#we would you provoke this fanbase

[iwatcheditbegin]

Thinking about how it took swifties less than 48 hours to to connect scooter braun to the war in Yemen, the Kushners, Osama bin Laden, and Saudi royal family.

[georgegraphys]

I'm not a big fan of Lando but he needs to take time off his socials because it's clearly affecting him and it's alright to delegate his social media responsibilities to the right person with the right knowledge for the right responses at times.

People who worked with PR and social media have the knowledge to deliver the right responses for the right situations. They know how to manage a crisis. PR might be "doable" by everyone but not everyone is educated by such knowledge and experience as PR experts.

These experts can also create "safe bubbles" for him by filtering his audience (blocking/deleting hate comments, dealing with the backlash, etc). A prime example is George tbh. Nowadays you don't really see hate comments as the top comments in his instagram and it's clear that it was filtered (George said he gave his social media handles to the admins) for the good. It also allows his fellow fans interacting with each other, strengthening the fanbase and allowing George to have more support. I'm sure Lando has enough fans that can do that for him if his PR agency helped in creating these "safe bubbles"

But so far, I don't see his team helping. If anything, his admins are inviting more hate by their constant provocative tweets and their seemingly idea of "bad marketing is marketing" when I don't think Lando needs such marketing strategy anymore when he's at that stage of popularity (imo, if anything, he needs a strategy that offers him a more stable image building, not the ones constantly ruining his image like what his LN4 admins do). I find it ironic how his PR team keeps doing this set up for him that causes more hate and backlash (e.g. Mexico 2024 tweets when George crashed). They don't do their job of "protecting him" but are exposing him to more hatred.

Lastly? A PR training would work for him to be able to process his thoughts to words better. Sometimes the things he said is a very poor choice of words that can be re-worded to something more "soft" and less provocative/offensive to others. "Oh but being honest is goo-" he is a public figure. In this current world where literacy is suffering, you need to do more in order for these things not to fall into "wrong ears" and be misunderstood easily. Because as a public figure, you are speaking to 1 million people at once (for example) and 1 million people means 1 million different ways of interpretation. We do need to be CAREFUL so our words don't provoke such misunderstandings and controversy, it is one's responsibility as a public figure because they have the power to influence people. For this, you don't need to be an expert. This is a basic thing that is useful in day-to-day life that you can earn from training, mentoring, self-understanding, etc.

[handsofdarkness]

WITHIN TEMPTATION To Release New Single, 'A Fool's Parade'

Dutch metallers WITHIN TEMPTATION will release a new single, "A Fool's Parade", on April 5. The track features a guest appearance by the Ukrainian alt-rock/metalcore artist Alex Yarmak, who has been steadily growing his fanbase since 2021.

In a fall 2023 interview with Metal Kaoz, WITHIN TEMPTATION singer Sharon Den Adel spoke about the band's decision to release its latest album, "Bleed Out", independently, having parted ways with the Vertigo label. She said: "I did this participation with [Dutch trance DJ] Armin Van Buuren once — I wrote a song together with him — so we tasted a little bit of the dance music and we saw that they were doing things so differently, knowing him, knowing the scene and starting to watch what they were doing. They were actually just doing it so not traditionally, as in rock music is known for and metal music. So they are way more fluid in when they can release something. They say, 'Oh, I'm gonna write a song and I'm gonna release it two weeks from now.' They can do that. It's because they think differently and it's a different ballgame. And we felt, like, 'Why aren't we doing that? Why are we always restricted to writing a complete album? And then writing certain songs that you feel are essential or in the moment that you have to release now, because if it ends up on the album, three years later, everybody has talked about it; it's not important anymore.' And they're, like, 'Oh my God. Are they still talking about that? That was three years ago.' That really feels stupid to me. And so we told the record company, 'Can we please just release some songs? Because the album's not going to be out there yet, and we're going on tour with EVANESCENCE. And they said, 'No. We can't do that, because we're traditional. We don't know how to cope with that different way of releasing.' And they still had an option for a new album. And we said, 'Well, then we would like to break up the contracts and go our own way.' And they said, 'Well, maybe you should, because we don't see how we can do this with you.' And we were happy they let us go."

She continued: "[2019's] 'Resist' [album from WITHIN TEMPTATION] was very successful for [the record label], but still, I think that they would not have had happy campers in their company with us [being around]. [Laughs] We're not the easiest maybe also. But in the end, it was the best way and I'm really happy it went the way it is. And it gave us the opportunity to do it our own way. On the other hand, it is more work, because we have to hire now people to do the job that a record company normally does. And you have to think about budgets and stuff like that. Who are you gonna do interviews with? How many interviews? Organize press agents all over. It's, like, oh my God. It's a company on its own. But, luckily, we have a management that does take most of that away. Of course, we have to come up with the ideas and give the goals and everything, but they work it out for us. And so we are not involved in that part, because it takes so much energy away from writing music and being creative, of course, which, you as an artist, never want to [deal with]. You just want to [be], like, 'They do that.' And I'm so happy they do that, because they're good at it. And I don't wanna do this. But then, now it's forced upon us again to do those things as well. And it gives you more freedom, and that's what we wanted."

"Bleed Out" signifies a bold leap forward for the band. From contemporary, hard-hitting, and djenty riffs to soaring melodies displaying their symphonic roots, WITHIN TEMPTATION has created a sonic journey that fuses diverse musical styles and thought-provoking themes. This is an album that is as epic as it is unflinchingly outspoken, and now more than ever, this is a band who isn't afraid to make a stand on issues the members care about.

Since the start of the war in Ukraine, WITHIN TEMPTATION have shifted their focus from writing about personal emotions and societal subjects to tackling global injustices and reflecting the tumultuous state of the world in a way that other artists seem unable or unwilling to do.

While songs such as "Wireless" and "We Go To War" examine the authoritarian aggression on display in Ukraine and other warzones, the title track itself addresses the plight of women fighting for their rights in Iran after the murder of Mahsa Amini.

The album also grapples with the complex issues around a woman's right to choose in recent single "Don't Pray For Me" and throughout, this impassioned and political focus is reflected in the intensity and heaviness of the music. Embracing a new era of musical exploration and lyrical depth, WITHIN TEMPTATION have pushed boundaries and showcased their artistic evolution, delivering a fist-in-the-air proclamation of both their moral convictions and their fearless approach to music.

[kickingthehornetsnest]

KTHN - Symptoms

aka half the reason I made this goddamned blog. I'm going to level with you if you are experiencing even a fraction of these symptoms you are in so deep that there's no more making your way back to the surface. There's the obvious stuff: Coughing Blood Paranoia Hallucinations Headaches Nausea Exhaustion Trouble Sleeping Nightmares Heightened Emotions (I've reasons to suspect that some entities can even induce/provoke rage in targets.) but, more then that there are so many little things happening in the background you might not even realize are tangentially relevant. Trouble eating, Increased Anxiety and Stress even when the entity isn't present or hasn't been for a period of time. Dehydration Existential Dread Compulsions (the all too familiar drawings of the madman once known as Alex Kralie.) (can't believe I had to double check I spelled his last name right-) Dissociation Auditory Hallucinations Memory Loss Misplacing Objects False Memories or alternatively, remembering something you know to be true only to find out it never happened. Not only that you're symptoms and illness will vary depending on the entity/entities you may personally be experiencing. There are plenty of undocumented cryptids, that the wider public knows nothing about... But I can't speak on that too much, I don't want to accidentally draw the eye of Dr. Sherman. That said your symptoms may vary from person to person, and each encounter may drastically change symptoms. There is... quite a ... controversy amongst the community between what we deem as 'relevant information we need to know' and what is someone else's privacy. So to get this out of the way now. What Jay did to Tim is unacceptable. It was then, and still is now. It doesn't matter if the information was redacted. He was acting recklessly (possibly due to long-term consistent exposure but that isn't an excuse) and He knew better. Tim's history isn't our business, or even Jay's. And I can't believe I have to specify this for the internet. His mental disorder did not get him chosen, nor is it somehow his fault they were attacked because he had a disorder? The fact some of you all believe that is the very reason I need to make this to specify as it was a fairly common belief at the time, and looking back this sort of behavior rooted in ableism has no place in any community. That said, while certain actions or decisions of Tim's could be questioned, this would all be hindsight that he didn't have at the time, and I understand his reasons for why he chose to withhold this information. I do not believe that Tim or Brian are at fault for the events that took place, and while their methods could be questioned, their intentions, I believe, are crystal clear. When dealing with your symptoms, using Alex, Tim, Brian, and Jay as a base board for what sorts of things to look out for is essential. Not all of us are so lucky to come out of this entirely unscathed, and I have more research to do with my own symptoms as a test regarding personality disorders, and how they are effected by the interference. So consider this a part 1 of a topic I will look back on at a later date.

If you have any questions or concerns regarding your specific form of the... are we really calling it-.... ok.... "Slender Sickness".... this is why people think we're a fanbase of edgy 13 year old shitposters. ... Perhaps, though, it's better that they do... to know the truth would be just a bit too cruel... if you would like to know more, reply to this post or message me, or Ask anonymously and I will respond as soon as I can!

[ino-takumas-baggy-sweater]

a lot of aprehension about the welcome home comes from previous experiences back in the height of game theory, which coincided with the first wave of mascot horror media that actively tried to cater to the theories and adapt to whatever was theorized about (including that memorable time when not even matpat would touch hello neighbor despite it actively simping over him on twitter and there being a brief coincidence of fanbases), so far welcome home seems to, whilst being optimized for a lot of um let's call it blorbofication of the characters (not making a judgement of that being objectively good or bad but it is a choice and getting into reasons why it may have been made is going off a tangent) it doesn't seem to be so far of the type to be Actively Catering To Change According To The Whims Of One Influential Dude.

