#so it's surreal he's also the most accessible on that list | Explore Tumblr Posts and Blogs

ruegracieuse · 2 years

Note

Any podcast recommendations?

Sure! I listen to far too many! I’ve spent an inordinate amount of time separating my regulars roughly thematically. If anyone has any recommendations I’m all ears!

Politics/current events: Trashfuture (leftist with a focus on the UK - I don’t nor have I ever lived in the UK but this podcast has also taught me a lot about tech things and how horrible they are, and the hosts are great. Depressing but funny, real band playing as the titanic sinks energy); Radicals in Conversation (a monthly podcast by the leftist publisher Pluto Press, wherein they interview a leftist writer or have a conversation between a few); Boonta Vista (this used to be political and now it is simply the hosts reading news stories that cater to some very specific and surreal subjects they’ve developed an interest in. I find it comforting as it’s very Australian but not in a cringe way); Srsly Wrong (a deep dive into different aspects of leftist theory or history or whatever, done in a very charming and accessible way. To begin with I love their eps on library socialism, or the episode ‘Misanthropy is a Death Cult’)

Film: Faculty of Horror (every month the hosts, whom I love, do a very academic and hugely interesting deep dive on the themes, context and content of one or two horror movies. To begin with, the episode on Pyewacket and Hereditary is great, or Eating Disorders in Black Swan and Drag me to Hell (huge tw for that one though!); Psychoanalysis: a Horror Therapy Podcast (every other week the hosts, who work with or have lived experience with mental health issues, examine a horror movie through the lens of a particular mental health (or adjacent) topic. Obviously various trigger warnings for each episode but I believe they include a content list in the description of each episode. Their series on suicide was really well done, plus the episode on depression in Lake Mungo was so good. And Dreams in Mulholland Drive is my favourite discussion of one of my favourite movies, maybe ever. It took me a while to gel with the hosts but once I did I was in!); You Must Remember This (she’s a classic for a reason. I adored adored adored the series earlier this year on erotic film in the 1980s, and I’m waiting for the next part, Erotic 90s, with baited breath); Random Number Generator Horror Podcast Number 9 (tbh I’m hot and cold on this one. I only listen if I am interested in the movie they’re doing. It’s nice background noise, the hosts are from Welcome to Nightvale. I liked their episodes on Ginger Snaps and Belladonna of Sadness (tw for sexual assault on that one) and the Blair Witch)

History: Behind the Bastards (very well researched dives into awful people, movements, companies, ideas etc. I like the host although he can be a little self important at times); No Dogs in Space (hugely well researched music history podcast. I loved their series on the Dead Kennedys and on Joy Division); Stuff the British Stole (little podcast that does a deep dive into the history of single objects (or in one terribly sad episode, a person), that British colonisers took, or destroyed, or lost. Every episode is good, and the episode lengths are very manageable. I recommend Not Your Venus (about Sarah Baartman), A Tiger and a Scream, and Losing Your Marbles); You’re Wrong About (I feel like I’ve seen tumblr recommend this a lot, and for good reason! The earlier episodes offer great perspectives on the way our systems fail us, especially the most marginalised. I really appreciate the humanity and empathy the hosts express, even for people it’s so easy to brush aside or dislike. Any of their Maligned 90s Women episodes are good, and I’ve recently been listening to the opus they did on the OJ Simpson trial, which is great); the Timber Wars (this is a limited series but it’s SO GOOD! such an interesting and thoroughly researched/interviewed telling of the conflict between environmentalists and lumber workers and in Pacific Northwest, and how the timber companies, surprise surprise, fucked everyone over)

Misc/limited series: Maintenance Phase (two LGBTIQ+ writers, one a fat woman, really prising apart the junk science, prejudice, injustice and harm done by the wellness industry, diet culture, and fatphobia. As someone prone to disordered eating, and also as someone who is working to be more educated on ableism and fatphobia, I find it really informative and (and I hate this word) empowering. TW for fatphobia and discussion of eating disorders); The Lolita Podcast (very moving exploration of the many lives and interpretations of Lolita. TW for sexual abuse. I love Jamie Loftus and everything she touches is delightful.); This Podcast Will Kill You (every week two epidemiologists (? they both have doctorates in something to do with disease anyway) choose one disease and explore its biology, symptomatology, and history, before looking at the status of the disease in the world today. This podcast brings me back to the age of 9, devouring Horrible Science books. I’m not a numbers gal so I drifted away from science in high school, but I’ve always found the history of science gruesome and poetic and this podcast captures that beautifully. I love gory and upsetting things. Also the hosts have such lovely soothing voices.)

#qu #I hope someone finds something they like from this

7 notes · View notes

communityinclusion · 3 months

Text

Crocker Fellow Explores How Disability Impacts Sibling Relationships

A new zine from 2021 Allen C. Crocker Family Fellowship recipient Jess Mendes explores the experiences of adult siblings of individuals with physical, intellectual, behavioral and/or developmental disabilities, bringing together perspectives and providing resources for people living at the intersection of multiple marginalized identities.

To create Same-Same But Different, Mendes asked individuals to use personal essays and visual multimedia to unpack how disabling attitudes, environments, and systems impact their sibling relationships.

In addition to being a physical zine, Same-Same But Different is also a digital flipbook, and an accessible PDF version is also available. The title of the zine comes from an article published in Impact by Alison Whyte, executive director of the Disabilities Council in Washington, D.C., where she acknowledges that 90% of research on siblings affected by disabilities is white, relatively middle class, and female.

Mendes said the idea of creating the zine came from a place of survival and watching her brother’s life almost come to a complete stop when he turned 22 and “aged out” of educational programs supported by the school system during the COVID-19 pandemic. As she called different organizations to figure out what to do and failed to get any answers, Mendes found herself wishing for something she could connect with as a visually oriented person.

“I’m proud of myself for having an idea and executing it,” Mendes said. “But beyond that, I hope this genuinely serves as a reference point so more families, creatives, storytellers, more people understand that they’re not alone. They can also use their creativity to share resources and not feel lost.”

To secure contributors’ participation, Mendes had a list of ideas and themes that she wanted to explore, such as financial planning, religion and faith, or sex, and she let contributors pick the topic that resonated most with them.

Initially, Mendes envisioned a more photo-based project, but because the pandemic made it riskier to be in close physical contact with people, she pivoted toward multimedia instead.

“And in turn, that was more rewarding, because it allowed everyone more time to be reflective of what they wanted to say and how they wanted to represent their family,” Mendes said.

It was also important to Mendes that the zine’s closing pages include resources for caregivers, advocates, and small businesses to offer community guidance and help everyone understand that as challenging as circumstances can be, they are not alone.

“For family members, I hope we find community and not feel so isolated,” Mendes said. “And for anyone else, I hope they ask themselves, how can I contribute to making my environment more inclusive so that it eases everyone’s participation in the world.”

Since the zine was published, it has been featured on several platforms, including zine festivals nationwide. Mendes presented it during Boston Design Week at the nonprofit where she works, the Institute for Human Centered Design. She also presented Same-Same But Different in August 2023 at the Leadership Exchange in Arts and Disability Conference, which brings together arts and culture administrators to discuss how to make their spaces more accessible and inclusive to the public.

And whether it’s been shared with a family member, a friend, or these more institutional settings, Mendes said the feedback she’s received has been really positive.

“If I’m being completely honest, it’s surreal, because it’s been two-and-a-half years of trying to weave multiple parts into a final project that I feel confident standing by visually and storytelling-wise,” Mendes said.

Looking to the future, Mendes said she would love the opportunity to take her work from print to video, such as through a documentary, or realize her original vision of a photo book, in the style of photographers Deana Lawson and Diane Arbus.

“I’ll be extremely grateful if Same-Same But Different keeps evolving,” Mendes said. “Ultimately, I will have to turn to my brother as the muse to guide the next steps.”

#crocker fellow #institute for community inclusion #ici #community inclusion #siblings of people with disabilities #personal essays

0 notes

oswald-privileges · 3 years

Text

ALL RIGHT BUT YOU ASKED FOR IT

Power of Three as a series is just. full of weaknesses, most of which come down to poor continuity and structure. I'm not gonna try and fix ALL of those, bc that'd be laborious as hell, but I will pick out things that I feel are the most egregious as case studies.

What Po3 does have, tho, is an absolutely shining strength in the concept of its three main characters. After twelve books of Blandly Heroic Protagonist Syndrome, Jayfeather is an absolute godsend. He's angry! He's rude! He's unhappy! He's not nice. I Love Him And He's My Son. Lionblaze has his invincible pride (hah) and emergent bloodlust, and Hollyleaf has her moral absolutism and certainty. These are good starting points for characters. Sadly, the lack of continuity undermines what could have been three really good character arcs.

So! I present to you:

HOW TO MAKE "WARRIORS: THE POWER OF THREE" NOT COMPLETELY SUCK ACCORDING TO MY PERSONAL TASTE; A NON-EXHAUSTIVE, NON-CONSECUTIVE LIST BY ME

ONE

- Have there be a persistant, overarching series threat. Sol is a character with amazing villain potential who does literally nothing except hang around, and do exactly 2 Bad Things completely off-screen. This Is Not Good.

- Instead, have him be present from the second book onwards- initially introduced as a friendly but enigmatic outsider who is slowly revealed across the series to be a complete black hole of a personality, a social parasite quietly rearranging whatever community he's a part of to just-so-happen to benefit him as much as humanly possible. His "preach individualism not starclan" methods are not so much values as one strategy out of many. (to those who know me- yes i have a type. no i will not apologise.)

- Maybe his ultimate goal is to dissolve and centralise the clans or something so that he can live out his life as a political puppetmaster in all the cat-luxury he likes. idk it's hard to imagine overall stakes for this rewrite BECAUSE THE ORIGINAL DOESN'T HAVE ANY

TWO

- For gods sake you don't have a series based on the premise of "the main characters develop super powers" and then only have the second power confirmed by the end of the fourth book. I understand the first book mostly focusing on Jayfeather- his powers are obvious from the start, he's got the strongest personality of the three, he gets access to most of the prophecy plot stuff because of them. But you NEED to have the other two show an interest in something concrete happening to them beyond that, and you need to at least hint towards the other two having something unique to them even if nobody clocks it yet.

- Have Jayfeather tell his siblings about the prophecy by the end of book two at the latest. The amount of time he spends noodling around not sharing it with them is inexcusable. It's not that it's out of character for him to hang onto a secret for a bit, it's just that there's no point and it slows everything down. It would be equally in character for him to go to his siblings and be like "look, i'm SPECIAL. well you as well but ALSO ME". Boy starts off as desperate for recognition, what can I say

THREE

- Have Jayfeather discover that StarClan don't withhold signs or information on purpose for the sake of "building courage and faith" or whatever nonsense. Seeing and communicating the future is metaphysically very difficult, so interpreting signs and messages is a genuine skill, or even an art. The cats of StarClan, however, really are just ghosts, much more similar to living cats than the currently living believe. This is the impotus for Jayfeather's discarding of his reverence for StarClan, which remains consistent throughout the series.

- Have Hollyleaf and Jayfeather both still change their cat careers in the first book, but put place more attention on the fact that they basically switched jobs. Have a scene where they end up yelling at each other, because can't the other see how lucky they have it? The tension breaks when they realise they've both lost something important to them- Jayfeather his chance to prove he's as capable as a sighted cat, and Hollyleaf her path to helping her clan in the way she thinks is best. They commiserate together, and reluctantly promise to do the best they can with their lots, so they don't waste the path the other wishes they'd taken. This closeness is eroded over the series as they disagree more and more on the subject of StarClan and its role in their moral choices and obligations.

FOUR

- Speaking of Hollyleaf! I nearly threw my phone across the room when the first Omen of the Stars book claimed that Hollyleaf "worked so hard to discover her power to help her clan". Where, Ms Erins??? I would have LOVED to have seen that!! Hollyleaf expresses absolutely no concern over the details of what power she has/will develop, and only has a couple of scenes even touching on her ambitions to help her clan. She has some vague ideas about becoming leader and like one scene where she gets to do some leadery things, but that never gets followed up on. What does happen is that the whole "warrior code" thing becomes more and more a part of her personality (for no clear reason) until she snaps.

- Hollyleaf going off the deep end is something I wanted so badly to get into and be moved by, because I could see where it comes from! Her moral certainty is fascinating, especially since it's based in something as abstract as the warrior code- which, when you think about it, isn't really... anything. There's no concrete set of rules that make it up, no traditional wording or cat philosophers, not even any fables. It's a handful of agreed-upon, common sense rules- don't cross boundaries, don't take prey that isn't yours, respect your ancestors, and don't murder. That's it!

- So, combining the above points, I think Hollyleaf not being one of the Three should stay, but both the audience and the characters are given good reason to believe she is. By around the third volume, make it so that Hollyleaf has found that her power is to get cats to "Do The Right Thing"- i.e. what she wants them to do. She sneaks off often to see Sol, who teachs her how to use this power. Her siblings are concerned about this new power, having already gotten a glimpse at what Sol can do, but she's confident that she can only use this power for good. Volume-specific plot happens, Sol manipulates her into causing him to win, she is shocked and horrified, and vows to stick ridgedly to what she knows is right i.e. The Warrior Code

- However, the more fervently she tries to stick to this abstract idea, the less it gives her results, the more her power seems to be failing. Believing that StarClan is taking her power away from her, she becomes caught up in a faith-guilt spiral that puts her in the position to snap at the end of the series. By that point it's clear to her siblings that Hollyleaf has no power- she was just very, very good at persuading people to do what she wanted.

FIVE

- Lionblaze is a girl now because I Said So. This Cat Is Trans And There's Nothing You Can Do About It.

- Her relationship with Heathertail stays the same- childhood sweethearts who are torn apart as they begin to understand the nature of the societal divides that exist between them.

- This can be used to contextualise the whole "half clan/outsider blood" thing as a cultural contradiction. In reality, inter- and outer- clan relationships aren't at all rare. They can't be, otherwise the whole society would be inbred out of existence in like five generations. But if at least one society of humans can spend a good 200 years pretending Sex Is Bad And Sinful Actually then cats can have persistant cat-racism in the face of all logic. Heathertail clocks this contradiction, Lionblaze doesn't.

- Her relationship-to-power arc doesn't need changing all that much either, other than starting much sooner and being more consistent. At first, she's completely overjoyed by her power, since unlike her siblings, it lines up so well with her ambition- become the finest warrior any of the clans have to offer. As the berserker rage aspect becomes more prevelent, she becomes more and more disturbed by the fact that she isn't disturbed by what she can do, and that she doesn't want the escalation of her power to stop.

- Tigerstar still does his thing, but Brambleclaw knows about it. He recognises the signs from when his father used to visit him, and tries to train Lionblaze in his own way. She ends up caught between wanting to be a good warrior, and testing the limits of her power.

SIX

- Jayfeather can stay basically the same because he's my perfect little angy boy and nothing needs to change. His arcs can be strengthened by having a more robust relationship with Yellowfang where they try to out-bitch each other, and coming to terms with his internalised ablism. Maybe he has a chat with Mothwing about faith a couple of times. Him furiously lashing out at being offered help transitions into an acceptence and understanding of his abilities more naturally. He never stops being A Grumpy Old Man.

- All fucking past-lives unexplained time travel goes in the BIN. Doesn't fucking happen. You can have that lore dump sprinkled across the books, or come from going deep into the tunnels and having a surreal meeting. Make it properly eldritch-level scary, shake Jayfeather's confidence in the idea of them being just a bunch of ghosts.

SEVEN

- Have the way Brambleclaw and Squirrelflight present very clearly as parents to the Three be explicitly, textually unusual. One of the things I liked so much about the first series was an almost total lack of emphasis on who was mated with who, and who was related or not. It felt very real to how feral cat colonies form, where raising kittens is a communal job. This gets completely dropped the moment series 2 starts and now the cats have monogamy.

- This emphasis on the family unit and fostering close relationships between parents and kittens is deliberate on the part of both Leafpool and Squirrelflight. Their aim is to cover for Leafpool so she doesn't lose her role as medicine cat- something she already gave up Crowfeather for before she was pregnant.

- In that little bit of backstory, have a robust reason for both Leafpool and Squirrelflight to leave the camp while Leafpool is pregnant and giving birth, possibly one that ties into the present day story in some minor way. I don't know how, it would just make that element of the story a lot more ground than "we left, the kits were born, then we came back and everyone was cool with it"

- When it comes to the "I am Not your mother" reveal, Jayfeather and Lionblaze are confused and hurt that they were lied to, but come to the reasonable conclusion that well, since they were raised mostly by Squirrelflight, saw Leafpool often, and are loved by both, they don't hate her. Lionblaze has something of a crisis over being half-clan, possibly initiating an attempted reunion with Heathertail. Jayfeather is more concerned with how other cats will think it makes him lesser, something he's still sensitive too.

- Hollyleaf, meanwhile, completely fucking snaps at the way her mother Violated Part Of The Code. It's a completely irrational reaction, but expected because she's been growing more and more reliant on The Code for the whole series, and less and less stable in her attempts to aid her clan and train to be its new leader.

- Squirrelflight is the one to murder Ashfur. This is easy to work out while reading- she's literally the only one of the four with a motive who isn't a perspective character. The mystery is less around finding out who did it, and more about why she did it (it's very ambiguous as to whether it was an accident or not). The main tension comes from who finds out when.

- Lionblaze is shocked, awed by how far she'd go to protect the three of them, and reassures her she did the right thing (as a way to salve her own uncertainty over her own longing for violence). Jayfeather makes it all about himself because he's Jayfeather- upset that he didn't know immediately, instead of, you know, figuring it out in a few hours because he can basically read minds. They try their best to hide it from Hollyleaf, who is already rattling around the final volume as a full-on antagonist, but are unsuccessful. This almost costs them something incredibly important- possibly Squirrelflight's life.

