#but there are a few video essay scripts that I need to start as well | Explore Tumblr posts and blogs

skaluli · 2 years ago

Note

people are a lot more critical of eddsworld on tumblr so if u wanna just go off and post a whole college essay of ur criticisms then dont worry about getting eaten alive for it or anything lol

lmao sure king, i know youre probably thinking of the "criticisms of eddsworld" post that i had in my drafts but i need to finish that. instead so nobody is hungry, ill post the script of me "the end of the eddsworld discord server" here and honestly i have always felt safer here. i left twitter because of certain people and certain feelings. mental health is shit and my paranoia is shitter.

The End of the Eddsworld Discord Server

(A script by skaluli for a video that never came out and probably wont.) click" Keep reading" to begin. its kinda long? and has some pictures. (Also afterwards are extra screenshots from the discord that didnt fit into the video itself.)

Well- Cuts to - yes im using the dementia music, this video was supposed to come out before or even close after the closure of the server. Stuff happened and I’m tired. Please excuse what I say that may not matter anymore. I just want to get a video out and it starts by pushing this. ZZZZZZZZ. Happy Halloween or Christmas honestly it could be either.

I suppose it was going to happen at some point, it’s finally the end of the eddsworld discord server. Well expect for the patrons, they still get to do whatever lol. If you’re not in the loop, eddsworld had a discord server, to sum it up it was a place to converse with fellow edd-heads and well isn’t amino. But of course, it doesn’t come out with its own flaws. I mean there was a whole twitter account to showing the weird side of it. It’s over, the eddsworld discord is dead. Whatever the fuck all this is, is gone. Originally this was going to be made a few days before the closure of the discord but I got busy. Busy to the point where the discord server closed like a month ago [THAT’S SO FUNNY SKALULI ITS BEEN EVEN MORE MONTHS] and I’ve only started this script now. It’s called poor time management, don’t be me. [AAAAAAAAAAAAAAAAA] So, let’s just attempt to bullet point this stuff. Also warning now, I might not have screenshots of everything and I can’t get anything else because well paywall, and even if I did pay, I don’t even know if the original chat still exists. AAAAAA, anyway. I guess I shall start with the “paywall”. So as you know or maybe didn’t or didn’t hear what I said before, the eddsworld server technically didn’t close, just to access the chats and stuff you have to be a patron. But listen kings we get the bloody announcements and twitter feed, yeAHHH. Ahem. Some questions being asked were along the lines of, well why didn’t you just make a separate patron server. Therefore, people not paying still get a somewhere to talk to other eddsworld fans under moderation. Of course, many questions like that and more being asked because well this kinda came out of nowhere. One of the issues is the fact that nobody was answering any of the questions being asked. Avoiding it essentially. Saying things out of the blue, I assume to try and calm the scenario that was created.

Which well got people angry, because well they have a reason to, and you can not deny that. But the thing is the anger got so out of hand that people just started death threating mods. A big note I have to make is that the mods, the crew of which is not Chris or Matthew, and or any of the pateron supporters had a choice in this. They most likely didn’t even know it was coming. You shouldn’t death threat mods and not even just mods just other patreon supporters. [I don’t have screenshots of this but im going by word of someone who said that that was happening to them.] You don’t need me telling you this, it’s basic knowledge. But you do know why they’re doing it though. Because what do you expect by suddenly taking a once-free community and putting a pay-wall over it. Of course people are going to be upset and lash out, even to these extremes. Yes the mods don’t deserve to get treated like this, but they’re getting treated that way by the fans in this case because of what you did. You being Chris and or Matthew. And you yourself not answering on behalf of mods. Leaving themselves having to speak for themselves on a situation that they had no control over. Having to dose the fires of a fire they didn’t even start. An issue being said that the server was getting to out of hand, so it’d just be easier to do what they did [kill the server]. But then why don’t you just hire more mods to manage the community you created? Who knows.

Also not to put my own opinion in here but I kept seeing messages being like “Edd wouldn’t have wanted this” what the fuck. No offense but don’t say that, never say that. Stop. Just pretty please don’t try to speak on behalf on a man that’s been dead for over a decade and act like you would know what he would have wanted. Sorry for the tangent just I see this happening when whatever happens and kids commenting “Edd wouldn’t have wanted this.” Please shush.

Listen I hate kids, I know they can be dumb as shit, I mean after just hearing all that especially. But also, at the end of the day I care about them and if they like and feel safe in the hell of the eddsworld server than you shouldn’t take it away from them. I understand that fan servers are being made but oh god my paranoia of something going wrong since it doesn’t have “trusted moderation” I’m not sure how to put it. It was really only the official safe space to communicate with other eddheads. I just worry that there will be some with ill intentions. I think you can allow me to think that at this point.

And to end it all off, you know how the server’s purpose was just to keep patron content to patrons.

Damn that sure did work.

-cut-

[Note I didn’t write this “now” I wrote this a few days after I mashed this script together.] Okay originally the script ends there on a somewhat snarky remark but while pacing I thought about how I want to make sure my point gets across. I make these videos to help and not harm, by saying that I mean there seems to be a lack of communication between the fans and the crew. And personally, myself I want to try and make a bridge between the two, my own attempts being to show each side and see everything through a different view. Not only I criticize the fans because I want them to improve, I criticize eddsworld because I want the same out of them. Neither is better than the other.

Bonus readout:

Also a request for someone:

Vine thud and then cat thumbs up

END OF SCRIPT

do note that sometimes i change things while recording and dont edit it into the script since well im supposed to be the only one who sees it and says it blah blah.

i have many other various screenshots i took before the discord closed, as i didnt know exactly what i'd need for the video.

here you can have them:

finally the dates of the files since i last touched them: word doc:

audio:

sony vegas:

if you need any clarification on what i mean or say just ask /gen most times i just word things in a way so i can understand it because my brain is fucked.

only thing that isnt here is the audio i recorded for the video and the beginning of the edit of the video. you dont need to hear my voice.

if you need anything else ill be around. i have other screenshots of various other things.

even something that i dont think the person knows anyone got a screenshot of.

anyway im tired like always and forever, i need to work on it. maybe actually take my meds lmao. thank you eddsworld tumblr for allowing criticism of the show. have a good rest of your life.

#eddsworld #eddsworld discord server #ew #video essay #eddsworld criticism #matt hargreaves #christopher bingham #eddsworld controversy #eddsworld discourse #ew discourse #i think thats all the tags idk

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marshmallowgoop · 2 years ago

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I started compiling yearly writing reviews in 2017.

"I’ve seen people do month-by-month yearly compilations for drawing," I wrote in that first post, beneath a Goop's Creative Writing in 2017 header and various isolated paragraphs, "and I know it’s way harder to see progress with writing, but I thought I’d try anyway?"

In 2018, I crossed out the Creative part.

"I’m including all kinds of writing I’ve done this time around," I said. "My non-fiction work is important to me, too."

By 2019, the header was simply Goop's Writing in 2019. No red X. No sign that there had ever been anything else.

I skipped 2020. 2021 removed headers and isolated paragraphs altogether—a tradition I'll keep for 2022.

But I can't help thinking about that crossed-out Creative from 2018.

What a 2022 mood.

See, there's this essay that's been swirling around in my head for a while. Well, more than swirling around—there are maybe the makings of it somewhere deep in my Tumblr drafts, scrawled out and abandoned way back in 2020.

You Don't Deserve to Be a Good Artist. That's what I've thought about calling it.

Because I'm a Libra, right? (On the cusp, but still!) I'm all about fairness and balance, about earning what you get. And, as I realized in horrible clarity in 2022, despite my Creative Writing degree, I don't deserve to be a good (creative) writer.

But maybe I'm getting ahead of myself.

So, here's a clumsy metaphor: I learned how to swim as a young child, through lessons held at a local high school. There were two pools there, one for swimming and one for diving, and this year, I feel like I skipped the shallower swimming pool and leapt right into the deeper, scarier diving pool of creativity. I wrote fiction beyond November's National Novel Writing Month (NaNoWriMo) challenge of penning 50,000 words within 30 days—a challenge I've participated in since 2006—completing two short fanfictions, more than I've done in years. 2022 also got me interested in a new hobby of video editing; I've shared 10 AMVs since April.

I surrounded myself with artists, and they welcomed me with open arms, treating me with far more kindness than I felt I deserved. And that's the theme with me, so I do want to stress that it's not the fault of anyone else—not at all, not ever!—that a sense of out-of-placeness filled me.

I got my degree in Creative Writing, I must have said, multiple times, over and over.

But I never voiced, not directly, the reason I ever mentioned it at all. That I'm an artist, too. That I belong here. That I can also write creatively, not just essays! I swear!

Yeah. My need to justify my existence was probably pretty blatant.

In many ways, 2022 felt like a repeat of realizations made in 2021. "I can’t get invested in my own stories," I said in last year's review. And yet, "[S]omething simply feels… lesser, about throwing fiction behind and writing about other people’s fiction instead." So, I tried to write fiction. And it hurt, and it ached, and I cried. (And vomited from anxiety.) I vibed so much with MUNA's "Winterbreak" that I used it in an ask game this year, but it wasn't 'til the closing months of 2022 that I understood that I do actually relate to the song, in a way; my relationship with creative writing feels like a love I'll never get right, but "I'll always have one more try."

Like 2021, I also don't know where I'm going next year. But 2022 got me thinking, for the first time, "So what if I have a Creative Writing degree?" It's been a source of shame ever since I earned it—a painful, haunting reminder that I genuinely went to school for fiction writing and still write pieces that reek of amateur—but in the grand scheme of things, what does that matter, really?

So I wrote some literary fiction for school, studied movie scripts, penned a few plays, handed in one novel. (And the novel was for my Women, Gender, and Sexuality Studies minor!) So I've participated in NaNoWriMo since 2006 and have over a million words on NaNo projects.

So what?

Writers around me have done so much more than that. Why do I deserve to be good? For studying writing in school for a few years? For mainly only writing fiction one month a year, which I then never polish or show anyone?

Of course, the world doesn't work like I would maybe like it to. It doesn't necessarily matter if I "deserve" to be good or not. But how can I get upset over my skills when I've spent so little time honing them?

Well, I kind of like my NaNo projects from 2022. "I'll always have one more try," I think.

Anyway, my struggles with creativity aside, I am proud of what I accomplished this year. Here are my favorite written pieces from each month!

January: Ai Haibara: Will She Choose to Remain a Child in the End?

February: Shinichi Kudo: Hiding His Trauma

March: Episodes 406-408: Toning Down the Tsundere

April: HeiShin Masterpost: Things I Love About Heiji and Shinichi

May: HeiShinRan

June: OVA 9: Shinichi’s Conception of Heiji’s Future (And How He Thinks Heiji’s So Attractive That He’ll be Called “The Lady-Killer of Naniwa”)

July: Opening 56: The Focus on Heiji’s Alcohol

August: HeiShin: Is It Really Onesided?

September: "They Only Murdered Him Once"

October: The only thing in my "ramblings" tag for this month is this post about recommended Conan English dub releases...

November: "Demon Get Out, Luck Come In"

December: Heishin: "Don't Fall in Love"

Yeah, this is, like, all Heishin related 😳

That's all for now. Happy New Year, y'all. Thank you so much for your continued support and kindness.

#ramblings #writing #happy new year!#riiiight before midnight here ^^;#goop makes a personal post

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decodad · 2 years ago

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“Argument - “Artists will just need to focus on telling stories through video games, animations, and comics.”

I have already mentioned the biggest problem with this argument–the AIs will be very capable of running on autopilot, and they will get just as good at telling stories as they are at making images and videos. They will produce novels, essays, and scripts in amounts that can fill the library-of-babel, each piece a composite of half quotations and unattributed swipings. All this auto-generated text can be processed by the image and video AIs to generate long-format media, and the cycle will be complete, self-contained, and human-free.

[...]

This will completely flood the realm of story and the future will find itself overwhelmingly ghost-written. The “anime” that you’ve been dreaming of making since you were 8, which you are willing to forsake all of art to produce, will get the attention it deserves in this environment–none. And when your dream project, regurgitated in moments by an AI, receives no attention, no clout, and no money, you will rest well knowing you earned it. Not even your mother will be able to find it in the unending surge of the Mega Feed. This wouldn’t be a problem on its own- you were otherwise never going to make the thing anyway- except that you will be ruining the market for everyone who is positioned to pull something off by their own efforts. You will gain nothing and hurt your friends and peers.

The idea that everyone will be empowered to tell their story is one of the few arguments for AI art that compels me, there’s a nuanced discussion to be had here, but I believe it is ultimately bankrupt. It is a nice sentiment, and I can empathize with the frustrations of being an artist who feels their skills do not measure up to the scope of their vision– but we’re overlooking something very important here. You don’t just want to tell your story, and you don’t just want to tell it well–you want it to matter that you told your story. The AIs will rob you, and everyone else, of this.

The execution of your petulant “vision” by the AIs will ensure that no one cares about your story, and that it is washed away in the heaving sea of AI dross. Your art already doesn’t get attention. It’s not going to get any more attention when it’s competing with the unending stream of self-generated and highly targeted comics, novels, images, films, games, and songs. As I’ve said, these AIs will not need to be prompted by humans for very long and will instead auto-respond to the ebb and flow of the internet, current news, real time sales, and even private conversations. After all, we have already readied these inputs for them. We all feel a little uncomfortable when our phone shows us an ad for something we mentioned to our friend over dinner, but what happens when it shows you a movie it made just for you about your break up? A song about that careless word from your mother? A finished version of that comic idea you started researching? You’ll start getting notifications saying- “Hey! Check out one thousand finished versions of your dream!” Our ambient digital systems already have intimate access to so many of the inputs that define our taste- in some sense we sold our souls long ago.

So, you may be able to tell your story, but at the cost of its complete irrelevancy, which will likely have the effect of making you resent that you ever had the idea in the first place. Stories don’t achieve their incredible effect simply by existing. They live and die on human connection and intellect. AI will not “democratize art”--that’s just one of the copy-pasted platitudes of those vapid marketing execs spoon-feeding you your own doom. In a democracy, your voice matters. In a world flooded by AI media, your voice has no chance of being heard.

I also want to point out here that the people making these things will depend on you thinking they hold the silver key to your artistic vision. They need you to feel worthless and like you missed your chance to tell your story. That you got too old, or don’t have the time or resources or ability or what-have-you; that way you will need their product. This way you will support them monetarily and, most importantly, you will help them change the laws and sway the culture to allow their rapacious strip mining of all creative labor. They will always be incentivized to make you feel lowly, dependent, incapable, and slave to their kaiju whims.

And when they’re done, they’ll pull the rug out from under you, of course. They have no actual reason to let you have this stuff for free- they don’t care about you. They can say they do but that means nothing. Once they’ve made it impossible for you to make a living as an artist, and you’ve helped them change the laws, and they’ve ostracized you from your peers by turning you against them, they’ll just take it away and sell it to Google and Facebook and YouTube and the rest- because they stand to make billions from them and nothing from you.”

