#its got metaphors its got themes its got narratives-

[mmikmmik]

One underrated aspect of Mouthwashing is that it's really good as a video game.

I thought the player feedback was super strong. There's so many little gimmicky nightmare worlds and "minigames" and the game really helps you understand them very quickly and keep up the momentum. There were only a couple times I got stuck for long enough that I felt like it was breaking me out of the narrative, and I was able to resolve them pretty quickly. And one of them was my own fault - I was trying to use an item somewhere the devs had already indicated it was impossible, because I forgot about the little framing that pops up to indicate you can go into "interaction mode". That's a great little UI mechanism for making it super obvious what is and isn't interactive while still being unobtrusive and letting you feel immersed in the ship environment. Oh, and using the birthday cake scene to introduce the sawing mechanic? So when the player saws at Curly's leg, it's an incredibly powerful callback and the player already knows what they're supposed to do, defending the emotional punch from a "wait... which buttons am I supposed to press for this...?" moment? Brilliant.

Mouthwashing also has beautiful interplay between its gameplay elements and its storytelling. I think of Mouthwashing as "movie-like", because I feel like the pacing + tone + themes remind me very much of horror movies, but this story is meant to be a game. Think of the scene where Jimmy is basically telling Curly that he intends to destroy the ship. It starts with the player controlling Curly in first person POV. But right as Jimmy is talking about how Curly doesn't have agency in his own life ("You're standing at the top. Feet in cement. I get it now.") the camera escapes Curly's perspective and moves into a third person perspective, giving us our first look at pre-crash Captain Curly.

That was the last moment Curly had to avert the tragedy. He knew Jimmy had attacked Anya. Anya told Curly that Jimmy must be physically prevented from accessing the means to hurt the rest of the crew. Jimmy said it would be best if they all just died and then walked away saying "I'll take care of it" and Curly stood there watching him and did nothing. In chronological order, the next scene is the first time the player controls Jimmy. The agency and control, the status of "player character", has left Curly. He let himself become a character in Jimmy's story. And by the time he gets control again, it's already too late.

(Not that I think the game is actually presenting "player character" status as something that's true or real. Look how much Anya's internal life and deliberate choices shape the story, before and after the crash, even as Jimmy casts her as an annoying quest-giver NPC.)

I also really like how much playing through the little nightmare vignettes have the player recreate Curly and Jimmy's decisions. Like when Jimmy is forced to stare directly at the post-it note that's telling him to take responsibility (or whatever the exact words are), but he simply backs away from it. It's all about the way he finds mental and emotional loopholes to get away from what he's done, no matter how directly he's forced to confront it. What other medium could so intimately guide you through that metaphor, to express its internal logic so clearly without words? God, I love video games.

[snifferz]

no genuinely i fucking quit writing novels bc my english teacher always gave me a grade under everyone else bc the plotline was too complex or it was too much

my writing was decent AT LEAST like i poured my heart out into that shit and it was usually a form of allegory for something that i went through

shoutout to miss ayub /s

[prokopetz]

Sometimes I wonder what portion of authors who write transhuman-themed sci-fi started doing the "random chapter from a wildly incongruous viewpoint" thing because it's become customary in the genre, versus what portion of authors who write transhuman-themed sci-fi got into the genre in the first place because they love to head-hop and wanted to expand their options.

Like, sure, let's have a chapter from the viewpoint of the coffee machine. Why not. Apparently sapient coffee machines are a thing in this setting – it's not even metaphorical, it's straight up diegetic that the coffee machine has political opinions. The coffee machine is not a significant character, it never interacts with the main cast, and its viewpoint will never be revisited, but getting its perspective is essential to the narrative.

[therealcocoshady]

Kinktober - Day 6 - Sex Work

Kinktober 2024 Masterlist

A/N : For the "sex work" prompt of Kinktober 2024 I thought I'd mix it up with a request I received as well. Granted, it's playing on the words of the prompt rather than the actual theme but I hope you guys like it nonetheless ! ✨ Also, I did have a second idea, which I might end up doing too 😏

CW : Mention of sex work - Flirty texts - Mention of hook up

The studio was buzzing with energy as the podcast got underway. Marshall sat at the head of the table, wearing his usual hoodie and cap combo, arms crossed casually as he listened to the banter among the other rappers. One former D12 member had decided to launch a podcast and, when he was ask to be the first guest, he was happy to show up to support his friend. In the past years, he’d grown more and more picky when it came to doing interviews and appearances, but he was glad he did this, supporting his buddy and talking about hip-hop in general, instead of just him. It was much better than random journalists asking about his professional life. The conversation had flowed from the evolution of hip-hop to its biggest influencers, and now, they were moving into more contemporary topics—reviewing music videos from up-and-coming artists. 

He wasn’t sure what to expect when they cued up the next video for review. When the host dropped your name, though, his head perked up. You, the firecracker of a lyricist he had been « mentoring » for a while now. You weren’t to Shady Records, but you had worked together enough for him to respect your raw talent and commendable work ethic. He had been kind enough to offer some guidance and even some beats from his vault, and while you were still making your way in the industry, you had already built a reputation as an outspoken voice in the game. You had a good rapport, too. In private, you’d shared more than just a few laughs, and there was a mutual admiration that sometimes tiptoed into the realm of flirtation—compliments exchanged, gazes held a bit longer than necessary—but nothing too serious. It was always playful, a line neither of you had crossed. 

The host grinned, looking at Marshall. « So, this is Y/N’s latest track. It’s called ‘Sex Work’. You haven’t seen this one yet, have you? ».  He shook his head, a little curious but still cool. « Nah, she didn’t send it to me. ». His friend looked at him and let out a laugh. “You’re in for a surprise, then”.  The video started, and the beat dropped—a heavy bass line that immediately grabbed everyone’s attention. But it wasn’t just the music that made Marshall sit up a little straighter. The visuals hit hard. You were on-screen, dressed in bold, provocative outfits, your presence commanding the camera. The scenes shifted rapidly, moving through a series of sexually charged, daring shots. It was unlike anything you’d done before. 

You were playing with the very imagery that dominated so much of hip-hop—the kind of objectification women often faced. Except you were not the object here. She was the one in control, flipping the narrative. The lyrics hit just as hard as the visuals, each line razor-sharp, calling out the double standards in the industry, using clever wordplay ad metaphors that drew a parallel between the music industry and sex work, too. 

Marshall was caught off guard. The video was bold, even provocative. You were owning your sexuality in a way that was direct, unapologetic, and powerful. But then it hit him—some of the scenes were direct callbacks to his older videos. One shot mirrored the set of his “Superman” video, and in another, you were standing where one of his infamous adult actresses had stood, reclaiming that space. « Damn, » one of the other hosts on the podcast muttered, eyes wide. Marshall’s eyebrows shot up, but he didn’t say anything. Not yet. The lyrics kept going, and it became clear what you were doing—turning the tables on the misogynistic narratives you had been surrounded by as an up and coming female rapper. The video wasn’t just about sex appeal; it was a statement. You were deliberately playing with the same imagery that had been used to objectify women for decades, challenging it, and throwing it back in everyone’s faces. By the time the video ended, the room was dead silent for a moment. The host was the first to speak. « Marshall, man… what are you thinking? ».  He leaned back in his chair, taking a breath. He could feel the eyes on him, waiting for some kind of reaction, maybe even expecting. You weren’t playing by anyone’s rules and it was the type of attitude he respected, especially then someone pushed the pen that far.  « Well, first off, » he said, glancing around the room before locking eyes with the host, « she killed that ». The other guys laughed, but he wasn’t joking. « She’s always been fearless with her lyrics, » he continued, « but this? This is next level. She’s calling out the hypocrisy in the industry, and she’s doing it in a way that makes you pay attention. It’s bold as hell. » He paused for a second, gathering his thoughts. « I didn’t expect her to take shots at some of the imagery I’ve used in my older videos, but I respect it. She’s making a statement. She’s an artist, it’s what she should be doing. It’s what we do as emcees, you know ?  ». The others nodded, clearly impressed with his take. « So you’re not bothered by it? I mean, some of those scenes were pretty close to your old stuff ». 

« Nah, » he said, shaking his head. « If anything, I think it’s cool. That’s the kind of artist she is—smart, sharp, and always saying something with her work. Whether it’s a track about life or, you know… this ». He chuckled a little at the end, the edge of a smirk tugging at his lips. Truth be told, he hadn’t expected you to pull something this bold. Sure, you had always been outspoken, always ready to challenge the norms, but this? This was next-level boldness.  The conversation moved on to other topics, but Marshall’s mind lingered on your video. He knew it was going to blow up and, truth be told, he was curious to know where that was headed. 

The days following the release of your music video and Marshall’s appearance on the podcast were a whirlwind of noise. Social media was ablaze with debates, and hip-hop blogs pumped out articles almost hourly, all focused on one central question: Was Y/N dissing Eminem ? Marshall, sitting in the comfort of his home, scrolled through his phone, shaking his head at the ridiculous headlines. « Y/N’s Bold Move: Diss or Power Play Against Eminem?" or  "New Queen in Town? Is Y/N Coming for Eminem’s Throne? ».  Everyone had their own theory, and the conversation was only growing louder. What had started as you making a critique of misogyny  had snowballed into a supposed rivalry between you and Em—a narrative the media had hungrily latched onto. It wasn’t surprising to anyone, though. Of course it was going to make for good headlines and farm engagement rates, even though it was a shame to have it take away from the main topic.  Interviews, radio shows, podcasts—everyone was asking the same question: What did Eminem think ? 

