#design elements and stuff may change bit because I am one forgetful guy

[calebs-hangout-corner]

I love Page-Ripper cuz there's a lot of small details that I put in there that people haven't pointed out yet or noticed and I'm like "hehehehehe" like it's my own little secret. Hehehehehe. Anyway I love going through old Page Ripper stuff and noticing things I put in and and just seeing panels I think are really funny. Not everything is intentional though. I accidentally switched Brooke's phone cases between updates by accident. The phone case she has now was supposed to be a notebook but I guess my brain just short-circuted there.

[petty-crush]

An open letter/retort to the “honest trailer” for “Alien Covenant”

Of course people can disagree and of course this is a sarcastic video. But since this contains a lot of knee jerk, being negative for views comments, (and because people may get fooled by just watching this video)I think this is a good place to dissect frogs.

My bias; I think “Covenant” is a truly great film. Spectacular in ideas, behaviors, visuals, and pure fun. I loved it. I am clearly willing to die on a hill for it

The main gap is that it’s really a different series, under the mask of the “Alien” series. It actually veers closer to the 1932 film “Island of lost Souls”. Ship of survivors representing normal veer into uncharted territory; a mad scientist bending the rules of biology encounters and clashes with them; the monsters he creates go to war with the ship. And in this film evil wins.

It also contains genuinely great performance(s) from Fassbender, grand sketches of gods wrecking the cosmos, humanity abandoning its children to go after unanswerable questions, and more that harken back to Mary Shelley’s “Frankenstein” sandbox of sci fi.

To me, this film is all about David. The humans are cannon fodder for them. Which justifies their characterization. Also, he’s clearly a stand in for Ridley Scott and the work + wonder of being an artist, film director in particular.

I love this. I can see others liking it less, but is beautifully realized, staged, and executed.

So what are people looking for? Well…

[quotes around their words, mine by themselves]

“From Ridley Scott, one of the best directors… And one of the worst”

-first off, I think an artist is judged by their best work, not overall average

Scott can be quite varied. I personally favor going to cosmos than staying in your lane. Sometimes that make mistakes, but interesting ones.

Make no mistake though: “The Counselor” is a first rate film, acidic in the extreme, but so totally gonzo that it makes you breathe a different air. It’s the kissing cousin to “Covenant”, and both show a director willing to try new ideas and tones, and pulls it off spectacularly. Both have no interest in making the viewer feel good or flatter them, which definitely pushes some people away

“There are now more bad alien films than good ones”

-first off, where is “Prometheus”? Isn’t it an alien film? If not, and “covenant” is clearly a sequel to it, then maybe this film should be judged apart from the Ripley saga.

-I have wondered at times if calling it “Prometheus: Covenant” would have cut down on the confusion

-“Alien 3” is a spectacular film. It fully commits to the idea of Ripley having courage and purpose to her life as she knows she will die. It is completely different to “Aliens”(which may have been its problem concerning reception,as we will see) and “Alien”, it forms a perfect trilogy. Fincher may hate how fucked he got by the system, but it is a beautiful and wonderful film

“Alien resurrection” less so. But it is an odd, French splatter cartoon; certainly worth watching, not at all bad.

The “vs predator” films are largely minor, and I have no qualms with considering them less successful films.

-What makes the alien series great is that with each film the xenomorph changes to be what the film needs it to be. It’s flexibility storytelling wise is impressive. The problem comes when a audience only wants one type of story done

“When Ridley Scott wanted to talk about the meaning of life, he wanked for two hours”

-“Prometheus” has nothing to do with life, and everything to do with death. The characters in the film want to know about life (particularly Shaw since she can’t give birth) but they are punished at every turn, showing the universe to be uncaring.

Disagree with that statement or not, that is the rule that “Prometheus” and “Covenant” is abiding by.

Hell the first shot of “Prometheus” is an engineer killing himself. “Covenant” starts with life and realizing how the creator will die. There is consistency in this film universe.