EIGHT

- the whole plot with the Tribe Of Rushing Water is a MASSIVE can of worms that could be removed from the series without issue. As it is:

- Characterize the Tribe as uncertain of how to fight other cats, because yes, they haven't had to do this before. DON'T characterise them as pathetic, doing whatever their leader says without thinking, and with ancestors who have Given Up

- Have some of the Tribe be really good at the violence. Worryingly good. Have others be sickened by what they're being asked to do.

- Have some of the clan cats reflect on what they've done. Hollyleaf would be all for introducing this society to jesus The Code, but even she might be horrified at being thanked by a tribe cat who can't wait to get out there and win themselves glory, only to be killed a few hours later

- The Tribe begin a new tradition of marking the walls in the mud they use as camoflage in order to commemorate their battles, and memorialise the fallen. One of the characters reflects on the fact that in a generation or two, the Tribe will feel like it's always been this way. How many of their own traditions- those that feel almost like natural law- started out the same way?

- Have Sol as the leader of the invaders, or maybe having insinuated himself into the tribe as a "mediator" and doing his charismatic cult leader thing.

NINE

- Cinderheart isn't a reincarnation of Cinderpelt. She's just named after her bc Cinderpelt saved her mother from a badger. this is because I think the reincanation thing is stupid and I can't think of a way to make it good.

TEN

- No more using tails as hand gestures like covering people's mouths. Never. None of it. It's expunged from existence.

Disclaimer: I haven't read Omen of the Stars yet, so I can't account for anything that might happen in that series that's grounded in Po3. I'm like... two thirds of the way through the first volume. I'm Not Impressed.

#Warrior Cats #warriors #The Power of Three #Jayfeather #Hollyleaf #Lionblaze #long post

73 notes · View notes

canmom · 3 years

Text

T...film Tuesday 28 - Californian Post Apocalypses

Hi everyone, I continue to be in america!

In keeping with the tradition of like, three weeks ago, I want to spotlight the local movie industry of Los Ange- hold on, getting a call - hollywhat? - goddamn that’s a lotta fucking movies

Well, whatever, we can still do ths! We’re not gonna do a full month of californian movies - we might do actual tokusatsu next week, you never know~ - but just for this morning (time zones!!!!!) we’re going to take some movies that aren’t just made but also set in California. Also they’re gonna be old goofy scifi movies because it’s sort of like tokusatsu if you squint. Between them I’m sure we’ll get a very clear picture of what things are like in California...

Anyway, because we need to go to the doctors today, I’m going to have to split tonight’s movies into two parts. To begin with, probably the best known movie on our list is Escape from LA, directed John Carpenter, who seems to have made a life project of direction stupid action scifi-horror movies, from the well-regarded like The Thing to the... less well-regarded, like Ghosts of Mars (which Mogs showed me a few weeks ago on halloween sdfdsf).

youtube

Escape from LA (1996) is a sequel to Carpenter’s previous Escape From New York (1981), featuring Kurt Russell as mercenary ‘Snake Plisken’, who is apparently the inspiration for Solid Snake?? It features a complicated scifi premise in which the fascist theocratic government of america (no, even more so than the real one) sends Snake into the now-disconnected-by-earthquake island of LA, where he must rescue the president’s daughter, who has been seduced by a member of the Shining Path who has access to an american superweapon and plans to use it to stage some kind of thirdworldist invasion - ngl I was not expecting gonzaloism rep in one of these movies. anyway Snake has to fight his way through LA. there’s a trans girl in it. it was disliked by people who found it too campy, which makes me wonder what they’re even watching movies for.

Later on, after our return, we have two more movies!

youtube

Surf Nazis Must Die is an extremely schlocky b-movie by Troma Entertainment in which, after a major earthquake in LA leads to the rise of a gang of neo-nazis - hold on, didn’t we just do this one?

Yeah so this time around the fascists are surfers, and Gail Neely is a Black mum - sorry, we’re in America, mom - who has to make good on that title all after they kill her son. It was hated by just about every movie critic who saw it except one Jennie Kermode, who wrote:

About as shallow as its title suggests, Surf Nazis Must Die nevertheless has a surreal edge to it which raises it above most of its peers. The thugs may be pretty dull for the moist part, but their leader, Adolf, is stylishly unpleasant. It's never quite clear whether or not he thinks he actually is Hitler; there's a hint of real madness underlining his bravado. But when he and his gang kill one of their rivals, Adolf meets his match in a gun-toting mama determined to get revenge.

Though it doesn't have nearly enough plot for its running time and it drags badly in places, this is a film with some inspired moments, seemingly the product of real lunacy rather than a calculated attempt to shock.

Thanks to her, it gets 20% on Rotten Tomatoes instead of 0. So I can’t say we’re going to have any conventionally impressive effects or anything but Mogs is very enthusiastic and that’s reason enough lol.

Finally we have Cherry 2000 (1987), in which a guy searches the desert for a replacement to his broken sexbot. He’s obviously going to get with the human girl he’s travelling with instead, but in the meantime they have to shoot like 400 things with bazookas, if the trailer is any guide:

youtube

This one came up when I asked mogs for ideas for movies tonight; turns out it’s actually set in Nevada, but whatever, that’s close enough. amusingly the combination of elements ‘ruins of Vegas’ and ‘sexbot’ feature prominently in Villeneuve’s Blade Runner sequel - in this instance I imagine they didn’t really have the budget to make good on the rich vein of Fucked Up Imagery associated with the concept of sexbots (leave it to gurochan ig? sdfsf) but I hear it’s Fun, and i’m going to see Vegas sometime during this trip so it will surely be amusing to have seen an 80s vision of ruined Vegas beforehand.

Anyway the first movie is gonna start Right Now bc we don’t have a lot of time, and then I’ll let you know when we’re back for movies 2 and 3!

#toku tuesday #feels weird as hell doing this when it's light outside lmao

17 notes · View notes

lovejustforaday · 3 years

Text

Sonic Youth Albums Ranked (Part 3)

6. Sister (1987)

Main Genres: Noise Rock, Alternative Rock, Post-Punk

A decent sampling of: Experimental Rock

This is the first LP in the Sonic Youth discography accessible enough to be labelled a true ‘Alternative Rock’ record. It’s still rough around the edges, but Sister is full of catchy hooks and thrilling guitar sounds. I feel like this record and Daydream Nation probably went on to spawn at least 200 new alternative rock bands by the time the 90s came around (not that I was there to see it or anything, just speculation).

Sister deserves a lot of credit for solidifying on tracks like “Catholic Block” and “Stereo Sanctity” what would become the dominant formula for the band’s sound throughout most of the rest of their discography. I think that's part of the reason why this is Sonic Youth’s second most acclaimed and beloved record. Perhaps some fans would even be downright offended that I only put this at #6 on the list, but trust me when I say that this is only because the band has made so many fantastic records. In fact, for most bands, this would easily be their greatest record.

I can still remember the first time I heard the opening to “Schizophrenia”, I had never heard anything quite like it. The guitars sound upbeat yet worn out and dejected, making me feel isolated and almost spiritually weak when I listen to this track, yet somehow also comforted. The song is partially inspired by Kim’s older brother who has schizophrenia, though the roles are reversed in this song with a brother whose sister is schizophrenic. It’s a deeply fascinating and memorable piece, and I can see why many fans consider this to be a top five Sonic Youth track.

Most of the rest of Sister is very scratchy and punkish with some very tight guitar work, like “Catholic Block” which boasts one of my favourite melodic riffs in the Sonic Youth canon. There’s also “Hot Wire My Heart”, another major highlight and a cover of the obscure British punk band Crime, where Sonic Youth takes their song and upgrades the guitars and drums while also adding a bold wall of feedback at the end.

Then there’s “Pacific Coast Highway”, a completely sickening song and one of Kim’s very finest moments as a lyricist and vocalist. This haunting noise rock jumble tells the story of either a unhinged stranger, or perhaps a resentful ex-lover, who is obsessively catcalling the listener from their car, with the not-so-subtle implication that you’re all by yourself somewhere and that this person intends to harm you. I have no idea if this was written about a personal experience, but I do know from listening to their voices that this is something many women have either gone through or live in perpetual fear of. Seriously fucked up stuff, but also one of Sonic Youth’s very best tracks.

"Cotton Crown” is an odd one out in the Sonic Youth discography; an uncharacteristically sincere but still off-kilter love song that Kim and Thurston sing as a duet. Their voices are a bit out of tune with each other, but i think that honestly fits the Sonic Youth aesthetic and it’s sweet in its own quirky way, although very bittersweet decades later with hindsight about the fate of their relationship. Sort of a noise rock lullaby almost, maybe even with hints of early shoegaze.

Sister does a really good job of taking the seemingly juxtaposing ideas of the ‘fun’ and the ‘grotesque’ and fuses them together. This album is both largely exciting and still somehow alienating and depressive. It’s textbook Sonic Youth, really. I will say that the best tracks are clustered together with a noticeably weaker middle portion, but really this is still a consistently great record throughout. Altogether, Sister is one of the many entries in the band’s discography from 1986 through 1990 where Sonic Youth could basically do no wrong. A classic record.

9/10

highlights: “Pacific Coast Highway”, “Schizophrenia”, ‘Catholic Block”, “Cotton Crown”, “Hot Wire My Heart”, “Beauty Lies in the Eye”

5. A Thousand Leaves (1998)

Main Genres: Noise Rock, Experimental Rock

A decent sampling of: Alternative Rock, Post-Rock, Neo-Psychedelia

I’m just gonna say this now: A Thousand Leaves is by far Sonic Youth’s most underrated record. It’s also the last truly amazing record that the band ever put out. Maybe it’s just the bizarre choice of an album cover that turns people off of this LP. Really, what the hell were they going for here with the minimalist hamster vibes? The beautiful title really suggests something a lot more visually stunning.

In all seriousness though, I feel like nobody talks about this one because it’s overshadowed by its predecessor Washing Machine, but if there’s one area that this record exceeds above all other Sonic Youth LPs, it’s that it perfectly captures that mellow feeling that the later Sonic Youth albums were inclined towards. Not a lot of Sonic Youth records put me at ease like this one does.

Likewise, this is maybe the most ‘feel-good’ record in their discography along with Murray Street. But where Muray Street is something you could put on in the background and enjoy pretty modestly, A Thousand Leaves is a largely experimental, out-of-body experience that pulls you into its surreal, flowery, evergreen world.

“Contre Le Sexism” is a perfect opener for this kind of record; this quiet daze of a waking dream is both dainty and delirious, alluding to Alice in Wonderland with Kim’s vocals never before sounding so gentle and bright. I swear I start to hear a door creak at the end. Maybe that’s the sound of stepping out into the rest of A Thousand Leaves.

What follows immediately after is “Sunday” which is actually one of the band’s poppiest moments, making it somewhat of an outlier on this highly avant-garde and immersive record. But the warm spring vibes of the melody fits right in. The wall of sound introduced during the bridge is a soft mesmerizing bliss more akin to a band like My Bloody Valentine, if not for the tiny distant screeches of atonality whirling around here and there. As a big fan of both bands, I’m all for this kind of sound.

“Wildflower Soul” is easily one of the best things Sonic Youth has ever written. Endless amounts of creativity are poured into this nine minute noise rock acrobatics performance along with a lyrical ode to love, nature, and childhood. The vibes of this one are really quite jaw-dropping given the fact that these are the same guys who wrote “Schizophrenia” and “Death Valley ‘69″. There’s such unison and harmony in the band’s performance here as they switch between different bpm and even time signatures, and the usage of the heavy phaser effect towards the end sounds nothing short of godlike. "Wildflower Soul” almost feels like an entire album experience in one song, and I’m beyond impressed every time I listen to it.

This makes for a hard act to follow, but A Thousand Leaves still has plenty of other highlights. “French Tickler” is a strange and satisfying track that switches back and forth between a playful melody and churning, stretchy distortion. “Karen Koltrane” is a murky but textured portrait of Lee Renaldo’s ex-girlfriend, who got addicted to hallucinogens and became heavily withdrawn from the rest of the world. “Snare, Girl” is a soothing spell where Thurston sounds like he’s trying to coax the listener into a never-ending slumber.

My only real complaint here is “Hits of Sunshine (For Allen Ginsberg)”, a lackadaisical jam session that sounds cool enough, but really overstays its welcome given the lack of development it achieves over its eleven minute run time. It’s a nice piece to vibe to, but it very noticeably disrupts the album’s flow. Take this one track away entirely, or even just edit it down severely, and this would probably be a 10/10 record for me.

Still, wow what a cool album. A Thousand Leaves is a great example of why I respect this band so much. Even this late into their career, Sonic Youth were willing to try so many new bizarre things while also building judiciously upon the foundations of their past work with great attention to detail. I wouldn’t recommend most people start with this one, it’s definitely a bit more challenging especially if you haven’t listened to some other really weird experimental rock records. But once you’re in the right headspace for it, it’s easy to get almost completely lost in A Thousand Leaves.

9/10

highlights: “Wildflower Soul”, “Sunday”, “French Tickler”, “Karen Koltrane”, “Snare, Girl”, “Contre Le Sexism”, “Heather Angel”

4. Goo (1990)

Main Genres: Noise Rock, Alternative Rock

A decent sampling of: Experimental Rock, Post-Punk

Goo was my very first Sonic Youth album, and I can definitely still feel some of the old teenage angst that I had at the time whenever I listen to this one. What probably adds to that feeling is the fact that this along with Daydream Nation is one of the two albums in the band’s discography that I’d say possesses a great deal of immediacy. Albums like Sister and A Thousand Leaves are a bit more subtle and they take a while to be fully digested. But this one, this one hit me like a brick wall.

Between “Tunic (Song For Karen)”, “Kool Thing”, and “Cinderella’s Big Score”, Goo is above all others the Sonic Youth record where Kim Gordon is really the star of the band, featuring not one but three of her most captivating songs. Likewise, I would also say that this is Sonic Youth’s most overtly feminist and socially conscious record.

I don’t know if anybody else feels this way, but to me the opener “Dirty Boots” really does sound like “Teen Age Riot” part 2. That’s not a bad thing of course, Sonic Youth making more songs like “Teen Age Riot” could never be a bad thing, and “Dirty Boots” is definitely one of the highlights of Goo with its massive build up of kinetic energy. That being said, I do have to say that I don’t think any song could do this particular kind of album opener better than “Teen Age Riot” already does it, but I still really do enjoy “Dirty Boots”.

“Tunic (Song For Karen)” is one of Sonic Youth’s most poetic and poignant songs. Kim’s sing-talking voice is even more solemn than usual as she takes on a surreal retelling of the final days of drummer/pop star pioneer Karen Carpenter from her perspective, highlighting the severity of her loneliness and the criminal negligence of many of the people around her who let her succumb to her eating disorder. Set to a backdrop of stark and droning alternative rock, I would say that this is possibly the band’s most depressing moment and certainly one of the biggest statements that they ever made.

A lot of the rest of Goo is actually pretty fun though. “Kool Thing” features Chuck D on guest vocals, and its a funny sarcastic take down of the subjugation of women’s voices in supposedly liberated spaces like the world of rock and hip hop, inspired by the time Kim interviewed L.L. Cool J and attempted to have a political conversation. The song mocks L.L.’s attitude towards women while also poking fun at Kim’s own self-perceived elitism. There’s also “Mote”, a sensational head rush that dissolves into noise rock weird-isms, sorta recreating the feeling of going from buzzed to totally black out.

“Mildred Pierce” is almost a practical joke but I kind of love the hell out of it anyway. A short track with lyrics consisting only of the song’s title, it starts with the band getting into a nice little riff before (without warning) bursting into a hardcore punk cacophony as Thurston screams the name over and over into the listener’s ears. Made me jump the first time I heard it.

And then there’s “Cinderella’s Big Score”. If “Schizophrenia” vaguely hinted at Kim’s estranged relationship with her older brother, then “Cinderella’s Big Score” confronts it dead on. Featuring some of the band’s most totally insane and disfigured guitar work ever, this song sounds harsh and militant, like the dawn of a nuclear cataclysm. It’s very hard to believe that Kim is 37 years old here; she reverts to sounding exactly like a hurt teenage little sister, rebelling against her childhood trauma and lashing out at her brother’s past bullying and now his cold indifference towards her.

The song grapples with some very painful emotions, but the experience is raw and cathartic. “Cinderella’s Big Score” is definitely somewhere in Sonic Youth’s top 10 tracks for me; it just doesn’t get any realer than this. Honestly, the record could’ve ended here. I like “Titanium Expose” enough as a closer, but this would’ve made a really powerful and lasting impression to end the album.

Despite that, Goo is an excellent Sonic Youth record that demonstrates just how much the band had mastered their craft after a decade of making all sorts of noises. Obviously I’m biased since it was my own first Sonic Youth record, but I really do feel like this is the very best place to start with the band. Goo is one of their more melodic and accessible offerings, but it’s also one of their most provocative records and it really captures the essence of Sonic Youth’s identity.

9/10

highlights: “Cinderella’s Big Score”, “Tunic (Song For Karen)”, “Mote”, “Kool Thing”, “Dirty Boots”, ‘Mildred Pierce”

3. EVOL (1986)

Main Genres: Noise Rock, Experimental Rock, Post-Punk

A decent sampling of: No Wave, Alternative Rock

If Bad Moon Rising was bleak and desolate, than EVOL is disturbed, uncanny, and deeply paranoid. Sonic Youth’s third record evokes the feeling of being all alone at midnight on a sketchy highway, complete with mental images of flickering street lights and looming shadowy figures. I mentioned earlier that I have to be in the right mood to enjoy Bad Moon Rising, but this record puts me in the right mood almost instantly whenever I put it on.

EVOL isn’t exactly a no wave album like their first two records. The highly experimental influence is still there, but the arrangements are starting to sound fuller and more intentional.

