#but there's just SUCH an oversaturation of it in art and it's time for change.

[beastsoulart]

new art challenge: draw breasts that are natural/different shapes and not just balloon anime tiddies.

bc representation fuckin matters. :v

[vanweezer]

"i see them as friends!" "platonic besties!" until its an m/m pairing. friendship hcs surface level explorations of the guy character because you dont actually like the girl character or working her into your "secretly good version" the media because she ruins your yaoi vibe you have going. "see this is actually comphet" only from the pov of a man in a relationship with a woman hes known and loved and trusted for years because the 3 minutes of screen time he got with one man is actually "the first time he allowed himself to love". dont piss me off

[funnycreatortimetravel]

Small rant about Sans' character that no one is ever going to read and is probably kind of inaccurate, but I'm going to scream into the void nonetheless because why the hell not and I'm kind of bored.

I feel like the concept of Sans as a whole has been so utterly gutted by the fandom and not in the way you'd think. Not because of the AUs which are all so oddly Sans-focused (but at least we have Underverse which is actually pretty good) but in the sense of the people who claim to "actually understand Sans canonically" and "try to stay as canon as possible" while also equally missing the point sort of. Hence, why we have this long and overplayed image I'm sure everyone has seen a billion times:

If I could lay some groundwork down, Undertale came out in 2015, nearly a decade ago. The internet was a different time and place then and fandom creativity reached new peaks that no one had ever seen before, and as a result, a lot of Undertale was exaggerated, changed, cut up, and then put back together. Why? Because in all honesty, Undertale was a really simple game with a simple premise. Sure there were bits and pieces scattered throughout, parts like who Gaster was, who Chara was when they were alive, who Sans is in general; all the typical fandom theory shenanigans we've come to expect in the recent years. And in that excitement, Sans became the staple of Undertale pretty much, or at least everything it represented. This macabre, yet adorably misleading game with funny moments and interesting think pieces that people are still speculating about. That's pretty much the basis of Sans. So I get why Sans became the quintessential poster child for such a subversively ambitious game. I get why, then, people try to showcase Sans as this badass God character who knows and remembers all of resets and cries over Papyrus and is just an edge lord in general. It doesn't mean it's accurate in the slightest, but I get the idea of it nonetheless. In the absence of content, and there's a lot of it in Undertale, (I mean, it took me 4 hours to 100% it in the Pacifist and Neutral Routes, and 5 hours to beat Genocide, including the times it took me to beat Undyne because she thoroughly kicked my ass and Sans as well) the fans filled those gaps with what they saw fit and what they saw fit was so wide and diverse that the gap overflowed and the game pretty much became unrecognizable.

And I (except for the truly questionable and gross stuff, you know what I'm talking about) love the fandom for that, I truly do. Just the sheer number of comics, spin-off games, AUs, art, and fanfiction that answered every question I had and more was and is impressive, but even so, there's only so much that can be done with the context Undertale provides us before the content gets...stale. Hence my point on why Sans' character was so exaggerated is because Undertale as a whole had been exaggerated and oversaturated and overplayed and generally...not what the game or Sans was originally. But that was peak 2016-2019, though, a few years ago. And the interpretations and eras, like everything, have changed.

Now back to my actual point. It's now 2024. The fandom has noticeably slowed down. All of the AUs and theories and fanfictions that were popular have either been forgotten about over the years, randomly rediscovered or still ongoing, or just abandoned entirely. The game has been pretty much combed through until every file has been cracked, every document leaked, and every secret discovered. It's like a picked over turkey at this point and a lot of the old creators have indeed left behind the game in pursuit of newer things, which is understandable. It's not the center of attention it once was and in that wake, we don't really have a lot of the same pillars in the Undertale community that we used to. And in this transformed community, we have the left over children, now young adults and teenagers, to pick up the pieces. And in that, Sans' character, as well as Undertale itself, has again, been reformed.

That was a lot of words. But I hope I at least set the center stage. My issue, pretty much, is that the leftover fans deem themselves as "above the cringe" the old fandom left behind, which, is fair enough. And in doing so, a lot of the foundation of the 2016-2019 Undertale fandom was kind of overwritten. No, now Sans is no longer this edgy, overpowered God figure ready to right the wrongs of the player, no, now he's this apathetic guy who doesn't care about anyone, including himself, and is only powerful because he cheated. And to be fair, I see some merit in this interpretation. Sans is in fact, a pretty morally ambiguous guy. He doesn't even attempt to stop the player during the genocide route until there's nothing left. He threatens the player on the pacifist route even when we pose no threat. He makes so many allusions about himself not caring about anything. So I get it. Everyone is tired of everything Sans-related. I was too at one point. But in trying to counteract this fanon interpretation of Sans, I feel like this new one is also semi-inaccurate. This new interpretation of Sans is meant to be seen as "mature" and "not cringe" when in fact, Undertale is and always will be sort of cringe. And that's OK! That's why I and others love the game so much, because it's not afraid of being anything other than what it is and what it claimed to be. It had a story in mind that it wanted to tell and it did so unabashedly. The need to separate Undertale and Sans itself from the cringe is so pointless and almost a little juvenile. And imo, even ruins the character of Sans himself.

Sans does care about Papyrus, so so so much. He reads him bedtime stories. He plays along with his illusions of grandeur. He calls out the player when he's killed, despite Sans having to remain objective as a judge. I feel like Sans not intervening in Papyrus' death isn't because he doesn't care, it's because his entire job is to act as a judge and in a position where he's mostly neutral. He knows the player has powers to redo and undo things, so thus, he gives us room to make those choices, for better or worse. He's like, the anti-toriel. He refuses to hold your hand. He tells YOU to make the right choice, and by you, I mean the player. And in that sense, I feel like that's not something a completely apathetic guy would do. Someone like that wouldn't even see the point of choices, of having an option. Someone like that wouldn't care about getting out of bed in the morning, getting several jobs, or telling a person with higher power to just engage with your brother.

Like come on, don't say he doesn't put effort into anything, like he went out of his way to make sure Pap's Holiday party went perfect. He's constantly going above and beyond for his brother.

Sans has emotions and they're so complex and so well-written, but I feel like this counter-cringe culture of the fandom wants him to be this guy who's either too depressed or too lazy to engage with others, or someone who would simply shrug off the death of loved ones when we have proof that Sans does indeed try hard for Papyrus in the ending where everyone dies but his brother. It's an "oh shit" sort of moment when he realizes that Papyrus is the only person he has left and thus, he puts in the effort to be better for him. It's not that he doesn't care or see the point, he's just kind of numb at this point. If Papyrus dies in the neutral routes, you don't see Sans again until the judgment hall and he'll call you a dirty brother killer and tell you to go to hell. That's something someone who at least cares a little would do. He's not above insulting the player and he's not above getting pissed. I've never really seen him as a, "well that's that then," character when it comes to Papyrus dying, for me, it's always been, "I'm angry, but I can maintain my composure and still do what I have to do."

Even in the genocide routes, Sans wants to give up and do nothing. He wants to let himself die without much thought. But he knows that he has to stand between you and oblivion. It's another, "Oh shit" moment, but in the opposite way. He knows he's gonna die. But he still has hope. Not necessarily that you'll be a good person, but that you can try another way and make better choices. He embodies the same mentality Papyrus did at the beginning of the run, believing there's a better chance for another future where everyone can be happy.

Sans isn't a nihilist, not all the way. There's still a chance, still a part of him that has hope for everything, regardless of the route. And should the Pacifist route be completed, you'll see that he's genuinely happy. He DOES care, or at least he's beginning to know that caring about things is ok and healthy even.

Ex 1: If you go to Sans' lab after completing a True Pacifist Route, you get this bit of dialog:

Ex 2: Sans and Papyrus talking about a Christmas party they had on the Newsletter of the 5th Anniversary of Undertale.

The strongest, yet most complex example of this that we see is that he upholds his promise with Toriel and will continue to do so until the genocide route at the very end because he wants to at least give us, the player, a chance. And even if it was a cop-out for being lazy, I believe that Sans legitimately believes there's a chance for us to turn around and be a better person, or at the very least, make better choices. We know that Sans is a person who doesn't like making promises at all, and even though he said that his threatening to kill Frisk is a joke, had he not made that promise to Toriel, I can't 100% say that he still wouldn't intervened in the genocide and neutral routes.

And if you think about it, Sans upholding that promise just makes me question him even more. Like, even if you kill his brother, so long as you don't kill everyone, he won't kill you just because of that. He sticks to his promise and his morals so much, even if it costs him everything because well, what type of judge would he be if he didn't stick to his moral code?

"If you have some special power, don't you think it's your responsibility to do the right thing?"

And by that logic, if he made a promise with someone, don't you think he'd feel he'd have the responsibility to uphold it?

We also know that he makes an effort to give us updates on the Underground after we leave in the neutral routes because he still wants us to know, at least, the consequences of our actions, so it's not like he's just lazily letting us get away with anything with do (even if he does physically.) He still holds our actions above our heads. He still keeps his promise. He still knows that we can make a better outcome. And if that doesn't say anything about him, I don't know what does.

