#subversions

[mask131]

I used recently the "cosy eldritch" tag in my reblogs because I looked at this video about cosy cosmic horror. It's quite nice:

[saintcarlyon]

FUCK. YEAH.

I am beyond delighted that Larian made these three men weak. Often, even goddamned fantasy games where the laws of physics do not exist! where death is a temporary setback! where all sorts of lovely and impossible monstrosities are everyday neighbors!- often in fantasy developers and writers keep putting women in support or spellcasting roles. Larian looked at that and said, “Naw.”

We have a skinny, unyielding yet reasonable frog lady who is a Queen and the best damned warrior in a CRPG for years.

We have a tank of a woman who is so fucking HOT and STRONG and TANK, that they installed a motherfucking engine in her chest. But she’s bubbly, empathetic, loving, and knowledgeable fighter.

We have a clever leader who understands and values all forms of power even when she prefers straight up slaughter. She’s vulnerable, self aware, and perfectly secure in knowing her strengths and faults.

Finally, God’s favorite princess who isn’t meant to sit on the sides and heal your scrub ass- she’s slyly assessing your weaknesses and then gonna smash your face in with her polearm of divine doom.

And not only that! But the atories of the Origin men closely align to what might be seen as “women’s issues”, chic lit, etc. They’ve been victims of abuse and bad lovers. They’re insecure and fearful, they’re worried about being rejected by others…

FUCK YEAH, LARIAN

THEY'RE ALL SO FUCKING WEAK

[juliakristeva]

to be fully honest this new trend of remaking and sanitizing not only gothic fiction and its genres (hill house, dorian grey, turn of the screw) and horror movies more generally (carrie, the exorcist) point to much more serious cultural movement than the death of art or the death of horror as a genre in the mainstream. specifically it is gesturing to a sanitizing effect in which cultural authority has now deemed the subversive as worthy of living but only if it is a) commodified and b) divested of all its subversive elements. we can play-act at feminism, trans inclusion, and anti-racism as long as it serves a corporate interest and does not actually challenge cultural authorities. we can adopt its aesthetics as something to be sold without actually inhabiting it ideologically. it is the newest manifestation of cultural authorities anesthetizing effect on anything that threatens it and it is becoming more and more prevalent. anyway i want to beat mike flanagan with hammers

[teashopcrafts]

My stitched thoughts on the AI debate, lol.

If there's any interest in the pattern, let me know and I'll get on digitizing it.

Check out the shop: https://teashopcrafts.bigcartel.com/

[barbiediamondcastleofficial]

I love jmart. What do you mean the tragic hero is a hopeless romantic and the poet is a realist. Incredible im on the floor

[imjustlovinlivin]

@robster1138

Community is a Chekhov play and the gun that foreshadows the ultimate tragedy of the Greendale study group is in the Dean's first speech with his missing card,

"Many of you are halfway through your first week here at Greendale, and as your dean, I thought I would share a few thoughts of wisdom and inspiration. What is community college? Well, you've heard all kinds of things. You've heard it's a loser college for remedial teens, 20-something dropouts, middle-aged divorcees, and old people keeping their minds active as they circle the drain of eternity. That's what you heard... However, I wish you luck! ... Okay, you know... Oh-oh. Okay, there's more to this speech. There's actually a middle card that is missing."

That middle card is Community's equivalent of Chekhov having a character hold a gun in the first act. The card is never found just the same way the study group never really escapes Greendale as anything but what the dean describes them as in his speech, the missing card is their potential, lost to time, lost to incompetence, lost on the Greendale campus never to be found again. Troy never really graduates instead becoming the epitome of remedial teens running from the world by literally floating through it on a boat, Britta remains stuck at Greendale a twenty something dropout unable to get a degree but also unable to leave and in the original draft of the pilot the dean even adds an aside that the dropouts are "crawling their way back to society" an acomplishment Britta never reaches by the end of the series, Shirley never becomes more than a middle aged divorcee with a husband that came crawling back only to leave her once again losing herself in Louisiana to play nursemaid to a man she just met, and Pierce dies the same way he lived depressed, gross, broken, and alone. Jeff, Annie, and Abed don't have equivalencies in the speech that appears in the pilot, but Annie is given an aside in the original draft in the same moment as Troy, being labeled "a young person who couldn't get into a university" and she never does make it to a real university. In the end, Annie and Abed are the only two given endings that can be read as happy, she leaving for the FBI Academy and he leaving for film school in Los Angeles, the only two able to escape the Greendale purgatory for supposedly greener pastures, but Annie's ending is to become a cog in the system, a cog that would have happily sent her younger self to jail for the rest of her life for an addiction beyond her control finally reaching the lofty goal she thought she must reach as the small overachiever Annie came to Greendale as, finally able to grow up and be a big girl. Maybe her ending was happy or maybe it was just another form of corruption. Perhaps Abed Nadir is the only one whose ending is truly everything he ever wanted, but he goes to film school alone, he reaches his dream far away from all of the people who loved him, the only people who ever loved him, Abed Nadir ends the series the same way he entered it, the same way they all entered it, alone. And of course, Jeff Winger, the man who wanted to stay at Greendale for the shortest timeframe he could possibly achieve is now stuck there, dedicated his life to teaching there, to fixing the broken school that somehow fixed him and broke him even more left watching everyone else leave him behind.