You could say that this LP marks somewhat of a transitional phase between Sonic Youth the no wave band and Sonic Youth the alternative rock band, and in many respects it has the best of both worlds. There’s a few catchy darker alternative rock songs here and there, sandwiched between tracks that could best be described as ‘mad scientist’ music, which altogether creates a varied and unique album experience.

“Tom Violence“ immediately establishes the tone of EVOL with crooked, scraping flashes of post-punk guitars. This track reminds me of heads hung low, bodies slouched uncomfortably, and the feeling of being completely wide awake at 2:00 am. There’s something very unfriendly that lurks beneath the dissonance of these sounds.

If “Tom Violence” is uneasy, then “Shadow of A Doubt” is an auditory nightmare, managing to capture something akin to the fear of being watched by an unknown stranger hiding in the shadows. Notes are gently plucked like icy cold fingers slowly crawling up the listener’s back while Kim whispers about murder plots and oneirophrenia. The “just a dream” lyrical motif is first uttered reassuringly, but eventually turns into a desperate plea as Kim begins to shout frantically and the music intensifies.

The album dials down the spook factor a few notches with “Starpower” and “In The Kingdom #19″. The former is an early example of Sonic Youth’s ability to combine melodic hooks with meandering chaos that would become refined on the next few LPs, while the latter features Lee’s first solo vocals (and one of his best performances) reciting a lucid, jet black vision of a car accident. Thurston threw firecrackers into the recording studio when they did Lee’s vocals on this track and you can hear it in the recording, and just like “Mildred Pierce” it really caught me off guard the first time I heard it.

“Secret Girl” is the scariest fucking thing in the whole Sonic Youth discography, and also just one of the scariest songs I’ve ever heard. It starts with a deep shuddering thud that sounds like it’s getting closer and closer. Then out of nowhere, a cassette-recording of an old detuned piano starts to play a simple, unnerving refrain while Kim offers a cryptic and uncomfortably suggestive spoken word piece. It feels like a scene that might play out in a horror film, where a television screen comes on by itself and the person on the screen begins to talk directly to the viewer.

Finally, there’s “Expressway To Yr Skull” (alternatively titled “Madonna, Sean, and Me”), which would be my #1 Sonic Youth album closer if not for the #1 album on this list. That being said, this song is still one of the biggest highlights of the band’s career. "Expressway To Yr Skull” starts off restless and spectacular, leading up to an utterly earth-shaking climax, and then it’s as if the song promptly dies, only to become a lingering undead entity that pulls you down with it. I still can’t get over how the ending really manages to sound like it’s dragging you down further and further into its barren depths.

To add to that, there’s actually a locked groove on the original vinyl release of this LP that plays the last little bit of “Expressway To Yr Skull”, meaning that if you let the needle sit there, it will forever loop that last little bit of droning at the end of the track. I really appreciate this little detail; it’s as if the pervasive darkness of EVOL is so encompassing that it could turn into a deep midnight that never ends.

EVOL is honestly so close to being a 10 for me, but just like Sister I find that it is decently weaker towards the middle. Still, I’m absolutely enamored with the atmosphere on this album. No gothic rock record has ever managed to sound so deeply unsettling to my ears like this little experimental record does. You really just have to experience this one for yourself. Honestly, don’t be surprised if in a year or two I’ve changed my mind and bumped this one to a 10.

9/10

highlights: “Expressway To Yr Skull”, “Shadow Of A Doubt”, “Tom Violence”, “Secret Girl”, “In The Kingdom #19″, “Starpower”

42 notes · View notes

themoonlily · 3 years

Note

Hi! I found your stories on a ficrec list for Eomer/Lothiriel and WOW!!! MUCH LOVE!!!!! I can't wait to read more wonderful stories from you! Can I ask what got you into this pairing, and what draws you to them? Also: any headcannons about them? (Physical/personality/hobbies/etc.)

Hi there! I am so glad to hear you like my stories. :)

I would say that I got to Éothiriel thanks to Éomer. I can't say I fell in love with him straightaway - I was your typical Aragorn fangirl back in the day (mind you, he’s still one of my favourite characters in the legendarium). I had always enjoyed the bits with Rohan in particular, and the more I watched the films, the more I liked Éomer, and once I had read the books a couple of times, I realised there was so much more to this guy. I loved his integrity, his unashamed passion, his loyalty and devotion to his family and friends, and how he strives to do better and learn.

His arc in the books is such a fascinating one. He starts out as a scion of one of the leading families of Rohan (and is a son of a princess, no less), but is orphaned along with his sister at an early age, and then raised by the King himself. What kind of a trauma did that loss leave him with, and how did it affect his relationship with his sister? Were his teenage years very difficult thanks to this? At the time of the events of LOTR, he’s a fairly young man - among the youngest of the entire cast - and yet he has this hugely important duty as the Third Marshal of the Mark. He’s passionate but also ready to put himself and his own needs aside in order to do what’s right. The whole House of Eorl dynamics are just so fascinating, even though a lot of it happens outside the actual narrative of LOTR. What are his relationships with his uncle, his cousin, and his sister? How does this partnership with Théodred grow (to the point of Saruman seeing these two as the chief obstacle of the easy conquest of Rohan)? What does it feel like to watch his beloved uncle fall under the influence of ill-intended counsels (not to mention the threat of Wormtongue against Éowyn)? Éomer is portrayed as a fairly temperamental guy, so I can only imagine the fury he must feel at the situation.

But then Théodred dies, the noose tightens around everybody’s throats, and one may just imagine the desperation and dread he must feel at this point. He’s still figthing and trying to do the right thing, even if that may now mean treason. But he’s still friendly to Aragorn and co. when they meet, recognising them as an opportunity to help Rohan almost immediately.

He’s so loyal to his family that even after he’s been disgraced and humiliated by Wormtongue by the proxy of Théoden, he still knows where the true malice is coming from, and is ready to fight again for his uncle the moment he’s released. And he slips straight back to being the King’s lieutenant without even blinking his eyes.

There’s also how Éomer becomes king. I’m fascinated with what it would feel like to him. I mean, he’s been second in line to the throne his whole life, so he probably always realised there’s a chance he’ll be king one day. But the circumstances he comes to the throne - the near ruin of his country, the tragic and violent death of his cousin he might have been able to prevent if not for Wormtongue, the brief time he has with his restored uncle, and then the whole mess of the War of the Ring... all that must feel pretty surreal for him. And, of course, the Battle of Pelennor’s fields, and his scenes in it... wow. Him nearly losing his mind over thinking his sister (and whole family) is dead, charging like a madman over the field, composing some pretty amazing poetry in the spur of the moment, and then just laughing in sheer defiance against what seems like imminent death. What a dude.

And then there are so many other interesting aspects: how he must have felt over those long years (was he unhappy? was he lonely?), what he expected his life to be versus what it turned out to be, and what it did to him to watch his family leave one by one. I could go on, but then we would be here whole day.

So, enter Lothíriel. Of course I was eager to know what happens to Éomer after the war is over, and fortunately, Tolkien had an answer ready - although he could really have told us more about them! Not that in canon there is anything to imply it was a love marriage, but personally, I don’t think that a man with a disposition like Éomer would submit to a loveless or faithless marriage (or that he’d risk his relationship with Imrahil by being faithless). I just can’t see it happening. Also I just want him to be happy, and find someone who brightens up his days, someone who won’t leave him. It’s nice to imagine him having a new start with her.

Sadly, of her personality I can’t say anything that would be indicated by canon, but if we imagine her being anything like her father, then she might be a proud, strong and brave woman. Well, she would probably have to be courageous to leave her homeland for marriage (another reason I think it was a love union, because I want her to be happy, too)! I like to imagine her finding some unexpected, unimagined freedom in Rohan, perhaps even fulfilment of ambition in her role as a queen. Also, maybe with her background and if she had access to some kind of education, she’d be uniquely qualified to helping Éomer to rule and counseling him. Perhaps she even feels some personal pride over the fact that together, they are starting a new dynasty (or a new line) to rule in Rohan. Also, having a fairly big family, I think she would be well equipped to show him the love he has missed most of his life.

I recall at some point reading the appendix about the House of Eorl, and that Éomer married Imrahil’s daughter, Lothíriel, and thinking yes, this makes sense. It’s just the sense I gleaned from the interactions and circumstances of the story. Of course Éomer would have strong feelings for Imrahil, since he was the one who saw that Éowyn was still alive and hastened her delivery to safety. Being a man of strong emotions, I think Éomer would hold Imrahil and his entire family in high regard thanks to this. Maybe it’s even a ground from which some attachment did grow between him and Lothíriel. Also, Rohirrim are a culture based on horses, and apparently the Princes of Dol Amroth also maintain a cavalry (the Swan Knights who, with Imrahil, took part in the Battle of Pelennor fields). So I see there definitely being a lot of points of connection!

Of course, it also fits the socio-political frame we are left with at the end of the story: the new unity among the Free Peoples, the task of rebuilding after the war, and this new blooming of the friendship between Rohan and Gondor. On a purely logical level, it is reasonable that he’d marry the daughter of a powerful house like Imrahil’s. But for my purely headcanonish “aesthetic” (if that’s even the right word) reasons I do like the contrast these two make: their different cultures (and all that they entail from songs and poetry to foods and habits), their union as the union of earth and sea, his gold to her silver, the warrior and the lady... also this is purely headcanon/tropes but I definitely think of them as tol/smol and embodying the pair where A is the reason B began to smile again. (Tol/smol is at least half canon because Éomer is apparently as tall as Aragorn, like 6 feet 6 if I recall right. Since he’s also a professional warrior, he’s probably built like it too.)

So, yeah - I guess that’s already a lot of reasons for why I love this pair! There’s just so much potential there, so many avenues to pursue, and so much food for imagination. If you’re interested in more of my headcanons, you could try searching the tag “Éothiriel” in my blog - I’ve got plenty of posts about them!

Thanks for the ask, and sorry for this answer being so long! I rather got carried away and Éomer deserves every bit of the love he gets, and so does Lothíriel.

#Éomer #Eomer #Lothíriel #Lothiriel #Éothiriel #eomer x lothiriel

28 notes · View notes

professor-doc-emeritus · 3 years

Text

My thoughts on each jojo part

this seemed like fun, so i decided to do it. note that I read most of jojo rather than watched it, so this is about the manga. Spoilers throughout

part 1:

BEST

introduces dio, my favorite villain in all of fiction

for as much as people dog it for being the “worst part,” or for being easily skippable, I actually think it works as the perfect introduction to the series

easily the most accessible part, with straightforward powers, characters, plot structure, etc.

that being said, also easily the sloppiest art. araki’s trademark style manages to shine through, but for the most part it comes off as a weaker fist of the north start visually

There’s so much of this part that’s just never revisited after the series moved into the modern day, like the gothic horror tropes or historical fiction elements. It makes it feel unique and fresh to this day

Johnathan’s death still makes me sad :(

part 2:

the funniest part

I fell in love with jojo when he pulled a motherfucking tommy gun on a century old martial arts vampire master

managed to develop the ideas and themes of part 1 while still having its own identity and ideas to present, a tricky thing to do

incredibly fast paced, almost to a detriment. there’s a reason 1 & 2 just got one season of the anime total while every other part got at least 2

The art gets cleaner, and much more in line with what people think of when they think “jojo style,” though you still see some sloppy panels here and there.

One of the very few parts with a no-holds-barred happy ending, which is nice

while villains were more visually distinct, they were much weaker personalities. Esidisi has one of the most memorable moments in the entire series, but other than that they’re just stock bad guys. no crazy philosophical ramblings or surreal powers

you can also tell that araki was coming up on the limit of unique stuff he could think of for hamon to do, though its a shame he never properly revisited it i can see why he moved away from it

part 3:

I C O N I C

my favorite part in terms of the artstyle. all of the crazy poses and exaggerated musculature, but far cleaner linework and more consistently on model than what came before it

the character designs for this parts villains are super underrated, people of all shapes sizes and colors come out to throw hands with the stardust crusaders

while jotaro can be kind of a wet blanket at times, polnareff more than makes up for it in raw charisma and charm

Joseph returned, which was AWESOME

DIO is at his most iconic and menacing in this part

though the stand abilities are basic to the point of not aging well compared to what was to come, the visual designs remain unrivaled imo, star platinum and the gang are all gorgeous

the structure of the roadtrip is so genius, since it helps avoid blatant power escalation while still having a strong sense of progression

so many iconic fights. the darbys. steely dan. enyaba. hol horse. oingo boingo. friggin Dio’s world. I still reread that fight every year or so, its so fucking good

definitely the most pure shonen part, just cool fight after cool fight

all of that being said, the sheer scope of the part works against it. for every memorable and awesome villain fight, theres at least two that literally everyone forgets

the main cast also suffers from being underdeveloped. kakyoin gets like 2 cool fights and is a bit player for the rest of the part, joseph is massively underutilized, and avdol’s storyline is just a clusterfuck

This part suffers in simultaneously having the least creative stand powers, but also the least consistent. You can tell araki was still working to flesh out and establish what a stand was during this. Ideas like stands shapeshifting and telepathy are used multiple times, even up to the end, but are never seen outside of this part. But the actual listed abilities of everyone rarely get any more abstract that “fog manipulation.” The part is definitely more than punch ghosts, but it a’int much more

Star platinums true stand power is “plot convenience,” and a lot of this is directly tied into araki’s very fast and loose understanding of what a stand is in this part

Joseph resurrecting at the end was bullshit and you all know it

part 4:

BEST BOY

The slice of life structure once again helps mitigate the power creep, and the more lighthearted vibe makes the less urgent plot progression more palatable

Extremely charming main cast, everyone is used well and has a strong personality, imo araki hasnt gotten in this right before or since. Literally the only wish I had was okuyasu getting a fight where he just gets to fucking body someone

This part has a far firmer grasp on what exactly a stand is, and therefore can subvert it better. You don’t have characters suddenly having powers that they never use again, but you do have stands like harvest that flip the idea of what a stand can be on its head

On top of that, the idea of stand users gets subverted here as well. Sure you have the stereotypical goons like red hot chili peppers, but you also have teenage girls and italian chefs presenting unique problems to get out of. You get a real sense of what every day life is like with stand users around, and it brings the city of morioh to life in such a wonderful and interesting way

The ending is sometimes seen as anticlimactic, but I personally love it, it feels like the city of morioh itself is rejecting kira.

That being said, this part probably has the weakest throughline of the series. Its worryingly easy to forget that the whole reason jotaro is here is because there’s an actual serial killer on the loose

Kira comes into his own as a great villain later on, but to me he fails to provide that urgent sense of threat that every other jojo villain has. He’s not really scary until the milisecond he gets cornered, and while that fits with his personality and the parts tone, it undermines the tension that he’s meant to bring

josuke never got to come back for another part despite araki saying he was his favorite jojo and im still sad

part 5:

S T R E S S F U L

seriously, such a dark part after the relatively lighthearted part 4

the pace is insane, a high strung crescendo of tension and action

the first part not to feature a previous cast member in its main cast, an interesting and bold choice that would end up sticking for better and for worse

that being said, POLNAREFF CAME BACK ASDOFHALWEFJNASDKLNVAK

Lovable cast, my biggest complaint is how little time we got with a lot of them. they fade out just as fast as they grow on you

while part 3 was my favorite iteration of araki’s classic style, this is my favorite iteration of this second style he developed, featuring longer limbs and (slightly) less exaggerated musculature of characters

the. best. stand fights. high octaine, tense, creative, brilliant, subversive, surreal, but still straightforward enough to be easy to follow along.

a lot of the stand powers here are intentionally underpowered, which makes for more creative combat and compelling conflict

we see a return to a “road trip” style structure. In fact this part can largely be read as araki re-attempting SDC with a new art style and better grasp of storytelling: large but ever shrinking cast, a shadowy villain cloacked in mystery who manipulates time and sends hired stand users out to combat the heroes, a protagonist slightly detached from his journey as he develops his powers, only truly taking the mantle of leadership when its thrust upon him

That being said, for all the strengths it borrows from SDC, it also inherits its weaknesses.

Giorno has the worst case of the “plot convenience” stand power in the entire series, including a borderline literal deus ex machina at the end. And remember, this is still taking into account Jotaro “start finger” kujo

Diavolo is just a knockoff shadow dio that’s less intimidating, more overpowered, less interesting, more confusing, and overall just a weaker villain

While the individual fights themselves are far more creative and cool, the characters behind those fights are even less memorable than SDC. The anime basically just aired, so its fresh in everyones minds, but a year or two from now try and name like 5 villains and I guarantee you’ll fail.part of that is tied into their more nuanced characterization sticking out less than the more reductive but loud SDC villains, and since the part is much shorter it doesn’t matter as much, but when i was catching the odd episode of the anime i was surprised at how i’d remember the fights themselves but almost nothing about the actual villains involved

this part is the start of stand powers getting too abstract for their own good. sticky figners seems simple enough at first but the brass taxes of what it actually does are convoluted, giornos stand ability is just whatever araki needs it to be to get himself out of the corner he’s written himself into, and of course the absolutely iconic “it just works.” overall everything is still readable, but especially when diavolo stars making moves there are a lot of fights where its easy to get lost.

if you ever wonder why people ship giorno and mista it’s because they’re the only characters that actually survive this part

part 6:

I hated this series at first but it grew on me over time. to reflect that, I’ll start with it’s weaknesses and build up to what i liked

the worst araki’s art has ever been. I hated this look. everyone was a whisp of what they should be, the limbs that were originally aesthetically long became just gangly and gross, and everyone’s face looked so bad

Some of the most boring stand fights in the series. I struggle to recall more than 3 before the green baby arc, and i can barely remember any characters in them

while it started in part 5, this part is the apex of indecipherable stand fights. There were so many fights where i just gave up trying to understand what i was looking at or what was going on and just skimmed through them

There’s an entire arc about fighting the children of dio who are being compelled to come to florida for plot reasons, and giorno doesn’t show up. he’s friggin name dropped in the notes for the chapter and he just. doesn’t show up. infuriating.

pucci kiiiiiiiiiiiiinda sucks. Personality wise he doesn’t really amount to anything more than being horny for dio, and his normal stand abilities aren’t really that interesting. While in theory Whitesnake should have the most interesting stand fights, since he can use literally any ability, in practice he rarely elevates beyond a punch ghost. His design is cool, and once the green baby comes into the picture his fights are a lot cooler, but for the most part he’s just. lame.

the worst supporting cast to date. Every is either annoying, boring, or annoying and boring. Everyone just kind of exists and doesn't do anything until it’s ‘their’ fight, where araki hurriedly dumps their backstory to try and make you give a shit about them, before moving on to the next thing

in exchange for that though, we get one of the most nuanced and well developed main characters in the series in Jolene. Her arc makes this part worth reading, despite the faults

while it takes time to build up to it, this part has some of the coolest and most surreal stand fights in the entire series. I’ve menitoned it several times before, but the green baby appearing is the turning point of the entire part for me. Suddenly the stakes are elevated, the stand fights are the most creative and fascinating in the series, and since there are very few character deaths the climax feels like a genuine war, with everyone trying to stop the ending from happening.

the ending is disapointing and heartbreaking in some ways, incredibly poignant and beautiful in others. a real mixed bag, but an ultimately fitting end to this arc of araki’s work

part 7:

you know how I said part 1 was best? I lied, the remake of part 1 is the best

Utterly gorgeous art. Legitimately a lot of this manga looks like a renaissance painting. The composition and lining are on another level.

