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blackaquokat · 7 years

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Kat’s Been Tagged!

rules: answer the questions in a new post and tag 10 blogs you would like to get to know better.

tagged by: My Rogue Bending crew @wearetakingthehobbitstogallifrey @rhaegina ! Thanks guys! I miss you!

a - age: 20

b - birthplace: Laurel, Mississippi

c - current time: 10:39 PM Eastern time

d - drink you last had: Water, but Pepsie before that

e - easiest person to talk to: My sister, Wolf

f - favorite song: How much time do you have? Well, right now, I have Marionette by Flyleaf on repeat, and the Hamilton soundtrack is always there. My favorite Hamilton tune is Burn.

g - grossest memory: I would have to say any time I have to dump rotten fruit and vegetable somewhere for our chickens to eat. The juice gets all over me.

h - horror yes or horror no: It depends on the horror. I tend to avoid spiritism stuff, but I love the FNAF franchise. I love the Alien franchise too. I only do horror games though with Markiplier and Jacksepticeye or Cryaotic as a filter.

i - in love?: Nope, aside from fictional characters. I’ve had exactly one genuine crush in my life.

j - jealous of people?: Everyone gets jealous sometimes. I just ignore it, or deal with it when I’m alone because it’s not healthy.

l - love at first sight or should I walk by again?: I don’t believe in love at first sight, not really. Aside from Secondhand Lions. I believe in love growing from friendships and time.

m - middle name: My tumblr nickname is a shortened version of my middle name.

n - number of siblings: Two. An older brother and younger sister.

o - one wish: To finish at least one of my longterm fanfictions, PLEASE.

p - person you called last: My mom.

q - question you are always asked: Why don’t you celebrate birthdays?

r - reason to smile: The fact that Leverage exists, a show that exists solely to make people happy.

s - song you last sang: I was singing verses of Room Where it Happens and Satisfied at work.

t - time you woke up: I woke at around 6 something this morning, but didn’t get out of bed ‘til, like, 9.

u - underwear color: My fave color: where no one can see

v - vacation destination: Geira. Alaska, the UK, or Hawaii, or even New Zealand.

w - worst habit: Don’t always watch what I say.

x - x-rays: When I was in a car accident in which my only injury was when my iPad smacked my cheek, leaving me a goose egg bruise. I was reading a fanfiction at the time of the accident (an early version of Scars by reulte, a Clone Wars fanfic, if anyone’s wondering; it’s one of the greatest fanfics I’ve ever read). The doctor said, when it turned out none of the bones were broken, that I now had proof that my face is stronger than an iPad.

y - your favorite food: Chocolate, pita bread from my uncles’ bakery, pasta.

z - zodiac sign: Taurus

Tagging: @nyxetoile , @gwendolynnby , @forcesensitiveaurawielder , @fogisbeautiful , @shakespeareanhoneybadgers , @mercwithamouth , @aggie2011whoop , @giveshangchihisownshow , @wintermoth , and @bebeocho

#kat gets tagged totally optional

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oumakokichi · 7 years

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Hello again! i also wanted to ask what do you think of Celeste's character overall

I honestly really enjoy hercharacter! Celes is fun—her unrepentant selfishness is perhaps one of thethings I find the most fun about her, actually.

While I wish that her actualmurder plan had been done better in Chapter 3, her breakdown in the trial wasan absolute blast to see the first time around. It’s always been a little bitof a disappointment that the character in dr1 who spent the most time hyping uptheir ability to act and lie impeccably actually had the easiest-to-solve caseout of the whole game, but her reactions during the trial still served to makeher one of the most memorable culprits. My personal liking for Celes is still whyI’d probably rank dr1 Chapter 3 over Chapter 3 in either sdr2 or ndrv3.

Part of the appeal of hercharacter on a reread really is the fact that she’s not nearly as good of a liaras she makes herself out to be. She’s neither a flawless strategist and expertliar capable of pulling off a genius plan (because to be honest, her plan wasjust… bad) nor a poor, lonely child who had good intentions but was just toounskilled at befriending others. Rather, she’s scared—much more scared than she lets on. And this fear of hers is interestingbecause while it’s always just there under the surface, ready to boil overwhenever Celes talks about how much she’s “accepted” living in the schoolpeacefully, it’s never something we’re supposed to sympathize with.

