#punisher review

[littlefoxgirlhere]

I was watching the second season of daredevil again and I am in the part where Matt is tied up and talking with Frank.

Matt says (something like) "Those lives you took. They deserved second chances. They deserved to try. Try, Frank." and Frank is like "Try what? Try to rape and kill again?" then Matt says "Try to be better. Everyone has a little bit of kindness inside, even you. And if you don't see it, it's because there's something broken inside you that can't be fixed. You're insane."

I was silenced. I realized at that moment that Matt Murdock would HATE me and I would probably hate him too, because I think exactly like Frank, not kidding, i don't believe in second chances and I think Frank's methods are very good. I would probably get into a discussion every week with Matt about how having kindness inside you doesn't erase the mistakes u make.

His sense of justice is based in trusting the law, but let's be real, our society is not ready for that, our system doesn't work the way it's supposed to. Its not bringing justice to everyone, is barely bringing any justice for those who really need it. I mean, yeah, killing is bad and Frank is kinda unhinged but he was right, he takes those criminals off the street in a way Matt never could.

[artbyblastweave]

🔥Punisher: Last Gun on Earth?

This ask is referring to the fairly-obscure 2010 zombie apocalypse Elseworld Marvel Universe Vs The Punisher by Jonathan Maberry, as well as the two prequels following Wolverine and Hawkeye at different points in the same timeline. I've been meaning to do a more comprehensive write-up on this for quite some time, as it was a series distinct from but very visibly in conversation with Marvel Zombies, which Maberry was also peripherally involved with. The elevator pitch is that a fuckup by the Punisher during a hit on the Russian Mob results in a cold war bioweapon getting into the biosphere, eventually turning almost the entire human population, and most of the superheroes, into adrenaline-fueled 28-days-later style rage zombies. Content Warning under the cut for discussions of racism

Despite its many, many flaws, there was a lot I enjoyed about this series, and alongside Marvel Zombies it had a not-insubstantial impact on my own aesthetic sensibilities, which I think probably comes through in a lot of my zombie artwork. The first mini, Marvel Universe Vs The Punisher, is a pastiche of I am Legend, with Frank Castle in the role of Robert Neville, an infected Deadpool in the role of Neville's abnormally sentient neighbor Ben Cortman, and with a zombified Spider-Man the white whale that he's spent five years hunting through the remains of Manhattan. Before I get into the rancid shit, I'm going to talk about what I enjoyed:

While the series succumbs to all-too-common Punisher Wank in terms of his efficacy in taking down a number of the A-list infected heroes, it ultimately comes out the other side as a pretty competent piece of character work for Frank; the series is grimly aware that a virus turning most of the human population into a shooting gallery of sadistic cannibal maniacs would be something like Valhalla for Frank, regardless of his pretensions to the contrary. Moreover, it's subtly implied that Frank's belief that he's immune is incorrect, and what's actually happening is that a virus that turns you into a vindictive, dogmatic maniac with a hardwired us-or-them mindset had no effect on him because he was already like that. There are ultimately revealed to be thousands of other survivors in New York, all of whom have spent five years studiously avoiding him because they think he's batshit insane. Even zombie Spider-Man, played up as the Biggest Bad, is ultimately revealed to have retained enough humanity to protect his uninfected family the entire time, whereas Frank is ultimately painted as unrelenting genocide machine whose psychological inability to give quarter ultimately makes him worse than the infected.

From there the series extrapolated some hilarious commentary on the genre as a whole; the zombie outbreak was going on for months before reaching critical mass, and nobody noticed because the baseline levels of random street violence and superpowered brawls are already so high in these settings that nobody realized a lot of the fights were occurring for rage-virus reasons until Spider-Man killed and ate a supervillain on live television. The whole series can be viewed through the lens of the usual spectacle-bait crisis-crossover contrived-battle-between-heroes routine, distilled to its purest form and escalated to the point of Ragnarök; the art frequently deliberately obfuscates which combatants are infected and which are uninfected people fighting for their lives. In this way it's playing with the pre-existing logic of the superhero genre in a way that Marvel Zombies didn't.

Maberry knows how to use Deadpool in a supporting character role without having him eat the entire goddamn thing. It's a fun dynamic!

Unlike Marvel Zombies, which was deliberately unconcerned with logistics as part of the gonzo fever-dream aesthetic, Maberry put some actual thought into a semi-plausible model by which a zombie virus could overrun a superhero setting. The responsible mutagen is air-and-waterborne, causing people to start turning at random months after being infected rather than through bites or fluid contact, and sneaks around healing factors because the mutations it causes are parsed as improvements rather than disease symptoms. Mass swarms of infected, unpowered civilians are as relevant, if not more relevant, than the superhumans are in spreading the infection, leading in turn to a lot of Left 4 dead styled set piece co-op fights like the one depicted above, and leading to the failure state that a superhero might be able to mince human wave attacks all day but at a certain point they'll have chewed through everyone they were ostensibly protecting by doing so, even if they themselves survive. This is a dynamic that, ultimately, only Frank Castle is really capable of thriving within, because with him it was never about protecting people, just hurting "bad" ones.