Even in the neutral route endings where things are objectively going terribly for the monsters with Frisk killing Asgore and taking the souls to leave the barrier, Sans still never gives up. Sans, of all people.

And sure, Sans isn't a saint, not by a long shot, but he does have some moral weight in the long run, and by playing the part of a judge, he has a certain level of disattachment that's necessary when it comes to doing his job. Nowadays, I don't see the "fanon" sans that everyone loves to rag on, the one that's overly emotional and jarringly out of character, more so, I see everyone ragging on that interpretation, and then coming up with an equally inaccurate interpretation of Sans just not giving a shit and letting Frisk get away with everything just because he's "not emotional and only wants to be lazy, blah, blah, blah, nihilism, existentialism, it's more canonically accurate, unlike that CRINGE FANON SANS!" /or being a total unserious prankster with no other personality traits, and that's equally as jarring for me.

So in conclusion, I feel like "Fanon" Sans, the one where he's breaking down and sobbing over Papyrus and holding his scarf is just as inaccurate as the "more canon one" where he's apathetic and simply just not caring about his death, or at the very best, says "it is what it is." Sans is a character whose emotions aren't apparent, but he still does care in his weird philosophical way. He loves Papyrus and genuinely thinks he's cool. He's a jokester character who loves a good laugh and being laid back. He doesn't like putting in effort, but he will if he has to. He wants the player to make good choices, so he generally tries to stay out of the way to give us that freedom. Not because he knows we're gonna kill Papyrus, but because he knows we have greater power and wants us to use it to do the morally right thing. He isn't above doing morally grey things either, like threatening to kill Frisk in case they pose a threat to monster kind, but I believe even then, his hesitation to just accept a human in the underground is somewhat understandable given the oppressive tension between humans and monsters. Additionally, he does put in effort when it comes to caring about monsters other than Papyrus, Toriel, and even Alphys and Asgore, he cares about them all: (it's implied that he feeds the amalgamates in Alphy's old lab as proven by the same dog food we see in the lab being in Sans' house and Alphys even calls him a good guy because he helps her in the aborted genocide route ending, him telling jokes to Toriel and genuinely trying to bring some joy in her life even though she's a stranger and doesn't have an obligation to, even staying with her in the Ruins after she's dethroned in the Queen Undyne ending, him acting as the judge before Asgore and even being in such an important position requires you to have a solid sense of morality and conviction, his respect for Undyne as a warrior/leader depending on the ending and in the Undertale Newsletter, he makes an effort to score a goal for his team in Hocky, and Undyne of all people seems proud of him, and pretty much everything that has to do with Papyrus he's at the very least involved or interested in.)

My words don't have a lot of merit. I'm simply saying how I interpret things. But as a big sister, I see Sans as a good big brother who's not too involved, but also deeply cares about his younger brother and his friends. I get that stoicism and being "logical" and "cold" is the new trend and whatnot with all these edits of badass characters and longing for a time when everything was less...emotional, but in doing that, it shuts a lot of discussion about Sans as a person and his complex emotions as a whole. I feel like it's too difficult and kind of silly to chalk him up as either one or the other. I feel like there's a nice middle ground between the "cringe" fanon sans and the "cool, apathetic" canon sans that a lot of fans either go one or the other on. Anyway, that's about it for my rant. It's kind of nonsensical and a little hard to follow, but I hope I was able to get my thoughts across nonetheless.

I guess it was a big rant after all. Oh well. It is what it is.

[pluckyredhead]

We made it, you guys! I'm wrapping up my blitz through all the Fourth World canon. I've already covered the comics of the 70s, the 80s, the 90s, and the 00s, so now let's get into everything post-Flashpoint!

Wonder Woman (2011): I'll be honest: this series is Not Valid, and Orion only shows up as a supporting character for about a dozen issues, so I just skimmed his appearances rather than actually reading the whole volume. Anyway this version of Orion slaps Diana's ass and hits on her relentlessly and isn't even from Apokolips. Highfather is emotionally abusive. No one else from the Fourth World even shows up. Throw it all directly in the trash.

Infinity Man and the Forever People (2014): Genuinely who was asking for a New 52 book about the Forever People (the most optimistic of Kirby's creations) written by Dan DiDio (a man on the record as saying he wanted "to take the smile out of comics")? Shockingly, it's not as bad as I was bracing myself for. I mean, the lore changes are baffling (Darkseid and Highfather are brothers! the Infinity Man is Highfather's conscience and that's why New 52 Highfather's such a dick all the time! Big Bear is from Apokolips and has a secret, angrier face because he's like a bonus Orion now!). And the art rotates through four or five different artists and all of the issues not drawn by Tom Grummett are hideous. But mostly it's just very boring and pointless? Let's all ignore it forever.

Green Lantern/New Gods (2014): Hey, do you remember when Green Lantern was one of DC's most successful franchises and they were publishing five simultaneous GL-related ongoings and they oversaturated the market so badly they could barely keep one GL book going until recently? I'm not saying shit like this is what killed the goose that laid the golden egg, but...I'm not not saying that either. (No seriously, I am genuinely fascinated by whatever the fuck DC did to the Lanterns in the 2000s and 2010s as, like, a publishing cautionary tale, but that's a story for another post.)

This was a three-month crossover across all five GL books - Green Lantern (Hal's book), Green Lantern Corps (John's book), Green Lantern: New Guardians (Kyle's book), Red Lanterns (Guy's book), and Sinestro - plus a New Gods one shot and a GL annual. That's 17 issues that are meant to be read in order to follow the story, and then you can optionally also read the tie-in issues of Infinity Man and the Forever People, which makes a whopping total of 20 issues dedicated to this storyline.

So what was the plot of this grand saga? Uh...Highfather tries to steal all the rings of every Corps like he's the fucking Trix Rabbit or something. The end.

Yeah, it's a mystery what killed the GL publishing juggernaut. 🙄

(Side note: this crossover adds a brand new Original Character Do Not Steal who is from Apokolips and was raised by Highfather and has a Secret Rage Face. After Infinity Man and the Forever People also gave Big Bear a Secret Rage Face. STOP STEALING ORION'S SHIT. You don't need extra bonus Orions, Regular Orion is right there!)

Bug! The Adventures of Forager (2017): This is a very charming, very strange series that isn't in continuity (it was part of the Young Animal imprint) and doesn't really forward the plot of the New Gods in any way, but it's funny and enjoyable. Basically, Forager wakes up after his death in Cosmic Odyssey (29 years prior, for those keeping track) and goes on a time- and reality-hopping adventure in which he interacts with various characters Kirby wrote and drew for DC over the years (although oddly, very few New Gods). It's the sort of series that rewards the long-time comic book reader, but I still enjoyed it even though I was very aware I was missing references. I wouldn't recommend it if you're brand new to comics, though.

Hal Jordan and the Green Lantern Corps (2016): Orion's in a couple arcs of this run, and they're pretty fun. Orion's heart gets removed from his body and Kyle keeps him alive with a construct! Hal races Lightray! Orion helps the GLs fight a shit ton of Darkstars! There isn't much in the way of advancing New Gods Lore (TM) here, but this is a pretty good series in general. A fun time!

Mister Miracle (2017): Sigh.

You know, the frustrating thing about this series is that some aspects of it are really good. The art is superb. Some of the humor really lands. Funky Flashman as the Frees' nanny is an utter delight. (The bit where he retells the Galactus Trilogy as "Jake's story" is especially charming.) The subtler take on Granny and the way Scott is still wrestling with her abuse and his complicated feelings about her is heartbreaking. And the big twist, when Darkseid demands baby Jacob in exchange for peace, and Scott's agony over the decision, is utterly wrenching. It's such a good conflict to give Scott, to have him try to wrestle with the decision his own father made and what the right answer is. I even believe King read more than one issue of Mister Miracle (1971) to research this! I mean, he references the Lump. That's a pretty deep cut.

But it's all undercut by his decision to make Orion a villain. King's Orion isn't just brutal and wrongheaded, like some earlier writers have portrayed him - he's a vindictive sadist who craves power and enjoys humiliating someone who, in all previous canon, he eagerly embraced as a brother. He has elaborately cruel plans and enjoys making others know their place - Orion, who is historically as subtle and refined as a two-by-four to the head. He's out of character in basically every possible way.

But this isn't just me being like "How dare you get my blorbo wrong?!" (That's my reaction to King's depiction of Lightray as a simpering toady.) Making Orion a villain, as I have said many times at this point, betrays a fundamental misunderstanding of the Fourth World's central concept, which is, like...not a hard concept to grok. The point of the baby swap isn't to see whether nature or nurture is stronger. It's that both babies grow up to be heroes. It's that good is stronger than evil. And if Orion isn't a hero, the whole thing falls apart. Instead, we get a bleak and fundamentally unbalanced take on the Fourth World that begins with a suicide attempt and ends with Scott resigning himself to a life from which he desperately wants to escape. And again, again, King's pessimism is mistaken for depth because someone else drew it real good.

Anyway I hate this comic, the end.