And it also totally vibes with “Alien”.

“Save the philosophical stuff for ‘Blade Runner’, I want a short haired girl, in a tank top, fighting a xenomorph, who kills it by sucking it into the vacuum of space”

-and now we come to the real discussion/thorn in the side; this film isn’t a damn thing like “Aliens”

One thing that makes the alien series so fascinating is how it allowed two totally different filmmakers to make their masterpiece.

Also, it’s the rare series where the sequel brought in a bigger and wider audience.

I bet money that most people really only like “Aliens”. And that’s no shame, it’s a brilliant film. It’s strengths are the set pieces, the use of xenomorph as locusts, and characters that are simple but snappy and endearing.

In comparison to “Alien” which is cold, weird and slow moving (and brilliant) “Aliens” charm is more warm and dynamic. It doesn’t ask you to wait, it asks you to hold on. It gets kids in the door with Newt, it sets up a deep chord with Ripley giving her mother like affection , and it also makes Ripley more feminine and kick ass (she was wonderfully butch and joyfully selfish in “Alien”)

Cameron said it best in his critique of “Covenant”; “ I don’t like films where you invest in a character and they get destroyed at the end.”

Some people share that opinion. Ridley Scott does not. (Nether do I)His films generally have had the protagonist go through hell and often destroyed them. I admire that in him.

But that point of view explains why “Aliens” is so successful; it makes us love the characters and be sad when their friends die. Cameron is a genius, and is warm with his characters. Scott is also a genius, and picks their wings off like a cruel child.

Every alien film post “Aliens” has had to bear that cross, of creating such lovable stock characters. “Alien 3” didn’t give a shit, and made a impressive gathering of detached male prisoners. “Resurrection” came close with goofy space pirates, but were weird as shit.

In my opinion, if “Alien” came out after “Aliens” it would have not been as warmly received, because, got damn, is it cold and weird and hurts its people. It’s suppose to. The reaction to “Prometheus” and “Covenant” shows that all too clear.

Finally, Scott clearly does not give a shit about any alien film after his. I don’t think the Prometheus saga will show the queen alien because it came after Scott and he considers it invalid.

With this in mind, I can see how people are upset. Cold, hateful, sadistic are what “Covenant” are. And I love it for that.

I love mean films with a purpose and artistic flourish. And the Prometheus saga does it so well.

If you came to “Covenant” to root for its human characters, you are fucked (and kinda an idiot). Scott is making big budget sci fi epics about the mass murder of nature and survival of artists.

You can hate that, but call a spade a spade.

“In a franchise full of unforgettable characters”

(Shows only “Aliens” characters)

What about Dallas? Ash? Clemens? Golic? Call? Elgyn? Gediman?

There exists good characters other than the second film, guys

Once again, this love for “Aliens” blinds people to everything else

“Forget the humans”

Duhhhhhhhhhhhhhhhhhh

-but also, that slipping on blood part was (intentionally) hilarious

“Freshman philosophy class…two versions of same pretentious professor..flute”

-why do I get the feelings that the people who say stuff like this never study philosophy and just consider anything even slightest bit about talking about feelings and ideas just stoner shit, because they are the only people that talk about those subjects they let in their social circle?

I dunno, the idea about humanity killing its children for vague reasons, someone trying to better himself against cruelty and going mad himself, and finally having the courage to create something even when everyone else tells him to stand down sounds pretty universally relatable and human to me.

And even if it was pretentious, that is what art is, to subtract the distractions, and focus on what you want the world to be

-to me, David is sad Walter cannot create, like Scott is upset younger directors don’t get to make original universes and material. But David is also a fucking maniac who will stop at nothing, to whom other lives means nothing. That kind of grand vainness is perfectly at home in the world and its what art leisure to create out of whole cloth

But all of this gets in the way of watching strong men blow things away with guns, doesn’t it? (“aliens” did this to show how ineffective the marines were, not to worship them)

-the flute adds to the fantasy element, of the pied piper trying to lure others away, to their doom

Plus, it’s just fucking funny

“Snickers at 'I’ll take care of the fingering’”

See? This film is just so much fun

“I was not expecting this much flute playing”

I love it when films surprise me. I adore it when filmmakers follow their strange urges and give us scenes I never saw coming.