Celes is pretty undeniably oneof the most unsympathetic culprits in any DR game. And again, I find thathighly enjoyable. What she did, she did for straightforward, selfishmotivations. She wanted money, shewanted to live out a dream of being waited on hand and foot by attractivebutlers, she wanted to think of herself as elegant and refined and a geniusliar with an unending winning streak. She likes to think quite highly ofherself, but most of her motivations can be summarized as “selfish highschooler with a bad case of chuunibyou.”

Even the reveal at the end ofthe Chapter 3 trial, where we learn that Taeko Yasuhiro grew up in a fairlyunrefined/poor background, doesn’t really serve to make her sympathetic. Rather,the fact that her only motivating factor for putting on the façade she does isthat she’s kind of embarrassed about being poor and not having as elegant andinteresting of a backstory as she’d like is just… pretty hilarious, actually. Shewillingly kills two people for monetary gain, and admits unapologetically thatshe’s pretty much been biding her time and waiting for this opportunity eversince the killing game began.

There were never anyattachments or emotional bonds keeping Celes back from acting on her plan theentire time in dr1. Rather, it was simply a matter of trying to gauge when andwhere would be the best time to strike, who would be the easiest targets tolure in, and whether or not killing anyone would actually net her anything outof it. If the motive hadn’t been nearly as promising towards fulfilling herdream, she likely would have just waited until a “better” motive came along.

In the meantime, the fact thatCeles was harboring such a desperate urge to get back to the outside worldwhile being the most willing to suggest they “live peacefully” within theschool is extremely fun. Where the fear and desperation is much easier to see inmost characters fairly early on (like Maizono, for example), Celes’ strategy oftrying to lower everyone’s guards by acting as if she was totally adjusted totheir current situation and acting as if “this is just the way things are goingto be from now on” was really interesting.

The part in her breakdown whereNaegi and the others bring up how seemingly well-adjusted to their school lifeshe had been and she quite literally screams that that was so obviously a liewas one of the most fun parts in the entire Chapter 3 trial (in my opinion,anyway). Unlike characters like Ouma or Junko, and even Kirigiri, who truly dowear facades so much that they become almost indistinguishable from their realfeelings, Celes was never as skilled at lying either to others or herself asshe pretended to be.

When forced into a corner andput into a situation where the odds aren’t promising at all, Celes shows such adrastic distinction between her usual behavior and the sort of screaming,swearing, losing-her-cool behavior she starts throwing out left and right atthe trial. Even when she and the rest of the students know that just blindlyyelling and trying to act intimidating won’t actually change anyone’s mindsabout her being the culprit, it’s the last recourse of a scared, selfish personwho doesn’t want to die and can’t stand the fact that she was caught in theact.

Very similar to Ruruka, Celesis someone who I don’t doubt can occasionally have company she’s fond of orprefers, but is ultimately someone who’s always going to prioritize herself andher own wants and needs first. When push comes to shove, she’s going to trygetting what she wants, doing things to save her own ass, and never lettinganyone or anything hold her back. She’s not afraid to play up any routine oract, be it refined, elegant, and composed, or scared, shaking damsel indistress, but always under the surface she’s very cold, ruthless, and willingto sacrifice others for anything that would benefit herself.

She’s so enamored with the ideaof herself being “special” or “different” from the rest that that’s one reasonher execution has always been a favorite of mine. Unlike many executionsengineered to be as slow and torturous as possible, the fun of Celes’ executionis that it’s a sort of subversion on these things. It starts out in the mostideal way for someone like Celes possible: she seems like she’s going to get togo out exactly as she would’ve wanted, looking like a real witch, sufferingcalmly through an elegant burning at the stake.

But that’s not what would causedespair to someone like Celes. Despair is the realization on her face when thefiretruck comes hurtling at her and smashes that elegant and refined atmosphereto pieces. Having an execution that’s brought to an end abruptly, brutally, andwithout anything “elegant” about it in the least, is exactly what she wantedthe least. And that’s something Junko clearly knew, and her execution is soobviously tailored to make her horrified and despair at the very last minute.

