#if the two women in question aren't constantly saying 'I love you' and eating each other out

[theliterarywolf]

Ayo what's with all the hate everyone seems to have for Hazbin Hotel? I don't even watch it but it doesn't look like anything worse than most other adult animation

Because the internet has decided that Vivienne Medrano is the second-coming of John K.'s left testicle in how much of a 'blight' she is to art and animation.

When, in reality, the only certifiable shortcomings she's ever exhibited are:

When she was a younger artist on Tumblr, claiming that Disney 'stole her ideas' when they first started promoting Zootopia (she herself had a webcomic called "Zoophobia")

Not having the best hold on scheduling during the first season of Helluva Boss which did lead to some animators on staff bearing the brunt of the stress. An issue that she has acknowledged and has done more than many in terms of fixing throughout S2.

Responding to Twitter drama when, sometimes, she could just let bad-faith clout-chasers remain as bad-faith clout-chasers. Though, to be fair, in regards to people trying to spread misinformation about pay rates and certain characters being 'antisemitic stereotypes', she's more than within her right.

Honestly, though, 99.9% of it boils down to Crabs in a Bucket Theory and you really can sweep away most 'critical discussions' around the Hellaverse as such.

[captainwholecake]

Can I request headcanons of law, kidd, zoro and sanji with a tall male s/o who’s a very badass and brutal fighter with a very scary devil fruit power. But there also very chill and kinda like a himbo too.

a/n: hopefully this doesn't turned out to be more gender natural

warnings: none

——

Trafalgar Law

I will say it again wano animation law is just *chef kiss* hopefully this is a flashback from wano-

Law's just dope in love tbh

which is strange person the other person the dumber one of the two

anyway he sees him in battle and just thinks of the reasons hes in love and nearly gets himself killed in the process

why am I imagining him getting all flustered around him

He starts talking and being a goofball and laws becomes red in the face

Law being all embarrassed around them and they just don't understand at all

so they keep asking and asking and laws keeps telling them it's nothing

I'm imagining Law would look like a doll in their arms

Law would also really his hugs bc their so warm and soft

alright I need a moment I'm moving to Kidd

Eustass Kidd

AAAAAAAAAHHHHHHHHH WTF WHY IS HE SO HOT

Himbo on Himbo action here bitches

Just some himbos who love each other

Get yourself a lover who will beat you up as a sign of endearment

Both would totally get turned on by seeing one another fight someone tell me otherwise

Strong why tf am I in love with this person vibes when their being chill and dumb

He still loves them but he does question it a lot

I just know Killer is shaking his head at them a lot

Then theres times where his s/o is just shaking head with Killer

I’m also imagining kidd being really vulnerable him too

It’s probably because he’s a little scare of them but it’s mostly because he way to comfortable around them

Roronoa Zoro

Oh sanji, I felottest gifs of all time

also some himbo on himbo action

but not like kidds which some hot head himbo on another lowkey hot headed himbo it’s more scary himbo on a lowkey scary himbo

you understand me alright

I think zoro would be straight up be impressed by seeing him fight

He’s zoro what do you expect

I can zoro wanting them him to help and train and shit

also I can personally see a lot of drinking contest and late night sharing a drink convos

why am I imaging him psychically dragging Zoro around after he goes somewhere in the wrong direction

the amount of petty arguments (they aren't bad their just both hotheaded sometimes) that would happen

and lastly, this is probably one of the weirdest relationships to ever exist but I'm living for it

Vinsmoke Sanji

You know in Black Clover where finral tries to stop flirting with other women for that woman who said she’d married him?

Yeah, that but on crack because I feel like with the exception of nami and robin he’d probably do that for them

Anyways, he seems like the type who’d genuinely be surprised by how they fight and everything

I just imagine Sanji going “holy shit there a devil fruit user” but with dub voice im sorry but please just imagine him yelling that

I can also imagine him being lowkey scare of him sometimes for the sole reason of how they fight

Constantly has to remind himself to not get on their bad side

I like to personally imagine them as a mlm version of Sasha and Niccolo w/o the one of them dying part

When they first join the crew or whatever and they eat sanji’s food for the first time and they start crying and he has to tell them to stop crying or their food will be too salty with the tears getting into it- ahdjdjdj

TELL ME IM WRONG

Their now legally sanji’s one and only taste tester stfu

[greaterlandscapes]

My Dean Blunt Rotation aka High Fidelity Left A Bad Taste in My Mouth

For the past 2 to 3 months, my listening habits were teetering to an end; mostly via burnout by spontaneously listening to local artists daily and less likely of a musical discovery drought, whereas my interests of a certain artist or genre hasn't found its, sort of, "eureka", moment per se. I've been feeling less enthusiastic over the things i listen to since my friends have gradually lost their flare when it comes to discovering/exploring untapped parts of the music realm. Thus, in return, my enthusiasm not being reciprocated. It leaves an empty feeling from someone who has been yearning social interaction, may it be media being latched on the topic - it's a feeling that's been guilt-tripping me ever since I was stranded in the other end of the metro. I feel closed off, exposed to the crippling loneliness the lockdown has punished us: a defacto solitary confinement in a national level. Our act of staying online is also an act of staying alive outside.