Justice League Odyssey (2018): The New Gods didn't really have a home base post-Flashpoint, which is why I'm covering so many books that aren't really New Gods books (Wonder Woman, the various GL books), because my crops are dying and I'm desperate for Orion to show up on his little scooter. Anyway this is actually first and foremost a Jessica Cruz book, which isn't really a complaint because I love her. Basically, Cyborg, Starfire, and Azrael (who is pretty OOC and also why is he here??? he doesn't know these people and he can't breathe in space?????) decide to go on an Illegal Space Adventure and Jessica tries to stop them and they all get swept up into an incredibly convoluted plan by Darkseid to turn everyone but Jessica into a NEW New God and take over the universe? Or maybe destroy it? UNCLEAR. Also the last time they all saw Darkseid he was a baby but now he's not anymore. How? UNCLEAR.

Darkseid kills Jessica but it doesn't take because she's the GOAT, but now he's taken control of Vic, Kori, and JPV, so Jessica has to team up with Orion, Blackfire, and Dex-Starr the Red Lantern cat to defeat Darkseid and rescue the others. Overall this book is so unrelentingly high stakes and cosmic that I kind of tuned out. After a while I just hit "we have to save the universe!!!" fatigue. But a huge part of the second half of the series is just Jessica yelling at Orion until he grumpily does what she tells him, and I truly could have read 40 more issues of that. I hope when it was all over he went and pouted at Lightray about how the Green Lantern was SO MEAN to him (he deserved it).

Verdict: Don't bother to read for New Gods continuity, do read if you love Jessica Cruz.

Mister Miracle: The Source of Freedom (2021): This book reintroduces Shilo Norman to the post-Flashpoint universe as a celebrity superhero and escape artist who aggressively protects his secret identity, because his predecessor Thaddeus Brown, who is Black in this series (and presumably going forward), had a public identity and dealt with horrible racism from the public. But his mask is partially torn off when he's attacked by N'vir Free, the daughter of Scott and Barda Free - who Shilo has never heard of. While Shilo tries to figure out who the Frees are and why N'vir thinks he stole her father's legacy, he also discovers that Thaddeus was secretly his grandfather, and has to unpack all of his emotional hangups about his own identity and legacy.

This is a great book for the humans of Kirby's Mister Miracle and a terrible one for the New Gods. Scott and Barda are not only dead, but their memories have been erased from most people's minds. N'vir is an awful character with a stupid name, and also a fascist dictator, which is...a choice for Scott and Barda's kid. (I'm assuming all of this is either taking place in a different universe than the main DCU, or has been retconned away, because Barda is currently appearing in Birds of Prey and is perfectly fine. And perfectly perfect. Please read Birds of Prey.) Orion does show up for a bit and he's great here, but he doesn't remember Scott either, which hurt my heart.

But it's a great book for Shilo, who gets to be a complicated, endearing but flawed protagonist instead of a sidekick who tends to get forgotten for years at a time. I'm a bit torn on having him be related to Thaddeus, since I like the idea of Shilo becoming a hero on his own smarts and spunkiness rather than inheriting it, but it allows for some really beautiful themes about legacy and being proud of where you come from, so it suits the story really well. And Oberon is a delight the whole way through (as always). Overall a good book, but somewhat to the side of the overall New Gods saga.

THE END. We did it, you guys! Now DC please greenlight a new New Gods book, thank you.

(Actually it should be double length and reversible so when you hold it one way it's a New Gods book and when you flip it to the "back" cover it's a Mister Miracle book and the stories intertwine. Do you see the vision???)

[mikelogan]

ttpd thoughts

for the record, i'm not trying to be like. purposely hateful or anything, i'm just so deeply disappointed with her. this last year has been a mess and she's repeatedly acted in ways that, at the very least, rub me in the wrong way and at their worst have disgusted me and made me lose so much respect for/faith in her. miss americana has become a piece of performance art rather than any sort of meaningful activism.

she made a very public display of dating/hooking up with a bigot and basically said "fuck you, i do what i want" in response to valid criticism and then tried to smooth it over by working with one of the women he'd called slurs. almost every time she spoke this year, whether in an interview or through tree, she reinforced my worry that she views herself as untouchable and that any sort of negativity or criticism directed toward her should be discounted because she's an "underdog" and a woman, despite the fact that there are very real issues with her words and actions. and don't get me started on everything with football guy and his trump-loving ass.

she is absolutely allowed to do, say, date, fuck, etc. anyone and anything she wants. she can write songs about all of it. she can do damage control and pr and control the narrative however she chooses. she can run smear campaigns and drag names through the mud while maintaining she's the perpetual victim when she's arguably the one with the most power in any given situation. i can appreciate that fame presents a set of challenges that i will never experience or fully comprehend.

but i'm also allowed to have my opinions on it, especially when so much of it is so heavily publicized. there is so much we will never know and there is also so much we do know that we never should have. pretty much since eras was announced, she's become so deeply oversaturated and it went from being cool to see so much hype and getting a new album and new re-recordings to feeling like everything is about money and breaking records. it's become a machine, a content factory, and so many decisions feel rushed, incomplete, and incongruent. it doesn't feel like there's been real thought about the material itself and instead it's become about aesthetics and sensationalism.

i think that's why i'm so frustrated right now and it's highly likely that these albums will grow on me or at least some of the songs. i've been listening to the 12 songs i liked on repeat since i finished my initial run through each album and i already like them even more. but i wish that it could truly just be about the music for me. that's what's always been most meaningful to me about taylor is her lyricism and the stories she tells through her songs. but knowing everything i know and having seen everything i've seen over the past year, it's tainted my perception of the albums and the songs on them.

i think that taylor has a lot of growing to do as a person. i've heard people say that sometimes celebrities are frozen at the age they became famous and i think that really shows in taylor's case. the irony of a song being titled "so high school" was certainly not lost on me. a lot of her phrasing feels very juvenile, just as her treatment of joe and everything surrounding the end of their relationship has been. i never really had feelings about him one way or another, and as i mentioned above, there's a lot we'll never know about what happened between them. but she's been pushing her victim narrative so hard and the only thing i've seen from joe is his support of palestine. actions speak a lot louder than words. it changed so drastically from the initial news of their breakup being amicable to turning him into yet another villain. i have no doubt in my mind that taylor has been treated very poorly by a lot of the men in her life, and joe is likely not an exception. but i'm to the point where i have to take everything she says with a heaping tablespoon of salt.

at the end of the day, taylor's music is her own and i understand why she's said that she wants her work to be about the music and not about the men. i can see how it would feel invalidating to have her songs picked apart and attributed to the men they're written about. and i'm not even trying to do that here. but i can't recall a time when she's been so public about her relationships? in the past, it's felt a lot more like speculation, but jesus, between ratty and tk this past year, we've just been inundated with so much that unless i was an extremely casual fan that managed to escape her face on every news show, billboard, and social media website, i can't fathom not knowing what she's singing about on these albums. she can't have it both ways.

i still have all the music that came before ttpd, and like i said, with subsequent listens, ttpd will probably grow on me a bit, but idk man, i'm over it. and i think it's important to be willing and able to criticize or at the very least analyze your favorite media, whether it's music or tv or film or literature or whatever else. your favorite thing probably sucks in one way or another and pretending it doesn't doesn't make you a better person than someone who acknowledges it. these are complex, extremely nuanced things i take issue with and when it comes down to it, i will never know taylor personally and be able to talk to her about these things and get her point of view and her thoughts. that leaves me to say my piece, which is what this post is.

as a recovering swiftie, i'm just so very tired.

[genericpuff]

I've come to the stunning realization-

-that Lore Olympus is basically to the webtoons industry what Youtube Kids is to Youtube.

And I'm not talking about the general "Youtube Kids" label, I'm talking about those videos - Elsagate, Johny Johny, Cocomelon, Mickey Mouse tattooing Spongebob or whatever other weird example you can think of - which are explicitly designed to game the algorithm, turn views into money, and most of all, gain and keep the attention of the one demographic that won't question what they're consuming - children.

!!!!THIS POST HAS FAST PASS SPOILERS AHEAD!!!!

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I mean, this is undoubtedly just a tinfoil hat theory, but think about it:

Bright oversaturated colors that are attention-grabbing.

Meme faces and 'lol rAnDoM' humor even when it doesn't suit the situation at all.

Art that's all around ugly and cheap on a technical level but still stands out due to its color design and prioritized advertising.

Vapid surface level scene-to-scene writing that doesn't connect or have any meaning in any coherent way.

One-dimensional projection characters who are easy to manipulate and sway for audience sympathy or anger even if those opinions change on a dime based on actions in the moment.

Cliffhangers that are less like true cliffhangers and more like clickbait. Episodes nowadays tend to be filled with drawn out plotlines, vague hints that can be applied to just about any school of thought, and non-sequitur memes to fill the time until they can hook the reader with another cliffhanger to keep them coming back next week.

Coin prices have gone up but episode length, substance, and quality have noticeably gone down. Even if they reach the same panel count they usually have, dialogue is minimal and pacing is brutally inconsistent to the point that plot progression is often non-existent.

Banner ads that run constantly, often in the first or second (or both) slots, with push notifications and pop-up ads also becoming more frequent whether you're subscribed to the comic or not.