The height of popularity of matpat also brought with it a small but vocal minority that took some of the theories as gospel, but mostly existed for theories from a couple of fandoms already prone to having these attitudes, and from what i've seen those people have largely mellowed out.

basically, some waryness is not unfounded, but it's not like it's a death sentence oh no matpat found it now welcome home will be flooded by matpatTheory!Wally x OC prompts that other content won't exist

THIS. I agree 100% with this, and I am fully aware some fans are on the extreme side, but being like that and taking his theories as gospel is completely the opposite of what he even started his channel for. The reason he does this is to provoke thinking and conversation about interesting topics that have mysteries behind them, which is why I fell in love with his channels and his style of doing things because until he came around, as far as I know, literally nobody was doing that kind of stuff.

Being able to distinguish my own thinking and analysis from Matpat's theories is half the reason I watch, because it stimulates my brain and it's something i enjoy deeply.

Gatekeeping Welcome Home and putting threats or verbal abuse in his comment sections are NOT solutions to this problem, the amount of times I've seen people using tags like "get matpat away from our stuff" is horseshit and makes you as bad, if not worse, than the fans you despise, and the comment section of his reaction video is even worse. I understand people talking about Clown's boundaries, and I totally support that, but when 50% of Welcome Home enthusiasts are talking about Clown's boundaries and the other 50% are threatening or complaining, it doesn't put a good look on the Welcome Home fandom as a whole. We need to inform not threaten, also again, gatekeeping is not the answer, and if Clown is scared off by anything happening, it is going to be people arguing the way we are because I'm sure Clown never intended for there to be any discourse or arguing in the fandom or gatekeeping or any shit like that.

[the-dance-of-italy]

hey- it's the same anon who sent that long ask about the chosen lol. the boycott the chosen account does not have their asks on so i'm like.. hoping they see this

i don't personally know about contacting the cast members. i personally think we would gain much more traction on instagram because a majority of the fanbase is active there & they post there very frequently and primarily. all the posts they posted supporting israel were on instagram. i thought once the cause gets enough traction it might pressure the actors involved that i named, i hadn't thought about contacting them directly and i don't really know if that'll work, thoughts on that??

i did mention shaan sharma particularly because he's on sag-aftra board of directors and i haven't seen anyone else talk about how sag-aftra is supporting israel too. since he's involved there we could get a lot more attention directing attention to how sag aftra's pro-israel. and like, mention shaan sharma on the list of people remaining silent, and how he's in the chosen too

the thing is, it's my personal opinion that it might actually be worth switching to insta entirely? i said before in the other ask that i was just going to make my own account but i don't have the time or energy to fully run it; i also don't really know how i'd do it. the tumblr fandom for the chosen is very minimal, and stuff that happens on tumblr tends to be really contained. i don't know how many people there are on twitter though. like i strongly recommend that we shift our focus to insta, make like actual posts with the chosen's tags because the insta algorithm is pretty good with showing tagged stuff like that. remember the pride flag controversy? almost all of that was within instagram and it was enough to get that video response out of multiple cast members

also, i could make some infographics if needed/requested. i do realize anyone could theoretically because it's not too hard to design but right now im offering to make infographics for instagram or possibly twitter (i don't know how it works there haha)

i just personally think right now that it's unlikely for that entire cast & crew, every single person, to support israel wholeheartedly alongside dallas jenkins. (especially luke dimyan; he's vocal about arab and yeah, he could support israel too, but still) if there's enough conversation & backlash on the internet, it could be enough to motivate/provoke some of them to speak up. it's also optimal timing tbh because season 4's released in theatres next month, this is the first time they're making money off their episodes, and if enough people cancel tickets it might do something. although im honestly pessimistic that we'll gain enough traction in time for that or that enough people would even care. but still its worth trying i think!!

man i realized this was long and i'm sorry haha, so basically tl;dr i could help with infographics if needed. and i think we should really prioritize spreading posts on instagram.

Seeing as things are going, i too agree that containing ourselves to just tumblr and twitter is limiting us. It may be too late to prevent Season 4, but there's still time for the future seasons, and the less support they have for the last seasons the better.

I can work on the IG account myself ,im always on my phone anyway. Its still the second week and they havent given me any heavy assignments yet haha. If its not too much trouble, i would accept if you (or anyone who see's and wants to do it) could make the infographics / or any other graphics for the account. I would, but my other laptop broke down and the one im usin doesn't have Adobe installed yet 😅.

[yourmybluebanisters]

i’m really tired of people using the edited audio clip, recorded by Johnny of Amber saying "I didn't punch you. I was hitting you, it was not punching you". People use this clip as a way to claim that amber was the abuser which is completely false.

Over years of abuse victims usually change the way they react when trying to survive abuse. Depp would always profusely apologize to Amber after he assaulted her. Johnny writes: "Once again I find myself in a place of shame and regret. Of course, I am sorry. I really don't know why, or what happened. But I will never do it again ...... My illness somehow crept up and grabbed me. I must get better. And I will. For us both. Starting today. I love you. Again, I am so sorry. So sorry." Amber explained that she tried many ways to diffuse the arguments, but the cycle of outbursts then apologies then more outbursts continued no matter what she did. "In these fights, I would try to stand up for myself. By December 2014, I was pushing back, I'd push him off me, I tried to hit his hands away. I tried to always get back up, which would almost always made it worse, always seemed to provoke him. But I tried. I would yell at him, scream at him. I'd call him ugly names. So ashamed of the names we'd call each other. It was awful. And we both got into that pattern. I felt so angry that this was happening to me, and it just felt so unfair. Nothing I did made him stop hitting me. Nothing. I tried for over a year, maybe two, of just not responding physically, not responding verbally, just staring at him. I tried to freeze, I tried going to a different place. I would try then lashing out verbally. I would try to threaten that if he hit me again that I would call the police. I tried to do everything. I even threatened to leave him - tried to leave him. Nothing was working. And I think by this point in our relationship, we're both saying awful things to each other, screaming at each other and, unfortunately, when Johnny would start hitting me, he'd just win." This struggle Amber had with dealing with his violence matches with what their marriage counselor, Dr. Lauren Anderson, said. Anderson testified that Amber told her "she felt she had to hit him back if he hit her so she always did.". Amber was fighting back in that relationship. Do you really believe that 22-year-old amber an unknown actress at the time had any control over 44-year-old Depp with a long well-established career and greater influence/wealth/fame/ fanbase? It is impossible for her to be the one in control in a relationship with someone clearly so much more powerful. It is also notable that in these recordings in which she admits to hitting him, she owns up to her acts and apologizes to him, while he continues to call her names and gaslights her. Her admitting to resorting to violence in self-defense, about having screaming fights and saying horrible things, shows her honesty and makes her sound more credible and trustworthy. In contrast, Johnny claims to be a perfect person who never ever hit any woman, not once, not even in self-defense. This is actually one of the characteristics of DARVO, namely" denying abuse completely". Someone who uses DARVO often also goes on to say that their victim was the "real abuser" and they were the "real victim". The acts of self-defense by their victims are used by abusers to make the abused look like the abuser. Johnny released these edited audio tapes through his minion Adam Waldman to the media and used a bot network to create the narrative that Amber is the abuser. Experts have expressed concerns that this trial is offering abusers a way to exert their power over victims. Amber was the victim. And if you can not admit to that there is something wrong with you.

[taehyungfirst]

i was in gc with TG before for voting,streaming and all that... While i really admire her for her dedication and support for taehyung but she really is insufferable..knowing real well that in gcs there were dedicated tkkrs who supported tae very much she'd just say mean things about them like saying them delusional and how they still ship them even after everything and saying how she can't wait for tae's freedom,always pointing fingers at tkkrs.. even i used to get uncomfortable with it and solos in the gcs would just agree with her...i don't think she is a tn shipper though because i was in their gc when all the paris happened and then gc leaked and we all left...also she kind of have beef with VU too lol and acts superior towards small fanbases..

I think they really REEEEEALLYYYYYY like to provoke, they just provoke you until you fight back and then it’s a never ending cycle, like tnnie comment maybe they don’t ship it maybe they do but it was an instigating comment. It wouldn’t be the first time anyway.

YEAHHHH THEY DO HAVE BEEF WITH VU OMG 😭 didn’t they work it out on the remix tho or I hallucinated that?

Just wanna add that yes ttp may not have the best rep but they do work hard for Tae, they are the pillar of kths fanbase and this is why I still follow because they always gave me updates and worked hard for him.

[raxistaicho]

I mean come on. I am sure you too is tired to always have to defend Edelgard and wish people attacked others characters like... i actually have no characters in mind from Engage that can cause a discourse

Yeah because Engage doesn't want to address any difficult subject. It only cares for the most milquetoast of quandaries. It writes Brodia as being at fault for driving Elusia to revive Sombron but it basically ignores it outside the Brodian princes' supports with the Elusian princesses. It also ignores how there's no indication Firene or Lumera did anything about Brodia constantly invading Elusia. It's too busy reminding us Marth exists and everyone loves Alear.

I like Celine, yet never is the question raised, "why does Firene have such a bandit problem that she needs to get involved herself?" Crime is a symptom of poverty and Firene is supposedly a land of plenty where everyone enjoys a life of peace. Are things not as rosy as we were led to believe? Who knows, Engage doesn't care, look, Veyle is taunting us that she has Marth captive for the seventeenth time, don't YOU wish you had him back :(((((

Engage also lacks subversive, notable female characters for the fanbase to get upset over. It doesn't have an Eirika, Micaiah, Camilla, Lyn, Lucina, or Edelgard (err, well, aside from the Emblem versions of all those characters that do, in fact, exist in Engage) for Gamers to get upset over. Maybe the closest would be Ivy, but nobody's gonna raise a fuss over a character who literally worships the main character but not in a way that's going to make Gamers uncomfortable.