— excerpt from “The End of Art: An Argument Against Image AIs”

#this is maybe the best argument for non-artists against ai art ive ever heard #like why else would people be so secretive about the prompts they feed ais #if they did not in the end aspire to create great works of art themselves?#the whole video is great but this is maybe the most compelling argument for folks who are not 'artists' in the traditional sense #moon's thoughts

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mariamga2024mi4017 · 2 months ago

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Last Call for the project planning

07/10/2024

Hi everyone! This is some work in progress related to last Friday. (04/10/2024) Before getting into that, we made a few changes to our video plan. I will first talk about it and then talk about the group call we had last Friday.

1. Last Thursday's plans

Video Editing style:-

Our initial plan was to properly record ourselves presenting our points while standing in front of the green cloth so that either Movindul or Uvindu can edit us into the background while a movie clip was playing or while a direct quote from the novel showed up on screen. Our goal was to start setting up the camera and mic by 2pm and then finish recording by 4.30pm.

However, we ran into some issues.....

Although the backdrop, camera and light setup were complete, the mic setup was taking some time. He installed some software like 'audacity' to help out with recording the audio. By the time the mic was fixed for recording, it was 3.15pm. We were losing track of time. So, our main editor (Uvindu) came up with a new plan.

Uvindu's new plan for the video edit: -

Since we under a time crunch, Uvindu came up with a plan of taking 4 shots each of us posing for the presentation. He was going to turn these pictures into stickers that pop up in the while clips and images are shown in the video.

These are the final images he used for the edit -

His inspiration for the pop-up sticker idea was from the YouTuber names 'MatPat' who follows a style of editing where he would use real life people or drawn characters and add in separate eyes and mouths for movement.

Example -

youtube

For moments in the video where there will no clips or images to show, we decided to keep a one-color background in a similar fashion to this You Tuber.

youtube

With this new plan set in motion and having completed all the audio recordings for the video essay, we had to call the next day to plan out our editing workflow for the final video.

2. Last Friday's call: -

I started a call last Friday evening so I could get an idea of how Uvindu and Movindul were going to edit the video. I was hoping my past would be over with the research and the final script editing. However, I had to handle some editing bits as well since Movindul's laptop crushed. It was upto Uvindu and me to get the editing sorted.

In addition to editing, I needed to make the main topic thumbnails for the video as well.

So this is a sum up of what my final workflow was for this video essay:-

Making the final script.

Creating the thumbnails.

Editing the main audio and film clips for the video essay.

In addition to the workload, we had to come up with a good name for our 'channel'. I say channel because our video would be considered a 'film critique' YouTube video.

We decided to do some quick research to come up with a cool name for our channel. We decided to call our channel 'Filmology'.

We decided on adding the 'Amagro' font choice once the thumbnails were complete.

So, in summary, I had to work on the script, thumbnails, and editing the audio and certain movie clips. Once I was done with my share of editing, I had to share the file with Uvindu for him to add in the stickers and make the last-minute changes.

#Youtube

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lizdaoot · 8 months ago

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Where I've been/what happened/dead channel/L/ratio/no videos?/It is almost midnight I should be asleep but need to get this off my chest already

Idk why I feel the need to make this because at this point I'm pretty sure there are no people waiting for a new video but. I have had a lot of things go on and really did not want my channel to turn into the graveyard that it is.

Long story short over the last couple I have made several projects. Like a boatload, and out of all of them only one ever ended up a finished video. I currently have about 10 or so videos, ranging from guides to essays, stuck in production anywhere between a script rundown and early editing. So the question is, why haven't I finished any of them?

Well the reason isn't very simple but I'll try to be brief about it.

I tend to work in bursts of motivation and it is something I'm trying to fix. I tend to only work on a video when I feel it quite literally can't get out of my mind, and that is not what I want, I want to feel like I can choose when I make videos, and which videos I make. This partly means that I am planning to get back to some of these projects, especially ones I already publicly promised(even if those promises are now years old)

College. New city. New living space. New school curriculum and MAN it is not fucking easy here. I have barely been able to find time to study and rest and sadly doing an active hobby like video making is very tough in an environment like this, especially since I now have to record audio in a public residence closet which feels. Very uncomfortable. And audio recording was the step I was already procrastinating on the most.

My work ethic has never really been good. Even before videos would take months simply because I... didn't know how to get myself to start. Even when a video WAS the only thing I could think about, I would still spend several days doing close to nothing before I felt shit enough to actually get myself to work, and that sort of mindset is not something that I want to keep up. I feel happy when I make videos, but I also don't want to feel unhappy when I don't, especially when I have about 3 free hours a day and choosing to spend that time resting is more reasonable than ever.

I know very few people that actually follow my Tumblr even know I make videos and vice versa, but my channel is something I love and something I want to work on more. I know I don't need excuses to not work on a hobby, but I want this to be out there for anyone wondering if I will make anything again.

I will, a lot of things, a lot of things i promised. It will just take time, and I hope you all can be more patient than I am.

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rat-that-writes · 3 years ago

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Dark & Reality TV Shows [HCs]

a/n: had this idea when watching the hell’s kitchen clip of zach mispronouncing bok choy and soy sauce. jean-philipe my beloved. marino is okay ig.

tw: swearing, mention of porn

➭ okay so this bitch thinks tv of any kind but ESPECIALLY reality tv is not worth his time

- but then you start talking about different series and clips with some of the other egos and he gets curious

- like who tf is this ‘gordon ramsay’ and why is shouting at restaurant owners

➭ so one day he asks you to show him an episode or a clip of something, because he wants learn about the things you like

- so you show him episode one of you favourite tlc show

- and he just. hates it. hates it so much like why do you enjoy this it is so obviously scripted and fake and NO ONE DOES OR SAYS THOSE THINGS. WHY IS THE CAMERA-PERSON FILMING THIS.

- so you just... tell him “yeah... but i like it”

- and he just. “k”

➭ BUT THEN. sometimes you browse youtube for some funny clips of your favourite tv show and find that ones that you have no memory of watching have that little red line and the bottom of the thumbnail indicating how far through the episode you are.... hmm...

- eh, you probably just watched them half asleep or forgot to turn off autoplay or something. ...

➭ then another day, you’re back on youtube and you click on the search bar to find your little search history thingy full of stuff you KNOW you didn’t search for - particularly because of the oddly perfect grammer and sentence structure of the searches, which you definitely don’t use. well, neither does anyone else, that’s just weird...

- but, you just assume that another one of the egos had borrowed your laptop to look at videos. but that wouldn’t make sense, because you keep your laptop in your bedroom... which you share with dark.... which means that if any other ego were caught in here they’d probably be sent to the void, and none of them would risk that.

- except maybe wilford?? m a y b e ?? but that would only be in dire circumstances, not to watch my 600lbs life on your laptop.

- but it can’t be dark, can it? he said the one he watched with you was awful and a waste of his time, and he doesn’t lie to you. especially about something so casual as a tv show. well, no time to think about it now. wilford’s calling.

➭ a few days pass, and you come home one day to find your laptop missing from it’s usual place on the desk in your room. you were sure you put it back there last night.. maybe it’s on the bed? nope.. the dresser? no... under the bed??? not there either! ugh, just your luck.

- maybe you left it dark’s office. you should go check.

➭ well. you find your laptop. on dark’s desk. with dark sitting at it. with the screen lighting up his face. and weird noises coming from the laptop. he hasn’t noticed you yet. he looks weirdly entranced.

- “are you watching porn?”

- cue slamming of the computer screen

- “what? no- i- “i don’t need porn, i have you”

- “then what are you doing with my laptop? you have your own.”

- “i-” a big deep breath. “i was watching.. videos. of those shows you always talk about.”

➭ oh. well... that makes sense now

➭ cut to teasing the living hell out of him for it and then having series marathon nights with him

➭ he would never partake in the gossip about the shows, but he loves to listen to you rant about how much you hate this specific person on kitchen nightmares or how excited you are for season 3 of 1000lbs sisters and how you hope tammy stops drinking and vaping and meeting weird men of tiktok who fetishize her weight *deep breath* in this essay i will-

➭ he finds new series he thinks you’ll enjoy and immediately tells you about them

➭ kinda hates how much he lowkey enjoy these types of things though

- like hes supposed to be this brooding mysterious cold hearted demon but youve got him watching hell’s kitchen and picking favourite chefs and making spin-offs of ramsay/s insults

➭ he just wanted to learn about a thing you enjoyed, not become all encompassed with it

#darkiplier x reader #darkiplier/reader #darkipler x yn #darkiplier hcs #markiplier egos x reader #markiplier egos/reader #markiplier egos x yn

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maddiviner · 4 years ago

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Could studyblogging jumpstart your personal grimoire?

A witch should be a lifelong learner. To practice effective magic, you must grow in new directions at a constant pace. A witch should approach magic with a sense of devotion to their own growth.

I’ve practiced magic and divination for two decades now. The most solid advice I can give? Start journaling. Start keeping a notebook. Start studying.

Witches who keep a notebook record their research and ideas about the Craft. This helps them build a wide repository of knowledge, right there when they need it.

The format and content of my notebooks changed a lot over the years. But they all helped me become the witch I am today. I devoted the bulk of these notebooks to my journey in magic, techniques to try, and lessons learned.

There are few people who haven’t studied. In school, we pore over geometry and classic literature in hot pursuit of elusive high marks. We spent time learning about our interests. Whether that’s witchcraft, philosophy, or astronomy, notes are helpful.

Everyone learns in a different fashion. Still, studying and learning about the world remains with us from our first breath, to the last. My Craft took leaps forward when this dawned on me. I’d always enjoyed school. I realized that I could apply the same study techniques to witchcraft and the occult.

What’s studyblogging?!

As a regular user of both Tumblr and Instagram, I soon came across the studyblogging trend.

Caitlyn Tiffany of The Verge describes the studyblogging phenomenon as “a beautiful, stressful wonderland.” An apt description! But what is a studyblog?

Studyblogging hashtags like #studyblr and #studygram are popular (on Tumblr and Instagram, respectively).

For someone just coming across the phenomenon, though? It can be difficult to penetrate this strange world. Expect calligraphic chaos, a plethora of highlighters, and fine-tuned aesthetics.

Studyblogging focuses on the quest for knowledge. In practice, studyblogs share tips and handwritten notes on various subjects. Studybloggers encourage each other to be the best learners they can be.

The photos of notes, assignments, and other tasks make up the bulk of the phenomenon. Studyblogs often feature photos of elaborate calligraphy and heavy illustration in note form.

Expect to see self-made diagrams of mitochondria. Essay outlines on postcolonial theory with nigh-perfect bubble lettering. Vast, illustrated mind-maps of Shakespearean themes. It's a big community, and there's room for a lot. Room for witches? I think so!

Studyblogging for Witches

In witchcraft, our grimoires function much like a non-magical student's study notes. The content, and some of the form, may differ, but the principles are the same.

The quest for an aesthetically-pleasing grimoire stymies many a beginner (and not-so-beginner) witch. The wise remind us that our grimoires needn’t be complex. Functionality is more important than aesthetics in most cases.

That said, there is something worthwhile about keeping a grimoire that suits you. A grimoire can speak to your soul, both by way of aesthetic appeal and your own abilities. For some of us, this might mean a lavishly-illustrated tome. Others might find minimalist styles more resonating. It varies.

The truth is that yes, your grimoire needn’t look a certain way or be perfect. Still, a level of aesthetic appeal can help with information retention. It can also boost your magical productivity. Humans respond in an intuitive fashion to that which they consider beautiful.

Aesthetics can help to put you into a liminal state. Liminality can be a powerful tool in self-improvement. This, in turn, is useful not only for normal studying, but also for the Craft itself.

If you see art as part of your life path, you might find that approaching your grimoire as a work of art helpful. Part of this means realizing that it won’t be perfect, but also always striving to learn and grow.

Studyblogging, as a community, showcases a lot of excellent notebook and journal-keeping techniques. Studybloggers often provide tutorials and guides to effective learning methods.

This is, of course, all while celebrating the joy of learning itself. Traditional studying methods can apply to magical topics. I have found that the techniques of the studyblogger can help with keeping a useful grimoire.

Ask your intuition if studyblogging is right for you!

Will studyblogging help you? For some students, lurking or keeping a studyblog inspires and motivates them. It also increases accountability. By posting their goals and progress, studybloggers have an impetus to progress.

In a way, it’s a bit like livestreaming a video game - it makes the experience more challenging, and also more exciting. The difference, of course, is that, in this case, your game is learning!

And the notes? Many find the calligraphy, fancy scripts, and illustration soothing. It can be a way of making otherwise impenetrable subjects more captivating.

Without a doubt, aesthetic presentation improves information retention for some people. Humans have a positive response to beautiful imagery.

Some folks find the gorgeous landscape of studygram and studyblr overwhelming and anxiety-inducing. Gorgeous calligraphy notes, after all, aren't easy for most people.

For some, posting about your studies on a blog might only increase worry. We're all different, and studyblog techniques are hardly universal in form.

You should use your intuition to decide whether to dip into this community. Ask yourself whether an audience will help your quest for deeper knowledge.

Will you feel empowered, or nervous about it? If you struggle with comparing yourself to others, you might find studyblogging discouraging.

I myself am somewhat of a perfectionist. For me, though, the artistic aspects of note taking and information illustration soothe me. Studyblogging suits me, but will it help you?

You should tailor your learning experience to your own strengths. If that means studyblogging won’t help you, be honest with yourself and don’t chase the anxiety of it all. Find another method of learning.

Browse some existing studyblogs - I recommend EmmaStudies and StudyQuill. Ask yourself how it makes you feel. Do the images and writing seems inspirational?

Would you enjoy sharing your work with the world? Studyblogging might become an ally on your magical path!

Taking the Plunge

So, how do you start a studyblog? How do you get involved in the community?

The most popular studyblogging platforms are Instagram and Tumblr. Instagram lends itself to posting tons of pictures and very short-form posts. Tumblr favors longer prose.

When I started studyblogging, I created both a studyblr and a studygram. I recommend starting a new account on the site of your preference for studyblogging.

Follow some existing studybloggers as a way of introducing yourself to the community! Also, follow the hashtags #studyblr and #studygram, to start.

What to study?

Studyblogging features students focused on all kinds of topics. I’ve been studyblogging for over a year. In case you’re wondering, it's rare for someone to complain about my witchy take on studyblogging.

You’ll find the studyblogging community very welcoming in most cases. But what will you study? I always recommend witches focus on only one or two things they’d most like to learn at a time.

Studyblogging lends itself well to in-depth topical research. This can mean learning the signs and language of astrology or the basics of gemstone magic.