And underneath ALL of that, we've got blatant objectifying and sexualization of female characters regardless of context, misogyny that claims to be progressive, racist undertones, borderline fetish content that constantly toes the Terms of Services line, normalization of problematic/toxic relationship dynamics, a creator who's more interested in 'getting back' at critics than writing an actual story, and underlying messaging both from the characters' and the creator's behavior that encourage witch-hunting, rejection of accountability, and blind devotion.

All this is essentially why I've given up consuming LO entirely, beyond just on a critical level as of late. There was a time long ago when I stuck around in the hopes it was going to get better, that maybe it was just going through a "rough patch" as some stories do. After that I stuck around because I wanted to see how it could possibly pull off its ending. And then after that, I simply stuck around for the laughs and community banter. But now I don't even find it funny anymore, the punchline of how bad it is has gotten incredibly old. And at this rate, as much as we'd like to believe it's going to end in its third season as it's been mentioned in the past, we also were told it was going to end between 100-200 episodes prior to that - the way it's going, I can't even stick around "for the ending" because LO is going to be around for as long as WT tries to milk it, despite it no longer having a heartbeat.

As much as I've loved talking shit about this comic and it's undoubtedly the main reason so many of you followed me here in the first place, I'm not going to lock myself in some kind of purgatory hell just to be proven what I already know is going to happen - either the comic continues on forever, doomed to be a lifeless mascot for the zombie corporation that is WT, or RS eats shit while trying to stick the landing with a plane that has no functional parts.

There's a quote from Caddicarus that I couldn't help but think of as I typed this up, from his nearly-decade-old review of Dalmations 3 (oh god, it's nearly been a decade since that video came out what the actual fuck-)

"And this is where I officially lost all fucking care. I realized it wasn't going to end anytime soon. It's one of those rare instances where the novelty of how awful everything is actually gets really tiresome and unfunny." - Caddicarus

[subzeroparade]

What's a ballet with real snazzy costume work, in your humble and/or professional opinion? c:

Oh, you’ve activated my trap card - asking about costume design and ballet and not expecting me to barf up the entirety of my PhD. I’ve also done work on the ballet blancs costumes (Giselle and La Sylphide specifically) but they are interesting on a theoretical level and not so much visually, so I’ll skip that.

So here are some personal favs of mine - the highlights, if you will. Caveat: long post, and mostly limited to the work of the Ballets Russes, because they are my longtime obsession and I think (and have argued) for their role in fundamentally changing stage and costume design (to say nothing of dance, and George Balanchine can sit the fuck down). I didn’t put that in my thesis but I wanted to.

Anyway tldr in the first decade of the 20th century a troupe of dancers from the Russian Imperial Ballet (later the Mariinsky) travelled through Europe under impresario Serge Diaghilev, for what became known as the Saisons Russes, or Russian Seasons. They performed both opera and ballet, and are probably best remembered today (if at all) as the troupe that danced the premier of Stravinsky’s Rite of Spring and caused a riot at the Theatre des Champs Elysées. The eminent artists that worked with them include Debussy, Cocteau, Picasso, Chanel - and these are only a few recognisable names. But my focus was primarily on the Russian roots of the ballet, in their visual language and presentation of gender and nationality, more precisely around the work of artist Leon Bakst and dancer Vaslav Nijinsky. 

Second image of Nijinsky from Le Dieu Bleu, and Bakst’s set design from Scheherazade (1911). These are mainly photos and scans I have from the year I spent in the archives of the Palais Garnier (the Paris Opera) where all the good stuff is.

The crux of why these costumes are insanely interesting to me is because they are very specific to their time - they are a product of a resurgence in nationalist interests in Russian art (Diaghilev ran Mir Isskustva and worked with Savva Mamontov before he organised the BR) as well as a carefully crafted, highly artificial presentation of Otherness, expressly destined for export to the west. French audiences in the first decade of the 20th century (because there is a stark cut-off at the beginning of WW1) still had an appetite for Orientalism, despite their flagging colonial power. What the Russians brought them was compelling mix of performative Orientalism just vague enough to be appealing and fantastical, visually intriguing, and refreshing to a society that had otherwise come to recognise itself as decadent, fallen “victim” to modernity. In the athletic virtuosity of Russian bodies, Bakst’s exotic visual language and the soaring music of Rimsky-Korsakov and Stravinsky, the French devoured what they deemed a sort of noble savagery (yes, that kind). Despite the oversaturation of Orientalism in painting throughout the 19th century, the French identified a kind of masculine vigour and freedom in these live performances they found they themselves lacked, and longed for. Primitivism, as demonstrated in myriad ways by the BR, was for them a way to reconnect with a virility that they felt modernity had stolen, or at the very least, weakened. If you think this sounds eerily akin to the discourse around mounting desire for war to “cleanse” or “reset” Europe during that same period, you are right. 

A few of Bakst’s lesser known designs from the archive, for context (including a reprod by Barbier which I don’t have the OG of but is saved in my Bakst folder so please take my word for it). I have a thousand more of these but tumblr has an image limit per post 😤

Tamara Karsavina, who often performed with Nijinsky, and one of my most beloved historical figures. The existence of a strong classical ballet cirruculumin the UK today is in part thanks to her. 

One of her most famous roles, as the Firebird:

Nijinsky is by far the most interesting figure to come out of the BR. He combined virtuosity and strength (that most audiences identified as masculine) with a glittering, joyful, and expressive queerness on stage (and off). Some of his greatest roles are expressly feminine in their costume design: Le Spectre de La Rose, for example.

There’s a colorised version of this out there where you can see every pink rose petal on him.

While others are much more decorative but still markedly Orientalist (or Russian-Orientalist): Le Dieu Bleu, La Peri, Les Orientales, L’Oiseaux de Feu. 

This last image above is not, the last I saw it, in a private collection. It hangs above the vestibule of the Palais Garnier archives (also Napoleon’s private hangout room) where it faces the sort of “diptych” version that features Karsavina, and on occasion I would stand below them and weep quietly).

Either way, there is an argument to be made about Nijinsky’s physicality and, more importantly nationality as a kind of avenue of permission through which the French could admire both his beauty and athleticism and even, to a degree, imagine themselves in his place while still maintaining that safe distance of Otherness.  

But I would argue that his greatest role was the Golden Slave in Scheherazade, a wild, erotic orientalist fantasy that has little to nothing to do with the actual tale of Scheherazade. In it, Nijinsky - bejewelled, wild, ecstatic, (and yeah often in blackface) - cavorts with Zobeide, the Sultan’s favourite, in a very sexually explicit storyline. Both characters are equally decorative in their costumes, and both, in real life, were recognisably queer(ed) figures. It’s Scheherazade in particular that helped accelerate an obsessive trend in fashion (Paul Poiret was at the centre) for Orientalist design. Bakst himself did some silhouettes that are hard to distinguish from his costume design, and through the remarkable illustrations by Paul Iribe, Georges Lepape and Georges Barbier, we can see some of the blatant repetition of motif and silhouette in these ensembles that are designed, among other things, to be worn to the theatre. 

3rd and 5th are depictions of costumes of the Firebird and Zobeide respectively; the rest are fashion plates. This doesn’t even include the lampshade dress - which I don’t have a handy picture of, but have seen in real life - that is a pretty blatant melange of the Firebird and Zobeide, as designed by Poiret. Below is one of my favourite examples: A woman in a lampshade-style dress, standing against a backdrop not unlike Bakst’s set design above, attended by a archetypal oriental servant wearing Nijinsky’s Golden Slave costume.

These motifs also proliferated in advertisements and in all kinds of other consumer products (perfumes, for example, and decorative objects). Thus, there’s a performative aim in wearing these designs that I read as a sort of pseudo-kinetic empathy (and can funnnily enough probably be compared to cosplay). There is an attempt here to channel what is being presented onstage, to reenact it, to physically embody it, in the way that fashion is, at its core, a tool through which to construct identity. That the French pulled inspiration from an openly queer man leaping across the stage dripping in jewels, and from femme fatal-style odalisques, says a lot about the visual and cultural impact the BR had on the theatre-going public at the time.

You can see in these fan designs by Paquin some pretty obvious references to the BR aesthetic: L’apres-midi d’un faune, Daphnis et Chloe, Scheherazade, even a little Le Pavillon d’Armide in that first one. 

Nijinsky was not the only one to queer the stage: despite not being a dancer trained to the level of the BR troupe, Ida Rubinstein, no doubt purposefully channelling Sarah Bernhardt, was also a beloved stage presence, whether as the sly harem favourite Zobeide or as the strikingly androgynous St Sebastian, gayest of saints. 

This is not to say there haven’t been wonderful and brilliant costume designs since - and quite a few known fashion designers working alongside dance companies, to great success or otherwise. I will, however, shoutout my favourite contemporary work: Akram Khan’s Giselle, which has everything and yet nothing to do with Adolph Adam’s 1842 piece. I don’t even want to post pictures because the costumes of the nobles (the landowners, in this very apocalyptically late-stage capitalist version) are so fucking breathtaking in relation to the overall design, and their entrance itself is probably one of the most spectacular parts of the ballet, that all I can say is just see it. Or buy the dvd. What Khan does gesturally is beyond words, what Vincenzo Lamagna does with Adam’s original score is visceral and haunting and churns my insides. I make a point to see it live at least once a season when it’s touring with the ENB, and I will do so until it leaves the repertory or until I die. It’s my contemporary Scheherazade. It’s a gesamtkunstwerk. 