I love the scene of David tempting Walter with the flute.

I marveled at the scene where David drops his black plague on the engineers(who look totally different).

I looked around as David played the fucking theme to “Prometheus” on his flute. I starred at the other audience members, as if to ask “is this the real life?”

I laughed uproariously as just when you think it’s safe the xenomorph tracks the two pilots shower sexing, like it’s 1982 slasher time.

As soon as the humans delver us to David, I could see who this film was about. And really, the humans are just for showing his gentle and different Walter is.

Ridley Scott delivered a new horror classic, with a eye towards the 70’s and 30’s, but both feet in the present, with the score and design to make it work.

The first victim convulsing and back blood shooting. David acting as satan. Terror of trapped in the sick bay. The aforementioned shower scene. The cross bearing xenomorph rejects. The puppet master pulling the strings of the first post face hugger.

This is a brilliantly conceived, written, directed, and persevered treat for horror fans. I loved every second of it.

“Thrill of seeing the xenomorph move. In full daylight. Which just looks…wrong”

This is the best point of the video, though I disagree with the conclusion.

It is weird and against the vibe of the Ripley saga for the xenomorph to be a servant. But clearly these creatures are the hounds to mr burns. Satan. Evil mad dr Moreau.

It definitely gave the the film a totally new vibe. As did all the green life. But isn’t that what films are about, showing new images?

It just looks so damn different. I like different. Different and great-even better.

“Cgi Ripley?”

That would be pretty weird. But since I more or less wash my hands of any continuity, why not?

It’s probably just a spur of the moment statement. But also incredibly funny

“It asks [x] questions but leaves you wondering [y]”

Mac, the real question is, do you like to create? That’s all this film is about. The joy of creation. Of weaving something new out of something old.

Like, Ridley is literally exploiting his own creation. It’s surreal and the best.

“Compares terminator series to Alien series”

This is more apt, but in a different way.

For both series, The first film is a stand alone classic. A low key masterpiece. The second is an expansive blockbuster which really really skewed expectations for future films.

The comparison ends there though. Sigourney Weaver has way way more character to work with. Poor Schwarzenegger had so so directors to work with, while the Alien series put down the work of real filmmakers making challenging art.

I enjoy the terminator series, but it’s clear that it’s so much the work of one man (James Cameron) so no one else can make it work. But the fluidity of the xenomorph makes every single film worth watching and honestly essential.

The second film in both series cast a long shadow. But while the following films in the terminator series really don’t hold up if stand alone, the following xenomorph films all showcase a different side to hubris and death

Which is honestly the best way to approach this film. Something new, vibrant, and bizarrely personal

Respecting and knowing horror and monsters films for what they do helps too

“Me at the idea of six more alien films”

I love it. I usually get tuned out after a few films, but this Prometheus saga just works. The possibilities are endless.

Ridley Scott deserves the highest kudos for turning this series into greatness

In a certain way, “Alien” is “Halloween”, perfect in its execution and of its singularity.

Prometheus saga is Friday the 13th series. Messier, off to an odd start, but a snowball of its own delights that fosters an utterly nihilistic universe. Like Jason, David is too good for just one film, and we need those eight films of him. It may indeed prove to be the essentials space monster-mad scientist series, just like Jason is the essential slasher killer.

Is this pizza to a steak? Yes, but each have their own pure delights, and like a certain pie, it just gets better and beautifully blurrier with each dizzying bite

Long live Prometheus saga; may it rule in hell for an eternity. Just as “Covenant” does in my heart.

[danganronpa-21]

Hope you don't mind me asking. I'm just curious. What exactly are your problems with Kiyo (besides him being a killer), Kokichi (besides him being basically a killer), and V3 as a whole?