Which leads to another major positive points- the series is also a lot more concerned with rendering the setting's downward spiral. Eight prequel issues depicting the superhero community going down fighting over the course of months, rather than folding like a dixie cup in a trash compactor for horror value. Dead Days is the closest that Marvel Zombies ever got to rendering that same process, and while that was a very good oneshot it was still a deliberately compact one-shot. Here you get tableau after tableau of survivors throwing down with zombies. Unlikely alliances, second-string deep-cut z-listers crawling out of the woodwork- all interspersed with the growing realization among the protagonists that this is not business as usual, the status quo is not going to hold this time, it's just the actual apocalypse.

Here's Punisher, Hawkeye, Iron Fist and Black Cat trying to hold the Holland tunnel. Here's Dr. Bong, Howard the Duck Ruby Tuesday and Hit Monkey making a last stand in Central Park. This shit unironically kicks ass! This is what I think a lot of people are gesturing at when they say that they want to see a superheroes vs zombies story.

And, on that note, if you're going to tell this kind of story, Punisher, Wolverine and Hawkeye are objectively three of the best characters to have as the viewpoint characters- precisely the right level of competence and street-level scrappiness to survive without having a prayer of turning the tables outright. "Shit, Man, this superhero war is fucked-" the comic.

One additional minor thing I enjoyed about the series, aesthetically, is that while Marvel Zombies was a deliberately anachronistic mish-mash where every character was depicted in their most visually iconic outfits from across decades of publication, This series was very specifically working with the Marvel Universe status quo circa 2010 when it was published- The X-Men in San Francisco, Red Hulk on the Avengers, now-long-forgotten Avengers Academy kids in crowd shots. It grounds the narrative in a way Marvel Zombies was deliberately avoiding, acting as a snapshot and a time capsule in a neat way.

Now onto the two big things I didn't like about this series, the latter of which sinks it really really badly:

One: Caption Cancer. Maberry is one of those authors who I like on balance but who also often lapses into Talking Just To Talk. How many times does the navel-gazey running commentary in the above excerpts double back on itself, and how much is it actually saying- particularly when contrasted with the story told by the art and dialogue alone? Either he felt a need to fill the space (bad) or worse, he thought that these were some kind of deep and compelling rumination on the human condition. In general the balance of exposition to action in this thing were.... all over the place, not always integrated gracefully. The best sequences in the book are the ones where the captions just shut the fuck up so we can watch these people clobber each other. This is not a problem the original Marvel Zombies had- one thing I like about Kirkman is that he's usually a caption minimalist, letting the art and the dialogue do the heavy lifting. You don't get a page as quiet and decompressed as the following in the entire 12 issue run of Marvel Universe Vs.

Two: It's Racist. Like, really really racist. The comic continuously lapses into extremely racist imagery with the infected, using the visual language of "primitive savage tribes" with seemingly zero awareness of the real-life groups that those tropes were used to propagandize against and dehumanize. It's one thing to have zombies that take human body parts as trophies- that's kind of a cool motif- it's quite another to have a zombified Hulk who braids his hair in an obvious caricature of Native Americans, complete with feathers. What the fuck, Maberry!

Moreover it's a comically unforced error- everything compelling happens outside of that imagery, it's adding basically nothing but an attack surface to the premise. 28 days later did this basic premise without the racism, Left 4 Dead did this basic premise without the racism, The Crazies did this basic premise without the racism, Fucking Crossed did this basic premise without using the same racist visual language, at least until after Ennis left the book. Congratulations- you found a way to make the zombies more on-the-face racially insensitive than Garth Ennis. Round of Applause, everyone. This specific issue is why I don't think I've ever brought this book up in depth unprompted, it's genuinely really gross.

Anyway, those are my unified thoughts on the Marvel Universe Vs. trilogy, hope you enjoyed.

[bumblingbabooshka]

The fact that when Milchick reduced his words/himself down to the barest bones he could the only thing left to say was the viciously paradoxical imperative: 'Grow.' over and over and over again

[watermelinoe]

Have you seen this post?

ivyblooms (dot) tumblr (dot) com/post/742518636794839040/ormondhsacker-randsexual-scifigrl47

It’s theories why men don’t write fic, and it’s got such a libfem take at the end, essentially saying: “Fic is written by marginalized groups in order to see themselves in canon, so cishet white males don’t need to write fic because canon already caters to them”

The observation is correct (female fandom is more creative than male fandom) but they come up with the wrong explanation bc it’s only “cishet white males” they’re willing to dunk on.

