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rxttenfish · 8 days

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Asking because I’m extremely curious about this, how did MonProm’s writing get different over time? I remember you saying that the lore and characters feel different, and that it's missing sincere character interactions, too. I know almost nothing about the lore and I’ve only seen a few people mention the characters, so I’d be interested in a rundown of what aspects you think got worse in the series

I wouldn’t mind a very long response since I’m not that active in the fandom, I need to catch up on what happened

sorry for taking so long to answer this! i kinda waffled on it for a long bit, mainly because i started doubting myself again, and whether or not this was me simply overreacting or being tinted by nostalgia or simply being extremely picky and choosy in what i like (the last of which is true, i seldom get into fandoms at all for this reason and stay away from most popular media, but i wasn't sure if it applied here). i've posted about it already, but i'm in the middle of a psychotic episode where i can't feel a lot of pleasure to begin with + most things i do experience ending up solidly in the "very bad" category, so as you can imagine, i really didn't want to mislead and check that i was actually in objective reality.

as it is, this is also when a lot more screenshots started to be posted in the monster prom tag, and that helped me bridge the gap back into returning to the games themselves and feel like i was making a more accurate judgement. if you're one of those people who have been posting screenshots, i sincerely thank you, and i appreciated seeing you in the tag greatly.

for those not in the know — i've been in the monster prom fandom since it first released, prior to even the first additional ending to be added (the "Punch the sun" ending, and i recall the minor fandom drama that happened at that time due to it). my impression of monster prom is very much influenced by this, as what got me into the first game was the fact that the characters genuinely seemed to care for each other and were friends with each other (not merely tolerating each other's presences nor dressing it up, they sincerely thought of each other as friends and were open about that fact), on top of the wide variety of small details and statements that, if taken at face value, could create compounding complexity in the lives of each and every character and had wider implications for their lives.

no, they were not necessarily explored nor even necessarily "real", with so many conflicting events and statements, but i liked this too, because it meant a wider flexibility in what you could imagine, helping to create a more tailored experience for everyone who thought about these characters. this was what i liked about the early fandom too. what was baseline "canon" was so vague and minimal that you could have wildly different interpretations of the same characters' histories and relationships with each other. you would have radically different perspectives on what the world itself looked like, what it was like, that there wasn't really any wrong answers so long as their personalities remained the same. this is where you got the old headcanon of polly and liam being childhood friends who knew each other as humans, or that the world of monster prom was post-apocalypse where humanity itself had gone extinct or only existed in tiny pockets, or my personal headcanon that both monster and human society existed right next to each other and had minimal crossover for petty cultural reasons. this was also prior zoe-as-ro, and there were wildly different interpretations of zoe's personality, with most going for a far more disquieting creepy-cute than the deep nerd we got.

this is why you get stuff like the timeloop theory, where everyone is repeating the same weeks leading up to prom over and over, and are perhaps vaguely aware of it but broadly unconcerned. this is also why it felt like the joke that, the characters were still in high school but were all fully legal adults with most in their 20's, best landed, because it was absurd and strange and didn't quite make sense, but the world itself was inherently absurd and semi-malleable to begin with. realistically, i felt like everyone understood it was making fun of the trope of having adults play teenagers in american sitcoms and wildly casting outside the age range, but for more in-universe explanations it wasn't any different from the way that you would have a large, dramatic ending in which everything changed, but then you'd restart and everyone would be right back at the beginning with nothing different, or even having conflicting events in the same run. it was a dream-logic that fit with the tropes and, thus, diagetically made sense.

to be clear, i don't mind canon having a set, well, canon on which it refers back to itself. i don't mind expanding that or including more things which are set in stone. but there was a perceivable shift in how the games handled this over time, becoming a lot more... bitter, it felt, towards all of these different branching ideas and concepts that, yeah, the people making them knew wouldn't necessarily be "canon" because "canon" already liked to contradict itself so much. most people weren't even sold on any one idea, and there was a much greater sense of enjoying and appreciating all the varying ideas people would come up with even if you personally didn't share them. making the characters be out of character was the real crime, because then it didn't diagetically make sense in the same way, didn't wholly fit.

