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the-yuri-librarian · 4 months

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Bloom into You Analysis: Chapter One

Bloom into You tells the story of high school freshman Yuu, as she discovers herself and tries to gain an understanding of "love," which all of her friends seem enamored with. She has never had someone who felt special to her in that way, though she desperately wants to. This all changes when she meets sophomore Nanami, who has also never fallen in love. As they get to know each other, Nanami begins to fall in love with Yuu, though Yuu does not understand why. At the same time, Yuu thinks her chest may be starting to flutter, a feeling that she has longed for but still does not understand...

In this analysis series, I am going to explore Bloom into You chapter by chapter, breaking down what the writing is doing, how what the writing is doing works, and why the series is so popular. But, first, here's my favorite panel from chapter one.

Analysis below the cut

This may be common sense on some level, but the first chapters of most works of fiction typically have the same goals: establish the main character(s) (including their personality and flaws), the setting, the story, and the antagonist(s), as well as any thematic through-lines that will be present in the story. These goals, however, are especially important for a series that is released weekly; when you're reading a novel or a collection of chapters in a manga volume, the writer has a lot more room -- and as a result, leeway -- to take their time laying the groundwork for their story. But, when something is released chapter by chapter on a week-to-week basis, like Bloom into You, it is imperative that the writer does their best to give you, the reader, a reason to come back next week, and the week after that, and so on. The constraints of the weekly release schedule are something to keep in mind as we proceed with this analysis, not just for this chapter, but for all chapters. The constant stress to keep audience engagement high likely had an impact on the writing decisions Nakatani Nio made as she developed this story, for better and worse. With that being said, let's dive in on page one:

Full disclosure: I really love this page. It utilizes a combination of visual storytelling, internal monologue, and the manga itself as a framing device to perfectly establish the protagonist, Yuu, in a single page. Visually, Yuu is laying on her bed listening to music, (presumably) a light novel spread across her lap. The "camera," which serves as the audience's POV, is above her, so she is staring at us as she stares at the ceiling. Laying next to her are a couple of romance mangas, another book, her music player (an mp3 player of some kind), and an open CD case. Even without the inner monologue, you can immediately tell that Yuu is interested in romance. Nakatani then uses Yuu's inner monologue to take the audience's initial impression of Yuu and twist it. She is not interested in love in the same way the average teenage girl is; she is not particularly boy crazy, nor is she very experienced in the ways of love. Instead, she is interested in love precisely because she has never experienced it. She even thinks it herself: "I don't need a dictionary to understand the meaning... But I've never felt them for myself" (v. 1, Ch. 1, page 4; emphasis original). This not only works to make Yuu more complex as a character, but it is also a way to draw the audience in. It leads them to wonder, "Why hasn't she experienced love? Has she been hurt in the past? Or, is something else going on?" And then, finally, in what I genuinely think is brilliant, Nakatani turns the manga itself into a framing device by allowing the title of the chapter to interact with Yuu's inner monologue. The first box of Yuu's inner monologue reads, "The words in shoujo manga and love songs... They're always sparkling brightly" (ch. 1, page 4; emphasis original). She then laments that she knows what the words mean, but she's never felt them for herself. In comparison, the title of the chapter is "I cannot reach the stars." Thanks to the use of bold text for emphasis, Nakatani is drawing a straight line from the monologue to the chapter title. In other words, the stars that Yuu cannot reach are the feelings in the manga and love songs she is lamenting about. This gives the audience incredible insight into Yuu's character, because it tells us right away that not only does she yearn to feel the love that comics and songs talk about, but she also blames herself for her inability to feel romantic feelings, a thought that is going to become a driving force of the plot right away.

The next four pages work to set up the story. In summary, Yuu is not sure what club she wants to join, and one of her teachers recommends the student council, offering for her to sit in on one of their meetings. Yuu agrees because it sounds interesting, but on her way to the student council building, she gets lost. Instead, she stumbles upon a boy asking a girl out, which leads to:

This is our introduction to Nanami, the somewhat deuteragonist, and, more importantly, Yuu's main love interest. As the above image implies, Nanami turns this guy down. Then, she spots Yuu, who admits she is lost, and together they go to the student council building, where Nanami reveals she is a member of the student council. As the chapter progresses, Yuu, and by extension the audience, learns a lot about Nanami, mainly through dialogue. She is a sophomore, ten people (including by some girls) have confessed their love to her since she started high school, and she has turned everyone down largely because she was not interested, but also because "none of their confessions made [Nanami's] heart pound" (ch. 1, page 22; emphasis original). This information is given briskly, and as it happens we watch as Yuu becomes more and more interested in Nanami. At first, it is explicitly because she saw Nanami turn down a confession; her inner monologue in the next scene reveals that Yuu was confessed to at her middle school graduation and has not answered yet. Then, she hangs out with Nanami and Sayaka (Nanami's best friend and fellow student council member and sophomore) the next day, and begins to realize that Nanami is a cool and interesting person. Then, when Nanami reveals she has never felt love, Yuu's interest in her increases exponentially. The pacing and speed at which we are given information really works here, as Nakatani employs Yuu's increasing interest in Nanami to keep the reader engaged while also only highlighting the key aspects of Nanami's personality. She provides the audience enough information to keep us interested, but not so much information we have the full picture. This series of scenes culminates in the final scene of the chapter, when Yuu asks Nanami for advice in the student council room the next day.

On the third day after Yuu meets Nanami, she finds herself exactly as she hoped: alone with Nanami in the student council room. She explains that she has been confessed to and that the boy in question is expecting a response. As she relays this information, Nanami mistakes her intentions and says that she is not the right person to give out advice on this subject. Yuu responds that she's already decided to turn him down. During this conversation, the audience is shown a flashback of the confession, and when the flashback is over, Yuu does just that: she turns the boy down. When she is done and has had a moment to relax, Nanami takes her hand and asks Yuu in clear terms if there has ever been anyone special to her, if she has ever had romantic feelings for anyone. Yuu says no, and this leads to the page that my favorite panel is from:

There is excellent storytelling happening here. At first, Yuu and Nanami are holding hands and standing acorss from each other, then, with a turn of the page, Nanami is pulling Yuu closer. In the next panel, the camera cuts wide, showing us how empty the room is and just how close our lead girls are standing. The perspective shifts here are meant to put the audience on edge and add pressure to the tension that has building all chapter. Then, on the last panel, right as the tension is at its highest, the plot twists, letting the tension release like a stretched rubber band. It's a twist for Yuu too; the confusion on her face is painfully clear, as she begins to realize she has misread Nanami. Then, Nanami voices the realization Yuu is having out loud, informing her that they are not the same, they are different...

...because Nanami is falling in love with Yuu. Just like that, with the flip of a page, the rest of the story is set up. Yuu, the girl who cannot fall in love, has made likely the most popular girl in school fall for her, seemingly because of the explicit fact that she has never fallen in love before. This twist takes the hook that was already in the audience's mouth and sets it into the flesh of their cheek; they're hooked now, and there is no telling where the story will go from here. Not all is perfect, though. In this scene, Nanami actually comes on a little too strongly for my taste, particularly dropping the L word so early. This is likely an effect of the weekly release schedule that I mentioned earlier; Nakatani likely wanted to end the chapter on the strongest note possible, leading to such a powerful confession. Additionally, it is hard to tell how valid this complaint is, as I am dealing with an admitted constraint: I do not read or write Japanese. This inherently limits my understanding of the scene, because I am perpetually an additional step away from understanding Nakatani's true meaning; not only am I reading the line through my own cultural values and life experiences, but the line itself has been translated from the Japanese, and since translation is itself an art, the translator's own cultural values and life experiences likely affects how they translate it. With that being said, assuming this is not a translator error and the original Japanese does say "love," then there is a moment later in the story that is the ideal place for Nanami to say "love" for the first time (in my opinion at least) that I will point out when we get there.

And, with Nanami's confession, the chapter ends. In the pages of this chapter, we can already see the emergence of the story's main theme: what is love? But, as the characters progress, this story is also going to grapple with questions of bodily autonomy, friendship, and what it means to find your way in the world. This story is, in my view, ultimately a coming-of-age story for Yuu. Not just romantically, but developmentally. She has to find her way in the world when everyone around her seemingly already knows their way. And, it is that journey that makes this story so special.

I hope you enjoyed this analysis! Sorry it was so long. Honestly, there was a lot more I wanted to say, but I ended up summarizing a lot to keep it as brief as I could. Chapter two is fewer pages so it'll be shorter (I hope). Speaking of, chapter 2 will go up on Wednesday, January 10th. Hope to see you then! ^-^

p.s. if you can fluently read Japanese and are interested in helping me on this project, please DM me!

p.p.s here's a cute bonus image from the end of the chapter!

#bloom into you #yuri #yuri posting #girls love #manga #analysis #meta

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jujupepi · 1 year

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A Pre-History of Fanfiction I: Disclaimer, Introduction, Pamela, & Gulliver's Travels

Disclaimer:

This was originally written as a script for a video essay, so you might find reference to this medium. I am releasing this in this format mainly to get myself more comfortable with showing my writing publicly. I am not a trained scholar or journalist. I research this using the wealth of wonderful fanmade blog and wikis as well as scholarly articles available on JSTOR. If you noticed any mistakes or can offer more context to what I'm saying, please let me know! I love this topic and always want to learn more.

Introduction & Definitions

I’m not going to start this with “fanfiction has been around since the dawn of time; if you think about it the greek myths are fanfic!” because you’ve heard it before and it doesn’t really help us. Instead, I want to talk about operating (loosely) within a fanfiction definition that I came up with arbitrarily: Fanfiction is print based fiction inspired by the characters, settings, or situations derived from copyrightable work. Special bonus for fiction based on works owned by a national or international media corporation. So we’ll be mostly focused on the pre-1980’s era before the internet! Or atleast, before normal people used the internet on a regular basis.

That’s not to say any other definitions of fanfic aren’t valid; I’m just not using them for our purposes here. I’d also like to say that my scope is limited to fanworks created in the UK, USA, and Canada.

If you do any amount of sleuthing on the early days of fanfic you will come across a common origin myth: fanfiction was created by housewives who watched Star Trek and then wrote Kirk/Spock slash for fan magazine (nicknamed fanzines or zine). This isn’t untrue but it doesn’t tell you the whole story. We’ll try to track the beginning of modern fanfiction from the birth of copyright in the 18th century to the death of the fanzine in the 80s and 90s. We’ll talk about who was writing it, the tv shows and books that inspired it, the moral and legal paranoia surrounding it, and oh yeah, we’ll talk about The Gays™.

Chapter 1: Earliest Examples

Printing, mass literacy, and the rise of the middle class had a huge impact on the reading habits of 18th century Britons. The novel as a medium was born at the beginning of this century. The novel became hugely popular especially among the middle class.

The novel leaves no space between the mind of the character and the mind of the reader making the medium uniquely suited to explore the interiority of a character. Though characters brought to life in the theater, Shakespeare’s Falstaff for one, were beloved, the particularities of the novel allow the reader to inhabit the inner life of a character in ways that hadn’t been possible before.

Thus begins an obsession over fictional characters in a way that is familiar to internet-users today. One of the earliest characters that inspired this kind of devotion was Lemuel Gulliver from Jonathan Swift’s Gulliver’s Travels published in 1976. If you’re unfamiliar, Gulliver’s Travels satirizes human nature while exploring a fantastical world of miniature people and other strange creatures. Not only did the audience get to experience Gulliver’s Travels through the narrator’s point of view, Swift himself implied an off-page life for Capt. Gulliver. He suggests other episodes in the Travels like “The Malingers” and the “Opinions of the Learned Men” which set fans’ minds ablaze with ideas. These inventive incidents created the ideal launching pad for other stories within this *ahem* shared universe.

The first people to get in on the fun were members of Jonathan Swift’s writing group known as the Scriblerians. Together in May 1727, they published Several Copies of Verses Explanatory and Commendatory, a series of dramatic monologues by characters from Travels or who else might be believably part of that world. One of these characters was the hilariously named Titty Tit Esq, poet laureate of Lilliput who I only bring up because his name gives me joy.

The most interesting of these poems, to me at least, is the lament of Gulliver’s wife Mary. She bemoans her husband’s absence and inadequacies. She implies that her husband might be more sexually suited for the stable boy than her. SLASH ALERT!

These verses are arguably fanfiction since they are stories about already established characters, settings, and situations not written by the original author but they are legitimized. Swift knew about these stories and they are included in most post-1727 versions of Gulliver’s Travels. Meaning that readers would have consumed these works together. The inclusions of these addendums muddle the canocity of what can be considered one of Gulliver’s Travels and what cannot. Contemporary picked up on this and went wild with the concept.

Non-Scriblerians wrote Gulliver stories, too. One such appeared in Apple’s Original Weekly Journal wherein the author writes from Gulliver’s perspective, hinting at unsee and as of yet unimagined adventures. These Gulliver stories didn’t have to agree with each other either, they all represented possibilities within a fictional universe. Fans voraciously wrote and read Gulliver’s continuing tales. David Brewer says that these stories are not exhaustive in their explorations of Gulliver’s worlds but instead, “a bundle of possibilities held together by the magnetic field of a proper name (40)”.

Another sensation in the 18th century was the novel Pamela, or Virtue Rewarded by Samuel Richardson published in 1740. The novel was a huge success especially with men who had an affection and a sexual interest for the eponymous character. Pamela deals with the common 18th century themes of shifting social strata and rapidly evolving marriage norms. Pamela is a 15 year old girl with impoverished parents who works as a servant in the house of the wealthy Mr. B. Mr. B sexually harasses and attempts to rape Pamela, eventually kidnapping her. She virtuously fights off these attempts all the while writing to her parents about the tension she feels between her propriety and her desire to please her employee. Due to Pamela’s moral strength, Mr. B is reformed and asks her to marry him, which she accepts, launching herself from the lower class to the upper. The second volume deals with her negotiating her new place in society.

I don’t need to tell you how messed up, creepy, and damaging the events in the novel are. It’s disgusting to me that the harassment of a working young girl is entertainment for so many adult men. BUUUUTTTT, it serves as an interesting case study in early fanfiction.

Like Twilight and Nightlight or Lord of the Rings and Bored of the Rings, Pamela inspired it’s own parody novel named An Apology for the Life of Mrs. Shamela Andrews or Shamela written by Henry Fielding in 1741. The novel imagines Pamela not as a docile servant girl but as a scheming daughter of a prostitute who entraps her employer. The novel was a success and Fielding went on to write Joseph Andrews in 1742, lampooning the idea of a male Pamela figure. Like in Stephanie Meyer’s Life and Death and endless fanfic, Joseph gives us our first taste of genderswap fiction. In an Anne Rice-ian move, Richardson rejected Fielding's works calling them “lewd and ungenerous engraftment of both Paemla and his Property (Brewer 121)”

The off-page lives of these characters don’t stop at Fielding's novel however. Samuel Richardson’s correspondence is full of asking fans for ideas on the proposed next Pamela column. Readers like Aaron Hill showed an ownership over character that echoes to this day. Hill wrote to Richardson that he shouldn’t make an illustrated edition of Pamela since Hill’s visual conception of the character and Richardson’s are different. Richardson describes Pamela as quite slim, but Hill thinks of her as ‘plump.’