Honestly, sometimes I forget that my opinions are on public display like that on my Amino/Instagram. Especially the Amino ones, cause those are sort of out of date.

Anyway, thanks for asking this question!

I do want to preface this by saying a little something though: My takes on V3 should not be taken as 100% valid! Why, you may ask? Well... confession time, I haven’t played all V3. At the time it came out, I was harshly disinterested. Rather than experiencing it for myself, I chose to read up on it and learn what happened for myself. I’ve never been someone who’s particularly bothered by spoilers (much to the chagrin of literally everyone I’ve ever known), so I didn’t think anything of it at the time. And when I looked in to it, I didn’t like what I read and thought that it was good that I didn’t bother playing it for myself. I felt this way for a long time, rejecting all V3 things, until eventually I was lovingly bullied in to picking up the game myself. So while there are aspects of V3 I have experienced beyond my readings, it’s not done in full for me at all yet, so there could be several gaps in my knowledge or just my feelings. Please don’t take everything I say as my one and only interpretation, because it’s true that many of the feelings I express in my answer could be subject to change. I recognize that these takes aren’t valid because I haven’t experienced the game in full. It’s the same as when someone criticizes Danganronpa 3 without having seen it themselves: sure, you know how it’s written so you have some thoughts on it... but it’s still best to experience it yourself to formulate your own opinions. That’s what I’m intending to do, but I haven’t gotten around to it fully yet... because it’s an experience I’m hoping to share, if I play my cards right.

Really though, if I am to explain the offences I have at the current level of V3 I am on, I would say that each of these three aspects of V3 are explained… probably more simplistically than one would expect. I see a lot of people who have these in-depth reasons as to why they feel so strongly about a certain aspect of Danganronpa, and while I can be that person sometimes… here, not so much. 

Besides being a killer, honestly Korekiyo just makes me uncomfortable. Like even beyond the incest thing, there’s something about him that absolutely puts me off. I tried watching his Free Time Events to see if I could stir up some love for him, but I found myself making any excuse to stop every five minutes. I can’t say that I like his design or his mannerisms, and his voice actor communicates Korekiyo’s creepiness well… but I couldn’t find it in me to get past to what some people would refer to as the softer, sweeter aspects of Kiyo. Even the anthropologist element couldn’t save Kiyo for me, and I honestly thought it might. I’ve taken a few anthropology classes myself and I think the topic in itself is interesting enough. However, hearing Kiyo talk about it just either felt boring or off-putting, and I can’t say that I one hundred percent know exactly why that I ended up feeling that way. I suppose it’s fair to say that anthropology is a rather broad topic, and that what Kiyo spoke of in his FTEs wasn’t exactly my point of interest. But if you jump away from the anthropological aspect of Korekiyo, I’m with the majority in saying that the incest thing just made me flat out uncomfortable. 

At this point you could absolutely argue that it’s unfair of me to slander Korekiyo for being incesty if another character I love is Kanon Nakajima, a girl who has extreme and obsessive romantic feelings for her first cousin. However, I would justify myself in saying that the primary reason why Kanon works for me and Korekiyo doesn’t all boils down to other aspects of character. Do I think it’s creepy the way Kanon talks about and acts around Leon? Yes, of course. But the thing about Kanon is that she manages to utilize her other traits to become likeable in spite of it. She has all kinds of other quirks and traits that exist outside of being Leon’s creepy cousin who’s in love with him. Her whole presence as a character isn’t for the sake of being chilling, whereas I find much of Korekiyo’s character is to be weird and unnerving. It’s easier to get behind Kanon because I feel like she’s not just madly in love with Leon, but rather has other parts to her existence that are meant to make her realistic outside of it. Korekiyo, while he does have additional character traits, seems to be crafted with the intention of being creepy. 