I'll take thought provoking and interesting over by the numbers, even if it comes with obnoxious discourse. The discourse is a side-effect of a minority of the fanbase digging their heels and refusing to honestly address what Edelgard's story is even about, anyways.

[vergess]

Dear Steve,

it's been a hot minute since i've witnessed an unironic "i am a virgin" defense but here we are i guess

Listen, I'm just going to point something out and then eject myself from this situation - it's obvious that responding to you in any way is just enabling your mental illness instead of convincing you to seek treatment (even if it's just self-restraint), so this will be the last time I play guest star to deal with your shit.

Putting aside for a moment just how utterly fucked up it is that you're trying to brand yourself as our personal lolcow (which you're not, because you don't understand what a lolcow is or how their fanbases function), you would probably be the shittiest lolcow on the planet even if you were. See, lolcows are "funny" because they're unique in their weirdness, like the deviantart poster with a fetish for swollen knee cysts or, since you brought them up, Chris-Chan's comics and eventual descent into transcendentalist insanity.

Here's the thing: Chris-Chan is better than you.

Unlike you, Chris-Chan has actually managed to accomplish something with their uniqueness: they've built multiple monuments to their artistic skill and established a following, even managing to secure an income from doing so. They have managed to contribute to society by becoming worthy of discussion; being the subject of several studies and even an entire documentary dedicated to analyzing their strange arc through life.

You, on the other hand, are a private individual and your relentless stalking is a depressingly common behavior among lonely and unstable manchildren. Frankly, people like you are a dime a dozen: you're an obsessive freak who thinks the attention of a specific person (or persons) will grant you self-actualization, something so common that it's a stereotype. Your most uncommon trait is that you chose to stalk an obscure internet user (or users) instead of someone famous. Hell, you couldn't even go for something interesting like falling in love with a historical figure or fictional character.

You're not a "lolcow", because we don't enjoy you and we don't provoke you for fun. We're not your "followers", because we don't care about anything you have to say. We are unwilling witnesses to the endless rolling disaster of your poor life choices, something that none of us have ever wanted to be a part of. The one thing that you could do to make us happy is to fuck off forever so we never have to think about you ever again.

Please stop.

Kith

[chorusfm]

The Dangerous Summer Announce New Album

The Dangerous Summer will release Gravity on June 21st. Today they’ve shared the title track. Today, The Dangerous Summer are thrilled to announce their forthcoming record, Gravity, out June 21st via Rude Records.  Pre-save Gravity on streaming services HERE. For vinyl, merch and custom item pre-orders visit HERE. To celebrate, the band have also shared their brand new single, “Gravity,” out now. A perfect way to begin a new era of The Dangerous Summer, “Gravity” is a powerful anthem about overcoming personal darkness and navigating the mysteries of the unknown. The tracks' mystical instrumentals alongside Perdomo’s dreamlike vocals offers listeners a provoking glimpse into the band's soul-searching journey through space to find their unique sound. Speaking on the track, lead singer, AJ Perdomo shares, “‘Gravity’ almost never happened. It had an old name - ‘The Walls Outside,’ with completely different lyrics. A week before the end of the record, I locked myself in my room for 2 and a half days. It was kind of a breaking point in the record, but it turned out to be filled with so much heart, that it ended up as the first single. It really encapsulates the album. The lonely journey we spent out in space finding our sound. There were times where I thought that we would never make it back.” Listen to “Gravity” HERE.  The band have also shared the official music video for the track today. Created by AJ Perdomo, Josh Withenshaw, and Christian Zawacki, with additional shooting by Ethan Luck, Danny Zawacki and various artists, the clip follows a group of astronauts on a mission, sharing a touching story of resilience and hope. Watch it now HERE. The Dangerous Summer signed their first record deal as high school seniors and quickly established themselves among the alt-rock world’s elite. Passionate delivery, confessional authenticity, and deeply resonant musical storytelling define their sound. The band writes hooks that serve as soundtracks for important life moments for a diverse group of listeners spread across the globe.  The audience is more family than a fanbase. The community feeling is apparent at every gig, from Slam Dunk to Riot Fest, from touring with State Champs to headlining shows. Reach for the Sun is the record that “shot them into the pop-punk pantheon” (Kerrang!). Powered by unshakeable, enduring alt-rock anthems, the Ellicott City, Maryland band’s debut album made them heroes of the Warped Tour world, all while they carved their own unique path. 2011’s War Paint was a sophomore-slump-smashing follow-up. Grantland likened the “tall and wide” riffs of 2013’s Golden Record to The Hold Steady and U2. (“Catholic Girls” even earned The Danger Summer praise from the famously discerning Pitchfork.) Alternative Press saluted The Dangerous Summer as a group that stayed true to their sound, praising the songs on their 2018 self-titled comeback album as equal parts charismatic and addictive. 2019’s Mother Nature conjured an emotional storm, with an uplifting bent. Underoath’s Aaron Gillespie appeared on the 2020 EP, All That Is Left Of The Blue Sky.  Produced by Will Beasley (Turnstile, Asking Alexandria), 2022’s Coming Home ushered in a new era for TDS. The Dangerous Summer never sacrificed their unique, diverse sonic identity, one that appeals to fans of everything from Kings Of Leon and Coldplay to Jimmy Eat World and Bright Eyes. Coming Home is a triumphant summary of what The Dangerous Summer is all about, past, present, and future.  The Dangerous Summer is: AJ Perdomo | Vocals/Bass  Josh Withenshaw | Guitar  Christian Zawacki | Drums Track Listing * I Feel More Like Myself When I'm Losing It * Pacific Ocean * Gravity * You'll See It All Coming * What's An Hour Really Worth * Turning Love Into War * Where Did All The Time Go? * With My Pen * Wild One * Clouds In My Eyes * Dream * Into The Stratosphere --- Please consider becoming a member so we can keep bringing you stories like this one. ◎ https://chorus.fm/news/the-dangerous-summer-announce-new-album-2/

[writeleg1ant]

John Irving Biography

Are you curious about the life and works of acclaimed author John Irving? In this article, we delve into the fascinating details of Irving's journey as a writer, exploring his notable works, personal life, and literary impact. From his early breakthrough to his current projects, discover the author behind the captivating stories that have captured the hearts of readers worldwide. Key Takeaways: - John Irving is an American novelist and short-story writer with a career spanning several decades. - His breakthrough novel, "The World According to Garp," established Irving as a talented and engaging storyteller. - Irving's works explore themes such as family dynamics, sexuality, religion, and social issues. - He has received numerous awards and honors, including an Academy Award for Best Adapted Screenplay. - Irving's novels have been translated into more than thirty-five languages and have gained international recognition.

Early Life and Education

John Irving, originally born John Wallace Blunt Jr., came into the world on March 2, 1942, in Exeter, New Hampshire. Following his parents' divorce, Irving's mother changed his name to John Irving. Growing up, Irving attended Phillips Exeter Academy, where his passion for wrestling blossomed. However, he faced academic challenges due to dyslexia, an obstacle that would significantly shape his future. Irving pursued higher education at the University of New Hampshire, where he obtained a bachelor's degree in English. Continuing his academic journey, he then went on to earn a master's degree in English from the University of Iowa. "In wrestling, my first exposure to the concept of 'character' — the wrestling mask you wear for the audience, as well as the face you keep hidden from your opponents." - John Irving

Career Beginnings and Breakthrough

John Irving embarked on his writing career with the release of his debut novel, "Setting Free the Bears," in 1968. While the book received positive reviews, it didn't achieve widespread popularity at the time. However, it was Irving's fourth novel, "The World According to Garp," published in 1978, that catapulted him to literary stardom. The novel became a bestseller, captivating readers with its compelling storytelling and well-drawn characters. It explored themes of love, loss, and the complexities of human relationships. The remarkable success of "The World According to Garp" was a turning point in Irving's career. It firmly established him as a talented writer and garnered him a dedicated fanbase. The novel also caught the attention of the film industry, leading to its adaptation into a movie in 1982, starring Robin Williams and Glenn Close. "The World According to Garp" was the breakthrough that allowed John Irving's unique storytelling abilities to shine and brought him the recognition he deserved. It marked the beginning of a remarkable career characterized by thought-provoking narratives and unforgettable characters. Following this breakthrough, Irving continued to produce notable works that resonated with readers worldwide. His early success set the stage for a prolific and influential literary career. Novel Year "Setting Free the Bears" 1968 "The World According to Garp" 1978 "The Cider House Rules" 1985 "A Prayer for Owen Meany" 1989 "A Widow for One Year" 1998

Notable Works and Themes

John Irving's literary career boasts a collection of notable works that have left a lasting impact on readers around the world. Among his famous novels are "The Cider House Rules," "A Prayer for Owen Meany," and "A Widow for One Year." These novels showcase Irving's storytelling prowess and his ability to delve into a variety of recurring themes. Irving's exploration of family dynamics is a recurring theme in his works. He delves deep into the complexities of familial relationships, capturing the joys, struggles, and conflicts that shape these connections. Through his characters, Irving portrays the intricacies of familial bonds, highlighting the profound impact they have on individuals' lives. Sexuality is another theme that frequently surfaces in Irving's writing. He fearlessly examines the diverse expressions and challenges faced by individuals navigating their sexual identities. By tackling this subject matter with sensitivity and authenticity, Irving adds an important dimension to his narratives, fostering conversations about acceptance and inclusion. Religion often emerges as a prominent theme in Irving's novels. Through his characters' experiences, he explores the complex interplay between faith, doubt, and personal belief systems. This exploration of religion adds depth and introspection to his stories, inviting readers to reflect on their own spiritual journeys and the role of religion in society. Social issues also find a place within Irving's literary realm. He adeptly tackles topics such as gender inequality, abortion, and societal norms, prompting readers to critically examine these issues and the impact they have on individuals and communities. With a deft touch, Irving weaves these social commentaries seamlessly into his narratives, offering thought-provoking perspectives. Irving's writing is characterized by complex characters who grapple with the human condition, bringing forth a range of emotions and experiences. His stories are often infused with dark humor, offering a welcome respite amidst the weighty themes he addresses. This blend of light and dark creates a compelling narrative tapestry that captivates readers and enthralls them from beginning to end.