Topics like shadow work or personal Tarot readings might be a bit too personal to blog about. Those might be better suited to normal, private journaling rather than a blog. My own studyblogging tends to focus on my writing preparation, astrology, and Tarot.

Though I’ve been reading for over twenty years, there is always something new to learn about Tarot. Astrology, like Tarot, is a lifelong discipline. Though I’ve only recently made my first steps into it, there is much to learn. My writing, especially the book I’m working on, has its own notebook.

Possible topics include, but are in no way limited to:

Crystals and gemstones

Astrology

Spellcraft

Mythology and legends

Magical history

Energy work techniques

Seasonal and Lunar cycles

Herbology

Tarot, Lenormand, or oracle deck divination!

It is important to choose topics that interest you in a personal way. At the same time, try not to get distracted. Witchcraft includes many paths of study. Try not to jump from topic to topic - finish what you start!

Supplies

If you’re in school, you may already have a lot of the tools necessary for studying. If not, you can get them for an affordable price in most cases.

Paper matters! You'll want a notebook or loose leaf binder paper. For hardbound notebooks, you can’t go wrong with a Leuchtturm 1917. That popular notebook boasts dot grid paper, includes page numbers and a place for an index.

Seeking something more aesthetic? Check out the Paperblanks series from Peter Pauper Press. You might also like the notebooks you can order from Citrus Bookbindery. For me, a binder (I use A5 size) works best, because I can add and remove pages as necessary.

You can find some great guides out there about organizing grimoires. Much of that advice applies here. Your notebooks will soon fill the role of a grimoire. They will contain your notes, research, and more.

It is usually best to have one notebook (or binder) for each subject you’re studying. As you move forward, you’ll have a collection of grimoire notebooks on different topics.

You’ll also need pens or pencils. Really, you only need one. If you feel like getting fancy, you can get multicolored fineliners. I prefer Sakura Micron pens. They use waterproof micropigments that don't bleed when you highlight over your writing.

Highlighters are fun! These add color to your notes and help emphasize the important things. If you want nice highlighters, I recommend Mildliners. Any highlighters will do, though - choose colors that appeal to you. I recommend several different colors, because that allows you to color-code your notes.

Plan!

Plan out, at least in a rough fashion, how you’d like to organize your notes. This can be rather freeform, or complex, depending on your preference.

When I began my astrology journey, I knew what sections I would include in my stars grimoire. I also created a rough map of the path I’d take in my research.

I began with the simple Zodiac signs. I then moved forward through the planets, houses, aspects and transits. My organization, loose though it was, benefited from my use of a binder which allowed me to add and remove pages.

No matter the notebook, it is important to have, somewhere, a rough idea of where you’re going.

You will also find it important to set attainable, realistic, and measurable goals. For me, this was things like memorizing the astrological house system. I set the goal of reading my astrology textbooks completely and summarizing them. This kind of goal leads to personal accountability.

I also created a set of astrological flashcards for my Tarot-related work. It can be motivational to post your goals on your studyblog in some form. Then, you can provide your followers with regular updates on your progress.

Start posting!

Once you feel ready, go ahead and introduce yourself to the studyblogging community! An introductory post, explaining who you are, your goals, and methods, will help others get to know you.

I recommend tagging your posts with studyblogging hashtags (mentioned above). Also include some witchcraft-related tags! This will help you connect with other witches who might be helpful on your journey.

Don’t be shy when it comes to posting photographs (taken with a phone or other camera) of your notes! You might not feel that your notes are as neat or pretty as other bloggers. Regardless, they’re unique and might resonate with others!

If you’re taking notes about a very personal topic, like shadow work, you might want to forgo the pictures. Some bloggers obfuscate or blur potentially sensitive parts of their notes. You’ll likely find nothing but encouragement for sharing your research topics, though!

Some studybloggers will also photograph their study space. Some of us even use photos of fun things like their breakfast or pets to illustrate their updates. If pictures don’t suit you, post regular bits about your life and your progress towards your goals.

Get to know other bloggers! This is important, whether they’re witches or from the studyblogging community. Both can be helpful!

Watch or read some of the tutorials you’ll find in the studyblogging community. These focus on things like calligraphy, organization, and memory techniques.

While your notes needn’t have fancy headings, calligraphy can be fun to learn. I don’t currently use calligraphy in my notes, but am learning it on the side, so to speak.

I find it relaxing, and you might enjoy it too. If not, don't feel bad - not everyone uses fancy handwriting, and that's okay!

Moving Forward

If, after a few weeks, you find yourself really vibing with studyblogging, stick with it! Most witches would agree that there’s no real wrong way to be a witch. To me, though, there are wrong (and right) ways for you yourself to learn and grow in your craft.

You need to find what works for you, what adheres to your soul and keeps you connected. If studyblogging ends up helping you, and I hope it will, keep going!

After a while you might find yourself ready to move onto another topic. We all end up “graduating” forward onto other subjects. You’ll quickly find that your grimoires will be an invaluable record.

They will contain not just your gathered information, but also your intuition, insight, and more. Cherish your notebooks - they will come to reflect your essence!

#magic #witchcraft #witchblr #witch #studyblr #occult #pagan #journal #book of shadows #grimoire #eliza.txt #eliza reads

963 notes · View notes

lucemferto · 4 years ago

Text

WE NEED TO TALK ABOUT PH1LZA (or Why Philza is a Victim of Narrative Circumstance)

Heyo! Per request I am posting the script to my video of the same name here on tumblr. I must warn you that just reading the script will probably not give you the full experience, so I would encourage you to watch the video (linked above).

There might also still be a lot of grammatical errors in the text, because I don’t proofread.

Intro

LAST TIME ON LUCEM FERTO

Okay, so! I don’t want this to turn into a reaction channel OR a Dream SMP channel for that matter! [echo]

Well, I lied.

[Intro to “Luc is pretentious about the funny blockmen. Episode 2”]

I swear, I’m working on other stuff. It’s just that my dumb lizard brain has only capacity for one interest at a time!

So, something you might not know about me, is that I am on tumblr – who am I kidding, most of you will know me from tumblr. Before starting this whole YouTube thing, I thought that website died years ago – but as per usual reality proves me wrong. I’m also on Twitter and Reddit, but I get the most engagement on tumblr – by far! – and I need those sweet, sweet numbers for the serotonin!

Anyways, one of my favourite past-times on tumblr is to razz Philza Hardcore Minecraft – that’s his full name – for being a frankly awful father [clicking away] – wait, wait, no! Philza fans, this isn’t a hit piece on him, I promise! Please come back!

This is video is meant to be a companion piece to my previous video about Technoblade and the Doomsday event – you can tell by the shared nomenclature – so you should probably watch that one before you proceed. Unless you don’t want to, which is also perfectly understandable.

DISCLAIMER: This video is mostly about the character Philza plays on the Dream SMP. Whenever I talk about the content creator Philza, I will say so properly. Also, Spoiler Warning for Dream SMP Season 2.

… What is that? You’re wondering what the Dream SMP is? Well, if you had just watched the other video like I told you to do, you would know, because I explained it pretty well there. But in case you don’t know, here’s the cliff notes.

Dream SMP is the hottest New Media Series on Twitch right now! It has it all: gaslighting, child soldiers, Machiavellian political intrigue, Hamilton roleplay, desecration of the dead, shounen protagonists, SO! MUCH! AMNESIA! Filicide, furries, a red egg that’s definitely homophobic and teenagers inventing nuclear warfare. And it’s all done in Minecraft – yes, the funny block game where the only way to emote is to crouch.

And you say the perfect brief doesn’t exist!

Now, you might be wondering, why do I want to talk about this? Well, it’s because Content Creator Philza is one of least controversial internet personalities that I can think of. That man exudes pure comfort. So, it’s just very, very amusing to me that his character became one of the most controversial figures on the SMP, only outshone by Tommy and Technoblade.

And it’s not just amusing, it’s also extremely interesting! I want to dig deep to uncover and discuss the dynamics behind why that is. How did it come to this point? How did a man who appears genuinely so pleasant create a character that inspires so much discourse!

Now, if you watched that Technoblade video – like I told you to twice now! – you might know, that I am the resident character analyses hater of fandom! And that impression is false and slanderous! Don’t tell other people that I hate character analyses! I love them!

It’s just that, in the Dream SMP in particular, there is an abundance of character analyses! Every streamer has at least two very good essays written about them, exploring every possible angle to view their characters and backgrounds and everything. All I’m saying is: I don’t have anything to add on that front.

So, instead I want to pursue a different approach – something, that I feel is a bit underrepresented in the fandom! And I’m not just talking narrative analysis – that’s right, this episode we’re going even more pretentious! – I’m talking Transtextual Analysis!

Now, what is Transtextuality? Well, unfortunately it has very little to do with actual Trans people – #transrights, just in case that wasn’t obvious – but instead describes a mode of analysis with which to put – to quote French literary theorist Gérard Genette – “the text in a relationship, whether obvious or concealed, with other texts”.

Basically, you know how the L’Manburg War of Independence heavily quotes and borrows from the hit musical Hamilton? That’s transtextuality! A lot of the analyses surrounding how Tommy mirrors the Greek hero Theseus, who was invoked by Technoblade multiple times in the series, are already doing transtextual analysis! So, it’s really not something that’s new to the Dream SMP fandom.

But how does this apply to Philza and how he is looked at and judged by his parental skills? Well, there are multiple forms of transtextuality, two of which we will discuss today.

But before we continue, I gotta do that annoying YouTuber thing. I know these videos don’t look like much, but I spend a really long time making them. I work fulltime and I try my best to keep up, but sometimes I can’t. So please, like, subscribe, comment to give me some algorithm juice – I really need it – and most importantly share it! Share it with your friends, share it with your family – I’m sure Grandma is very interested in what I have to say about Philza Minecraft.

And I’m trying to be better! If I sound at all different for this video, it’s because I finally bought a new pop filter, so I can hit my plosives without it sounding like there’s a thunderstorm in my room. I hope it makes a difference; it was a very cheap pop filter, so maybe it doesn’t. Maybe it sounds worse – that would be bad!

What was I talking about? Oh yeah, CHILD NEGLEGT!

Intertextuality: Why is Dadza?

You know what’s really interesting about the Dream SMP – aside from, you know, most things about it? Very few of the characters have concrete, fleshed-out backstories – and that’s pretty weird! In no other medium or genre could you get away with something like that – at least for long-form storytelling!

So, how does Dream SMP get away with this? Well, it’s because every character on the Dream SMP is basically a self-insert – and I don’t mean that in the “This character is based on me”-kinda way, but in the “This character, for all intents and purposes, is me!”-way. This, like many things that are fascinating about the Dream SMP, is owed to the fact that this series didn’t start off as a continuous drama – it started off as a Let’s Play.

And while we can talk about how someone’s on-camera/on-mic persona is in some ways a character, it’s still miles off of being an actual, fully-realized, separate character in a storyline.

This is where Intertextuality comes in.

Intertextuality is a subset of Transtextuality. It describes how the hypertext, which is the text, you’re currently engaged with, uses another text, the hypotext, to supplement itself. The interconnection the hypertext establishes with the hypotext, through stuff like allusion for example, uh-hum [Hamilton], can colour how an audience interprets the hypertext. Basically, Hamilton and Theseus are the hypotexts; the Dream SMP is the hypertext.

So, what does this have to do with backstory? Simple: The backstories of the characters in the Dream SMP consist basically of nothing but intertextual references. Through intertextuality their content effectively substitutes their character’s backstory.

You can see it everywhere. Wilbur’s and Schlatt’s relationship and rivalry is hugely enriched, if you are aware of their shared history like SMPLive, for example – I think anyway. I haven’t watched SMPLive, because … there’s only so many hours in the day and I cannot keep up with the Dream SMP and catch up on SMPLive and live a healthy life – which I already don’t do, so…

BadBoyHalo’s and Skeppy’s relationship, which has become the crux of the Crimson-Storyline of Seasons 2 and 3, is hugely supplemented if you know that they’re also very close as streamers and in real life.

Another great example of intertextuality is basically Technoblade’s entire deal. If you just look at him completely within the text of the Dream SMP and try to transplant his entrance to any other medium: It would be extremely weird! Like, he’s just this guy that comes in in the middle of a very climatic arc, no build-up, no explanation what his deal is, and he’s treated like he has always been there. In any other medium that just wouldn’t work – at least not without a flashback or some sort of exposition!

But because of stuff like Minecraft Mondays, the Potato Wars, his Duel against Dream and SMPEarth, we understand that he is a Big Deal!

Anyways, to bring all of this back to Philza Minecraft: What kind of hypotext informs how the audience sees his character? Well, this is where I will have to talk about SBI.

SBI is an acronym that stand for State Bank of India, the 43rd largest bank in the world and…

It also stands for Sleepy Bois Incorporated. Sleepy Bois Incorporated is a loose assembly of content creators, consisting of Philza, Wilbur Soot, TommyInnit and Technoblade. It is most well-known for its very endearing family dynamic – a dynamic that is frequently acknowledged and played up by the creators involved. Tommy is the youngest brother, Wilbur and Techno are the two older brothers and Philza is of course the dad. And when I say, it’s played up, I really mean it! Wilbur seems to be especially enamoured with the idea and leaves no opportunity untaken to bring it up – which we will come back to.

And I’m not saying that they’re faking this and this is somehow an act. While I know none of these people personally, it appears to me, that this is genuinely how they interact – if a little exaggerated for the streaming experience. Even when they’re not consciously playing into the family dynamic, their interactions still very much lend themselves to that interpretation by the viewers.

Philza especially just radiates Dad-Friend energy – so much so that it has become a huge part of his brand identity – yay, I can bring that back (check out my Christmas video if you want to hear me ramble about that). The nickname Dadza stuck even before SBI was a thing.

So, even if we completely disregard SBI – which we shouldn’t for reasons I’ll get back to – Philza has cultivated an image of strong paternal guidance. He is, in my opinion completely deservedly, regarded very positively. He is highly respected and in turn seen as a voice of reason.

All of this would eventually inform the hypotext of the character Philza within Dream SMP.

Interlude: Before Dadza & November 16th

Okay, so now we have established that a) Dream SMP heavily hinges on intertextual readings by the audience to supplement character backstory and b) that Philza’s entire deal is that he’s the dad-friend – more specifically that he’s the dad of SBI (not the bank). I think you know where this is going.

So, yeah, ever since it was on the table that Philza could join the Dream SMP, it was immediately assumed that he would take on the paternal guardian role all these traumatized people on that server so desperately needed – and with good reason! Like I said before, the audience at this point was trained to take intertextual interpretations as basically canon or at the very least canon-adjacent.

I want to emphasize that this is most likely not done deliberately. I’m sure content creators Wilbur and Philza didn’t sit there and said: “Yes! We will rely entirely on the audience’s inclination to interpret our characters intertextually to define character Philza!”. Like, obviously that did not happen.