I also know that at this point some people would want to argue that I’ve judged Korekiyo all wrong because his sister manipulated him into loving her and he’s actually an abuse victim, and I won’t dispute them. Do I agree with them? I can’t say, because the interpretation itself is just that: interpretation. Just because another interpreted it that way doesn’t mean that I will interpret something the same way, and so on and so forth. But even the line between “is Korekiyo an abuse victim or not” is something that puzzles me, because otherwise, the wrong person could boil it down to the question of Korekiyo stooping down to the level of his abusive sister by manipulating and murdering Tenko and Angie (and just to be clear, this question is not something that I personally believe). And even if maybe that seems like a far-fetched interpretation that someone could draw, the suggestion that an abuse victim will turn out like their abuser makes me undeniably frustrated. It would send a message that I don’t feel is appropriate in the slightest, and play in to the fear that many real life abuse victims have. 

All in all, the way Korekiyo was constructed just doesn’t have what I would call the “Koto appeal”. They simply had a different Danganronpa player in mind when they were designing him, and that’s perfectly fine. I don’t think there’s anything wrong with liking Korekiyo, he’s just very far from my cup of tea.

Something like Kokichi, I would say.

Kokichi already gets a hard time from me because honestly… I don’t find I like characters who are just out to make the player’s life harder. It’s not even a “i’m bad at video games” thing, it’s just that I genuinely find myself frustrated with characters like Byakuya and Nagito sometimes because I’m just trying to do my job, how dare you be trying to screw me up, you little shit!

So he’s already got beef with me right there, especially being the one that’s so much more challenging to fight against than the others. The dude’s high jacking entire trials and you just have to sit there with an “I guess this happening” expression as you try to work out the problem. I already play Danganronpa on gentle because something about the game just makes my inner potato brain skyrocket to like 500%, so Kokichi is kind of a pain in the ass for me. Which I get he’s supposed to be, but I don’t like it. 

His character relationships don’t help me, either. While I am fully aware that it’s all an act, the insensitivity is still harmful to the people around him. Yes, he does have this put on for the sake of fulfilling this plan of his and preventing the others from mourning him when he eventually does die. Unfortunately that plan in itself is a problem for me too though, after seeing a fan reconstruction of his plot to avoid the deaths of Gonta and Miu. Which even if it was a necessary sacrifice, makes Kokichi feel slightly more cruel to me -- although I know some may think that it shouldn’t. The behaviour still just sits badly with me, not to mention that even if you consider the inklings of Kokichi being a good guy… I don’t feel as if I can say with confidence really anything about him. Which again falls back on to a personal writing problem with me, because I am entirely an audience who likes to know things. That’s part of the reason why I write fankid fic: because there are things that I like to know that Kodaka will not confirm nor deny for me. So I took matters in to my own hands in hopes of satisfying both myself and others with where things will go. But if I don’t feel like I know Kokichi and my only evidences of him are of him being a jerk, it doesn’t lead me to like him very much.

Which is also what throws me for a loop with Danganronpa V3 as a whole, actually! All of the end revelations got me pretty badly in the sake that I have a vague notion of things that they showed me pregame, but otherwise there’s a lot that the game leaves unanswered. I mean, on the flipside, there’s absolutely evidence that everything we got to see was true… But until I know, I have trouble enjoying V3 totally. 

Plus, it also just contains my least favourite cast. I still like some of them, but there are more that I either don’t like or don’t care about. As you mentioned before, I’m not excited about Korekiyo or Kokichi. And maybe I just don’t know anything about them yet, but I’m not terribly interested in Kirumi, Ryoma, Tenko, or Rantaro. I have a little bit of love for characters like Himiko, Gonta, and Tsumugi. And to be fair, I do like Kaede, Kaito, Kiibo, Miu, Maki, and Shuichi a decent amount. But still, compare that to games like Danganronpa 1 where the only character I actively dislike is Hifumi... then it just comes out as my least favourite. Even with Super Danganronpa 2, I have a sort of dislike-like for characters like Nagito and Kazuichi. I don’t completely dislike them in the same way I do some of the characters in V3. 