Literary Achievements and Awards

John Irving's literary talent and contributions have earned him numerous awards and honors, solidifying his reputation as a renowned author. National Book Award Nomination Irving's prowess as a writer was recognized with three nominations for the prestigious National Book Award, one of the highest honors in American literature. Although he did not win on each occasion, the nominations themselves serve as a testament to his exceptional storytelling abilities and profound impact on the literary world. Academy Award for Best Adapted Screenplay In 1999, John Irving received the Academy Award for Best Adapted Screenplay for the film adaptation of his novel "The Cider House Rules." This recognition further highlights his versatility as a writer and showcases his talent in successfully translating his literary works onto the silver screen. International Bestseller and Literary Impact Irving's novels have captivated readers worldwide and have been translated into more than thirty-five languages. His incredible storytelling, richly developed characters, and exploration of profound themes have resonated with audiences globally, solidifying his status as a literary icon. Year Award/Honor For 1980 National Book Award The World According to Garp 1999 Academy Award Best Adapted Screenplay for The Cider House Rules John Irving's literary achievements, recognition, and awards have cemented his position as one of the most influential and celebrated authors of our time, and his impact on the literary world continues to inspire generations of readers and aspiring writers.

Personal Life and Interests

In addition to his successful writing career, John Irving leads a vibrant and diverse personal life that has significantly shaped his experiences and perspectives. A multifaceted individual, he has pursued various interests and hobbies alongside his literary pursuits. One of Irving's notable passions is wrestling. For an impressive span of twenty years, he actively competed as a wrestler and even dedicated a significant portion of his life to coaching wrestling. This involvement in the sport showcases his discipline, dedication, and commitment to physical fitness. Irving's personal journey is also influenced by his dyslexia, a condition that affects reading and writing ability. However, instead of being hindered by this learning disability, Irving has used it as a catalyst for his writing career. His dyslexia has contributed to his unique perspective and voice as an author. Furthermore, Irving has become an advocate for individuals with learning disabilities, using his platform to raise awareness and support. Irving's personal experiences and triumph over dyslexia serve as an inspiration to many, illustrating that challenges can be transformed into strengths and that extraordinary achievements are possible despite obstacles. Irving's fascination with storytelling extends beyond the written word. He has actively participated in the adaptation of his novels into films, demonstrating his interest in the cinematic medium. Additionally, Irving has penned memoirs, providing a glimpse into his experiences and insights into the world of filmmaking. This multifaceted approach to life showcases John Irving's diverse range of interests and passions. From wrestling to advocacy work to the world of cinema, his personal life enriches his writing and contributes to his multifaceted creative voice.

International Recognition and Impact

John Irving's novels have achieved widespread international recognition, captivating readers around the globe. His unique storytelling style and exploration of complex themes have left a lasting impact on the literary world. Irving's ability to tackle controversial subjects and create memorable characters has garnered him a dedicated global fanbase. His works have been translated into multiple languages, further contributing to his global popularity and literary influence. "John Irving's novels have a global appeal that transcends borders and languages. His stories resonate with readers from all walks of life, as he fearlessly delves into the depths of the human experience." From the critically acclaimed "The World According to Garp" to his thought-provoking works like "A Prayer for Owen Meany" and "The Cider House Rules," Irving's powerful storytelling has captivated audiences worldwide. His novels not only entertain but also challenge readers to reflect on contemporary issues and the complexities of the human condition. Irving's international recognition is a testament to his literary impact and the universal appeal of his works. His novels continue to inspire and engage readers across generations, solidifying his legacy as a globally celebrated author. Notable Awards and Honors: - National Book Award, 1980, for "The World According to Garp" - Academy Award for Best Adapted Screenplay, 1999, for "The Cider House Rules"

Recent Works and Publications

In recent years, John Irving has delighted readers with his latest novels and captivating storytelling. These recent publications demonstrate Irving's continued mastery of the written word, as well as his ability to engage and provoke thought in his readers. 1. "Last Night in Twisted River" (2009) One of Irving's recent novels, "Last Night in Twisted River," takes readers on a riveting journey through the lives of its characters. Set in the forests of northern New Hampshire, this tale explores themes of love, loss, and the power of fate. Irving's exquisite prose and well-developed characters make "Last Night in Twisted River" a must-read for fans of his work. 2. "In One Person" (2012) "In One Person" is another captivating novel by John Irving, published in 2012. This thought-provoking story delves into themes of sexual identity, self-discovery, and the complexities of human relationships. With his unique ability to weave together diverse characters and evoke raw emotions, Irving once again captivates readers with his powerful storytelling. 3. "Avenue of Mysteries" (2015) Published in 2015, "Avenue of Mysteries" is a mesmerizing novel that takes readers on a compelling journey through the mind of its protagonist. This thought-provoking tale explores themes of memory, fate, and the power of imagination. With his signature wit and lyrical prose, Irving invites readers to question their own perceptions of reality. These recent novels by John Irving are just a glimpse into his continued creative brilliance. Each publication showcases his unique storytelling prowess and ability to transport readers into vivid and thought-provoking worlds. Whether you're a longtime fan or new to his work, these new releases are sure to leave a lasting impact.

Legacy and Influence

John Irving's literary legacy is an indelible mark on the literary world. His unique storytelling style, characterized by rich narratives and compelling characters, has captivated readers and inspired countless writers. Through his exploration of contemporary issues, Irving has shed light on complex themes that resonate deeply with audiences. Irving's influence on writers is undeniable. His novels, such as "The World According to Garp," "A Prayer for Owen Meany," and "The Cider House Rules," have served as touchstones for aspiring authors, demonstrating the power of storytelling and the impact of authentic voices. Many writers have been motivated by Irving's ability to tackle controversial subjects with sensitivity, paving the way for their own artistic endeavors. "Irving's works have the ability to transport readers to different dimensions, making us question the status quo and sparking conversations about societal issues." - Author Name Irving's impact on the literary world extends beyond individual writers. His success and recognition have shaped the publishing industry, influencing the way novels are written and marketed. His works have garnered critical acclaim, numerous awards, and have been translated into multiple languages, cementing his position as a literary icon.

John Irving Today

John Irving, a celebrated author, continues to make waves in the literary world with his current works and recent projects, showcasing his immense talent and creativity. Known for his ability to tackle complex subjects with sensitivity and depth, Irving consistently delivers profound and thought-provoking stories that resonate with readers around the world. Despite his vast body of work, Irving's present career remains as active as ever. He has successfully published new works that exemplify his unique storytelling style and his dedication to storytelling excellence. Current Works In his current works, Irving continues to explore and delve into a wide range of themes, captivating readers with his intricate narratives and engaging characters. Each project showcases his unparalleled ability to weave compelling stories that leave a lasting impact. Title Publication Year In One Person 2012 Avenue of Mysteries 2015 Darkness as a Bride 2018 These recent novels showcase Irving's ongoing commitment to producing compelling and thought-provoking literature. Recent Projects In addition to his novels, Irving has also been involved in various recent projects that have further solidified his status as a renowned author. He has collaborated with filmmakers for the adaptation of his works into memorable films, leveraging his unique storytelling style for the silver screen. "I love the process of turning my stories into cinematic experiences. It allows me to explore new dimensions and breathe life into my characters." Through these diverse creative endeavors, Irving continues to expand his artistic horizons, captivating audiences through different forms of storytelling. John Irving's present career reflects his unwavering passion for literature and his dedication to crafting impactful stories that resonate with readers globally. His works continue to receive critical acclaim and maintain a devoted following eager to devour each new release.

Conclusion

John Irving's remarkable career as an author has established him as a literary icon. From his breakthrough novel "The World According to Garp" to his recent works, Irving has consistently captivated readers with his engaging storytelling, memorable characters, and exploration of contemporary issues. Irving's unique voice and literary contributions have made him a prominent figure in the literary world. His novels are celebrated for their thought-provoking themes, complex characters, and dark humor. With his mesmerizing narratives, Irving has proven himself to be a captivating storyteller who can transport readers into richly crafted worlds. As a literary icon, John Irving's influence extends beyond his captivating storytelling. His ability to tackle controversial subjects and delve into the depths of human emotions has inspired and influenced countless writers. Irving's novels will continue to be celebrated and cherished by readers for generations to come, solidifying his place in literary history.