Gay men and MoC aren’t represented in most mainstream media either, but they aren’t the ones writing 300k fics to resolve this. So the differences between male and female fandom can’t be explained by the need to “see oneself in canon”. Creative fandom and fic especially is a majority-female hobby. But female writers aren’t trying to “see themselves in canon” either bc all they ever write about is fictional men. I’d say that women ACTUALLY write out of intense and often romantic passion for the (usually male) characters, which compels women to generate endless fanworks to satisfy their romantic ideals and numb the pain of their dull realities. Men also have dull realities, yet the fandom divide is purely male/female and the reason is money vs passion.

Women’s passion for fictional escape is so great that they’ll write a 300k fic saga for free if they have to. Do you honestly think any man capable of producing 300k words of creative writing would share it FOR FREE? No, he would try to publish it as an original novel to make money off his labor. Men aren’t socially conditioned to perform free labor like women. Women are conditioned to generate free resources for others while men hoard resources, only giving them away if something of equal or greater value is promised in return. That’s why YouTube (monetization) is male-dominated and they will never touch Ao3, because it’s illegal to make money off fic. It’s the one female-only space men aren’t interested in.

Men live by the motto “If you’re good at something never do it for free.” Whatever passion and creativity men possess comes second to their need for material reward. Women dominate fandom bc we value love and connection more than squeezing money out of every opportunity.

i don't even have anything to add to this bc i think you hit the nail on the head, it's not about "seeing yourself" in the work at all it's about intense passion for the work and the characters and the relationships, and male characters get much more love than female characters do! it's literally the urge to get out your beloved toys and put them in elaborate situations

[mutalieju]

'The Punisher movie was the first Marvel movie directed by a woman' is a funny factoid but it's also true that the movie was passed on by male directors for having (supposedly) a bad script and a small budget so Lexi Alexander was willing to take this shot because these are the chances marginalized people get... And she did such a good job under such terrible conditions including budget being cut and the studio replacing her soundtrack to make it more like Nolan's Dark knight...

Punisher: Warzone is just. genuinely good, comic accurate with great action and visual style and it was a flop because it was a hyperviolent R-rated comic book movie that came out in 2008....

[comicsiswild]

[no1islost]

Here are the 12 books I read this year. Still trying to finish Blood Over Bright Haven before the year is done. About halfway there. My goal was 8 this year.

My thoughts below:

The Red Rising series lived up to its expectations, and surpassed it. The first book was kind of dull, but holy shit, Golden Son and Morning Star had my jaw on the ground. Actually NOT overrated. Will be starting Iron Gold in 2025.

Project Hail Mary felt so simple and so cliche and I get very agitated with all of the hype surrounding it. Like, it was not terrible, but oh my gosh, I like my sci-fi to be a bit more complex and challenging. It had the potential, but the dialogue sucked and the ending was trash. I’m also annoyed that it’s gonna be a movie. I see no hate for it online and that to me is a red flag LOL.

The Godfather is a classic that everyone should read. The audiobook is pretty great, too. Have seen the movies many times, but had never read the book before.

I thought Gideon the Ninth was confusing until I read Harrow, and just like with Red Rising, the second book blew away the first one. I LOVED Harrow. I loved that I was so confused, and I also loved when I figured it out. I’m scared to read Nona, but plan to in 2025.

Someone To Build A Nest In and Dreadful were basically “breather” reads for me, provided a mental break in between the others. They weren’t difficult reads. Nothing spectacular, but fun in their own unique ways.

I really didn’t like Crime and Punishment until a bit AFTER I finished it. I think I needed some time to think about it. Then I appreciated it. And it took me a bit to get into Piranesi, but then was absolutely hooked.

I picked up Blood Over Bright Haven before it made its rounds on tiktok, only because the bookstore was sold out of The Sword of Kaigen. Then I saw that everyone is saying this is one of the best reads this year. I’m 200 pages in and only just now getting interested. It seemed pretty cliche from the start. I’m not a huge fan of the stereotypical tropes between the main guy and woman, BUT I’m not done yet, so we’ll see if I change my mind!!

These are just my thoughts and opinions, and I recognize that I’m in the minority with some of these thoughts. And that’s okay! Looking forward to more reading in 2025!

[lloydfrontera]

i just saw someone saying very confidently they read enough of a manhwa to give it an in-depth review,,, because they're already at chapter 42. like. girl. these things are adapted from novels with up to 400-600 chapters. you barely even started it at all.