Tldr Leon Bakst is one of the greatest costume designers of the 19th and 20th century and criminally underrated. 

It’s not ballet, and it’s not the sumptuous costumes from Boris Godunov, but as a bonus here’s my favourite image of opera star Fedor Chaliapine as Ivan the Terrible.

[infinitelystrangemachinex]

streaming tv is like the fantasy/fiction need for a mid list. big money thrown at projects expecting that big money can make anything too big to fail, when the reality is that there’s only so much profit to make in an oversaturated market and only so many properties that can be the number one most popular thing at a time, but no matter how many projects fail or how variable the quality of the art is, it’s never going to be acceptable again to shore up most of your projects with only SOME money and letting that “mid list” find longlasting audiences that provide your baseline business

i wish both streaming tv and the publishing industry would spend less money on more projects that cultivate good writing. i want good writing and long projects to get invested in so bad that i'm caring less and less for production

my thesis statement is that tv shows are being canceled because they cost too much money. a mid list would have saved most canceled shows. higher production costs don't mean better writing, and lower production costs don't mean worse writing

the publishing industry is asking for shorter fantasy books and is canceling series and leaving authors behind because it is throwing all its money at shiny new things that are not actually new and don't stick

all of this without investment in a "mid list" to keep baseline profits coming or to keep a foundation of writers paid and busy

if companies spent less money on shows, would they last longer? would they hone writers' skills more? does this extend to animation where the budgets are so much smaller? or is there no world where i could get multiple 25-episode seasons of arcane and i'm just deluding myself

fantasy books especially have had an oversaturation problem for years, but the biggest problem is an over-reliance on debuts without investment in originality or in authors’ futures. what this looks like is big money thrown at marketing shiny debuts or at a subset of the old familiar faces in fantasy that established themselves before the shift in industry mindset. everyone else either gets scraps or can’t find their footing after their debut. you either go viral somehow or you go home. to make money, the only acceptable projects are generic or are recognizable rehashes of previously popular but specific ideas. fantasy is considered a popular genre now, but in my opinion, fantasy has never stopped being niche, but the need to find bigger audiences and bigger investment has resulted in pushing fantasy series that don't do anything new or interesting and actively spurn good prose, but can appeal to as many people as possible (instead of weird fantasy freaks, aka me, i'm freaks, now most of the freaky fantasy i can find is in video games and a single tear is rolling down my face)

now tv. buffy the vampire slayer cost about 1-2 million per episode. star trek tng cost 1 million per episode

look where we’re at with streaming services. tv shows that cost millions and tens of millions of dollars per episode. the sopranos redefined what prestige tv meant and it cost 2-6 million per episode. chasing the new prestige mindset, game of thrones started out at 6 million per episode. today, early game of thrones’ budget from about 2011-2013 is joked about like it’s chump change, especially for game of thrones or hbo. but prestige tv reeled in that subscriber money. the streaming model today is the continuation of the prestige tv model, except that every show needs to be prestige, no matter the audience or genre or story structure. because prestige tv made money

now that the baseline model for helping your subscription/channel make money is to throw 6 million+ per episode, it's no longer a mystery why seasons are getting shorter and shorter. and the demand for higher and higher production will only mean that shows take longer and longer to make

netflix shelled out 6 million per episode - what an oddly familiar number, huh? - for stranger things season 1. season 4 cost 30 million per episode

wheel of time season 1: 10 million per episode. rings of power season 1: 58 million per episode. these are adaptations btw, not original IPs, but this is SEASON ONE money you’re looking at. i liked both rings of power and wheel of time decently, but my hot take is that both of these shows are under-written and over-produced. why so much money thrown at projects with writers at the helm who are inexperienced in the fantasy genre? rings of power in particular is bank-breaking and it was originally planned to run for several seasons

the mandalorian season 1: 15 million per episode. andor season 1: 20 million per episode. the acolyte season 1: 22 million per episode

remember that the subscription model requires subscribers to make money and requires NEW subscribers to satisfy the hunger for growth, and star wars is a single IP with established fans. the mandalorian, andor, and the acolyte all took major risks in different ways. the mandalorian actually fell back on star wars fundamentals (rather than being something net new in my opinion) and its risk was in being a show, not a movie, and the first of its kind on streaming for star wars

andor could be the riskiest fantasy/sci-fi show to hit streaming, ever. 12 episodes for season 1 that cost 250 million overall, not 6-8, explores marxist themes, and did not pull in new subscribers. what popularity it does have is purely due to word-of-mouth and plain old good writing, rather than marketing or by simply being part of star wars. it was originally going to be 5 seasons but is now going to be 2 because... 250 million dollars is a lot to spend on one season of television that didn't make you a lot of money. simple as that, even if andor is the best live-action thing disney has produced in decades in my opinion

the acolyte season 1 was 8 episodes and cost 22 million per episode, which armchair critics on social media are stating is the reason why the show has been canceled. haters will just say it was canceled because of bad writing, and fans are saying it was because of review-bombing and the diversity of the cast and crew

i disagree on some level that the acolyte is the first star wars show to be canceled, because again, andor was going to be 5 seasons and is now going to be 2, losing over 50% of the original story. even fans of the acolyte will agree that its writing wasn't the best. most fans who have seen andor will agree that it is the best-written star wars media ever on par with the best episodes of clone wars. both shows brought me over to disney plus when no other show or movie did

but in effect, both shows have been canceled

my take is that if a mid list existed, both shows should have been on it. they are part of an established IP with established fans who were going to watch the shows no matter what. most people with star wars fatigue would not have heard about the uniqueness of these shows until later and would have probably picked them up by their finales or by their season 2s

if they were not star wars properties and were original stories instead, both of these shows were still fairly unique doing things that appeal to "weird" subsets of sci-fi/fantasy fans. the mid list would have been perfect either way

i firmly believe that a mid list would have saved both of these shows. 6 million per episode MAXIMUM. ideally less. not because i dislike either show, but because i care about writing above all else. pay 1 writers room a fair wage and let them go fucking nuts for a few seasons. as long as everyone else in the production is being paid a fair and living wage, i don't care how little is spent on the show

stranger things should have been a mid-list anthology series that ran forever, wheel of time should have been a mid-list tv fantasy with at least 12 episodes per season to do any justice to those massive books but also to pay homage to the book series' roots as high fantasy that goes on and on without much of a plan and with often mid and sometimes junky writing but with appeal in that it was long-running, made readers familiar with the same characters every book for many hundreds of pages each, and is something of a comfort read now for many fans

i think that reality is catching up to streaming services and things are going to get worse before they get better

but i also think that the next "evolution" of tv should be the return of the mid list

[threeletterslife]

Update

TL;DR: below the keep reading, vote on my update schedule

Hey everyone :) It's been a while—five months since I've last posted on this account and nearly a year since I've posted the 35th chapter of LOD

First and foremost, I want to apologize for being gone much longer than expected, and I will apologize again for being unable to offer more clarity about my absence, for now and in the future. Thank you to everyone who sent kind asks/messages checking up on me and to everyone who was invested enough in LOD to inquire about an update schedule. I felt a lot of guilt for not being active and for not delivering or meeting expectations, so just wanted to send out my sincerest apologies :')

I will attempt to answer the three most commonly asked questions I've gotten during my hiatus in this post:

Will you be continuing LOD?

Yes. As I've said time and time again, I will never abandon a story that I've invested so much of my time into. Call it sunk cost fallacy or delusion but I will finish LOD if it's the last thing I ever fucking do lol. Updates will be slow, however. But I promise you now that I will never actually leave. If I do suddenly disappear for years, that honestly means that I've died lol

When will you be posting a new chapter?

This depends on you guys. In all honesty, I have chapters 36 to 39 "ready" to publish. I am not in the position to write at this moment in time, so this would mean after I post chapter 39, there's no telling when the next update will be :( I have two options for you guys:

OPTION 1: I can post all of the chapters I have written in one go

Pro: You'll have access to all of the existing (and finished) LOD content, which is very well-deserved, so you can binge-read to your heart’s content

Con: You'll probably have to wait over half a year for chapters 40 and beyond

OPTION 2: I can post one chapter monthly/bi-monthly on a consistent schedule

Pro: I'll be able to buy some time (it'll take 4-7 months to post the remaining chapters) to write so that by the time I post chapter 39 (later this year or early next year), I'll most likely have chapters 40+ ready so you won't be as much in the dark about my future update schedule

Con: You'll only get one chapter every ~1.5 months. I also can't guarantee I'll have chapters 40 and beyond ready to go after I finally publish chapter 39 but I'd try my best

Are you alive? How are you doing? Are you okay?