Marshall had been ignoring the noise for as long as he could, figuring people would see the bigger picture. But the hype refused to die down. Paul’s phone blew up with texts and calls, from journalists looking for comments to fellow artists wondering if there was any beef brewing. His team’s inbox was flooded. He wasn’t surprised that you were stirring things up—you were unapologetically yourself, always—but the whole “diss” angle? That was ridiculous. A week after the video dropped, Marshall finally caved. He knew he had to address it, especially after hearing that some major podcasts were going to dive deeper into the so-called "feud." There was no way he’d let anyone twist this into something it wasn’t. It was sort of unlike him, but he was pissed off about lies being spread and people making headlines about an imaginary feud. He wouldn’t have cared to address it if it had been anyone else, but he actually liked and respected you. He also had enough self-awareness to know that, if he let the whole thing escalate, some people would take « his side » and turn on you. Frankly, he didn’t have the time or energy for some stupid quid pro quo situation and he deemed it best to address the topic. 

That morning, he agreed to hop on a Shade45 radio show that had been asking him for a statement for days. As the interview started, the host wasted no time jumping into the topic. « Alright, Boss, we’ve got to get straight to it, » the host said, his voice filled with anticipation. « Y/N. We’ve all seen the video. She’s been pretty outspoken, and a lot of people are taking her comments about the double standards in hip-hop and the scenes from your old videos as… well, a diss. What do you think? ». Marshall took a deep breath and leaned forward into the mic, choosing his words carefully but keeping his usual bluntness. « Look, » he started, « Y/N is not dissing me. She’s not coming for me or trying to take shots.  What she’s doing is making a statement. A damn good one, too. People keep saying she’s going too far or whatever, but this is the same stuff that I, and a lot of other artists, have done for years. She’s just flipping the script, and now, suddenly, people want to act like it’s a problem ».  The host nodded, but there was still an edge of curiosity. « So, you’re not offended by her recreating some of your visuals? Some people took it as her calling you out ».  Marshall smirked, shaking his head. « Nah, man. Y/N’s one of the most talented artists out there right now. She’s smart. She’s sharp. And she’s not afraid to say what’s on her mind, even if it makes people uncomfortable. That’s what makes her great. She’s doing exactly what artists are supposed to do—make people think, make people talk. It’s the same shit I have always done with my music. And if she’s calling out hypocrisy ? Good for her. I’ve been there. I know how that goes ». 

He leaned back again, more comfortable now. « You know, I’ve worked with her, produced a couple of tracks for her, and I’ve always been impressed by how real she keeps it. She’s not here to play by anyone’s rules. She’s doing what she wants, and I respect that. If you’re mad at her for being direct, maybe it’s because you don’t like what she’s saying ». The host paused for a moment, letting Em’s words settle. « So, to be clear—you fully support what she’s doing? ». « Yeah, » Marshall said without hesitation. « Y/N’s just getting started, and if people are mad now? They better buckle up, ‘cause she’s only going to keep pushing boundaries. She’s not afraid to call out the industry for its hypocrisy. And if anyone thinks she’s dissing me, they’re missing the point. She’s making space for herself, and she’s doing it her way. That’s what being an artist is all about ». The host grinned, seemingly satisfied with his take. « Well, there you have it, folks. Marshall’s got nothing but respect for Y/N. » Marshall chuckled, nodding. « Damn right. I’ll say this though : I’ve spent enough time with her to know that it’s more fun to be her friend than to be her enemy. So, anyone who’s been talking shit… Better be ready ». 

After the podcast dropped, the noise around the supposed « diss » started to die down. Marshall’s words carried weight, and now that he had set the record straight, the media was forced to pivot. Instead of focusing on a non-existent feud, the conversation shifted toward what you had always intended—your critique of double standards. Now that people didn’t worry about a possible feud, they seemed more disposed to focus on the subject matter and the narrative surrounding you quickly took a much more positive turn.  That evening, Marshall was sitting in his home studio, tweaking some beats when his phone buzzed on the table next to him. He glanced down and saw your name on the screen.

Y/N :  Thanks for having my back.

He stared at the text for a moment, the corner of his mouth lifting into a smile. He wasn’t surprised you’d reached out; after all,  you weren’t the type to let things go unacknowledged. He liked that about you. But he could tell by the simple message that you appreciated the support more than you’d probably say out loud. He picked up his phone and tapped out a reply.

Marshall : Always. Not that you needed it, though. 

He fully meant it when he said that you didn’t need his support. He knew for a fact that you’d clap back if needed. There was a brief pause before your next message popped up.

Y/N : Yeah, but you saying it shuts up a lot of people. 

He chuckled to himself, nodding as he read the words.

Marshall :  Let ‘em talk. You’re doing your thing. If they’re mad, that means you’re doing something right. 

Y/N :  Guess I learned from the best.

Marshall leaned back in his chair, looking at your message for a second before typing a final reply.

Marshall : Nah, you’re making your own lane. Keep killing it.

He put his phone down, guessing the conversation was probably over for the night. But even as he turned back to the track he was working on, he couldn’t help but feel a certain sense of pride. You were carving out your own space in the industry, no matter how many people tried to twist her message or pit you against him. In the short while he’d known you, he had seen you evolve as an artist and, since you’d never failed to share how much his music had shaped your artistry, he felt proud. 

Y/N : Also, I’m glad that you got what I did with the references to your video. It was an hommage, not a shot. 

Marshall grinned, running his thumb over the screen as he typed his reply.

Marshall : Oh, I know. But now I’m thinking, if it was an hommage, why didn’t you just ask me to be in it ?

The dots on the screen danced for a moment, and then your reply came through, as sharp as your lyrics.

Y/N : I was only hiring professionals. ;)

Marshall laughed out loud, shaking his head. He liked your quick wit, the way you never backed down from a little back-and-forth. If anyone else had thrown that line at him, he might’ve let it go. But not you.

Marshall : You don’t think I’m professional enough?

Y/N : In music ? Sure. Can’t speak for the rest, though. 

There was a pause as he crafted his next response, his smirk growing wider. He enjoyed it too much, couldn’t help himself. 

Marshall : If you want to find out just how professional I can get, all you gotta do is ask.

He sent the message, leaning back on his chair. He could practically feel the heat of your flirtation building through the screen. You didn’t take long to reply, as bold as ever.

Y/N : Oh, I’ll keep that in mind.

There was no more texting that night, but the tension lingered in the silence that followed. Your dynamic had always teetered on the edge of something more, something neither of them had fully explored. Both of you had always kept it on the safe side. The energy between them you felt charged in a way it hadn’t before, following these texts and he liked it. There was something irresistible about a beautiful woman who was also smart and bold. However, he chose not to let it get to his head, not wanting to be that guy. Being a woman in a male-dominated industry, you probably had enough of those, even though he wouldn’t mind showing you the extent of his bedroom skills. He meant it, though. All you had to do was ask. He had made a point to avoid getting involved with celebs and fellow artists but he’d gladly make an exception for you.

Weeks later, the two of you found yourself in New York for an awards show. The ceremony was everything you’d expect—long, loud, and full of celebrities. But Marshall wasn’t really focused on the stage. He hadn’t seen you yet, but he knew you were there. He’d heard your name more than once as people in the crowd gushed about you, your bold video, and the statement you’d made in the industry. Your viral video had made you gain tons of recognition and everyone was gushing about you, even the ones who had been quick to assume you were dissing him in a desperate clout-chasing attempt. After the show, as he headed back to his hotel room, he felt his phone buzz in his pocket. 

Y/N :  Nice performance tonight. Very professional. The Bradford. Suite 1602. If your offer still stands.

Marshall stopped dead in his tracks, staring at the message. The directness of it sent a jolt through him. There wasn’t any question about what you were implying. The words lingered on his screen, bold and unflinching, just like you. For a moment, he just stood there, processing. Then, without a second thought, he found himself heading toward the exit of his hotel. There was no hesitation now. His heart picked up speed as he walked out into the night, flagged down a cab, and gave the driver the name of your hotel, not too far from his. The drive was short, but each second felt drawn out, like anticipation was pulling time apart. As the cab pulled up in front of The Bradford, Marshall stepped out, the city lights glowing faintly around him. He walked through the doors and headed straight to the elevator, heart pounding just a little harder with each passing floor. When he reached your floor, the quiet of the hallway contrasted sharply with the rush of energy coursing through him. He stopped in front of Suite 1602, staring at the number on the door for a moment before knocking, his mind running through the million ways this could go. The door opened slowly, and there you were, standing barefoot in a simple yet alluring outfit that somehow made his pulse race faster than anything you’d worn in that music video. Your eyes met his with the same fire he’d always admired, but now, it was mixed with something more, something unspoken between the two of you that had finally found its moment. « Wasn’t sure you’d actually show up, » you said, your voice low but teasing. Marshall smirked, stepping inside. « Told you all you had to do was ask ». You grinned back, eyes glinting as you shut the door behind him. « Well, I am asking ». 