Another chance for araki to reset the pwoerscaling of the series, most of the stand abilities we see in this are actually incredibly simple. Part of this is due to having to share plot space with spin and the corpse parts, but the result is far tighter and easier to follow battles compared to part 6

the pacing is immaculate. There’s a clearly defined goal that each chapter works to progress, thigns move fast when they need to and linger when the need to

narrowing the cast down to essentially johhny and Gyro, with a few rotating side characters, really fleshes the two of them out. johhny is my favorite jojo by far. he’s a terrible person, but you can’t help but empathize with him and learn to love him and root for him. Gyro is arguably the main character, with a compelling central conflict and tragic flaw that make him one of the best characters in the entire franchise

brilliant stand fights, be it clever usage of simple stands or surrealist duels using calculus to overcome the multiverse, genuenly indispensible shonen.

part 8:

It’s hard to judge this one since it’s still not complete, and I’m not even caught up yet. I think a lot of my opinions on it are gonna come down to if araki sticks the landing

a suuuuuuuuuuper slow pace. compared to SBR, with it’s clear goals and steady progression, this is really miandering and at times random. It’s meant to resemble the pace of 4, but that came out weekly and this comes out monthly.

The lack of an established main villain for most of its run hurts the tension if the part, and makes things seem less purposeful.

The side characters are all interesting, but they leave almost as soon as we meet them, it makes it hard to get attached to them.

Art is still fantastic

Lots of fun fights and creative stand powers for sure, nothing mind blowing but still excellent

13 notes · View notes

liquidstar · 3 years

Note

I'd love to hear some of your recommendations! And I'm good without any content warnings, but since you're posting this for all your followers to see probably best to add them

Alright sure! I’ll be general then and since you’re just starting out this will sort of be bringing up a lot of really popular ones, the really good ones where the general consensus is “you gotta see this!”, but I’ll also try to give ones from different genres so you have a variety of things to pick from, so this isn’t really a list of personal favorites but I’ll throw in a couple of those too lol, but generally think of this as a handy beginners guide with just a little personal bias.

I wrote a lot so I'm gonna put them under the cut here.

Fullmetal Alchemist

Fullmetal Alchemist is a franchise that’s considered a must-watch, it takes place in a world where alchemy is a borderline magical power, but is considered scientific in-universe and follows scientific laws, namely the law of equivalent exchange. Something can’t be made from nothing, to gain something of equal value must be lost. The story follows the story of two brothers, Edward and Alphonse Elric, who at the ages of 10 and 11 committed alchemy’s one and only unforgivable sin, human transmutation, in an attempt to bring their mother back to life. As a result, one brother lost his arm and leg and the other lost his entire body, leaving his soul bound to a suit of armor. However the brothers are resolute to regain their original bodies, and the older brother, Edward, joins the State Alchemists, a branch of the military, to try to gain access to research materials to help them achieve their goal. But was that really such a good idea?

Fullmetal Alchemist can be a bit confusing to get into due to the fact that there are two series: Fullmetal Alchemist (2003) and Fullmetal Alchemist: Brotherhood (2009). The latter is a reboot with a different story that follows the original manga. They both have the same beginning, but diverge paths and tell very different stories. My recommendation for how to watch this show is: Watch 2003 first, and Brotherhood second. Everyone has a different opinion about which is better, but everyone agrees that 2003 has better backstory but a contrived ending, and Brotherhood has a rushed beginning (Because it works off the assumption that you’ve seen 2003) with a great and fulfilling ending. If you can’t do both I say just watch Brotherhood because it will leave you more satisfied and you don’t have to watch 03 to get into it.

For both series the biggest trigger warnings are: Parental death, child death, pet death, war, genocide, dismemberment, religious themes, and miscarriage. For brotherhood specifically: on-screen suicide, and for 2003 specifically: rape (not on-screen) and pregnancy from it. The 2003 series is also a lot darker than Brotherhood which has a more optimistic tone, so that’s worth noting too.

Soul Eater

A show I think is incredibly fun, and a good one for an October watch if you wanna save it. It takes place in a world where certain people have the ability to transform into weapons, and they team up with other people who become their meisters. The characters often travel around, but the main setting is Death City, a fictional city in Nevada based off of Las Vegas but with a huge Halloweentown vibe, and a school right at the top of it called the Death Weapon Meister Academy (DWMA) where a bunch of kids that turn into weapons learn how to hunt down witches and kishins (Beings that consume human souls). The school, of course, is run by the grim reaper, Lord Death himself.

Our main characters for the series are a group of 7 students. Our protagonist Maka Albarn and her weapon partner Soul “Eater” Evans, a scythe. A loud mouth assassin named Black✰Star and his weapon partner Tsubaki, who has many weapon forms. And the son of the grim reaper, Death The Kid, and his two weapon partners Liz and Patty Thompson, who are twin pistols. There are also a bunch of really lively colorful background characters and antagonists, and the cast of the show being as insane as it is really makes it, on top of the great atmosphere and of course the plot, which just builds more and more as the series progresses. Also Crona is there and we all love Crona.

Trigger warnings for this show include: Child abuse (Mental and physical), manipulation, snakes and spiders (The motifs of two major villains), some very surreal moments that can verge on unreality. Also, in the dub and most subs: misgendering of a canonically trans character. Crona is a character who is non-binary, but the dub and subs use gendered pronouns for them due to general ignorance about neutral pronouns in 2008, though this isn’t the fault of the original series and falls on the translators hands.

Also it’s important to note: that the first 3 episodes are prologues and they take themselves less seriously, there’s more fanservice in them than there is in the rest of the series (Except for Blair she stays the fanservice character :pensive:)

Zombieland Saga

Idol anime is really prevalent as a genre, the most popular being Love Live, but my personal favorite is Zombieland Saga. It’s an idol anime, but it’s also a comedy about zombie girls who become idols. It sounds ridiculous but there’s an insane amount of heart in it regardless, it wasn’t a show I expected to get emotional at but I did! It also made me laugh a lot too. The series itself can serve as a bit of a subversion on what idols are, not just because they’re literally zombies, but because of who the characters are.

Sakura Minamoto is a character who starts off as a more typical idol, a peppy pure girl, as the series continues her struggle with depression gets highlighted. Saki Nikaido serves as her initial foil, a delinquent girl with a criminal record who subvers the idea of pure perfect idols. Ai Mizuno, a former idol who has since undergone severe trauma (The way she died). Junko Konno who has ideals that seem very different on what idols “should” be due to the time period she died. Lily Hoshikawa, an explicitly transgender idol. Yugiri nolastname, a former high ranking courtesan, subvering the pure image of an idol by being a sex worker. And Tae Yamada, a completely nonverbal idol who’s still treated with the same amount of importance as the rest of the team. The premise here really is just that these girls don’t fit the incredibly rigid mold of what idols should be and yet they still all deserve love and they gain a fanbase by being their earnest selves.

Trigger warnings for this series aren’t incredibly severe but since they’re zombies there’s still talks about death and they way they died (Including motorcycle/car accidents, plane crashes, getting struck by lightning, and a heart attack), there’s also comedic dismemberment, as in their arms just sort of pop on and off and stuff like that. The most notable thing is the deadnaming of Lily, the trans idol, by her father, but it doesn’t appear to be malicious in any way.

Note: this series is in the middle of it’s second season right now, if you want to wait until it’s over it should be 12 episodes long and just aired it’s 3rd, so about 9 more weeks.

Death Note

This is also absolutely another series that gets recommended to people right off the bat, and for good reason, this show is an intricate game of chess between a serial killer and a detective trying to catch him, and it’s incredibly easy to get super invested in the suspense of what happens next. The story begins when a shinigami, a god of death, drops his “Death Note” into the human world out of pure boredom. A Death Note is simply a notebook where if you write someone's name in it… They die! And who better to pick up such a powerful object than Light Yagami, a prodigy praised for his genius and academy accomplishments as well as his charm and popularity, and with a very strong but juvenile black-and-white sense of justice, likely due to being raised by a cop.

So naturally Light begins his power trip as soon as he finds the notebook, he intends to “fix” the world by cleansing it of all the bad people, but truly he intends to become the world’s new god. Or the “God of the new world” as he puts it. But there’s one thing standing in his way, a detective resolute on catching him with the codename L. The series entire crux is a game of cat and mouse between these two, as they try to outsmart each other and the murders continue, Light loses more and more of his humanity, L becomes more resolute on catching him. There are more twists and turns than a cheetah race, and it’s honestly pretty addictive to see what happens next.

Trigger warnings here obviously include a lot of death and murder, including suicide, but in some cases it’s a forced suicide at Light’s hands. Also abuse, as Light loses his humanity he isn’t above manipulating and discarding people who love him. And one instance of near-rape on screen fairly early on, but the purpitrator dies before it happens and the victim escapes.

K-On!

Slice-of-life is an incredibly popular genre, and K-On! is the quintessential example of it. It’s a series that not everyone will like, because not a lot truly happens, and it can be overly saccharine or “moe” for a lot of people, and that’s fine. But I personally think that despite not a lot happening, the story has genuine substance, more than you may gather at first glance. It’s true that not much in the way of big plot really happens, it’s mostly life events, that’s why it's a slice-of-life. But it’s not about nothing. The real theme of the show is the fleeting nature of youth. It’s about how important the friendships you form at that time are, how they’ll stick with you for a lifetime, and how everything comes to an end. It’s sweetness even becomes a little bittersweet because you knew their after school tea time would end come graduation, and as they realize this it breaks their hearts a little, but they continue on, because they’re still After School Tea Time!

The series itself is simply about 5 girls in a band, Yui Hirasawa on lead guitar, Mio Akiyama on the bass, Ritsu Tainaka on the Drums, Tsumugi Kotobuki on the Keyboard, and Azusa Nakano on Rhythm Guitar (Who shows up later). They’re in a club at school called the light music club where they waste a lot of their time just drinking tea and eating cake, but they’re having fun and that’s what counts! The series has a lot of really great direction and expressive animation despite the fact that a lot of it is just sitting around and talking, it’s incredibly visually interesting so you don’t get bored.

I honestly don’t think there are any big trigger warnings I can give for this series, maybe that Sawa-chan can be a little too forceful when she wants to dress up the girls in cute outfits sometimes but it’s usually not presented as too creepy especially after season 1 where they tone it down due to straying from the manga.

Mob Psycho 100

This series is an absolute love letter to the art of animation as a whole, the artstyle itself may not seem like much to look at but the animation is some of the most expressive, fluid, creative, and vibrant out there right now, it’s the type of series that you can tell was made with a real passion for its medium and it’s story. It’s protagonist is Shigeo Kageyama, nicknamed “Mob”, a term that literally means “Background character”. Mob is a middle school kid and an incredibly powerful psychic, like, insanely overpowered, but he’s currently working part time for a shady conman, Reigen Arataka. Though it may seem as if Reigen is just using Mob for his powers, their bond is actually a very sweet one and you can tell they care for each other, it’s a very important one at the heart of the series.

The core themes of the series itself are what really make it shine, it’s message is stated as clearly as possible in the opening songs, “your life is your own” and “if everyone is not special, maybe you can be what you want to be”. Put simply, you’re the protagonist of your own life, but the other important message of the series is that all the supposed background characters are just as important. The friends you make, the connections you have with other people and the way they impact you, they’re what make you strong. No one is born special, everyone is just a normal person, and everyone deserves kindness. It’s a series that I recommend incredibly strongly for just how powerfully it portrays this message.

Trigger warnings for this series include kidnapping, possession, a scene with a “man in a dress” joke, and a racist design for a background character. Also (spoilers) a scene where it seems like a child was murdered and a scene where it seems like Mob’s entire family was murdered.

Kaguya-Sama: Love Is War!

Hey, speaking of amazing animation, Kaguya-Sama is a romantic comedy series centered around the premise of two incredibly arrogant people falling in love. Kaguya Shinomiya and Miyuki Shirogane are the vice president and president of the student council at the prestigious Shuchi'in Academy, they eventually develop feelings for each other but they’re both simultaneously too proud and too insecure to admit it, so the real crux of the series is the 3D chess they play with each other to try and get the other to confess first. Along with the scatterbrained secretary, Chika Fujiawara, the treasurer in desperate need of Prozac Yu Ishigami, the cast is incredibly fun and they all fit into the comedy great. Every single little game of “do you like me?” that they play is written like the most intense thing in the world, the insane animation absolutely adds to it, making it seem almost like a psychological thriller, the comedy comes from the absurdity of just how much they hyperbolize it.

It’s not pure comedy though, due to a lot of the series being set up around mindgames, the characters are actually fairly psychologically complex with a lot of genuine development stemming from their childhood to explain why they are the way they are. The series may be about mindgames, but the actual narrative frames them as a juvenile way to go about relationships, a way to try to protect yourself from getting hurt because you’re afraid to trust. The entire core theme is that communication in relationships of any kind is the most important thing and you cant replace it with clever little tricks, so the main pair only ever make actual progress when they’re actually upfront with each other. Even if it’s scary to be that vulnerable with someone, especially if you’ve been hurt in the past like they have, the relationships you build off of mutual trust and openness will be worth the risk, and they can help heal you. And one of the things I love about the series is that this doesn’t just apply to the main pair, but it places equal emphasis on the importance of friendship. All the characters' relationships with each other are unique and interesting and they all develop the same way, with trust and openness, and they become better because of each other.

Despite being generally a comedy, a lot of the characters deal with some really heavy things too so trigger warning for: child abuse (not on-screen), child abandonment (again not on screen), anxiety and panic attacks, suicidal ideation- initionally played off as a joke but it becomes very obvious the character in question is legitimately suicidal and in the manga he nearly attempts it but is stopped, this plotpoint will most likely be in the anime at some point as it’s also not complete.

Your Lie In April

Alright I gave you a funny show now I’m going to make you cry. In fact it’s hard for me to type this synopsis because I’m an absolute crybaby and thinking about this show gets me, but I think it’s absolutely worth checking out because it’s a very beautiful sadness. Your Lie In April is a series that follows the stress and trauma young musical prodigies face in their lives, as well as the people around them, and it’s a series about the beauty of music and art, and just how much it affects people. The music in the show is absolutely gorgeous, the way that they convey emotion through it is so beautiful and intricate that it just sticks with you. You feel the music, and you understand.

I’m actually going to give the trigger warnings right now instead of at the end because in order to explain the plot I’ll have to talk about them so tw for: Child abuse (phsyical and mental, on-screen), terminal illness, death, in depth depictions of PTSD, vomiting, panic attacks, the works.

The series follows Kousei Arima, a formal piano prodigy who hasn’t performed since the death of his mother two years ago. Kousei's mother was terminally ill, but she was also incredibly abusive. Kousei has incredibly complex feelings about his mother because of this. The trauma she instilled in him is severe, but because he was a child, he still is a child, and he loved his mom a lot, as any child would, and he didn’t want her to die and he blames himself for not being good enough. He wanted to make her happy, and the only way he knew how to do that was to play the piano. So he played and played and practiced until he was perfect, they called him the human metronome. But he would still get severely punished for being anything less than perfect. He had lost all the passion he once had, and after his mother died it was the final nail in the coffin, his trauma manifests now in a way that makes him unable to play. But all that changes one day in April when he meets a violinist named Kaori Miyazono, a girl full of life and passion for music, she’s someone who according to Kousei “Exists in springtime.” and she’s going to help him play again and refined that love for music whether he wants to or not! Teen drama happens of course, but there are much bigger roadblocks ahead.

Assassination Classroom

This series is thankfully generally more lighthearted… Most of the time at least. The premise is pretty simple, but incredibly ridiculous. An incredibly powerful octopus-like creature is the teacher of a classroom of middle school students tasked with the assignment of assassinating him in order to save the world. The series starts off very slice-of-life as it focuses on introducing the very large cast of characters inside of Class E, also known as the “end class”, but it quickly gains traction and gets a lot more intense as time goes on.

The octopus creature in question, Korosensei, is actually a very kind and genuinely good teacher to all his students. The real crux of the series is that it’s sort of a critique on the educational system, the students in the end class are there because they’ve been ostracized from the rest of the campus, far away in the mountains, to be made examples of. Why? Because they’re students that are considered worthless, instead of getting help they’re only pushed back further down in the system and left to struggle within it fruitlessly. They’re given up on, despite being children with so much potential, because they don’t fit a very rigid mold. That’s what Korosensei wants to help them with, and they’re able to grow as people together. As the series progresses you feel such a great sense of unity for the class, they’re like a family, they stick together and it’s very heartwarming. And watching them work as a team of assassins is so fun!