The missing card, the one that could have told them all what they could be, what they could have acheived at Greendale is never found, but it comes back in the third act in the form of Season 7, the cutaways the group comes up with in the finale of what their season 7 could look like, the missing potential that notecard used to have now inside they're own minds and as Jeff pulls the trigger, fires the only bullet left in the chamber and begs the others to please just stay with him, to stick around and make the idealic season 7 he has created in his own imagination, the gun backfires and explodes in his own hand as reality comes crashing down to steal that last bit of hope he had left

"The plays that Chekhov wrote were not complex, but easy to follow, and created a somewhat haunting atmosphere for the audience."

This quote from Chekhov's wikipedia stands out to me in a way that perfectly describes a modern sitcom and I feel it especially fits with the atmosphere Community created. It was funny, it was broken, it was irreverent, and it was goofy, but it's a show that has haunted me for years, has haunted the entire fanbase for seven years demanding a movie until the powers that be finally gave in

E. J. Dillon thought "the effect on the reader of Chekhov's tales was repulsion at the gallery of human waste represented by his fickle, spineless, drifting people" and R. E. C. Long said "Chekhov's characters were repugnant, and that Chekhov revelled in stripping the last rags of dignity from the human soul".

And these quotes, while they were striking at Chekhov's work in a disparaging way, they just make me think of the characters from Community. Is there a better description for the Greendale 7 than a group of fickle, spineless, drifting, repugnant people stripped of their last rags of dignity? Chekhov was known for being able to capture the specific sadness of an ensemble of depressed codependents trapped in the utter monatony of a working class sedentary life and his popularity was credited to his, "unusually complete rejection of what we may call the heroic values." There are no heroic values in any of the Greendale 7, they are a group of flawed indivudals who come together to create a flawed Community. The Greendale 7 don't have a perfect happy ending, the last moments of Community don't fall into place the way you want a feel good sitcom about a group of friends to end. The ending is bittersweet and broken, a show that shambled on for more seasons than anyone ever believed it could hemoraging cast members along the way feeling like it had died many years before it actually ended, but Abed delivers a speech about the nature of TV and you're crying and you're smiling and when they all leave for the last time with a tight hug that feels like the earth is shattering you're launched into one last self aware fourth wall breaking gag that jolts your emotions before credits roll and they're the last credits that play for the entire show and you don't know if that was an ending or if you should wait for something else.

Virginia Woolf mused on the unique quality of a Chekhov story in The Common Reader (1925):

"But is it the end, we ask? We have rather the feeling that we have overrun our signals; or it is as if a tune had stopped short without the expected chords to close it. These stories are inconclusive, we say, and proceed to frame a criticism based upon the assumption that stories ought to conclude in a way that we recognise. In so doing we raise the question of our own fitness as readers. Where the tune is familiar and the end emphatic—lovers united, villains discomfited, intrigues exposed—as it is in most Victorian fiction, we can scarcely go wrong, but where the tune is unfamiliar and the end a note of interrogation or merely the information that they went on talking, as it is in Tchekov, we need a very daring and alert sense of literature to make us hear the tune, and in particular those last notes which complete the harmony."

Community ends not with a bang but a whimper and a broken note that makes you question what happens next, where do they go from there, what scene fits here in the script, is this truly the end or just where the writer put down his pen. It's a Chekhov play written in six seasons and soon to be a movie

In the end, the tragedy of Community is literally written on the cards

[carlyraejepsans]

these should get their own post actually. toriel my dear toriel

[edonee]

Why do so many trans-identified people call themselves communists? Don't they see how extremely capitalistic the ideology they base their entire life upon is? Come on, really?? 😭😭 You think that your "true self" can be bought through cosmetic surgery and hormone injections and you still call yourself a marxist how are you not embarassed...

[bubblybloob]

So when Pristine cut comes out and everyone has time to soak it all in, you’re all going to go ahead and play Scarlet Hollow, right?

[on-leatheredwings]

yandere subversion tropes i like to think about

yandere that pushes reader to the edge, so reader snaps and kidnaps/imprisons them

yandere who stalks and surveils, not knowing the reader is highly aware of the fact and enjoys the attention

reader is a former yandere who resists their new yandere's advances at first, out of fear of rejection. once they feel it's safe to be emotionally vulnerable, the reader turns out to be much, much worse than their yandere

the yandere is the protagonist of the narrative, not the reader

reader already has a partner, so the yandere is initially jealous. but right before yandere manages to dispose of your partner, they end up falling for them as well (polyam ending)

yandere who's actually quite bad at stalking/sneaking around, so the secret spy!reader encourages them to do better by offering pointers

reader has been yandere's yandere all along, and is glad they finally got their yandere to notice them. reader pretends to be oblivious the whole time

[nowadayz]

You've got to pick up every stitch, oh no, must be the season of the witch.