I'm managing, though it's been a while since I've felt like I've been living. I've been in survival mode constantly for the past year, and it's quite draining. But the good news is that I'll be graduating next year with my degrees, so I expect I'll be freer then. I'm currently taking classes and working at my internship so I'm constantly inundated with projects and exams

I have been writing, though. That's one thing in my life that will never change. College has been hard on me, though it has also been such a privileged, fun, and rewarding experience. It helped me grow up or maybe even devolve in some ways. I've met some diabolical people around here, and have had not-so-great experiences that definitely forced me to become less trusting and stern. Sometimes I miss my old self, but I also know that I've grown into someone who can be more tolerant of the complete BS that is occasionally adulthood LMAO

Anyway, I'm extremely oversaturated with STEM everywhere I go, which given my majors, is a no-brainer. But I find great reprieve in art, especially art that I create to heal myself. So I've slowly come to realize that the content that I want to create—and the content that makes me happy to create—is not well-aligned with LOD. Over the past year, I've been working on small side projects, such as an original collection of short stories that I feel really at peace with. I've said it before and I'm saying it again, but LOD has always been my challenge piece. I don't dabble often in fantasy, and I wanted to give it a go; I'll finish what I've started. But I would also hate to reduce what LOD is to a simple word like "fantasy," though that was my excuse to avoid writing it for months. I actually think LOD's a lot more than that. In a way, it's a character study; it's not purely about the magic systems. In fact, I don't even think I put that much emphasis on the magic systems in the first place. It's more about the characters, and what the people have to go through during a war, which I've also realized becomes increasingly pertinent given the political climate right now

I'm getting into ramble-town territory, so I'll stop for now. I think with all that being said, I'm doing okay. I'm exhausted, but I'm also an incredibly privileged person, so I should be grateful for where I am in life right now and the people who have helped me rise to this level (you included!)

I'm excited to graduate, and I'm excited to write every single day once I start my full-time job. My life goal is to publish a book, though I don't think it'll be a novel—either a novella or a collection of short stories. Anyway, if you've come this far, I thank you from the bottom of my heart. I will forever be grateful for this platform that I have and also be incredibly honored that people read what I put out here. I'll begin posting as soon as the poll is completed

Thank you for being patient with me, and I hope you stay happy and healthy <3

[popculturebuffet]

HCG: Garfield His 9 Lives Retrospective: The Special (Patreon Review for Emma Fici)

Hello all you blues cats paying your dues and welcome back to my look at the three faces of Garfield His 9 Lives. Last time we covered the book which was excellent for the most part from some good comedy to excellent horror.

So now we're onto the second part of this unintentional trilogy. The book was clearly either a success or a good enough idea that not only did Film Roman make a special out of it but unlike the others this big chonky boy is an hour long. It's something I forgot but you yourself can experince as the specials are all on Peacock and Tubi, and I highly recommend this one off the bat.

9 Lives takes the basic premise of the book and adapts it decently for animation: There is still a good chunk of segmetns that use the regular garfield style, but some vary it up a bit in ways similar to the book if not as radical to keep the budget down.

The bigger change is that 4/9 of the segments are replaced. Only Cave Cat, the Garden, Lab Animal, Garfield and Space Cat remain, largely unchanged. Babes and Bullets is gone but was made into it's own excellent special, while The Vikings, the Exterminators, and Primal Self are just gone.

If I had to guess why, the Vikings might of been hard to replicate on a bduget with it's fantasy style illustrations, hence the much cheaper King Cat in it's place. The Exterminators coudl've been a rights thing, since some stooges shorts were under copyright, but it could've just as easily been a time thing as the special exclusive stunt cat is only a minute long. Finally we have primal self, the only one where it's damn obvious WHY it didn't happen

This version is the most popular, likely because while the book is clearly known and loved, it hasn't been reprinted. it was printed enough that thankfully it's cheap to get and the Internet Archive makes it avaliable, but far as I can tell it hasn't been reprinted in decades. The special on the other hand has 80's nostalgia for the kids who were there at the time, got a release on the garfield fantasies dvd (Alongside babes and bullets of course.. and a indiana jones spoof with a dash of james bond that is far more foregatable but fits the astetic), and is as I mentioned currently avaliable for free under garfield and friends on tubi or on it's own on peacock. It's way easier to see the specail and for it to get more word of mouth. I even saw it first before the book thanks to said dvd. So the question is how does this more popular adaptation hold up to the OG? Let's find out under the cut and once again learn when you've got 9 lives you've got nine ways to loose.

Directed by Phil Roman, who Co-Directs all other segments

I love the title cards in this version too. And it starts the same way: Jim Davis is god

And orders the creation of cat. It looses a bit of luster as oversaturated footage of paws inc isn't as fun, but I do like the booming voice of god, played by C. Lindsay Workman who played the old man in the halloween special and Garfield's Grandpa in Garfield on the Town. The punchilne's also not as strong as rather than revealing him as a cat he just says "It'd make for an intresting story". This is understandable as they save this for the ending. More on that when we get there. For now this segment is alright and workman makes it fun, but it's the only segment I feel got a downgrade between versions.

We next get our opening number, which for once isn't tied into the story thus technically giving us 11 segments this time. Garfield wails on the harmonica while we get another great Lou Rawls opening, a blues song underlying how rough it is to have 9 lives "You've got 9 ways to loose" and the genre fits the man like a glove. Truly awesome stuff and a song that's been in my head this whole retrospective and while making the cover arts.

Directed by George Singer

Watching this one I figured out WHY I didn't like the Book version as much: I saw this one first and Cave Cat has one thing this one dosen't: narration. The hammy narrator really sells the documentary feel of things better than text boxes can. I love comics as a medium but there's some hard limits, and this is a bit that just works better when you have what I suspect to be Thom Huge giving nature doctumentary style narration. It makes even the cornier jokes hilaroius and Cave Cat feels more distinct ironically with Lorenzo Music's iconic voice, with him doing a good job making this cat still have the garfield voice but feel primitive. It's good stuff and just a few touches take a pretty decent if done before bit into something fun.

Directed by John Sparey

Yeah I don't like this one. Before reading the boom comics version, this was easily my bottom life across all versions.

King Cat DOES have an interesting hook: Garfield is the pet of a dim witted pharoah and thus worshipped. The problem is as basically vice pharoah.. garfield has slaves

For starters a past version of Odie is one of them and Garfield spends the short fighting to not be killed.. but you don't care as King Garfield enslaves a bunch of dogs and hassles the slaves at the period. Karma does bite him as despite his best efforts his owner dies and he becomes a slave to odie after odie saves his life but it's hard to see that as a good "the oppressed has become the opresser"

So not only do you have slave master garfield and this ending.. you also have no real jokes. The only one that makes me chuckle a bit is that the pharoah's evil brother who eventuallyt akes the throne is named prince black bart. It's sto stupid it works. This segment.. is so bland and weirdly fucked up at the same time it just dosen't work.

Directed by Ruth Kissane

The garden is kept the same plot wise, but does feel like an equilveant exchange. The animation looses the weird 3d style and while they try to make it slightly puffier to match the book, it mostly comes across as the standard garfield. That said what we loose in the trippy 3d, we gain in the narration, done by what seems to be Nermals voice actor which comes off as Chloe herself narrating it, which adds a nice bit of whimsy that papers over what was lost. The segment's still not entirely for me, but I appricate it for what it is.

Directed by Bob Scott

Court Musician has my faviorite look out of the shorts, being one of the few to get more of a visual identity in the adpatation, having a nice very blocky style to the charcters. I love it. And it's no suprise that director Bob Scott would go on to have a healthy career doing a lot of work for disney and some design work. He even designed the characters for the threre best segments in this one, also doing the designs for Diana's Piano and Lab Animal.

The short is a fun romb as we follow famous composer Fredrick Handel whose cat is a nicely deisgned blue cat.

I really wish bob had gotten to direct more, this is great stuff as Freddy , as bluefield calls him, finds out he has to make a concerto overnight... which his boss the king never commuincated to him. So to do so he has his cat write half. The first half is a slow well done fuege as the Jester, history's greatest monster, taunts Freddy with his death should he fail... only for a rousing jazz number the cat wrote to be a big hit. It's fun as hell, well written and even caps off the special in lieu of blues cat. Which i'd object if this peice weren't so great.

Directed by Bill LIttlejohn and Bob Nester

Stunt Kat is a quick fun segment likely done as while the special was given extra room it didn't have room for 9 full segments. So instead we get a fun bit of comics history as this garfield was a stunt double for the legendary 30's comic strip Krazy Kat. Krazy Cat was a fairly simple but influental strip with surreal backgrounds. The basics boil down to this

Krazy loves Ignatz, Ignatz throws bricks a tthem, and the local cop tries to put Ignatz away and loves Krazy. It's a zany love trinagle, a tragicomedy and magistically drawn. I haven't gotten super into it, but I do respect it and it's influence on later cartoonits with both Bill Watterston and Berkely Brethead citing this one as an influence.