Celes is the first real glimpseof a sort of unrepentant, selfishly motivated culprit we get in the entirefranchise, and I think that’s part of why she sticks around and makes such animpression on the fanbase even now. The fact that she has a great design, a funexecution, and a memorable breakdown at the trial has contributed to hergetting lots of fanart even nowadays. She’s a fan favorite ever since the gamelaunched, I’m pretty sure; even when other people were disappointed at how easyChapter 3 was to solve, it was still fun,and that’s what really contributed to it being impossible to hate Celes.

This is my take on her, anyway!She’s honestly entertaining as an antagonist, a sort of mid-boss if you willsince Junko is the even biggerunsympathetic figure of dr1. I really love Celes and I haven’t had a chance totalk about her much in-depth, so thank you for asking! Thank you for stoppingby!

#dangan ronpa #danganronpa #celestia ludenberg #celes ludenberg #taeko yasuhiro #my meta #okay to reblog #it's really fun to get questions on some of the characters from other dr games sometimes!#arisjonesb

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helloworlddemo1122-yahoopar-blog · 6 years

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How Benjamin Percy’s ‘Wolverine: The Long Night’ Is a Revolution for Marvel (Exclusive)

As far as podcasts go, Wolverine: The Long Night is quite the ambitious one.

Not only is it the first scripted podcast from Marvel, it’s also the first of its kind, in that no other major media brand has stepped into the fertile grounds of the podcasting world yet. Plus, this is a new version of Logan we’re seeing, not Hugh Jackman’s big-screen take or recent comic book iterations, but an even darker look into his psyche that steers us closer to his roots -- which is all writer Benjamin Percy wants.

"I grew up on Wolverine. He's one of my favorite comic book heroes, and I've long dreamed of writing that character. I never imagined it would be in this medium, though. That's the thing that excited me the most; Podcasting is a wild West of sorts, and this felt like a way to not only reach a new audience but break the character wide open again," Percy says.

"I've always felt a connection to Wolverine, in particular in the wildness and the way that he was apart from society and even apart from other mutants," he adds, noting he grew up on the woods of Oregon with "back to the land" parents.

It makes sense that an established writer like Percy would be able to bring such depth to Logan, but it’s his personal relationship to the character and franchise that really makes the podcast feel special. He's been reading comics since he was four, having first been introduced to Wolverine, like so many of us, in X-Men. The fan-favorite superhero, who was once part of a military program that made his body nearly impenetrable, giving him the ability to heal and regenerate, made his first appearance in 1974. "He has been in the spotlight so long that there's a danger of growing too familiar," Percy explains. "He is a loner and someone who should be feared, and I wanted to relegate him to the shadows once more, have a more fearful mythology surround him."

Arnab Chakladar

Available on Stitcher, Wolverine: The Long Night tells the story of FBI agents Sally Pierce (Celia Keenan-Bolger) and Tad Marshall (Ato Essandoh) investigating mysterious deaths in Burns, Alaska. Though townsfolk are convinced that a serial killer is to blame, the detectives believe the crimes were committed at the hands of a mutant. The moody thriller feels more S-Town than comic book, and our point of view is that of the agents, not Wolverine (Richard Armitage), who appears, at first, through flashbacks and phone calls. Though it’s a new format for the comic giant, it is still very much Marvel, complete with incredible sound design. "It has a lot of high-octane, adrenaline-soaked thriller elements that you'd expect, and it's also a very mood-driven, character-driven story," Percy says. "It's kind of occupying -- I hope, anyway -- the borderlands of literary and genre."

Percy is a known name in the comic book world, having taken on DC Comics' Green Arrow and Teen Titans and, soon, Darkwing, though his writing goes beyond that genre. A former professor who taught at the prestigious University of Iowa's writers' workshop, he's written for magazines like Esquire and GQ, sold screenplays to Fox and Starz and completed four novels, two short story collections and a nonfiction book on genre fiction writing. When speaking with him, it,s hard to imagine when he has time to do anything but write, but he voraciously consumes pop culture and seems to have read or listened to everything, casually referencing Alice Munro, Stephen King and This American Life in the span of about two minutes.