Reader George Cheyne wrote a long list of incidents for the next edition mostly about medical emergencies. This is notable because Cheyne himself was a physician. These grown men projected so much of their own lives onto this fictional teenage girl. Pamela was ubiquitous because of “the collective mass of appropriations made by the individual reader (Brewer).” This meaning, fans could take Richardon’s Pamela and create her in their own image.

Pamela, both the novel and character, had a massive following but it all centered around Richardson. Though Richardson asked fans for ideas, he ignored their contributions entirely. Fan didn’t correspond with each other but instead with Richardson directly. This is a huge difference from fandom later on that largely ignores the creator.

I posit that it was the rise of the novel as a medium that allowed for fanfiction to emerge as a fan activity. The immediacy of the character’s interiority is not a function of any other artistic medium but the novel. This led to readers inhabiting the mind of their beloved characters and imaging an off-page life for them. These 18th century reading trends served as the starting point for modern fanfiction.

#fanfiction #history of fanfiction #pamela #gulliver's travels #samuel richardson #jonathan swift #article #my writing #non-fiction #novels #victorian novel

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simplytheevebest · 2 years

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Whos there for Farah? Saul is always even when he was dying he tried to keep her calm. I love Farah too but she is not infallible in every situation!! I get this blog is a Farah stan blog but just wanted to provide another perspective! Ben has probably helped her a lot too.

That's the interesting thing about it, I think. Because yes, of course Farah isn't alone, she has Ben and Saul, even when Saul is on death's door. He is and always will be there for Farah to his dying breath. And Ben as well is a wonderful friend and support for her. But just because we the audience recognize and accept that doesn't mean Farah does. She knows for sure that Ben and Saul are there for her and will always be there for her. But Farah is selfless to a fault, meaning she does and always will put others before herself. So she does have Saul, and she does have Ben, but in those times of crisis and vulnerability, she isn't necessarily going to turn to them because she doesn't want to burden them. Because it's one thing to recognize that you're not alone, but it's another to accept it when you don't feel like you deserve it, or that leaning on someone else will negatively impact them for your own "selfish" needs. I 100% think this is how Farah thinks.

And absolutely she's not infallible! If Aster Dell wasn't enough of an example of that -just because she didn't know she was committing mass murder doesn't erase that she did it- Farah's entire dealing with Bloom and her past was incredibly flawed too, and I think s1 actually did a decent job touching on that. Because yeah, Bloom shouldn't have released Rosalind behind Farah's back, but from Bloom's perspective, she had no reason to think Farah would keep her promise to find answers about her past because at every opportunity to tell the truth, Farah chose to lie and keep Bloom in the dark. Farah's biggest flaw is keeping her cards close to her chest because at some point it becomes such second nature she almost can't control when she should and should not share information, so she doesn't share anything because she's sure she can handle it on her own. Should she have told Bloom immediately upon finding her that she was a changeling? In my opinion, no, because she's right in saying that would've been a lot for Bloom to take in. But she should have told her when she arrived at Alfea, just as I also think she should have given Bloom one-on-one magic lessons so she didn't have to figure it out on her own. Should she also have told Saul she was going after Bloom and the burned one in the first episode? Hell yeah, but in Farah's mind, there wasn't time.

But that's why I love her, because she's not infallible and has so much potential to grow as a character whether in canon or fanon, or both! I relate to a lot of Farah as a character and I 100% project some of myself into my characterization when I write her, so how she approaches relationships is a lot like how I approach them. She never wants to burden someone with her issues, she'd rather face them alone even if it means she gets hurt. And she'd never want to assume they would be there for her (even if they would be no questions asked) because she wouldn't ever want to assume she's taking them for granted or taking advantage. Because on top of Farah not being infallible, she knows she's not infallible. Farah is not "I have done nothing wrong, ever, in my life" about herself. She's been beating herself up about Aster Dell for 16 years. She can't even say it when she's talking with Luna, who knows about it. Farah knows she's flawed and definitely internalizes it not only because she probably learned it from Rosalind, but she's a good person, and I have always believed, personally, that the difference between a good person and a bad person is a good person recognizes that they have done something bad, but will never acknowledge that they do mostly good. A bad person will never accept they've done something bad, but always expect validation for doing something good. Farah is a good person who can see nothing but her own faults and honestly creates most of her own issues because she doesn't communicate properly.

If there's one thing I definitely agree with from the prequel book, it's that Farah feels separate from others. And that is the crux of a lot of her character flaws because she doesn't share her thoughts, she doesn't keep people in the loop, she doesn't share how she feels, she doesn't share her plans, and she puts up walls. And if someone can't climb those walls to reach her, well then that's her fault because she's not "worth it." If you push people away before they can push back, you save yourself the hurt.

This is absolutely a Farah stan blog because I watched Fate for Rob and stayed for Eve ❤️ and I want to give Farah a great big hug because she deserves it. But I also want to grab her by the shoulders and shake her silly because she just needs to communicate with the people that care about her. Seriously so much of the drama in s1 could've been avoided if Farah hadn't insisted in keeping the students in the dark, and then lying about it when they confronted her with the truth. I love Farah, but she is not infallible, and honestly that's why I love her.

#eve best #fate the winx saga #ftws #fate winx saga #fate: the winx saga #farah dowling #fate asks

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insurrectionaryam · 2 years

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It’s the sort of well-informed bio-realism that one would expect to see from anyone who has lived observantly, thoughtfully, among wild things. Every writer on nature comes to their own accommodation with the hard facts of wild life. We needn’t all look at them too closely, or for too long – but, if we don’t look at them at all, I’m not sure what our writing is for. Where we connect with nature, we make a complicated music. We lose a good deal, I think, if we miss or mute the minor chords. The Tewa author and scholar Gregory Cajete stresses the centrality of ‘the metaphoric mind’ not only to Native science but to ‘the creative “storying” of the world by humans’. We are always interpreters – even at our most baldly empirical, we are at one remove from the action, and in that sense we are always storytellers. The Potawatomi biologist and nature writer Robin Wall Kimmerer is less cautious. In an interview with The Guardian in 2020, she spoke of what the study of moss might teach us: ‘of being small, of giving more than you take, of working with natural law, sticking together. All the ways that they live I just feel are really poignant teachings for us right now.’ Is moss, though, choosing to live as it does? Is moss generous (is it meaningful to speak of the generosity of moss?) The shift from literary or explicatory metaphor to moral allegory feels profound and somewhat destabilising. In order to disperse her young, the mother cell must disintegrate, freeing the daughter cells into the water … I wonder how the fabric is changed when the release of daughters tears a hole. Does it heal over quickly, or does the empty space remain? Analogy rather than fable; enlightenment, rather than instruction. There are fair reasons to mistrust knowledge and those who have it. It can be (and is) used to gatekeep, to exclude those who lack it – that is, those who lack the background, education or life circumstances necessary to have acquired it. More fundamentally, there are problems with competitive hierarchies of knowledge in which certain knowledge forms or learning traditions are privileged or elbowed out, with concomitant impacts on justice and representation across a host of sociopolitical variables (class, ethnicity, sex and culture among them). It can also be hard not to track the obvious connections – historical, cultural, though perhaps not inevitable – between identification, collection, colonialism and plunder. (Intersectionality and multispecies thinking) [...] what [John] Fowles goes on to say is, in my view, the real strength of ‘nature writing’ done well: ‘that it is being presented by an entire human being, with all his complexities, to an audience of other entire human beings’. Writing on nature is an ecology of knowledge forms. There is scope for immense variation and fruitful cross-pollination. It feels like a heretical statement, in our age of anthropic guilt: we are important. But of course we are important, to us, and, if we weren’t, then there would be little point in any sort of nature writing, because the nature writer’s job, after all, is to build, no, to be a bridge between two cultures (or more) – to pull together the world of us and the world of not-us. It’s all translation, and any good work of translation must value the ‘to’ as well as the ‘from’. In Birds Art Life (2017), the Toronto-based author Kyo Maclear writes that the best writing on nature ‘capture[s] the sweet spot between poetic not-knowing and scientific knowing’. I like this – and I think there’s much to like, too, in what we find as we pitch between these two poles, in almost-knowing, sort-of-knowing, best-guess knowing, not-sure-how-I-know-but-I-know knowing (in a writer, being honest is a far better thing than being sure).

https://aeon.co/essays/nature-writing-should-strive-for-clarity-not-sentimentality

#RichardSmyth #fiction #novel #colonialism #naturewriting

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illusory-torrent · 3 years

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Why I prefer the Genshin Impact fandom to the RWBY fandom.

I'll start off by saying what many of us are thinking. It's sad that the ships are nearly the only thing the RWBY fandom talks about because the plot leaves so many in a state of dissatisfaction. I've seen so many RWBY fans and non-fans alike say, "Oh, I don't care about the plot, I'm only watching for [insert ship here]" or "I'm going to drop the show if [insert ship here] doesn't happen". For those who doubt me, please believe me, it's a thing.

Now, when I say that the RWBY fandom only really cares for shipping, you might ask, "Is that not what every fandom does though?"

Well... yes! You're right. However, I think the RWBY fandom takes it to the next level.

First off, the theory-making side of the RWBY fandom has completely died. I remember there being videos theorizing if Yang was part-dragon Faunus or Ruby being a fox Faunus. These days, the fandom's theories boil down to, "What's up with the void that Team RWBY fell into?" due to V8's ending, but back during V5-V7, there were hardly any theories being posted. Most people just don't care anymore.

Second off, Miles and Kerry struggle with writing characters outside of pairs. Not just romantic pairs, but pairs in general. Most characters only have interacts with their team partners, their love interests, their familial relationships, and... that's it. Blake is a prime example of this. Her best interactions are with Yang (her team partner), Sun (her former love interest), Ilia (another former love interest), and Adam (her ex-boyfriend). Her worst interactions are with Ruby (her team's leader, whom she hardly interacts with) and pretty much everyone else. Even her interactions with Weiss are few and far between. Another example would be Penny. Prior to Volume 3, Penny's best interactions were with Ruby. Penny hardly interacted with anyone else in a meaningful way. She dies and Ruby's tearful reaction is focused on. Why? Because she's one of the few characters Penny actually had a relationship with! Penny comes back in Volume 7, and she still only really interacts with Ruby. Her only new relationship that's developed is with Winter... and we find out why. It's because when Penny is killed by Jaune, her maiden powers are transferred to Winter, the rightful owner.

Miles and Kerry being unable to write outside of pairs is why we only have each of our characters only interact with certain other characters. Before Jaune helped kill Penny, did he ever even have a real conversation with her? We'll never know! Has Blake even talked to Jaune before? No idea! Did Yang even care that Pyrrha died? Probably, but we viewers literally never see the two interact prior to Pyrrha's untimely demise.

This type of writing (whether intentionally or unintentionally done) promotes shipping culture. Characters interact primarily with their love interests (who may or may not also be their team partners). This is why RWBY's fandom is so focused on shipping. Hell, even Blake's VA tweeted at Clover's VA with a joke regarding this.

Clover's VA: Has anybody heard of this thing, “shipping?”

Blake's VA: Welcome to RWBY.

[Photo for anyone who needs proof, in case these Tweets are deleted in the future.]

Blake's VA even once had to make a post saying, "Y’all, you know I love my Bees, but not everything is Bee related. Some is just RWBY hype in general. Calm yo’self.". The fact she even had to clarify that not everything she posts about RWBY is related to a ship is astounding. Imagine having to tell your audience that not everything you post is related to a fictional pairing.

The RWBY cast even had an segment on The Ship-It Show where, you guessed it, they talked about their favorite and least favorite ships. Their tagline even was that "Shipping is a creative expression, so don't limit your creativity!", which went over with the fandom about as well as one would expect.

Finally, Miles Luna recently posted a Cameo video where he stated, "Just remember: shipping is fun and pretend, and it’s just supposed to be a good time. Don’t be one of those people that attack other shippers and get real mean and toxic. We’re all just here having fun with wonderful make believe characters and make believe worlds, and I think that is a beautiful activity, as long as you’re doing it responsibly and kindly."

So as you can see, shipping is a big part of the RWBY community. I'd venture to say that shipping is the most important part of the RWBY community. And that's fine! Shipping in itself isn't a bad thing. It's only when it gets completely out of hand where it becomes a problem. And I feel it is becoming a problem in the RWBY community. Rooster Teeth, if you need your show-writers to remind the fandom that shipping is supposed to be fun, you have a problem.

Well, how does Genshin Impact avoid that problem? The fandom itself is large and the game is quite popular, so how does it handle not becoming a complete shitfest shipfest?

For starters, Mihoyo doesn't confirm any ships at all. This is for profit reasons, the game is a gacha game designed for players to spend money on their "waifus" and "husbandos". Characters have outfit customization for this exact purpose. Mihoyo benefits from keeping characters canonically single. This is why, while people think soon-to-be-released characters like Ayaka and Tohma are dating, many people also believe these same characters to be single.

Second off, VAs are unable to give their opinions on certain ships and on lore. For example, the VA for Lumine, the main female protagonist, confirmed that Lumine was 15, before apologizing and deleting her comments. The VA for Childe signed some Childe x Lumine artwork to sell, but blatantly stated that he only really shipped Childe with Childe. The VAs avoid discussing unconfirmed ships/lore and, in this way, Mihoyo avoids controversy.

Finally, Genshin Impact only recently came out. This means that the theorizing part of the fandom is still alive and well. There's plenty to theorize about since there's so much us players don't know about the story. Lore tidbits are celebrated by lore junkies, folks who want to theorize on the characters' backstories or on the protagonist's journey to find their twin sibling are more than welcome to do so.

So while the Genshin Impact community engages in tons of shipping, none of the ships are more canon than any other. A Zhongli x Childe shipper might argue that their ship is canon because Zhongli gifted Childe some chopsticks, but a Zhongli x Ningguang shipper could easily argue back that Ninguang is a reincarnation of Zhongli's former friend/partner Guizhong. And of course, a non-shipper could look at both of these arguments and believe them both to be false.

I think this allows shipping to remain a fun and lighthearted activity in the Genshin Impact fandom. You can ship what you'd like, or you can just enjoy the plot and lore like a normal gamer.

So where am I going with this? Well, my thoughts are that no matter what the fandom, there will always be shipping. There's always gonna be some degenerates (like myself) who see two cute characters and want them to get together. However, it's up to the creators themselves to decide where to go with ships or to even entertain them at all. Mihoyo, in my opinion, handles the Genshin Impact fandom's shipping craze much more successfully than Rooster Teeth handles the RWBY fandom.

So what are your thoughts? If you're in both fandoms, which fandom do you prefer and why? Let me know!