So here Garfield fills in when Krazy gets a bunch of bricks dropped on them while Officer Pupp runs the camera... and dies pretty quickly. A brutal fun gag and a nice way to give a cameo to a legend... if I'd remembered this I would've done the same in the first entry but hey, thems the breaks. Or the bricks I guess

Directed by Doug Frankel

Diana's Piano might be my faviorite segment here and it's the simpliest, a tale about a woman reflecting on her life to her cat patches, and the life of her previous cat Diana, a cat she got as a child, and kept for most of her life, into marriage right out of college, through the birth of her child and to Diana's sad end. It's got the most gorgeous animation of the special, this nice fuzzy style as if it was painted. The animations very limited for the most part, but it works well, making it feel like a painting come to life. It's a simple realistic tale. It could face issues with not feeling very garfield like.. but with some of the more experimental segments from the comic gone, it nicely fills the place of stretching the concept of "it's a cat" to as far as you can take it. Diana isn't garfield yet has pieces of him: her not wanting her owner to marry, issues with kids, there's pieces of garfield in his past self. I also think it's neat they acknowledge that past lives don't have to be exact matches for their future lives. This is reincarnation after all. Part of the books charm was that the various garfields were so diffrent from one another yet had some part of who he'd be in his 8th life.

Diana's piano is a moving, wonderfully done piece, a short heartbreaking story of life that uses the medium well.

Directed by Doug Frankel

Lab Animal is the special's most memorable segments for the same reasons it was in His 9 Lives: It's the darkest segment here with Primal Self gone, and it's a striknig diffrence:While Diana's piano gives us another grounded segment, instead of a sentimental story of a cat's life, we get a cat desperately breaking free. Rather than go full realistic, they go more with a don bluth style: cartoony yet stylish. I checked director doug frankel's imdb but he shockingly only worked on one bluth film AFTER this, Ferngully, like most people on this special going on to disney or early dreamworks.

Lab Animal really is a straight adapatation of the book the only big changes being a sequence with the dogs chasing the Lab Cat up a tree, and the MP just.. glaring at the cat instead of shooting at it. Which is less effective but.. I get it. Late 80's cartoon standards and all that. Everything else is largely the same, and I feel both versions are equally good: The original has nice shades and detailed artwork, while this has gorgeous animation, a really tense score, and both have the effective twist at the end. It's fantastic and easily the best adaptation of the bunch, adapting the story perfectly while changing it just enough.

Directed by Bob Nisler and John Sparey

I really.. don't have much to say about this one. It's not bad at all: given this was one of Film Roman's later specials, they've perfected doing garfield at this point, so it's not suprising the garfield section still looks great.

The thing is this segment is the straghtest adaptation out of the bunch. It's almost word for word panel for panel with only the slightest changes. One of those changes bothers me as they censor old eli's line

The bury me is why it works. It'd be like shoretning Snoopy's Awkard Teenage Nephew's neck. It's fucked up and it's funny. And you could say "Well they censored other stuff for kids".. but they still had garfied and odie own slaves. I can understand editing out the gunfire from Lab Animal as it was the 80's and guns in kids shows was, and still is, if for more understandable reasons, a touchy subject. But this is just a bit of black comedy and I refuse to belivie garfield owning slaves is more acceptable than Old Eli wanting people to take him home and bury him.

Otherwise it's a solid adaptation, it just dosen't stand out as much both due to having no real changes for better or equal like the others, or being that diffrent from the other specials or garfield and friends. It's a reason King Kat also limped along for me I forgot to get to in that section: It feels like one of those historical episodes garfield and friends would do. Every so often they'd have jon and garfield play their own ancestors. It feels lazy in comparison to the book and other segments here. This dosen't because it shares the whole origin story thing, but does fade into the background a bit.

Directed by Bob Nessler and John Sparrey

Like cave cat I like this one more than the book, but even more as the animated version is vastly experimented. The federation planning to murder garfield in space is given more personality, counting down to his death and skipping one because he was in the bathroom, and the count down gives things a sense of pressure, as does the fact that rather than be a game this is all real and garfiled is sent out to survivie as this is his last life. So it adds tension: we know it, they know it and thus we WANT Spacefield to survivie. We also get a bunch of clone odies who hilarously get thrown back from attacking in drone ships by a fire hydrant. It keeps the best stuff from the short but expands it to be way funnier.

The ending also helps. Garfield.. still dies.. this time for real as does Odie.. and god cat calls him before them.. and due to a seeming clerical error asks garfield what life he's on. And in a touching bit of clearly remembering his eight life some how, or just kindness.. garfield gets odie 8 lives too. IT's a reminder that while Odie may anoy him.. garfield loves his brother and gladly saves him. And the ending does use the god cat twist well. We don't see a full furry face just the eyes.. btu we get the sense god was just lying his ass off and willingly let both get 9 lives as they deserved it. Garfield's argument is also.. valid. Unlike his other deaths, he didn't volunteer for this one. he was just shot up into space and died horribly. IT's a cute ending and really ties it all together well and feels like a better much more concise one than the book.

The Ranking Diana's Piano: It's schmaltzy but damn if it dosen't work on me every time, with gorgeous animation and a truly lovely story. Court Musician: I"m shocked this one ended up as high as it did but I just love the blocky, gorgeous art, that fun ending number and the jester being a hilaroiusly cruel shithead the whole segment Lab Animal: Tense, well done and gorgeous Space Cat: HIlarious and the best garfield style segment of the bunch Cave Cat: Music's performance and the great narration really sell this one Blues Cat: A catchy as hell number from lou motherfucking rawls. Stunt Cat: Only this low because it's so short but it's so damn funny and dark. In the Beginning: It's fine Garfield: Ditto The Garden: Thirded King Cat: We need a sequel where Jon is moses and frees the slaves from odie.

Next Time: We end this look with a hit and miss comics anthology that came decades later. No one really talks about.

[avispatr]

7) what character did you begin to hate not because of canon but because how how the fandom acts about them?

Alastor, Angel Dust, and Vaggie.

Alastor and Angel Dust were just everywhere from right before the pilot aired to right after it. It was overwhelming. I didn't much care about who Alastor or Angel were during this time because the fandom was so oversaturated with those two characters, every time I turned around ppl were talking about them, and making videos about them.

Vaggie on the other hand just seemed to bring chaos and hostility to people. You couldn't have any kind of conversation about Vaggie without someone getting pissed off for some reason. Some of the issues that came up were not small things mind you, some of it was pretty serious shit, not trying to underplay the conflict so much as mention how it made me feel. The fact I feel the need to make that disclaimer shows the problem I and many have had. People would be outraged because people shipped Vaggie with men, people would be upset people chose charlastor over chaggie, people would argue against policing other ppls roleplay blogs and fanfictions, and some people just didn't like Vaggie and were yelled at for not liking her. Some people would instigate chaggie fans by drawing fucked up art about her being murdered. It goes on. Overall I just was weary anytime Vaggie was a point of discussion.

I have sense grown to enjoy Angel and Vaggie as characters since the show came out. They were given time to shine, we were able to see who they were and establish their chemistry with other characters. I actually walked away from the series with them being two of my favorite of the main cast.

Alastor on the other hand is a character the fandom has ruined for me. That might change as time gone on, but the hipster in me really just tries to avoid things that get too popular, and it does not help the general opinion of him the fandom has is one I don't agree with at all.

[basgevers]

Britpop

Britpop was a British music and cultural movement that emerged in the early 1990s, characterized by its revival of British guitar pop and its embrace of British cultural identity. It sought to distinguish itself from the grunge movement in the United States and was part of a broader reaction against American cultural dominance in music. Britpop is closely associated with the "Cool Britannia" era, a time of renewed British cultural confidence that also included art, fashion, and politics.

Defined by its catchy melodies, jangly guitars, and lyrics that often referenced British life and experiences, Britpop was deeply rooted in the music of earlier British bands like The Beatles, The Kinks, and The Jam, drawing inspiration from their quintessentially British sounds and themes. Lyrically, Britpop songs often addressed everyday life, working-class identity, and the dynamics of British society, sometimes with a sense of irony or wit.

Some of the most prominent bands of the Britpop movement include:

Perhaps the most famous Britpop band, Oasis, led by the Gallagher brothers, became synonymous with the genre. Their 1994 album Definitely Maybe was a huge success, featuring hits like "Live Forever" and "Supersonic." Their follow-up album, (What's the Story) Morning Glory? (1995), solidified their status with iconic tracks like "Wonderwall," "Don't Look Back in Anger," and "Champagne Supernova."

Another leading band, Blur, was often seen as Oasis's main rival. Blur's music combined elements of indie rock with more experimental and art-school influences. Their 1994 album Parklife is a Britpop classic, featuring songs like "Girls & Boys" and "Parklife." Blur's track "Country House" famously won the 1995 "Battle of Britpop" against Oasis's "Roll with It."

Fronted by the charismatic Jarvis Cocker, Pulp offered a more literate and observational take on Britpop. Their 1995 album Different Class included hits such as "Common People" and "Disco 2000," which vividly captured the class consciousness and social commentary that were hallmarks of Britpop's lyrical content.

One of the earlier bands to emerge, Suede's 1993 debut album helped lay the groundwork for Britpop, with hits like "Animal Nitrate." Their glam rock-influenced sound and dramatic style were distinctive within the genre.

Although sometimes seen as more alternative rock than Britpop, The Verve's 1997 album Urban Hymns and its standout single "Bitter Sweet Symphony" became emblematic of the later phase of the Britpop era.