"I'm a narrative junky. I might be reaching for a magazine while I'm waiting in the car wash. I might be streaming a podcast while I'm going down the interstate. I might be watching Netflix as I run on the treadmill. I might be cracking open a novel in bed. If I don't get my daily fix, I get a little jittery and feel hollowed out," he admits. "I started off as a literary guy and shrugged that off and went full genre. Now I play with my imaginary friends at the keyboard."

Fans were a little frustrated when Wolverine wasn’t front and center when the podcast initially kicked off, but audiences will get plenty of the mutant in the finale, which is available May 7, and Percy believes the wait was worth it: "There's something to be said about withholding some information."

"A common rule in novels is that your most interesting character is not your point-of-view character. Look at Moby Dick, look at The Great Gatsby; Ishmael is narrating or Nick is narrating. If you look at The Cider House Rules, Homer Higgins is telling the story, but the Doctor was the most interesting character. On and on and on I can go," he says. "I thought it was that much more appropriate if we were hunting for this character [Wolvering] who has lost his way, who fits right in in the Alaskan wilderness, because this is a place of rogues and misfits. This a place people go to escape, where there are survivalists and religious extremists and people who want to fall off the grid.”

Since Wolverine is often forced into team situations in films, Percy focused on the fact that the character is very much the opposite of that. "I wanted to write a story that was about man in the wild and the wild in man and really put the microscope to Wolverine’s character," he explains.

Percy clearly has a love for genre narratives, and it comes out in the podcast's tone, as the story mixes together Twin Peaks, True Detective and S-Town in an unraveling mystery.Whilel writing, Percy considered Chris Claremont and Frank Miller's Wolverine runs, as well as Jason Aaron's and Greg Rucka’s turns, but he also built in influences from Unforgiven, the film in which Clint Eastwood’s character has a history of violence he is trying to escape and, yes, HBO’s anthology crime drama. Percy was fascinated by Matthew McConaughey and Woody Harrelson’s True Detective season one characters, "the odd couple at the heart of it," who brilliantly played off one another and the drama's narrative unreliability.

"If you're watching something in True Detective, you know it's true, where when somebody is telling you something, it's often times a lie. I like the idea and binding that together with shows like S-Town or Serial, with that interrogative format," Percy says.

In fact, that inspiration is precisely what Essandoh used to bring his FBI agent to life. "Definitely, the True Detective feel of the relationship between agents Pierce and Marshall was where I tried to lock in [character references]," the actor says, while complimenting Percy's dynamic writing. "The script was so fully realized in depth and scope. All the characters drive the story at all times."

Percy notes that going back and forth in time, another key element of the HBO series, was what allowed him to play with multiple genres. "This goes back to one of those things that excites me about writing a podcast -- we were kind of inventing the rules as we went along," he says. "Everybody knows what makes for a good screenplay. Everybody knows what makes for a good comic script, but the rules are still being invented when it comes to podcasts and how to best tell the story."

Even Essandoh admits that taking the leap into podcast acting wasn't the easiest transition. "It was a bit disconcerting at first, because there's no camera, but once I learned to treat the microphone as if it were a camera, I was good to go," he recalls.

It's impressive that Marvel has allowed its characters to be taken into the relatively young realm known as podcasts. Though the format has been around for more than a decade, it is constantly being reinvented and redefined as it makes its way through those awkward teenage years to find itself.

"I know that podcasts have sometimes been viewed in the past as a punky upstart, [especially] when it comes to the way they relay narrative," Percy says. "I think it should excite everyone to see a big dog like Marvel getting into the ring. It's just elevating the forum. I think Marvel should be applauded, especially for their open-mindedness about the delivery of the Wolverine narrative and that they really encourage creative freedom. I expected a lot of pushback when I framed the story in the way that I did, pushing Wolverine a little bit to the background at first, but they’d been completely encouraging of new techniques and new approaches to the character all throughout."