If you liked this and want to support a struggling student, you can buy me a cup of coffee. ☕️

[keepingsecretstokeepyoutk]

This is going to be very long and sound a little crazy at first, and maybe a little mean but please hear me out…

I’m convinced that Taylor sometimes purposefully includes one line or multiple lines of poorly written or clunky lyrics in specific songs to make a point.

We all have seen some version of this with bearding songs like London Boy, a simple bop whose lyrics were immediately detected as sounding disingenuous, even with the general population (the locations she was signing about were the most touristy and too far away from each other to visit on the same day, etc, basically implying that she doesn’t actually have a long term local bf there that she spends a bunch of time with exploring the city with, etc).

But just like everything else on the album, I think she’s doing maybe a more in your face version of that. No holds barred.

So High School is an obvious example of this, with all of the early 2000’s hs imagery, she seems pretty blatantly to be mocking the idea the public has of her “living out every American girl’s high school fantasy” of dating the tall popular football player. With lyrics like “touch me while your friends play grand theft auto” (barf), etc, shes being clear enough that this is not a serious song.

This is the possibly controversial part, but I’m so curious to see what others think about this - I think another iteration of this on this album is the title track, The Tortured Poets Department. Hear me out.

(First, I want to reassure you that there are lines in this song that I really like and think are well written, like: “you’re in self-sabotage mode/throwing spikes down on the road” and “but you awaken with dread/pounding nails in your head/but I’ve read this one/where you come undone/I chose this cyclone with you”. And I fully agree with the idea that these sentiments are from Karlie’s perspective. Basically, when you take out the chunks I’m about to talk about this song makes way more sense and has a beautiful sentiment of undying love behind it - which makes the following parts stick out that much more!)

The first time I listened through the album, and this was the second song, I got terrified because I didn’t understand its place in the whole narrative and when I heard the first clunky line “scratch your head like a tattooed golden retriever” I got the ick. Then the bridge with no structure and no wit and no clever turns of phrase, no metaphor, just “you put my ring on the finger people put wedding rings on” and “that was the closest I’ve ever been to my heart exploding”. So over simplified and cheesy, and doesn’t sound anything like her writing, especially the caliber of her recent lyrics

I know art is largely subjective, but I insist there is no way that the same person who wrote Cowboy Like Me wrote these lines into her title track if she didn’t have a reason and a point to make. To make it clear that this isn’t a matter of genre personal taste, because I know CLM is a very specific sound and a style that music snobs often take more seriously - I love SO many of her candy pop bangers, they are infinitely more clever, articulate, and overall works of art by a true wordsmith than this. Karma, The Very First Night, etc are all a master classes in clever words and tight writing being tucked into an “unserious” pop song.

The lyrics I cited above to me sound like what haters believe her writing sounds like, even fans who make little jokey TikTok’s about her and make up a spoofy something to sing while in character - that’s what these lyrics sound like.

Im worried im being too harsh, but please stay with me because the more I think about the more genius I think it actually is.

In the context of the themes of rest of the album, (her being trapped, miserable, manipulated, ready to burn it all down, screaming to be seen) this theory became clear to me. I think she’s leaning into her public persona (in more ways than one, we’ve already seen it with the stunting), in a way setting a “trap” for her fans and the public, that will essentially call them all out on how they ignored the real her in favor of her pr narrative, making the album about paternity tests, etc, all of which I’m guessing will become very clear in retrospect, possibly after she comes out? (Of course it’s already clear to us now, which is another purpose of the beard songs including clunky writing - to signal to us that these are not serious and that she knows that we know that she knows (like Phoebe on friends lol))

Ultimately, this is (along with So Highschool) a classic beard song. When she writes in this voice, she embodies the most extreme versions of her public persona, not just the one she has cultivated on purpose, but also the one that people have of her that don’t know her (as she did in Blank Space), including those that don’t take her seriously - because her identity as a boy crazy psycho ex girlfriend is directly tied to people dismissing her art as vapid because, they’ve only ever heard her singles, they don’t know the full her.

That voice is the straightest, the most boy crazy, the most one note, and sometimes the most unsophisticated writer version of her that people have in their minds, including her fans - the fans that refuse to see her as a whole person, the real, that believe she is head over heals for big football boy, that believe “he knows how to ball, I know Aristotle” is a romantic line about how opposites attract, the fans that say they don’t “get” some of her most beautiful and well-written songs, the fans that don’t see her and haven’t been seeing her.

They didn’t see giant Taylor on the eras tour, they refuse to see all of her queer signaling, etc, and I think she’s making the bearding songs obvious to underscore the difference between her Taylor(TM) and Taylor(person) personas.

She knows that despite the fact that the lyrics don’t even come close to measuring up to the rest of the album, the public, and many of her fans, will make this song one of the most listened to simply because they are looking for evidence of her relationships from the past year. We’ve all commented on how insane it is that this layered, complex, devastating album is being reduced to the usual paternity tests. This is currently one of the top songs precisely because it is “about Matty”. And of course, So High School is one of the tops songs along with it because it’s “about Travis”.

The juxtaposition of the bearding songs alongside her beautifully written poetry of Prophecy, Peter, Whose Afraid of Little Old Me, Cassandra, How did it end, The Albatross, etc mirrors the juxtaposition of her two selves during the Midnights era.

She has proven the point that if they think she wrote every line of this song completely in earnest, then they see her largely no differently than her haters do, as a subpar writer who writes absurdly cheesy love songs praising trashy to mediocre, problematic men. By eating it up they tell her that’s what she’s good for, for being the subject of tabloids and warring fans who make this entire album about two (purposefully) mediocre songs and the men who “inspired” them.

She has proven her point - that a subset of her fans will be distracted by a lesser song simply because they think it’s about one of the greasy men that’s she been seen holding hands with. That they will ignore once again all of her pleas to be seen, that she’s in pain and caged, and has been driven insane by their willful ignorance. That they don’t appreciate her full potential and talent, that they don’t even see it, and just want to be confirmed in their ideation of her.

This song is essentially the “forget him(her)” pill at the beginning of the fortnight mv, but it’s a sedative for the fans, who are addicted to her straight narrative. Similar to Willow’s 13 chants of “that’s my man” that started off evermore, casting a spell of heteronormativity over everyone who wanted it, so that they could choose to just completely ignore the following 14 gayest songs ever written. Don’t pay no mind to her singing directly about women with zero male perspective - she said “that’s my man!” We’re good! She’s still straight!

Taylor in the fortnight mv had to a take a sedative to be able to go into the next room and write her bearding songs - ie she self medicates to deal with keeping up the straight persona and to get through having to release dumbed down songs to feed the masses. (I also see the pill as something forced on her, I think it represents both layers)

From the first time I watched the music video I thought the writing Taylor looked so miserable and the bearding songs are why.

In this room she’s trapped, churning out the songs that her fans expect of her, the songs that make her team money, the songs that make her money, but that she has to compromise her truth to create.

But when she frees herself she’ll burn the stories that weren’t true, the filler that doesn’t represent her.

I’m curious to hear other’s thoughts on this - have you ever felt like Taylor purposefully inserts off-sounding lyrics that are written in a different voice to make a point?

I want to reiterate that it’s not the entirety of either song that I think is terrible, I genuinely love bopping along to both So High School and TTPD (track). Like I said above, when you remove the clunky lines from ttpd (track), the song has another layer and likely gives voice to some Karlie insight that is beautiful and tragically profound. It’s the red herrings, the pieces specifically meant to tie this song to a bearding narrative, that I’m dissing, and the only reason they are suspicious in the first place is because I know how gifted Taylor is with the written word.

Taylor is such a skilled writer that she can embody the voice of the bad writer that dismissive ignorant idiots believe her to be, just to make a point!

I even wonder if maybe there is a second version of this song locked away in one of those drawers in the fortnight writing room that leaves out the red herrings and is a thousand times better than the bearding version we got.

I hope one day we get to hear it.

[museofthepyre]

Every day I wake up with a start, drenched in a cold sweat, plagued by a reoccurring nightmare about the most baffling CHNT take I’ve ever seen, which basically went… ahem.

“So what if Jedidiah is avoiding and ignoring Sydney 😒? That’s not neglect, because he owes Sydney nothing. Jedidiah owes Sydney nothing. He has no obligation whatsoever to be there for Sydney, and it’s manipulative of Sydney to be upset about his absence.”

Ahhhhh yes. Indubitably. Y’know now that I think about it….

Y’know how food is used to symbolize love a lot in CHNT? And, do y’all remember file 18, when we got all those analogies for Sydney and Jedidiah’s current-day relationship in the form of childhood stories? Specifically that one where Jedidiah became so attached to a fruit fly that he couldn’t bare to let it go… so he put it in a container, kept it trapped, neglected to feed it, and watched it throw itself against the walls until it died of starvation?