(again, this is not to say fanon didn't happen and characters weren't smoothed down into a simplified personality that fit these varying fan-interpretations instead of the game itself. certainly damien love/lust was just as bad as it had ever been, and everyone loved to mangle his character into a more stereotypical "bad boy with a heart of hold" all the time. but it certainly felt less set-in-stone about it than it does now, with any deviation from the norm being considered strange and odd and even broadly shunned from the wider fandom.)

all of this is setup for establishing what the writing, lore, and characters felt like in the earlier days. the characters were the strongest part, with their relationships to each other being equally as important. the lore played it fast and loose and was far less interested in setting anything in concrete because that wasn't the important part. the lore wasn't the important part, which was what made it all the more intoxicating to think about, all the more fun to play with.

montrip is easily the biggest offender when it comes to setting everything in all-or-nothing terms and demanding absolutism from the world. broadly i blame the hitchhiker conversations for the worst of it, but i think ultimately the way they handled the entire premise of the game is where this problem stems from. it's not really an exploration in the same sense that you might explore the first game, discovering different perspectives and different people with different relationships to each other. it's an exploration in the sense of a sequel that over-explains the monster, that takes the most boring option out of all those that were possible and floating around and settles on something that was blatant, obvious, typically rejected not because of how novel it is but how trite and par for the course it is in the rest of the genre.

yeah, okay. humans know nothing about monsters and there's a "monster dimension" that exists separately from the human dimension. there's no crossover between the two of them. of course there's a big grand-scale fight between the eldritch powers that zoe used to be a part of, from which not only are slayers the main organization against them, but also the merkingdom has some horse in this race too. it's an urge to make things so universal in explaining them, in revealing connecting threads which unite everything that's ever happened in here, that makes the worldbuilding and lore immediately much more boring than it ever was before.

and it didn't have to be this way! nothing in the first game contradicts any of this too explicitly (see the above, the first game loves to contradict itself), and i would even be happy if this was basically canon but never stated or confirmed to be the big overarching everything going on underneath it all. i believe you should probably know these things about any world that you create and have them in the back of your mind. the difference is that you can know these things and keep them in mind, even focusing on things where its very relevant, and still not reveal them. this is why you have lore bibles, after all. every horror writer knows exactly how their monster works and the full underlying reason for everything that happens, but that doesn't mean the audience will see it or possess this same information too, and leaving it intentionally obscure will make far better stories.

which, this is bad enough, but it wouldn't be the breaking point for me if this was all there was.

but the worst thing of all has to be the slow decay of the very same characters that sold me on this world, this lore, this game in the first place. monster prom is nothing without the characters in it. it's a dating sim, it has nothing but characters to get you to play, and liking these characters are the entire reason anyone would pick up monster prom in the first place.

and the first game pulls this off extremely well. it's all in the tagline: be your worst self. they are, indeed, all terrible people. yes, even that character that you just thought of right now. they all have points in the game where they commit atrocities, where they kill or hurt people, where they do inexcusable things that could not be ignored in a more serious setting.

but that's the point. i think there's something very powerful in creating a character who not only do you love and love their personality and the way they interact with the world, but who also are inapologetically terrible, and to have the humor and the charisma be so good that you don't get bogged down in the "this is awful". likewise, it never feels the urge to really go out of its way to justify what's going on. this is not to say theres no discussion of if someone "deserved it", but usually there's still the sense that the joke is on them, that this is still an extreme reaction specifically for comedy and not necessarily something that can be justified. you can have damien set leonard on fire and have it feel earned, without prompting the needed reaction of what it's actually like to watch someone burn to death.