Really, though, I know all of this is stuff that I personally think about V3 is subject to change. After awhile of straight up disliking it and refusing to play it like the stubborn child that I am, I do fully intend to commit myself to the game and maybe change some of my opinions along the way. Sure, it’s fine for me to have some of this opinions and ideas based off of what I do know, but ultimately I know it’s something I have to experience for myself for my take on it to be actually valid.

Hopefully if I can work out the things I need to try and work out, you guys might even be able to watch me experience it for the first time... but that all depends on how well my computer can handle running the appropriate programs simultaneously. Fingers crossed, though!

[claytonsarah1990]

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[thesinglesjukebox]

FIONA APPLE - SHAMEIKA

[7.20]

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Tobi Tella: Fetch The Bolt Cutters was ascended to classic status by The Discourse as soon as it was released, and it doesn't surprise me that so many people find value, because Fiona's writing always functions on eight different layers of aware. What I connect with most about this is the self-awareness that Shameika probably truly could give less of a fuck about this petty middle school drama now, but the comment was so internalized that a whole song has stemmed from it decades later. Everyone has moments that are insignificant to everyone else that have informed your entire life and flare up constantly. The fact that the statement is encouraging makes it even sadder; negative comments feel designed to stick in your brain, but pumping yourself up with backhanded compliments given to your 12-year-old self is pathetic in a way most artists would never share with their listeners. [8]

Alex Clifton: A whirling hurricane of a piano line combined with doses of humour and emotion, jazzy and inventive and just plain fun to experience. We all have our own Shameika experience, buried deep -- some comment from another kid that definitely does not remember you now, as an adult, but the words stick forever. There's a really lovely tenderness in the way Apple recounts this memory, the fact that Shameika was never a friend, but bolstered her confidence in a way few others ever could. Small acts of kindness can go a long way, and that's a lovely nugget to remember these days. [10]

Katherine St Asaph: The Fiona Apple Discourse has arrived, maybe belatedly but inevitably, and as increasingly common my stance isn't any of the usual Am I The Asshole voting options. My stance: The Idler Wheel is Fiona Apple's masterpiece, the genius coronation should have happened then, and in happening belatedly it happened for an album that, while good, is lesser. It's not that nothing sounds like Fetch the Bolt Cutters, it's that people forget the stuff that sounds like it exists. (The artist most obviously musically influenced by Fiona Apple is Amanda Palmer, but the culture isn't ready for that conversation. Mostly.) "Shameika" is experimental perhaps, but more than that it's theatrical, like a dramatic monologue. Apple writes another runaway-calliope piano line, kin to "Left Alone" or "Fast As You Can," and structures musical cues and lyrical asides written as vaudeville -- on lines like "that just made the bullies worse," you can practically hear the spotlight and the phantom ba-dum-tish. She vamps, gives herself a Greek chorus, toward the end almost raps; there's the sense that she's just barely keeping up with the tempo and the clatter, a straightforward metaphor for the tempo and clatter inside her mind. Normally I love all these things and wouldn't mind millions more, so why does "Shameika" feel slightly lesser? Some of it is subjective -- I'm a cat person, so "my dog and my man and my music is my holy trinity" hits roughly the same way as "heckin' doggo." But some of it may not just be me. As Apple as a composer and vocalist has grown more freewheeling, less predictable, Apple as a lyricist has grown more didactic, not always for the better. This is most apparent on "Under the Table," but the bridge here does it, too, as does the titular Shameika, here to dispense affirmation. It's one thing for Apple to write about specific but anonymous men (see "this guy, what a guy") and something else when it's a named, likely black kid from middle school whom she barely remembered beyond a blessing that doesn't entirely sound like a compliment. Apple doesn't idealize her ("Shameika wasn't gentle and she wasn't my friend") or turn her into a reaction GIF (the memes, though...), but for an artist whose writing is usually hyper-meticulously examined, this feels a bit un-examined. One senses, palpably, another side to the story. [6]