To be fair though, it's a valid move to not boomerang compliments/gripes over an art you haven't consumed due to someone's autonomy. Your able body being to consume the art you wish to finish with free time is a luxury in of itself. The art is then failed to serve its purpose to reach its goal: You have squiggly lines heading straight to oblivion rather than swirling in the earlobes of a wandering cyber nomad. We, eventually, need to find something that could help us exit, rather than escape, from capital. We, in return, do not shut ourselves from the outside. Instead, we then tend to avoid the stress of protocols and outdoor fascism; Not avoid the indoor liberalism that is eating us alive and online. It's a capital punishment we never knew we signed up for ever since the onslaught of the virus and the state. Art for art's sake is nonexistent now, always has been, it seizes to ever since we went inside. Feeding off of a holographic meatloaf coming from a glowing screen. We have a real-life Karen acting as a nightlight in our rooms.

The COVID lockdown made us listen to music — both for better, for worse. For one, it made us pass most days. You could say the same for any sort of media: film, mixed media art, or whatever pre-Covid activity that sprung up during our time in isolation. For music, however, there was an uptick of new listeners that made others Wheel-of-Fortune the fuck out of their music discoveries in sites like RateYourMusic, Bandcamp, or even Sophie's Floorboard. We've continued to expand and became more open change of opinions and be less of a jackass towards someone else's opinions. On second thought, our opinions have been catalogued, leaving more notes than actual footprints of our previous listens. Our new discoveries made new bands and re-emerging bands, bands who faded to obscurity, crawl back in the surface with newfound interest from younger listeners (ie Panchiko, Jai Paul, and Dean Blunt) and this glowing, previously unseen and unexpected overwhelming support from fans of departed artists (ie SOPHIE, MF DOOM)

For the other, we've hogged gratuitous amounts of media, resulting into losing our primary direction as to how we want to consume our media based on the preconceived notions of what we want in our art. There is goodness in becoming directionless when you think about it, but there comes a cost to our identity as music listeners. Instead, we end up widening our tangents, falling in endless rabbit holes, having zero chances to emerge from the surface. In fact, i refuse to call it a "rabbit hole" instead i'd rather call it a "pipeline" of sorts — transitioning casual music fans into a full on, different, unique versions of themselves that would define them when laws and protocols have eased in the outside world. Our act of staying online has either made most of us break our character or enliven our past selves. The music pipeline is now more apparent, stretching the norms of what was once alienated by a silent majority, but now accepted as an acceptable form of expression. The more music we are exposed to has made casual listeners stranged out or react in ways that our personality have betrayed us or deemed not as acceptable to them. Still, not changing anything that was prominent pre-pandemic. Liberal cop behavior is stronger, now more dangerous than it ever was once perceived by the outside world.

HIGH FIDELITY? NO, THANK YOU.

Imagine a situation inside of a record, pre-pandemic of course, where you do not feel like lifting a record out from the shelf, instead, you window shop just for the sake of windowshopping. Capital and media made us think that going to record shops is a semi-productive activity. The age of discovery has died ever since High Fidelity romanticized and normalized the incelage of horny record diggers. Does this movie age well, yeah sure it does, for old 90s nerds at least. But did it translate well over in the past 20 or more years of events and tragedies that unfolded in pre-9/11 America? No it didn't. It was an age of free expression, only liberals would dream of whenever they take a sip of Guinness beer in their favorite dive bar.

Mind you, over a couple of months ago, it was my only chance in seeing why this movie was the talk of the town back when it was released. There's music, yeah, and attractive leading leadies, yeah, it has everything a 90s kid would love to salivate and drop their gonads over while they watch this movie. I obviously did not live to see the movie on opening day but i could imagine the scent that came out of that movie theater with attendees donning windbreakers and The Who shirts with popcorn dressing stains on their plastic cups. If there was a Filipino counterpart to this movie, i'd bet corporate champions Eraserheads and Rivermaya would soundtrack their music over and have either Tado or have Boy 2 Quizon, but i sense it to age like milk more than it could age like fine wine due to the senseless jokes one can execute in a Cubao or Cartimar record store.

John Cusack is obviously the incel in question here: a damaged, vengeful ex who constantly fails to live his partner's expectations and weaponizes his personality over the situations that has nothing to do with his interests. I spent the entire time being absolutely disgusted over the spineless responses of John Cusack's leading character. The movie then treads on flashbacks with John Cusack's failed relationships and what he could do to move on from each and one of them. If i could stand a SONA for 3 hours then I can't stand John Cusack being the dull entry point to incel, making more reasons why you should hate record store clerks who don't give an iota of shits to someone's inviting rapport. High Fidelity is opium for massive music circle jerks who can't take a single breathe of fresh air or a single quota of touching grass. There's more targeting weak and inferior guys and hot women who dump dumb overconfident dudebros more than the actual "music recs" in the entire movie. The more I think about this movie, the more I realize how our personality is in line towards Dick, the record store being unmercifully dunked on by the movie's two leading characters. He's an angel in the world of cynical bastards, witnessing both demons pitchforking record store customers in the ass while they're purchasing the latest Sonic Youth album.