Yeah. That starving insect was emotionally manipulating child Jedidiah by acting out in distress. I mean, throwing itself against the walls like that? Totally uncalled for. Jedidiah had absolutely no obligation to care for it. So what if he leaves it alone in there? That’s not neglect— he owes it nothing!!!!!

Wait. What do you mean he put the fly in the container. What do you mean he took on the responsibility of feeding it when he trapped it in a container, and took away its freedom to fly around and seek food for itself. All so he could keep the fly forever and never let it go. Without giving it a say, simply because he can’t handle saying goodbye. What do you mean the fly was acting erratically because it was starving and crying out for help. For the ONE PERSON who could feed it to just *notice*, and offer any sustenance at all. Or to just set it free. Errrrm… that’s actually emotional manipulation and we need to hold that villainous little fruit fly accountable.

Also side question what the fuck is a literary device and what do the words “analogy” and “metaphor” mean. What is that. Stop cursing at me. Those aren’t real words.

This couldn’t possibly be an “analogy” for how Jedidiah PREFORMED FORBIDDEN MAGIC ON SYDNEY to keep him “alive” and confined to the campgrounds (which he now cannot leave), simply because Jedidiah couldn’t bare to say goodbye. How he leaves him there to starve, all alone for 11 months out of the year, avoiding and ignoring him, PUTTING HIM IN THE CONTAINER AND NEGLECTING TO FEED HIM. Just looking in from the other side of the glass at his own convenience. Then being sad when Sydney acts out and withers, but never thinking to offer sustenance. Food being a metaphor for love, remember. Pfffffffft. That’s impossible and ridiculous!

Cough.

Also another side question what are themes and parallels. And why are there so many throwaway lines in CHNT lollllll like what significance does any of this have? Surely this has no deeper meaning.

Ok sarcastic bit over, that was painful. Media literacy is so dead it is fossilized in the deepest sedimentary layers of the earth’s crust. I’m sorry I hate getting fired up about this stuff but this strikes a NERVE in me.

Sydney has self-destructive and overall unhealthy responses to conflict, which often hurt more than help. Jedidiah owes Sydney his presence after ILLEGAL MAGIC-ING him into a state of pseudo-life and confinement to the campgrounds… for his own keepsake. Not to mention keeping him under the guise of a relationship, leaving him always reaching out an empty hand that’ll never find anything to hold.

They’re both flawed. This story has no blameless perfect protagonist. WHY ARE YOU TRYING TO BUY CLEAR CUT “GOOD GUY” AND “BAD GUY” NARRATIVES AT THE NUANCE STORE. Ok I’m done now

[demaparbat-hp]

I used to just think Zutara was cool because Zuko and Katara had that whole fire-water duality, had more chemistry with each other than their canon love interests, Kataang gave me this sexist pseudo-incestuous vibe while Mai was just way too under-developed to interest me (Zuko gets the most character development out of all the characters but they pair him off with the most boring character in the series?).

Now when I actually think about it more deeply, Zutara genuinely made more sense for the narrative and characters too. Aang was told he had to let go of Katara so he could become a fully realized Avatar but then he just gets a deus ex machina so he doesn't have to. They dropped an entire arc just for Kataang to get together and made it happen in the most stupid way. The lion turtle deus ex machina was already badly done but at least it sorta made sense with the lore. The rock was just beyond ridiculous. Aang solved his problems by randomly hitting a rock even though they already established how Aang had this unhealthy attachment to Katara because she was his coping mechanism for his lost people. Instead of letting her go, Aang keeps that attachment and becomes even more possessive of her. He never learns to prioritize the world over Katara even though it is his duty as the Avatar! He didn't have to sacrifice or learn anything to achieve his goals and the way he became a fully realized Avatar NEVER made any sense. Katara and Aand were not always intended to end up together if you look at the IP Bible. Katara goes back to the SWT to help rebuild it while Aang goes looking for the hidden Air Nomads. There's hints early on in Book 1 that the Air Nomads are still alive (like how Aang was able to get a bison whistle from some merchants but they never explain where they got it from).

Meanwhile the whole Maiko relationship seemed like it was a metaphor to represent Zuko's false destiny and dissatisfaction with his life since Mai encouraged him to sink into his bad habits and ignore everything else, and Azula actively encouraged them to get together so she could control Zuko easier and keep him in the Fire Nation. Zuko leaving Mai behind felt like him embracing his true destiny. This entire thing falls apart when they get back together though, and them being so toxic in the comics is just further proving how dysfunctional they are (like, do they think this is going to sell us on the ship?). I also thought it was strange that apparently Zuko and Mai liked each other since they were kids but Mai never bothered to write him his entire banishment, Zuko never thought about her, Iroh never mentions her, Zuko was totally fine with going on a date with Jin (which Iroh also encouraged), and Iroh thought Zuko and Katara would make a good couple as soon as he saw them interacting as friends. It makes me think Bryke just created Mai and put her with Zuko as a way to discourage Zutara shippers but then forgot to develop her properly. Zuko doesn't even think about Mai after she risked his life to save him lol.

I'm about to make this a long answer, sorry about that :)

I love narrative, and I love to analyze how it is built. Narrative is the way a story is shaped to express its themes. Narrative is using the events within the story to build metaphors. Narrative is the smart foreshadowing, the parallels, the foils. Narrative is intentional, until it isn't.

I am not a professional. I do not have a college degree on this subject. I just like to think about what can make writing be great or lacking. I am merely expressing my personal opinion on this show and these characters, not stating an universal truth.

ATLA is such a well-written show. It treats its themes maturely and builds the story and characters masterfully. Of course, it isn't perfect, as nothing made by human hands is meant to be. ATLA has issues with its storyline and characters and, ultimately, with the narrative itself.

Aang's character arc is different to Zuko's in that, while Zuko's is focused on change, Aang's ultimately ends with him standing his ground. (And isn't that poetic? That in order to grow they need to embrace the philosophy of their opposite element?)

Zuko was forced to change in order to survive from a very young age. He learned to suppress his true, compassionate nature, to become The Perfect Prince—that which Azula embodies. When Zuko fails to do this, he is burnt and tossed away and forced to change once more. He has been hurt and thus is the farthest he has ever been from his true self—Zuko almost forgets who he is.

Zuko's arc, in that way, is similar to Aang's. It's about staying true to himself, but also about learning, about opening his eyes to the horror and using that same passion he has always had to do the right thing. Zuko changes, not into the person he was, but into someone who could, in the future, turn into the better version of himself.

Aang is different. Aang is a child born into peace, who does not have the personal, terrible experience of his people's genocide or the hundred years of war that have left the world wrecked. Aang's arc is about changing and learning and adapting to this new reality, about accepting his role as the Avatar. But it's also about standing firm and saying, "This is who I am, this is where I come from—pain will not break me".

Aang's struggle to control the Avatar State was all about that. The Avatar State meant that Aang lost control. It meant the pain and the hurt had turned him into a thing of anger (righteous as it was) and instinct and awe. Aang needed to be at peace with himself in order to control the Avatar State.

That tiny rock at the final battle felt like an easy way out. It felt like taking from the sheer terror of watching yourself almost kill a man as if from afar. The real moment of triumph for Aang in the finale happened when he stopped. It happened when he took control back and ended the Avatar State, stopping himself from betraying what he believed in.

Was not killing Ozai truly the best choice? I won't get into that debate. I know where I stand on it, but it's not really the point I'm trying to make here.

Aang's triumph, character-wise, happens when he stands his ground and refuses to abandon who he is and what he believes in. And for someone whose flight or fight response almost always turns to flight, this is a huge deal.

Now, where do Katara and Mai stand on this?

It has always been clear to me (even as a Maiko shipper) that Mai was always supposed to be a narrative device. Her relationship with Zuko is supposed to give us, the viewers, and him, another reason to see that this isn't the life he wants, that everything isn't perfect even when it should be on paper.

Zuko goes back home. Zuko is welcomed by his nation with open arms. He is revered. Loved. His father tells him he is proud of him. Zuko has a doting girlfriend—a beautiful, noble girl who can kick his ass and is everything a Fire Prince could wish for. She is adequate and things with her are easy, untroubled. Zuko has everything he could wish for.

And yet he is not happy.

Mai and Zuko have issues that should not be pinned fully on either of them. They had trouble comunicating. They wanted different things in life. They had different ways to look at the world. Different ways to look at each other. Different ways to cope. Different ways to express themselves. Different expectations.

And that's okay. It's possible to make a relationship like that work. Nobody is perfect and no relationship is flawless. Opposites attract and it's possible to find a middle ground in which they can both be happy.

Except they never truly did.

Mai and Zuko's relationship was a plot device. One that did its job damn well... Until it didn't.

If your relationship with the girl is supposed to symbolize the lowest point in your life, and going back into being someone you don't like anymore, then why get back to her when the story is over?

As for Katara, well...

Many things have been said about the abandoned Letting Go Of Katara arc. I'd like to avoid that discussion right now, if that's okay.

I think Zuko and Katara's relationship would have made a lot of sense both narratively and thematically, but also (and most importantly) it would have made sense character-wise.

Give them a few years, let them explore the beautiful friendship they had at the end of the series. Let them find themselves and grow into their roles in this different, exciting new world. Let them reconnect.