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waywardwrestlewritingwaif · 3 years

Text

The Green-Eyed Monster

This is a sequel to Water Seeks Its Own Level, although you probably don’t have to read that one for this one to make sense. It’s set a few months after the events of that story. I originally intended to write for someone new but I am just totally smitten with Eddie. He called me back to him.

Pairing: Eddie Kingston x OFC

Word count: 3,836

Content advisory: a healthy dose of smut and cursing

“Son of a bitch!” You jerk your hand back, wincing in pain and you smack the side of the toaster oven, as if it’s the appliance’s fault you haven’t yet figured out that food coming out of the oven is hot. To make things worse, you actually feel a little guilty for taking your anger out on the inanimate object. You’re in a bad mood. The toaster oven is just the latest thing to make your day worse.

You run some cold water on your hand before you go back for another attempt at removing the leftover pizza slice that you don’t even want but you figure you should eat something because you’ve poured a couple of beer down your gullet and if you don’t eat something, you’re going to get a headache.

So you gnaw joylessly at your pizza slice, trying not to notice that reheating it has not made it taste fresher than the three days it’s been in your refrigerator. None of this would have happened, of course, if you’d just gone out with the rest of the crew like you’d assumed you would. There was a Korean barbecue place that a few of the AEW gang had heard good things about and finally someone had taken it upon themselves to get a side room reserved so that you could all go together and have a good time. You’d been looking forward to it.

But earlier in the day, you’d found out that the group that was going included Eddie, along with his new so-called family: the Butcher, the Blade, and the Bunny, also known as Andy, Braxton, and Allie. It shouldn’t have bothered you. They’d known each other a long time. You knew them all well. They’d all been bugging you to come along whenever they were going out together, or at least they had until recently.

As things too often did for you, it came down to Eddie. After he’d shown up in AEW, the two of you had rekindled the fuck-buddy thing you’d had going when you were both on the indies. The problem was that now you weren’t just hooking up when you happened to be on the same tour or show: you were together every week, living in the same city, working the same schedule. So your casual, no-strings-attached thing had become a very frequent thing. It had become a leaving stuff in each other’s apartments thing. It had become a casual understanding of at least one night of the weekend together thing.

What it hadn’t become was a relationship, at least not in the articulated, public, monogamous sense. You didn’t have anyone else in your life. You didn’t want anyone else in your life. You’d spent years telling yourself that Eddie was just someone you could go to for a good time in the sack, and even though you were aware that he always stirred up feelings in you that went beyond a fallback booty call, you kept telling yourself that was all it was.

Now that the two of you were actually stable in terms of work and living space, though, you’d started to wonder if maybe you did want things to be a bit more stable with Eddie as well. Although you’d never discussed your status, you didn’t have anyone else in your life and you didn’t want anyone else in your life. Even though you were surrounded by beautiful people at work, people who had their shit far more together than Eddie Kingston ever would, it was like they didn’t really exist. You didn’t say that to him because you didn’t want to risk embarrassing yourself. If it was going to happen, it would come out naturally, by which you meant that he’d have to get around to bringing it up.

Things had been fine until recently, until Eddie had taken it upon himself to reunite Braxton with his estranged wife Allie, the Bunny, so that they could have each other’s backs. At least, that’s what he said he was doing. But it actually seemed that Allie was spending most of her time with Eddie. He was the one on television calling her “the beautiful Bunny” and taking credit for wooing her back to the fold. He convinced her to join them. He was the one she seemed loyal to. Even backstage, when the four of them were around each other, Allie always seemed to be hanging off Eddie’s arm, laughing extra loudly at his jokes, and insisting that he come along wherever she was going. It made your blood boil.

You didn’t say anything because it wasn’t like you had reason to think that Eddie wasn’t going to have anyone else in his life. And you were even sure if he did, because cuckolding his friend right in front of his face would be bold even for him. You’d gone out with the group of them a couple of times but you’d felt nauseous from jealousy, watching him talk about how great it was that they were all working together again.

So you’d ended up begging off and just spending time with Eddie when you could be alone. More recently, you’d just started avoiding him because thinking that he was leaving your bed to have a quick shower and then run off to another woman had you crying your eyes out on several occasions. You never said anything, you just stopped returning his texts and stayed clear of him at work. And after a while, he’d stopped messaging and trying to talk to you. Things were over.

You throw the remainder of the pizza in the garbage. Thinking about everything that’s happened in this weird, hopeless thing with him makes you feel rejected and miserable all over again. You miss him. A lot. But now it’s pretty clear that he doesn’t want anything more with you, that he wants to keep things open, and you know you can’t deal with that.

The doorbell cuts through the fog of frustration and self-pity, startling you so much that you give a little yelp. You old place had one of those systems when the bell was hooked up to your phone but this one had a buzzer that sounded like an aircraft engine and you didn’t feel like you were ever going to get used to it.

“Hello?” You mumble, hoping that it isn’t another homeless person looking to sleep in the hallway downstairs.

“It’s me, can I come up?”

He doesn’t even have to say his name because you’d know that almost cartoonish accent anywhere. It figures that he’d just show up unannounced after eleven, like nothing had been weird between you. Maybe for him, things hadn’t been weird at all.

“Yeah, sure.” You press the release to open the front door and wait, pacing a little and trying to stay calm until you hear a knock on your door.

And when you open it, there’s Eddie, his face and jacket sprinkled with rain, sporting a fresh-looking bruise on his left eye that he turns to try to hide it.

“We haven’t hung out in a while,” he grunts, his eyes a little suspicious and resentful.

“True. Guess we’ve both been busy.”

You motion for him to come inside, quietly pleased that he remembers to take his boots off. You reach over to take his jacket so that you can hang it up and he looks almost offended.

“I know where it goes,” he snaps, opening the closet and putting it on a hanger himself.

You grip his jaw and turn his face so that you can get a better look at the damaged eye.

“What happened?”

He steps back, pouting like a child who’s been caught doing something he knows he isn’t supposed to.

“We went out to a bar after the restaurant. Archer offered to buy me a drink, and I said I wanted to buy him a drink. I guess it got out of hand.”

“Two friends try to buy a round at the bar turns into a fistfight. That is so you.”

You can’t help but laugh at your own joke because it is such an Eddie thing but he doesn’t seem amused.

“You got something I can put on this?” He grumbles.

“I have a couple of ice packs in the freezer. Come on.”

He follows you over to the open kitchen with its little breakfast counter while you start lifting frozen entrees out of the way to find the artificial ice.

“So how come you didn’t come to dinner?”

“I don’t know,” you lie. “My stomach was a bit upset and I probably wouldn’t have been much fun.”

He gives a low cackle. “You just don’t like it when you can’t have me all to yourself.”

You pause from digging through the back of the freezer to shoot him a scornful look.

“You just want me there so you can have a larger audience,” you retort, standing and producing the ice pack.

“Who said I wanted you there?”

You slap the cold pack into his cheek, giving a cruel little smile when he winces at the impact.

“Thank god you never decided to become a nurse,” he growls.

You can feel his eyes digging into you, searching for an opening. He knows all your fault lines so well, but he knows that there’s something going on with you that he hasn’t seen before. Your body twists under his scrutiny, trying to make it less obvious that you’re avoiding meeting his gaze.

“So what’s up with you anyway?” he asks, still studying you too closely for comfort.

“Not much. I’m fine.”

“You’re not fine with me.”

“What?” You finally look back at him, eyes wide with fake surprise. “Did I say something that made you think I was pissed at you? Did I do something to get you pissed off?”

“Come on. You know what I mean. You barely talk to me at work, you never go out if you think I’m gonna be there. You won’t answer when I message you, or it’s two words long like I’m annoying you. I thought things were going ok with us for once.”

“They were. They are,” you counter desperately.

He places the ice pack on the counter and arches his brows at you. When you reach to remove it, he grabs your wrist and pulls you between his body and the counter, shaking his head as he presses it hard against yours.

His hands graze down to your hips and under your shorts, gripping both of your ass cheeks hard and you feel yourself melt against him, as you always do. You incline your head forward until your lips are against his, your arms winding around his neck, and you let yourself fall into the kiss you’d told yourself you were going to avoid. Everything that Eddie does with that mouth of his is magic and every second you spend locked in that embrace, you get drawn further in.

“I missed this,” he growls softly, giving a hard squeeze for emphasis.

It’s almost painful to pull yourself back from what you want so much but if you don’t extricate yourself now, you’ll be going crazy over him forever, so you force yourself to do it.

You try to pivot a little but he has you locked in place.

“Please, just let me put the cold pack back in the fridge.”

“No,” he whispers, giving you an evil little smile before nipping at the skin of your neck. “That’s gonna stay right there and melt and make a mess until you tell me what’s going on with you.”

“That’s not fair!” You whine, trying fruitlessly to reach back so you can at least throw the stupid in thing in the sink.

“Kinda seems like the Princess has decided she’s too good for me again.”

His lips lock onto the base of your throat and you main loudly. He’s doing it on purpose, tweaking your sensitive spots with his caresses and his words.

“You know that’s not true, Eddie.”

“I don’t know. I thought maybe you were afraid someone might find out that I was your dirty little secret.”

“It’s not that, I don’t give a fuck who knows.”

That draws a guttural laugh from him and the sound makes your stomach flip. You don’t offer any resistance when he eases your tank top over your head and trails kisses down the center of your chest.

“So tell me,” he insists, twisting a nipple hard between his fingers, “why I haven’t been getting any of this.”

“Why does it have to be something wrong with me? You’re the one with your new faction or family or whatever, making all sorts of plans and wooing Allie to join you.”

He lifts his head and as soon as you see the smirk on his face, you know you’re done for.

“Wooing Allie?”

“I don’t know what you call it. You got her to ditch what she was doing and go back with you guys.”

“I call it talking to my friend’s wife and making her work things out with him. That’s not what most people would call ‘wooing’, princess.”

“Whatever, I just meant that you’ve been busy so maybe I’m the one who should feel neglected.”

You fold your arms in front of your chest because the only thing worse than trying to salvage your stupid comment is trying to do it half naked while he gives you that amused look.

“I don’t believe it. You’re fucking jealous.”

“No,” you whine.

“Oh yes you are. You think there’s something going on with me and Allie.”

“I guess it seems like you have a bit of a thing for her, at least. You’re always talking about how beautiful she is and all that.”

“Princess, has anyone explained to you that not everything you see in wrestling is real?”

“It doesn’t matter. I just said that you’d been busy and-“

He kisses you again, little ripples of laughter coming out as he does. You return the kiss, diving in and hoping that you can just shut him up and make him forget what you’ve said, and to shut yourself up before you say anything worse.

“I like this,” he chuckles. “You’re jealous because you think I’m hot for someone else.”

“Fuck off, I never said that.”

The two of you continue kissing, more passionately and hungrier than before, but the next time he pulls back to catch his breath, he goes back to his new favourite subject.

“I am never letting you live this one down.”

“You can leave any time, you smug asshole.”

He chuckles again, his hand sliding under your clothes, between your legs. He buries his face against you, his lips pressed against your ear as he drags one finger, ever so lightly, from the back of your slit all the way up to your throbbing little nub, repeating the gesture and using his hip to hold you still and stop you from thrusting against him to get more friction. He just keeps up with that ghost of a touch, humming with pleasure the more he can feel your frustration.

“You want me to go? Really? Because it feels like maybe you’re not so sure.”

You just whimper in need, while at the same time trying to force the desire you’re feeling out of your body.

He lightly strokes and taps at your clit as he whispers to you, “I like that you’re jealous. But you need to tell me these things, not deprive both of us, ya silly brat.”

His attention then shifts, two thick fingers swirling at your entrance while the two of you bite and lick at each other. You hold out as long as you can, which isn’t long at all, before begging.

“Don’t do that. Stop teasing.”

“Well what do you want me to do?” he rasps, grinning as you thrust against him, trying to force some more pressure.

“Fuck me. Stop talking and fuck me through the mattress and into the goddamned floor.”

He lifts you up by your thighs, smiling when you wrap your arms around him to secure yourself as he carries you to your bed. As he places you down, he removes the rest of your clothing in one smooth movement before discarding his own. You kiss playfully for a moment before you tap his thigh.

“Get up here,” you order.

And he is most happy to oblige, kneeling over your body and letting you take his thick cock in hand, easing the swollen tip past your lips, sucking and licking while you slowly move your hand along his shaft, occasionally letting your thumb flick delicately along the seam, relishing the yelps this gesture never fails to elicit from him.

“So you want that even if I’ve been giving it to another woman?”

You growl but the vibrations only increase his pleasure and he starts to thrust a little, pushing himself further into your mouth and throat.

“Aw, don’t worry,” he purrs, “I’ll always have some use for you.”

At that, you punch him hard in the hip and rake your nails down his ass. He eases down your body, sparkling, mischievous eyes meeting yours. It’s like there’s nothing else in the whole world for you but you know better than to say so.

“You know what you need to do, Kingston? You need to shut the fuck up.” You push on his shoulders to direct him where you want him to go, and while he takes his time getting there, the journey involves him working his way down your body, like he’s worshipping you.

“This what you want?” he asks, licking at your soaked flesh.

“Mm-hmm.” You squirm in anticipation, suspecting that he might try to draw this out longer, so when he dives in and starts fucking you with his tongue, lips and teeth, you let out a loud moan and clench at the bedsheet with both fists. You’re already so close.”

“Lucky for you I have such good stamina,” he hisses. “So I can handle all of these women I’m fucking.”

“You’re still talking,” you groan. “Why are you still talking?”

He gives a harsh bite on the inside of your thigh. “Look at me.”

You glare down at him but immediately feel a little unnerved by the deadly serious look in his eyes.

“You know damn well there aren’t any other women. I haven’t fucked another woman, haven’t kissed- hell I haven’t even beat off thinking about another woman in months. So let me enjoy this for a few hours until you go back to thinking you’re too good for me.”

With that he goes right back at it, letting you feel the full skill of that constantly moving mouth. You let yourself go, feeling for the first time in ages like you have exactly what you want, what you need, right here in your bed doing everything to make you happy. Your whole body trembles in ecstasy, the tide rising steadily within you, your whines and moans growing ever louder.

“I love you.”

It slips out so naturally that you almost don’t notice that you’ve said it until he pulls back.

“I’m sorry, what was that?”

“Get back down there!” You push his head but he shakes you off and now you’re aware you have a problem.

“Oh no, I want you to repeat what you just said.”

“I don’t remember,” you whine.

“Sure you do.” He moves to his side next to you, running his fingers over your skin so that you stay worked up, frustrated, and desperate.

“I fucking hate you.”

“No,” he scolds, “that wasn’t what you said.”

You exhale in exasperation.

“Let me get you started. You said ‘I’... come on, repeat after me.”

“What makes you think I even meant it?”

“Well you have to tell me whether you did or not, don’t you, princess?”

His finger traces a curved line between your hip bones that only accentuates your overwhelming, unmet need.

“I’m not hearing anything,” he coos, flicking his tongue over your nipple.

“Fine!” you roar, hitting your breaking point. “I said that I love you, and yeah, I meant it.”

