WWWY predictions!
Were now only a few days away from WWWY! I'm particularly excited to see what their setlist will be, as its both a throwback to their early days of music, and they only have a 40 min setlist.
If yall have any ideas of what may be on the setlist, or have any hopes, either send in them or comment!
im hoping to see alot of sfgf, and maybe some self titled, hopefully some b sides, and I'm expecting a few off Youngblood.
Heres my hopes!
From Self Titled - SLSP, Good Girls, End Up Here, Voodoo Doll,
From SGFG - Waste The Night, Vapor, Shes Kinda Hot, Perminate Vacation
From Youngblood - Youngblood, Talk Fast, IWCT, WWYLM, MYT, Babylon
From B sides - The Only Reason, What I Like About You, Disconnected, Out Of My Limit, Independance Day, American Idiot
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favourite twdg villain?
I'm a fond enjoyer of the St. John's as villains. I don't know if they're my favorite just because they're only in one episode, but I love the concept of this family almost immediately jumping into cannibalism toward the start of the outbreak, dealing in human flesh to bandits, and casually feeding this group their friend's legs.
Like... what the hell was this family like before the outbreak that all three of them were like, "Hey now listen... nothing should go to waste, the dead are eating people so why shouldn't we? We gotta survive and in our defense, we only target those who were gonna die anyway... like y'all."
Dude, Mark was shot in this shoulder with an arrow. He wasn't going to die from that injury. It's so fucked that these seemingly friendly people took the group into their home and then fed them Mark's legs.
If we take the idea that everyone is infected and have the capacity within themselves to become walkers, to become monsters, then the St. John's were infected long before the outbreak, y'know? Not literally, but something was wrong with them and the outbreak just further spread that infection and changed them.
But again, are they my favorite? I dunno if I can say that since I have a lot more appreciation for Lily now. Yeah, some of her writing gets a little wonky in ep3 of TFS when she goes on her monologues and shit, but y'know what? I'm into it.
You have to remember who we're talking about and the fact that she's the antagonist; Lily isn't some anti-hero in TFS who secretly has a heart of gold that's brought to light because she reunited with Clementine... she's a fucked up woman who did fucked up things in the name of survival. She's full of rot now. She sees kidnapping children and turning them into soldiers to protect her home as a means to an end, but she doesn't actually give a shit about the people she's taking. They aren't people to her, they're as the episode title suggests, toys in her game. The only one she sees as a person is Clementine, and while that makes her hesitate at first, she sees Clementine's a prize to bring back.
She remembers what happened in S1; her father had a heart attack and as she tried to save him, Kenny smashed his face in with a saltlick and then expected Lily to just stand up and help him get back to his family because "he did what he had to, he made the hard choice." Yes, Larry was a piece of shit. No one liked him, and you can even question Lily on him and she'll tell you that he has a lot of pain. Yes, it makes him an asshole, but he's still her dad and he's all she has. I mean... the simplification is daddy issues, but in all seriousness, I don't doubt for a second that many of Lily's issues stem from Larry being a shitty father to her.
Then everyone thought she was losing it when she insisted there was a traitor in the group, which she was right about, but she was unstable. She was unwell, but how do you help someone like that when you don't have training to go about it? Then Lily ends up killing either Carley or Doug and the group turns on her, and either she's left behind or she steals the van and runs away.
Then we don't know what the hell happened to her until we see her again in TFS, but like... a lone woman with decay festering inside of her joining the delta? Exposing her to their methods? I mean, what else did she have to lose? She had nothing, she lost everything, and she has a lot of issues. Survival is easy when you're numb, when you don't care about the individual; they're all just cogs churning to make the system run, and if a piece doesn't cooperate, you get rid of it and find a new one.
Plus I think there's something to say about Lily not wanting to be perceived as weak again. That whole display she put on in the cells? Telling the story of what happened to Minerva and Sophie? I get the criticism that it feels like Lily did a 180 between episodes but like... yeah dude, because it's a performance. It's not just her and Clementine anymore. It's a display of power and authority. She's playing the part and thriving in it as she ensures everyone else is terrified of her.
But then when Clementine and AJ get the upper hand? Again, she's not afraid to play up the pleading to earn enough sympathy to spare her- hell, just to let their guard down enough to strike and get the upper hand again. I mean, she's got nothing else to lose, right? If she doesn't go for it, she'll be killed and sure, you can kill her anyway but at least she tried.
Honestly, I look at Lily in TFS and still see that scared little girl playing the tough bitch, just like Carley said in S1. It's just now escalated from "tough bitch" to a downright vile person. She's so... lost? I suppose? Lost within herself and the monstrous means she's taken to survive.
I get the criticisms of how she was used in TFS, but for me, it's like when people complain about Minerva not getting the redemption arc she supposedly should've gotten, y'know? There's no saving her. Lily was never on our side, and there was no getting her on our side. She wasn't ever going to redeem herself. Even if you spare her and she drifts away on her raft, can someone like her actually find redemption? Or will she just find another group that'll feed into her rot?
Truly, I say let her be horrid. Let her be the piece of shit villain with a few fleeting moments of humanity. Let her drown in the blood she's spilled.
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I stumbled across your Orestia poem and happened to have seen the exact production the program was for which is very cool (can tell bc font and vocabulary), now I'm curious how you source your material for your found poetry, is it just stuff you come across in life or is it more purposeful?
Oh wow! A large chunk of the cast and crew have also found the poem and have been very excited about it in my notes, haha. I plan to go to the next production that company does (I had to miss the most recent one due to disabilities), and I'll be asking for an extra program to chop up, so if you see me (look for the hyperrealistic cat ears, gold cane, and an outfit that looks like I lost a fight with a clothing store), feel free to say hi! I'll be there with my girlfriend.
It's a bit of a mix—I also collage, so I have a pretty hefty stack of national geographic magazines. Most of the time I use anything that catches my eye, or that I have a particular interest in. I find that shorter texts are easier to work with as opposed to using a whole magazine (my dear mutual @plasmapop has done some incredible stuff with entire magazines; go check out his work!), so I like to cut up individual articles, or work exclusively with captions, etc. I also just use any text that I can find, such as flyers, handouts, programs, even my hospital discharge papers—the joy of found poetry is that you can make poetry from anything, if you're looking to.
The poetry comes from the text; when I chop up a text and rearrange it, I'm really focused on how the new poem relates back to/is in dialogue with what it transforms. In that sense, it's deliberate, but it's less so that I "choose" a text for a poem and more that I read something and go, "aha! I can make something out of this!" Other times I do actively look for something, but this happens almost exclusively with wikipedia articles. Two examples that aren't wiki article poems are these two older poems, where I knew I wanted to write poetry for NieR: Automata, and wanted to use text that appeared within the game.
With the Oresteia program poem, it was a mix of both—I knew walking in that I was probably going to cut up the program, but I wasn't sure what direction to take it in, outside of writing about greek tragedy. As you probably know, there's a bit of irony in taking a director's note that talks about breaking cycles and transforming it into a poem about inescapable narrative. The point where I understood the direction I wanted was when I had written the first draft of the first couplet:
which came to me very quickly; you can probably check this on your own copy of the program, but while I was cutting it into lines, my eyes jumped immediately from "You can't" to "go home," and I knew that that was going to be my opening and the point the poem returned to.
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