But it’s also important to remember that unlike with traditional media and the fanbases cultivated there, the separation between the Dream SMP and its audience is almost non-existent – and purposely so. The story events are streamed live, Chats are acknowledged in canon and even outside of livestreams creators are extremely involved with the fandom. So, the weight of fan-expectations is equally amplified and will more likely be incorporated into the writing process. Case in point:

[Wilbur “I miss Philza”/Philza about Wilbur]

During Wilbur’s villain arc, even before his official involvement, Philza became a prevalent point of discussion. The hope that he would be the one to snap Wilbur out of his downward spiral was not only wish-fulfilment on behalf of the fans; it also very much played off of the intertextual reading of the SBI-dynamic in relation to the Dream SMP.

Of course, this still doesn’t make Philza and Wilbur canonically blood-related – but it definitely used the “paternal”-dynamic of SBI to build-up tension and drama.

And that ultimately brings us to November 16th. The Grand Finale of Season 1 and Philza’s first canonical appearance on the SMP.

Now, for this I want to pull back from the transtextual analysis and talk about simply narrative analysis: What is Philza’s narrative purpose on November 16th?

Philza serves as the last threshold on Wilbur’s Villain’s Journey – to appropriate Vogler’s version of the monomyth for a minute here – he is what Vogler calls the “Threshold Guardian”. He is the last enemy the Hero faces before completing his quest – in this particular case Wilbur’s quest is to blow up L’Manberg. Multiple people have at this point tried to dissuade him from this course of action: Tommy, Quackity, Niki and others. So how come this Philza moment is not redundant in terms of dynamics compared to these prior scenes?

Well, it’s through our intertextual understanding of Wilbur’s and Phil’s relationship. Because Philza does not just occupy the role of the Threshold Guardian – he is also implicitly the Mentor. Before Phil there was no character in the storyline that held a higher position of moral authority than Wilbur – Dream and Schlatt, while at points more powerful in terms of actual authority, were never positioned by the narrative as Wilbur’s superiors in the same way as Wilbur was to Tommy, Tubbo or even Niki.

Before November 16th all challenges Wilbur faced were from people narratively subordinated to him. But that trend is broken with Phil. That is why he is the Threshold Guardian, why this confrontation is at the climax of Wilbur’s arc. Because Phil is the last thing tethering Wilbur to whatever morality he held before his villain arc; Phil is the last, moral obstacle Wilbur has to discard before gaining his reward.

And, just a quick sidenote, because I’ve seen it around the fandom a bunch: When I’m referring to Wilbur denouncing his morality, I’m using that in terms of narrative analysis. I’m mentioning it, because Wilbur’s character can very easily be read as mentally ill or neurodivergent and some people have – rightly! – pointed out that the excessive vilifying when talking about his character is … problematic, to say the least.

So, I just want to make clear, this isn’t a character analysis, I’m being purposely broad when talking about Wilbur and Phil.

In the end, Wilbur takes that final step and gets his “reward”: As his final request his mentor takes his life and vanquishes the evil – the dragon of Wilbur’s story slays the dragon of L’Manburg. It’s very Shakespearean in its tragedy – but beyond the larger theatrics it’s not really used to further characterize Phil – at least in the context of Season 1. There’s not a lot of focus on his characters internal conflict during November 16th.

Phil, like Techno, is very utilitarian in how content creator Wilbur writes him: He serves as a moment of hype; an obstacle Wilbur has to face; a participant in the tragic climax of Wilbur’s character and ultimately takes on his implicit and expected role of mentor and guiding figure to the rest of L’Manburg.

I think not a lot of people talk about how Philza does not join Technoblade during November 16th. He takes the side of L’Manburg – he fights against the withers and he joins Tommy, Tubbo and the others at the L’Mantree, thus framing him as loyal to the L’Manburg administration – even though Season 2 would make his loyalty to Techno central to his character. But more on that later.

What’s also important about November 16th is that this is the day when the general intertextual interpretation became canonized text.

[You’re my son!]

Wilbur is made Phil’s canonical, biological son. The intertextual interpretation of SBI as it pertains to these two characters on the SMP was completely reinforced by the narrative. Or to put it in Fandom terms: The headcanon became actual canon. At least when it came to Wilbur … but what about Philza’s “other” children?

Well, that leads to our second form of transtextual analysis:

Paratextuality: Is Dadza?

These titles are just getting better and better.

The Paratext is defined as all those things in a published work that accompany the text. It comes in two forms: One of them is the Peritext, which are non-diegetic elements directly surrounding the text – like chapter titles, author’s notes, and stuff like that. Translated to the medium of the Dream SMP, it would be stuff like this:

[Examples]

And, trust me, I could make a whole separate video about how people on the SMP use their peritext as a tool for storytelling – I’m looking at you, Ranboo – but that’s not what we will talk about in the context of Dadza.

Instead, we will focus on the second form of Paratext, the Epitext, which consists of all authorial and editorial discussions taking place outside of the text. That’s stuff like interviews, private letters or J. K. Rowling’s Twitter Account – you know, before she decided to become a full-time asshole.

[Wilbur: Transrights]

After Season 1 ended, Wilbur indulged pretty heavily in providing epitext for the Dream SMP, something he had not done prior to November 16th. His paratextual additions ranged from the playful, like assigning DnD alignments to various SMP members, to the extremely impactful, like the whole three lives system!

You probably think, you know where this is going. Wilbur provided some epitext about how Tommy and Techno either are or are not biologically related to him … and I have to be honest I thought that too. But then I began looking into the impenetrable web that is the SBI-canon on the Dream SMP and found this!

[Ghostbur explains family]

So, it wasn’t paratext, it was just straight text. Said in character, in canon, without any implication that we the viewers should question this. The text of the SBI family dynamic was explicitly linked to Dream SMP-exclusive lore, namely Fundy being Wilbur’s and Sally the Salmon’s son. This is as clear as Philza’s anguished declaration on November 16th in establishing the intertext as text. And because Wilbur also had a very heavy hand in the discussion of paratext around that time, it gave his character’s words even more “canonical” weight. Metatextually speaking, this very much read like the author giving exposition through his character – exposition that we should understand as reliable.

And, by the way, before I continue, I need to give a huge, huge shoutout to kateis-cakeis on tumblr, I hope I pronounced that right, who was just so quick in providing me with these crucial clips. Without him I would have looked for days because these people don’t archive their shit! And the Dream SMP Wiki was NO help, by the way! I love what you guys do, but stuff like this belongs in the Trivia section on characters’ pages!

Anyways, basically during the entirety of early Season 2 the SBI family dynamic was basically canon to the SMP. Sometimes it was only alluded implicitly, again letting the intertext fill out the rest.

[Philza clips]

But just as often it was just explicitly talked about – both in the text and in the paratext.

[Fundy clip/Wilbur “Twins” clip/Tommy clip]

So, I know what you’re thinking: “Why is this part called paratext, if the entire family tree is just textual”. Well, that last clip might give you a hint, as to what I will talk about. Notice how Tommy, one of the people most directly impacted by the canonization of SBI lore, is both unaware of and seems generally unenthused about it, to put it nicely? Well, that would soon turn out to be a much bigger deal than anyone could have imagined as he wasn’t the only one.

[Technoblade decanonizes SBI]

Yeah …

This happened on 20th of December. Regular viewers of this channel will remember that I put out a 90-second joke video, where I complain about this very development. And while I was mostly kidding around, the core idea is still true. The paratext provided by Technoblade and established text were in direct contradiction with one another – and that brought a lot of confusion into the fandom. Confusion, that would soon be followed by frustration.

Because Techno only decanonized himself as part of the SBI family dynamic – but what about Tommy and Tubbo, the latter of which was incorporated into the dynamic exclusively within the lore of the Dream SMP. Was this still canon or wasn’t it?

What followed was a muddled mess of contradictions, intertextual implications, text and paratext in conflict with each another. It was for the most part inscrutable to figure out how Tommy and Philza related to one another. I’ll spare you every comment made about this – mostly because I want to spare myself from looking for all of them.

In the end, the current status is that their familial relationship is … unclear. Philza said, again in paratext, that it’s ultimately up to the writers to decide, whether or not Tommy is his son … which, I personally think he and Tommy should be the ones to establish that, but I’ll come back to that later.

But why is all of this important anyway? Why would this ambiguity create such an uproar, such controversy – especially when it comes to Tommy’s character? What makes Tommy’s and Philza’s relationship such a target for discussion in the fandom?

Well … this is where we will have to talk about the storyline of Season 2.

Interlude II: Tommy’s Exile and Dadza in Season 2

Okay, Season 2. This is where the spoilers are, so I will just sneakily drop this again. It took me five seconds to google this gif and I will milk it for every penny it’s worth!

At the beginning of Season 2, Philza’s narrative role has not changed much from where Season 1 ended. He is in L’Manburg dispensing earthly wisdom, being a paternal figure to Fundy, Ghostbur and Tubbo, helping with the nation’s rebuilding efforts; just generally occupying the role of the mentor.

[clips]

And then came … the Exile. The Exile Arc took place between December 3rd and December 15th during Season 2 of the Dream SMP. It revolves around TommyInnit getting exiled from L’Manburg and slowly getting psychologically tortured and broken down by Dream. It’s a really great arc, at least in my opinion, that explores and deepens a lot of Tommy’s character relationships, whether that be Tommy and Dream, Tommy and Tubbo or Tommy and Ranboo. One relationship, however, is noticeably missing.

So, yeah, Philza spends basically the entirety of the exile doing pretty much nothing of consequence. And that’s not a problem specific to him – One big criticism I would levy against the Exile Arc is that a lot of characters are left spinning their wheels. Which is why we get zany stuff like El Rapids, Drywaters, Eret’s Knights of the Roundtable, Boomerville – anyone remember Boomerville, that was a thing for 5 seconds, wasn’t it? – basically a lot of storylines are started and then unceremoniously dropped. Now, I will talk more about this, when I make a video about Season 2 of the Dream SMP … in ten years, look forward to it.

In the case of Philza, this inaction was especially damning, because at this point it was still a considered canon that he was Tommy’s dad. So, the fans were left with a situation, where just a few weeks prior Philza was occupying a paternal role for Fundy and Ghostbur … but now, that his youngest son was in a very concerning predicament – to put it lightly – he was nowhere to be found.

So why is that?

Well, the most obvious answer is that Dream and Tommy didn’t write him into the storyline. We’ve seen that Tommy wasn’t particularly interested in exploring a familial relationship to Philza, at least at the time. And it would just not fit in with what Dream and Tommy tried to do with the Exile Arc: they wanted to tell the story of Tommy being isolated, completely under Dream’s mercy, slowly worn down and manipulated. If Philza had been constant presence for Tommy during that time, it would have definitely shifted the narrative focus. That doesn’t mean that they couldn’t have done that, it’s just a matter of fact that they didn’t.

This also reveals another truth about content creator Philza’s character work, that I think is extremely crucial: He takes what the writers give him. Outside of a few choice moments, he doesn’t seem particularly interested in expanding or even solidifying his character on the SMP.

What I’m saying is that he is very go-with-the-flow: Wilbur wants to enact a Shakespearean tragedy? Philza’s up for it. Fundy wants him as a parental figure and mentor? Philza’s here for him. Tommy, conversely, doesn’t want him as a paternal presence, even though it would make sense for Philza’s character, as it was established so far, to be there? Philza will oblige.

The reason I’m mentioning this is because, while Tommy and Dream were unwilling to utilise Philza in their storyline, someone else was more than happy to. Which leads us back, like it always does, to everyone’s favourite Porky Pig-kinnie in a crown: Technoblade.

Technoblade and Philza, from everything I’ve seen of them, seem to be very good friends – and they share a lot of history even outside SBI. So, it’s commendable that they would collaborate on a storyline together.

A consequence of that, however, is that Philza’s narrative purpose shifts completely with very little transition. His entire character changes from being the Mentor-figure of L’Manberg to being pretty much exclusively defined as Technoblade’s ally; his man on the inside. It is a very sharp turn from the end of Season 1. Their relationship is once again informed via intertext – this time the Antarctic Empire on SMPEarth serves as the hypotext – but there isn’t a huge effort made to smoothly integrate that aspect of Philza’s character into the larger narrative framing around him.

How much the narrative utilisation of Philza has shifted can be very easily observed through the Butcher Army event on December 16th, a story event that I like less and less the more I think about. Here Philza is used to show just how corrupt and violent Tubbo’s administration has becomes. He is no longer the respected mentor, he is now the stand-in for the oppressed populace, similar to Niki’s role in Season 1. On a narrative level, he is here to prove a point.

If you’ve seen my Technoblade video, you know how I feel about … just that entire storyline, so I will not reiterate too much on it. I just want to make clear that I’m not principally against this development – if they wanted to truly explore Tubbo going down a dark path and getting corrupted by power, so much so that he would even treat the person who effectively raised him like a prisoner, I would be extremely here for it, I cannot stress that enough.

The problem I have is that it’s just so sloppily done. It is not coherent with how these characters behaved and, more importantly, how they were narratively framed prior to the Butcher Army event. Fundy gets one token line about Phil being his Grandfather – a far cry from the very emotionally complex relationship they had established at the beginning of Season 2 – and Phil then callously disowns him.

The major problem simply is that we don’t see how Philza changes from Mentor-figure to embittered, oppressed citizen. And there was enough time to build to that. During the entirety of Tommy’s exile Tubbo was pretty much spinning his wheels and Quackity and Fundy were opening up plot cul-de-sacs that didn’t end up going anywhere. This is time they could have spent on developing their relationship to Philza and the dark path they were going down – but again, Season 2 video.

There is not much to say on Philza’s narrative purpose and framing beyond the Butcher Army event. He remains pretty much exclusively Techno’s consigliere with his role as Mentor to L’Manburg a distant memory. He has some cute character moments with Ranboo, because content creator Philza is just big dad-energy whether he wants to or not, and whenever he and Ghostbur share a scene suddenly the narrative remembers that there are people other than Technoblade that should exist in Philza’s inner world. But aside from that, Philza’s storyline in Season 2 remains … pretty definitive is the nicest way I can put it.

Most importantly his relationship with Tommy continues to be completely unexplored – whether by chance or choice – and that combined with ever vaguer paratext leaves “Dadza” in a very peculiar situation.

Conclusion: Is Dadza a Good Dadza?

So, the question to end all questions. The big, obnoxious text, that I will probably have put in the thumbnail – I haven’t made it yet, but I know myself. The honest answer is: I couldn’t tell you.

I have, in the past, been expounding the virtues of narrative analysis. That is because I feel that Narrative Analysis and Textual Analysis, like in this video, can provide certain tools that Character Analysis lacks. Often times I see people trying to get at a writing problem or query and getting frustrated because they’re not using the toolset, they need to figure out what they want to figure out.