[punishing-eden]

Rant/Review: Wuthering waves, its Writing...

((An Essay about what I think about the game so far. Note, I have not played into the story of the Blackshore))

Edited

Tags: Feel free not to read, rant, review, essay, long read, opinions, spoilers

*Do note that everything I say are my opinion*

So, I started playing this game since it's launch. Agree to disagree how I feel about this game and it's current trajectory, because my take on it won't be an overall positive one.

I will mostly talk about the story writing in this essay since it is the most glaring issue for me. This topic, I know, would set off some really heated debate, mainly, as I have observed within my scope.

In regards to Wuthering Waves, I'll start with the positives, the combat. I think this is an area that actually outshines Genshin. The bosses in Wuwa are harder, but fun to play. The stakes are higher, and the flexibility of player attack combos feels nice to play.

Unlike Genshin, the boss does not hover, go under, or flash around the area for the majority of the time. I can count how many times I have to wait in the area for a few seconds just for the boss to reappear, hit them within a few nano seconds before having to wait again.

The bosses have their own movesets, attack, counterattack, parries, and combos that keeps you at your toes. They don't shy away from giving you a hard time, and Kuro allows the bosses to have their abilities to be on par with the playable characters.

What I also like are the bosses, or anything really, does not caters to certain limited characters' playstyle or element. This, however, might be too early to say.

The graphics looks quite nice, the NPCs have personality, and I enjoy the many expressions they give. More generous cutscenes, and Rover being allowed to speak. Exploration modes like the grappling hook and parkor are nice touches as well.

With many good stuff happening in Wuthering Waves, it is easy to see how this game can compete with Genshin Impact in the market. Yet, despite so, it did not stop me from uninstalling the game from my Ipad.

It has been said before by many since the launch. Voiceover, music, dialogues, Ui, and other details in general are making and breaking the game.

I have heard a lot of theories and things as to why the launch is what it is. Back then I was told to wait due to their history with PGR. As a fan I was willing to wait, and endure the state of its launch and mediocrity as long as the experience of the whole package is good.

Which brings me to the glaring issues:

1. The Writing and the Execution.

Needless to say, people flocked to Wuthering Waves is because the game feels like it could offer something different in the genre of open world RPG. Not only is the combat a factor, but also the type of themes and the stories it can tell.

Genshin's story is not bad, but some players deemed the themes of the plot are a little too fantastical and childish. Wuthering waves, given how serious its lore is, and the devastation theme in their concept of a sci-fi world seems like a nice change from a pg friendly game.

I would like to point out, Lore ≠ Story, and Plot ≠ Storytelling.

I think the marketing team stating Wuwa as a story rich game might be a mistake, because the game certainly did not live up to the hype; it did not execute that hype it display in the launch trailer. I won't go into a detail analysis of the storytelling. But, I know this topic has sparked heated debates.

We can all agree to disagree, but this still does not take away the disappointment, and the issues that I have for the game.

The reason for my source of unsatisfaction are due to the quality of the writing, the writing direction, and the medicore execution of plot points. This extends to character story as well.

I want to experience what the lore and open world has to offer, as it was marketed. The story is essentially the overarching experience of the game; a window to the world of Solaris-3

This is where I am coming from when I am getting into the game.

Yet, as the patches progress, the glaring issue of actually writing a story, instead of a fanfic fantasy tested my patience. To me, the main story didn't feel like a progression of the protagonist's journey of their own agency or their accord.

Which brings in my next point:

2. Characters and Fanservice

I hated the fanservice in Wuthering Waves. I know, quite a big statement.

I believe a good story and fanservice can co-exist, as long as there is a good ratio to it, and is tastefully done.

The fanservice is overly glaring in the story and character quest. Mostly, it was unwarranted. This is what I hate, not the nature of the fanservice itself, but the unwarrent fanservice that is shoved down our thoarts.

Given the vibe and type of game Wuthering Waves convey through the main story, the fanservice really feels jarring. Pairing it with bad writing, it feels like a amateur fanfic writer wrote this, and somehow the Creative Director green lit this as good.

Yinlin's character quest is an example, the one I have gripes with the most. The writing of her story, by how I experienced it, did not make me like her at all, and to force a fanservice scene really takes the cake. It doesn't make sense to me, and it made me begin to question am I playing an Sci-fi open world apocalyptic RPG, or actually an anime isekai dating fantasy game.

The latter is not what I signed up for.

So, it is no surprise I never rolled on the character banner after the beginner's banner. I was pretty much rolling for weapons for my existing characters instead. (Hence, I wish I can convert my green and gold convene to weapon convenes.)