THE CRAFT (1996) dir. Andrew Fleming THE WITCH: PART 1 - THE SUBVERSION (2018) dir. Park Soon Jung THE LOVE WITCH (2016) dir. Anna Biller TWITCHES (2005) dir. Stuart Gillard THE VVITCH (2015) dir. Robert Eggers HOCUS POCUS (1993) dir. Kenny Ortega PRACTICAL MAGIC (1998) dir. Griffin Dunne FEAR STREET PART THREE: 1666 (2021) dir. Leigh Janiak

[snowyllama-art]

I think transformers should lean more into the uncanny aspects, especially with their alt modes. As a treat. Like, at a first glance everything looks normal, but there are little things that only mechanics and car nerds pick up on, details that don't line up with the model, and even though it's turned off, something about it feels alive, and there's this lingering feeling that it's watching those who come near.

[anthurak]

As someone who was very curious as to how Mammon was going to be presented in Helluva Boss, you can probably imagine I was looking through the new episode very closely.

And while I may have been off the mark with my theory that Mammon would follow the trend of Asmodeus and Beelzebub and NOT actually be antagonistic, I nonetheless think it is VERY interesting how Vivzie and the team handled and presented him.

Specifically, in just how PETTY Mammon is shown to be in this episode.

Like really think about what you might generally expect from a character like Mammon just from a basic background description: He is one of the seven rulers of Hell, lord of the seven rings and embodiment of GREED. Likely a fallen angel who helped to create hell as it exists today, is matched in power only by his five fellow Sins, and is functionally only truly outranked by Lucifer himself.

And yet, Mammon’s characterization in this episode presents him as this petty, selfish, manipulative asshole interested in little more than money and attention. He acts more like a shitty, full-of-himself asshole celebrity than a demon lord. Just look at how he manipulates Fizzerolli, not through lording power and authority over him but through emotional coercion like an abusive parent, ex-, or boss, which is precisely WHAT he is presented as. fi

What makes this even more interesting is that despite Mammon being characterized as Fizz’s petty, manipulative boss, we nonetheless see him display all the POWER and experience we’d expect from one of the seven rulers of Hell. Asmodeus mentions earlier in the episode that he’s known Mammon ‘since the START of Hell’, confirming they were both involved in its creation, and when the two square off at the end, it’s clear that Mammon is very much Ozzie’s EQUAL in power, and that everyone else present is pretty much an insect in comparison.

This is what I think makes the inclusion of that one creepy, obsessive fan of Fizzerolli’s in this episode so significant; he serves as a point of comparison to Mammon.

For all the power and authority that he might wield, Mammon is characterized as being no different/better than a creepy, manipulative, entitled and obsessive stalker.

I think this might be the true common ‘thru-line’ connecting all of the seven sins through Helluva Boss and possibly even Hazbin Hotel: That despite essentially being ‘God-Emperors’ of Hell and outclassed in power likely only by the most powerful angels of Heaven itself, the seven sins are characterized in a very grounded, down-to-earth and for lack of a better term, ‘human’ way.

All the times we’ve seen them, Ozzie, Bee and Mam haven’t presented themselves as these all-powerful beings lording themselves over their subjects like we might expect or even what we’ve seen of the Goetic nobility. They don’t present themselves as ‘royalty’ but rather more like celebrity performers, which is certainly in keeping with Vivzie’s comments about how Hell is meant to represent a circus.

It really gives this fascinating dichotomy to the Sins as characters, where they’re presented as these big wacky celebrities with big, over-the-top personas which in turn hide very grounded, down-to-earth people underneath. While at the same time still being these monstrously powerful and ancient beings whose dominion over Hell is entirely uncontested.

It also gives them a nice contrast with the Goetic Nobility and the Sinner Overlords. Like those two groups actually do act and present themselves like demonic ‘royalty’ who lord themselves over those considered ‘beneath’ them, while in reality they’re at best the ‘middle-managers’, and instead it’s these wacky characters who are the TRUE masters of Hell.

It may even continue into what we might see in Hazbin Hotel, what with Charlie being this bubbly, happy-go-lucky Disney-esque princess who also may very well have power outclassing literally EVERYONE else in the show apart from her parents.

Overall, I loved this episode and I think we may now have a good idea what we might expect from the other Sins, and possibly even Lucifer himself in Hazbin Hotel.

[rassebers]

What my master really is

[poorly-drawn-mdzs]

Average Drama Enjoyer observes some peak drama.

[idontwantrobyntodie]

“Oh we’re SUBVERTING the damsel in distress/princess in a tower trope!!” for 100 US dollars, tell me the last time you saw the trope played straight