If they fall in love in the process? Well, maybe it was a long time coming.

[somerandomdudelmao]

i was writing this all out in the tags of one of your recent updates (part 9 of 'donatello') when i realized i might as well just send it to you directly before i hit tag limit. (i hope you don't mind haha) this recent comic really reminded me of a concept that i've seen in your work that i haven't seen commented on a lot (though i could be wrong.)

casey jr and donatello's relationship as you've portrayed it is interesting in a number of ways. one i've been thinking about recently is the aspect of physical touch, and how you use that to represent the underlying themes/ideas behind their dynamic (and the story as a whole).

in the series, donnie is generally the least physical of his brothers, in that he prefers to be the one to initiate contact. (as a fellow autistic, i relate to this on a visceral level /lighthearted.) however, in your portrayal, this rule bends for casey's sake.

you've been setting up casey to follow in donatello's metaphorical footsteps for a while now, with this coming to fruition (to an extent) in recent storylines.

but going back a bit further. there's this major theme of... i guess i would call it 'responsibility?' that has been weaved through the story from... basically, day one.

in the first comic, his conversation with f!leo following leo's brief foray as a nugget (one of my favorite lines from this series overall is "...and leo-nugget." amazing, genuinely), casey admits to him that it was scary being responsible for someone that could get hurt so easily.

in one of the following chapters, we see the question asked: 'but who is there to save you?' (this chapter being a bit of a microcosm of the theme/story as a whole haha.)

though it was a chapter i had originally assumed was just for funsies and angst opportunities, i now realize i was wrong (though, i don't know exactly how intentional you were being with all of this, so i could be missing the mark here.) it actually sets up his arc rather nicely -- with casey being the one to save donatello when he was injured/knocked unconcious.

now, bringing this all back around to the original intent of this ask: how physical touch is used to represent their narrative dynamic (is that a thing? 'narrative dynamic'? am i just making shit up right now? whatever its fine /rehtorical)

taking everything in account, i want to return to a specific moment that really struck me in the comics leading up to donatello's death. it's the time where the resistance is being attacked, and donnie, despite being sick, goes out and uhhh... extirpates the problem (its always fun to see donnie go apeshit with dangerous weaponry /positive.)

during his dramatic reveal and attack, casey is by his side, clutching onto him not to cling, but to physically support him (at least, that's how i think that moment was supposed to be interpreted? i could be totally wrong here.)

i can't help but feel this is emblematic of the larger themes at play here-- i.e., casey's arc in relation to donatello.

i can't help but find it interesting how donatello, backbone of the resistance--

(despite his soft shell... which is why him no longer wearing his battle shell when he got sick was actually symbolic foreshadowing of-- *sound of gunshots*)

[editors note: i'm gonna stop myself right there, before this goes from ungodly long to "will break your dash and ask box if allowed to continue further"]

-- and certified plot mechanic (oh, so that's why he named it convenient plot-twist serum... finally, the mystery has been solved /joking /lighthearted), who is a very independent/self-sufficient character, allows casey jr to subvert his rules with casual touch. enough so, that when he is so weak that he can barely stand, he trusts casey jr to keep him upright.

out of everyone, he trusts casey.

casey jr, who, at the very beginning of the comic, saved donatello's life, physically carrying him back to the base. and casey jr, the one who, now, has rescued donatello from a fate worse than death, only to once again bring him back to safety.

(...can you tell i'm a little bit obsessed with your comic? lmao)

[also to note those most recent panels: a return to the "norm," with casey clinging to donatello's side, also providing a nice parallel. i know it's because he is very much reunited with his uncle who has been dead for two years, but c'mon. let me have this /joking.)]

anyway, i hope this made sense, and if you did manage to get through my pretentious (and probably somewhat far-fetched) rambles about the "symbolic narrative significance of touch" in a fanwork about the teenage mutant ninja turtles (/lighthearted), may i just say: i am in love with your work, and can only aspire to tell a story as engaging, heartfelt, and clever as the one you have woven.

you are a blessing to this fandom, and i am so excited to see where you go with this story.

I have to say that I didn't specifically do the mental planning for all of this. Most of this theme is simply because I do what I feel will be right. It's more of an intuitive desire than a prescribed plan, so it was pretty surprising to me to see this thought actually being formulated haha

Thank you:>

[therainscene]

Stranger Things is fundamentally a story about being an outcast: coming of age while using the healing power of love to deal with abuse and pressure to conform.

And these are all very queer themes. Stranger Things isn’t necessarily about queerness, per se, but its themes do happen to encapsulate the queer experience perfectly -- so it’s no coincidence that the boy who got the story rolling and whose coming of age will be a focus in S5 also happens to be gay. A satisfying ending for him will be a satisfying ending for the whole show.

So let’s examine Will’s arc without our shipping goggles on and ask ourselves:

What sort of outcome for Will would best fit the themes of Stranger Things?

If he dies, then all those times he was saved by the power of love will have gone to waste.

Perhaps you could argue that he’ll sacrifice himself in an act of love and gratitude for those friends who saved him in the past... but he's already done that, multiple times, and it never permanently solved the problems plaguing him or Hawkins. Will needs to try something new if he wants it to stick this time.

If he becomes a villain, then he’s giving in to the cycle of abuse.

That’s too out of character. Will is Henry’s narrative foil -- they have a lot in common, but their roles in this story fundamentally contrast one another. So even if Will allies with Vecna -- perhaps out of some well-meaning effort to sacrifice himself again -- that’s not going to be the end of his story.

If his defeated acceptance that queers like him never Get The Boy in the end is proven correct, then the narrative will be rewarding his conformity to homophobic ideals.

Yes, nobody is entitled to Get The Boy in real life... but nobody gets eaten by Demogorgons in real life either. This is a story, and its job is to explore ideas through metaphor, not to be a perfect mirror.

And yes, Stranger Things is set in the terrifyingly homophobic 80s and chooses to take a realistic approach in depicting queerness... but it’s still a modern story intended for a 2020s audience.

So why should we learn the lesson that the best ending a gay boy can hope for is bittersweet at best? That queer self-actualization is rooted in waiting to be accepted by straight people instead of forging your own queerness for yourself? How is any of this consistent with the theme of resisting forced conformity?

But if:

Will overcomes his internalized homophobia and openly admits his love for Mike, and Mike likewise shakes off the shackles of compulsory heterosexuality and admits he feels the same way...

...The joy of actually getting the romantic love he thought he never would inspires Will and gives him strength...

...To finally face Vecna, symbolically addressing the abuse and societal homophobia that almost prevented him from getting that romance in the first place?

We satisfyingly resolve all three themes in one tidy, self-contained swoop.

[waitmyturtles]

As I did last week, I have more constructive criticism for Jack & Joker, so, trigger warning again, please fly away if you can't deal with objective criticism of your faves.

What frustrates me about the construction of this show is that it's tripping on its own feet. And I shouldn't use the indefinite article; I should call out director Tee Bundit directly, because we saw him do this in spades in Step By Step. Tee did everything he could to avoid building a real narrative romance between the SBS leads, and the emotional beats that succeeded their late-series intimate breakthrough were not syncopated properly to match the development of a convincing relationship.

The incomplete beats at hand here are not as bad as they were in SBS. What's keeping me going on in Jack & Joker is that, at least, we are getting separate emotional development trajectories for Jack and Joke -- and a nice, hearty head-smack from Ah Mah at the end of the episode, towards Jack and his inclination to shut down and keep his shit internal. Ah Mah is trying to get Jack to know how to act as family, and she did the same with Joke's father earlier in the episode.

Like I said last week, I think this show has some really wonderful family-related thematic gems like the ones I just mentioned for this week's episode. Yin and War are acting these themes out with heart. Jack's in a really tough spot. The robber clowns will get together again next week to try to get him out of his tough spot.

And I know many of us are upset with Joke's dad, as I am, too, he's a real piece of shit, but his scenes with Joke struck me as very real to the experience of an insanely strict Asian dad. I've written about this too many times to count, but the ability of an Asian parent to cut their kids off like that is a concept that majority Western culture hasn't contemplated, except in instances of religion, sexism, bigotry, etc., but anyway -- that kind of cut-off doesn't exist as part of the everyday Western mentality about parenting, whereas in Asian parenting styles, to reject the patriarchal hierarchy could mean permanent separation, as Joke's dad has enacted to Joke. The fact that the motherfucker reconsidered AFTER EATING JOKE'S FOOD struck me as deeply sexist ("the way to a man's" blah blah, UGH), so I'm glad Ah Mah told that bitch off, but I did think those scenes were done well and realistically.

Anyway, where this series is absolutely lagging is in the EDITING. All these rich people games. I think there are many more concise narrative ways that we can be told that the rich play with the lives of the poor, than to give us bloated scene after bloated scene of literal gaming. Forget metaphors! Just give us some well-written, snappy dialogue about how these rich people are total assholes! We'll believe it!