In theory, I should have rolled for Jiyan, but I didn't, because there isn't much interested shown by his character other than the beef with Geshu Lin. ((Edit: The craziest thing is, I legit have no idea what that beef is even about?)) His character quest did nothing to convince me to roll for him.

I shed a few tears during Xiangli Yao's story quest...but it's for an NPC and his monoluge. Not sure what Pascar has to do with Xiangli Yao's, at least how I understood it, urge for solitude to ponder and search for answers to his intellectual curiousity(?).

The characters in Wuthering Waves, to me, feels like a 3D manifestation of tropes rather than characters. There is no depth, and has shown no depth, in their own personalities, and how their dynamic with other characters, NPCs, and Rover develops. It's (the developed relationship) there because the story said so.

My favourite characters so far in the story are actually, Aalto and Encore. These two have more personality to show, and when they are together, they actually create character dynamic. They are also introduced with something to contribute to the progression of the story; providing an insight to the lore of the First Civilisation and the Black Shore.

Scar is also a character that seems to be interesting, but I won't say that for sure until we see him more in action. In all honesty, I think he is interesting because he is the "antagonist" in the story who provides tension and conflict, something like building up to a climax or a twist.

With an antagonist, there is a protagonist:

3. Rover as a protagonist

Now, I know that the silent protagonist is seen to be a self insert. But, I tend to believe even if the protagonist is silent, there should be at least some consistancy to the characterisation. Because, the switch between the UwU rover, to the Serious/Hardcore Rover feels jarringly inconsistent.

Another point to make is Rover and their, still, lack of agency. From my own understanding of what was presented to me, we should be viewing the story through Rover's lens. Yet, there are times where I felt their response and reactions are passive to naught, and it does not make sense to me, as there is no reasoning on Rover's behalf.

For example, should the seed of doubt linger in Rover's mind after a confrontation with Scar? Since Rover has no memory, what makes them fully trust Yang Yang to the tee? When Rover learns about their significance to the world through Jue, during the confrontation scene with Jinhsi, should the first thing Rover did was to demand for more answers? Ask more questions on the spot, instead being like, "Oh... Okay...". Should the first thing Rover did, after Yinlin zapped them unconscious, is to deem her as a potential enemy for self preservation purposes?

Instead almost all of the agency are given to other characters. In the arc at the Northfall Barrens, most of the agency were given to the resonator cast when they were defending Jinzhou; having their Avengers moment. Rover was just there. Then they were told to find Jiyan. And the rest of time was Jiyan speaking, taking initiative even towards the end.

Like, what was the purpose of Rover being there? Was it because Yang Yang said so? What would Rover achieve by fighting with the Midnight rangers other than earning a hero status? Who knows.

Because of having little to no agency for the Rover, the story feels lost. There is no definate overarching goal.

Sure, they might be searching for their lost memories, but there is no definate goal post for the story to reach it's conclusion for Rover's journey. There is no intrigue to keep the story moving forward.

Genshin's story, as an example, has always been about the MC finding their lost twin, with the conclusion that they will, hopefully, reunite and continue on their mysterious journey. Along the way of finding their sibling, things happened. The regions and their crisis as subplots, that reveals the lore and the trajectory of the world MC is travelling in to reach that goal.

I am not saying Genshin has the best writing. It has it's flaws. But, regardless of the sometimes, messy and muddled execution of plot points, having a good story can really make an impact to the gaming experience with games like these.

Gameplay alone can only take a game so far. In the Jinzhou region of Huang Loong, the exploration of the world map needs more work, and even then there needs to be stories that makes the world an interesting place to explore.

Due to the three points mentioned, I was heasitant to begin the new chapter to the Blackshore. With how the story's bad ratio of Character/story development to Fanservice, and the execution of the storytelling, I have been, instead, grinding the domains, bosses, and Tacet fields.

The voice about whether or not I have been phished to play an Anime Waifu fantasy game grew louder at each patch. The fact that I, as a player, have no choice but to endure the jarring superficial segments of dates and fanfiction-quese sequence (I mean the cliche and chessy ones) is enough to turn me off from the game.

It might have not been it's intent, but with how intergrated the fanservice is, it's really hard to take this game seriously anymore. To me, I feel like I was in a lost.

The gameplay alone was not holding the game up for me, as there's only so much you could do in the open world. Either it's boss, puzzles, or combat. The events are always in relation to combat alone, and they are recycled at each patch.

My patience for the, "Just wait, it will get better just like PGR" is wanning. I don't think being a fan of PGR can be used to excuse the apparent state of the experience of Wuthering waves.