Grinning, he moves back down your body.

“Now was that so hard?” he asks just as he buries his face between your legs again.

You’d love to give a sharp retort but the second he’s giving you what you want, every other thought leaves your mind. You are one pulsating nerve waiting for release and he is expertly guiding you there. Within minutes you’re screaming his name, tears leaking from your eyes as you come down from the best orgasm you think you’ve ever had.

By the time you can open your eyes, he’s hovering over you, the tip of his cock throbbing against the lips of your pussy.

“Say it again.”

You groan a little and push against him but it doesn’t work.

“Say it again and look at me this time.”

His incredible eyes bear down on you and it’s very different than before. This time, you can’t hide the truth of it behind sarcasm and annoyance. This time he can see into you. You’re vulnerable.

“Come on.” He prods at your face with his nose and lips before once again locking you with that killer stare. “Let me hear you.”

“I love you,” you stammer, trying to read his reaction and more than a little afraid of what that might be.

He moans a little and pushes himself part way inside you, rocking his hips slowly.

“Again,” he rasps.

“Don’t be like this. I said it. I said it twice. What the hell do you want?”

He grabs a handful of your hair and thrusts his face even closer to yours. “Five years. Five fucking years I’ve been waiting for you to come around. So I want to get the most out of this that I can.”

“Eddie Kingston, I love you.”

He lifts one of your legs over his shoulder and thrusts into you harder.

“Are you going to say it back?”

“Sure,” he laughs. “When I feel like it.”

He pounds into you with increased vigor, laughing more when he sees your face contort somewhere between fury and ecstasy, your pussy contracting involuntarily around him.

“You are such a bastard,” you yell, fighting the second orgasm that’s about to overtake you.

The phrase is barely past your lips when your whole body spasms, pulling him right along with you.

“Yeah, you’re right,” he pants after a couple of minutes. “I am a bastard. But you finally managed to figure out I’m the bastard you want.”

You can’t help but laugh, wondering if he really did know ages before you did that you were in love with him, or if he was just hopeful. You run your hands over the back of his head and pull on his earlobe a little with your teeth.

“God help me,” you whisper.

#eddie kingston fanfic #eddie kingston imagine #aew fanfiction #aew imagine #wrestling fanfiction #wayward wrestle writing

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cutegirlmayra · 3 years

Note

Hiiiiii, I rly like your writing X3 I was wondering if you’d answer this question: What is your interpretation of what SEGA is doing with SonAmy as of right now? Seems like it’s becoming more and more canon. I know you’ve done similar question before, but could you maybe just answer this for 2021? Thanks!💖💙

No problem! And thank you, lovely Anon~<3 I love writing for the feels~ But also for the accuracy to be as close as possible if I can manage it! First of all, they’ve always been canon? Maybe not ‘in-world dating’ canon but canon in the sense that they are a official SEGA advertised couple since the get-go.

Amy was created to literally be in the slot of ‘Sonic’s Girlfriend’ where she had feelings for Sonic and always a fun mystery as to decipher Sonic’s subtle ‘returned caring’ for her.

As for 2021 we are so FREAKIN’ HAPPY to hear that SEGA is FINALLY marketing the two and VISUALLY SEEING the sales of their ‘couple shirts’ and the like make some profit. Furthermore, we have long-time fans and professionals in the careers within SEGA also vocalizing that they don’t mind the couple and even support it. With less emphasis on the ‘fandom fanatics’ of the raging past and more so on the fantastic marketability and popularity the couple brings to SEGA’s exposing their main IP, it’s become almost common ground to expect more and more people liking romantic and suggested romantic couples in all ranging medias.

We need also mention the alarming rate of the worrisome numbers in Japan recently. Conducted studies have shown that most of Japan’s population is elderly, and in the very near future (About 5 years or so) a good chuck of Japan’s population will die. This means the Japanese Government is promoting more and more companies within both entertainment, advertising, etc. to be more ‘promoting family’ in their media. Japan needs more babies! And guess what?

Mario Odyssey comes out with a completely ‘Wedding themed’ video game.

Dramatic romantic underlying's in Zelda’s new game.

Final Fantasy 7 Remake’s focus on romantic underlying’s along with Cloud willingly saying (English version) “Do I have any say in this?” As though to fight the idea that romance can’t happen and-

Kingdom Hearts 3′s romantic underlying that literally has a song (Japanese) talking about rings and getting married called “Chikai” or also ‘Oath’ that in English is rewritten to a romantic song about going deeper into love called “Don’t Think Twice” but literally has the two ‘making their fates intertwined’ in a symbol of ‘romantic intentions’ such as marriage or even just fidelity in a relationship.

So? How does all this influence the latest Sonamy supersonic boom we’ve seen in the media recently?

Although Sonic is his own character, he’s also only 15 (But as many of you have seen in Anime, Japanese ages of appropriateness are different then our own cultures and societies) we see faint glimpses. In the mostly American-made Sonic Boom t.v series, the comedic moments of Sonic and Amy are very much to a genre of American audiences and how we view ‘funny love’ should normally be marketed as. (I don’t always agree with what they say, but that’s how they’re trained and believe the ‘trends’ go... so ... can’t argue with professionals? Eh? -I personally think they’re outdated *cough cough*)

Sonic is not one to express feelings in overly dramatic ways which is common place in American television and media, but he’s also got a ‘boy’s heart’ which means we won’t see a lot of things from him BESIDES ‘romantic underlyings’ that are probably going to be initiated and themed mostly and primarily in Amy Rose’s character (If at all shown or expressed.)

For these reasons, I believe SEGA is just hopping on the bandwagon and doing what they’re told, while also following the latest trends that the other big fellow companies are making a significant profit on. I know we wish and want SEGA to be ‘special’ in how they think, but they really are just a company that is trying to survive and outlast the competition.

It’s sad to think that way, especially when SEGA used to be so creative and always influencing the next best thing but that was YEARS ago and they’ve learned to tread water since then...

(Goku being a grandfather emphasizes family in this particular scene where they take his granddaughter before a big tournament fight to a fair/festival. We see Goku with his family too, or at least, a successful son with his wife and daughter, spending time with his Father-In-Law, and the like.)

We see it in Dragon Ball emphasizing family, we see it in more romance-themed animes (and those that have only recently done romance, when they--for the longest part--never indulged in such things before or previously) and we now see more japanese games and media centralized around that.

What does that mean for Sonamy? Hopefully good things! Because if you buy the merch, they’ll produce more content. It’s a basic ‘supply and demand’ formula. If the demand (meaning how much you spend and want Sonic and Amy couple merch) goes up, then they have to supply to keep their business afloat. If they don’t they sink, but that DOES NOT MEAN TO BE AGRESSIVE. It means just support when they do something you like, and positively, kindly mention what you liked and wish to see more of if the future allows. No one reads aggressive writing unless, they too--wish to be aggressive back.

SEGA’s had issues with aggressiveness before, please let them see that couples in the sonic world won’t have a negative impact on their branding with irrational and bad-media frenzies. (Now, after saying this, I know people will start to do just that, don’t feed fire with fire, just let the fire burn till it has nothing left to consume, and carry on happily posting fanart or fanstories of what you love. Ignore to extinguish, which is what SEGA will do to Sonic shipping fans if we don’t act somewhat reasonably, okay?)

My predictions are such: 1. Amy’s crush will sadly lessen in impact and become more of a novelty, something that is treasured when moments arise to reveal her crush on Sonic, which in my opinion, is not her personality, but due to the heavy influence of women’s portrayal (Especially in America) being overemphasized and not done well, this is how they will try and combat it... (No one does this right and you shouldn’t base a characters solely on political reasonings...) 2. Sonic will have moments of caring for Amy or doing something sweet that can and probably will be interpreted as ‘a couple moment’ but he’ll remain mostly about other things, and the ‘underlying romance’ will have to come through Amy Rose’s character. 3. SEGA will loosen some rules after seeing more and more of the productivity and trend associated with marketing romance, and to keep up with demand and growing times, will finally let small moments emerge between the two, but the fandom will not be satisficed since we will now be desensitized to overly avert demure and oblivious stereotropes that will date their characters. and won’t allow them to proceed smoothly into the new area of customers and audiences.

Children are becoming extremely observant and aware. They are clever, and they always have been. It’s time to market to Children and Young Adults, not babies.

My ways to avoid this, predictions 1: New employees will surface that will start to get a name and reputation in the Sonic Fandom, along with youtube and internet stars who will influence certain marketing schemes (as is starting to appear now, and I feel will be just like ‘star marketing’ or ‘influencers’ that will be popularized in fandoms that companies will slightly make use of.) that will encourage new ideas and bring about a sudden ‘boom’ not expected. (Especially after the lull of the pandemic, I feel there will be an abundance of things happening in the upcoming years... but nothing right now, unfortunately, but at least they’re forced to focus on working on things instead of just releasing to keep up with other companies.)--In other words, they will incorporate new blood with the old, and they will lead Sonic’s IP into a ton of nostalgia and new beginnings that will actually stick and become Sonic’s new brand identity. (This will resonate with fans old and new, but still be a fresh leap into the future for the franchise and fandom.) 2. Sonic’s negative popularity will start to decrease, leading and paving the way for fame and possible adjustments such as more romantic themes to keep up with trends and Japanese Government demands (especially when the population starts to wither and it becomes an emergency situation to start encouraging family ties). Other than sonamy or romantic things, I believe new characters will pop up to ‘test the waters’ and see if we like romance intertwined adventures. 3. Villains will become more sentimental and caring, less comedically, they will be redeemable entities so that the company can market them more. This can also lead into funny romances that help other romances develop and have more meaning. (In other words, they’ll dig into their vault of familiar and new faces, go off the trend of ‘redeeming the villain’ and have more heart-to-heart moments that may inspire more canonical couples... especially if a newer villain were to have a crush that ended up helping two canon characters get together and leave the audience sympathizing more with the villain. This is an actual trend starting where Villains have more character and roles other than just being evil and staying that way till death. I suspect this will be popularized in American and possibly foreign media as time goes on.)

(I actually have a lot of the sonamy shirts lol But here’s an example of the villain actually helping the canon couple have more ‘romantic underlying’ moments together <3)

Those are my current predictions, though I admit that some don’t sound all that hopeful. But hey! All my hopeful and positive predictions have already come true XD Sonamy is being marketed, the new media (Sonic Boom at the time) had subtle but more forward comedic hinting (that I don’t feel went all that well? But eh, that’s just me!), and SEGA continues to try and reface Sonic which his brand doesn’t need. I believe they will still try and rebrand Sonic continually until something sticks for them that they like. Sonamy may go through many iterations, as they are still hesitant with it, and we see that by only marketing their ‘younger selves’ as in Classic Sonamy, and are too ‘shy and uncertain’ if backlash would happen if they advertised a more mature-looking Sonic and Amy marketing. Again, I don’t know if they’ll fully grow out of this, so I predict they won’t.

(I have this one but in black <3 <3 <3)

That’s it for now! My positive last comments would be the more we buy/purchase Sonamy merch, the more we’ll start seeing it in their media and entertainment products. Until then, do your best and write, draw, and review -kindly- to keep those articles of enchantment alive with the sweet sound of--”When will Sonic and Amy finally have a love song AMV moment for us?” lol

#cutegirlmayra ask #ask cutegirlmayra #sonamy #sonic the hedgehog #sega #amy rose #cutegirlmayra #sonic ask #ask sonic #sonamy ask #ask sonamy #sonicxamy #sega marketing #anime #video games #japan #sonamy predictions

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thetrashsean · 3 years

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“Why wasn’t Life is Strange 2 as popular as the first game?”

A lot of people like myself have wondered what exactly made Life is Strange 2 go so relatively unnoticed compared its predecessor, Life is Strange 1. And when you think about it, you may come up with the few obvious generic answers, such as the lack of Max and Chloe and just the original cast in general. However, I think there was a lot more at play here that prevented Life is Strange 2 from reaching the amount of success/popularity the first game had. So I want to take the time and break down what exactly happened to Life is Strange 2 and the things that hurt the game’s ability to really connect with the audience of LiS1.

Disclaimer: We do NOT know how well Life is Strange 2 was for Dontnod and if it was a success or not. No sales numbers have been given out to the public so there’s no way of knowing for sure how well the game did. What we do know is that LiS2 did not receive the same amount of attention/popularity as the first game. That can’t be denied, it simply didn’t. However, based on the fact that Dontnod have recently announced they are working on six new games at the moment and are now expanding their studio, even if LiS2 was a “flop” it doesn’t seem to have had much of an effect on them (most likely due to the success of Vampyr). Dontnod is going to be fine either way. Another thing I want to mention is that this is not a anti-LiS2 post and that I am a fan of the game. I’d consider myself a pretty big fan actually. I have my problems with the game of course and don’t agree with a lot of the writing decisions but I enjoyed the game very much overall. But for the sake of this post I will try to be as unbiased as possible, giving out only what I’ve observed when it comes to reactions from the fandom on different websites and forums. So with that all being said, let’s dive in to this.

Here I will be listing the many different reasons as to why Life is Strange 2 failed to reach the same amount of popularity as LiS1 or even BtS managed to achieve. This list isn’t in any particular order but some reasons are bigger/more important than others.

For some background, there was a lot of hype going into Life is Strange 2. The teaser trailer for it with the cop car trended at #2 on YouTube, a huge feat for the series. It generated immense amount of views and comments in a short period in time, completely surpassing Before the Storm’s announcement trailer in just a few weeks. So what exactly happened to all that hype? Where did everybody go? Well, let’s break everything down.

1. The lack of Max and Chloe: Yes I said that this list wouldn’t be in any particular order in terms of importance but I think it’s obvious this one is one of, if not the biggest reason as to why LiS2 failed to match LiS1’s popularity. When the protagonists Sean and Daniel were first revealed, the reception was pretty divisive. Specifically, a very vocal part of the community were baffled and disappointed at the lack of Max and Chloe present within the trailer and subsequently the game itself. This instantly turned off a lot of people from the game, as they couldn’t connect with the new characters or simply didn’t want to. At that point in the franchise Max and Chloe as well as the original cast from the first game had been the face of the series for almost three years. It’s understandable why it was hard for people to just…move on. To this day people are still asking for Max and Chloe to return. The Life is Strange subreddit is still dominated with Max and Chloe fanart. Whenever the social media accounts for Life is Strange post anything Max and Chloe related it gets way more attention compared to a post about Sean and Daniel. Whenever a post online goes viral about Life is Strange you can bet it’s most likely about Max and Chloe. Hell the only reason why episode 5 of Life is Strange 2 trended on Tumblr was because of the fucking picture of Max and Chloe. On the releas day of episode 5 of LiS2 the top post on the subreddit was the Max and Chloe picture. It was almost as if that one photo of them completely overshadowed the entire episode. Point is, Life is Strange 2 lost a lot of momentum the moment it was revealed Max and Chloe would not be present. Case closed, let’s move on.