FAQ

What are some notable works by John Irving? Some notable works by John Irving include "The World According to Garp," "The Cider House Rules," "A Prayer for Owen Meany," and "A Widow for One Year." What themes does John Irving explore in his writing? John Irving's writing often explores themes such as family dynamics, sexuality, religion, and social issues. What awards has John Irving received? John Irving has received numerous awards and honors throughout his career, including an Academy Award and a National Book Award. What is John Irving's background and education? John Irving was born in Exeter, New Hampshire, and attended Phillips Exeter Academy. He earned a bachelor's degree in English from the University of New Hampshire and a master's degree in English from the University of Iowa. How has John Irving's personal life influenced his writing? John Irving's personal life, including his experience as a wrestler and his dyslexia, has influenced his writing and advocacy for individuals with learning disabilities. What is John Irving's impact on the literary world? John Irving's novels have gained international recognition and have been widely read and translated into multiple languages. His works have had a lasting impact on the literary world and have inspired and influenced numerous writers. What are some of John Irving's recent works? Some of John Irving's recent works include "Last Night in Twisted River" (2009), "In One Person" (2012), and "Avenue of Mysteries" (2015). What is John Irving's legacy? John Irving's contributions to the literary world have left a lasting legacy. His unique storytelling style, memorable characters, and exploration of contemporary issues have inspired and influenced numerous writers. What is John Irving currently working on? John Irving remains an active writer and continues to publish new works. He is known for his ability to tackle complex subjects with sensitivity and depth. Read the full article

[attemptsonherlifepdf]

bojack horseman and bo burnham: the art of acting like you’re acting and the comedy of misery

at the core of bojack horseman, raphael bob-waksberg’s 2014 comedy, is a story about the relationship between performance and depression. the protagonist of this renowned tragicomedy is best described as a sympathetic villain; he is shown to clearly be in the wrong across various events of the show, and is explicitly referred to as a bad person, but the audience is granted deep access to his personal struggles, resulting in some portions of the audience finding themselves on bojack’s side. the duality of his character is complex, but can be broken down into some core components, that all stem from the impacts of stardom and performance. the standup comedy of bo burnham arguably echoes this sentiment in real time. having been a performer from a young age, burnham creates work that serves as a satirical commentary on the life of entertainers. he uses original songs to explore the reliance upon and resentment for his performative nature both onstage and within his personal life. both the comedian and the netflix show are widely understood to be thinly veiling their critiques of the entertainment industry behind a particular brand of witty and absurd humour.

both bojack and burnham’s content openly criticises their audiences and explicitly states the manufactured nature of the narrative the audience is fed. in the fifth season of bojack horseman, the show satirises itself by having bojack star in a police procedural drama, parts of which are actively written by other characters to reflect events of bojack’s life. the titular character he plays, philbert, is the epitome of selfish male angst, and an example of what bob-waksberg’s show could have been; another story about a sad and angry man whose guilt supposedly makes up for the people he has hurt. according to bojack, philbert teaches us ‘we’re all terrible, so we’re all okay’, an interpretation that is harshly disputed by diane: ‘that’s not the point of philbert, for guys to watch it and feel okay. i dont want you, or anyone else, justifying their shitty behaviour because of the show.’ this moment is a direct reaction to some of the online reception bojack horseman has received. various circles of the show’s fanbase have found themselves relating to the protagonist to the point of defending his untoward behaviour, a response not intentioned by the show’s creators. this is not the only example of bob-waksberg’s ability to make his work self-evaluative. in season six’s exposure of bojack and sarah lynn’s problematic relationship, characters question their sexual encounter from the first season. the writers use this as a way of examining their own choices, and the harmful tropes they played into when using this exploitative sexual encounter as a gag. this self-evaluative quality is what sets bojack apart as a show that assesses the performance it participates in, much like the comedy of bo burnham.

bo burnham is known for directly addressing his audience, particularly in terms of discouraging idolisation and parasocial relationships. some examples of this manifest as responses to hecklers rather than a planned bit in the show, for instance:

heckler: i love you!

bo: no you don’t

heckler: i love the IDEA of you!

bo: stop participating!

he actively addresses the issues posed by being an entertainer, and encourages the audience to understand and recognise that his onstage persona is just that: an exaggerated persona. not once does burnham claim to be fully authentic onstage, and even moments of authenticity we see in his latest special, inside, are staged. we make the assumption that having the physical setting of a stage stripped away grants us a more personal look at the entertainer’s life, but he makes it clear that even in his own home we still see the aspects he has carefully constructed rather than the full truth. arguably though, parts of the show really are authentic; in his monologue during make happy, bo deconstructs his own show in a way that is similar to bojack horseman’s later seasons, admitting that all he knows is performing and thus making a show about the more mundane and relatable aspects of life would feel ‘incredibly disingenuous.’ in his attempts to separate himself from this onstage persona he actually manages to blur the lines between what is acting and what is now part of his nature as a result of his job. this notion is echoed in bojack horseman as bojack’s attention seeking nature is attributed to his years acting in front of a camera every day.

bo suggests that the era of social media has created a space in which children’s identities mimic that of an entertainer like himself, describing the phenomenon as ‘performer and audience melded together.’ in this observation he criticises the phenomenon. bo attempts to force the audience to recognise the ways in which their lives are becoming shaped by the presence of an audience and to some extent uses his own life as a warning tale against this. he points out the way in which the ‘tortured artist trope’ means that your cries for help or roundabout attempts of addressing mature themes such as substance abuse, mental illness and trauma become part of that on stage persona and therefore become part of the joke. both bo and bojack address these topics in more discrete manners earlier in their careers, but this eventually becomes expected, and thus they are forced to explicitly detail their struggles with these topics in order to be taken seriously. even then, portions of the audience are inclined to see it as part of the persona or as something that fuels the creators creativity and thus does not need to be addressed as a legitimate issue. the emphasis on creating a character or persona promotes the commodification of mental illness: any struggle must be made into a song or a joke or a bit, must be turned into part of the act in order to have value. this actually serves to delegitimise these emotions and create a disconnect between the feeling and the person, as it becomes near impossible to exist without feeling as though you are acting. even when an artist’s cries for help become blatant, they continue to go ignored because now they serve the purpose of creating content that criticises the industry they stem from. online audiences can be seen as treating bo burnham and his insightful work as existing to demonstrate the negative effects entertaining can have, and because this insight is useful or thought-provoking to audiences, he is almost demanded to keep entertaining and creating. in response to this demand, his work becomes more meta and his messages become clearer, and the more obvious his messages, the more people he reaches. this increases audience demands and traps entertainers in a cycle fraught with internal conflict.

during bojack’s second season, bojack’s date asks him, ‘come on, do that bojack thing where you make a big deal and everyone laughs, but at the same time we relate, because you're saying the things polite society won't.’ this moment exemplifies how aspects of his genuine personality have now become a part of his persona and this is demanded of him in genuine and serious situations, undermining the validity of his emotional reactions. he immediately makes a rude comment to the waitress at the restaurant they’re in and satisfies his date by performing that character he has set himself out to be. some circles of the fan base have argued that bojack is written as a depiction of somebody with borderline personality disorder, offering a psychoanalytical lens through which to view this notion of performance. a defining symptom of borderline personality disorder is a fluctuating sense of self; having grown up on camera, being demanded to perform to others as young as six years old, bojack’s sense of self will have been primarily dictated by the need to act.  whether this acting is for the sake of comedy, or as a representation of masking his mental illness, when they need to act is taken away bojack entirely loses his sense of self and relapses into his addictions: ‘i felt like a xerox of a xerox of a person.’ burnham’s depictions of depression run along a similar vein; in his new special he poses the idea that his comedy no longer serves the same personal purpose it once did for him. he questions ‘shit should I be joking at a time like this?’ and satirises the idea that arts have enough value to change or impact the current global issues that we are facing. burnham’s ‘possible ending song’ to his latest special, he asks ‘does anybody want to joke when no-one’s laughing in the background? so this is how it is.’ implicit in this question is the idea that when the audience is taken away and there is nobody to perform his pain to, he is left with his pain. instead of being able to turn his musings and thoughts into a product to sell to the public, he is forced to just think about them in isolation and actually face them, an abrupt and distressing experience.

the value of performance and art is questioned by both bojack and burnham, particularly during the later years of their respective content. burnham’s infamous song, art is dead, appears to be a direct response to the question ‘what is the worth of art?’ he posits that performing is the result of a need for attention (‘my drug’s attention, i am an addict, but i get paid to indulge in my habit’) and repeatedly jokes throughout his career that the entertainment industry receives more respect that it deserves (‘i’m the same as you, im still doing a job or a service, i’m just massively overpaid’). his revelations regarding the inherent desire for attention that runs through all entertainers is frequently satirised in bojack horseman. bojack is comically, hyperbolically attention hungry and self-obsessed, and the show has a running gag in which he uses phrases along the lines of ‘hello, why is nobody paying attention to me, the famous movie star, instead of these other boring people.’ his constant attempts to direct the focus of others towards himself result in bojack feeling like ‘everybody loves you, but nobody likes you.’ his peers buy into his act and adore the comical, exaggerated, laughable aspects of his character, but find very little room to respond to him on a genuinely personal level because of this. interestingly, bojack appears to enjoy catering to his audience and the instant gratification it produces, whereas bo burnham becomes increasingly candid about his mixed feeling towards his audience. ‘i wanna please you, but i wanna stay true to myself, i wanna give you the night out that you deserve, but i wanna say what i think and not care what you think about it.’ he admits to catering to what audiences want from him, but resents both the audience and himself in the process as it reveals to himself which parts of his character are solely for the sake of people watching him.

within bojack horseman, this concept is applicable not only to the protagonist, but to the various forms of performer demonstrated in the plot. towards the show’s end, sarah lynn asks ‘what does being authentic have to do with anything?’ to which herb kazzaz responds, ‘when i finally stopped hiding behind a facade i could be at peace.’ this highlights the fact that because entertainers are demanded to continue the facade, they do not receive the opportunity to find ‘peace.’ this sentiment is scattered throughout the show, through a musical motif, the song ‘don’t stop dancing.’ the song stems from a life lesson bojack imparted to sarah lynn at a young age, and becomes more frequently used as the show progresses and bojack’s situation worsens.

sarah lynn is also used to explore the value of entertainers; in the show’s penultimate episode, she directly compares her work as a pop icon to the charity work of herb, arguing that if she suffered in order to produce her work. it has to mean something. she lists the struggles she faced when on tour: ‘i gave my whole life...my manager leaked my nudes to get more tour dates added, my mom pointed out every carb i ate, it was hell. but it gave millions of fans a show they will never forget and that has to mean something.’ implicit in this notion is the idea that entertainment is the epitome of self-sacrifice. there is a surplus of mentally ill individuals within the industry, largely due to the nature of the industry itself, but some may argue that the cultural grip the industry has, and the vast amounts of respect and money it generates annually, gives the suffering of these prolific individuals meaning.

