and this time she remembers she can fly! A definite improvement from Volume 6.

Finally: by the time Penny’s eyes go full Maiden in Elm’s grip, I think we’ve seen everything from our trailer. Episode 4 will truly be a mystery.

Ironwood has, of course, been watching the fight this whole time. When it looks like the Ace Ops will lose against the team he means to send in reinforcements, but Watts says he has “a message for your operatives.” Instead of capturing Penny they steal one of her swords instead, ending with a shot on Marrow looking conflicted.

Because remember, there’s no actual moral grayness in this story. The protagonists are right and everyone else is wrong. It’s (supposedly) black and white. Which means that if the Ace Ops have any hope of surviving this Volume and being seen as anything other than evil bootlickers, they have to join with Ruby. Marrow seems primed to do that.

Am I surprised? No. Disappointed? Always lol.

May has the airship ready to go and they fly off… despite the shields. And the lockdown. Consistency? Who’s she? Nora is said to be “in bad shape” and after another hug Penny leaves to hide in Amity, even though Ruby thinks that hiding is a useless, cowardly choice. Just not when she and her allies choose to do it.

We end the episode with Watts receiving Penny’s sword and making the statement, “If you can’t beat them… then make them join you.” I have to say, his cheesy villainy is something I continue to enjoy, even if it’s heavy handed at times. Watts is just fun. I do have to say though: if Penny is hacked, what does that say about her agency? We double-downed on the ‘real girl’ narrative by giving her the Maiden powers, but she’s simultaneously synthetic enough that a single piece of her can remove all autonomy? It once again feels like RT isn’t sure what point they’re trying to make, they’re just chucking a lot of themes at the wall and seeing what sticks. Still, we’ll have to let it all play out before making any judgements.

And that’s it for this week. It seems like this is a slightly shorter recap than normal, though that may be because I struggle with discussing pure action sequences, which made up a decent chunk of this episode. I’ll no doubt return to the Ace Ops vs. Penny fight when I’m not on a self-imposed, one day deadline for posting. The only thing left is to update the Bingo Card, but I don’t think we made any headway this week. So... good job, RWBY?

I’m still going to hold off on the civilian’s square until Salem’s army actually attacks, as well as the two day timeline square.

No Winter this episode

Watts is teaming up with Ironwood which is… so much worse than him teaming up with Jacques again. Does a square get an X if the canon is even worse than what you assumed it would be??

Maria was mentioned this episode. Jury’s out on whether she’ll actually do anything.

Atlas is still standing, we knew Penny was heading towards a hack so it’s not much of a cliffhanger, no Qrow, no Ozpin, no Neo or Cinder.

It certainly looks like we can check off “The team gets Amity up and running,” but let’s just see if there are any problems next episode. If the problem is only ‘We would have launched it if not for Salem’s attack’ or something, I’m checking it off. The point is it would have worked.

I’m also leaning towards “More obvious Blake/Yang implications without confirming a relationship” given Blake’s heart-to-heart with Nora… but let’s see if the Volume does anything more egregious.

All in all (and perhaps despite what I’ve written above), I don’t think it’s fair to totally drag this episode. As said, this feels like a strong episode in a bad story, something that I would have LOVED if a) Salem weren’t here and b) the ‘ethical dilemma’ wasn’t boiled down to a ‘Team Ruby is good’ and ‘Ironwood and everyone associated with him is evil’ situation. It’s an episode whose tone and character action belong in a different version of RWBY. If you gave us this fun episode in an earlier Volume against a Pure Evil antagonist? It would have been great.

Ah well. It is what it is. Expect more emotional whiplash when we come back and everyone learns that Oscar has been kidnapped by Salem’s talking pooch 🙃

See you then! 💜

#rwby #rwby spoilers #rwby volume 8 #rwby strings #mymetas #rwby recaps #apologies if this Recap is messier than normal #I have a zoom meeting in five minutes lol #gotta go fast!

54 notes · View notes