2. The release schedule: Words cannot describe how frustrating the release schedule was for LiS2 when it came to it’s episodes. For those reading this who didn’t follow LiS2 until the game was finished, each episode took around 3-4 months to be released. This was because Dontnod bit off a bit more than they could chew with the road trip story in having to create new locations and character models from scratch. The reason why this wasn’t a problem for LiS1 was because Max was for the most part always in the same locations around the same characters (I’m pretty sure you roam around Chloe’s house like 4 times throughout the season), which made development a lot easier since the devs could just reuse a lot of the assets. Unfortunately, this wasn’t possible for LiS2 due to the nature of it’s story. The wait times between each episode made a lot of people leave the fandom due to loosing interest or simply forgetting about the game altogether. This also impacted youtubers/streamers as many of them either stopped coming back to play the new episodes or they’d not be as connected as they were in the previous episode due to the amount of time that had passed. One of the reasons why LiS1 gained so much popularity was because of youtubers/streamers and how they would bring in their audience and would pretty much make them fans of the series. With quite a handful of youtubers/streamers quitting LiS2, the game was not able to draw in as much of an audience as previous games did. This is how detreminetal the release schedule was for LiS2.

3. The marketing (or lack thereof): Square Enix really fucked up on this aspect. Due to the ridiculous wait times you would think Square Enix would try and advertise the game heavily when a new episode was about to be released, right? Well they didn’t. Not at all actually. Throughout the games release schedule from September 2018 up to December 2019, I had not seen a single ad for the game. Nothing on YouTube, nothing on reddit or any other websites, it was like Square Enix had completely forgotten about the game’s existence. Now don’t get me wrong, SE did do a few things with LiS2 like starting up the community series on their YouTube channel and also the dev updates that came after episode 1 (that stopped after episode 2 for some reason) but these went relatively unnoticed to people outside of the fandom and did pretty much nothing. I believe SE was trying to wait until the game was fully complete with all of it’s episodes released before actually marketing the game (and they DID start advertising the game after episode 5 came out) but that’s just WAAAY too long to go without any type of advertisement. I understand marketing teams have budgets and what not, but you’re telling me there was no way for SE to market each episode in anyway as they were about to be released? Seems a bit ridiculous, don’t you think?

4. The road trip story: I completely understand why Dontnod wanted to branch out and do something different with the story of Life is Strange 2 and I respect them for stepping out of their comfort zones. However, it can’t be denied that the road trip story where characters are cycled in and out as Sean and Daniel make their way to Mexico was a very…questionable decision. Seeing as how LiS1 was loved for it’s world filled with a reoccurring cast of characters that developed as the story went on, it’s really easy to understand why LiS2 was so off-putting for a lot of fans. It was off-putting for me, even. It just…wasn’t fun having to leave these truly interesting characters behind because the plot demanded it. This left a lot of characters feeling underdeveloped to many people and by the time you meet new characters you already know they’re most likely gonna be gone soon anyways, so it made it even harder to connect with them. Couple this with the fact that LiS2 lacked any type of mystery unlike LiS1, speculation and discussion fizzled out a few weeks after each episode was released. LiS1 kept people speculating and wondering about what would happen next, while LiS2 left a lot of people struggling to care.

5. Politics: Yeeeeaaaaah I think I had to put this somewhere on the list. While many of the people who tease and mock how LiS2 handled its political topics were most likely not fans of the series anyway (the type of people who called LiS1 “Life is Tumblr” and hate Chloe), I do think it’s important to realize that some people just don’t want politics in their games, period. I’ve seen people online come out and say that while they agreed with what the writers were saying when it came to the political topics, it overall still came off very forced and one-sided to them, lacking any type of nuance or subtlety. I could write an entire essay discussing if the politics in LiS2 were handled well and whatnot but this is not that post so I’ll just leave it at that.

6: Lack of a prominent female cast/wlw: This is a bit more tricky to talk about (for the record the person writing this is a black gay guy) but I will try and write about this the best way I can. For many women, specifically queer women, Life is Strange was a series they could expect representation from. Max, Chloe, Rachel, and Steph are all popular characters amongst the fandom and even other wlw ships such as Marshfield, Chasefield, Chaseprice, etc are popular. So when LiS2 was revealed to be about two (hispanic) males, the queer women within the community were understandably upset. It felt like DN were simply throwing away the community that for the most part made up the entire fandom. At the time I simply found the situation ridiculous and overblown as many people were dismissing Sean and Daniel as “generic straight males” (even though it turned out Sean was bisexual in the end) before really getting to know them. However, looking back I totally get why people were upset. A lot of the fanart/fanfiction that was made for the LiS series was mostly created by queer women, so when the franchise pretty much stopped giving them representation, they left in search of other media (like She-Ra, which honestly has better wlw rep anyway). LiS2 is also mostly male dominated in terms of its cast, and features no queer women as well, which is really disappointing in my opinion.

7. Price: This one is pretty simple. When Life is Strange 2 was first released the full season costed $40. This was a pretty big jump in comparison to LiS1’s $20 price tag (original price was $25 however) and BtS’s $16. Obviously people would be more skeptical about buying a sequel that is pretty much double the price of its predecessor and has completely new characters. With the pretty mixed reception from gaming communities I wouldn’t be surprised if a lot of people saw the price and decided to either watch a playthrough or simply not check out the game at all. With the first episode now free the base price has been lowered to around $30-32 I believe so yeah.

8. Daniel Diaz: Some people just don’t like kids, and I wouldn’t be surprised if people grew easily frustrated with Daniel early on and once he got more irrational and bratty as the story progressed they just stopped playing altogether. Even if you do like kids, or at least don’t mind them like myself, Daniel can still be quite a pain.

9. Not having control of the powers: This one is honestly really disappointing and I know it was to a lot of other people as well. In LiS1 Max had the ability to rewind time and do certain scenarios and conversations over and that basically acted as the more interesting gameplay segments. In LiS2 Sean doesn’t have the power, his brother Daniel does. This leads to the gameplay feeling much more boring and mundane. There are also no interesting puzzles this time around, most likely because Dontnod didn’t know how to implement them without the rewind power so they just…didn’t even attempt to add any. The power itself, telekinesis, is also much less interesting compared to rewinding time, according to a lot of people.

SO YEAH that’s basically it for me. I know this probably came off a bit rambly/incoherent but I tried my best to be as clear as I possibly could. I don’t doubt there are other reasons at play as to why LiS2 failed to meet LiS1’s success (such as liscensed music not being quite as good as LiS1) but I think I hit the main points I believe were key reasons. And the thing is, there isn’t just one main reason why LiS2 didn’t do as well as LiS1. It’s overall very unfortunate so many things went wrong with it that ended up making people lose interest in it. I think the lack of Max and Chloe hurt the game the most right off the bat, but the other reasons just led it to do even worse. Oh well.

I hope any of the people who read this enjoyed it (it was a BITCH to write). I’ve been wanting to get my thoughts down about this for SO long but just never had the motivation/time but I finally did it!

Again, thanks for reading! If you have any disagreements or just thoughts in general don’t be afraid to reply or dm me about it and I’ll be sure to reply! Now back to reblogging Marco posts….

#lis2 #lis #life is strange #life is strange 2 #max caulfield #chloe price #sean diaz #daniel diaz #lis2 spoilers #pricefield #amberprice

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jentlemahae · 3 years

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(Album Review) Sticker by NCT 127 – Did It Really Stick?

Just last week, South Korean group NCT 127 – numbers referring to the longitude coordinate of Seoul – released their long-awaited, third full-length album, Sticker, which immediately caused an uproar among their fans. Some really loved it, while some really hated it (and were not silent about it). It’s the so-called ‘third album syndrome’, where artists create a record that is so new even for them, that it ends up being polarizing for the fanbase. Sticker might have been just that for 127, as fans are either calling it a masterpiece or a huge disappointment – no in-between.

(Those who are already familiar with NCT 127 may skip the following section. Those who are not – buckle up!)

A beginner’s guide to NCT

For those who may not know, NCT (short for “Neo Culture Technology”) is a boy-group under SM Entertainment. The band has been able to stand out from the KPOP landscape since its very debut, and not only because of their music and talents, but also thanks to their distinctive concept. In a nutshell, the idea is that the group can have an unlimited (or infinite) number of members, as fresh new boys can be added to the lineup at any given time. So far, they have accumulated 23 members, divided into four different subunits – NCT 127, NCT DREAM, WayV (fixed units), and NCT U (rotational unit).

Each subgroup has its own characteristic sound and/or concept, but there is one thing they have in common – they are all known for going against the current, be it musically or style-wise. In fact, they are considered the pioneers of the takeover on KPOP by ‘noise music’. But what is noise music? Sometimes affectionately called ‘pots and pans’, it is a genre characterized by an expressive use of sound that is not bound to traditional music rules, and encapsulates different chords and types of notes within a song. Nowadays, it has become the main style of the 4th Generation, and NCT were the ones who truly popularized it to the current audience (despite being 3rd Gen).

NCT 127’s approach to noise music is particularly fascinating. Fans describe their sound as ‘NEO’, which is confusing and vague unless you are familiar with their discography – then it makes perfect sense! The group always takes noise music to the next level, yet manages to not make it sound completely nonsensical and (too) migraine-inducing.

Now that you are all up to speed, we can proceed with the actual review!

Sticker – peeling the songs off

After weeks of teasers and hints, NCT 127 finally unveiled to their eager, hungry fans their new single and album, Sticker. This record perfectly encapsulates the cornucopia of sounds that the band is known for, as the songs go from EDM to hip-hop to heart-warming ballads. And of course, the group’s signature sound – the pots and pans are here, louder and stronger than ever. But enough chit-chat for now – let’s go through the album together.

Sticker (8.5/10)

NCT 127 made the bold choice to open the record with the title track, Sticker. Why ‘bold choice’? Well, let’s just say the song is not exactly easily digestible… The melody is a plethora of sounds, yet feels almost empty and subdued to the vocals at the same time. It is a bacchanal of frenzied beats and a dirty bass line accompanied by a shrill flute and piano, with cut-throat raps and beautiful harmonies that are disjointed from the overall melody. Sticker is chaos, but an intentional one, thus its instability manages to captivate you whilst disarming you.

Truth be told, I was a bit taken aback by the song when I first listened to it. Nothing appeared to make sense to my ears, as they seem to be fighting with the beat (and losing) throughout the entire track. But that’s exactly the point. The disconnection between the instrumentals and the singing is clearly done on purpose, perhaps in order to further highlight the members’ impressive vocals, which overpower and outbalance the otherwise empty beat. Or maybe the purpose was just to render the song more impactful, which sure as hell worked – you may not like Sticker, but the song is likely to remain stuck in your head one way or another.

Lemonade (8.3/10)

The second track was teased by the group prior to the official release of the album with a track video, and was immediately loved by fans. This catchy B-side includes an addictive deep bass which makes the perfect beat for both powerful raps and hefty vocals, a signature cocktail in NCT music.

The song is so good that a puzzling question immediately erupted following the release of the record, and spread like wildfire within 127’s fanbase – why wasn’t ‘Lemonade’ the title track? After all, everyone likes it, both fans and non-fans, and it could easily be something you’d expect to find at the top of the charts. In contrast to Sticker, on which everybody seems to be divided. So, wouldn’t it make sense for it to be the title track, given its striking popular appeal?

The answer is no. What some fans don’t seem to understand is that when it comes down to KPOP title tracks (especially nowadays), the issue is not whether it is the best or the catchiest song on the record. The real question is, does it make an impact? Given how new KPOP groups are popping up left and right, managing to leave enough of an impression on the listeners can make or break a career. The title track needs to be instantly stuck in your mind, and for that Sticker fits the bill, as Lemonade sounds just like any other song you could hear in the first 30 minutes of Inkigayo. It’s good, but ordinary. It just doesn’t cut it, and NCT 127 clearly know that.

Breakfast (8/10)

Third song on the record, Breakfast feels reminiscent of past SM boy groups’ releases, namely SHINee’s song Prism from the album 1 and 1. The song encompasses bright melodies and retro beats with a modernized twist, which serve as a perfect mix with the members’ voices. The song’s main stars are the vocalists (particularly HAECHAN, whose tone works wonders with the genre), while the raps are tamer for the group’s standard.

Focus (9/10)

The fourth track is a mid-tempo R&B romantic song, a genre that is characteristic of 127’s B-sides and displays the group’s more soulful edge. Focus flawlessly showcases the members’ honeyed and warm vocals (especially JAEHYUN’s), and the slow lazy-like raps remind of early 2000’s sultry slow jams. This track was an immediate fan-favorite (as attested by yours truly).

The Rainy Night (9.5/10)

The Rainy Night is an R&B-tinged ballad reminiscent of boybands in the 90’s, and is the perfect follow-up to Focus, as vocals appear to be the true protagonists of both songs. In the track, TAEIL manages to stand out in particular by showing off his impressive range, with his beautiful adlibs on the suit-and-tie beat.

Far (6.2/10)

Next up is Far, characterized by a boom-clap drumline and a chanted chorus. Despite being rather forgettable, it is a good song after all – something straight out of a superhero movie soundtrack. It just sounds like something we’ve heard before at least a million times from about any KPOP boy group out there.

Bring The Noize (6.6/10)

Bring The Noize is about as NEO as it can get, with loud and thunderous beats, growling raps and sounds mimicking a car engine, which together make you feel as if your head were in a blender. Just like Sticker, this song is pure chaos, but of an overwhelming and impetuous kind because of its packed production. Yet, I think that’s where it all goes sideways – Bring The Noize is just too overwhelming, because it’s too crowded. On top of the production overflowing with sounds and effects, the vocal aspect of the song is simply too much. All members sing or rap on the track, but the variety of vocal colors is disarming and confusing to the ears in the worst way. Simply put, some members could have stayed silent in that recording booth…

Magic Carpet Ride (6.4/10)

Doing a full 180 from the previous track, Magic Carpet Ride is a ballad with pop elements, and a melodic beat that particularly shows off DOYOUNG and JAEHYUN’s vocals. Despite being a lovely song, it’s nothing particularly exceptional – it’s good for what it is, but it falls slightly flat and forgettable. Nevertheless, it does a wonderful job in proving that not every KPOP song needs a rap part…

Road Trip (7.3/10)

Road Trip shows off 127’s more boyish and bright side, with nice layers of guitar, drums and delicate vocals, proving once again how the band’s is not just a loud gimmick. The song is enjoyable – however, it’s not something we haven’t heard before from NCT. It’s sweet and lovely, but it’s definitely nothing to write home about.

Dreamer (7.4/10)

This upbeat song gives yet another sweet and poppy feel to the tracklist, with retro beats, trumpet riffs and a happy-go-lucky melody. Dreamer kinda sounds like something out of an Old Navy commercial, but I mean it in a good way – its funky, childlike charm combined with the uplifting lyrics is likely to put a smile on your face!