But I’d be a hypocrite if I pretended like everything could be solved through the modes of analysis I prefer. And I think the Dadza-issue is exactly such a case.

I set out to explore why the Philza-Tommy-“Dadza”-relationship has become so controversial. It’s a combination of expectations build up through intertextual readings, that were partly canonized – something that is very common for the Dream SMP – conflicting pieces of paratext, which only serve to muddle the issue further and a text that is not only completely uninterested in actually exploring Tommy’s and Philza’s relationship – as it stands right now they might as well be strangers, narratively speaking – but also completely changes Philza’s narrative purpose as it relates to characters like Fundy or Tubbo about half-way through with little to no transition.

That is why I say, that Philza’s character is a victim of narrative circumstance. Because unwittingly, through all of these factors and decisions, there is not coherent reading of Philza that frames his parental skills in a particularly kind light.

The question of how we can judge Phil as a paternal figure ultimately falls within the purview of the character analysis – and that’s a very multifaceted issue, highly dependent on which POV you focus on and how you interpret the other characters in that POV’s periphery.

To put my cards on the table, I think that Philza is a very flawed father/father-figure – and I find that absolutely okay. Flaws are the spice of character building. He is not Cinderella’s Evil Stepmother – but he’s also definitely not Mufasa. If we were to read Philza as a paternal figure, then he would have made a lot of mistakes and decisions to the detriment of his “children” – least of all everything that happened on Doomsday.

But I also have sympathies for Philza fans who are tired of the Dad-Debate and would like to have his character judged independent from his relationship to Ghostbur, Fundy, Tubbo and Tommy.

Ultimately, to bring it all to a point, I’d like to end with saying, that I think that Philza, out of all the characters on the SMP, has the potential to be on of the most intriguing, multifaceted ones. There are all of these different patches of story, character moments and narrative and transtextual implications, that, if brought together, could create a beautiful tapestry of the character Philza.

You have his relationship with Techno, which holds the potential for so much emotional conflict and vulnerabilities, you have his time as mentor of L’Manburg, which is just criminally underused; the complex relationship between him and Ghostbur/Wilbur; and – for me, personally – most intriguingly this weird, almost uncomfortably distant non-relationship with Tommy. That last one is intriguing to me, because it contrasts just so much with our intertextual understanding of the characters and streaming personas – and it just holds the potential for so much conflict, so much drama, so much angst. Which I live for!

And, yes, I do believe that most of this is narrative happenstance, that this was largely not intended by Philza or really any of the writers. It’s just what happens when hybrid-roleplay-improv a long-running, livestreamed storyline in Minecraft.

But I want them to realize the potential they have on their hands, because it could – with barely any adjustments – turn Philza from a victim of narrative circumstance to a champion of it!

Outro

Thank you so much for watching this video. Usually, I don’t record outros this standard, but after this beast of a video I felt it necessary. I hope that whether you’re a Philza fan or a Philza critical or just completely uninvolved in the whole thing, there is at least a little entertainment you could get from this.

I want to take this opportunity to say that my next few videos will probably not be Dream SMP related – a sentence which undoubtedly lost me a bunch of subs – simply because I don’t want to burn out on it. I genuinely enjoy watching the SMP and being exhausted by it would be something I wouldn’t want to force on myself.

But who knows what will happen? The Karl Jacobs video was something I did spur of the moment because the idea just came to me – so I can’t guarantee that the next video won’t be a three-minute joke about Purpled or whatever.

Anyway, my concrete plans for future Dream SMP videos are essays on Season 1 and Season 2 as well as one for Tales from the SMP.

Before that I have a longer video in the works, which I’ve already teased a bunch, so I hope it will finally be finished sometime. And I also may be working on something … eboys-related? Maybe. I’m not making any promises!

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simul16 · 3 years ago

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The Curious Case of the Original Women of Ravenloft (or Loose Canons Can Be Dangerous)

For many years, we in the Dungeons & Dragons RPG studio have considered things like D&D novels, D&D video games, D&D comic books, as wonderful expressions of D&D storytelling and D&D lore, but they are not canonical for the D&D roleplaying game. -Jeremy Crawford Those among us who are fortunate enough to become shepherds or stewards of the D&D game must train ourselves to become art and lore experts so that we know when we’re being faithful to the game’s past and when we’re moving in a new direction. We decide, based on our understanding of the game’s history and audience, what artwork or lore to pull forward, what artwork or lore needs to change, and what artwork or lore should be buried so deep that it never again sees the light of day. -Chris Perkins There is a very simple statement to be made about all these stories: they do not really come off intellectually as problems, and they do not come off artistically as fiction. They are too contrived, and too little aware of what goes on in the world. - Raymond Chandler, "The Simple Art of Murder"

There's been a bit of a stir in the D&D community over some comments that Jeremy Crawford made at a press briefing prior to the D&D Live event about how only the information published in a WotC Fifth Edition D&D product is 'canonical' for D&D. There was enough of a reaction that Chris Perkins, self-described as "one of the D&D Studio's principal game architects", published an article on the WotC site (linked under Perkins's name above) explaining this statement and explicitly calling out what it means when discussing an intellectual property with a long-standing and vast catalog of lore, where that lore is one of the primary positive features of that property.

On the surface, it seems pretty straight-forward. Crawford's comments focused on not overwhelming partners with lore requirements when producing peripheral products like novels and video games so that they can focus on producing their product rather than meeting arbitrary lore requirements (not that this seems to have helped the most recent video game product release). Perkins mentions this, too, explicitly evoking R.A. Salvatore's novels and how Salvatore (perhaps infamously) used to incorporate elements into his stories that were outright illegal according to the D&D game rules (such as Drizzt's dual-wielding of scimitars, only made legal in 5e, or his creation of Pikel Bouldershoulder, a 'mentally challenged' dwarf who believed himself to be a druid and even eventually displayed druid-like abilities, even though dwarves in the D&D of the era of the Cleric Quintet series, where Pikel appeared, were not allowed to be druids). Perkins's comments also refocused the discussion on players, DMs, and their games, making the point that every campaign develops its own canon, and that the version of the Forgotten Realms run at a given D&D table does not perfectly match either the version of the same world run at a different table, or even as presented in the official published campaign sourcebooks.

This position is easily defensible; I even presented it myself in a response on Twitter to Perkins's own comment on an event in the Acquisitions Incorporated campaign he runs and records for online consumption. A restaurant that exists in the Forgotten Realms of Acquisitions Incorporated might have been shut down for health reasons after a shambling mound attack in a different campaign, or a previous party of PCs might have made a disastrous error during the war with reborn Netheril that led to the fall of Cormyr, with the coastal area of the former kingdom being absorbed by their rivals in Sembia while the interior lands were allowed to be overrun with monsters migrating out of the Stonelands (which makes for a nearly ideal 'starter zone' for a new 5E Realms campaign, IMO).

But just because there are benefits to such an approach to canon doesn't mean that it's the best way to approach canon, particularly with respect to a property which has had a long lifespan and is expected to have an even longer one. There are plenty of ways to criticize such an approach, many of which have been brought up by other commenters:

In any long-lasting intellectual property, there is a core of fans that are devoted to the lore and canon of that property -- see Harry Potter, Star Wars, etc. 'Loosening up' the lore not only convinces your existing super-fans not to continue to support and evangelize your property, but also prevents the creation of a new generation of such fans to continue your property's life into a new generation of fans.

Since much of what is on offer in a published sourcebook is the current 'canon' (despite Perkins's statement that "we don't produce sourcebooks that spool out a ton of backstory", the reality is that much of the content of sourcebooks like the Sword Coast Adventurer's Guide and Van Richten's Guide to Ravenloft is setting material: i.e.: "backstory"), if you're not going to stand up for the lore of prior editions, and by implication make it clear that future editions aren't going to be beholden to the lore of even this edition, then why get heavily invested in the lore at all? (This ties into the above point, as the fewer people who get invested in the lore of a property, the fewer evangelists for that property you will produce.)

If you have any Organized Play for your game (which D&D does, as does so-called 'living card games' which are based on an advancing storyline), loosened canon makes it easier for those authors to produce content, but simultaneously makes it harder to incorporate the content that players enjoy into the overall game. In addition, the later stories can't take into account all of the potential outcomes that a given group might have taken through a given adventure, so in effect, this turns all adventures into "railroad plots" with respect to the larger campaign narrative, where the best outcome is assumed for each adventure and thus the PCs don't really have the ability to influence the overall metaplot. (This gets complicated, because it necessarily involves different campaign outcomes contesting with one another to become the 'canonical' outcome, which is itself pretty challenging. Regardless, one of the attractions of a 'living campaign' is that the campaign in theory adapts to respond to the actions of the players; a 'living campaign' that doesn't do this is no different than a traditional scripted campaign.)

Perkins's final point in his essay, though, seems just as important to the current 'administration' as any of the other explanations, and that's the quote referenced at the top. In effect, what Perkins is saying is that the 5E team wants to be able to take what they consider 'good lore' and keep in in the game, while revising or outright eliminating 'bad lore'. Again, this seems like a defensible position, but it also has a flip side: it assumes that your changes to the lore are not just lazy or arbitrary, but are made consciously and for specific reasons. This could work well if you actually follow through on your intention, but given the realities of publishing on a schedule, it's inevitable that some amount of lazy or arbitrary decision-making will occur, and in those decisions, you can inadvertently (or allow someone without your knowledge to deliberately) make decisions that harm the canon. The statement seems reasonable, but as we'll discover below, it's actually fundamentally dishonest.

With that in mind, let's explore...

The Curious Case of the Original Women of Ravenloft

The original Ravenloft setting as released in the early 1990s, like the game studio that released it, contained a lot of old white guys, and it didn't necessarily get any more diverse with time. The early 3E Ravenloft product "Secrets of the Dread Realms" by Swords & Sorcery Studios lists eighteen Domains of Dread, half of which were unambiguously run by old white dudes. Depending on how you want to define 'old' and 'white', you could even add a few more domains to the list (such as Verbrek, ruled by the son of the former old white dude darklord, and Markovia, depending on whether you consider Markov to still be human enough to qualify as an old white dude). Only five domains were ruled by female darklords, and one of those (Borca) isn't even wholly ruled by the female darklord. Comparing the darklords of Secrets of the Dread Realms to that of Van Richten's Guide to Ravenloft points out just how much of a priority it was for the 5E team to increase the diversity of darklords in the setting.

Curiously, though, the female characters retained from classic Ravenloft don't appear to have been changed in a manner that fits Perkins's explanation of what they consider when deciding what to bring forward from older lore, as in nearly every case, the character became less interesting and possesses less agency in her current 5E presentation than she did in her original pre-5E incarnation.

Jacqueline Montarri

Let's begin our survey with a character who technically doesn't yet exist in 5E lore, and thus by Crawford's definition doesn't exist in lore at all. It might seem odd to begin my presentation of 'female characters deprived of agency by their 5E presentations' by starting with a character who wasn't presented, but on the other hand, being removed from canon and thus from existence could be argued as the most severe loss of agency possible for a character.

Jacqueline doesn't exist in 5E because the organization she founded, the Red Vardo Traders, doesn't exist in 5E. In older editions, the Red Vardo Traders was both a legitimate trade company as well as a criminal organization engaging in smuggling, assassination, and other crimes, and are based in the Barovian town of Krezk. The version of Krezk presented in Curse of Strahd, however, makes no mention of the Red Vardo Traders, choosing instead to present Krezk as a small village dominated by the Monastery of Saint Markovia*, a location that does not exist in pre-5E Ravenloft. The Red Vardo Traders were founded by Jacqueline for a specific purpose, and thus both their legitimate business operations and their criminal pursuits are but shells for their true purpose: to find Jacqueline Montarri's head.

* - Saint Markovia himself was initially presented in the late 3E reboot adventure "Expedition to Castle Ravenloft", as one of the inhabitants of Castle Ravenloft's crypts; Markovia was changed from a man into a woman as part of Curse of Strahd, and the Sanctuary of First Light, the largest church of the Morninglord in Ravenloft pre-5E and placed in Krezk by its developers, was re-written in Curse of Strahd as the Monastery of Saint Markovia.

Montarri sought the secret of eternal youth, and in doing so, consulted with the Vistani seer Madame Eva to find it. Eva originally resisted, but finally revealed that the secret rested within the library of Castle Ravenloft, and Jacqueline, out of a desire to be the only possessor of such a secret, out of a need to do evil, or perhaps both, murdered Eva before departing for Strahd's castle. Unfortunately, Jacqueline's infiltration of Castle Ravenloft attracted Strahd's attention, and she was captured, turned over to the villagers in Barovia, and beheaded for her crime against Strahd. However, some of Eva's fellow Vistani asked to take custody of the body, explaining that the woman had murdered their leader, and Jacqueline eventually awoke -- wearing Madame Eva's head. She since learned that she could 'wear' the decapitated heads of others, and cannot survive long without one. Jacqueline's body has not aged, but her head ages a year for each day she wears it, requiring her to continually murder (and possibly assume the identities of those she murders) to survive while she searches for her original head, the only thing that can break the curse that Eva's kin placed upon her.

That's a pretty amazing backstory, and one I'd think would be very worth including in a new Ravenloft setting, save for one problem: Madame Eva's death. Now this isn't actually a big problem in the context of classic Ravenloft: both Eva herself and her tribe of Vistani were known to have a 'curious' relationship to time (former Ravenloft writer John W. Mangrum explicitly called Madame Eva a "time traveler" when it was pointed out that Eva's continued existence in Ravenloft canon suggested that she had not actually been killed), but it did cause confusion among those with a more static approach to continuity. Since Eva unambiguously exists in 5E Ravenloft, being referenced in both Curse of Strahd and Van Richten's Guide to Ravenloft, it appears that the decision to jettison Jacqueline and her Red Vardo Traders comes mainly from a desire to untangle that confusing bit about Eva actually being dead but still walking around.

Granted, the need for an organization like the Red Vardo Traders is perhaps less significant in a Ravenloft where the Core doesn't exist and every domain is its own Island of Terror, but given that Van Richten's Guide to Ravenloft still lists a number of organizations known to be capable of travel between domains, including two that they just invented out of whole cloth, it would seem as though making use of a pre-existing organization might have worked just as well. The other complicating factor is that Montarri is not herself a darklord; with the focus of the 5E Ravenloft experience on darklords as linchpins of the setting, having a compelling NPC who isn't a darklord (but who honestly could be made into one fairly easily, as her curse lends itself to a darklord's punishment and her formation of the Red Vardo Traders into her way of dealing with the limitations of being a darklord) would seem to detract from what the 5E designers were trying to do with the setting.

But this isn't the only or even the worst example of a female character deprived of her agency in the new regime...

Gabrielle Aderre

Unlike Jacqueline, whose elimination from Ravenloft seems like an editorial red pen taken to an otherwise merely irritating issue, anyone familiar with Gabrielle Aderre's backstory realized that her background would have to change significantly given the changes to the Vistani in Van Richten's Guide to Ravenloft.