Which is a shame, because I really tried to be patient, and I tried so hard to like it. I have been waiting for this game since its first announcement. I remember looking at Rover's very first design and the promo art, being all excited, wanting to play it so badly.

Needless to say, Wuthering Wave, unfortunately is not living up to what it says it's going to be. I think there is potential for the game to be great, but, as of now, and the direction things are going, it feels like they have decided to go a certain way.

Though, I wish they didn't have to phish me into adding numbers to their download count on lauch day. (They didn't actually phish me, but given how everything turned out felt like it.)

I hope, things will get better in the game, and that the experience can be more enjoyable for players alike. Yet, as of now, I won't been having it in my gaming roaster.

[ashley--nicole]

I need Angela to become the Inigo Montoya of Hell's Kitchen.

[babybluecurtains]

Treadmill Review:

*Disclaimer: I’ve listened once before when it dropped. I’m using an incline and high walking speed so that I can still type but keep my heart rate high. RATED BASED OFF OF MOVEMENT MOTIVATION. I’m also on my period so my emotions and alertness is at its peak rn.*

1. Perverts: I immediately feel like I’m in the 28yrs later trailer and am increasing my speed. The ringing sound got me feel like someone’s behind me 😭. I’m sweatinggg. Forgot about the siren FUCK. Halfway through and I’m starting to feel like I’m marching to the mines and the siren is signaling my shift. It’s happening to everybody. 7/10 in a creepy way

2. Punish: Fav. song of the album, I have a personal analysis on my page a ways back. This is a very personal song for me bc of the meaning I attach to it, so it’s good for me to use my energy while listening. “Only God would believe that I was an angel but they made me leave”and the rift gives me fucking chills. I could run a marathon rn. I’m singing along. 6/10 for trying to escape the past

3. Houseofpsychoticwomn: I’ve increased the speed some more. The beginning is filled with sorrow, I feel heavier just listening. I watched It Ends With Us earlier and it reminds me of that movie between the sorrowful riffs and ultrasound. I feel like I’m walking in circles, like something is pulling me back. The ultrasound turns into shouting heyheyheyheyhey. The repetition of I love you and overlapping vocals feels like dissociation. “I do I do I do” feels like a grip on the back of my neck. Increased speed, I need to go faster. Almost fell off the treadmill at 1 minute to go BITCH RUUUN THE BASS AHHH. 3/10 this song feels like you’re being pulled back until the last minute.

4. Vacillator: I feel like I can breathe better. I lessened the speed a bit ago bc my tummy hurt lol. Twilight vibes. Play this for a slow dance at my wedding ugh love. Retreating into yourself in the last 3 minutes. Just breathe. “If you love me keep it to yourself”…watching from the outside, don’t make me promises make me love. 4/10 this sound feels like standing still, no back and no forward

5. Onanist: Howdy partner…wah wah wahhh. Feels like walking desert streets and looking to the setting sun on the horizon. Lyrics coming in makes it feel like Dune. I’m moving along, weary but keeping a good pace. I just push forward, there isn’t anything left for me. The base is giving: AS WRIITTEN LISAN AL GAIB. “It feels good.” I’m strong, sand is flowing through my fingers. I was never going back anyway. This song flew by! 5/10 steady rythym forward

6. Pull drone: I feel like death, I feel like the third person narrator, the objective yet subjective witness to humanity. This is lowkey giving psychosis: I’m writing on the walls, gnawing at the bars of my enclosure. I can’t feel my legs, only the sweat dripping down my back. The Tibetan bowl? The distortion at perversion? Hello? It’s a meditative/derealization experience. “The stars are shining through the wheel” of time. Then straight to degradation and nature chewing on you, GIRL. “I am nothing” and 10 minutes of violin…I know the CIA’s gonna use this one. Anyone who ever does me dirty I’m buying a speaker and putting it in their vents and playing this song on repeat. Violin still going…I’m focused and I’m angry. The siren reminds me of the siren used for my small towns volunteer fire department. Someone’s coming, but only if they choose to, will they choose to save you? Can they save you? A break in the violin feels like a gasp of air. 2 mins left you can hear the turning of the wheel. I want to limp now😅. The ending hurts omg im glad that’s done. 2/10 I wanted to curl into a ball and give my self awareness back to God.

7. Etienne: Smooth and flowing river. It cools me. The sweat is now rain drops. Epilogue. I totally forgot I turned my fan on atp. Keep moving. This song feels like a breath of fresh air. The guitar…oh I’m in love. I feel good, like I could cry happy tears. Like I’m in the field outside my house rather than staring at popcorn ceiling. My muscles feel looser. THE ENDING AUDIO ARE YOU KIDDING ME IM MOVED. 9/10 would love to run through a field and splash in puddles.