And at the same time, I'm feeling bad for Rose, honestly. She likes Jack! She has no idea her crush on him is caught up in this Boss bullshit. She's gonna be hurt! And they're gonna rob her house now? I mean, I think what Tee is saying (I think?!?!?!) is that what comes to her, she deserves, because she's as scummy as the rest of the other scummy rich people (Ajahn Pichai, was that you?!). But like, this is her dad's shit?! So she gets automatically blamed because she's a nepo baby? I mean, I guess, if you're a reader of New York Magazine, that's reasonable thinking, but like, some of us are moral thinkers here!

This shit is complicated, and for an episode that was ONE HOUR. AND. 21. MINUTES. LONG., we could have a shorter AND clearer episode that could have scrubbed at the grout of these otherwise very interesting moral quandaries. But instead, we got video games from some dusty-ass rich boy who needs a goddamn bath.

I know, I know we haven't gotten the intimacy payoffs for any of the implied couples yet, and maybe this is part of YinWar's intention in having so much control over their script. But I did wonder if I was watching a Series Y/BL, or if I was watching a dramedy instead. I don't really care what genre it's in. But what I would like is for the themes to be crystal-clearly focused so that us, the viewers, can lean into what the cast and showmakers WANT us to care about -- which, thematically, I'm unclear on at this moment.

[currymanganese]

The Bear Season 3 and The Mirror (1975)

The Bear S3 felt like C Storer watched Andrei Tarkovsky's The Mirror (1975)

(which can be watched for free and restored High Definition on Mosfilm's YouTube channel below:)

and got wrapped up in replicating a 10 episode season long psychological non linear experimental drama of that nature, especially with its visuals and themes - but the reason The Mirror is profound and meditative to me is the framing device of the narrative with the protagonist being a man on his death bed whose life is literally flashing before his eyes in disjointed and disconcerting / disoriented vignettes, even down to dreams and reminisces being dominated by memories of his mother and his ex-wife ( btw, two characters who, in a clear allusion to unresolved Oedipal trauma, are played by the same actress, Margarita Terekhova); if C Storer really drew inspiration from this film then hopefully S3 was about depicting Carmy as a metaphorical "dead man walking" who will be reborn psychologically and emotionally in S4. However the differences in the run times of The Mirror as a standalone film and The Bear S3 and its nature as a serial meant the season felt exhausting to get through for me - let's hope the emotional reprieve for Carmy that never came in S3 sticks the landing in S4.

@thoughtfulchaos773 I really do agree with your assessment that this season was a love letter to film as an artform, you may be interested in watching this movie if you've never seen it.

[ashleyeveerson]

CANARIES, NIGHT SHIFT AND THE MAGNUS PROTOCOL (tma/tmagp/arg spoilers)

Along with everyone else in the fandom, I'm also going FERAL after these new ep so excuse this RANT (this is my way of coping with the brain worms, enjoy ;).

Statement begins.

So what's special about the RedCanary story?

Well, apart from it being a direct reference to the original Magnus Institute (at least the one in this new universe), it's also incredibly fascinating as a narrative tool.

For those who are unaware of their history, miners used to employ canaries in cages while they worked as safety systems. The bird's complexion made them specially sensible to gas leaks which killed them instantly. When a canary stoped singing in the middle of the shift, the workers knew that toxic gas was leaking and had enough time to get out of the mines alive before it got to them.

Now why is that relavant to us? Well, the theme of canaries in cages inside mines could be easily applied to the og tma characters. All of them were contained in cages (that is the Magnus Institute) and placed close enough to danger (in their case the paranormal) that only they were aware of its existence while the rest of humanity remained ignorant. That is until the events of the apocalypse when the gas metaphorically leaks everywhere and all humanity is doomed.

However, this proximity to the fears ALWAYS results in the death of the canaries that stayed inside the mines (no i will never get over my blorbos being killed). Everyone involved with the institution dies EXCEPT from Melanie, Georgie and Basira. That is, the only three canaries that actively escaped their cages before the toxic gas got to them.

Therefore, the use of this metaphor at the start of the ep (especially from none other than the voice of Jon Sims, the character who has walked down the path of learning about the entities) is a warning to Sam against investigating the paranormal.

The statement is encountered by Sam because he, above all other characters, is the one who is most likely to end up like Jon and the others. The species of Red Canaries is human breed, therefore Sam being a result of experimentation within The Magnus Institute means he was RAISED to be a canary. Thus, there is an inherent irony on the warning, for it is what PUSHES him to develop an interest on the statements and leads him closer to his tragic destiny.

Another proof that links canaries and the workers at O.I.A.R. is the nature of their habitat. I haven't seen a lot of people talking about it, but there are multiple references in the first and second ep of them working the nightshift. Now, why would a filing job be carried out exclusively at night? (THERE ARE SO MANY REFERENCES TO IT BEING A NIGHTSHIFT I AM NOT KIDDING)

This one is specially interesting because it's the first thing we hear in the podcast. Also Teddy metaphorically being the canary that leaves the mines and the darkness to escape into the outside world and the sun.

Multiple references to it being just the FIRST night of an eternity of nights. (cosmic horror much?)

In any case, there is a parallel between darkness of night and the darkness inside the mines. (or even the entity of the dark, one of the oldest alongside the hunt and the end). I see what you're doing Jonny Sims....

SO YEAH IN CONCLUSION

canaries = characters close to danger (AWARE OF THE ENTITIES)

the miners = the rest of humanity (UNAWARE OF THE ENTITIES)

cages = The Magnus institute/O.I.A.R (TRAPS the canaries)

the fears = toxic gas (HARMS the canaries and miners)

darkness in the mines = the night shift

Statement ends.

*stands in front of a white board with red string linking everything, and the dark scribbled in black marker in the center* I HOPED YOU ENJOYED THIS RANT *tries to fix my disheveled hair that i messed up during the presentation* I AM SO NORMAL ABOUT TMA AND TMAGP Please feel free to discuss in the comments, I NEED THEORIES, I NEED TO TALK ABOUT THIS WITH SOMEONE!!!

[tylered-up-in-blue]

Response to “The Magic Trick You Didn’t See” / The Coffee Theory

I, like many people in the Good Omens fandom, have already read the big essay “The Magic Trick You Didn’t see” –which blows up the coffee theory that’s been circulating on my twitter page to greater heights and big claims. I have some thoughts.

First of all: I think that the original essay has a few details wrong, essentially because it falls into a kind of utilitarian perspective with the whole magic show metaphor. The thing is –sometimes details which are left hanging, or themes which are shown to be important, don’t always tie up somewhere. Sometimes they’re there because they’re interesting, or poking at intrigue –trying to get you to notice and note down for later, rather than evidence of one ultimate solution that’ll be revealed as a holistic great plot. Also “I didn’t think the writing was good in this moment” isn’t very convincing to me, I’m sorry.

But –I do think that they were onto something. I hesitate to make any grand claims, like “Maggie isn’t real,” or “The Metatron is editing the book of life,” because -to be honest- I don’t trust myself to put my name to something as big as that, and I don’t want to erase my favourite thing about Good Omens: its whimsicality. But I will say that there are themes and notable elements which I think will be important later and hint at some larger fuckery (if you’ll excuse the OFMD reference) going on, so consider this a kind of rejigging of the theory to be a more thematic approach that lays out things I just thought were interesting under an more open-ended (or flip-floppy, depending on how you take it) idea:

Something was going on this season which will be revealed as a Heavenly plot to split Aziraphale and Crowley up by the end. It worked. And the person to reveal the greater plot will be Muriel.

I’ll write down first of all a list of things that have been introduced to the world of Good Omens which I think are important, and highlight why one of them sticks out to me. Then I’ll work on a thematic basis of what things are shown to be worth narrative focus/presuppose S3. The first two themes are very much commentary drawing on the essay I’m responding to, and the second two are more my own ideas –certainly the fourth.

Okay, so: there are introductions to the Good Omens-verse which are clearly there to expand our world for later use. I don’t know if all of these things will come up again, but by the end of this season we know:

There are Nazi (and possibly more) zombies running around London.

There is a gun in Aziraphale’s bookshop -in case it’s needed. 

Heaven is interested in keeping things quiet, and they will fiddle with memories to do so. Erased memories can be “stored” in things/creatures.

There is a thing called “The Book of Life” that if you’re written out of, you NEVER EXISTED. (It can be edited, too, presumably.)

Crowley is possibly the most powerful being in the show. “Half a tiny miracle” ends up being enough to resurrect someone 25 times over, and his attempt to stay calm after a little tiff with aziraphale results in draining the street of electricity. Also he created the entire universe. (coming back to amend this with the fact Neil said he got going just "that tiny corner of space" -but I still feel there is significant evidence to say he is very powerful:) )

I lay these out because they’re just good to have noted down, really, and because they’re definitely GOING to be important. ALSO because the last one makes sense for the greater aim to be breaking up the ineffable husbands. Emphasis on Crowley’s power –and for their shared power– sets up a REAL threat for what we KNOW will be the basis of s2: The Second Coming. If you’re Heaven, and you want the second attempt at an apocalypse to be successful, you’d be stupid to let the two celestial beings who were meddling in the whole averted-apocalypse ordeal last time to just be AROUND for it. Especially when one has the ability to stop time!!! You’ve GOT to break them up. 