However the series can get heavy at times too, it doesn’t stray from heavier subject matter at all and i found myself incredibly shocked by it a few times, so trigger warning for: Child abuse (on-screen and off), both at the hands of a parent and a teacher and in one case a parent who is also the principal, misgendering of a character, sometimes as a “joke” but other times played dead serious at the hands of his mother, child death- specifically suicide, a successful one as well as 3 assassination attempts that doubled as suicide attempts by the main 3 characters (weird parallel they all got there huh)

Puella Magi Madoka Magica

Honestly this is a series that is good to go in blind for if you need to tws, it’s a deconstruction of the magical girl genre, but if you don’t want to know more than that you can stop reading here. If you want to know more, it’s a series that starts off very light-hearted and in tune with typical magical girl conventions at first, however by episode 3 it’s made painfully clear that these girls are being led to sign up into something they shouldn’t. It’s heavy, though not incredibly so, but it’s also a lot to explain in a summary. Madoka magica is… It’s Faust with magical girls.

I’ll explain as much as I can without giving too much away. The story begins when Madoka Kaname and her friend Sayaka Miki encounter a creature who calls itself Kyubey, who says it can grant a wish of theirs and in exchange they have to become magical girls and fight witches. Both the girls are hesitant, but Sayaka wants to wish for her childhood friend’s injuries to be cured so he can play violin again, while Madoka is content as she is and can’t think of a wish. Luckily they have a mentor, a magical girl named Mami Tomoe who helps introduce them to everything. However something is stopping Madoka from becoming a magical girl, a mysterious new student who is also one herself, Homura Akemi, is resolute on keeping Madoka from becoming a magical girl by all means possible, for reasons Madoka doesn’t understand. Things get even more complicated when a rival magical girl shows up, Kyoko Sakura, who becomes Sayaka’s new rival. As things get more heated between those two they discover a terrible secret about the nature of magical girls, and what they truly signed up for.

Spoilers ahead but trigger warning for: Child death, parental death (backstory only), decapitation (off-screen), needles, incredibly surreal imagery inside the witch’s labyrinths that may feel unreal, mind control, suicide, depression and despair expressed by young characters. Also don't bother with Magia Record

The Disastrous Life Of Saiki K.

Alright something lighthearted now, there are a lot of comedy anime I enjoy, a lot of series that have made me laugh, but none has made me bust a gut like this series has, it’s absolutely hilarious. It follows the life of a boy named Saiki Kusuo who has psychic powers. His powers are incredibly overpowered, and he absolutely hates them, in his eyes they cause him nothing but trouble. There’s not much in the way of a plot to describe, because there isn’t any, the series is comprised of 5 minute segments surrounding Saiki and an incredibly vast and colorful cast of characters that are just all completely insane, many serve as parodies as types of anime tropes because the series as a whole is very self aware and doesn’t shy from breaking the fourth wall a lot, but the characters surrounding Saiki are what make his life… Disastrous.

Like I said there’s not really a plot to describe but like FMA people may get confused with this one, there are 3 seasons but one of them is titled “The Disastrous Life Of Saiki K: Reawakened” as is a continuation of the first two with just 6 episodes in it. Also for some reason only the second season isn’t dubbed so if you’re planning on watching it that way you’d have to either stop or switch to subs for season 2

The only major tw I can give here is an ongoing joke about a character being into his sister, he’s treated as disgusting for it of course because he’s a parody of that trope but that doesn’t make it any less uncomfortable, luckily he doesn’t show up much.

Little Witch Academia

Little Witch Academia is a series I personally just adore, it takes place in a world where witches are common and well-known among the people, but the era of witches is over and magic is dying out. However that doesn’t mean passion of magic doesn’t exist, the protagonist is a young girl named Atsuko Kagari, or Akko for short. She’s resolute on being just like her icon, a witch known as Shiny Chariot, as she attends the same magic school: Luna Nova! Unfortunately Akko isn’t exactly a magical prodigy, in fact she can’t even fly a broom, but that’s not gonna stop her, nothing will. Just like Chariot said, believing in yourself is your magic.

Once at school Akko gets into all types of crazy shenanigans with her with her two roommates, Lotte Yanson and Sucy Manbavaran, and occasionally her rival, Diana Cavendish. Akko still struggles a lot in school, in fact her inability with magic is pretty explicitly handled as a metaphor for a learning disability, and though this makes it harder for her she’s still resolute. Though the series is generally episodic, a concrete plot starts to form by the second core. Along with the help of her guidance counselor, Professor Ursula, Akko learns that she needs to unlock 7 “words” to bring magic back to the world, each time she learns a new one it comes with an important lesson to her and ultimately relates back to each of the core themes of the series

The series is pretty lighthearted so the biggest trigger warning I can give is one for bullying, two characters in particular tend to target Akko for not being a good witch and it can really sting to watch. Other than that none come to mind

#if you want stuff out of a more specific genre i can give a list of those too but this is like. general

16 notes · View notes

doomonfilm · 3 years

Text

Ranking : David Lynch (1946-present)

Film is definitely an art, and yet, it seems to be distinct from other forms of visual art such as painting or sculpture. Perhaps that is what makes David Lynch such a fascinating director, as he has the ability to tap into the surreal stimulus often found in the most famous paintings and transform it into brain-bending moments on film. Whether it his fear-fueled fascination with fatherhood present in his debut film Eraserhead, his ruminations on Hollywood society present in Inland Empire, or any of the stopping points in-between, it’s safe to say that David Lynch sits in the rarified air of directors like Ingmar Bergman, Alejandro Jodorowsky and the other few who can turn film into something deeper, more visceral and more meaningful.

With one of the most unique collections of films credited to his name, including a couple of curveballs in the early portion of his career, ranking the films of David Lynch is as perplexing as it is entertaining... so, without further ado, we attempt to climb that hill. I’m not even going to pretend that I can break down all of the symbolism and meanings of these films, but I can give my honest opinion about them.

10. Dune (1984) For a film that is supposed to be such a science-fiction gem, it’s a bit funny that nobody can seem to make a coherent, entertaining version of Dune. After nearly 15 years in pre-production hell (and three iconic names attached to versions of the production), the film landed in the laps of Dino De Laurentiis and Ridley Scott, but after another extended period delaying production, Scott bowed out, leaving the door open for David Lynch to step in. For what it’s worth, he did bring a huge list of names to the project, but the fact that the directing credit for Dune belongs to the throwaway pseudonym Alan Smithee should clue in any perceptive viewer that the project may not be one that Lynch cares to stand behind.

9. Inland Empire (2006) David Lynch isn’t the type of director that revisit ground he’s already covered, which is what makes Inland Empire (the seemingly final film from Lynch) such a confusing choice. Had this film not been released after a five year gap between it and the stellar Mullholland Drive, another film that focuses on the dark underbelly of Hollywood, fame and the tolls of the acting craft, perhaps it would hit a little different to me. That’s not to say that the film isn’t good, as it is definitely a slight adjustment from the style that Lynch basically trademarked, but when a director like Lynch experiments on what feels like general principle, it makes experiments that feel like a step backward lose impact.

8. Lost Highway (1997) Technically, you could count all of the Lynch “mystery” films as noir in some capacity, but Lost Highway feels like a direct skewing of what we know as the traditional noir structure. At its core, the film is a simple murder mystery, but it doesn’t take long for the Lynch signatures to begin appearing in every form from a mysterious, unnamed character to our protagonist literally changing into another person with no base explanation provided. Perhaps the latter choice was a look into split personalities and the disassociated nature that can come with brutal crimes... as I said before, I’m not here to try and decode the David Lynch mystery. While Lost Highway serves as a good entry point into the David Lynch catalog, it sits on the back half of the rankings due to no fault of its own... it’s more of a situation where the other mysteries are so stellar, that even the strange seems simplistic by comparison.

7. The Straight Story (1999) If you played a game of “one of these things is not like the other” with the films of David Lynch, it would not be difficult to make a winning choice, as The Straight Story is clearly the most accessible and standard of all the Lynch fare. What the film lacks in oddness and style, however, is more than made up for in terms of heart and performance. The use of a lawnmower as the main source of travel allows for some beautiful landscape cinematography, and the sheer force of will exhibited by Richard Farnsworth pays off in spades when he is reunited with Harry Dean Stanton. If you’re looking for something creepy, eclectic and mind-warping from Lynch, there are plenty of other films to choose from, but if you are looking for an excuse to shed a tear or two, this is the film for you.

6. The Elephant Man (1980) It’s funny to think that if not for The Straight Story, the Joseph Merrick biopic The Elephant Man would serve as the most normal film of the Lynch canon. This sophomore film dialed back on the abstractions present in Eraserhead, but it brought some extraordinary makeup and costuming to the table, not to mention it gifted viewers with a powerfully moving performance from John Hurt. Though memorable in its own right, the film really made its mark by tying Raging Bull at the 53rd Academy Awards, garnering eight nominations (and sadly losing in all categories, going home empty-handed). The backlash for the Academy’s lack of giving The Elephant Man special praise for its makeup effects also led to the creation of a Best Makeup award for the Oscars. It is quite possible that the combination of shock from Eraserhead in tandem with the skill and prowess shown in The Elephant Man opened all of the creative control doors for David Lynch, as not even Dune could derail his career and artistic oddness.

5. Blue Velvet (1986) While Twin Peaks is where I first heard the name David Lynch, it was Blue Velvet where I first got a taste of why Lynch was held in such high regard. The suburban paradise presented in the opening credits is immediately shattered by the discovery of a random ear, and the weirdness rabbit-hole gets deeper and deeper from that point on. The classic look of the film stands in powerfully beautiful contrast to the extreme darkness of the narrative, and Dennis Hopper turned it all the way up to 11 for his performance in the film. If Lost Highway serves as the best introductory film for those curious about Lynch, then Blue Velvet serves as a good midpoint to determine how much weirdness, abrasiveness and shock you can handle in a Lynch film.

4. Mulholland Drive (2001) I really and truly do not know where to begin with this insane rollercoaster ride of a film. The first time I watched this film, I thought I had everything figured out, every mystery solved and every bait and switch identified, but upon repeat viewings of Mullholland Drive, I’ve determined that I either had a brief moment of harmonic brilliance or I was fooling myself. The film makes sense at its root, if really and truly dissected, but when taken at face value and in real time, it’s almost impossible not to get completely lost in the sheer immersive nature of everything thrown at you. Naomi Watts is brilliant as the viewer guide through the film, and it’s good that she is so powerful in her lead role and guiding task, because Mullholland Drive is not afraid to get downright bonkers on more than one occasion. While films about the trappings of Hollywood and stardom are nothing new, I’m hard pressed to think of another film that approaches these in a manner even remotely close to that of Mullholland Drive.

3. Wild at Heart (1990) Quite possibly the most enjoyable of all the David Lynch films, despite some downright brutal moments of celebratory violence sprinkled throughout. The combination of Nicolas Cage and Laura Dern is nothing short of electric, and the presence of Willem Dafoe as antagonist is the perfect spark to ignite an already volatile mixture of leads. The energy level of this film starts on ten and only continues to rise as the film progresses. If/when I ever get the chance to program theater showings, I am putting this film on a double bill with Natural Born Killers immediately. While I can’t say that Wild at Heart is my favorite David Lynch film, I can say without a shadow of a doubt that it’s my favorite Lynch film to gush about with other fans.

2. Eraserhead (1977) More often than not, directors the caliber of David Lynch have stunning debut films to their name, and Lynch certainly exploded onto the scene with a gamebreaker in the form of Eraserhead. Upon first viewing, there is enough “WTF?!” going on to confuse most people, but for those brave enough to watch the film more than once, it becomes painfully obvious that all of the madness and shocking imagery on display is a clear metaphor for Lynch’s fear of fatherhood. The simple act of taking a fear that resonates with most humans and turning it into the equivalent of a black and white bad drug trip works perfectly, and Jack Nance’s iconic look and performance are almost recognizable enough to know without knowledge of the film. Eraserhead is one of those films that leaves you different than you were prior to watching it.

1. Twin Peaks : Fire Walk with Me (1992) In all honesty, was there every any doubt that Twin Peaks : Fire Walk with Me wouldn’t be in the top spot? Of all the properties that the David Lynch name is connected to, none of them have even come remotely close to touching the sheer size of the lore and fandom that has emerged from this modern day masterpiece. The story of the high school princess with deep, dark secrets to hide is not new territory, but the way that Lynch handles it all with Twin Peaks takes the familiar to all new realms of weirdness, including the creation of iconic places and characters like the Black Lodge, the Log Lady, the production mistake that created the infamous Bob, and the eternally iconic Laura Palmer, and oh yeah, the film’s not half bad either. I doubt that David Lynch ever had any intention of reaching the heights of fame that Twin Peaks : Fire Walk with Me afforded him, but it would be dumb to think that he isn’t impressed with the magnitude of the world he created based on that single idea for a film.

#ChiefDoomsday #DOOMonFILM #DavidLynch #Eraserhead #TheElephantMan #Dune #BlueVelvet #WildAtHeart #TwinPeaksFireWalkWithMe #LostHighway #TheStraightStory #MullhollandDrive #InlandEmpire

23 notes · View notes

kryptsune · 3 years

Note

Tell us more about the mythology of Yokaitale, or perhaps even what specific versions of Wonderland inspired Wonderfell (like did you take anything from the 2 American McGee games at all?)

🌼 Wonderfell is a fun one. I take inspiration from way too many adaptations to list here but yes you are correct I am a huge fan of McGee’s interpretation so that does creep in. If you noticed Chesh has a hoop earring. That is definitely inspired by that version. I don’t take too much from the Disney version since... I know this is controversial but I don’t think it’s the best adaptation. It gets the usual Disney family-friendly treatment. Which is fine I still love it but if you know me I like things a little more... mature.

I was also inspired by games like Alicemare, IB, Yume Nikki. It doesn’t make sense now in the context of the fic but it will. Wonderland has always suspended the real and the surreal and I definitely play with that concept a lot. Things are not always as they seem.

I always felt like Undertale initially was an Alice in Wonderland variation from falling down a hole into a magic world, to a cast of colorful crazy characters, to having to sacrifice or grow in some way along the journey. It’s why I made Wonderfell because I have always seen Sans as a Cheshire archetype and not just because of the grin. It’s more like his abilities. The Cheshire cat can disappear and re-appear at will. It’s not a direct one to one but his teleportation abilities are very similar. Pap has always embodied the Mad Hatter for me especially with his fascination with puzzles instead of riddles.

I also really wanted a more fun and colorful take on UF stuff. I am really tired of Boss always being angry or Red always being abusive... or I don’t know that characterization that made me make my own version (Underworld AU) in the first place. Or god... them being just a shit post. I know it’s nice to have those every once in a while but I always felt the missed opportunity to actually make them something other than cardboard cutouts. In my opinion, I feel like a lot of my boys have taken on a life all their own. It’s why I am using them in my original work.

Yokaifell? Well, it kind of stems from some of my favorite anime of all time, Kamisama Hajitemashita being one of them. There is just something really cool about yokai lore because I always make the joke that if you go to Japan anything can and will kill you. There are so many yokai to work off of too so that's where the inspiration comes from.

{READ MORE FOR LENGTH PURPOSES}

Mythology wise my Yokaifell lore post goes into quite a bit but the things that I have not mentioned in that is how the world works outside of the main story.

As I continue to develop Souly Damned I have been wanted to add more and more of the things that have influenced my storytelling so they kind of cross over in ideas. The realm of yokai in this instance is a separate realm (I do know they are spirits but just bear with me). You can think of it as another dimension separate from our own but still accessible. It is possible for mortal souls to enter the spirit realm but souls are kind of the key here.

Normally humans just walk through the gates and never end up in the realm because they don’t believe in the realm or its inhabitants. Those that can see have the realm's magic buried within them and the more they worship/believe the more that influence grows. In the majority of my work, I ascribe to the idea that the eyes are the windows into the soul so the more magic you have the more vibrant your eye color.

Since Yokaifell is set in modern-day most humans have normal eye colors. Basically, magic = key in this lore. Now you may be wondering why my Frisk, little out of her element bean that she is, is able to run through the gate. She starts off as a normal unsuspecting human who is lost in the forest whom Ryou accidentally lures. Usually, he does that on purpose to mess with humans but in this case, he is just playing his koto and relaxing. Since the town that Frisk moves to is more in the mountains the people there are very in tune with the old ways. They even warn her not to go into the forest because of it. She just doesn’t listen since she doesn’t believe in magic or superstition.

The yokai in my lore can only be seen by those with magic in their soul unless they drop the veil. Obviously being a foreigner she has 0 idea what Ryou is trying to tell her when she first encounters him. That is until he imparts just a sliver of magic on her soul so that she can actually understand the language. But... uh... whoopsie. Humans with magic are rare and that makes them incredibly yummy to the yokai around the area. This creates a chain event where she ends up in the spirit realm and because of Ryou’s mistake she is able to pass through the gate like one of them would. The oni chasing them ends up smashing the gate they came through and there you are... she is stuck which you can already gather is dangerous.

Ryou and Kuro are two yokai you don’t really want to mess with because their past history is seeped in blood. They both despise mortals for some unknown reason. One that is revealed further down in the spoiler section. How they went from practically killing mortal and yokai to laxer is also kind of a question mark. Kuro is able to quell his rage by serving the kami (in this case Asgore) while Ryou... uh... ok he doesn’t really handle it all that great. He is just a very salty boy.

Like my lore for Souly Damned lower level of yokai can not just jump to the mortal realm whenever they want. There is a hierarchy established and fortunately, Ryou and Kuro are pretty high up there so they can interact to some degree. I have that outlined further in the lore post.