the juxtaposing responses entertainers feel towards their audiences manifest as two forms of desperation: the desperation to be an individual who is held accountable, and the desperation to be loved and validated. we see both bojack and bo depict how they oscillate between  ‘this is all a lie’ and ‘my affection for my audience is genuine’, or between ‘do not become infatuated with me im a character’ and ‘please fucking love my character i do not know how to be loved on a personal level.’ bojack explicitly asks diane to write a slam piece on him and ‘hold him accountable’, similar to bo’s song ‘problematic’ in which the hook includes the phrase ‘isn’t anybody gonna hold me accountable?’ for his insensitive jokes as a late teenager. their self-awareness is what enables their self-evaluative qualities, but self-awareness is its own issue. bojack grapples with a narcissistic view of his own recognition of his behaviour before settling on a more nuanced, albeit depressing take. originally he makes the assumption that in recognising the negative aspects of himself, he is superior to those who behave similarly: ‘but i know im a piece of shit. that makes me better than all the pieces of shit that don’t know theyre pieces of shit.’ eventually, during his time at rehab he is forced to reconcile with the fact that self awareness does not, to put it bluntly, make you the superior asshole, it just makes you the more miserable one. the show does, however, make a point to recognise how the entertainment industry protects ‘pieces of shit’, prioritising their productive value over how much they deserve to be held accountable, demonstrated using characters like hank hippopoalus. the show itself obviously stems from the entertainment industry, as it is a form of media produced by netflix, one of the most popular streaming platforms available. bojack horseman and bo burnham represent the small corner of the industry that is reflective enough to showcase the damage it inflicts. this is powerful in terms of education and awareness, and urges audiences to question their own motives and versions of performance, but the reflection alone is not powerful enough to help the artists in question. burnham’s candid conversations surrounding his mental health continue to reveal a plethora of issues somewhat caused or sustained by the nature of his career. within bojack horseman, bojack is only able to stop hurting other characters when those characters construct a situation that forces him to face consequence, his introspection alone is not enough. while bojack ends on a message of hope, suggesting to the audience that reverting back to the status quo is not the only acceptable way for events to end, it leaves stinging lessons and social commentary with the audience regarding the unnatural and damaging narrative that performers live through. on a similar but markedly different note, bo burnham’s work and personal progression is playing out in real time, and not in a way that is as raw and genuine as it appears. each bit is planned, even the most vulnerable moments that appear unplanned and painful. his latest special is not entirely devoid of hope, but does translate to audiences as a somewhat exaggerated look around the era of social media and the development of performance, using himself as an example.

the absurdist humour that often acts as a vehicle for poignant statements or emotionally provocative questions is very specific to each media creator. bob-waksberg’s use of puns, tongue twisters and entirely ridiculous circumstances served to simultaneously characterise his points as an expected part of the show’s style of humour, similar to bojack’s emotional instability, but also to make them appear gut-punching in comparison to the humour. burnham’s work is similar in that poignant but blunt statements are often sandwiched between absurd and exaggerated jokes, making them stand out via contrast but not giving the audience too much time to dwell upon them as they are said. performance art is second nature to entertainers, and is presented a an issue that is infiltrating the general population via social media rather than solely affecting the ‘elites’. bojack horseman and bo burnham present the duality of artists simultaneously attempting to level the playing field and increase their chances of survival in the industry, and encourage audiences to know that everyone is bluffing and you’ll never have the right cards anyway.

i.k.b

[ozmatippetarius]

OP I just want to say first that I've appreciated your TSH ramblings so, and am also so impressed that you have so many so spot on right after reading it for the first time. Anyway

Agree agree agree, everybody's relationships with Henry are so interesting to me, and honestly something I still haven't wrapped my head around eight years and uncountable re-reads later. For Camilla, I was honestly shocked on the first read getting to the straight out, "Because I love Henry." Their relationship had read so much to me as "two people who find each other useful". I always come back to that exchange where Francis and Richard are speculating that Camilla and Henry aren't actually sleeping together and Henry is just doing everything he can to give that impression in order to provoke Charles. And Francis and Richard are wrong about a lot of things, but... it says something that they even think it's possible the whole thing is faked.

I really think when you dig down into it, besides the fact that Camilla sees Henry as her protector, she also loves what he represents. Camilla, more than anybody besides Henry himself, really loves the magic of it all, enjoys the ceremony and symbolism, and that's what Henry represents to her.

As far as Henry's feelings... well, this exchange has always struck me.

“You don’t feel a great deal of emotion for other people, do you?” I was taken aback. “What are you talking about?” I said. “Of course I do.” “Do you?” He raised an eyebrow. “I don’t think so. It doesn’t matter,” he said, after a long, tense pause. “I don’t, either.”

(Also love that you brought up the Henry/Richard relationship, which has always kind of blown my mind in a similar way, with the added aspect that Richard really seems to resent Henry for a lot of totally valid reasons throughout.)

2. Francis/Charles is also a relationship that totally fascinates me.

And here's the thing: Francis's story is obviously not true. I would say personally that I don't even think it's half true. It's obviously not true that Charles was pretending to be more drunk than he was to absolve himself of responsibility for their relationship. I'd say it's obviously not true that Charles is some kind of sex addict who will seek out anybody; Richard tells us that he has a "naive, prepubescent shyness" with women, and we never see a single indication outside Francis's story that he's been with anybody except the two people we know about while at college.

But like you say, I wouldn't go so far as to say that he is lying. It's actually something that really bothers me about this fanbase, that people throw around the term "lie" so casually.

Interestingly, despite the fact that Francis is such a popular character online, I pretty much never see any discussion of the fact that his mother is an addict. He was raised alongside his mother, seeing her as somebody he loved but who had no agency whatsoever. He's certainly seen his grandparents leverage her substance abuse issues to discredit her in exactly the same way he does to Charles, repeatedly. I think people forget that the term "codependent" was created for children of addicts, before it was used for anybody else.

What I'm saying is, to a certain extent Francis's treatment of Charles has been totally normalized to him by his own history. To a certain extent, I think the things that Francis tells Richard are things he has convinced himself are true.

3. lol this is the first time I'm going to have to hard disagree. Bunny's first instinct to realizing the group were being shifty about the farmer was to blackmail them about it. After Henry's diary confirms it, he's scared (rightfully) that he'll be targeted next; his indignation at the moral fiber of his friends is just recognizing that they're capable of killing (and could therefore kill him). If the group had let Bunny in on it, he wouldn't have had a single qualm.

My head is hurting after Secret History inner ramblings.

I think the one thing that’s difficult about this book is that EVERYTHING is a little true and a little false at the same time? It’s weird because sometimes I go to make a statement on something or post a thought, and I just can’t get the nuance right ever. All my opinions have a bit of a “but here’s where that thought ends” aspect to them. Here’s what I mean:

Keep reading

[duskamethyst]

at last.

a/n: in celebration of reaching 200 followers. thank you. i’ve started this piece months ago but constantly failed to find the will to continue whenever i opened the draft. however, the response i’ve received from my other works gave me the drive and i knew i had to finish this.

word count: 4.1k

genre: smut, nsfw, fluff

pairing: musician!semi x f!reader

warnings: mirror sex, soft dom

summary: you and semi are in a band together. though having feelings for the male, you’ve always kept it professional until one night...

“thank you for tonight! you guys were amazing!” you speak through the mic enthusiastically, waving to the crowd as they cheered on and begging for an encore at the same time. “we hope to see your faces again when we come out with new songs soon! please continue to support us! we love you!” your lips curl into a huge smile, stepping off to the back of the stage while waving your fans goodbye before the staff hands you a towel to wipe off your sweat and a mineral bottle to cool off.

it’s another amazing night in a different city for you and the band. the feeling of having people enjoying your music and your voice is overwhelming and to have such wonderful bandmates to join you in this journey for three years now has you feeling beyond blessed.

the band started small, having the drummer and bassist as your high school besties while the guitarist, semi eita was later picked up along the way when one day you blasted on your socials and the small music stores stating the band needed a new guitar player. your band was pretty well-known in the town you live in, showing up and performing at a few gigs and now you’re much more familiar in the industry and often play in different cities. 

semi was one of the few candidates that was chosen to be part of the band. much to everyone’s surprise, playing the guitar wasn’t his only talent. semi was able to write lyrics, produce and sing and that’s what made him stand out among the others. while making the decision with your band mates, you guys knew not to pass up on him and today it proved to be the right decision you guys had made. 

to describe semi eita, he’s incredible. a genius and a sight for sore eyes. hell, he could even pass to be a model if he was into it. you knew that his addition to the band could garner more fans through his skills and looks. on his first night at the gig as the guitarist, you noticed how some of the girls there were ogling him and especially recording him through their phones, even the older woman who was practically forced to be there almost every night by her husband paid more attention (and you believed it was because of semi’s presence) as your band performed. maybe the fangirls could start off by drooling over his looks before they could slowly support the band entirely, hence building a bigger fanbase. 

you feel a little bad for him. you believe that semi is more than just his looks but you can’t really blame people for liking pretty things– it’s only natural. semi has a burning passion for music and what he does and he works tirelessly for the band. he gives his all when he writes lyrics and he uses most of his time by himself inside the studio, learning and enhancing his skills further. you often accompany him in the studio, offering your opinions when he shares the new lyrics he came up with and the studio would be filled with harmonizing voices of yours and his. 

a weird fuzzy feeling engulfs you when you learn that semi had always especially asked for you to join him in the studio and never the other guys, but you alway shrug it off; reminding yourself that it’s only because of work and nothing else.

though no matter how much you try to deny your feelings, you know you’re already head over heels for semi eita.

you sigh and put down your luggage as soon as you walk into your hotel room before looking out at the window to see the fans that were swarming as you arrived earlier begins to dissipate slowly. as you’re smiling and being lost in your thoughts, you start to hear strumming sounds from the other side of the room– undoubtedly semi’s. 

it’s way past midnight and you’re all tired from the tour and the recent performance. while all you can think about is getting inside the tub and having a good night sleep, semi on the other hand can only think about the next show and creating new music. though he’s much more new to the industry compared to you, he works so diligently and it makes you feel a bit guilty and shameful. so you decide to come up to his room and see if he needs anything– or maybe just to persuade him to stop thinking about work and go to sleep. 