In pre-5E Ravenloft, the Vistani were an exotic human culture of outsiders, driven by their heritage and abilities to make their own way within the Domains of Dread, and having developed mysterious abilities and customs to protect themselves from its dangers. Non-Vistani were viewed with suspicion, to the point where the Vistani had a specific word ("giorgio") for non-Vistani, and those who chose to breed with non-Vistani and their offspring were frequently outcast from Vistani culture. Female Vistani were often gifted with 'The Sight', a precognitive or divination ability, but the Vistani took great pains to ensure that no male children were born with The Sight, lest that child grow up to be a prophesied doom-bringer known as a Dukkar. (One such seer was Hyskosa, whose legendary prophesies eventually led to the Great Conjunction which nearly tore the realms apart.) Because of their separation from mundane society, more traditional settlements tended to fear the Vistani, especially their rumored skill with fashioning deadly curses when wronged, and though Vistani would often trade with such settlements, they were never truly welcome in them; ultimately, the Vistani would follow their wanderlust and move on, leaving even more strange tales and confusing lore in their wake.

Van Richten's Guide to Ravenloft changed all that. Now, the Vistani are simply a sprawling human culture who "refuses to be captives of a single domain, the Mists, or any terror." Their abilities are no longer unique -- there are a number of Vistani who "possess the Mist Walker Dark Gift" that can be taken by any character -- though they are said to "understand how to employ Mist Talismans" with their "traditional magic". Instead of being seen by others as mysterious outsiders, now "the news and goods Vistani bring ensures a genuine welcome" from more traditional settlements, and only "more dismal communities view Vistani with suspicion"; likewise the Vistani themselves no longer refer to non-Vistani as "giorgio", nor do they seem to have any issues with those of mixed Vistani blood traveling or dwelling among them. Most significantly, the legends of the Dukkar no longer exist, with both male and female Vistani serving as spellcasters "with many favoring divination magic for the practical help if provides in avoiding danger." In fact, Hyskosa is no longer a lost seer prophesying the doom of the Dread Realms, but "a renowned poet and storyteller" who is alive and leads his own caravan of Vistani through the Mists.

Given all of this, Gabrielle's pre-5E backstory would need to change quite drastically. Gabrielle's mother was half-Vistani, and possessed enough of The Sight to prophesy that Gabrielle could never seek to have a family or tragedy would be the inevitable result. Learning to hate the Vistani based on her mother's incessant refusal to acknowledge her desires for a family, Gabrielle eventually abandoned her mother during a werewolf attack, fleeing into Invidia where she was captured and brought before the darklord, who sought to enslave her to command her exotic sensuality. Instead, Gabrielle made use of the traditional Vistani "evil eye" to paralyze the darklord, murdering him and assuming his lordship over Invidia. Not long after, Gabrielle was visited by a 'mysterious gentleman caller', after which she discovered she was pregnant, eventually giving birth to a boy who proved to possess The Sight. Delighted that she had managed to give birth to a Dukkar, she failed to realize how quickly the boy grew or how powerful he proved to be until her son, Malocchio, usurped her throne (but not the dark lordship of Invidia) and cast her out of his court. Though there are definitely some problematic things in this story, it's not so terrible that it couldn't still serve as the foundation of a tragic Darklord's origin.

In Van Richten's Guide to Ravenloft, Invidia is detailed among the short descriptions of "Other Domains of Dread", and her pre-5E backstory has been utterly thrown out. There's no indication of how Gabrielle became darklord of Invidia, who the father of her child is, or anything from pre-5E lore. Instead, Gabrielle has become one of the parents from the story of Charlie and the Chocolate Factory -- a rich, bad mom convinced of her child's greatness and willing to accept anyone who supports that story while turning a blind eye to her child's misbehavior and cruelty toward his servants and teachers.

Pre-5E Gabrielle wasn't ideal, but at least she had a drive: she wanted a family, and refused to accept that her desire could not overcome the inevitable grinding wheel of fate. 5E Gabrielle arguably isn't even evil, just supernaturally deluded (ironically, her main flaw is her blind acceptance of the rightness of her own privilege), so it's not even clear why she rather than Malocchio is the darklord of Invidia. Rather than wanting a thing she can never have, 'modern' Gabrielle assumes she has a thing that doesn't exist, and is less a tragic figure desperately trying to assert her own agency than a deluded puppet, acting out a part in a drama that makes no sense. Granted, as we noted above, some degree of Gabrielle's old backstory would need to change to accommodate the other changes to Ravenloft lore as part of the 5E transition, but the decision to simply throw out the old Gabrielle and turn her into a character who isn't even aware of her own lack of agency in her situation is, in its own way, even more tragic than Gabrielle's original pre-5E story.

Isolde

Isolde is a fascinating character, because she was created after the Carnival, the group she leads in Ravenloft lore. In pre-5E Ravenloft, the Carnival was the Carnival l'Morai, run by a sinister being known as the Puppetmaster. The events that led to the Carnival breaking free of the Puppetmaster's influence are detailed in the 1993 Ravenloft novel "Carnival of Fear". Then, in the 1999 supplement "Carnival", John W. Mangrum and Steve Miller take the Carnival l'Morai and introduce them to Isolde, a mysterious woman who joins the Carnival and assumes the role of its leader and protector. Much of the internal story within the supplement itself involves the theories that many of the other characters have about who Isolde is and where she comes from, and how various aspects of the Carnival, such as the Twisting (a change that comes over those who remain with the Carnival for any signficant amount of time and seem to bring hidden or secret traits to the surface as exotic abilities or mutations), relate to her. In the end, though (spoiler alert!), Mangrum and Miller reveal Isolde's true backstory -- she is a chaotic good ghaele eladrin who voluntarily chose to enter Ravenloft in pursuit of a fiend named the Gentleman Caller (thus the Carnival supplement is also the origin of the Caller, one of the signature non-darklord villains of the setting). The Twisting is revealed to be a side-effect of Isolde's 'reality wrinkle'; as an outsider, Isolde can re-make reality in a short distance around her, and one of the ways she does this is by bringing someone's inner self out and making it visible to others. Honestly, if you wanted a domain or group whose underlying reason-to-exist seems tailor-made for a modern RPG audience, it would be one where having your inner self revealed to the world, one that you've been taught is freakish and strange, proves to be beautiful to those who accept you.

But that's not what we got in Van Richten's Guide to Ravenloft, perhaps because of the book's insistence on page 6 that "Nowhere Is Safe". Instead of the 3E ghaele eladrin, Isolde is now just an eladrin, a 4E planar elf variant. Instead of entering Ravenloft and finding the Carnival l'Morai in need of a leader and protector, she was manipulated first by a powerful archfey into leading a fey carnival, then inexplicably decided to swap carnivals with a different carnival run by a group of shadar-kai through the Shadowfell, even going so far as to accept the intelligent (and evil) sword Nepenthe, who is the actual darklord of the Carnival.

Again, as with Gabrielle, some simplification of Isolde's backstory was probably inevitable, as the original backstory made use of very specific Ravenloft mechanics that the 5E version simply doesn't want to deal with (mainly Isolde's 'reality wrinkle' which drives the Twisting). But not only did the designers take a character who had explicitly chosen both to enter Ravenloft in pursuit of the Gentleman Caller and to take leadership of the Carnival to serve as its protector and changed her into a character who is manipulated into doing everything she does that gets her into Ravenloft (and leaves her no memory of how or why she got there), the designers didn't even decide to keep Isolde as the most significant character in Carnival, allowing the sword Isolde carries to take that starring role.

Oddly, a lot of the changes to Isolde's story are reminiscent of the classic Ravenloft story of Elena Faith-Hold and how she became the darklord of Nidala in the Shadowlands, which suggested to me that perhaps at one time the Shadowlands were not going to be included in Van Richten's Guide to Ravenloft, and the changes to Isolde's story were meant to be a call-out to what would be the missing story of Elena. But the Shadowlands also exist as an "Other Domain of Dread", so in the end, the changes to Isolde served no real positive purpose.

Interlude

It's worth taking a moment to contrast the characters above with the domains in Van Richten's Guide to Ravenloft that gained female darklords who didn't have female darklords previously:

Dementlieu, formerly ruled by Dominic D'Honaire, is now ruled by Saidra D'Honaire; it is hinted but not stated explicitly in Saidra's backstory that she is not actually related to the former darklord, but simply assumed the family name as part of her assumption of the rulership of Dementlieu, in which the Grand Masquerade must be maintained above all else.

Falkovnia, formerly ruled by Vlad Drakov, is now ruled by Vladeska Drakov; Vladeska's backstory makes it plain that she is a female re-skin of the original Vlad Drakov, himself a character from the Dragonlance world of Krynn. Other than her origin, which is now no longer tied to Dragonlance, her backstory is largely the same as her predecessor's, save that instead of the dead rising to battle Drakov's attempted invasions of their northern neighbor, Darkon, now the dead rise to reclaim Falkovnia itself from Vladeska's attempt to 'pacify' it.

Lamordia, formerly ruled by Adam, the creation of the mad doctor Victor Mordenheim, is now ruled by the mad doctor Viktra Mordenheim; Victor's hubris in his attempt to create life are matched by Viktra's attempts to defeat death.

Valachan, formerly ruled by Baron Urik von Kharkov, is now ruled by Chakuna; in one of the few backstories in Van Richten's Guide to Ravenloft that acknowledges a former darklord, Chakuna's backstory is that she had to become a monster (a were-panther, specifically) to defeat a monster (a panther who was polymorphed into a man as part of a revenge plot, fled from the Forgotten Realms into Ravenloft upon realizing what he was, where he was transformed into a vampire...look, not every convoluted backstory for the old Ravenloft darklords was necessarily a good convoluted backstory).

I'd argue that each of the darklords above retains her agency in Van Richten's Guide to Ravenloft, but it's curious to note that each of those darklords seems to have inherited that sense of agency from her relationship to the male darklord that preceded her, sometimes literally (in the cases of Saidra and Chakuna) and sometimes figuratively (in the cases where Vladeska and Viktra are mainly female re-skinnings of the original male darklords). The designers clearly have the capacity to allow a female darklord to exercise agency and have drive and purpose to her existence, if that drive and purpose was inherited from or inspired by an original male character. If the character was a woman all along, though, then agency and drive and purpose are not really important to the designers, if they can fit that character into the specially designed hole the size of the concept they had for the new domain. Which brings us to the character who I feel was done dirtiest by the designers in moving from classic Ravenloft to 5E...

Jacqueline Renier

Jacqueline Renier is one of the original Ravenloft darklords, tracing her origins all the way back to the original "Black Box" campaign setting released by TSR in 1990. She appears in two different places in that boxed set -- once as the chaotic evil darklord of Richemulot in the Realm of Terror booklet, and in a portrait of the Renier family included as a handout in the box. The Renier family was actually an ancient wererat clan in the world they originally came from, and Jacqueline herself was the granddaughter of the patriarch of the clan, Claude Renier. When the Reniers fled into Ravenloft to escape the justice of their original world, they first appeared in Falkovnia, where they ruled the sewers until finally forced out by Vlad Drakov's troops. Fleeing into the Mists, the Reniers found themselves in the new domain of Richemulot, and Claude found himself the domain's darklord.

Jacqueline proved an eager student in the manipulative ways of her elders, however; both her grandfather, who maintained control over the clan through a combination of coercion and sheer force of personality, and her mother, who murdered Jacqueline's father seemingly only so that Jacqueline and her twin sister would not need to lose the Renier name. Jacqueline learned the game so well that one day she manipulated her own grandfather into his destruction at her hands, so cleanly that no one else in the family dared to oppose her ascension. Jacqueline was now the matriarch of the Reniers, and the ruler of Richemulot.

But 3E Ravenloft added a few additional wrinkles to Jacqueline's backstory. In the Ravenloft Gazetteers, it was revealed that Jacqueline's ambition to assume control of her clan and the domain of Richemulot were not just driven by a desire for power, but in the name of a vision of the future where wererats would reigns supreme over all other humanoids. She began encouraging migration into the largely undeveloped and underpopulated lands of Richemulot, while overseeing work in putrid laboratories to develop the Becoming Plague -- a disease that would transform humanoids en-masse into wererats under Jacqueline's ultimate command. In every speech Jacqueline would give about the glorious future of Richemulot, it was not the future of humanity she was referring to, but rather the coming age of the rat.

Jacqueline's backstory wasn't perfect -- as with other female darklords, she also got saddled with the 'she desperately wants to be loved and is terrified of being alone' trope -- but for the most part, this is a truly impressive backstory. And in our age, a domain featuring an ambitious politician pushing nationalism to motivate her partisans, only for that nationalism to not be what her partisans believe it is would seem to be an extremely fitting template for horror. It would certainly seem possible to re-write the few problematic aspects of her character with more modern tropes; make Jacqueline an 'ace' (asexual) but who still craves romance based on her upbringing and is both attracted to and terrified by anyone who might potentially prove to be her equal, and you've got what I'd consider to be one of the best darklords in the setting.

As you might expect, given Jacqueline's placement on this list, that's not nearly what we got in Van Richten's Guide to Ravenloft.

Instead, Jacqueline was born as a noblewoman within Richemulot, and was quick to notice that the rise of the bourgeoise would threaten the power of the nobility and lead to their diminution in society. Jacqueline's grandfather was not the charismatic, sadistic mastermind of a clan of wererats, but an aging nobleman growing infirm in his old age, and he proved unable and/or unwilling to work to change things, so Jacqueline would need to be the person to reverse her family's fortunes and the decline of the nobility in society. Not by doing anything herself, mind, but rather by trying to find an organization of nobles working to maintain the supremacy of the nobility. Finding them, she learned too late that they were secretly a society of wererats when she was forcibly made into one of them, but she quickly adapted, rising to command both the rat and wererat populations before finally unleashing a plague -- the Gnawing Plague -- upon the populace. Rather than converting the population into wererats, the Gnawing Plague just killed them, and when the people begged Jacqueline and the nobles for aid, Jacqueline made helpful noises but did nothing useful (it's not recorded if she uttered the words "Let them eat cake," as she watched the peasants die). Her 'torment' as a darklord is that she wants to return to the privileged life she had as a noblewoman, but can't, as the need to supervise the creation of new, more virulent plagues and unleash them to keep the peasantry from revolting and overthrowing the nobility prevents her from building the kind of society that would actually support a thriving nobility.

Instead of a domain where we have seen the future and humanity has no place in it, we have a one-percenter using every ounce of her privilege to stay above the ranks of the peasants she despises. Instead of an intelligent, ambitious planner capable of executing long-range goals flawlessly, we have a vapid, shallow socialite yearning to return to her days as a debutante. As villains go, Jacqueline has fallen a long, long way from her portrayal in pre-5E Ravenloft.