Edward Okulicz: It's the Fiona Apple origin story! Well, it's a Fiona Apple origin story, as good a place as any to come to know this iteration of Fiona Apple. Her piano is, in isolation, a bit of a rollicking good time, and in context, like a rimshot trailing behind every word picture. They're good pictures too -- crunching leaves, the sound of a riding crop on her leg -- making "Shameika" a crisp, well-paced vignette. Google reports a 500 per cent increase in searches for "is the piano a percussion instrument or a stringed instrument" in the last month. [8]

Jacob Sujin Kuppermann: Fiona Apple's songwriting most commonly focuses solely on her own self-- or at most, her self and some invisible, off-stage figure of longing or derangement. So the strangeness of "Shameika" is in the way it hinges so much of its emotional weight on more coherent others-- the title character, who is defined solely in the context of Apple's reaction to her, but also Tony and Sebastian and her dog and her man. It's a strangeness that's not entirely productive. The way the track slows down and clangs around whenever Shameika gets brought up feels weighty and unproductive, especially given the chaotic grace with which Apple navigates the rest of the song. And at the end of it all, "Shameika" feels like a tokenized figure, not allowed to exist outside of Apple's grand cosmos of the self. It's still thrilling, but there's a certain hollowness at its center. [6]

Alfred Soto: To what degree listeners will accept -- never mind forgive -- the Magical Negro Dictum at work depends on how compelling they find Fiona Apple and Amy Aileen Wood's talent for playing drums as if it were a piano and how the chorus piano line hints at a cha-cha. If taken at face value, which I don't, "Shameika" depicts a teenage woman confronted by sundry opinions about her self-presentation. Everyone mentioned she assimilated as every artist must.Whatever else, Shameika or whoever was right about Apple's potential. [8]

Juana Giaimo: I listened to Fiona Apple's album only once. It was alright; I didn't not enjoy it, but neither did I love it. Listening to "Shameika" on its own is a whole different experience: it sounds unique, while on the tracklist it is just like another song. The changes of speed, her trembling voice and the sudden piano arrangements construct an organized mess in which every element is in a designated place. The surface is captivating, but I wish I could hear more than just that. [7]

Leah Isobel: Fiona constructs a rattling, screaming subway car of a song around a single moment of warm clarity. It's a little better as a meme than it is as a hook, but it works regardless. [8]

Ramzi Awn: The world might be ready for Fiona Apple to don her best Frank Zappa. Still, Apple's goofy composition falls short of exuberant. Her commitment to the off-kilter is welcome, but it is unclear what emotions the single aims to inspire. At times, it brings to mind Liz Phair's latter-day stabs at eccentricity. Music has no responsibility to be beautiful, but at its best, it connects the human dots of experience. I'm not sure what Fiona Apple has been experiencing, and I don't know if she is either. [3]

Jackie Powell: After the first drum roll, chaos ensues on "Shameika." Chaos and jitters are synonymous with a middle school experience, a time when young women become hormonal and just so damn difficult to deal with. I imagine Apple skipping and walking to school to only be thrust into the social hierarchy. It's degrading. I was also the kid "not chosen." Apple knows her audience and she portrays a moment in time that's felt deeply by only half of the characters involved. People enter our lives, impart simple yet profound wisdom, and then they disappear. The memories, depending on their delivery and timing, can stick like an epoxy. Apple accepts Shameika's rejection or indifference to friendship with the repeated line: "She got through to me and I'll never see her again." But when you are young, that idea of never seeing someone again sounds pessimistic. Both Apple and I refused to accept that reality in the moment. The last 20 seconds of the track, the bluesy bassline, and the saw-like distorted crackling illustrate how that one-sided moment felt inside. So thankful, but confused and empty. Does potential come with emptiness? When I first heard her album Fetch the Bolt Cutters, I immediately envisioned it as easily adaptable into a one-woman show on or off Broadway (whenever live performance comes back). "Shameika" is a monologue sung. [8]

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