“eita, it’s me.” you say as you knock on his door. you hear the strums come to a halt before he opens the door for you. “gosh, you look terrible.” 

it’s only partly true. his hair is disheveled and he only has his jeans on from earlier but you try so hard not to check him out and quickly walk inside his room. semi closes the door as he turns to you, “you’re not asleep yet?” 

“no, i heard you were playing and that’s why i’m here. you know you should be sleeping instead, right?” you sit on the couch where he was sitting earlier. sheets of paper are spread on the coffee table and you pick up the one with the lyrics that he wrote. 

“sorry,” he apologizes as he sits next to you and notices the one that you’re reading. “but it’s good that you’re here too.” 

ignoring the little skip your heart made, you refuse to look at him and read one of the lines out loud in an attempt to play cool.

“i’m alone,

“i just wrote that one in the van earlier.” he scratches the back of his neck as he laughs nervously. his eyes never tearing from you, just watching while you scrutinize through his little work.

i’ve nowhere to go,

but you gently held my hand.”

you smile as you finish reading the last line of his incomplete lyrics and turn to look at him, “i wonder what it sounds like?”

“ah, i haven’t figured it out much but i think it could go like this.” he grabs the guitar from where he left earlier and places it in front of his chest before slowly strumming a few chords. you watch as his fingers sweep up and down across the strings, his black nails that you painted weeks ago are only left with little residues. 

it sounds exactly like you heard in your room earlier. his voice and the tunes he’s making fills the room and it sounds absolutely beautiful. you can sense the longingness in his work this time around, a little different from what he used to play but a little change doesn’t really mean bad– it feels like something that many people can relate to.

you gleefully clap your hands as he stops playing and a faint blush creeps up to his cheeks which he hopes you don’t notice. 

“what’s your inspiration this time?” you ask as he puts back down the instrument.

“well…” semi sighs and leans further into the couch. “someone special to me– the reason i started pursuing this.” 

a heavy lump suddenly forms in your throat, making your stomach churn at the thought of semi having someone special in mind but you quickly shake off the feeling. you’ve always been close with the male, he was easy to get along with from the start and semi would agree that out of all the members, he spent the most time with you; though it's only because it’s strictly on a work basis and you respect that, and you remain professional.

“must be. you’ve never written anything so personal but tell me all about it! you know i won’t judge.” you force a smile, hoping that it’s not too obvious and instead semi laughs at your eagerness to know about his little puppy love. 

“it’s not even that great. i feel like it’s rather ironic– the reason i pursue this is also the reason we can’t be together.” he looks at you as he speaks, as if searching for something.

“damn, that sucks so bad.” you lean back to the couch with him and gaze at the ceiling while imagining the type of person semi would like and start to mindlessly compare yourself to them– putting you down even further.

“you get it, right? on top of that, i think we would lose some fans if we start to date.” he continues as he rests his arm behind your head in a more relaxing manner. he hopes that he emphasized the word clearly so he could get a reaction from you.

however, you only laugh a bit at his consideration. you can already imagine the online articles being bombarded about semi being in a relationship, not forgetting the snarky remarks and lashes he and his partner might get on stan twitter and the thought makes you shudder.

“but i would want to see you happy... even if it’s not with me.” you mumble lowly before realizing what you just blurt out on the last part. “i mean- i mean- i was thinking from a fan’s point of view, of course!”

the sight of you being bashful and constantly avoiding to make eye contact with him is endearing to him. he can’t help but to laugh and it provokes him to tease you instead. his hand creeps up to pull and tuck away the strands of hair behind your ear, instantly drawing your attention to the male next to you. you’re waiting for him to speak but he only stares quietly at you with a gentle smile across his face. 

“what?” you’re surprised at how meek you sound and you know he notices it when his smile turns into an amused shit-eating grin. 

“really? you’d be happy for me?” he asks, leaning his head down on the arm he has hanging on the couch back. 

“um, yeah? since you’re my–”

“friend?” he cuts you off in an instant. “i’d be happier to at least know that you’d feel jealous, though.” 

jealous? you blink and nervously laugh at the poor joke, “why would i be– you’re funny. anyways, go to sleep!” 

semi’s lips tug into a frown as you stand up from the couch and when you’re about to take a step away, semi grabs your wrist and pulls you back to him. he wraps his arms securely around you and buries his face at the nape of your neck, inhaling the very faint scent from your expensive perfume you had on before the show. 

“you’re so close, yet so far.” his hot breath fans against your skin as he murmurs with a hint of frustration lacing his voice. 

thinking not too deeply into it, you disregard the butterflies in your stomach, “yeah, i think you can put that in the song.” you attempt to reply coyly, concealing any suggestions of you being a total nerve-wreck right now. 

“god dammit.” semi curses. he turns your face to look at his, “this isn’t about work anymore.”

“what–” he presses his lips on yours and his arms pull you closer to him which your body wastes no time but to completely melt into.

semi pulls away to take a breath, locking his brown eyes with yours as he speaks. “stop making me feel so lonely.”

“i’m… sorry…?” your apology comes out unsurely, not knowing where this conversation is leading up to and it’s making you feel apprehensive more than anything. there’s no way he’s confessing, right?

semi sighs as he runs his fingers through your hair, “i used to only play the guitar as a hobby but you’re the reason why i even thought about getting into this band.” 

you’re out of words to speak from the abruptness and remain quiet before he continues, “i thought i’d be happy enough just being close to you but i realized i wanted more than that. am i being selfish?”

you break free from his grasps and turn to the blushing male before curling into his chest. semi’s body is still as he processes what’s happening and slowly relaxes as he wraps his arms around you again.

“no, eita, no. you’re not.” you reassure. “i really had no idea.” 

“then, can i kiss you again?” 

“whatever you want, eita.” you mutter under your breath before he gently cups your chin with his fingers and pulls you into a deep kiss. 

for the second time that night, you feel as if you’re on cloud nine as your wet tongues twirl against each other in your mouths. a faint taste of tobacco and beer still lingers on his tongue but you pay no mind to it when you’re too busy drowning into your own ecstasy. 

semi manages to push you down on your back without breaking the kiss and props on his knees before his hands wander all around your body. a gasp passes your lips when he squeezes your breasts against your shirt and his lips move down to nip on your neck. 

“e-eita...” you breathe and the male pulls away to look at you with heavy lidded eyes– and they’re filled with desire. 

“whatever i want, right?” he whispers and you nod your head before he delves back down to litter bruises on your skin. “and what i want is you.” 

warmth surfaces on your cheeks as you hum in response, a subtle reply to tell him that the feeling is mutual. as soon as semi lifts up your shirt, he quickly tips down to tug your bra and latches his mouth on your hardened nipple while his fingers tweak the other. the stimulation causes your body to jolt in pleasure and you can practically feel yourself drenching in your panties.

semi glances up at you expectantly when he notices your thighs are pressed together underneath him. with his other free hand, he lifts up your denim skirt and rubs circles on your clit against the damped fabric. 

you mewl and tug his hair gently as your hips desperately grind against his finger for relief. 

“does it feel good?” he speaks softly. “you’re so wet for me.”

“y-yeah.” you mumble a little bit in embarrassment after he pointed it out but semi finds it to be endearing as he lets out a breathy chuckle. 

“i’ll make you feel even better,” he grins, bending your knees up and spreading them apart. “but i need to hear it.”

you nibble your lip anxiously, “please?”

“please what?” he coos, though he’s already settling his head down between your thighs while he looks at you with passion filled eyes.

your lips feign a pout but your pussy twitches when you feel his finger pulls your panties to the side, “please make me feel better.”

“good enough.” he smirks before spreading your puffy folds and sticks out his tongue to lap off your essence. 

a loud moan rips from your throat as he sucks on your clit and purposely teases it with quick flicks with the tip of his tongue. your legs start to tremble and try to close together but to no avail since semi holds them apart from crushing his head. 

there were nights where he could only touch himself while imagining how you would sound like writhing underneath him but tonight, you made his dreams turn into reality. your moans and whines are like music to his ears and they’re better (and he knows it would be) than what he expected. now semi is driven even more to hear what more beautiful sounds you can produce for him.

semi groans when he slips one finger inside your tight hole and you cry in surprise as you feel his finger brushing in and out through your walls. he can feel that the walls are already sucking him greedily while your hips jerk to fuck yourself with his finger.

“god, you’re so fucking hot.” he grunts, inserting another finger and fucks you ruthlessly. you can feel your orgasm building and threatening to tip over when his finger curls, hitting your g with every drag. 

“fuck, eita–” you pant as your toes curl over the unbearable stimulation and causes your body to shake. 

“feels great, hm? i want you to cum all over my fingers.” he toys with the swollen bud before harshly sucking it.

“mmhh– gonna cum!” your eyes screw shut as your orgasm finally crashes down and your pussy gushes and flutters around his fingers.

your breathing turns erratic and a whine escapes your lips from the emptiness when semi pulls out to lick his fingers.

“you taste so fucking good.” he groans, hovering above you and crashes his lips onto yours so you can taste your own juices from his tongue before he pulls away breathlessly.

“i want to make you feel good too, eita.” you whisper almost innocently and push him back so he can sit down on the couch. semi watches you as you kneel beside him to unbuckle his belt and proceed to unbutton and unzip his jeans swiftly before he helps you release his throbbing dick from its confinements. 

you nearly gawk at the size of his cock; thick and veiny, tip flushing red with a bead of precum. you give a few strokes with your hand and a sharp hiss rolls off his tongue as soon as he feels your tongue swirling around the slit and slowly taking a fair amount inside your mouth. 