And to Marvel and Percy's credit, fans have been listening. "It's just been pure pleasure from first draft to final cut," he says. RELATED CONTENT:

'Avengers 4' Prediction: [SPOILER] Might Be the Key to the Future of the Marvel Cinematic Universe

ET Obsessions: 'When We Rise,' Richard Simmons Podcast, 'Chicago Justice,' and Wolverine's Goodbye

11 New and Returning Podcasts and Audio Series We Can’t Wait to Listen to This Fall

#_revsp:new_provider_with_logo_342 #_uuid:da4fde04-c389-31ad-b910-0fdca096ed26 #_lmsid:a0VK0000001yfWcMAI

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smokeybrand · 6 years

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I Mustn’t Run Away

I’ve been binging through a bunch of youtube stuff lately and i stumbled across a guy named Bennett the sage. He reviews and explains old timey anime. I think he has a ten year rule or whatever I often disagree with his synopsis but he’s literally a neckbeard beta so i guess he HAS to hate everything. That’s the most 4chan thing i’ve ever said but it kind of describes him perfectly. Sometimes he’s on point and experly executes his argument but he hates EVA. It’s hard for me to take his arguments, academic or not, to heart. If you don’t like EVA, you don’t understand anime. Watch his episode about it. Cat is on point. Everything he says is pretty accurate. The thing is, kid glazes over all of the reasoning behind why EVA is the way it is.

Sage ignores Anno’s mental breakdown and spiral into depression, causing the tonal shift in the later episodes of the series. After Anno’s mom died, cat had an existential crisis and that uncertainty bled into his show. HIS show. Sage ignores the fact that Japan is not a christian country so everything about the dominate American religion is window dressing there. it’s not taboo to use the superficial imagery to convey a story about humanity being self destructive and fickle because, to the Japanese people and Anno, himself, that’s all we are. Christianity, and Instrumentality by extension, is shallow because we, as a people, are shallow. Instrumentality is our lazy attempt to better ourselves, to evolve beyond the fickle human existence as a means to be more, and the 1r4 year old boy who supposed to Jesus us into the nest stage, reneges. He opts for the biggest “F*CK YOU” in human existence because he’s an obtuse, unlikable, whining, douche-nozzle who chooses to force everyone into dealing with his teenage angst rather than accept people into the omni-bubble of the hive mind of evolution. EVA is a scathing, cynical, and relatively apt description of what it means to be a growing adolescence in Japan, conveyed to us in the form of a post apocalyptic mecha series, wrapped in a healthy dose of Judaeo-Christian imagery. Or, at least, that’s one interpretations and the one i personally gleaned from the series. You get what you put into Eva and he refused to make the effort. Interestingly enough, FLCL could be the same goddamn story, just seen from a different set of eyes which makes sense because Tsurumaki was Anno’s junior at Gainax way back when. Fooly Cooly just went light on the depression and religion but WAY heavy on the sex.

Neon Genesis Evangelion is a goddamn masterpiece and it’s wild to me that people are too lazy to invest in it enough to understand why it’s a goddamn masterpiece. Listening to Bennett the Sage go in on it was ridiculous. Every one is entitles to their opinion and i get that but i almost immediately knew this cat was full of sh*t. Dude doesn't like Eva. He doesn’t like Tenchi. He doesn’t like Vampire Hunter D. He doesn’t like The Big O. He doesn’t like Elfen Lied. He doesn’t like Inuyasha. It’s almost as if you have to actually participate in the narrative, kid isn’t interested. But he LOVES Ninja Scroll. Ninja Scroll is awful! it’s all murder and rape. Literally, that’s it. If that doesn’t tell you what this kid is about, you’re not paying attention. s i watched his critiques err toward “Classic” Toonami anime, everything made sense as to why he was so goddamn ridiculous; He’s a Toonami kid. His first foray into anime was, apparently, Pilot Candidate when he was 12. In 2002. I have been watching anime since 1988.