I believe that Jack Black, the dark horse of High Fidelity, has a pleasing personality more than an irritating demeanor due to this behavior in the record store. In fact, outside of the record store, Jack Black doesn't seem to take the business is your pleasure act pretty seriously. Unlike John Cusack's character he brought his obsession over involving a record in an important memory/point of his life. There is so much stuff that has happened outside of the record store, so much for Rolling Stone and NME being the bible of music at the time, endlessly christening and shilling artists that believe to become the second coming of the Beatles. The music references here however are treated as fluff than it is a mechanism that would drive the senseless plot forward. If anything, there are events pointed out in the event that doesn't have anything to do with the life of the characters.

If anything, this movie did a great job at capturing the feeling of music bros being dumped on the wayside by a mature set of characters and how their current conditions aren't perfumed by the studios' liking of having to Cinderella story the shit out of a bunch of normal record store owners. The reality is in the reaction of one's social capital being invaded and we're here to witness how those reactions panned out in 2021. This is a villainous depiction of music nerds being the salt of the earth, the bane of all media discussion, still reflective of the insufferable salt of cyberspace found in music forums like 4chan and RYM. High Fidelity is a pipeline of 90s musicology, a dreaded fever dream of an owner waiting for the decade to end, trends ossifying and re-emerged by the hands of nostalgia-savvy individuals. It was, at its time, every music-movie nerd's excuse equivalent of Scott Pilgrim VS. The World. There are memories worth remembering and cherishing, and this movie isn't one of them.

DEAN BLUNT, WHAT THE ACTUAL FUCK

In the past two weeks I've been fancying myself into sitting down and listening to different projects from the ever elusive, UK-based sound artist Dean Blunt. The first time i chanced upon his music wasn't too long ago - albeit a recent one in the time of COVID - was when I randomly stumbled upon his records at a Spotify recommendations section under John Maus (yeah lol i know the implications whenever his name is mentioned) - but then i was enamored by his online presence so quickly I put everything down and dedicated an hour or two researching about this man's music.

Other than the fact that his album "The Redeemer" wasn't the best record to start off in journeying through his discography: ending up disgusted and borderline bored even and I was more likely to lambast this record's aimless, pretentious art-pop inflections. By the end of the day, it was a preference long solidified by his undying fanbase. According to his hardcore fans, the music isn't really music, evaluating it as a free form of sound art, rather than sticking to a structured and conventional cues; the genre is nullified by most analysts of the arts. The growing interest of the general public towards Dean Blunt's pranks and antics have long appealed to my tastes as a chaotic neutral individual. Pranks that are well executed to piss off UK gallery connoisseurs and entertain ironic attendees who'd shit on the art piece rather than participate in it.

More of the resources I've found about Dean Blunt online: numerous aliases and collaborations that lasted around almost 2 decades. The most notable of all them, at least for my money, are either Hype Williams, a duo consisting of Dean and frequent collaborator Inga Copeland, and Babyfather, an art performance parodizing the pirate radio culture in the UK. I have not delved enough in Blunt's body of work to evaluate everything and what i could synthesize from it. For now, I enjoyed it as a form of entertainment. Well, color me impressed because Dean Blunt isn't clowning around, he, in fact, makes blissful and transcendental music from left to right.

Dean Blunt was the only few artists that made me want to binge on their discography. His movements in his music has attracted this pesky listener who thinks that being mysterious is a plus. I mean, look at me who thinks The Paul Institute, Panchiko, and Burial are the greatest artists that have walked the face of the earth.

The most I've enjoyed from Dean Blunt's discography are his mixtapes and collaborations: preferably his Soul Fire and ZUSHI, both of which were packaged as B-sides or supplemental releases rather than major releases such as the Babyfather project or the Black Metal releases. His knack for blurring the lines between genres still fascinate me as of this writing, and it continues to amaze me how he doesn't seize to compromise his art, he's here to prove a point and it sells quite well despite the lack of direction in his music. Blunt's music has more aggressive and hazy texture than the hollow, wide, soulless structure of art-pop/hypnagogic pop released today. He creates terrains from the rubble of his country's current shortcomings. The music overlaps the actual intentions with abstract concepts, becoming deconstructed down the line. In Babyfather, noise music coincides with Blunt's amateurish rapping. In Black Metal, Blunt isolates himself along with the assisted skeletal guitar playing. Both projects throwing all tropes in a vaccum alongside Blunt, who he himself would sought to become a personification of a musical void.

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(Excerpt from the Babyfather album review in TinyMixtapes)

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Dean Blunt is an entity that wishes to become one person, but no, this isn't a figure in a specific art form; this isn't Banksy, this isn't Bob Ong, this is made by one person, clearly it is if you listen closely, and it's been entrancing me ever since his presence was felt on the horizons of the internet. Dean Blunt, what the actual fuck.