Probably the most offensive part of the redesign of Richemulot as 'the plague domain' is that we've spent over nineteen months living through a plague of our own, and the kind of horror that is presented as Richemulot's primary adventure cycle, the Cycle of the Plague, bears almost no resemblance to the reality we've lived through. Van Richten's Guide to Ravenloft presents a world where common people are to be feared, and authorities abuse their power to heartlessly quarantine the sick to stop the disease from overtaking everyone, yet say nothing about the horror of those who refuse to accept that the plague exists, or who profiteer from bizarre 'cures' and treatments. The designers present Richemulot as an example of 'disaster horror', where "the world has fallen into ruin -- or it's getting there fast," when the domain could be an example of the most classic of all horror tropes: humans are the most horrible of monsters.

Thus, the final quote leading this essay. It's not my place to argue that the folks who wrote Van Richten's Guide to Ravenloft are good or bad writers, and as Raymond Chandler noted, it's not really necessary. After all, "[t]he poor writer is dishonest without knowing it, and the fairly good one can be dishonest because he doesn't know what to be honest about." And ultimately this entire drive, to try to distance the product from the mistakes of the past by also distancing it from its successes, all while presuming that one can correct the deficiencies of the past without committing mistakes that, in hindsight, will seem just as obvious to our successors: that undertaking is fundamentally dishonest. The people writing, editing, and publishing Dungeons & Dragons today grew up on the old tropes that are now being rejected as no longer being relevant, as unnecessary complexity, as potentially harmful, without realizing that the harmful bits aren't just what was written down, but what was learned, such as a woman's motivation and agency meaning little unless they correspond with those of a man.

Yes, there's a lot of stuff published before 2014 that seems bad to us today that, for whatever reason, didn't seem bad to us back when it was published, read, and became part of our fictional worlds. But there's also no reason to assume that process ended in 2014. Update the lore where it's needed, but realize that the process never ends, even with the lore you're writing today to replace it.

#dnd

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justletmeplayminecraft · 4 years ago

Note

What are your theories on HCBBS?? 👀

I'll preface this by saying: I suck at theories! I'm terrible! I love following other people's investigations, but I honestly Suck at actually figuring them out. So, I don't have anything solid, just a lot of observations and ideas which are under the cut. It's basically my thoughts so far. Which, if you know me, is a lot.

I cover why I think it's not an end of season counter, the symbols, who I think might be behind it, touch on the 'change over' element, and some theories what it might all be. Enjoy this mini essay!

Firstly, I'm personally dismissing the 'counting down to end of season' theory. A lot of hermits have new ideas or continued projects, and it's been said recently there's no date set (I think X's livestream was the last place I heard that?) I believe the new season will start around the Caves & Cliffs update, simply because working out the world gen? That would be yikes. With the Village & Pillage update they expanded the world border, but that mostly affected isolated structure generation. With the Nether Update, they agreed the Nether would be reset. Cave generation? Yeah, I can't see an easy way to do that besides a new world.

The lanterns are also counting down fairly quickly (maybe one a day?), so whatever it is, it's happening within the next few weeks. End of season is a possibility, but I don't think so.

As for what I think it stands for... I'm really not sure. I think it's interesting that the first two work with 'HermitCraft'. I wonder if we were supposed to guess that. Obvious on purpose. I don't think the symbols represent anything, though, I think it's Zalgo generation.

However, I'm not sure if the number of symbols is on purpose or not.

As demonstrated in this image, the person knows how to use symbols for effect, too. So whether the number of symbols represents the number of letters? I'm undecided on that. The maximum characters for naming is 35, and the HCBBS is at 26.

My second point: I think it's Mumbo behind it. He tends not to get involved in plotlines unless he's dragged into them, so for him to start a plotline is very unusual. It's worth remembering that the hermits schedule their 'plot' videos behind the scenes. For Keralis returning in S6, for example, it was first revealed in Cub's video from the surveillance drones! Plotlines are discussed and planned, to an extent. So I think the fact Mumbo revealed it is a little Too coincidental.

Other evidence, it fits Mumbo's build style. People have pointed out a lot of similarities to the button, and it seems like redstone Mumbo is familiar with. Also, I've not seen many people talk about this but- Mumbo's a filmmaker! He made a whole trailer about his new computer coming from space or something! The guy knows how to script and direct, just because he's rarely involved in plots doesn't mean he doesn't know how to write them. The Saturator last season, and the Halloween costume machine this one were small opportunities for content & story, perhaps this is something bigger.

He also established a hashtag for it in his description, and tweeted about it. Combined with the outro to his video breaking his usual conventions, it shows he's got the most engagement of any hermit so far with this storyline. Even if it's not his, he's the one who's pushing it.

I think there's also an argument for Cub, though. In the video where he signed up, his intro was 'Hello people of earth'. He also said Hermits had been talking about it, but from my discovery timeline it seems like it went Mumbo - Joe(? Might be after Cub) - Cub - Keralis. Potentially people in-between if you count the number of paper, but I'm too lazy. So how many hermits would've been talking when he signed up? Cub loves these kinda plots, so it wouldn't be too unreasonable, and the redstone is definitely on his level. It's also verging on his shop plot, so I think whoever made it would've asked him for permission, at least.

Moving on to this

The fact it's 'the' changeover implies a one-time event of some kind. Good for drama. It's pretty obvious whatever it is will occur once the countdown ends. I think the question is: will it start, or will it happen? The start of something longer, or a one time event. Also, if the involved hermits will be there when it does, 'cause that's hard to schedule. We're already covering multiple timezones.

And then:

This is just quick from Google, but I'm assuming we must be going for the first definition? Thing is, I'm not sure what could change on HC. A rule maybe, similar to Demise? I'm not sure if this would be Demise 2.0 but it's possible. Demise was well received and a good push to the end of season. And it would be changing to a new system/situation, one where death matters. Other theories I had were the government system, or perhaps replacing the grass again - but those wouldn't need to invite people. Plus I doubt X is giving up his gardener job so soon. So I think it's some kind of minigame set up.

Things I think it might be?

Let's get the disappointing out of the way: Pacific advertising. I mean, look how hard Mumbo was prepared to go for Mumbo for Mayor. He would. I'm hoping it isn't. I also don't know if they have an opening date for Pacific in mind, since Iskall has been busy with Vault Hunters. He's making episodes again now, though. I can't discount it, and will be disappointed if that's the case.

I think it's likely a minigame of some kind, where a fundamental rule of the world changes. But besides death, I don't know what that could be. Another tag kinda game? Curse of binding heads? Who knows.

From the letters, I think a Build Battle could be pretty fun! They've shown having the hermits working on minigames in a small space works great for content, so maybe an extension of that. But it's not exactly a change over.

My far out dream, an old hermit returning. Jessassin is playing with them for an event on Friday! However, I think it's pretty easy to dismiss that on the earlier mentioned 'Why invite people then?'

In conclusion, I'm leaning towards sign ups for a minigame. It makes sense why they'd want names, and if it's a Demise esq event, some build up for it would be interesting! I'm leaning towards Mumbo or Cub as the creator/writer, but Mumbo is definitely driving the plotline. Right now, I'm just excited to see who signs up.

#hermitcraft #hc #hcbbs #hermitcraft spoilers #im mostly collecting info rn and observing #same as i did for demise!#i suck at figuring stuff like this out jkjgf

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kari-a-la-tari · 4 years ago

Text

The (Unneccessary) Lore of the WG Spanish Dubs

Aka me being like this meme for an entire post

OKAY so a couple of weeks ago I had just learned that there existed a Spanish version of Wordgirl called “La Chica Supersabia” which is honestly super cool cause who doesn’t wanna hear their show in a different language?

But alas, this ended up taking me into a much deeper rabbit hole than I was expecting and it’s honestly pretty interesting so I thought I’d share it with y’all!

DISCLAIMER: I am not an expert by any means nor do I intend to come off as one, this is simply an elaborate essay of what I’ve found through my informal research. I will also be translating anything in Spanish to the best of my extent, so I apologize if I mess up a bit with the wording since it’s not my native language.

So then *places a baseball cap with glued lightbulb on my head* let’s get started shall we?

Okay so first things first, there are a couple of select episodes of La Chica Supersabia (I’ll use LCS from here on) available on the internet. The most reliable source that I’ve found is on an old Facebook account here where a fan would upload LCS episodes based on when they aired. However, the only episodes available are a select few from season one.

Now this got my mind thinking “Hey, what if there’s more episodes?” So naturally, I started scoundering on Google (like the rat I am) to see if there was indeed more. And according to this one site there are only two seasons of LCS that were dubbed.

Translation: In Latin America, the first season premiered on Discovery Kids August 3, 2009, while the second season premiered on the same channel January 11, 2010, being the only two seasons issued. (Source)

However, later on I discovered that there was some mislead in that info because someone else found a Spanish episode that was from season 3, which doesn’t make sense because why would there be another season available when it clearly says that they technically shouldn’t exist? (Btw I tried finding it myself cause I did see that episode before but for some reason now I can’t find it dhdvvdbdvd 😭)

At first I thought maybe this is just some info added from a fan. After all, that statement was posted on a Spanish Wikipedia page so it is possible. So I began looking for other articles that talked about the Spanish dubs, but they all said the same thing. Well, until I came up with this site that said two very intriguing things:

Translation: The series actually had 3 seasons and is dubbed in Caracas, Venezuela. On May 2012 the series stopped running on daytime hours and was removed from the programming one year later, on June 17, 2012. It is unknowns if it will be aired by another channel or come back to the Discovery Kids programming, besides only the two first seasons were dubbed in Spanish. (Source)

I was a little bit confused here with the wording because it still didn’t confirm my original questions; if anything it left me with more. But then I read the next section below which got me completely off track.

Translation: The series received negative critics and complains on behalf of parents of families in Latin America that claimed that it wasn’t appropriate for the objective public of Discovery Kids. Without doubt in the U.S. the series had been well received and even won an Emmy award for Jack D. Ferraiola, writer and coproductor of the series together with the creator of the same show, Dorothea Gillim, who declared the following in respective to the series: (Source)

Now this one took me by a whirlwind: WTH why was this version hated by people in Latin America while it’s adored by everyone in the U.S.?? And I watched some episodes of LCS and while the dubbing is pretty funny (lol) there wasn’t anything inappropriate about it. For the most part they stuck on script with the original episode they had to dub.

So I dove even deeper...

And o h m y g o d there is an answer to this.

Translation: The program premiered in Latin America on August 2009 on the Discover Kids channel, aiming at pre schoolers. Although the channel gave a lot of promotion for the show during the final months of 2009 and the majority of 2010, at the end of the year they decided to change the programming to nighttime hours because the show received a lot of critics from parents saying that the show was too “violent” and that it encouraged kids to lie to their parents (due to the obvious fact that Becky had to give an excuse everytime she had to leave to turn into WordGirl and save the day), and they complained constantly on the message boards now deleted of the channel. The program was eliminated completely on June 2012, without doubt, PBS maintained the Spanish dubs so that they would use for SAP (Second Audio Program) in the U.S. in a different studio (Dubbing House in Mexico and later Lorry Post in Miami, FL), but the program no longer returned to Discovery Kids until August 2014. (Source)

And DUDE no y’all this was just a complete hilarious yet ridiculous slap to the face. I mean..what the, why was that the reasoning as to why it was hated so much? Just cause of some literal PG kid friendly cartoon violence? And what do parents mean when they say it teaches them to lie to their parents?? I mean with all due respect, who was Discovery Kids target audience they had in mind vs. what it actually was? Because if there actual audience was very very young kids, they okay sure I can understand the need to point fingers at them in that sense. But if it was for slightly older kids (8-10 years old), then I think that parents can probably show kids at that age the reasoning behind why Becky lied in the show (not to mention that most kids at that age can understand what’s going on for the most part).

“Now is this actually true?” some of you may ask, which is understandable since this is coming from a wiki page. Well, I think it’s about time I put another disclaimer: sadly for the most part, the majority of these sources that I’ve attached have broken links when it comes to their references. And the ones that aren’t broken don’t mention anything about the topics that have been discussed here. But there are some smaller sources I’ve found here (look at the last three comments) and here that do indeed confirm that the show was canceled due to the force of parents.

However, the current grey area I’m in still is on the Spanish dubbing listing. See, I originally thought that there were three different dubbings according to this one post below (M&M Studios, Dubbing House and Lorry Post). I even thought I cracked it since according to this chart below the rest of the seasons were under the Dubbing House studios! However, it turns out that one of the studios Lorry Post doesn’t actually exist. Like nothing related to dubbing came up at all when I searched it up.

Translation: Dubbing Studio 1 - M&M Studios (Seasons 1-2). Dubbing Studio 2 - Dubbing House (Seasons 3-8). Dubbing Studio 3 - Lorry Post (Season 8 - final episodes). (Source)

And then that’s when I took a harder look at this website and realized that it’s part of a Spanish Wiki page called “Propuestas de Fans de Doblaje” (Fan Proposals for Dubs). *insert facepalm emoji* And just...I honestly feel so dumb that I didn’t notice that detail when I did my initial research cause that would’ve saved me a lot of time 😤. Anywho so that explains the Lorry Post mystery, but then lies the other question: do the other dubs exist?

Well, this is where I draw the line. See, on that same wikipage, it mentions that LCS had completely different voice actors for each of the dubbings. The first dub (M&M) is from Venezuela and after looking at the VA’s, they can be traced back to LCS. But after looking at the VA’s for the second dub (Dubbing House) in Mexico, there is nothing related to them and LCS or WG. Not even on movie databases.

“Now are you gonna give up on this idea?” you may ask. And the answer is......

No.

Why? Well, it’s mainly because there is a compellingly set of evidence that proves that the first two dubs do actually exist, which is...

youtube

THIS VIDEO, which shows that there were not one, but two variations of the LCS Spanish theme song. The first one is the Spanish version, and the second one that plays is the Venezuela version. And if you can remember, there were 2 dubbings of LCS; one located in Mexico (Dubbing House) and another In Venezuela (M&M Studios)!

Anywhosole, that is where I conclude this elaborate essay of mine. There are still a couple of loose strings here and there that I wanna check out myself but I’ve already tired myself out with this essay. I hoped you liked seeing me lose my mind speculate on the LCS episodes! This was honestly pretty fun ngl, maybe I’ll try doing this again in the future if something else interesting pops up! If you have anything you wanna add or maybe point out something that I may have forgotten, please by all means bring it up!

#warning: I have already lost my sanity over this entire essay /hj #my discord peeps have already been exposed to a good part of this already a heh heh #but I have learned some new things so this is more of an updated version for those who wanna see me lose my mind 🙂#AGAIN #wordgirl #word girl #wordgirl lore #theorizing cap time!!