Britpop was more than just a musical style; it was a cultural phenomenon that represented a newfound confidence in British youth culture during the 1990s. It coincided with political changes, including the rise of Tony Blair's New Labour, which embraced the movement as part of its image of a modern, vibrant Britain.

However, Britpop's decline began in the late 1990s. The movement became oversaturated, and many bands struggled to innovate beyond their initial success. Additionally, as the 1990s drew to a close, the cultural mood shifted. The emergence of new musical trends, such as the rise of electronic music and post-Britpop bands like Radiohead, along with the increasing fragmentation of popular music tastes, led to Britpop's fading influence.

By the turn of the century, Britpop had largely run its course, with its leading bands either disbanding, evolving in new directions, or losing their earlier popularity. Despite its decline, Britpop left a lasting legacy, influencing countless bands and remaining an iconic chapter in British music history. https://youtu.be/C8RrvCe-13U?si=b4HCvK15A-ThIY4x

[game-boy-pocket]

Today, I beat Super Mario Wonder

I'll do my best not to mention any spoilers.

I just don't know what to say. You know how I say I complain a lot because it's easier to voice what I wish was better than to explain why I already like something? Well that's what's going on here. This game has very little to complain about. At least in my eyes. I already see a lot of people being contrarian about this game. Far be it from me to say anyone's opinion is invalid but I just don't know what these people want.

The most ridiculous things I hear is that it's still just more of the same, both visually and mechanically, and to those people, I frankly think they don't actually want a Mario game. There's wanting things to be more creative and shaken up, and then there are people who want things to be too different, they don't even want it to be recognizable as Mario anymore and like... I get that indie platformers are doing a lot of crazy cool things with mechanics and art styles, but I just don't know where we got to this point of brain rot where platformers need to have very weird and experimental art styles to be considered worth a damn, as if Mario Wonder's art style isn't already fantastic, these people won't be happy until the game looks like Ori and the Blind Forest or Hollow Knight or Baba is You or some shit. As for it being "more of the same", again, what do they want? A story heavy survival horror game? No more power ups? I just don't get it.

This is probably the only 2D Mario that could go toe to toe with the NES and SNES games in terms of quality, NSMB games were good but very much "paint by numbers Mario" that not only didnt' do anything new or interesting, but cut out good things from past games or brought those things back but in a worse form. This legit could compete with some of the 3D Mario games, imo. I just don't know what the hell people could possibly want that this game doesn't do.

To me, there's not much I can think of.

Here are my biggest complaints that I would have liked to be done different....

!!SPOILER WARNING!!

The bosses. There are only two bosses in the whole game (arguably three but it's difficult to count what you find on airships as a boss ).... isn't the lack of boss variety one of the main things people don't like about the Koopalings? Ironically the Koopalings would have added aw whole lot of variety here. They also would have got some dialogue, since this is the first 2D Mario game that actually has dialogue. Koopalings being in Wonder would have fixed a huge issue with Wonder, and with the Koopalings themselves, as not only would they be able to display a little more personality through dialogue, but the Wonder power would have made their battles a lot more interesting than what we're used to. Mario has never had strong bosses but this feels like it was their chance to change that. I'll say this, the Boss battles in this game are pretty good, even though they re-use Junior over and over.

Yoshi being baby mode doesn't bother me as much as I thought it would but I still would have preferred and option to just ride a Yoshi without having it tied to multiplayer. The only way you'll experience Yoshi, is if somebody plays as him, there are no yoshi eggs out there like in Super Mario World for you to find and ride on a Yoshi who runs away if you get hit. Seems unfair to lock one of Yoshi's features to multi player, especially to people like me that enjoys playing alone more.

Nabbit still sucks and feels like a forced character. I swear they better have a pay off in mind for Nabbit if they're going to insist on him sticking around

That's all I got... level designs are solid, music is mostly good, ideas are great, I guess a flying power up would be cool but I don't care that much. There are a few enemies I wish I saw more often but I also wouldn't want them to be less special and oversaturated. This really is the best Mario game in a long time, I would probably even say it's the best one on Switch.

I have not yet 100 percent completed the game, I missed a few wonder seeds and badges in the second world. But I got everything in every other world, including the Special one. That's another point in this game's favor, they didn't lock anything behind post game as far as I can tell. You could challenge the harder levels in the game before you fight Bowser, and I appreciated that, though it did spoil some of the wonder flower events in the final act of the game, but it's no big deal.

I don't like giving number ratings but this really is as close to 10/10 as a Mario game gets. I'd call it 9.5 outta 10, if the things I listed in my bulleted complaint list were different, I'd maybe give it a perfect 10.

The game is wonderful. If you like Mario, don't sit on the fence.

This might be my last post about the game for a while, I'm gonna try and get the few wonder seeds I missed and all the standees ( even tho I don't use them ), if anything significant changes, I'll come back, but for now, consider these my final thoughts. Great fuckin' game.

[idontwanttospoiltheparty]

What do you think of Taylor getting all the hate? I think this is the first time in a long time an album announcement wasn't received well. People are usually neutral towards her even if they don't like her music. Maybe it's because she has been oversaturated she has been constantly releasing albums since 2022, and then the eras tour and break up drama what do you think?

I ended up writing a weird, tangential ramble, so in short, to answer your question: I think it is just oversaturation. She's sort of becoming a lightning rod for people to express all their frustrations with the world, which might be legitimate grievances and might even be fairly related to her (like say jet emissions), but her presence in pop culture just leads to her continuously being the vehicle to have these serious conversations, if that makes sense. Like, I wish she switched to renewable kerosene (which is a thing, look it up! though I imagine it may not be available at most airports) but it serves no one to center a single rich singer-songwriter in the discussion surrounding climate change and the energy transition. (and also people continuously dismiss her security concerns when her houses are like REGULARLY broken into.)

It's difficult not to read most of the backlash as a kneejerk reaction (and to be clear there IS valid criticism), which is also why I try not to give it too much headspace. It's not what I'm here for.

My additonal rambling below the cut (please don't expect more of these lol):

(there's some repetition here cause I actually wrote this bit first)

I have opinions on most Taylor-related news stories, but I find interacting with the haters as well as the fandom tiring in anything larger than small doses (I only follow a handful of swifties and most of them are mutuals).

That being said: I actually really understand the general "Taylor-fatigue" — as you said, she is everywhere these days — and I also think there are things that are totally fair to criticize about her (even hate her for I guess, I can't choose how people feel). But it's also hard to ignore the dehumanization she's subjected to on the daily (like the idea that her using her jet too much gives people the right to create an app to track her current location – as if her location is relevant to the amount of emissions she's caused). But I guess that's just the price you pay for the type of success she's gained. I also think one can't totally blame her. Yes, she's touring a lot and putting out tons of music but that's her job!! And I love these things and WANT more of them!! It doesn't to me seem reasonable to expect her not to attend football games to support her boyfriend just because people can't stop filming her. Being annoyed by how she's everywhere is normal, but projecting all that annoyance back onto her, leading to disproportionate criticism of everything she does: that's on everyone. I don't know if it's avoidable at this point, I just wish people interacted with her in a more self-aware way.

Also, regarding people finding the vibe of the next album cringe: again, I don't have an influence on how people feel about art lol, but I do find that some of the criticism seems to be assuming it is entirely serious, without a hint of irony, and frankly I find that silly, given Taylor's entire body of work. (There was a time when people took Look What You Made Me Do 100% at face value and made fun of it for that! but oh well, bunch of people missed the nuance of Anti-Hero. Anyways.)

Sorry, I don't actually want to get into a discussion about the minutiae of everything everyone says about her. Like, I don't want to feel obligated to provide my take on every single thing that she does or happens to her, whether I support her or don't support her in that particular instance. That is too much work in such an active fandom.

[foldingfittedsheets]

One of the folks I play DnD with on the regular is getting into AI art. It’s especially weird because he’s also an artist? and is just. Fine with stealing from other creatives? He’s worked in corporate America too long and just made a long post about how: it cuts costs and how amazing it is!

I was like. Yeah, the cost being cut is literally all being stolen from artists. You are engaging in theft. He went on an ideological rant about how: yes, this will kill industries and oversaturate media markets but it’ll be a grand old time!

I’m super peeved about it but he’s obviously not changing his mind about his choosing to engage is intellectual theft. Now I have to sit across from him at a table and try not to yell at him about how he’s totally fine destroying the field I’m going into.

[c0rpsedemon]

my art practices are questionable at best and i'm in no way qualified to give advice but i feel like it so here's my complete list of Romeo Art Tips: 1. never use autodesk sketchbook it sucks so bad, only has most standard art program features in a superficial way and crashes all the time i only use it bc i refuse to get a decent art program installed on my piece of shit laptop bc it'd feel like such a waste, 2. never sketch in the same color as your lineart, 3. set the background of your canvas to the most saturated version of the dominant color of the piece so it ends up looking cohesive (just change it to something less abrasive before you export it) + be careful to not use that exact shade anywhere (colors will look more natural that way even if you have the same tendency to oversaturate that i do), 4. never use pure greyscale colors, always use a very desaturated version of the dominant color and it will read as greyscale to the naked eye but not be jarring and uhm for traditional art i only have 1 and that's that india ink comes in many colors and is your bestest friend