Promise You (7.2/10)

127 chose to end the album with a letter dedicated to their fanbase, NCTzens. Due to the ongoing pandemic, groups have not been able to meet fans in a long time as they normally would. In Promise You they sing about being separated from a loved one and then being reunited again, which is likely a nod towards their fans. Musically, the song intertwines retro-inspired beats with atmospheric synths, that give it a dreamy-like appeal. The track is sweet and serves as a great album closer, as wrapping up the record with DOYOUNG singing “So stay” in a longing yet reassuring tone, feels like the perfect goodbye.

So, did it stick?

Overall, Sticker is a very well-made album – it has ballads, upbeat tracks, addictive songs, and a decent dose of the good ol’ pots and pans. Does it sound like something we have never heard before in KPOP? No! Does it sound like something we’ve never heard before from NCT? Also… No… But whilst the record follows a similar algorithm to 127’s past albums, it is still incredibly enjoyable without sounding boring or too déjà vu. It has a good 50/50 mix of experimental songs to ballads and R&B-influenced tracks, and it leaves room for both rappers and vocalists to shine.

The album truly screams ‘NCT 127’ – it’s experimental, not sonically cohesive, confusing, and a little weird. Plus, just like all of the group’s music, it’s not everyone’s cup of tea. Or better yet, it’s not at first listen. Sticker might be odd and disarming, but it will get to you eventually – you just gotta let it stick.

8/10

#i had MANY things to say <3 #i hope someone liked it ^_^#btw this has not been through the editor yet <3 hope it's good :D #soph.txt

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blue-cheeseinmyoffwhites · 2 years

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Elite Season 5 predictions hours before release 💯

-This “Ivan” character looks interesting. Seems he’ll have more than one love interest. Hopefully they write him in good instead of being a home wrecker like literally every new character this show has added

-The DJ girl looks cool but I don’t think she’ll have much impact on the story.

-WTF DID PATRICK DO

-But no seriously everything from the teasers to the trailer implies that he did something bad. Seems he’s gonna be our new Polo (but you all know no one will ever top our murdering king😌)

-Omar my beloved. 5 years strong and still doing jackshit. Seriously this is a great character but he literally NEVER gets to be a part of the main storyline. Hopefully he gets a bigger role this time around

-Rebe & Mencina still together. Cool. There’s probably gonna be some conflict with Rebe’s involvement in hiding what’s his face’s body. It will be a nice parallel too. Rebe hates liars, now she has to lie. And I think based on the trailer Menci is gonna find out.

-Ari still a dumb thot hoe who needs to get her ass beat again.

-Honestly what is Samu even doing here? Like, what’s left for him? Literally everyone from the original cast is gone so all he has is Omar. HOPEFULLY this will cause them to interact more and remind the audience (and the writers) that they’re BEST FRIENDS UGHHH

-I wasn’t too invested in Cayetana’s story last season but all I know was that she became more independent. Wonder how they’re gonna continue her and Phillipe’s story

-Why the HELL is Malick in the trailer I thought we booted him in Season 3

-Seriously out of ALL the characters they could’ve brought back (*cough cough Christian & Nano *cough cough*) why him???? Like he was just so annoying and…..ughhh

Anyways here want events I’m expecting/want

-More murder obviously. Won’t be Elite without it (seriously gets these kids outta here this is their fifth year of torture)

-More clubbing per usual

-Ari being a dumb thot hoe

-Conflict between those who helped Guzman hide the body (Samu & Rebe) and the other returning characters

-More characters exploring their sexuality (I need Samu to open his eyes a bit more literally all his male friend hit on him at least once.)

-Rebellious teens going against the system and all that good stuff yeah millennial power😩

-Omar being hot

-Expanded world

-A surprise comeback from a previous cast member (*COUGH COUGH*)

Anyways the premiere is in a few hours. If you want to journey with me through the season to discuss I’m always open (and this is like my 2nd time using this app I need friends. Quickly)

#elite #elite netflix #elite cast #elite show #damn how many times can I say elite #WTF DID PATRICK DO #omar ayuso #itzan escamilla #too lazy to tag the other actors #hey #bye

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letterboxd · 3 years

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In Focus: The Truman Show.

Inspired by Letterboxd data that revealed it to be a lockdown favorite, editor-at-large Dominic Corry looks at the ever-evolving importance of contemporary masterpiece The Truman Show.

It has long been apparent that The Truman Show is an unnervingly prescient film. The story of a man who becomes aware that his superficially idyllic life is, in fact, a live-streamed television show has gone from being high-concept to every-day.

Thanks to the three Ps—the prevalence of mass urban surveillance, the proliferation of reality television and the pervasiveness of video in social media—the notion of cameras filming our every move is no longer a paranoid fantasy, but real life. The twist being that, for the most part, we all willingly signed up for it, and did all the filming ourselves. As Yi Jian saliently observes in his review: “Not to get all ‘we live in a society’ on Letterboxd but I know a person or two in real life that would actually give anything to trade lives with Truman, it do be like that sometimes”. It indeed do, Yi Jian.

So it’s something of a cliché at this stage to point out how we are all living in some version of the The Truman Show, and you don’t have to be a member of the royal family to feel that way. Yet, somehow, the film has become even more pertinent over the last eighteen months. And it’s a pertinence reflected in the massive uptick in viewership for the film as seen in Letterboxd activity.

During the month of February 2020, the last moment of the Before Times, The Truman Show had a modest 1,235 diary entries. That number tripled in April of that year, by which time the seriousness of the pandemic had become clear. And by July, deep in the worst of the pandemic, Truman fervor peaked, with a further 178 percent leap over April’s numbers, firmly placing it in the top 200 films watched by our members in a year of lockdown. (By the way, ‘diary entries’ mean activity where the member has added a watched date; many thousands more also marked Truman as ‘watched’ in those dark months, but didn’t specify a date.)

It’s not difficult to imagine why we might become more interested in revisiting this eminently re-visitable film. During lockdown, social media—including Letterboxd—took on a greater presence in terms of how we communicated with each other. We got used to seeing footage of faces more than actual faces. We were all the stars of our own ‘Truman Show’, and simultaneously the audience of everyone else’s ‘Truman Show’.

Christian Torres boiled it down effectively when he wrote: “Now every movie I see seems to be related to my life in quarantine. I am Truman and I want to escape.” And Sonya Sandra eloquently captured the film’s increased contemporary significance in her review: “This is a real-life daylight horror film. The best kind. Even more relevant in 2021 than ever. We are all Truman, we all want to find what is real in our fake lives filled with media, capitalism and ideology. And it’s our job to fight the storm and get to the truth of it all. Nothing is real, everything is for profit, and everyone is selfish. Go out and find what is real, because it’s definitely not here.”

With its deft, dazzling blending of the profound and the humorous, the optimistic and the cynical, it’s difficult to think of anything released since The Truman Show that comes as close as it does to being a modern-day Frank Capra movie. It’s hopeful, but has its eyes wide open. There’s a darkness in the themes of the film that is never replicated in the colors on display.

While everyone involved delivers career-best work, we must principally credit the triumvirate of talent at the center of the film: director Peter Weir, screenwriter Andrew Niccol and star Jim Carrey.

Star Jim Carrey and director Peter Weir on the set of ‘The Truman Show’ (1998).

Weir is a director who inspires much online love whenever his name is mentioned, but he isn’t really mentioned all that often. Or at least as often as he should be. The Australian filmmaker has delivered masterpieces across multiple genres, and it’s extremely sad that he hasn’t directed a movie since 2010’s not-quite-true World War II drama The Way Back, arguably one of his lesser works. That’s also, insanely, one of only two movies he’s made since Truman, the other being Master and Commander: The Far Side of the World, the wide and rabid affection for which regularly kicks up on Twitter (not to mention demand for a sequel).

Weir doesn’t do many interviews, and while this 2018 Vanity Fair article marking Truman’s twentieth anniversary has many quotes about the film’s modern relevance, Weir doesn’t offer any commentary to that effect, presumably preferring to let the work speak for itself—though in this 1998 interview he did talk about the relationship between the media, the general public and the people we become fascinated with, as a “complex situation”.

The Vanity Fair article does, however, reveal a fascinating ‘what if’ scenario relating to Christof, the god-like director of the in-movie TV show played by Ed Harris, who offers up a pile of pretentious auteur clichés: mononymous, beret, etc. (beyond the whole god thing, that is). When Dennis Hopper, originally cast in the role, wasn’t working out, Weir considered playing the role himself, which would’ve added yet another meta layer. It brings to mind how George Miller styled Immortan Joe (played by Hugh Keays-Byrne) after himself in Mad Max: Fury Road, or how Christopher Nolan’s haircut shows up in most of his films.

Ed Harris as Christof in ‘The Truman Show’ (1998).

And, at one point, it could have gone mega-meta. Weir, in the 1998 interview, talked about a “crazy idea” he had, a technical impossibility back then but easily achievable with live-streaming now. “I would have loved to have had a video camera installed in every theater the film was to be seen [in]. At one point, the projectionist would … cut to the viewers in the cinema and then back to the movie. But I thought it was best to leave that idea untested.” Imagine.

Weir also played a role in helping to shape the originally much more overtly dark screenplay into the cheerier (on the surface at least) shooting script, which is solely credited to fellow antipodean, New Zealand-born Niccol, also a producer on the film. Both men have done the majority of their work in America, but it’s tempting to credit the film’s tone-perfect sense of heightened Americana to the degree of separation offered by their foreign provenance. In any case, it’s clear that open-air mall designers were paying attention.

Niccol’s original screenplay made his name in Hollywood, and revealed a storyteller excited by big ideas. He moved into directing with the smaller-scale Gattaca, released a year prior to Truman (itself delayed to meet Carrey’s availability). Niccol’s subsequent filmography includes several legit bangers (Lord of War hive step up!), and his endearing dedication to lofty allegories in a genre setting makes him an increasingly rare breed in Hollywood.

Like Weir, he is not the greatest fan of giving interviews, but the Vanity Fair piece quotes him making an interesting point: “When you know there is a camera, there is no reality,” thereby making Truman “the only genuine reality star.”

It’s a sentiment echoed by MusicMoviesMe, who writes that “‘Truman Show’ beats all other reality shows out there like Bachelors, Survivors and Kardashians. Come on, when you know there’s a camera at your tail, there’s no reality. So yes, Truman beats all reality shows out there bar none!”

The role was perfectly suited to Jim Carrey’s affected mannerisms, and his status as one of the world’s biggest stars meant he could relate to Truman more than most people. Then, at least. Nowadays, of course, we are all Truman.

“It is always incredible to see how far The Truman Show was ahead of [its] time,” observes The Closer79. “In a world where celebs are monitored 24/7 and we are showered with unnecessary private information on the web, where talent-free wannabes become famous and where you sometimes [wonder] what kind of surreal show society you are in—Truman and his fake show life cleverly have anticipated all of this. Only Truman knew nothing of his luck and he was granted an escape from his glass prison. We don’t really have this possibility… Aren’t we all Truman? Sometimes even voluntarily…”

Austin Burke concurs: “I have always known that I really enjoyed this film, but I had no clue that it would hold up so well years later… Could this be because the strange world that he finds himself in is far more similar to our world today? Possibly, but the idea and themes are so much more relevant now compared to when this originally released.” And while DallasFrance is conscious of piling on about the film’s prescience, his review highlights how there really is no limit to the film’s meta qualities:

“Instead of writing a review about how this film predicted social media, or how we’re all Truman, or yadda yadda yadda, I’ll instead fixate on the miraculous fact that two absolute legends were cast as primary viewers of the Truman Show:

1. The old lady from The Running Man who starts betting on Ben Richards (Arnold Schwarzenegger). ‘He’s one bad motherf*cker!’

2. The villain from The Karate Kid Part II:

‘Live or die, man?!’ ‘Die!’ ‘Wrong!’ *hooooonnnkkk*

I’ve never seen either of these actors in any other roles. With the second one, I felt like I was watching a character from my childhood watch a character from his childhood come to realizations about the characters in his childhood. So actually… the movie’s really about me.”

Never change, LB membership.

We are all generally pretty aware of how ahead of its time The Truman Show was, but that doesn’t lessen its impact. Maddie’s review shows that there’s always some new angle to consider: “Imagine being an extra in this movie… You would be an extra, playing an actor, playing an extra. Think about that long enough and tell me that doesn’t make you want to walk into the ocean.”

Kev goes even further: “Watching other people watch somebody else while also watching that person while also watching the person watching over that person is a great reminder that watching is weird, and to be watched is to not own yourself. Don’t watch, don’t try to be watched. Just live.”

Or perhaps Will encapsulates the film’s ability to present an ever-evolving message best, writing that, “clearly, this is video proof that we live in a simulation.” Beyond mere prescience, The Truman Show is a telling mirror to whatever era it is viewed in. Its message will continue to evolve.

Now that we’re finally (touch wood) emerging from the pandemic, it will be fascinating to see what The Truman Show has to say about its audience and the world they live in, in years to come. Rest assured, it will be well-documented by you, the Letterboxd audience.

Also: can Peter Weir please make another movie? Like, seriously.

Related content

A Meta-Reality: Robert’s list of layers of film in life and life in film

Follow Dom on Letterboxd

#the truman show #truman #peter weir #jim carrey #andrew niccol #letterboxd #lockdown #quarantine #coronavirus #pandemic #movies #comfort films #comedy #truman show

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x0401x · 4 years

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Animate Times Interview with Centimillimental

Discussing his journey so far and his love for this series, saying that he “felt something like fate” upon coming across “Given”! Interviewing Centimillimental, who did the theme songs and sound production of the summer anime “Given”.

The artist Centimillimental composed the opening of the TV anime “Given”, which aired in Fuji TV’s Noitamina and gathered a great amount of attention. Garnering comments about the sound production of the show’s band, Given, he released the opening theme “Kizuato” as a single on September 11!!

This is the debuting work of the solo unit Centimillimental, in which Atsushi-san does the vocals, keyboard, guitar and programming. In this article, which is surprisingly his first-ever interview, we shall introduce plenty of his journey until reaching this point and his thoughts regarding “Given”!

His current style was earned through “wanting to express joy and sorrow with music” as much as possible.

——Thank you for your time today!

This is actually my first time being interviewed (laughs). I will be in your care.

——Your first interview?! Please let us ask all kinds of questions. Firstly, could you tell us about the origins of Centimillimental?

Although it has the name Centimillimental, this is a solo unit. Rather than a singer and songwriter, I am more of a solo artist with a band stance. But it was originally a band. The band name remained just the way it was... that is all.

——What sort of band was it?

A four-piece one, with myself in charge of the vocals and keyboard. The band had a style close to pop, with a lead guitar, bass and drums, but the members pulled out one after another... Ultimately, I was the only one left. For that reason, people from the live concert houses were quite uneasy. Like, “Does the vocalist have a nasty personality or something?” (laughs).

——(Laughs) That is so not true.

Each one quit for their own reasons. But I had an obsession with the band, so I was like, “I’ll do this even if it’s just out of stubbornness” (laughs). And so, the band name stayed.

——Atsushi-san, what are the roots of your admiration for bands?