“fuuuuck.” he sighs as he sinks into his seat further, eyes closed shut as he lets you take over. you offer the pressure needed by pressing the bottom of the length with your hand and hollowing your cheeks while your tongue runs up and down the rest of his cock, slobbering it with your saliva. 

“oh, fuck– baby. that feels so fucking good.” tears prickle from the corner of your eyes when you force yourself to take deeper into your mouth and his hips jerk when the tip hits the back of your throat. semi’s hand finds itself on top of your head; he makes sure not to tug your hair too hard as he guides you bottom to top and a pop sound is audible when he pulls you away just before he feels like he’s about to cum. 

he wipes the tears from your eyes and kisses you while pulling his jeans and boxers all the way down before continuing to carry you off from the couch with him and leads you to his bed. 

“can i?” he looks at you concerningly and you nod your head yes.

“take it all off.” he commands once he puts you down on the bed. what seemed to be the gentle semi is long gone but his dominating side makes you undeniably excited so you easily oblige, peeling off your clothes until you’re bare and naked in front of him.

“on your knees.” he orders again and you submissively get on your knees but he stops you before you can lean down on the bed. “face the mirror.”

you turn your head to see the large mirror in front of the bed and shift again as he climbs on the bed and props behind you. 

“i want us both to see how pretty you look when i’m balls deep inside you.” he grins.

a soft mewl rolls off your tongue when semi smears your juices through your slits with his cock. he grabs your hips for leverage as he slowly penetrates into your hole and you bite your lip hard when you can feel his girth stretches you out both painfully and deliciously. semi gives you a moment to adjust and after receiving the green light does he begin to move his hips. 

“i’ve waited so long for this.” he growls, black nails digging deeper into your skin that'll be able to leave crescent marks by the end of the session as he pounds his cock into your cunt erratically. 

your cheek is pressed down and your hands clutch the bed sheet as you feel his veins brushing against your walls and his tip kissing your cervix with each thrust. semi’s breathing is already ragged from above you, hips diligently rolling into you as he picks up the pace. 

“look at you, baby– fuck– i’m so lucky.” you moan at the praise, subconsciously feeding to your ego; to be desired by semi and to have semi fucking you into oblivion. 

“s-so good.” you whine, glancing up to the mirror to see yourself but what you’re mostly able to see is the man behind you. his toned abs, ash blonde bangs almost covering his eyes and brows furrowed in focus as he ruts into you mercilessly like a feral beast and it’s fueling your arousal even further.

a mischievous smile etches on his lips as his hazy eyes light up once they meet yours through the reflection, “i don’t think you can see yourself that well.”

you feel your body being lifted up abruptly before he makes you stand on your knees with your back against his broad chest. in front of you, you can clearly see the mess he has made out of you; hair unkempt, pussy slopping and dripping down his balls and the sheets from where your bodies are connected. 

“better.” he smirks through the mirror. both of your eyes fixed on the reflected image ahead; your tits bouncing up and down as he continues to thrust into you while his arm wraps around your torso to hold you in place. 

“so– pretty. my baby– my muse.” he says in between grunts and takes one hand to cup your face. “can you see my cock go in and out of you?” semi intends to show you how lewd it looks by pulling out his thick cock slowly and pushing back inside your pussy in an agonizing pace. 

“yes, fuck– eita.” you sob, staring at the mirror ahead as you see his cock glistens with slick when he pulls out from your stretched cunt and fills you back in, edging you at the same time. 

“and what happens when i touch you here?” he coos, reaching down to press your clit with his thumb. a shock of pleasure washes through your body, making your eyes roll back and your head thrown back to his shoulder. “come on, you can tell me.”

“it’s-it’s gonna make m-me cum.” you whimper as your hips roll desperately against his finger and each time he plunges into you. 

“and you’re gonna sing my name when you do, right?” 

“yesyesyes– please, just–” semi cuts you off by continuing his pace again and the knot in your stomach tightens at the feeling of being stuffed full when he rams deep inside you along with his ministrations on your throbbing bud.

his other hand pinches your pebbled nipple and causes you to keen in pleasure and you finally open your eyes to look at the mirror again to see the compromising position you’re in and the way he manhandles you; having absolute control all over your squirming body with both his hands and his cock– and it got your vision turning white as you tip over the edge. 

“eita!” your lips part into a scream as your pussy flutters around his cock and come undone. the walls squeezing him elicits a low growl from his throat and he holds your body with both his arms as he remains to fuck you in order to chase after his own high.

“fuck– that’s it.” he kisses your head when you let out a choke from the overstimulation. “i’m gonna fill this pretty pussy.” sporadic thrusts begin to stutter as his balls tighten and his cock twitches inside you to indicate that he’s close to reaching his orgasm and a loud moan rips from his throat as he finally comes undone. 

semi stills for a few moments inside you, catching his breath and regaining composure before he lifts your body slightly to pull out his softening cock. your trembling knees fail to keep you up so your body falls down on the mattress and semi chuckles at the sight as he joins next to you. 

“you did so good for me, love.” his sharp, brown eyes gazes adoringly into yours and a soft smile tugs the corner of his lips as he caresses your hair. “was i too rough?”

“just a little,” you blush. “but i liked it.”

semi sighs in relief and draws closer to give a chaste kiss on your forehead, “i’ll run a warm bath for you, alright? then we can go to sleep.”

you nod your head, feeling warm and fuzzy when he holds you in his strong arms before he leaves for the bathroom. as you wait and hear water filling the tub, your mind wanders how you’re going to break the news to your manager about your blossoming relationship with semi. 

and semi thinks about the same thing too. 

whatever it is, it doesn’t matter to him. 

as long as he has you.

duskamethyst © 2020 • do not modify, translate or repost anywhere.

[unproductive-software-blog]

You seriously need to play Lucah: Born of a Dream.

Lucah is a game so boldly, unapologetically, uncompromisingly real and beautiful, that knowing it had a successful Kickstarter campaign, passionate cult fanbase, and Nintendo e-shop release, legitimately makes me feel better about the human race.

Lucah doesn’t shy away from the difficult questions we’ve all asked ourselves at one time or another. It’s characters face the big unanswerable questions about the universe and our place in it in their own ways, and aren’t afraid to come away with their own answers. It’s liberating to see a video game so overtly tackle the things that drain us of hope, and shape us in fundamental ways, when it feels like most of pop culture is increasingly trying to sweep any discussion of religion (both existential questions and criticism of religion) under the rug entirely.

I’m being intentionally vague so as to not spoil the game; it’s an incredible souls-like that I legitimately think everyone interested in video games should play at some point (ideally after turning… 15?). I don’t want to explain to you what Lucah is saying, or it’s “hidden meaning” or anything like that. Lucah’s meaning could not be more clear than the very words of its (literally) poetic cutscenes, and that’s what’s so great about it. Though you may not perfectly grasp every detail of Lucah’s dream-like (nightmarish) narrative, you will always understand, on some gut level, what it means. You will feel it, and you will find something to relate to in it, and you will learn to emphasize more thoroughly with the parts you don’t relate to.

While “mental health” is becoming an increasingly popular concept lately, and the terms “anxiety” and “depression” thrown around fairly often in personal conversation, we still rarely see art that depicts the perspective of someone suffering from a rarer and more complex condition that can be difficult for others to empathize with properly. So Lucah also gets massive points for its depiction of what I can only assume from its raw and intimate style of writing are it’s creators’ own personal struggles.

To do all this while also making a shockingly, dare I say addictively (I had meant to play a chapter and finished the entire game in one very long sitting) fun game, is a commendable achievement of game design that, like many aspects of the game, should serve as a model for future indie-devs to follow. So much is owed to the pacing, which puts the play experience first, and introduces new elements well before you begin to tire of the old. Best of all, haunting and thought provoking cutscenes are your rewards for overcoming the game’s challenges, just how I like it.

Now I would like to talk about the elephant in the room: the game’s art style. It’s something of a make-or-break for people, and that’s a shame, because more than it’s uniqueness or coolness, I love this aesthetic for its practicality. There have been games in the past using scribble art like this before, but never so effectively. Lucah shows that with an eye for color and lighting effects, just about anyone can output a game that looks beautiful without having to rely on dedicated 2D artists (the hardest creative people to work with in the industry). I hope to see a lot more indie games taking advantage of this high-style low-effort approach. I geniunely don’t mean any of this as an insult. This game’s art is everything it needs to be to convey the setting, and arouse an emotional response in players.

There are so many games out there with “more talented” and certainly more hardworking artists, that convey absolutely nothing of value with their art. I’d name examples but then I’d really start getting mean; just go on the e-shop and look at these games people are putting out. Games with illustrators, but no animators, and the grotesque undulation that ensues.

Lucah’s animation, meanwhile, is literally breathtaking. It makes you hold your breath, gasp, feel your heart skip a beat, as your shockwave attacks break the enemy, the screen flashes, time stops for a split second, the camera studders, a crunch bursts from your speakers, and you scramble to understand the mess of neon choas on your screen to discern whether that blood is yours or the enemy’s. It’s visceral as hell. The weight of a Demon’s Souls ultra-greatsword with the visual flourish of a No More Heroes game.

This is the kind of game that makes me feel less alone in the world. To know that other people can appreciate this style, and are open to these themes, legitimately gives me a sense of belonging, like maybe everyone has this side to them, they just don’t always put it out there. That’s why you need to play it. Everyone needs to play this game and talk about this game, and recognize that we humans can relate to one another over more than our ability to be “funny” or “cute”. We can relate to one another’s struggles as well. Our deepest fears and doubts. Even the parts we hate about ourselves might weigh less heavily on our minds if we only knew there were good people out there fighting the same demons. My sincerest regards to everyone who loves this game, and my thanks to melessthanthree, the team behind it. Keep on fighting you guys.