I will say that in order to explain this I have to toss up a spoiler warning for anyone that does not want to see it. {THERE BE SPOILERS AHEAD}

So... spoiler time but Ryou and his brother Kuro used to be humans at some point. This was centuries ago but they both died when a rival village tried to eradicate their own. Kuro being the proud warrior went off to fight, leaving his little brother to watch over the rest. Unfortunately Ryou never actually sees his brother again and yeah... it’s sad to say but he dies on the battlefield. Ever since he was a child he wanted to be a warrior. He dies fullfilling that dream.

Ryou though being younger tries to fend off the attackers but he is eventually mortally wounded and left for dead. He bleeds out as the snow starts to fall again which is why his design not only incorporates red but also the snowfall aspect, especially his human guise.

In that time there was more magic and yokai roamed freely. The souls were far stronger and because of both Ryou and Kuro’s deeply held emotion that affects their souls eventually calling out to the Kami... they are then reborn as yokai in the process. Ryou as the mischevious Kitsune and Kuro as a gashadokuro samurai. So it’s established that humans can become yokai but it's rare as the centuries progress. It takes an incredibly strong soul coupled with some kind of deep emotion which could be anything from rage to love.

14 notes · View notes

revisionaryhistory · 3 years

Text

Three Days ~82

~*~Emma~*~

I awoke to see Sebastian laying on his side, leaning onto his elbow, with his head propped up on his hand. Diffuse sunlight filled the room and clearly showed me his face. He didn’t look sleepy. His face was relaxed with the slightest smile. Who knows how long he'd been watching me sleep. That thought made me smile.

He jerked his head up a little, "Tell me what you're thinking."

"I like seeing you when I wake up and knowing you'll be the last person I see before I fall asleep. And I'm excited about everything in between."

"The Louvre, dinner on the Seine, cabaret. Fun day."

I shook my head with a frown, "No, not what we're doing. I'm excited to spend the day with you." Sebastian closed his eyes, smiled a little wider, and took a few breaths. I knew what he was doing. He was taking in my words, feeling them, believing them. Before he opened his eyes, I moved closer to kiss him. "Je t'aime."

"I know that one." His fingers ran through my hair, smoothing the morning disarray. "In how many languages can you tell me you love me?"

I gasped and held my mouth open, "Just three, but now I have a goal."

"Crazy girlfriend."

I rolled on top of him, "Just about you." I did exactly what you’re supposed to do when you're naked in bed laying on top of a naked man.

I tickled him.

Our tickle fight lasted until we were laughing so hard it was hard to breathe. That and when Sebastian pinned my hands to the bed. "Je veux te faire l 'amour." He kissed me and pressed his erection closer between my legs. "I have a good memory too."

I don't know how it gets better than this. Waking up in Paris, with a gorgeous man watching me sleep, making love, then sitting on the terrace in big fluffy robes having coffee and croissants.

The guide at The Louvre was knowledgeable but a little stuffy. We spent much of the tour hanging back with another couple laughing inappropriately. The museum was incredible and we stayed around after the tour to revisit areas and check out some places not included. Sebastian liked items where I was mesmerized by the vibrant colors of the paintings. Lunch today would become our go-to. Pick up something near to and find a spot to sit in the park. Food and people watching was always a good time.

We headed back to the hotel to fool around before dressing for dinner. On the boat, we were seated by the window. We headed to the upper deck with a glass of wine for sunset. Last night's sunset view was unforgettable for many reasons. Tonight's was more beautiful with the lights of the city and bridges. It was romantic in a more refined way. Last night was casual clothes sneaking kisses in the dark. Tonight was dressed up, high heels, and elegant stemware. Kisses weren't as sneaky in the wide open space. The food was delicious. We started with duck foie gras and Scottish salmon. My main was scallops with sweet potato risotto and seaweed cream. Sebastian promised to save me from the seaweed if it triggered me. He went for a filet of beef, pea pudding, and veal gravy. The aroma from the fresh bread with the cheese course was mouth watering. Sebastian enjoyed my excitement and took more pictures of me eating cheese than anything else except drinking wine. For dessert, we decided one decadent and one fresh. A white chocolate raspberry lychee sphere and lemon basil tart. I nearly had to stab Sebastian with a fork for hogging all the sphere. The return trip was dark. Only the lights of the city and running lights illuminated to boat.

The night included a visit to a cabaret. That the Moulin Rouge was more touristy led us to the Crazy Horse. Still famous, but not the most sought after. We'd been told the Moulin Rouge was over the top and Crazy Horse more subtle. That may be true, but one important detail was left out. The dancers at the Crazy Horse were often naked. Sexy dance numbers, visual effects, and vibrant light shows. At times the lights were the only clothes. Darkness was used strategically as was glow in the dark body paint. What I noticed was all the women were in Louboutin, which lead me to believe the lingerie was expensive as well. There was a part with a very good looking man stripping. It was more funny than sexy. The combination of erotic dance and risqué humor kept both of us entertained

We talked about our favorite parts on the ride back to the hotel. Sebastian opened the door, letting me walk by into the hotel, "Is it wrong that I asked where the lingerie was from?"

"I wondered, but didn't think to ask. I loved the black bodysuit with all the straps."

"So did I."

Imagine my shocked face. You'd have to imagine because I wasn’t making that face. I waited until we were in the room to ask, "Did you find out where this shop is?"

He pulled his phone out and went to maps. A slow smile formed, "About two blocks. Across from Dior."

I folded my legs under me and sat on the couch. "Fun."

He sat next to me. He was fiddling with the bottom hem of his shirt. He was nervous. "Are you running up a crazy credit card bill to amuse me?"

What a sweety. My recent shopping habits didn’t match my teacher salary. I guess we were going to have this conversation. "My grandfather has it set up where his stock dividends are split between the grandchildren. It's paid out quarterly and there's no way to know how much, so I've never factored it into my budget. It goes into a savings account. I have a rule that it's only for fun. I took Angie and Eli with me to Hawaii. After a horrible start to the year, Malory and I went to Key West." I grimaced, "I don't remember much of that trip. And if I want to go shopping I can. I do appreciate your concern." I leaned over and kissed him. "There is a trust fund, but I can't touch that until I'm thirty. That's partly why it was important to go off on my own. I grew up with money, so when Jimmy said I couldn't take care of myself I needed to prove it to myself, even though I know it wasn’t completely on my own."

Sebastian interrupted, "Don't diminish what you’ve done. You started over in a new place where you knew no one or even where to grocery shop. You've got a Master's and accepted into a Doctoral program. Anyone who thinks you can't take care of yourself is wrong."

This fierce defense was very attractive. Money can be embarrassing. I realize I'm privileged, and I try not to behave like a trust fund baby. I would never go shopping as I had with anyone but Angie. I know it was a splurge.

“I just wanted to check.” I wanted to ask what if I had been, but he kept going, and I didn’t feel the need to stop him. “Back to the fun stuff. Is it bad form to buy you a gift that's really for me?"

"For my birthday or Christmas, yes. Otherwise, no. I'm not sure that sexy lingerie that gets you hard isn't as much a benefit to me as it is you."

"You realize you in sweatpants and a t-shirt gets me hard. You in a bathrobe. You in a potato sack."

"I wonder who that says more about?" We laughed and I laid across him, counting on him to support me. "It does make us both lucky."

"Oh, don't I know it."

We spent the next day touring Versailles Palace. We jumped off the tour to explore as soon as we hit the outskirts of the city. When we were out of interesting places we jumped on the metro until we saw something new to explore. Dinner was at this Ping Pong cafe. The food was delicious and fortified us for the play to come. I am just as competitive playing ping pong with my boyfriend as I am on a volleyball court. There was a lot of trash talking. What made it more fun was how truly awful we both were. Neither was sure of the rules so we argued over and made them up as we went. In the end, I lost due to a combination of unsuccessful attempts at cheating and Sebastian being slightly less awful than me. Our overly dramatic antics did amuse nearby patrons and when Sebastian was recognized he was gracious in conversation and signing autographs. We made it to the Pont Alexandre III bridge just as the sun set. It was ornate and a beautiful end to the day.

Next up was a day of museums and checking out wherever in between. We met up with a guide in the afternoon for a walking tour of Art Nouveauarchitecture. On our way back to the hotel we passed by the lingerie shop. A quick discussion later we decided not to go in. It would ruin some of the fun if the other knew what we bought. I also decided I needed to find some sexy underwear for him. I checked; he'd wear them. Dinner was my responsibility tonight. I found a rooftop restaurant with a great wine list and an even better view.

Tuesday, the day before the fashion shows, was the day I was looking most forward to. It was an early start and long trip to Mont Saint Michel. Claire had hired us a car and we napped most of the trip. The town is a tidal island and when the tide comes in it covers the causeway, only cutting off access for about an hour, but still. We parked at the tourism office and took off our shoes for the half mile walk over the mudflats. It didn’t look like a dangerous trek, but apparently, quicksand was real here.

We weren't far into our walk when Sebastian asked, "Is this Hogwarts?"

Our guide laughed, "No, but yes. The movie was not filmed here but as you will see much of the architecture is similar and the street does resemble Diagon Alley."

Sebastian looked at me, "Did you know?"

I shook my head, "I love gothic architecture and castles. Versailles was incredible, but this is a hundred times better. Stonework, stained glass, the high pointed arches." I grabbed onto his arm, bouncing on my toes. "I'm so excited. This is surreal." I held my hand out toward the Abbey. "Look at this, I mean, look at this."

He was smiling at me, "Should take you home to Romania. Lots of castles."

"Don't tease me." I let go of him and walk to stand in a small puddle. The water was cool and the sand squished between my toes. I felt like I was in the bubble from my favorite guided meditation. I put my arms out with my shoes dangling off my fingers and twirled. I stopped facing Sebastian. He had his phone out, pointed at me. "What are you taking pictures of?"

"You." He laughed, "With a castle island thingy in the background."

I heard the guide say, "Your mademoiselle is much more beautiful than the background."

Sebastian nodded, "That she is."

I walked back to them and reached for his hand. He handed his phone to our guide to take a couple of pictures before we headed on.

I was in absolute heaven. Even more so when I saw Sebastian as in awe as I was with the narrow cobblestone streets and stairways that appeared out of nowhere. Our guide had stories and let us lead, only giving direction if we were missing something. He took the lead when we approached the Abbey and guided us through spaces as tiny as closets and large as cathedrals. The arches along the walkway did look like a scene off the bridge in Hogwarts.

Our guide left us at the end of the Abbey tour and after lunch, we walked the ramparts and worked our way around looking at everything and nothing. Talking and laughing.

It wasn’t long into the ride back that I realized my thighs were aching. "What is it with Paris and stairs?"

"There's a fuck ton of them." Sebastian smirked and leaned in to kiss the side of my neck. "I will be happy to massage your thighs when we get back."

"Stretch them out?"

"Definitely."

We both retreated into our phones for a while. Neither had paid attention to them since we got here. The return trip was good for nudging each other to show a picture we took. I texted my chosen family and sent pictures. Sebastian was doing the same thing. He showed me responses on his group chat.

Charles ~ You took her to Paris? Chace ~ You can't take a woman to Paris for a first vacation Will ~ Go big or go home Toby ~ That's it. I need to meet her. Charles ~ Find a date and take the last bedroom in the villa. Toby ~ Chace, wanna go to an island with me? Chace ~ Do I have to put out? Toby ~ What do you think? Will ~ Who has the lube? Chace ~ I bet there's some in Paris.

I'd lowered my phone while I read his. Sebastian pointed to my screen, "What is that?"

"It's that app we made the list on the train."

"You need to send me the list."

"I can do better than that. Can I have your phone?" He handed it over and I went into the app store, installed, and signed into the app under my user name. "Now you can see, edit, add." I kept typing while he looked around. There was more than a sexual to do list. I was currently adding to a notebook called "Moments".

"Can I add to this?" Sebastian was in the same notebook.

"Sure." I bit my lip, "I had a thought. You can say it's stupid or you don't want to."

He put his hand on my leg, "What?"

"I was thinking since we're going to be apart for a while, we could write to each other. Not like texts talking about our day. I'd write things I want you to remember or know. When I'm missing you, I could write a couple of sentences to you or go read what you've written to me. Not any expectation of how often. Just a place for sweet things, sexy things."

I'd gotten the idea while thinking about distance and time zones and insecurity. Perusing old texts is good, but a one-stop place for just love notes is better.

"I love it." He brought me to him and met me for a kiss. "Is this for me or you?"

I had no problem with him knowing I was planning for our time apart. "You saw my love notes from high school. I love them. Texts get lost in a hundred other texts. We can even copy texts over. Pictures. You keep a gratitude journal. This is similar."

"Did you make that up?"

I shrugged, "I doubt it." I showed him how to navigate and create new notebooks. Our first notebook was "Sex To Do" We'd done that together. The one I’d been in, "Moments”, was short form memories. "Holding hands for nine hours with food and conversation.", "Waking in Paris to see you watching me sleep”, "Me showing you architecture", "You showing me artifacts".

Sebastian immediately knew something he wanted to add, I showed him how to create space between limes so he could insert his words. He was going to write in burgundy and me in navy blue. He created a notebook for longer things. He liked to write and wanted a place for more words.

I waited until he’d gotten down a thought before showing him what I'd been most excited for. "Things for Sebastian." I’d already started.

· Te iubesc, Sebasti-an

· I was so lucky to find a lost boy in a grocery store

· You always make me feel cherished and safe

"This one is for battling insecurities. You can read my words and know what you mean to me. You've said you struggle with distance, insecurity, feeling emotionally cut off. I thought this might help keep a connection."

"You've made a security journal."

I thought a moment, "I guess. We've hit a couple of bumps and worked through them. I hoped this may help keep it away over distance."

I watched him switch notebooks and read what I'd written. "Anything I write shows up for you?"

"Yes, once the app refreshes.”

Sebastian looked over with the softest smile I'd ever seen on him. "I love you." The softest kiss followed. "I tell you I'm looking for the perfect moment to kiss you and you create it. I tell you I have confidence issues and you tell me everyone hears that voice. I have a panic attack and you push me to take care of myself. I lay out my anxieties, overthinking, insecurity, and history of shutting women out and you don’t even blink. Now you come up with this way to stay connected with old-fashioned love notes." He bobbed his head back and forth. "More or less." He kissed me. "You want me to feel safe and loved."

I took a deep breath, "Partly." I was telling him my plan to battle his stuff so it was only fair I let him in on mine.

He looked at me questioningly.

"I've never been away from some I love for six weeks. I'm going to miss you and it's going to be hard. This is for me too." I am not going to cry.

His hand went under my hair to my neck, "Are you about to cry?"

"I'm trying not to, but the chance of tears Friday about noon is one hundred percent."

I let him pull me close enough to kiss, "I better get busy." He retreated to his side of the seat, stretching out a leg over my lap, and turning where I couldn't see what he was typing on his phone.

"You realize the whole point is I can see what you write."

"Don't refresh yet. I don't think we should tell each other when we add stuff."

I nodded my agreement.

He stuck his tongue out the corner of his mouth like he was thinking. He typed a bit then looked over, "If I miss you in the middle of the night, I can write you and it will be there when you wake up. I don’t know which I’m looking more forward to. Writing or reading.”

I didn’t either.

#sebastian stan fanfiction #sebastian stan #sebastian stan x ofc #marvel actor fanfiction #three days

8 notes · View notes

meloncubedradpops · 4 years

Text

Repo! The Corona Opera

For every rotation that Earth has completed around the sun since the dawn of humanity, humans have created art to cope with the realities surrounding our everyday life. We weave stories in songs, movies, plays, books, paintings, and so forth, that help digest the world around us and provide an entertaining escape from the cruelties we endure. Some stories take place in abstract universes or in the future, and we rely on what we know in our present reality to build upon these fantasy societies. My favorite movie, Repo! the Genetic Opera, certainly makes this list. We are currently experiencing perhaps the most surreal year of our collective lives, and with each passing day I argue that we find ourselves closer to the world crafted in Repo. I have seen this movie, at least 20 times. If you haven't watched Repo! the Genetic Opera or you haven't seen it in a while, I recommend giving it a view. The movie is unique in that it falls under three distinct genres: musical, horror, and sci-fi. And while the jury is out on whether our future society is going to go full on gothic aesthetic, I can say that the Repo! movie experience offers a glimpse into a dystopian fascist post-plague world wrapped in unapologetically hilarity with a heaping side of camp. It doesn't offer any spiritual cleansing that our souls collectively need, but it does show us what a new normal could look like if we really go off the rails.

As things stand, right now, so much of our daily lives and culture are impacted by the coronavirus. All of our institutions have been impacted, from school, to work, to family, to the way we interact with strangers, and especially our economy. We have all felt the effects in one way or another, and honestly? Most the impacts are of our own undoing, for better or for worse. I am going to write three pieces analyzing Repo! the Genetic Opera. First I will create the foundations that bridge our contemporary life and the world of Repo! Second I will explain how the Repo! universe operates under the definitions of fascism. And third I will weave together parts one and two into our contemporary world (particularly in the context of the United States) to highlight the dark path we heading towards. My viewpoints are of mine, and my own alone. Let's dive into part one.

Part I Repo! the Genetic Opera takes place in the year 2056. Humanity was on the brink of collapse as a result of a medical crisis that caused massive organ failure.

I never gave the premise much thought, at least not until recently. We aren't given much detail beyond the fact that entrepreneur Rottissimo "Rotti" Largo solved this crisis through his company GeneCo. GeneCo provides organ transplants that can be repaid through a payment plan. Witnessing the coronavirus unfold in real time and seeing its wrath, particularly on severe cases, honestly makes me wonder if the writers had some sort of "super plague" in mind when creating this universe. For the purpose of this analysis, I will assume that humanity suffered at least one infectious disease crisis. And just to reiterate covid-19 particularly, we really *don't* know what it's going to do to us long-term. Let the parallels begin.

The world in Repo! the Genetic Opera, operates as normally as the citizens possibly can, which appears to be quite limited. I have noted how dated some the technologies look.