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necronymie · 4 years ago

Text

Meet the Writers of gen:LOCK Season 2 Panel Summary

Summary under the cut because this shit is LONG

There's a fun ad before the panel about how attractive MBJ is

“We may be lesbians, but we’re not blind!”

Moderated by Dorian Parks, editor in chief of Geeks of Color

Panel starts with a thank-you to HBO Max for facilitating the production of Season 2, as well as other RT shows.

Panel members include:

Daniel Dominguez: Head writer of s2

Maasai Singleton: Writer’s assistant, wrote a few episodes

Evan Narcisse: Staff writer, wrote on s1 as well

Kristle Peluso: Staff writer

Gavin Hignight: Staff writer

How did the writer’s room come together?

Dan and Evan are old friends

Kristle and Dan were introduced by a common friend/coworker

Dan and Gavin also knew each other before working together

Maasai was the only person who Dan did not know previously

To Evan: How has your journey as a writer informed your writing choices

He began as a critic, and that has made a big impact

He now pays much attention to the impact of a show’s message

To Dan: what made you want to write for GL?

He's been writing his whole life, as cheesy as that is

His first novella was written at 6 years old and it was a rip off of Nightmare on Elm Street

It was 7 pages of a woman turning into a cockroach

Kristle jokes that it's his best work to date

They joke that s2 is 8 episodes of a woman turning into a cockroach in the shower.

(Honestly I’d still watch it)

What drew him to GL: its this wonderful diverse cast telling a meaningful story about giant robot battles.

To Maasai: How was this as a start into the industry?

“We just vibed.”

“We would always say, there's mindshare in GL, and there's mindshare between the writers!”

Everyone cries at that

His first script was amazing, according to the rest of the writers

Daniel talks about how incredible Maasai is

Maasai and Kristle talk about how creative a leader Daniel is

The writers talk about how insane some of the pitches for s2 were, and how the environment in the writers room was very accepting of the more outlandish ideas

“At the end of the day, our job is about being vulnerable, because that's what storytelling is”

What inspired you and made you want to write?

Gavin has always been writing

Evan is an old school comichead; he's always been a reader, and for the bulk of his career, he was a journalist and critic.

Helping create the worlds he used to analyze is fascinating

Daniel jokes how Evan is going to get a kick out of the terrible reddit thread that will come from s2

Kristle remembers in second grade when she wrote a comedy for class and a kid laughed so hard that he fell out of his chair, and that made her realize that words have power.

She was a journalist and worked in marketing for a while (she hated it)

Especially as a woman, its very exciting working in a male-dominated industry

How do you guys feel about how inclusive the writers room is, and how did that affect the writing?

It was very intentional. No one can better tell the stories of these people than the writers who understand their struggles

Hollywood has been dominated by a monoculture of writers

Dan jokes that he is “the whitest Mexican-American that you've ever met”

Our writers room needs to look like the people whose stories we’re telling

There was a good amount of religious diversity in the room, and that shaded the story in various ways

Its implied that the above comment has a lot to do with the storyline of s2

Dan kept running around the table and yelling “Where is your god now?”

Evan recalls how Dan made the team pull apart the DNA of s1 to construct s2

What do you think the turning point of inclusivity came?

Never. It still hasn't happened

Shame is an incredibly powerful weapon, and that is what forces the people in charge to change

Evan talks about how media like the Black Panther movie definitely inspire writers and creators to create more inclusive media.

gL is a part of the movement, but the wave hasn't crashed yet

Dan talks about how lucrative inclusive media is

“Do it for the money, if not the people!”

We don't just want to see ourselves in protagonists, we want to see other people, we want to see other viewpoints, experience other experiences

“I personally don't know what it's like to pilot a giant mech, but-” “you don't?”

Looking for a common ground like this important for the storyline of s2. This struggle and this attempt of unity through looking into each other's minds is a key theme.

Maasai brings up that diversity is good because you need conflict in a story. Our character's diversity drives their character arcs, and forces them to change. They make each other think differently, literally and metaphorically

The conflicts that we see in s2, both micro and macro, the seeds are all there in s1, the camera is just pulled out to see the larger picture.

Evan jokingly “spoils” that there is war in season 2

What media inspired s2? Did you draw from any specific influences?

Gavin says that he focused on the horror of the technology. How does this technology affect those who use it?

Dan talks about how Gavin made him think more about how terrifying gL is, made him question his own humanity.

They drew from so many influences from youtube video essays to Shakespeare

They ripped off even more of Tempest in s2

Kristle talks about keeping the hope in the disaster that is s2

She says that s2 has many parallels with 2020 and the pandemic, some explicit, some not

Evan always worked remotely; that prepared the room to work from home when the pandemic struck

Evan says that he was inspired by writers who focused on how prejudices perpetuate over centuries, and how humanity changes the world

Evan has always tried to emphasize the mutual responsibility humanity has to care for each other, and the past year has made him put more energy behind that message.

Dan talks about how s2 tries to make people ask themselves if humanity is even capable of fixing our mistakes

“We got big robots, man!” “its dope!”

Can you spoil anything about s2 before the panel ends?

In GL, in the future, the only restaurant left is Taco Bell

Chase has some heavy stuff ahead of him.

#genlock #RTX #gen:lock #genlock s2 #gL s2

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atopfourthwall · 4 years ago

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how has being a reviewer changed in the past few years? I've been interested in reviewing different forms of media, inspired by several people including yourself, and it's definitely been shoved aside for video games and "lifestyle" channels. Do you think there's a way to get good revenue these days as a reviewer if you haven't been on here for years?

Yes, but it’s harder. Back when I started, the internet was VERY hungry for AVGN-style content - negative reviews talking about terrible media in an over the top manner, particularly because frustration can be funny and a lot of people hadn’t heard of a lot of the terrible movies of the past or present (or if they did, it was at least always fun to have a new perspective on it). It’s why we all tended to follow the same basic model - play-by-play of the movie/comic/game/etc., clip of the thing in question, then cut to us for pithy or sarcastic remark. However, like with any trend, audience tastes end up shifting. Even back in the day, people wanted me to talk more about good comics. Part of that was because a lot of my audience WEREN’T comic fans but wanted to get into them, while others were getting bored by the constant barrage of hate. Even creators themselves were getting burnt out on it - assuming you’re not genuinely annoyed at the thing you’re talking about (and truth be told, even when we’re looking at something we genuinely dislike, anger takes up a lot of energy, so it makes it that much harder to get that across so there’s a degree of acting required so that it doesn’t sound like you’re just bored or mildly annoyed), performing the same similar thing for years can wear down on ya, especially if you’re a creative person who wants some variety in the things you’re doing. As such, with a combination of people who were of DOING the same old thing combined with an audience who WANTED something different, you’ve got the rise of video essayists, less scripted content, or people being willing to do videos on media they actually enjoy. And because the longer-form content of video essays and the like requires a lot more time and research rather than just riffing, people tend to gravitate towards those more these days because it’s entertaining material that looks at media in ways that the mainstream doesn’t really do. You’re not seeing 40-minute deconstructions of Guardians of the Galaxy 2 and how it relates to complicated relationships with abusive family on NBC or the like. The advantage of an independent Youtube/New Media channel is that they usually have zero oversight - no one you have to seek approval of to cover a subject. You just do what you want to do. Now, that of course has its flipside that sometimes someone needs to tell you “No, this is a terrible idea,” but that’s a risk even if you DID have some oversight if they don’t recognize potential issues. Now, reviewers of course are still around. Some newer ones, some older ones like me. The formula still exists and still works, but of course because it’s been around for over a decade the problem that exists with starting a new one now is standing out in the crowd. A lot of it comes down to genuine talent - express opinions and jokes that are unique (or at least uniquely presented), well-executed, and just have a good eye for material that people WANT to see talked about (or at least something no one else is doing that makes you different from anyone else) and you’ve got a leg-up. The downside of course is that the algorithm favors the predictable, samey type of stuff which is why you have entire channels devoted exclusively to a single franchise (or in my case, why History of Power Rangers is more popular than AT4W despite AT4W being my regular content) so you might not get the promotion you need. There is no surefire trick to BEING successful at this, I’m sorry to say. I lucked out in getting in at a good time when there were less people doing this (and very few doing comic books) and getting promoted on a very popular site, but you won’t necessarily have that advantage. It’s why when you start, you’ve got to do it more because you enjoy doing it rather than simply going for the money, because there’s no guarantee you’ll make it. Hell, even after 12 years of this, while I make more than enough to live on (and that’s with both Youtube AND Patreon), I’m not exactly living the high life.

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botwstoriesandsuch · 4 years ago

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casual anon checkup how you doin

Let’s see, well we just breached 4am, and the sense of urgency to complete some school work has finally kicked in. I got my laptop propped up on the kitchen counter, and I just finished making some houseblend coffee that I loaded with milo powder for “health” purposes. Gotta finish up this AP Stat quiz while pretending I have some semblance of what the hell is going on in the class that I don’t pay attention to. I got my fancy bluetooth headphones that I connect with the wire anyway because I don’t like using up the battery, and I’ve had this acoustic cover of Solitary Warrior Revali looped for a few minutes now--I need those soft vibes to distract me from my thoughts about how the only reason I’ve been so sluggish with my work overall is probably due to years of ingrained perfectionism and inability to adapt my standards to the currently circumstances of the world along with my slightly declining mental health so you know--music’s nice.

Oh! And my dad got me this electric coaster (as pretentious as that sounds, I know. Leave me and my not-cold drinks alone ok) for the holidays and it matches with my favourite mug that I’m drinking from right now so, it’s the little things :3 Plus, not to derail myself from my school life intentionally, I’ve been working on this sheet music for one of my songs for a few weeks now and it’s starting to actually sounds pretty decent so yaay!! Probably won’t share it for a long time though...I’ve really been only working on it on and off again when I have “free time” [which may or may not just be my online class gym period hey you can’t prove anything to the cops]

Uhhh what else can I shove in here...”How you doin” pfft, I don’t really know how to make this ask funny or entertaining. Well I’ve nearly finished up this zine piece about the Royal Tech Lab so that’s fun (shameless plug for the Memorabillia Zine) aaand, I’m picking my kalimba again to learn Mipha’s theme. About time, cause I have to record shit for the [REDACTED] project I’m working on >:) heh. Oh fucking SHIT now that I think about it I have like three different secret projects I’m working on huh...haven’t even finish the script for that damn au...OK what it, right, “how am I doing” well, I’m doing everything and nothing currently, if that makes any sense. Your possible regrets about sending this to me aside, it feels good to just lay everything on a plate, shit out a post, and then never talk or acknowledge it ever again. It’s like birds, you know how they just take a ten pound shit in the mourning and never look back? (That way they don’t need to go during the rest of the day) That’s what this is, just a giant load of bullshit that I’m gonna set out at 5am and then never look at again.

You know as unhealthy as it sounds I really do dedicate a lot of time to this blog and this fandom. I mean sure not all of it (arguably any of it) is productive, but hey it’s something. The fuck else am I gonna do with my time...you wake up, you slam your keyboard awake to show up to online class, you take a nap, you spend a few hours keeping up the cishetallo gifted student appearance to your parents and then spend the rest of your time finding enough serotonin on the internet to make your brain work. Hell if I’ve talked to another human being in real life all year. Even my parents just kinda talk about the news and “how was class” during dinner which lasts like 10 minutes. My dad just kinda pisses off to work as soon as breakfast is made, and my mom just kinda stays in her office until everyone’s back and she makes dinner. Wait, that’s a lie, she does talk to me on Sunday mornings when she informs me of how I’ve ruined her day before church. So you know I do prefer it that way anyhow, why the hell would I want to talk with them when I got perfectly entertaining internet companions. What’s a “what scholarship programs are you doing?” to a *checks notifications*, “why are Rito fingers like that if they molt to they just lose the ability to--” god fucking dammit...

So! What were we saying--how am I doing? Welp. Guess it’s up for interpretation cause I sure as hell don’t know the answer to that. The hell would you do with the answer anyway. Pity points, praise points? I don’t particularly care for either. God I just realized you introduced yourself as “casual anon,” HA....apologies this is the opposite of casual isn’t it. Or, well maybe it isn’t. I’m the one just having a nice little chitchat with myself as I sip through my mug o’ caffeine. I might have to add a keep reading bar to this so I don’t blog up the dash, but also that would be ironically humorous to see for such a stupidly small question huh. Idk, contrary to popular belief I don’t have a spine so I’m probably not gonna unload all this shit on my followers like that out of the blue. Hell I’d be surprised if I actually posted this. Then again...5am and vibin with bad decision making.....plus the sentiment of putting something out to be seen is always nice.

You ever watch Bojack Horseman? Fantastic show, it’s just on a whole ‘nother level when it comes to writing. And yeah, I probably should have been watching it in the first place, BUT.............yeah ok there’s real excuse I probably shouldn’t be watching it/have watched it. But there’s this one episode in Season 4 I think? It’s where Bojack gives a eulogy for his mother’s funeral and the entire episode is just that, it’s just this giant monologue of him giving his eulogy. And that episode always facinated me because it is probably the most interesting episode in the entire show and one of my favourites, and like...how did they do that?? How did they make twenty minutes of talking so engaging and entertaining? I mean, yeah, I could probably analyze the pacing and structure to find the answer, and hell if I’ve watch my share of youtube video essays on the subject. But like, just the entire concept that someone had the idea to make 20 minutes of talking an entire episode....that’s just insane (forgive the language).

It’s one thing to want to talk about yourself for a long time and be interesting, but to pour all kinds of energy to make some made-up fictional character talk about THEMselves for a long period of time...is that sad? Or maybe it’s respectable. /to make an audience care more about something that’s not real rather than you. Well, perhaps that’s selfish thinking.

Oh! You know what, I just got this super nice message from someone the other day about a Raybands giveaway. Obviously, I’m not in the need for sunglasses during this day and age so I kindly declined and ignore the offer, but it got me thinking: how liked to you have to be in order to sway someone to clicking a random link. Like I’m talking about your friends or something, but like, if you opened your door oneday and Mr. Rogers was there selling clementines, would you buy them? Or if Lin Manuel Miranda offered you a vaccum, would you buy it? What’s the standard of known niceness that constitutes to you complying with what they’re asking? I sure would like to know....not for manipulation purposes but just for...idk, just having that tangibility of something.

Ah well, fuck me gently with a chainsaw how am i doing. Well I’ll tell you what I’m doing, I’m procrastinating. Procrastinating on work and wips and conversations and dilemmas. You don’t fail all the shots you don’t take afterall *wink wink* aaand for legal reasons that was a joke. Idk, you tell me how I’m doing, fuck if I know. According to this empty mug, I’m doing well, but I also will be doing a piss in the bathroom probably.

#not botw #rant #or vent #idfk #it's weird #i guess it's ok to rb tho sldkfj #god fuck me and my pretentious ass I really did write more than two paragraphs for this huh

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