this is what sets the prank masterz ending apart from the rest of the game, and really establishes it as the first real "bad ending". because nothing that you do or happens in the prank masterz ending is any different from anything else that happens in any other run. you summon evil beings from other dimensions as a throwaway gag on how visiting one location raises your stats. you kill other people and damn them to terrible fates. you watch as body horror happens. the only difference is that, in the prank masterz ending, the laugh track doesn't play.

the rest of the game and the writing echoes this philosophy, this careful interplay of tropes that keeps everything tongue in cheek and yet sincere enough to make sure emotional beats still land when they're needed. the characters feel true to themselves and their own emotions, even when the world is extreme and excessive, when everything else runs on comedy logic.

this is also what i noticed failing first as time went on.

like i said, fanon has always existed and there's always been very specific ideas as to what characters are like in the same way fanon always flattens down characters into the same tropes over and over. scott is stupid and innocent and doesn't know what sex is. damien is violent and hot and too cool for anyone else. miranda is the idiot girl character. repeat over and over and over until you get sick of it.

but it's been an issue as time has crept on that canon has started to approach fanon and began to merge with it. now, scott is so innocent that he can't even curse. polly starts being mean to her friends and saying things that would be very hurtful to hear. the merkingdom isn't really super evil and fucked up, it's just miranda that's like that. they become simpler, easier to digest, streamlined for social media posts and mass-sharing. they become less and less subversions of existing tropes and moreso just another example of them, something else to add to the collection, not their own individual stories.

even further from this, what more complex traits they had are now stated and not shown. polly is stated to be smart and clever in a way that her party girl persona doesn't imply and to be sincerely rather down to earth with the people she cares about, but we seldom ever see this anymore unless its the game specifically trying to make a point about it, in which case it won't let her do anything that implies cleverness and moreso will just outline it in the narration. vera is stated to care for people in a very genuine and heartfelt way, but seldom will get a chance to do so, and every opportunity for her to do so to their faces is missed while she will just outright state it later. it does not feel consistent, it does not feel like any of these are intended reads of their actions. it feels like the devs have something they want to do but no idea on how to actually do so. and forget it if you want these traits to manifest in small ways that show up in unrelated moments and scenes.

the dialogue becomes harder and harder to tell between each speaker, if you are just looking at what's said and not at the pictures attached to it. the characters' distinct voices have been eroded away, so that they speak more and more like each other, relaying the same terms and ideas in the same words. perspective becomes a suggestion, instead of a must.

this is something that started back in monster camp too, as all of the endings in that game felt ultimately the same as every other ending. it's very hard to place or define the full reason why, why there feels like there's no emotional stakes nor investment, why everything feels moreso like selecting different coats of paint and trying to find all the different ending pictures rather than being interested in exploring the characters as characters.

stranger yet, the series that started with the tagline of "be your worst self" has experienced a kind of... softening, for lack of a better word? what i mentioned about being able to handle the balance between terrible people who do terrible things and the light tone of the game starts to change, as abruptly the same characters who were down with violent murder in the first game start to lose their nerve, acting more and more on more typical morality. it's one of those things that feels like it's starting to damage the tone, as abruptly it's not as absurd as it used to be, demands less suspension of disbelief which could buffer and support the rest of the setting on it. there's even a part in one of the endings in montrip which involves current-polly and current-scott looking back on their monprom selves and reacting in horror at how violent and careless their pranks are, in a way that fundamentally felt like it was undercutting and disparaging all the things that felt fun and made monprom what it was.

which is odd, really, because more and more i feel like the characters in these games like each other less and less. the friendships and genuine enjoyment of each others company that brought me to this game in the first place has gone. now they don't mention each other as much, don't care for each other's feelings and reactions as much, aren't as willing to support each other. they are more and more found on their own, relied on their own, seem to seek out contact and interaction with their own friends less and less. it feels like they're all separating out into their own worlds, but also feels like they wouldn't willingly want to interact with each other if they weren't already forced together by some other outside contrivance.

if anything, i'd compare it to every other dating sim out there, where you, the player, are the most important person in these characters' lives, and they only feel ambivalent or antagonistic towards every other character. which, again, is not why i picked up monster prom or why i liked it so much in the first place.