My root is Remioromen. I actually used to play classic music. I was so much of a classics boy that I would... turn off the TV whenever a music program was starting, but when (an insert song) “Konayuki” started playing in the drama “1 Liter no Namida”, which I watched back in fifth grade, it had an impact on me. Like, “So a singing voice can be this cool when it accompanies a melody”. From then on, I began looking up to bands.

——How did you handle classics from that point onward?

I continued playing for a long time, until I was around 20 years old. But then I was charmed by pop music and could no longer dedicate myself to classics (strainer laugh). I used to dream of becoming a pianist, but I felt that the mindsets of classics and pop were different, and then chose the way of pop.

——When you think about it now, what do you believe to have been the reason that a classics boy had his heart stolen by pop?

I had the feeling... that something more essential for my inspiration was set on fire, so to say. I think this something also exists for people who like classic, but in my case, I personally felt joy at the fact that “their singing voice is cool”, “their words pierce me”. So I was like, “This is what I actually prefer”. Also, I was drawn to the freedom of pop. The world of classics is devoted to music sheets, so in concourses, for example, it is important whether or not you can play true to the sheets, but I end up playing the way I want to on my own accord. Which is why the judges’ votes became worse year after year (bitter laugh). During this, there were also people who told me, “This is an insult”... But if I were in a world of originals where I could give birth to my own songs, wouldn’t my beliefs be justice? So I started to think that I was “the kind of person who wants to express himself freely”. To begin with, I have liked creating things since the distant past. I used to write stories of my own and making picture books with them in preschool, and from first grade on, I would be writing song compositions and poems. At any rate, I like creating things, so wouldn’t making them freely suit me better?

——So, if it is on the topic of “wanting to create things freely”, the way you are now is best, in a sense?

That is right (laughs). My degree of freedom has increased ever since I went solo. One of the reasons the band did not work was that my ideals and the image of my unshakable, inertial nature were very strong. I believe that so-called bands are supposed to get together in a studio and consolidate and gather up arrangements, but right as we formed ours, I would take the stance of writing down everyone’s parts and saying, “I want you to play this”. So I think that the current Centimillimental is what turned out from me doing everything I could, the place that I was supposed to reach.

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——Nowadays, you are in charge of all parts, right? Did you play instruments other than piano from the start?

That is not the case. When our guitarist left the band, I did not want the quality of our music to be reduced, so I thought about supplementing it somehow, then learned how to play guitar. Also, I had to put my heart into it, but I started studying bass and drums when the others left, wondering if I could cover for them. The fact that the members pulled out had an influence on it.

——How was it coming in contact with instruments besides the piano?

The structures are completely different. Bands are formed so that each person can compensate for the other. When it comes to the beauty of such arrangements, I came to feel them more keenly the more I delved into them. And then I started obsessing with the arrangements.

——After these twists and turns, did Centimillimental become in 2015 what it is now?

No, there were actually twists and turns from this point on too... There was once a time when the band became just the bassist and me. Back then, the band was not doing too well, so we decided to do a different unit. That was the band called “Nee, Wasurenaide Ne” (“Hey, Don’t Forget”). In the end, I mostly had to do it by myself, but doing things separately from the main activities gave me a high degree of freedom. And then people started finding us interesting and we gradually earned their praise. For me, that was extremely frustrating (laughs

——So it became a “sub”-like band.

That is right. And then I thought about quitting, so I applied for an audience as a commemoration for quitting, to make one last memory... but then the work I had applied won a Grand Prix. I was like, “No way!?”. This happened in summer 2015. And that was when the main and sub switched (laughs). And so, only the band’s original name remained. The label respects us in the sense that we “can make the music that we always wanted to”.

——What is the origin of the band name “Centimillimental”?

“Remioromen” is a coined word, so I looked up to a coined word in katakana. I personally like katakana. Plus, I like “sentimental” things. That sentimental feeling when you are going home after a fun day thinking, “Today was a good day” and it suddenly makes you feel lonely, or that sentimental mood from when you are purely sad... I believe that sentimental emotions regarding anything are something that we should nestle close to. I had this thinking that I want to express joy and sorrow with music, so while using “sentimental” as the pillar, I added the “milli” with the meaning of “not being too caught up with it”.

——Come to think of it, both “Given” and “Kizuato” are written in katakana.

I guess I have a connection with katakana (laughs). If the words are in kanji or in hiragana, doesn’t that change the appearance and interpretation of each? While katakana has a coldness to it, it doesn’t feel too sharp. I have the feeling that these kinds of words are interesting.

“Gender doesn’t matter when you’re in love with someone.” – He also has experience with composing music having a BL series as the impetus?!

——How did you feel when you received the proposal about “Given”?

It was the first tie-up of my life, so I turned into a mess of nervousness, uncertainty and expectations. But “Given” is a series about music and the theme is bands, which was something I looked up to. Moreover, rather than just the sparkle and shine of a band, it also focuses on sadness, the tremor from losing something... these delicate parts of it.

I think music has a close relationship with meetings and partings, so I felt happiness to be involved with a series that faces this directly. It was like something that was supposed to come at me had arrived, and at the same time, I felt something similar to destiny. That was my first impression.

——The sensible portrayal is one of the charms of this series, right? I read on the topic that this series was the first-ever BL comic that Noitamina has adapted into anime, and there is an indescribable appeal in the words “boys’ love”...

It allows you to smoothly immerse yourself into their worldview, right?

I have bought a BL manga in the past. In my middle school days, buying a book after looking at just the title was trending. At the time, what I took in my hands was a short story collection titled “Saigo no Sangatsu”. I thought at first, “I might’ve jumped into a terrible world!” but turns out it was a really good work...

Gender doesn’t matter when you love someone; it’s all the same. It was a really good work, so I was quick to wrote a song for it (laughs).

——That is a good story. By the way, did you use to watch anime back then?

I was not the type to watch anime in-depth. But what I thought to be odd was that, whenever you finish watching a series, doesn’t the way that you listen to the opening themes, ending themes and insert songs change?

Through the filter that is the series, the tone of the music changes, and the story stands out instead as the music overlaps with it... While watching, I would find myself thinking that this way of snuggling up to the music was interesting.

——What were your impressions when you read the original work of “Given”?

Kizu Natsuki-sensei’s focused viewpoint on pain is quite sharp. Her poetic depictions, which sometimes get you caught in them, are impactful and sensible. I thought it was a series that cherished words a lot. Since it is a manga, I think the art is the main point, of course, but I felt a literary beauty in it that resides not just in the drawings. It also felt close to the world of songs that I take part in, so I truly had the feeling that it was fate.

——So the image of the song came readily to you?

Right you are. That is where I arrived once I wrote down my own perspective of romantic love and the ways that people become involved with each other. The sense of suitability was incredible. That’s why I was able to write it so frankly, managed to say what I wanted to, and got close to the series. I feel that the compatibility was really good.

But of course, there were walls. I write even the arrangements by myself, so I had to make changes over and over, and I had never had any experiences with being the producer of a band before, so there were things I was not used to. Also, my main instrument is the piano, but there is no piano in the show. That’s why I had to delve into the guitar, so there I had a hard time sound-wise...

“I want it to be an important song for everyone from ‘Given’ too!”

——Can you tell us about your particularities regarding the sound of “Kizuato”?

For the anime size version, I purposely sealed away the piano and classic strings that I had been specializing in until now. For the whole song, in order to nestle closer to “Given”, I cherished the band’s scene, with a guitar, bass and drums.

——I felt a big meaning in the fact that it starts with a breath. Is it something that you gave importance to?

I like the sharpness of songs that start with the singing. That feeling of getting taken aback without thinking. Same goes for sighing - I feel that people’s emotions mount on their breathing. Through “the drawing of a breath”, you can sense a beauty and strength unique of vocal songs. For that reason, I cherished the breaths from the very start.

I also think that the breaths are very important in “Given”. For example, in the teaser trailer, the video ends with a breath, and in the PV, the scenes change with breaths too. That’s why I think it was good to be able to start the song like this.

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——I felt that the lyrics portrayed the sensible feelings of all four, starting with Mafuyu, but how was it made?

They are human beings, so I think there is definitely a part of their emotions somewhere that they can share. The loneliness and agony of losing something, the conflicts of loving someone... anyone has that. I looked for keywords that would connect everyone from “Given”, including me. For me and for all the characters that appear in “Given”, it could not be a lie...

——The “four seasons” bit in the lyrics was also a good keyword.

I think that is one of the main points of the series, and that this part of it can connect even within me.

——The words “I can hear it and it’s still real, so I’ll carry your heart in your place” from the latter half are extremely painful, but at the same time, it conveys resolve and determination. Were you conscious of the machinations of their hearts or something like that within the song?

I think it is wonderful when emotions get into motion as the song goes on. Aren’t there moments in everyday life where wounds heal little by little and changes of heart where we try to get back on our feet even if they do not heal? I like story-songs that head towards hope in this fashion. I also want everyone in “Given” to be happy. I gave importance to how they should head towards hope while sharing those wounds.

——The song changes dramatically after the aforementioned verse.

I finished it with a classic orchestra sound. That is one of the strong points of my music, so I had the desire to approach “Given” through it. If I sealed away my music too much and made it into just a “Given” song, it would feel like I was standing on formality. I am a person who gets hurt and even so lives on crying and laughing, just like them. I pieced together that part of the song because I wanted to convey this message.

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——So you let your uniqueness show in order to join hands with “Given”. Indeed, both with love and friendship, getting close to the other person is not all there is to it.

Right. That alone is not a connection, and you end up concluding that your own love is too deep... I believe there is a 50:50 beauty to it. Isn’t that what acknowledging one another and joining hands means?

“Kizuato” is my debut song and an important song for me. That’s why I also want it to be an important song for everyone from Given (the band). I thought about intersecting that. After thinking a lot, I managed to change the charm between the anime size and the full size.

At the beginning of the A-melody from the second chorus, I tried changing the rhythm, transforming it into an electro loop, and did all sorts of approaches. I hoped it would be wide-ranging as music.

——How did you feel when you watched the opening?

I was extremely moved. I had gathered with all the recording members to watch it, and everyone shared their joy too. It was a really good scene.

Having my own music playing in sync with an animation was my dream, so I was tremendously happy, and I felt like I had connected with the viewers who had the same feeling... I was truly overjoyed.

When I looked on Twitter, people had written up several opinions, making me go, “So there’s this many people enjoying my music”.

“It’s exactly because the desire to protect someone isn’t something simple that we feel uncertain.”

——Other than the OP, you also did the sound production of the band Given, so what impressions did you have from the production work?

I already liked production work to begin with. Until then, I had been doing producer-like things, such as arrangements for the musical compositions of artists around me, but this was my first time doing production as a job.

I mentioned Remioromen earlier, but I also looked up to Kobayashi Takeshi-san, who was Remioromen’s producer as well, so I had also wanted to work on production one day.

——Given’s debut single, “Maru Tsuke/Fuyu no Hanashi”, was released on September 18 2019. “Maru Tsuke” is also included in Centimillimeter’s single as a self-cover, but what kind of route did you take to complete this song?

To tell the truth, I had a song called “Maru Tsuke” for quite a long time. I already had its base form since 2015, so the song was in a state similar to an accompaniment material.

“Maru Tsuke” came into light during the meetings, and I didn’t think this song would have made it into the topic of discussions, so I was surprised. I was anxious at first, but when I tried facing it once again, there were so many fitting aspects to it that it even made me say, “So it can get this close to the series”. I felt like it connected with “Given” on a deep level, despite not having written that song for it.

——Holding someone dear, becoming a coward because of it, shouldering all sorts of feelings, and continuing to live in spite of that... What you talk about in “Maru Tsuke” might be things that everyone thinks.

The moment you start loving someone, you feel fear at the same time and become fragile. It’s exactly because the desire to protect someone isn’t something simple that we feel uncertain, and there is not only light to it, but I think loving someone is something beautiful. I get the sense that this swirling feeling itself is beautiful. That is what I threw into the song, and it was also one of the themes of “Given”. The fact that I managed to connect them goes without saying, but it’s like being told that I wasn’t mistaken about the things I gave importance to, which made me happy. In order to connect even better, I reconstructed the sound making and structure one more time, aiming for higher heights as a composition for “Given”.

——What were you conscious of for the direction?

Yano Shougo-san (the voice of Mafuyu) is a workaholic, so he sings all sorts of songs, but I thought there was a difference between songs sung by band vocalists and songs sung by voice actors. So I figured that it would be good if I could share with him the methods of band vocalists and band sounds in my own way, thus I have him that kind of direction.

I was also very conscious of “conveying words”. I believe that the author, Kizu Natsuki-sensei (who is also a producer of Given), also cherished words a lot. I think this also reflects on the songs.

——Was there anything you felt when you actually conducted the production?

First of all, I was extremely happy that a song I made was sung. It was expressed in a way that I myself couldn’t do, and even if the emotions are the same, the way people view it changes depending on who’s singing. Seeing it hand-in-hand with the series, spreading up just like that and growing bigger made me happy.

——The other song, “Fuyu no Hanashi”, played during the show in episode nine.

From the very beginning, there was already a song titled “Fuyu no Hanashi” in the drama CD, but this song began from me creating a new “Fuyu no Hanashi”. “Fuyu no Hanashi” already existed for the fans, so I saw plenty of everyone’s love for it on Twitter and such, and also how it comes close to their daily lives. I dreaded painting over it, but... I believed it was fate that I had received this proposal, so I thought, “I’m going to do all I can”. While there was pressure, there was also joy, so it was a strange feeling.

To tell the truth, when I received the proposal for “Given”, the offer for “Fuyu no Hanashi” came first-thing. That’s why I actually started the production from there. Afterward, I received proposals for the session track that plays in the middle of the show and for the theme songs... That is how it went.

——Was that so?! The seed, the piece that would give you most pressure came first, so to say.

That’s right. But for me, this was a comfortable wall. I worked on it while thinking that, if I could make many people happy with it, then it would be a big step for me.

——What kind of feelings did you put into it?

I figured it would probably be used for the live concert scene in the middle of the show, so I read the scene and imagined the concert over and over. In the drama CD, it could only be portrayed with sounds and voices, so I think they probably gave importance to how they would insert the monologues into the lyrics. In the anime’s case, there would be an animation accompanying the song, so I reflected on what the “Fuyu no Hanashi” that I could compose was. Like a shout for a person who has been lost... It’s a requiem, but also a follow-up of one’s true intentions... I wanted to treasure those messed-up feelings. Also, I thought it was a song that had been preciously loved until then, so I had a strong sense of duty not to ruin this.

Being involved with “Given” changed his life!!

——Could you also tell us about the track “Sessions” (The Seasons) that plays during the show?

I received the proposal for this one after “Fuyu no Hanashi”. “There’s a scene in the show that goes like this, so if you’d like, couldn’t you make a track for it,” they asked.

I had never made an actual instrumental band track. Counting the fact that three pieces had already been decided for the story, it was quite a pressure on me.