Theme 1: Investigation (Muriel!)

Investigation is a fun little theme in s2: Aziraphale goes full detective mode. He loves the clues, he’s in his little trilby investigating. All the marketing was very investigative and invites the audience to pay close attention. And there are SO many little easter eggs. From The Colour of Magic appearing to Gabriel reading the first lines of Good Omens –even as small as a Terry Prattchet impersonator speaking over the tannoy in Hell, or the film in The Resurrectionist being chosen specifically to play because there’s a scene where Jimmy Stewart talks to a fly. 

So! Investigation is fun! It’s important. And my favourite part of the essay I’m responding to is definitely that about Muriel. I think that all this build up to the detective-vibe is going to cumulate in their s3 role. Essentially: I entirely agree that they are coded as the one to blow open this whole case in S3. The police costume and giving them The Crow Road are certainly suggestive–but more than anything, leaving them in charge of the bookshop (full of Aziraphale’s diaries and books and everything) props them up perfectly to earn the promo they got for s2. Because I’m not sure about you, but my mutuals and I were shocked that the NYCC scene (“hello hello hello, I’m a human police officer!”) didn’t happen until episode three. From the way the promo was going (character profiles, trailer etc.) I thought Muriel would be in s2 WAY more.

They also make a HUGE point of how Muriel is considered “nobody.” They say it themselves, they’re called “the dull one” by Metatron.

They set them up perfectly to solve this later.

Theme 2: Memories and Stories:

Memory! Another theme! –memory that can be tampered with, contained, erased and returned.

Heaven is willing to meddle with and erase memories if necessary. They are, then, SUBTLE.

There is no God narrator.

There is a statue immortalising a very real Gabriel (somehow/for some reason –Gabriel was also involved in its making?) 

My favourite part of season 2 was definitely the minisodes. The costumes, the settings –I was so surprised to find the horses and carts in ep 3 were CGI in the X-Ray! They look so good! I loved how every single flashback was incredibly vital and interesting to expand on Aziraphale and Crowley’s relationship –that convo on the rock in ep 2? WOW. Stunned. Anyway, not to go on.

I completely disagree with the conviction that these were edited. I think that, to the contrary, these memories are (IF there’s something going on with temptation/persuasion (more on that later) and The Book of Life) are ENTIRELY real. And the reason for that is highlighted in the very essay: each memory is tied to a physical record of it happening. The Book of Job; the Polaroid in ‘41, and Aziraphale’s diaries. This is not to say that there aren’t still gaps: where was the “I’m sorry” dance of ‘41? If Aziraphale wasn’t drinking in 2500 BC then when did he start? Just little things like this.

This is the thing: stories, words, are vital. The challenge that they gave the guy who did Sherlock (I can’t remember his name I’m sorry!) –it’s talked about in the X-Ray– was to have words pop out in 4 different ways across S2. This a fun stylistic choice, but it also gives words narrative attention, so ties in with all this. Without God to narrate, narratives and accounts are left to the characters within the world. It’s fun and important both. So is the spelling stuff. Maggie can’t spell, neither can the demons. (She may be a demon herself –I’m not entirely convinced it’s this simple, tbh, but Aziraphale’s miracle not working on her in ep5 is definitely a red flag.) Anyway – it’s also interesting.

With all this, my idea that Heaven/Metatron had been planning the aziracrow divorce from the beginning might mean they’re tampering with The Book of Life –it also could mean that they’re ABOUT to do something weird with Aziraphale’s memories, or all these pieces are going to become very very helpful for Muriel’s investigation.

I really do wonder what this role of records, memories and narratives will come to, but I have a feeling it’ll bleed into s3.

Theme 3: Food

Crowley was the reason Aziraphale tried food in the first place. I just wanted to put that down because of course he was, but also it is deeply INSANE that he INTRODUCED AZIRAPHALE TO THE CONCEPT OF EATING. God, David was right. They really don't exist without each other.

This is kind of the point I make with food here: it’s a HUGE theme in s2, largely just to emphasise the fact that it’s powerful.

For some reason (jokey or otherwise) eccles cakes can “calm you down.”

Aziraphale becomes significantly bonded to Crowley by eating the Ox in ep2. Later, Crowley is “as strong as an Ox." –fun little echo.)

They drink the same wine as always in ‘41 –they share no wine in s2, just the sherry and whiskey respectively. They also don’t share a meal, which seems interesting. I personally think that it’s to do with consumption being a metaphor for queer desire, and the absence of it being a sign of C/A being on “their own side” in s2. Crowley abandons temptation as Aziraphale abandons attempts to “save” Crowley. –-Or it may mean something else!

Crowley drinks laudanum and it makes him go lala. It ALSO makes him turn tiny, then giant, and he does something kind –kind enough to get him dragged off to hell and tortured so badly that he’s asking for holy water as “insurance” 40 years later.

That fucking oatmilk almond coffee. Okay. So if food is powerful, this has weight. From the colour of it being weird against the background to the fact (to quote my dear friend Jey) “nobody fucking drinks almond syrup!!” –I’m sure you’ve see all this going around. Almonds are obviously very poison-coded, and considering the above point I smell something strange. (I don’t believe it was quite a case of drugging per say, but more metaphor: Aziraphale is being tempted. He’s being manipulated, and drawn back into the culty office world of heaven.)

So what we know here is that food is powerful. An important metaphor and force (especially for aziracrow.)

Theme 4: Resurrection

OKAY: so, this is the most original of my listing in these themes. I am so interested in this resurrection thing they’ve got going.

The Resurrectionist pub: where Gabriel and Beez come to their plan. We see that The Dirty Donkey is a lift to heaven (which NOT enough people are talking about) –so what about The Resurrectionist? What power does it hold as a space? Why is the legacy of Mr Dalrymple important?

Why did (wee) Morag’s eyes glow briefly? Is she a zombie now?

Zombies exist. We know this. They’re also tied to the concept of consumption, which is cool.

Heaven measures miracles by Lazarii.

Gabriel, in one of his flashes of prophecy, says: “there will come a tempest (...) the dead will rise from their graves and wander the earth once more.”

These are all cool. Thematically, it seems that being raised from the dead is going to be something big. I’m interested in this, considering that after Gabriel said the above mentioned prophecy my good friend Jey said “hold on, is this going to be about The Rapture?”

Now: we know that “668: Neighbour of the Beast” was supposed to be set in America. Whether it actually is or not, I don’t know, but I think that if it is about a second coming on American soil, The Rapture feels VERY pertinent. The dead are the first to rise and be with God in The Rapture, but all believers join them: and they join them permanently. In some versions, there is a period in which Christ rules the earth. All very fun and interesting prospects for s3!

Where this leaves us:

S2 is the “bridge” between 1 and 3, in Neil’s words. It’s the “romantic filling” of the sandwich.

I would argue that some seriously tough bread started with “oh Crowley, nothing lasts forever,” but hey ho, that’s the very ending of the season. I just want to talk about coded language/draw on what I’ve just said to talk about how we’re set up for the structures of s3:

Heaven is a CULT. A serious cult. From the (temptation) manipulation of the coffee, to the man at the pub calling Gabriel a “mason” –which I’m assuming he means freemason– to the frankly INSANE smile on Michael Sheen’s face as the credits roll (also sickening lighting there)– they are a big threatening cult, and that is going to be important. I think it’ll just get increasingly so.

FurFur and Shax have it OUT for the ineffable husbands. Like they are NOT fans. And they seem to also be buddies now so… not great news.

In The Scene </3 Crowley stops himself short of saying he’d like to spend eternity with Aziraphale, and instead asks him to “go off together,” just like s1 –I think their language is going to develop hugely in s3. It’ll go back to being the space they “carved out for themselves,” only further.

And finally: a bet. The last time we see Crowley, he’s in a car full of plants because he’s carrying “their side” away with him. I am willing to bet –not that this is a hottake or anything– that it’ll end, as it began: in a garden. S3 will end in the garden of their South Downs Cottage !!!

[disruptivevoib]

hi! ive listened to some of chonny jash's songs but did not realize that there was really a story? Or i vaguely knew but didn't have the time/energy to get into it and with the release of the bidding animation ive realized theres like a bajillion awesome animations and art and i want to get into cccc but have no clue how. also why does soul have a trident.

OH man!

The story of CCCC has an overall seeming narrative, but much of it's smaller points are interpretive due to Jash himself leaving it up to fans of the album. But! Overall it kind of goes like:

-Jash or, what most people call Whole, splits as due to mental dissonance and waning mental health. (Time Machine Reprise).

- Whole fades into Soul (End of TMR into Dream) and from there its Mucka Blucka as a sort of introductory song. The recap for a story you have or haven't heard yet.

- (The entire album is a time loop! Which is a big metaphor for the cycles of mental health and illness people go through.)

- From there its the section called "Cacophony" which starts off with Soul, but eventually it turns to Heart and Mind + their fighting and inability to see or listen to one another or their points of view. Of course, as Logic and Emotion, they both have valid ideas or opinions, but believe themselves so contradictory that the other must be evil or out to get them.