and it's because of this that it feels like the current state of the series has to focus on its increasingly weak worldbuilding and lore, trying to form a more serious foundation without character relationships being so tightly bound together, without the characters themselves being more developed and rich, without an aspect of absurd humor to rely on.

more and more i've noticed monprom has to rely on referencing other series to make itself funny and create humor, which, again, it's always done. it was just easier to ignore back then, if you didn't know what was being referenced, because there was always more going on in the exact same scene to bolster it and give context clues as to the setup and punchline at play. it feels like the current games are much more dependent on you knowing pop culture references in order to have any fun with it, and i'm someone who, again, is very picky in what i like or what i'll seek out. i'm not interested in a stream of references about other things that i would much rather be doing than playing through a game that feels like it hates that i like it at all, when i could, again, just be engaging with the thing that takes itself seriously and knows what it wants.

#all the care guide says is 'biomass'#monster prom #asks #vanillabeenflower #this is. so long i am so sorry.#and its still not my entire thoughts because i have so many thoughts #this is an unedited ramble tbh and im very sorry for that #i have more complaints like #how fucking snide and condescending the narration is to its own characters #which it already had but gets even worse in the later games #which is why despite loving aaravi i dont want to play moncamp at all #where a character says they like something or feel something and the narration has to be so. sarcastic about it?#like how i mentioned about how it feels like how its looking down on them as people #instead of whats probably the intended read which is #more jokingly calling them dumb in an affectionate way like how you might do with friends #and ofc theres the whole miranda rant #i hate what theyve done with the merkingdom and i HATE adrien as a concept i wont lie #just. cool. this female character is too stupid to count as a lore character. we obviously need a MALE character to fill in instead #we cant just have miranda talk about this or center any of the other female characters #and how they feel about this and whats going on for them #no we need to make up a new man to talk to instead #im. im still really bitter about it i wont lie.#like i said i could go on and get way more specific about it #i just feel like any and all emotional weight to this has died and the characters are more and more obviously actors on a stage #for your own self gratification rather than their own people living their own lives #this is so bitter and i really shouldnt put this in the main tag #i am so sorry everyone who will see my rant. but my peace must be made.#dont worry im already asking myself if im just making all this shit up myself #what if some of us liked that the characters were so mean to the player and had no qualms about aggressively rejecting us #because it gave some illusion of them being able to make their own choices and decisions in what they wanted

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24-guy · 5 months

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3070 words later. I present to you...

What was the deal with the grill brush?

An amateur essay on “Just for Once” from Nerdy Prudes Must Die by J

When listening to the soundtrack for Nerdy Prudes Must Die (NPMD), I realized that the song that was hitting me most was, unexpectedly, Just for Once. This was odd to me because one could argue that, of all the songs in the musical, Just for Once isn’t that emotional of a song. Especially since it was sung by a side character like Ruth. But since this instance, every time I listened to it, I was struck with the desire to sit and properly delve into the lyrics and try to understand what exactly it was about it that made it so emotional to me. My aim in writing this is to understand how this song develops Ruth’s character further than her initial portrayal.

To do this, we need to take what we already know about Ruth and put it into context. Before this song happens, we have seen Ruth, as a character, in five of the nine songs, with Just for Once being the tenth song in the musical. This feels important to note as this is a significant amount of time to get to know Ruth and her character as well as her motivations and story through the musical.

Ruth is one of the two characters that open the musical. The first is a fellow nerd, Richie, who sings that he is dead. The stage is set in red lighting. When Ruth joins as a second voice to follow up his line, the context stays the same. We know from the first song of the musical that Ruth is going to die. As the performance continues, we go into a bigger piece with the students of Hatchetfield High School singing about how much school sucks. This doesn’t tell us much about her character, so let’s move on.