When I actually watched the scene where they are performing it in the anime, my spirits went right up. Like, “So this is how the band will go”. The sensation that oozed from my hands and spread into me felt truly good.

——Lastly, Atsushi-san, could you tell us... about the things you have realized and earned through the music production of “Given”?

It’s a series that has several places where everyone can join hands. I think that is exactly why so many fans love this work.

Being involved with “Given” has changed my notions of life, and I feel that it was a huge feat, if only for my musical life. I am filled to the brim with happy feelings for being part of it.

——Thank you very much for telling us so many things today.

#given #dailygiven #givendaily #fyeahgiven #given anime #satou mafuyu #uenoyama ritsuka #nakayama haruki #kaji akihiko #centimillimental #interview #animate times #my translation

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birds-and-boys · 3 years

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Adolescent Identity in Aristotle and Dante Discover the Secrets of the Universe

The Young Adult genre of literature has witnessed quite the popularity boom since the turn of the 21st century. As more teenagers find themselves fascinated with reading about characters that share similarities to them, more authors are finding ways to create accurate representation of diverse communities (Warrior Cats is a whole different story). Aristotle and Dante Discover the Secrets of the Universe is a novel centered around two queer Mexican American teenagers navigating the world around them while simultaneously trying to understand who they are. The story highlights the significance of identity in the psychological development of adolescents, illustrated through nationality, sexual orientation, and gender roles.

The top row of photos follows the idea of adolescent development. The photo in the top left shows a starry night in the desert, a picturesque scene that Ari enjoyed viewing quite often. Anytime he wanted to clear his mind, the stars would provide an escape. This represents Ari’s psychological development of his independence. He goes out of his way to ensure his autonomy, often jokingly referring to his mother as a fascist. Driving out to the desert and staring at the sky was method of self-reliance he could always depend on. As Laurence Steinberg and Susan B. Silverberg found in their study, The Vicissitudes of Autonomy in Early Adolescence, “Studies in the development of self-reliance… indicate that this aspect of autonomy increases steadily as youngsters move from the preadolescent to the late adolescent years” (p. 843). Saenz wrote Ari as a young boy fascinated with having a life that was his own to live, which is a very common pattern of thinking and behaving for teenagers. The picture in the top right is indicative of this development too, representing Ari’s use of silence as a coping mechanism. In one of his first conversations with Dante after the surgery, Ari says “Rule number one: We won’t talk about the accident. Not Ever” (p. 128). Ari chose to let the traumatic car accident live and fester inside him, reverting to silence in order to get by. Later in the story, we see a continuation of his development as he begins to open up more, eventually coming to terms with his identity and love for Dante. The center photo in the first row illustrates Ari’s constant questioning of masculinity and what ‘makes’ a man. This is evident in one of the earlier scenes in the story, when Ari overhears boys at the public pool make misogynistic comments about a woman lifeguard on duty. Gee, Allen, and Clinton found in their study, Language, Class, and Identity: Teenager Fashioning Themselves Through Language, that not only is language incredibly significant for adolescent development, but the language certain teens use is associated with the ‘type’ of person they are, much like how Ari feels as though the boys at the pool are a different ‘type’ of masculine.

The second row of photos revolves around Ari’s identity-forming through the people around him. The first photo in particular represents Ari and Dante’s Mexican American nationality. Ari seems to rarely question ‘how Mexican he is’, while Dante, on the other hand, actively tries to distance himself from his heritage. His fluency in Spanish and his understanding of Mexican culture is limited compared to Ari’s. Adolescent development does not only consist of forming an identity we like, but it also includes pushing out the parts of us we are unfamiliar or uncomfortable with. This conclusion is also reached in the third photo. This represents Ari’s imprisoned older brother who he knows little about for most his adolescence. While Ari wishes that he had been a more present figure in his life, he also knows that he does not want to go down the same path. His own identity conflicts for a moment: his love for Dante versus his brother’s crime against a transgender woman. The center photo depicts the activities that Ari and Dante’s parents – or more specifically, fathers – partake in together. It symbolizes the differences between the two. Ari’s father is reserved and stoic, while Dante’s is talkative and doting. Ari constantly compares the two as he tries to navigate the choppy waters of masculinity. Saenz writes, “I wondered what that would be like, to walk into a room and kiss my father” (p. 26). Ari is confronted with two contrasting versions of fatherly love and affection, and throughout the story we see him figure out his tolerated level of affection and silence from father figures.

The third row of photos highlights the part of Ari’s identity that focuses on sexual orientation and softness. The first photo represents his mother, who kept in constant communication with her sister, even after the rest of the family shunned her for being lesbian. The audience can tell that finding out about this has a significant impact on Ari. It simultaneously encourages and discourages him to come out. While he can be comforted with the notion that his parents would accept him, he was reminded of the way queer people were treated, not just by strangers, but also by family. The second photo represents one of the largest plot points of the story: Ari and Dante falling in love, or rather, falling in love and coming to terms with it. While Ari’s affection is obvious for the audience, it isn’t until the final pages when he himself understands that he likes Dante. Dante himself isn’t without his own struggles, he admits to Ari that he’s worried his parents won’t be happy about his identity because he wouldn’t be able to give them biological grandchildren. Angel Daniel Matos describes this phenomenon is his article, “A Narrative of a Future Past”, pointing out that “Because of this blame placed on queer people and communities, the engagement in practices that pressure reproductive logics is framed as non-normative…” (p. 35). Dante is not alone in his feelings of guilt, as Saenz likely understood from being gay himself. The last photo represents Ari’s initial uneasiness with crying and emotion. While he chalks it up to feeling emasculating, it seems to stem deeper than that. He likely associates a lack of masculinity with being queer and is in denial of both things. Dante, on the other hand, cries often and a lot. He is unashamed about showing emotion and it sometimes proved to be unnerving for Ari.

This novel contains healthy representation for queer and Latinx teenagers, while also accurately following the psychological development of identities amongst adolescents. This book was released around the time that most of my peers were coming to terms with their sexualities. I’ve had multiple conversations with Latinx queer friends, with some telling me that this story helped them accept their identity. This narrative is important, it provides young teenagers the reminder that growing up isn’t easy and self-discovery won’t be as magical as people say it will be, but when you allow yourself to love wholeheartedly, you become free. Aristotle and Dante Discover the Secrets of the Universe shows that there’s a lot more to the identity-forming of teenagers that can conflict and tangle together but gives hope that it can all come together in the end.

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References

Gee, James Paul, et al. “Language, Class, and Identity: Teenagers Fashioning Themselves Through Language.” Linguistics and Education, vol. 12, no. 2, 2001, pp. 175–194., doi:10.1016/s0898-5898(00)00045-0.

Matos, Angel Daniel. “A Narrative of a Future Past: Historical Authenticity, Ethics, and Queer Latinx Futurity in Aristotle and Dante Discover the Secrets of the Universe.” Children's Literature, vol. 47, no. 1, 2019, pp. 30–56., doi:10.1353/chl.2019.0003.

Sáenz Benjamin Alire. Aristotle and Dante Discover the Secrets of the Universe. Simon & Schuster BFYR, 2012.

Steinberg, Laurence, and Susan B. Silverberg. “The Vicissitudes of Autonomy in Early Adolescence.” Child Development, vol. 57, no. 4, 1986, p. 841., doi:10.2307/1130361.

#ari and dante #adolescense #lgbtplus #literally the best book in the entire universe methinks #ya #queermedia #aristotle and dante discover the secrets of the universe

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adamwatchesmovies · 3 years

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The Best of 2020

Better late, than never. I enjoy seeing other people’s top-10 lists and I said I’d do one for 2020, so here we go. I haven’t had the chance to watch EVERYTHING I wanted to, but you’ve got to pull the trigger at some point. When the Academy Awards took place on Sunday, I felt like I hadn’t seen ANYTHING nominated but I could remember dozens of times where I felt like I wasted my precious minutes with cinematic detritus. I assumed putting this list together would be easy. It wasn’t. I’ve got a lot of runner ups but for now, here are my Top 10 “Best” (by which I kind of mean my favorite) movies of 2020:

10. Never Rarely Sometimes Always

Never Rarely Sometimes Always gave me a lot to think about. On the surface, it's about a teenager who has to travel outside of her hometown to get an abortion, but it could've been any kind of procedure she's uncomfortable (or unable) asking her parents for. It's about the lengths she has to go to when her main source of support is cut off. You feel uneasy throughout, wondering what lengths the girls will have to resort through and whether something horrible is just around the corner. For this reason, I think many parents would find the film enriching.

9. Mank

I haven’t posted my review of Mank yet - just haven't had the time so consider my star rating for it "spoiled". If you don't know, it's about Herman J. Mankiewicz (Gary Oldman) and the time he wrote Citizen Kane for Orson Welles. I can’t call Citizen Kane one of my favorite films, but I do often think of it. The story, the characters, specific shots, the overall look, etc. Every time I revisit it in my memory, my appreciation for it grows and in a way, Mank helps complete my relationship with the film. For that reason, I foresee myself revisiting Mank in the future - probably as part of a double-bill. I’d love to see it enough times to memorize some of Gary Oldman’s best lines.

8. One Night in Miami

One Night in Miami addresses the present while being set in the past but something about it clicked with me more than Ma Rainey’s Black Bottom. It's essentially a series of long conversations, the kinds that force you to really examine tough questions and see these legendary figures as normal people. Unlike Mank, it isn't so much the individual lines that stand out, it's more the vibes you get from the exchanges. Out of all the movies on this list, it's probably got the best ensemble cast.

7. Sound of Metal

I'm sure you've seen that clip from Un Chien Andalou where an eye gets sliced with a razor? It gives me the willies just thinking about it because if I were blind I wouldn't be able to watch movies or draw. In Sound of Metal, we're dealing with a career cut short because of deafness but the dots are easy to connect. I immediately connected with this movie, which made its ending feel like a punch in the gut.

6. Tenet

I keep telling myself that I won’t love a movie Christopher Nolan directs just because his name is attached to it. Hopefully, this doesn't make me a fanboy, despite my falling for pretty much everything he's released. I love how ambitious Tenet is. The plot is so complicated but then again it isn't because once you're able to grok the mechanics of its reverse-entropy technology, you'll probably figure out most of the plot's mysteries. For me, that was the fun part. It felt good to see my understanding of the story and theories confirmed. I'll be watching it again once groups can gather so my friends and I can discuss everything in detail.

5. Trial of the Chicago Seven

I know The Trial of the Chicago Seven fudges history in ways certain people would say is irredeemable but I never go into a film “based on true events” assuming liberties won’t be taken. At the end of the day, I care about being entertained. My enjoyment was also amplified by the fact that I didn't know what the verdicts would be - my American history is spotty, at best. It's got laughs, outrage, drama, and inspirational moments. Aside from romance, you've got pretty much all the bases covered.

4. Palm Springs

Out of all the pleasant surprises of 2020, Palm Springs was the biggest. I thought the Groundhog Day thing was played out and the 0-star-worthy Love Wedding Repeat did nothing to convince me otherwise. Then, this movie comes along and does everything you want in one of those movies, and then some. Not only did Palm Springs give me the romantic comedy I'd been craving for (feels like we haven't gotten a good one since "Crazy Rich Asians" it also examines what love and relationships mean through smartly written metaphors.

3. Possessor

No, I didn’t put this movie on the list just because it’s Canadian; Possessor is on this list because it’s the most unsettling movie of 2020. I mean that in a good way. I've already talked about how unsettling the premise is but it's also the execution. Those bizarre “dream” scenes with the different identities merging in unnatural ways is unforgettable. That mask of Tasya's face, half-melted is already creepy enough, when worn by Christopher Abbott as he re-enacts her memories is just so weird it makes you wonder if you’re actually seeing what you’re seeing, or if you’re going mad. Then, there's that shot with the fingers at the end! Makes me wince just thinking about it.

2. Soul

During the Oscars, I get a little mad at Pixar. They effortlessly churn out these masterpieces that mean no other studio has a chance of winning an Academy Award for the Best Animated Film category. It makes me wonder if the voters even bother to watch the competition but I don't think anyone could argue against Soul. It's among their best films. It’s gorgeous, profound, and modern without showcasing any issues that might flush your day down the toilet.

Runner-Ups:

Enola Holmes

I never believed Enola Holmes would end up on my "Best of the Year" list but this movie is a lot of fun. If you haven't seen it yet, you should. Just wanted to remind you.

Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn) I was disappointed when audiences didn’t seem interested in Birds of Prey. Seeing Margot Robbie go all-out and given a script that actually makes good use of her character was lots of fun. I also found it refreshing to see a superhero movie (not really, but kind of) that didn’t involve a plot to destroy the world, upheaval all of civilization, or shoot a giant beam into the sky. I think this is one people will discover down the line and go “why didn’t I go see this in theaters when it was playing?”

Borat Subsequent Moviefilm I’m not 100% in love with Borat 2 but boy am I looking forward to showing it to people who have no idea what’s coming. That scene with Rudy Guliani might not have the same impact down the line as it did when I first saw this sequel, but that’s ok. It’ll still have you picking your jaw off the floor.

Nomadland It’s a great movie and I might’ve put it on my list of the best… but I just don’t see myself watching this one again anytime soon. Great movie though. It deserves every accolade you see directed towards it. Chloé Zhao is shaping up to be a major talent. While before I might’ve said “Eternals who?” Now, I’m excited.

The Vast of Night Until I saw Possessor, this was my favorite horror film of 2020. I love the way this movie does so much without showing anything. It’s all about letting your imagination do the work.

Hamilton I’m still unsure how I feel about the casting in Hamilton. Everyone does a terrific job. I understand why actors of color were chosen to portray the historical figures we meet during this story. It still doesn't sit 100% comfortable with me. Then again, who can argue with those results? I’ve seen the movie twice and the songs are still playing in my head.

1. Promising Young Woman

I only had so much before this post went up. Enough for one more movie. It was a tossup between The Father, Judas and the Black Messiah, and Promising Young Woman. As you can imagine, I’m pretty satisfied with the choice I made. Writer/director Emerald Fennell takes the rape-revenge genre and reshapes it into something that feels completely new. Like many of the other films on this list, it also feels relevant to what’s going on today. There are many reasons why I could’ve given it this slot. The writing, the performances, the way it puts your stomach in knots as you wonder what’s going to happen next, the pitch-perfect ending… but I’m going to pick a more personal reason. I try to look at films as snapshots of when they were made. There’s a part of me that winces when I look at Gone with the Wind but I’m also able to take a step back and say “but other than that…” and then just enjoy the movie. In Promising Young Woman, the past is confronted in a way that made me pause and think about two movies on my shelf: Wedding Crashers and American Pie. The Vince Vaughn/Owen Wilson comedy, in particular, has a lot of questionable bits of comedy, bits made even more eyebrow-raising by the fact that it isn't an "old" movie whose entire cast is now dead. Let’s just say that when a movie makes me go “This movie is replacing X”, makes me think this hard about things, and does everything else you want in a thriller… it’ll stick in your head for a long time. That's why I'm calling it the best/my favorite movie of the year.

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