- Heart attempts to shoot Mind, as referred to in Ruler of Everything. Literal or Metaphorical as you take this, it is seemingly symbolic for an attempt at one's own life if not self sabotage. If not then both.

- The rest up until Soul Eclectic is sort of just the Mind and Heart fighting and their own personal views each on the situation.

- Soul in The Soul Eclectic reaches his breaking point. Threatening to kill them all (A more direct attempt at suicide)

- Mind and Heart in the subsequent songs decide to get their shit together.

- (Two Wuv) Soul realizes that not only can they be happier now but that trying to force themselves to conform to society's ideas of mental health or belief or love is just plainly unbeneficial. Sort of a song about unapologetically being yourself.

- Welcome To Tally Hall is a tribute to Tally Hall themselves more than anything.

- This transfers into Concord soon after! Concord is Whole or Jash by himself, though many of the songs seem to carry themes from Cacophony in them. Self sabotage, disagreement, importance placed on the wrong thing, the idea that no one person is better off than another. It concludes with Taken for a Ride. Which is also sort of CJ's epic "im burnt out as hell" song towards the end. But exaggerated to my knowledge for lyrical shenanigans.

That is CCCC as neutrally told as best as possible. I highly recommend forming your own ideas on it, but I'd be happy to also discuss more in depth my opinion on each song should you or anyone else express interest!

Getting into the Trident: The fandom took the metaphor of "Tridential Sovreignty" and "This trident he formed (found? Lyrics.) is both weapon and motive" and said "Soul's got a trident" to which Jash responded with "Absolutely yes he does now" Same with the crown most people put Mind in, and that is referenced in the "Trident, Crown and Blindfold" line.

Soul really did get noose imagery, a trident and a mask. All Heart n Mind got were a blindfold and crown. Lmao

Though Heart is also commonly drawn with wings. Which is semi-canonical according to album covers. I choose to ignore them because I don't particularly have an attachment to the idea!

Getting into the fandom itself, I can recommend looking around for the Chonny Jash Fan Server (CJFS) Discord link. But it can be extremely intimidating and even I just stick to discussion and one other thread channel. (Sides from my au channels which pop up every once a month or so).

Important note is that only Tally Hall covers have to do with HMS. Any of Jash's other music (of which I highly recommend, always) is unrelated. There is also a fan QnA somewhere that was done like a year ago now which has some neat answers in it.

I, again, am happy to go into my interpretations of HMS and the music as a whole but skdmsm saved you the reading hopefully should that be undesired!

[lo-sulci]

What are heaven will be mine & coquette dragoon?

oh my goodness, thank you for asking!! the short answer: they are incredibly good visual novels that I highly recommend, especially if you're a fan of mecha, sci-fi, great world building, yuri, and generally just amazing art created by transfems

long answer:

heaven will be mine (aside from being where I got my url) is the second VN made by worst girls games, best known for their first outing, we know the devil (also an absolutely amazing game). hwbm tends to ask a bit more from the reader than its predecessor- while wktd almost exclusively featured three characters and dealt with rather plainly stated themes of alienation, loneliness, and religious trauma, hwbm presents a setting cloaked in metaphor where human will literally shapes the universe and psychic mech pilots read spacetime like a narrative.

the cast is bigger, with the three routes allowing insight into each of the three main girls in addition to members of the factions they belong to, all in service of a beautiful story about queer people connecting with each other and finding/making their place in a world that would want to deny them their happiness (and a lot of other things, but I'm simplifying some here). begging to be replayed over and over, i've had different characters and details stick out every time ive played through the game, while also gaining a deeper understanding of and appreciation for hwbm's characters and setting. I've loved hwbm and wktd for years and expect I will for years and years to come, which, incidentally, is why I got a pair of tattoos based on these games LMAO. in other words: they're fucking fantastic and hit like few other things out there, imo

coquette dragoon is one of those other things, because holy shit does it excel at hitting incredibly specific and relatable emotional beats that are liable to absolutely tear you apart. created by ivy burgeroise, who (by her own fantastic description) makes art for sad perverts, coquette takes place during a seemingly endless war between the lilac fleet and the duchy of lucia, two spacefaring societies inhabited by animal people who have very differing opinions on magic.

focusing (so far) on xiomara rosales of the lilac and lady honey rose of the duchy, coquette explores painfully human stories from both sides of the war. (to that point, I'd be remiss if I didn't advise you to look out for the content warnings- coquette gets into some very heavy stuff and speaks about it very frankly and honestly, which is to its credit imo but i also understand that that is not something that everyone is in a space to deal with.) more than anything else, I feel, coquette is a work that puts words to feelings that you'd never before been able to describe, and, through the vulnerability of its author in making something so emotionally honest, makes me want to be more openly and happily myself. all of this in a story that examines war, exploitation, and the societal structures that prop them up, among many, many, many other things. I could keep talking in circles gushing about it, because I am so so obsessed with what's been released so far and so indescribably excited to see how it progresses in the future, but to keep myself from going on for too too long i'll cap this off with a tweet about coquette that i frequently think of and is one of the best recommendations I can offer:

OH and also coquette has wibbleburger, which, as we all know, is your favorite

[a-town-called-hometown]

hi!! i loved your post about deltarune's metafiction and its (not) escapist themes, and it got my brain jogging, like... i guess ive just been thinking "why"? like ive heard that take before and i think its valid, but also like. why ? its obvious enough to me that deltarune uses the lightner/darkner relationship as a reflection of the player/game relationship and both of these things are addressed critically, but i can't help but wonder if there's a driving force for it all, outside of deltarune. like i can accept diegetically the darkners are not, or shouldn't be, subject only to the whims of lightners, but with any good story if you break it down to its core is ultimately saying something about humanity or the world and such. i mean i seriously doubt the people who seem to think that Toby Fox intends to induce *actual* guilt into the people who fund his life's work and career by purchasing his videogames, like, it's obvious that "you are a bad person because you play this videogame" isn't the intended message, nor was it in undertale. but then, what is? what is the purpose of a story that invites us to think of toys and game characters as "real"? not to trash my beloveds but i mean, literally speaking, their lives DONT matter, they r not real. it just feels like ive seen a lot of discussion about 'what' toby is doing with the narrative but i feel like that's only half the ordeal, the other half would be the reason why. my first thought was that the implicit 3rd thing being compared to the light-dark, player-game thing is actual social hierarchy IRL in which people are oppressed by another group that doesnt see them as human, bc iirc toby talked a bit about feeling powerless and wanting to do more to change the real world on real issues in an interview in 2020ish and of course there's the snarky gag about the fedora plugboy who doesn't like politics, so he doesn't care that an evil ruler is taking over the world. im not sure if that sits right with me as what the intention is (esp because the latter is a darkner talking about another darkner) but i couldnt think of much else although i do feel like a fallacy people get themselves into a lot in the fandom is the assumption that toby fox is this Impeccable Writing Machine and not just like A Guy. people make weird or flawed art sometimes, it doesn't *have* to adhere to standards. maybe deltarune is meaningless (or the meaning IS that it's meaningless, as though to complete the metaphor of it being a "real" fictional world, because if it is 'real' then like our world there is no "answer" or "purpose", it simply *is*.) dunno! im not expecting it to boil down to a simplistic fairytale moral like "dont bully people!!" or something, mr. fox tends to write more convoluted than that, but i feel like if there's something to be gained from this particular part of the game's story then i'm not sure i see the vision. what do u think? do u think this question is even answerable with only two chapters?

respectfully, I do heavily disagree with the notion that good stories necessarily have to say anything about the world or about humanity. one of the reasons I like metafiction is that it usually says something about how stories are constructed, and that's enough for me. there's plenty of stories that have bigger themes that aren't really all that much about human nature, at least, not directly. a story can comment on one specific thing without necessarily making a broader statement about people, you know? not every story has an easily explained moral lesson.

that being said, yes, this plot element is in service of deltarune's larger themes! which are about agency, control, fate, and identity.

deltarune's fate theming and its metafiction elements are a bit of a chicken-and-egg situation given how interlocked they are, but I've found it helpful to describe deltarune as a "person vs. fate narrative that uses a metafictional lens to characterize fate." rather than the three fates of greek mythology or whatever dictating its characters' lives, it is instead the structure of the rpg their world was made to be. they are player characters. they are npcs. they play specific roles in the narrative. no one can choose who they are in this world.

control is emphasized in this story. there's the control we have over kris, of course, and in a much subtler way the control we have over the world through them. there's the darkner-lightner hierarchy, which parallels our dynamic with kris. i would argue that there are even social forces in hometown which also serve to place the lightner characters into specific roles. under this level of control, it's hard for characters to push back and determine their own identities.

all these forces combine to mean that deltarune's characters are fighting back against the narrative itself! which says stuff about people's agency, and the way rpgs are written, and how we interact with all that...

ultimately, you can apply this to real life. even if there aren't things like "fictional people who are actually real," hierarchies of control do exist in real life. narratives that erase the agency and internality of certain types of people exist in real life. it's admittedly a rather general statement, but like with any narrative about fate, seeing characters resist rules that are seemingly written into the fabric of their existence can make you feel inspired to also define your own identity! and to be transgender. don't forget to be transgender