Literal monster is a song where the nerds of Hatchetfield High sing about their bully, Max Jägerman. Ruth’s part in this is telling us that she is a nerd and that she gets bullied. She has both solo and group lines that tell the audience and the listener that they aren’t enthusiastic about the bullying stopping. However, one of the lines in the part after the first chorus gives us our first hint into Ruth’s main character trait, she is extremely sexual.

The musical continues after this to see our main trio of nerds at a library. Peter, Richie and Ruth are working together on a thermodynamics paper. Here, we get another line that cements Ruth’s main trait being that she is extremely lonely, and that comes across in often uncomfortable moments. This scene we also get told that Ruth craves contact enough that she will talk telemarketers into hanging up the phone, and that she sees Peter getting a call from one as “lucky”. As the scene continues, we see that Ruth doesn’t seem to understand personal space and is nosey as she asks Peter about what Stephanie Lauter – a popular girl from school – is talking to him about. There is some minor things to note from this scene too, like how she references Star Wars and how she initially agrees that Peter shouldn’t get his hopes up about Stephanie because they’re too different in the social hierarchy in school.

Our next proper character moment happens when Ruth, Richie and Stephanie go to the boy’s bathroom to find Peter after he didn’t show up to study at a restaurant with Stephanie. Here, she remarks how the boys are lucky because they can all watch each other go to the toilet thanks to the urinals not having walls between them.

Our last major scene with Ruth and new traits to note, is during the set-up and consequence of a prank that the nerds, Stephanie and a girl called Grace play on their bully, Max. During the set-up we see that Ruth’s history of bullying leads her to lash out at Stephanie for calling them nerds, going into too much detail about her allergy to deodorant. It helps to solidify Ruth as someone who tends to make people uncomfortable with her lack of a vocal filter. In a later moment during the same setting, Ruth is talking to a telemarketer and gets hung up on. When Ruth talks about her nervousness about pulling off the prank, Stephanie comforts her. This leads to Ruth saying that Stephanie is nice, and that she might be in love with her. This helps us understand that Ruth probably doesn’t understand a lot of what she’s feeling, considering that earlier on she seemed almost negatively inclined towards Stephanie. In a moment between Richie and Peter, we get further confirmation that Ruth is “thirsty” all the time, and that it would be easy to sleep with her and then leave her because of it. When the prank goes wrong, with Max fighting against the perceived ghost and skeleton, we see that Ruth – in the skeleton costume – seems flattered and happy with the praise from Max.

So, to recap. In the lead up to Just for Once, we can understand that Ruth is an anxious character. She doesn’t think too highly of herself or her fellow nerds and will only really push for them to try to get ahead if someone else seems to be reaching out with them to support them. We know that she is touch starved enough that someone being kind and touching her shoulder is enough to make her think that she is in love with someone and that, because of this, she will take any human contact that she can – even if its salespeople on the phone.

With this foundation, we can now talk about how Just for Once expands our view of Ruth as a character.

In the opening before the song, we find that Ruth thinks she can perform on stage better than one of her classmates. This leads into our “musical in a musical” song that is a staple of StarKid shows. This song is supposed to be sung within the context of the musical “The Barbecue Monologues” that exists within the Hatchetfield universe, but I think it can do well at telling us a lot about Ruth’s character as she did decide to sing this song over any of the others that possibly exist within the rest of the production.

The first hint that the song means more to Ruth than immediately apparent is during the end of the second verse, where Ruth sings “And life is fine, if only it were mine.” While it may be because the character that she’s singing for is discontent with life, we have also seen that Ruth doesn’t really fit in outside of the nerd friend group she’s found herself in. We can speculate that she also feels like life isn’t hers to hold. She may feel like she would enjoy life, if only it was something that she could enjoy, seeing as for so long before this point in her story, she was being bullied.

Before this, she sings about how the character has “installed a new bay window” and that they were shopping “for shutters to obstruct the view”. I think that this implies that Ruth understands that having improvements to her life is something that she should want (after Max’s death, the bullying stops entirely), and that she can see the appeal of, but she still wants something to conceal the view of the outside, or even stop the outside from seeing who she is on the inside.