For a world 30 years in the future, it lacks cell phones and easy access to internet. When we enter Shilo's world (aka her bedroom!) she watched Blind Mag sing on a busted up tiny ass TV and the program itself looks like an ad on Home Shopping Network.

The Graverobber is shown reading headlines on a newspaper. The news reporters shown in the ribbon cutting ceremony during the 1st Italian Post-Plague Renaissance have old school cameras with flashbulbs.

The most contemporary technology appears to be a Wish.com version of an Apple watch, and even that looks like a leftover prop from Spy Kids.

Obviously the people who made this movie intentionally inserted these anachronisms, but why? This is a science fiction movie after all. I speculate that they reverted back because the impact from humanity's crisis resulted in an overall professional "brain drain" from the sheer volume of professionals that dropped dead. In fact every scene depicting medical procedures looks dimly lit and lacking in sanitation. We will see this as we struggle to contain the coronavirus, at least in America. Healthcare workers have already died from this thing, and I am sure many prospective college students will have second thoughts about a career in healthcare. I mean hell, look at no other than GeneCo itself. That company employs workers called "Genterns" who are most definitely not in full PPE. I don't doubt their medical expertise, but they appear to be disposable (please see: that time Luigi killed one for NO REASON in "Mark it Up").

On that note, it really was quite incredible how China built the pop-up hospital in Wuhan in under 4 days, but it was also not the most safe or structurally sound building by far (it collapsed, people were hurt!). Maybe at this point, the people in Repo! don't have much of a choice. I am sure there were likely legit hospitals, but the fact that the Renaissance had gross surgery tents is a bit unsettling.

This is a world that is completely built upon the social more of valuing your health above all else. There had to be a turning point in the GeneCo business model where they really played on up-selling organs for the benefit of "genetic perfection". "I needed a kidney transplant desperately. GeneCo showed this single mom sympathy. This makeover came for a small added fee. Now I look smashing on live TV!" Imagine signing the documents for your power of attorney while actively going into renal failure, when your doctor chimes in with an up-sell for breast implants. When all is said an done, your body is now not only functioning again, but you're hot! Even in a post-plague dystopia we are still holding value to having a nice rack. What's not to love about GeneCo? Obviously we know right away that GeneCo has a dirty side. Rotti Largo personally lobbied to make organ repossessions legal, and he does not hesitate to recollect his property. The concept itself is, of course, wild. In America, our healthcare system is incredibly broken and expensive. You would wonder how it could get worse without us backpedaling many steps on the industrialization timeline. And in a lot of ways, I could see a company like GeneCo thrive here. We already hate the poor, and we have political think tanks that salivate over the idea of cutting social programs that keep people alive. Our president has wanted to repeal the Affordable Care Act while many people are unemployed during a pandemic. In Repo! we hear about those who don't pay, but obviously there are plenty of people who do. Those who can will happily pay, either for vanity reasons or to stay alive.

And while society cites Rotti as being a "hero" for humanity, we see more and more evidence that the crisis is both not under control and life is cheap.

His son murders multiple people, in front of others, with seemingly no repercussions. In the scene where Shilo meets the Graverobber for the first time, adjacent to the graveyard and tombs owned by wealthy families who could afford grave markers, lies a poorly constructed wall hiding thousands of corpses piled on top of one another. We even get a glimpse of a truckload pouring more onto the pile. I would not be surprised if there is a disinformation campaign there keeping the public in the dark (although you'd think the smell would be unbearable at this point).

There are multiple indications that propaganda works in society (still), and no one is getting the full picture of how much of a raw deal the people in Repo! have. We see poster after poster about GeneCo, in the literal absence of other corporations.

And a lot of them bear resemblance to 20th century Russian propaganda. It would be a real shame if the goals outlined The Foundations of Geopolitics: The Geopolitical Future of Russia were actually realized. Imagine going to visit your mother's grave and hearing commercials for hardcore analgesics play through the cemetery. Also, there's a police presence too. Apparently the police are called Genecops and have authority to execute any assumed graverobbers on site.

Imagine the hellscape it would be to live in a world where your loved ones may have died from a terrible pandemic, and you face a non-zero chance of an over zealous cop murdering you thereafter, and because their qualified immunity bypasses the judicial system entirely...oh wait. Anyways let's circle back to the Graverobber character.

Graverobber's role in Repo! appears to be minor on the surface. Rotti's daughter, Amber Sweet, appears to almost despise her relationship with him. And that relationship involves him supplying Amber with what he describes as the "21st Century cure". This cure you ask? A super effective painkiller with the clinical use to accompany GeneCo surgeries. This drug is called Zydrate, and it has a street version that he acquires and sells, with clients including Amber Sweet.

Graverobber makes his living sucking the glowy blue brain corpse goo and injecting them into people on the streets. Yum!

Not everyone who needs an organ transplant can pay for it all upfront. Luckily for them, GeneCo provides payment plan options! The caveat to this is if you fail to make those payments, legally GeneCo can come and repossess your newly acquired organs. If you find yourself past due, you will soon see the last face before your doom, the Repo Man. He will harvest GeneCo's property, and it won't matter where you are or what you are doing. There is no anesthetic, and you will likely die! This was all made legal through Rotti's lobbying efforts.

Society, as it's set up today, allows for property repossessions. This can be as straightforward as a repossession of your vehicle to as heartbreaking as a foreclosure on your home. At the end of the day, the impacts of that are difficult and life changing. Currently millions of people in America are out of work, and the threat of losing everything is at stake for many. We could lose our homes, our vehicles, and our sense of purpose. And while many government bodies have created temporary moratoriums, they have not provided any substantial financial relief to keep the proverbial repo man at bay. What went wrong in this dystopia to normalize the concept of death due to nonpayment? Fascism! Ah yes, the dreaded f-word. In my next essay, I will outline the 14 characteristics of fascism and how it relates to the universe in Repo! After I will relate that to our modern world so that we can try and stop this from becoming our reality.

50 notes · View notes

buzzdixonwriter · 3 years

Text

Another Pointless Top Ten List (But You’ll Keep Reading, Anyway)

My brother Rikk recently mailed me another top ten list of his, in this instance being his top ten favorite TV comedy shows (which he defines as 30 minutes or less, no movies).

The Three Stooges

M*A*S*H

The Andry Griffith Show

The Beverly Hillbillies

Hogan’s Heroes

I Love Lucy

The Honeymooners

All In The Family

Get Smart

Gilligan’s Island

His honorable mentions include F Troop, The Patty Duke Show, My Three Sons, Gomer Pyle USMC, Batman, Petticoat Junction, Mr. Ed. Bewitched, and I Dream Of Jeanie.

Again, one of those personal favorite lists that you really can’t argue with because it reflects personal tastes and / or fond nostalgia (though I am calling shenanigans on The Three Stooges; they were theatrical shorts shown in movie theaters, not a TV show, and besides, Laurel & Hardy are soooooo much better…).

But of course we’re going to play the game, so I’ll respond, first throwing in a caveat: No skit comedy shows such as Monty Python’s Flying Circus, The Marty Feldman Show, Benny Hill, Second City TV, The Kids In The Hall, or Love, American Style.

I’m also omitting programs like The Gong Show and Jackass because while hilarious and under 30 minutes, they weren’t scripted or story driven.

So here’s my list:

The Dick Van Dyke Show -- the sitcom art form at peak perfection. Carl Reiner’s insight into what writing for a mercurial TV star is like (in his case, Sid Caesar on Your Show Of Shows, for Van Dyke’s Rob Petrie it was Carl Reiner as Alan Brady). If you’ve never seen the show, start off with their two best episodes, “Coast To Coast Big Mouth” and “October Eve” (though they’re all good). “October Eve” is the one where Sally (Rose Marie) finds a nude painting of Laura (Mary Tyler Moore playing Dick Van Dyke’s wife) in an art gallery. SALLY: “There’s a painting here you should know about.” LAURA: “If it’s what I think it is, I can explain.” SALLY: “If you need to explain, it’s what you think it is.”

The Mary Tyler Moore Show – this is the first American novel for television. It’s a novel of character, not plot, and it traces the growth of Mary Richards, a 30 year old woman-child who realizes she needs to grow up, as she blossoms into a mature, self-reliant adult. You can select two episodes at random and by comparing her character growth determine not only which season they were filmed but when in that season.

I Love Lucy -- eking out a bronze medal for its longevity and pioneering of the art form. The first sitcom shot on film, it led the way in the rerun market. Not just a historical icon but consistently funny.

WKRP In Cincinnati -- as crazy as a sitcom could get and still be within the realm of plausibility. Never loved by its network, they bounced it around for four seasons until it faded away (it made a syndicated comeback a decade later, of which we shall not speak). Great supporting staff, dynamite writing. While they never steered away from serious subject matters (such as an actual rock concert tragedy in Cincinnati where several fans were crushed when rushing the stage), they will be forever and justly remembered for the beloved “Turkey Drop” episode.

Fawlty Towers – only two seasons and a mere 12 episodes and yet more comedic bang for the buck than anything else on this list. John Cleese as a frustrated, short-tempered, conniving hotelier practically writes itself. SYBIL FAWLTY: “You know what I’ll do if I find you’ve been gambling again, don’t you, Basil?” BASIL: “You’ll have to sew them back on first, m’dear.”

That Girl -- looking back it can sometimes be hard to judge just how groundbreaking certain shows were. Marlo Thomas as a struggling young actress finding romance and success in Manhattan seems positively wholesome today, but in the mid-1960s it was considered quite daring and progressive. The Mary Tyler Moore Show took their opening credits inspiration from Marlo Thomas’ character exploring Manhattan in the opening credits of That Girl.

He & She -- a one season wonder from 1967. Another daring and progressive show for its era. Richard Benjamin and Paula Prentiss played a young married couple, he being a cartoonist who drew a superhero strip (the actor playing the superhero on TV in the series was Jack Cassidy at his manic best). Another show with a dynamite supporting cast…and just too hip for the room at the time (honorable mention to Love On A Rooftop, a similar show from the previous season that also proved too advanced for audiences at that time).

Green Acres -- started out silly but quickly took a turn into the surreal, breaking the fourth wall, commenting on the opening credits as they ran by, all sorts of oddball stuff. Dismissed as a hayseed comedy, the truth is the supporting cast possessed dynamite comedic chops and their sense of timing is a joy to behold. Forms a loose trilogy with The Beverly Hillbillies and Petticoat Junction since all three referenced the same small towns of Hooterville and Pixley as well as occasional crossovers (honorable mention to the first season of Petticoat Junction which is as pure an example of Americana as one could hope to find and could easily be distilled into a feature film remake).

The Young Ones -- another two season / twelve episode wonder from the UK. Four stereotypical English college students go through increasing levels of insanity as the series progressed. Unlike most shows of the era where there was no continuity episode to episode, damage done in an early episode would still be seen for the rest of the series. (They also would simply end a show when they ran out of time, not resolving that episode’s plot.) Their random / non sequitur style proved a tremendous influence on shows like Family Guy.

Fernwood 2 Nite / America 2-Nite -- a spin off from the faux soap opera Mary Hartman, Mary Hartman, this presented itself as a cable access variety show for Mary Hartman’s hometown of Fernwood. With Martin Mull as the obnoxious host, Fred Willard as his incurably dense second banana, and TV theme song composer Frank De Vol as the band leader. Because it’s so rooted in 1970s pop culture it doesn’t age as well as some other shows on the list, but many of the gags still land solidly today. For the second season the show-within-a-show went nationwide and became America 2-Nite. Very funny, very well written, and all the more remarkable because these guys were doing five episodes a week!

Okay, so what can this list tell us?

Buzz is old. Like really, really, really old.

Buzz stopped watching sitcoms in the mid-1980s.

There’s a reason for that. By that time I was writing for TV and trying to get my own work done. I didn’t have time to sit and watch TV on a regular basis (still don’t), and too often I could see the gears turning and guess where the episode was heading by the end of the first scene (still do).

I’ve veered away from “must watch” TV, especially shows that require the audience to keep track of what’s gone on before.

Tell me I have to see the first six seasons of a show to appreciate what happens in the seventh and you’ve just lost me as a potential viewer. I’m strictly a one & done kinda guy now (though I will binge watch if a mini-series has a manageable number of episodes, say six).

My list represents a time capsule for what caught my interest and attention during a very formative period of my life, i.e., from the early 1960s as I became more and more aware that writing was where my future lay, to the mid-1980s when I hit a good peak stretch.

I don’t doubt there are great and wonderful hilarious comedies out there that I haven’t seen, I’m just listing what I have seen that did make an impression on me.

Your mileage may vary.*

* It should vary! Be your own person!

#media #comedy #sitcoms #Dick Van Dyke #Mary Tyler Moore #Carl Reiner #top ten lists

8 notes · View notes

nothingisliteral · 4 years

Text

Literary Agents Accepting Queries 2020

A note; these agents are according to my research as of June 12, 2020. To find more information on these agents, just look up their name and agency. How to query to these agents differ, so it would be wise to look into them more. Bolded is the categories, genres, and/or tropes that said agent is interested in. This list was put together by me, and it was only the agents who’s name start with A. Even though this is labeled as YA, many of these agents are interested in other genres.

* Adria Goetz (Martin Literary Management), Mill Creek, WA General fiction Suspense/thriller Fantasy/science fiction Juvenile fiction Religious

* Adriann Ranta Zurhellen (Foundry Literary + Media), New York, NY all genres and for all age groups, but has a penchant for edgy, dark, unusual voices, unique settings, and everyman stories told with a new spin. She loves gritty, realistic, true-to-life narratives with conflicts based in the real world; women’s fiction and nonfiction; accessible, pop nonfiction in science, history, and craft; and smart, fresh, genre-bending works for children.

* Adrienne Rosado (Stonesong Literary Agency), New York, NY adult and children’s fiction, as well as select non-fiction in the areas of pop-science, business, memoir, and humor. In both adult and children’s fiction, she is looking for contemporary, mystery, historical, thriller, fantasy, and anything with a wickedly dark sense of humor. She’s especially drawn to multicultural fiction, lgbtq+ works, and stories about people from atypical walks of life. She is not currently looking for poetry or children’s picture books.

* Agnes Carlowicz (Carol Mann Agency), New York, NY both fiction and non-fiction, with a special passion for literature that amplifies underrepresented voices and subverts the status quo. Among others, she enjoys: intersectional feminism, millennial self-care, female-driven memoir, true-crime, and humorous pop culture.

* Aimee Ashcraft (Brower Literary & Management), New York, NY busy seeking out stories that feature all-encompassing worlds and compelling female characters. She loves books that are told from an original point of view and are more addictive than a good Netflix binge

* Albert Longden (Albert T. Longden Agency), Bloomfield, NJ (AAR Member) General fiction, Mystery, Romance, Suspense/thriller, Fantasy/science fiction, Biography, Business/investing/finance, Sports, Paranormal (want writers that are preferably experienced and are willing to listen to productive critiques of their work)

* Albert Zuckerman (Writers House), New York, NY books in all adult categories, fiction and non-fiction. And lately I’ve been enjoying working with some YA and Middle Grade authors. I'm interested in working with a few more novelists, literary and commercial

* Alec Shane (Writers House), New York, NY mystery, thrillers (though he’s experiencing terrorist fatigue at the moment), suspense, horror, historical fiction, literary fiction, and middle grade and young adult fiction. He DOESNT want Romance, straight sci-fi, high fantasy, picture books, self-help, women’s fiction, food, or travel memoir.

* Alex Glass (Glass Literary Management), New York, NY General fiction, Mystery, Suspense/thriller, Juvenile fiction, Biography, History, Mind/body/spirit, Health, Lifestyle, Cookbooks, Sports, Literary fiction, Memoir, Narrative nonfiction, Pop culture

* Alexa Stark (Trident Media Group), New York, NY drawn to literary debuts with a unique voice and perspective, stories about dysfunctional friendships and families, edgy coming-of-age tales, character-driven suspense and thrillers, and fiction that delves into the surreal

* Alexandra Levick (Writers House), New York, NY Picture book author-illustrators, a wide range of middle grade and YA, and more speculative-leaning or genre-bent upmarket adult works. I’m committed to working with writers from diverse backgrounds and am looking to put forth a list of outstanding creators who will be able to provide windows, mirrors, and sliding glass doors (thank you, Dr. Rudine Sims Bishop) into all kinds of experiences. I’m particularly looking for own-voices stories about historically underrepresented characters, identities, and cultures.

* Alexandra Machinist (International Creative Management), New York, NY Commercial fiction Literary fiction Upmarket women's fiction Historical fiction Suspense Fantasy Young adult Middle grade

* Alexandra Penfold (Upstart Crow Literary), New York, NY specializes in young picture books, middle-grade fiction, and young adult

* Alexandra Weiss (Jennifer DeChiara Literary Agency), New York, NY contemporary, magical realism, and light SFF. I’d also like to see more rom-coms that make my heart feel warm. dedicated to representing marginalized creators and diverse books, including #ownvoices. I’m actively seeking LGBTQIA+, POC, gender fluid, neurodiverse, and disabled voices for all age ranges and across all genres.

* Alexis Hurley (InkWell Management), New York, NY domestic works in the areas of literary and commercial fiction, memoir, narrative non-fiction and more

* Ali Herring (Spencerhill Associates), Lakewood Ranch, FL I’m open to all YA: Contemporary, fantasy, sci-fi, speculative, horror, romance, issue books (though I have a few already on my list so not my top choice), etc. All the contemporary fantasy right now. Contemporary with a speculative element YA suspense/thrillers All the horror right now, or horror-bordering Anything with an edge Fun teen romance like To All the Boys I’ve Loved Before Vibrant Teen rom-coms Dystopian or failing Utopia/Utopian worlds (fresh government or control system in place or none at all) Near-future dystopian where the world is not cleaned up and pretty. I want a sense of the horror but without tons of gore. Bold unexplored settings

* Alice Martell (The Martell Agency), New York, NY Open to all/most Genres Excluding: Fantasy, Science Fiction.