8. Thatorchia: oh okay we’re back in purgatory now. I stink at this point. It feels like a spiritual smell as well, something for the otherworldly to latch onto. I can feel my breaths in my shoulder blades and back. I feel like saying “I’m sorry” but to who? It’s like poison is dripping out of me. Exuding from my pores. The condensation left is my sins only visible to who is not visible to me. 2 minutes left the base is giving me life, replacing the poison. I’m an air filter lmao. Adrenaline might be taking over even though I’m just walking fast. The ending feels like I don’t feel so good Mr. Stark. 7/10 the song and movement felt necessary, it had to happen.

9. Amber Waves: Welcome, stay a while and reflect. This reminds me of the House MD episode with the Amber twist. Oooh hymnal, oh wait Amber is a person Amber waves isn’t a personification it’s a verbiage. “Cause the devil I know is the devil I want” the comfort of the known pain. “Yet here I am empty” ho did you just shoot me? “Me and my amber waves” are they talking abt scotch now? Moving forward at the cost of burying the love you felt. But love is what makes us human, it is our life force. In losing love, we lose connection, in losing connection, we lose ourselves. This songs for the apathetic trauma response girlies. The silent shift at 2 minutes left feels like a knife to the chest. I feel like I need to feel soreness in my muscles, I need to focus on the pain. I need water fuck. Have I even moved forward at all? Or am I in a riptide pushing me adjacent to that which I can’t escape? Oh I feel sad that it ended. “I feel nothing” as the last few seconds? Oh you need jail time. Honestly, me personally, this also may be because it’s the last song, but I give this a 10/10. I wanted to stay in this song, I wanted the ending to change. I wanted to feel. And to feel I had to move. The whole shark metaphor of a shark that stops swimming dies.

This has been my AUTHENTIC UNEDITED ADRENALINE AND HORMONE INDUCED TREADMILL REVIEW. Thank you so much for reading this far! This album is art, it is a whole therapy session. It’s a space in which listeners can project their own experiences and livelihoods. Thank you Mother Ethel for letting an Appalachian girl feel seen. Also shout out to my cat, who is afraid of the treadmill and had to wait an hour and a half to play. Overall I walked several miles and over 10k steps :)

[eirianerisdar]

Here's why Daniel getting a three-place penalty for the next race is yet again evidence that the FIA need to review their regulations:

These are the regulations for overtaking under safety car:

The stewards were right in that Hulkenberg could pass both Lance and Daniel under safety car under Article 55.8 (h), because Lance had crashed into Daniel and they were both cars with obvious problems.

But, glaringly, there is nothing in the regs that state what happens if the car that was passed quickly gets back up to speed and tries to put themselves back into the correct order, which is what you usually do if you get out of order behind the safety car, whether because of pit exits or otherwise.

I'm not saying the stewards could have changed their verdict, but it's only on paper that Daniel had no leg to stand on, because logically, that was his spot and he was very quickly back on Hulk's tail after his wheels hit the ground again. Clearly this is yet another gap in the regs that should have been logically addressed because a situation like this would eventually come up.

It's a similar gap that "stopping on track during qualifying" needed clarification for, and last year, with the 20-place grid drop Carlos suffered for the drain cover that smashed through his car and necessitated changing its components.

Needless to say, a missed gap in the regs causing what would be a logical regaining of a spot to lead to a three-place grid penalty and 2 penatly points for a driver reflects rather more poorly on the FIA regs themselves than the driver who got punted then tried to put himself back where he should have been behind the safety car.

[ronnola]

[logophilist1982]

Dark academia post

[comicsiswild]

[centipedalbicycle]

Perverts by Ethel cain, a review

{I wanna preface by saying these were all written in real time as i listened to each song, kind of like stream of consciousness style if you will. i do not know music terms so i apologize if i use wrong words}

“perverts”: familiar but activating .creating somatic reactions in my body , it feels like home , it feels like being in my childhood evangelical church, roaming the halls after hours as my father works in the office -then its calm . It’s dissociative even , the droning of white noise is a safe comfort after the beginning for me , I love white noise so this was beautiful for me .It’s liminal and alone Like - waking up before everyone else and sitting in the empty quiet kitchen 

“Punish” :the song opens with a muffled see saw sort of sound , that sounds reminiscent of a playground swing going back and forth ,I could even say it maybe sounds like whimpering as well, or a baby cry, depending on the state of mind the listener is in,  the vocals and lyrics are haunting- and almost shameful, but there’s a undertone of apathy, someone who’s tired of repeating the same painful story , going through the motions of whatever sin they are committing , they’re somewhat numb to the  remorse they had once felt now . There’s also a feeling of resentment , especially a when the lyric “they made me leave” is sang and guitar riffs hang above the vocals , you can barely hear the swing anymore 