The chorus is the main tell that this song goes deeper than surface level to me. Ruth sings that “just for once I’d be the centre of attention, just for once, remember what a life could be, just for once I feel the light inside the burning of a candle, living just for once…” I’m going to take apart this chorus piece by piece to explain what I think each part means.

The opening line states, “just for once I’d be the centre of attention,” and this lines up with what we know already about Ruth’s character. She has demonstrated already that she craves attention and affection. We have seen her reaction to being praised for her performance as the skeleton in the prank to Max. Ruth wants to be loved, and to have her performance praised. She wants to be the lead of a play.

The next is “just for once, remember what a life could be” this feels like it’s reiterating my point where Ruth wants to remember what her life could mean if there was never any bullying that happened as it has warped her view of what life is. She now has a downplayed life where there’s no point in standing up to people because what’s the point if they all have more worth in your school than you do?

The second to last part is “just for once I’d feel the light inside the burning of a candle” and I think that this means that she wants to feel the light of the spotlight on her, that she wants to be in the spotlight. The way candles are always described is as calm, dancing flames. She wants to be like the flames on candles, to be seen as a delicate but bright focal point of the entire picture.

The final line of the chorus is “living just for once” and it is repeated halfway after the initial singing of it. This, again, just gives the impression that Ruth doesn’t think she was ever really living. She wants to live a good, happy life. But she can’t.

There is a line in the third verse that states “and I was not unhappy about the attention I ensnared, judge me”. This is referring to the character she’s singing for losing their hair after chemotherapy. It can also be read as Ruth not being unhappy about the attention she possibly got after the news of Richie’s death got around. After all, they were both nerds, and in a superficial school like Hatchetfield High even if they weren’t friends, she’d probably get some attention thanks to the apologies gained. This isn’t to say that she was happy, or even neutral, about Richie’s death. This is me pointing out that she would have gotten some of that attention she craved from the loss of her friend.

The following lines don’t stand out to me as anything personal as they start to feel more like the story that she’s singing about is getting across comes in. But the chorus changes again, so I’ll cover those lines too.

The first of these lines is “just for once my life could be just what I wanted”. Here it feels, again, like Ruth wants her life to be something specific, that she could just be better, and be more confident, popular, whatever.

The following is “just for once I’d feel the spark that I once knew”. This introduces another piece of information when it comes to Ruth’s character; she used to know what it felt like to be like this, to perform. She has felt that spark of being on stage, like she is while singing this, and she wants to feel that spark again.

The next is a similar line to one in the first, with a single word changed. “Just for once I’d feel the fight inside the burning of a candle”. This doesn’t change a lot about the implications of the line, but it does give the feeling that she feels like she could be ready to fight for wanting this. She wants this bad enough that, just for once, she’s ready to fight for it.

“Something more than I can handle” is the last line before we have a “just for once” and I feel like this calls again to her wanting to be in that spotlight. She wants to be in the spotlight, even if she knows that she can’t handle the pressure it puts her under for doing so. This marks a turning point in the song where the tone shifts, paralleling what Ruth may be going through with realizing she might not be ready to handle the pressure that being on stage could cause.

The first line of this section is “Should I flip the burgers now? Should I double check its well done on the outside not within?” This is filled with confusion about what she is doing. Ruth’s character has been placed to supervise something they don’t know what they’re looking for when it comes to checking it’s fine to flip the burgers. I believe this parallels Ruth’s hesitance and uncertainty when it comes to navigating a space like theatre, or high school, where she does know what to look for in theory. But in practice she falters, consumed by insecurity and self-doubt, potentially ruining her reputation/ ”burgers” if she does one thing wrong.

Breaking up the lines in this portion of the song are painful sounding “oh”s that sound like pleading to whoever is listening.