The old stuff he reviews, your Gusmith Cats, Bubblegum Crisis, and Burn Up!,i was watching fresh. I remember when i first got a bootleg of A.D. Police. I thought it was brilliant! When Bubblegum Crisis Tokyo 2040 came out, it was nostalgic for me and became one of my favorite shows. I grew up with the popularity of anime. I grew with the culture. I enjoy Bakuretsu Tenshi because it feels like an updated piece of the Bubblegum franchise. I imagine Bennett would hate it because he’s a goddamn Toonami kid. Toonami kind of killed anime for the generation after me because of the insipid shows that were put on. Don’t get me wrong, DBZ is a force. It’s culturally relevant and Goku might as well be Japanese Superman, but, let’s be honest, it’s a one trick pony. That trick is dope as f*ck but it’s a trick that has hindered the culture ever since. Because of DBZ, we got Naruto and One Piece, and BLEACH and, more importantly, Weeaboos. Weeaboos take the most superficial, the easiest to digest of anime, and hold it to such high esteem, it’s crazy frustration. These are the cats the regale Attack On Titian like it’s high art. It’s not. These are the cats that made SAO a thing while slighting it’s direct inspiration, the Dot.Hack franchise. These motherf*cking children are the types of people to try and convince me that Samurai Champloo is the greatest thing since the second coming because of Hip Hop music and Watanabe. Look, i get it. Bebop and Champloo are great. I don’t care for them though. The Fandom is too fervent to tolerate and they’ve ruined the experience for me. Just like they did for Inuyasha. Just like they did for FMA. And Bennett the Sage is like a lightning point for these first generation weeaboos. It’s wild to see.

He apparently doesn’t like Dragon Ball Z either. This f*ckboy, man...

It’s wild to think that there are anime fans that have never seen Ghost In The Shell. It’s wild to me that there are kids, now, getting into the culture, think that Kirito is the greatest anime protagonist ever. It’s wild to me that Akira, one of the most influential movies ever created, get slighted because it came out in the 80s for more “mature” subject matter in shows like Tokyo Ghoul. Cats nowadays think that anime has to follow a formula but, when i was coming up, the only formula anime had was the boundless creativity of it’s creator. There wasn’t a saturation pussy harem antagonist, insipid Slice of Life tropes, or Travel to another world and be a bad-ass nonsense. Production values were generally on point and the wild creativity of early anime was tantamount. I mean, there’s no way Angel’s Egg gets made today. You want to talk about being saturated in Judaeo-Christian imagery, go watch that sh*t and come talk to me about it.

I adore anime. All of it. I’ve watched it long enough to appreciate all facets of it. There are moe-blob shoe i adore like Chobits and Lucky star. Some of my favorite shows are mad pretentious and crazy convoluted like Elfen Lied or Evangelion or Deadman Wonderland or Mirai Nikki. Still, other like Erased and A Silent Voice get a spot on my all-time list because of their raw emotion and gentle portrayal of what it means to be vulnerable. Of course Space Dandy, Onepunch Man and BLEACH all have a special place in my heart and even the grand daddy of mainstream anime, Dragon Ball Z gets recognition. My point is, i love this sh*t man. Love it. All of it. So to see someone who jut adopted it as a hobby in 2002 but acts like he’s been in it for decades is wildly infuriating to me. His analysis for most of these shows is the analysis of a child. Because he IS a child. Because he came up in that Toonami era of anime where everything had to be profitable and accessible. I didn’t have that. I saw Gilgamesh and Melody of Oblivion before i saw even one episode of Naruto. I saw Evangelion and Guyver for the first time when i was 12, way back in, like, 96. This kid was watching Pilot Candidate and f*cking Blue Gender. He was at the mercy of the Cartoon Network zeitgeist. I was not. And it rains through almost all of his reviews. He’s looking at shows i watched with fresh eyes, through first generation weeaboo goggles and it’s frustrating because of how shortsighted that view can be. It’s cats like this, i think, that have slowly strangled the life out of anime. They choked the creativity out of a once wild and unique medium because of their narrow, pedestrian, tastes.

Toonami did a lot for making the culture accessible but i don’t think that was a good thing. I thing. Toonami created a culture of formula and profit rather than creativity and uniqueness. And cats like Bennett the Sage eat it up. Cats like Bennett the Sage fuel this crippled machine. Cats like Bennett the Sage are what’s wrong with anime.

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