“Houseofpsychoticwomn”: It starts with a tapping ,Almost like a metronome, with someone telling you I love you , over and over , to me it feels almost defensive, then the buzzing and hum like from a fridge starts to warp, and it sounds like someone is shouting behind it , saying no, then someone maybe unintelligible, or is it sawing? Back and forth back and forth ,It makes me feel like I am swaying though I am lying still, the sound feels swirling ,With quiet words over. I feel like I am listening into a different plane , maybe a purgatory or someone’s head .Honestly I feel a lot of connection with this song, it feels very familiar to myself , at least how I was before. Consumed by the hunger pains of wanting more and more love, it was never enough because it simply just passes through me , my brain is even interpreting some of the sounds in this one as a stomach growling, moaning , sex, birthing pains. The constant I love you’s feel like rumination, or maybe even a summoning, the more I say it the more you’ll feel it .This song feels like a home to me , it feels much like a mirror . Towards the end of this one it did kind of trigger some derealization for me, but I was very fascinated by that so I sat with it graciously .

"Vacillator”:It starts with a beat on a drum I assume , it feels very different than the first three, The lyrics and vocals are quiet , almost soft and careful , it feels like dialogue of someone inside themselves , not saying it to the person they have in mind but fantasizing- it’s slow and steady, then falls into something else entirely- like you had just falling into a sewer , or a tank - then you’re back and the soft voice is back , almost a comfort in contrast of the lonely feeling the sound had before, it feels sweet , it feels like worship , at the end of the song they play at church but they don’t end it they drown it on and on, humming and repeating riffs until you feel a tug of emotion .

"Onanist”: this one starts with a hum of a home video - like listening to someone play a tape on the tv , vocalizing echoing softly , a scream from somewhere far away that you’re supposed to ignore, not interfere with. The timing of the vocals at first feels like build up that’s orgasmic , then the crash of noise, ringing , buzzing , throbbing , Then a quietness ,Steady pace of noise ,With lyrics of someone who sounds like they are being made to confess something shameful or embarrassing “It feels good”, It makes the listener feel like they are the ones pushing them to say it . 

"Pulldrone”: this one smoothly transitions from the last to itself, starting with dialogue and a low brown noise in the background, The voice is muffled , again like listening to a tape in an empty room, this one has almost an instruction like quality , like they are being made to read out loud something , a prayer . There’s a droning and something similar of a Tibetan bowl sound , making it feel very much like a prayer to me , the amen confirming that to me as I sit now without someone speaking , the loss of what feels like someone else there , stuck now I’m just the drowning buzz that feels like it’s above me, like I am meant to think about what I’ve done , the noise is reminiscent of old fluorescent bulbs, the buzz and crackle. The whine of a siren like noise is almost maddening but it’s safe as well because it’s become predictable 

"Etienne”: starts as a sad piano ballad, soft enough to sleep too , there’s a tone in the background of what sounds like a microwave on defrost ,-but I am most likely just associating my own things to it , I did close my eyes as I listened to this one , it felt safe to sleep too, it felt safe enough that nothing sudden would change , then ends with what sounds like a sermon , the man has a southern accent.

"Thatorchia”: it starts out sounding like what happens when you use two walkie talkies too close together., it’s almost meditative , the subtle harmonizing in the background once again makes it feel haunting- purgatory or heaven like, whichever you’d prefer to imagine, and again feeling very much gospel like, im a former preachers kid so i cant not notice those things, its nostalgic of church camp, hands in the air, swaying from the prescence of god as it takes you over and then leaves you. "amber waves”: the vocals are tired, and again almost turn apathetic, ‘ill be alright’. then angelic , with harsh words “what you do is nothing to me” a kiss and a pinch on the arm. i feel the numbness in these lyrics, the unchanging day to day, maybe its a confession, maybe its a telling ‘you were nothing to me’, maybe it hurts, you wanted to be something, wanted to feel something yet it all stays the same and who cares anyway? no one does , lost in this grey sound, the grey is a odd comfort, its a fog that makes it all numb. “i cant feel anything”

bonus ! “000.1(wellwater)”: muffled movements, almost like fabric, tossing and turning, it turns windy, like im trapped in a tornado or a snow storm as melodic tones play, a lot of the melodies in these songs are mechanical enough to be interpreted as every day appliances you hear, every day machines. this song like all the others feels like it could be playing as the world ends, when you see the big mushroom cloud on the horizon and then theres no time for you to feel fear.

if u got to here thanks for reading, please go give the album a listen yourself! {the artists blog is @mothercain if u want to listen to wellwater as wel btw}