“Should I let the coals burn out? Should I let the years cook my body down in front of him?” Is the following line. And, again, this feels like a parallel between the character’s doubt about themselves and their health struggles with getting cancer at a reasonably early age, and Ruth’s doubts about her popularity and lack of connection, feeling like her life is over even though she’s only eighteen years old and her life is barely properly begun. She feels undesirable now, how is she going to feel when she’s older?

This next part of the song, while just repeating the line “Just for once”, has a portion of the music playing that is a leitmotif that has shown up in a lot of the songs before this point. Most noticeably, it takes centre stage first during the song “Cooler Than I Think I Am”. It plays over the top of a part of the chorus where Peter – the lead singer – sings the line “I’m not a loser”. This is brought up again during the titular song “Nerdy Prudes Must Die”, where Max is about to kill Richie, and Richie sings the line as a last-ditch effort to prove he’s no longer a loser, Max shouldn’t kill him. This musical idea is used as a point where the nerds are breaking out of their set place in Hatchetfield High’s social hierarchy. Richie uses it as a beg to be spared. The music behind Ruth’s vocals use it to foreshadow her demise at the end of this song thanks to the use of it in Richie’s number. It sets hope up and dread in the audience when they remember that Ruth was alongside Richie in the opening number singing about how they were dead.

The final part of the song doesn’t seem like it’s a part of the song from the in-universe musical at all. Ruth sings about how a family is borrowing her tap shoes. It’s melancholy in tone, and she continues, singing how it’s “no bother, I never ever use them”. And in a heart-wrenching moment, she says “I used to dance”, before repeating “I used to dance” like she’s about to cry.

I think that moment of the song is the most plain about Ruth’s feelings. I think she did used to dance, and that she did lend her tap shoes to someone because her anxiety stops her from performing anymore. This is a sad moment that lingers slightly before we return to spoken dialogue for the end.

“I found your grill brush, Maurie. It was right here, all along.” Right. The grill brush. This is one of the main reasons I wanted to write this in depth look at Just for Once, because I feel like the grill brush holds more meaning than it first appears. When it is first mentioned, the character of Maurie is looking for the grill brush and Ruth’s character gives a sarcastic comment about how they used it to brush their hair that morning. We know this is even more of a joke thanks to the later lines describing the chemotherapy. However, this ending says that the brush was there the whole time.

I think that the grill brush is symbolizing Ruth and her ability to perform. Given the initial response, it would make sense for the parallel to be how Ruth wants to perform but can’t because, well, she’s herself. She’s nerdy little Ruth who makes sexual remarks and Star Wars references and has anxiety so bad she quit dancing even in her free time. But, after this performance she does while the rest of the cast for The Barbeque Monologues are taking a break, she has more than enough ability to act on stage if the pressure isn’t there. She can do it. So why does she sound so sad when she says, “It was right here, all along…”? Because she knows that even if she can perform, she can’t do it with an audience thanks to her anxiety and self-doubt.

So where does this leave us with Ruth’s character after watching this performance? We now know that Ruth, despite initial appearances, is an aspiring actor with the ability to act but her anxiety is holding her back. She’s performed willingly on stage, but when she knows there is no audience to watch her perform. Even though she wants attention and to have the comfort of people seeing her, she still wants to have the ability of shutting everything out, letting herself be a secret because that’s what she’s used to.

Just for Once feels so sad because it’s an “I want” song that ends with the lead dying. The audience listens to her story, her wants and desires, and knows that she is going to die before the end of the musical because that is what we were told with the opening number. Just for Once is a song that Ruth sings to herself because she can let herself be selfish, and she can let herself want to be the centre of attention when she’s stood on stage alone with nobody to judge her.

Maybe if she survived, she would be able to gain the courage to handle the pressure she feels when she’s stood up on that stage.

#npmd #nerdy prudes must die #ruth fleming #just for once #npmd ruth #listen i used to love creating analasis like this in some old fandoms #and to have it be for just for once for this one?#it seems oddly fitting for me #also this is just for fun and all my opinion #i dont know if anyone else has done this so im sorry if it is repeating some stuff #i dont really do much other than ship art here

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