* Alice Speilburg (Speilburg Literary Agency), Louisville, KY In YA Fiction, I'm looking for diverse retellings of classic stories, stories rooted in mythology, contemporary fantasy with magical/supernatural worlds alongside our own (but not necessarily "urban," rural & suburban magical systems could be nice). Across the board, I'm looking for an inclusive cast of characters, across gender, sexual orientation, race, religion, and mental health spectrums.

* Alice Tasman (Jean Naggar Literary Agency), New York, NY Alice's fiction tastes, for young adult and adult books, ranging from commercial, literary fiction and history to thrillers and suspense, and women's fiction.

* Alicia Brooks (Jean Naggar Literary Agency), New York, NY she is looking for Memoir, Narrative Nonfiction, Self-Help, Pop Culture, Literary Fiction, Commercial Fiction, YA Fiction, Mystery/Crime, and Historical Fiction

* Alison Picard (Alison J. Picard Agency), Cotuit, MA Adult fiction and non-fiction, children's and young adult NO: short stories, poetry, plays, screenplays or sci-fi/fantasy.

* Allison Hunter (Janklow & Nesbit Associates), New York, NY literary and commercial fiction, especially women's fiction, as well as memoir, narrative nonfiction, cultural studies and pop culture. She is always looking for funny female writers, great love stories, campus novels, family epics, smart beach reads and for non-fiction projects that speak to the current cultural climate

* Alyssa Jennette (Stonesong Literary Agency), New York, NY children’s and adult fiction and picture books, graphic novels, and select pop culture nonfiction. She values diversity and inclusion; in fiction she enjoys ensemble casts with distinct voices, stories about poor characters and communities, and formats that are specific to a story and give it its own context. Alyssa is particularly interested in art/art history/art conservation, archaeology, mythology, language/translation, and criminal justice reform

* Alyssa Reuben (Paradigm Literary and Talent Agency), New York, NY adult, young adult, and the occasional middle grade fiction as well as smart, platform driven, nonfiction ranging from pop-culture, lifestyle, cookbooks, and narrative to memoir. She gravitates toward voice-driven non-fiction presenting a fresh point of view and particularly loves novels with an edge or a great romance arc.

* Amanda Leuck (Spencerhill Associates), Lakewood Ranch, FL contemporary and speculative fiction that explore social issues, YA fantasy based in mythology across cultures, historical novels that spark my need to know more, characters with disability, chronic illness or mental illness - that doesn't necessarily drive the plot, #ownvoices, women and girls in STEM, romantic plots and subplots that surprise me, LGBTQIA+ characters, the intersection of science and religion, or magic and convention, where what is real is not clear, animal and ecological themes

* Amanda Rutter (Red Sofa Literary), St. Paul, MN Open to a broad Audience, including: Adults, Middle grades, Young adults. Fantasy. Science fiction.

* Amelia Appel (Triada U.S. Literary Agency), Sewickley, PA For YA, she is particularly interested in stories with a savvy protagonist and a slightly dark tone that deal with serious coming-of-age issues well.

* Amy Elizabeth Bishop (Dystel, Goderich & Bourret, LLC), New York, NY Fiction-wise, I'm interested in both upmarket and literary women’s fiction, mysteries, and fiction from diverse and underrepresented authors. I'd love more literary fiction from women of color. I'm choosy about my historical fiction, preferring it voice-driven and female-centric, focusing on the stories of those that history has largely chosen to not tell. [[A bit tuckered out from American Revolution, Civil War, WWII, and Vietnam War, so I'm not really looking in that space.]] I'm always interested in stories that are not set in Western Europe or the East/West Coast. I'd love to see more speculative fiction/light horror, though I'm not as interested in science fiction or fantasy in the adult space at this time. I'm also looking for a literary thriller/literary suspense a la THE TWELVE LIVES OF SAMUEL HAWLEY or BARBED WIRE HEART. In YA: would love a smart contemporary rom-com that isn't just boy meets girl in high school (or if it is, it has to be a seriously new story), a fascinating, creepy retelling in the vein of Carmen Maria Machado, and light horror. I'd love to find a multi-generational story and am particularly interested in the intricacies of family (and sister!!) relationships. I'm a sucker for stories that take place in closed environments (like boarding schools) and though I appreciate romantic elements, I'm also eager to see narratives where a happy ending for women isn't necessarily a relationship. #ownvoices, always, please. Anything with some serious creep to it!

* Amy Brewer (Metamorphosis Literary Agency), Kansas City, MO She’s seeking: Romances of all kinds; if your plot revolves around love or angst or both, send it to her. She is also looking for general fiction, LGBTQ+, women’s fiction, book club reads, and quirky humor.

* Amy Jameson (A+B Works), New York, NY loves children’s literature, and is actively seeking Middle Grade and Young Adult projects.

* Amy Rennert (The Amy Rennert Agency), Tiburon, CA General fiction Mystery Biography Business/investing/finance History Mind/body/spirit Health Lifestyle Sports Literary fiction Narrative non-fiction especially memoir and reportage

* Amy Stapp (Wolfson Literary Agency), New York, NY Mystery/suspense Contemporary romance Contemporary coming-of-age Historical fiction Southern Gothic

* Amy Stern (Sheldon Fogelman Agency), New York, NY Summer camps, boarding schools, reality television, kids who are in some way extraordinary, puzzles, puns. I really love stories that involve close family relationships that both enhance and complicate the protagonists' lives. I want to see more mental illness stories that aren't just about diagnosis and LGBTQIA+ stories that aren't just about coming out.

* Andrea Barzvi (Empire Literary), New York, NY General fiction Romance Suspense/thriller Juvenile fiction Biography Business/investing/finance Mind/body/spirit

* Andrea Somberg (Harvey Klinger), New York, NY Upmarket fiction (i.e., bookclub fiction) that has a twist or sheds light on an intriguing issue Novels that explore cultural heritage YA or Adult novels that are based on a true story from the 20th century YA contemporary love stories/romantic comedies Epic fantasy, especially ones set in a non-Western culture, military sf or space opera Magical realism for the adult, YA or MG market. YA and MG novels that feature diverse protagonists YA psychological thrillers MG mystery novels MG novels that are funny and are illustrated MG or YA novels that'll make me cry Nonfiction for MG or YA audiences Any novel with great characters and a compelling storyline Unique nonfiction

* Andy Ross (Andy Ross Literary Agency), Oakland, CA (AAR Member) narrative non-fiction, history, politics and current events, science, journalism, cultural subjects. We also work with literary and young adult fiction

* Angela Rinaldi (The Angela Rinaldi Literary Agency), Los Angeles, CA (AAR Member) I am actively looking for fiction commercial, literary, mainstream women’s fiction, multicultural, suspense, book club fiction – novels where the story lends itself to discussion.

* Anjali Singh (Ayesha Pande Literary), New York, NY Her interests are wide-ranging and include literary as well as popular fiction, young adult, women’s, African-American and international fiction. She is also seeking authors of nonfiction, including biography, history, popular culture, cultural commentary, and memoir. She is particularly drawn to distinctive, original voices.

* Ann Behar (Scovil Galen Ghosh Literary Agency), New York, NY searching for wonderful children's books, from picture books to YA, ever since. I am looking for anything that is beautifully written, with a strong, distinct voice and characters that come alive on the page. Ideally, a book should grab my attention from the very beginning and hold it there, and leave me thinking about it for a few days after I am finished.

* Ann Rose (Prospect Agency), Upper Montclair, NJ YA of all genres: But especially stories that have heart and humor. I want you to transport me to new worlds--even if those "worlds" are in the middle of Iowa. But especially if its fantasy, I really want you to take me there and show me something I haven't seen before. I'd love some fantasy that's based on something other than western cultures. I'm always looking for strong character who are willing to stand up for their convictions--whether it be with their brains or their brawn. Give me fabulous friendship stories (and some no so fabulous ones). LGBTQIA+ stories!!! I'd still really love a story where two girls are running against each other for class president and then they fall in love. In both YA and MG I don't shy away from stories that deal with issues kids are dealing with today. I will say, if you are going to discuss topics like suicide make sure you've done your homework--proper language matters. I'd love to see more YA thriller--not necessarily gore but a story that keeps me on the edge of my seat, guessing until the very end. I'm still looking for my YA version of CLUE (and if it has three different endings, even better.) Which means mystery is a go for me, too. I'd love some YA that deals with toxic masculinity. A funny how to survive high school book with tips and tricks how to make the most out of your four years would be good. Show me characters who are beautifully flawed doing the wrong things for all the right reasons. Give me body positive MC's. Unique sports books--crossfit, ultimate Frisbee, rock climbing, mountain biking, roller derby, and even speed walkers. Oh, and twins - good twins, evil twins, twins that get along, twins that don't, rom-coms where twins switch places and hijinks happen... anything goes. Historicals that tackle things other than WW2--bonus points if there are badass women in in history.

* Anne Bohner (Pen and Ink Literary), New York, NY commercial women's fiction, romance, YA and popular nonfiction.

* Anne Hawkins (John Hawkins & Associates), New York, NY (AAR Member) Fiction of all sorts, non-fiction (contemporary journalism, history, biography, etc.), juveniles (although primarily young adult and middle grades, since we don´t specialize in illustrators, but having said that I should add that we represent several of the best), science-fiction and fantasy.

* Anne Tibbets (Red Sofa Literary), St. Paul, MN Right now, she's acquiring YA and Adult: Thrillers, Mysteries, Horror, Romance, Science Fiction, Fantasy, and Historicals.

* Annelise Robey (Jane Rotrosen Agency), New York, NY women’s fiction, romance, historical fiction, YA, fantasy, mystery, and suspense, and is always looking for exciting new voices in fiction

* Arielle Datz (Dunow, Carlson & Lerner Literary Agency), New York, NY (AAR Member) She is looking for literary and commercial fiction (mostly adult, some YA), featuring unusual stories and voices.

* Ashley Lopez (Waxman Literary Agency), New York, NY Ashley is looking for literary and young adult fiction, narrative nonfiction, memoir, and cultural criticism. Most importantly she seeks authors with a strong point of view and an eye for language.

This is the end of my fist alphabetical list of agents accepting queries in 2020. I hope this list was helpful to you, and wish you good luck in your querying!

#writeblr #writblr #writing advice #writing tips #query #queries #querying #writing resources #publishing #isabellaspeaks

71 notes · View notes

justjessame · 3 years

Text

Babysitting Butcher Chapter 52

I was sitting with Frenchie, Kimiko was going over the footage from the drones with Billy, helping him edit it with more precision and a better eye than most people would think to give her credit to have, and I was explaining the issue that I had after my chat with Grace about the chips.

“So what you’re saying,” he was squinting at me, but I could tell he wasn’t seeing ME. “Is that Ryan has trios chips, but Mallory doesn’t believe that they were placed there to track him?” I nodded, still not quite sure he was paying attention to my image. “What would be l’ objet then?” His eyes narrowed, as though it would help him grasp the answer to the same problem I had issues finding the solution for. “Chips, they are used to track, to listen, to -” his eyes widened, and then he refocused on me. “Is there someone here, in the building,” he clarified, “that knows more about tech?”

“Yes,” I’d looked up our in-house technology guru, wanting to know their name, just in case I had to tap their shoulder next. “Carrie Stavos.” I grabbed my desk phone and hit the extension I’d memorized that morning. “Stavos? Yes, this is Dr. Taylor, could you come to my office? Of course, finish that up and come up after.” I signed off with the young sounding woman and hung up. “She has to finish up with -” It was my turn to squint. “I’m sure you’d understand what she’d explained,” my lips quirked and Frenchie smirked in answer. “She’ll be here when she finishes up, in about ten minutes.” I checked my watch. “That gives me a chance to go through some emails, and you can check on those two -” I nodded toward Billy’s desk where he and Kimiko were working in almost complete silence, but their heads were close and they were both taking turns clicking and moving the mouse.

While Frenchie slid over to Billy’s side, I clicked through emails, finding one from an unknown source with a video file included. Great, fabulous, just what my day needed, more shit. First I put the email through the handy dandy backward trace, thinking that my new fan would need to learn quickly who they were dealing with and what type of fun resources I had at my fingertips. The video I sent to the security systems, they could look to see where it originated, who saved it, and then hopefully who forwarded it to me.

While those systems were running, I answered the more mundane of my correspondences. The yeses and the nos, the requests, and the denials. I had to imagine that I wouldn’t have the answers to my mystery email by the end of the day, normally anonymous emails took anywhere from forty-eight hours upward to backtrack, so I was shocked when I got the telltale ping that signaled they’d run it through the available programs and they had my answers.

Clicking open the report, I sat back as I read it. The email had originated from our office, from one of the mailroom email accounts. This account is utilized by anyone who can access the mailroom, which means literally anyone who can gain entrance into the building. The mailroom computer isn’t secure. It holds nothing classified, so needs no password to log on. Great, that’s fun.

The video, I read on, was also from our building. My office, it went on to be more precise, on the date of my hemmorage. When I nearly went nuclear and wiped out EVERYTHING. It was time stamped from the moment I swiped in that morning until an hour after I’d been rushed to the undisclosed clinic. The security person who had backtracked the feed and written this piece of the report said that only our people should have access to the feed, and only the people with security clearance of those in the video storage and above should be able to clip, edit, and share it through our systems. The clearance numbers used, however, match nothing they could find.

I sighed and sat back, somewhat surprised that Billy didn’t hightail it to my desk, but he was muttering with Frenchie about something in their footage. Why this video, I wondered? Why now?

Putting the headset on that I kept on hand, just in case I needed it for something as tasteless as this, I took a deep breath to fortify myself and clicked play.

Have you ever watched yourself nearly die? I don’t mean figuratively, but literally see a video of you come within inches of death? There are films, entire movie series that have that trope. Escaping death, only for it to continue to come for you, wanting nothing more than to make sure the balance is kept even.

As I watched the video of the day I walked into our office, so full of certainty that I’d fixed it, I’d fixed the massive fucking disaster of a personal invasion that Homelander forced on me I felt bile start to rise in my throat because of the surreal quality of it. Hearing my voice say the words that I barely recalled saying to Billy come out of my mouth. Seeing me do things that I still take for granted, the mundane day to day shit, things that I knew within moments would become things I’d pray I could do again.

Seeing Billy go for our lunch, the rolling in my stomach grew, a pain reminiscent of what I’d felt before. I knew what was coming, but to see it from THIS angle? It was as if I HAD died, and this would have been my view - what I would have seen while people rushed inside. Wait-- How had they rushed in?

I clicked back, the rush of the blood down my legs my starting point. I hadn’t made a sound, but Billy mentioned that my temperature had gotten so high that I’d set off an alarm, which alerted security. Why didn’t I hear it on the video? The alarm didn’t start until the first three people came in, faces I didn’t recognize, and none of whom should have been able to enter, since only Billy, Mallory, and I had access aside from Security override. None of this trio had security markers on, and they didn’t look all that rushed. I couldn’t hear their conversation, another redflag, since I heard every other sound, and after a gesture, the alarm FINALLY sounded and then things moved the way they should have.

“Billy?” Calm, that’s how I sounded, which would have shocked me, but by this point nothing was all that surprising. “Could you take a look at something for me?”

Getting Billy calmed down after HE watched the video wasn’t as simple. Frenchie’s eyes were wide enough to see every divot on the moon, and I was contemplating cancelling everything for the rest of the day to distract him the best way I knew how.

“Those three fuckin’ -” how his nostrils could either get so thin that NO air could possibly pass through or so wide that he could inhale ALL of the air in the free world was beyond me, but the true power was how he could do either and make me want to climb him like Mount Everest and - Damn it, Ronnie, get your head in the game. “You coulda died, and they were doin’ fuck all.”

“Actually, they were wasting time,” Frenchie offered, and I could tell he wished he hadn’t. “I meant they were possibly looking for a way to -”

“See how long it would actually take for my self destruct button to engage,” I nodded, why bother fucking lying? “Who are they?” Important question, since clearly that mattered most. “I couldn’t really see their faces, but they don’t look familiar.”

“Knew where the cameras were,” Billy grunted, pulling me onto his lap as he sat in his own chair. “Knew where they were and kept their heads down. Not amateurs. Knew they’d have to raise the alarm too, cause sooner or later, your temperature would and no one could cover that mess up.”

We were considering this newest blip in our nest of blips when the knock came to the door. Kimiko raised her eyebrow at me in question, but I just sighed. “That would be Stavos. The techie guru we asked to consult.” Pulling free of Billy, but not before giving in to a steadying kiss, just to remind one another that at least ONE part of our world was steadfast, I walked to the door to let in what I could only imagine would be MORE bad fucking news.

Carrie Stavos didn’t look like I thought she would. I had a thought that she’d be spiky haired and edgy. Instead she looked more librarian with a hint of a kindergarten teacher tossed in for fun. Glasses perched on her nose, she took in her surroundings with the ease of someone who was used to blending in with the wallpaper. Unfortunately for Carrie, I needed her to be the center of attention.

Once I had her situated in my chair, my laptop out of sight out of mind, I started with the soft balls. First with the types of chips that might be implanted in people, then on to the reasons for the chips. From there we went to more nefarious reasons for chipping people, superbeings for instance.

“Superbeings?” Her eyes widened. “You want to chip supes?”

I shook my head emphatically. “No, I most certainly do NOT want to chip supes.” Couldn’t be further from the truth. “I’m simply asking, if I found out that a particular supe was, in fact, chipped multiple times, what would the purpose aside from GPS be for those chips?”

From wide to narrow slits, thinking hard, I could tell, Carrie was working out the question I’d posed her. “I know that the Seven are chipped, for location, of course.” A tilt of confirmation and understanding on my part kept her going. “If you found that other supes were chipped, and if they had more than one?” Another tilt, and she sighed, her head shaking. “I can only think of one reason and it’s terrible.”

“Terrible?” It was Billy, leaning forward and eager, because while Ryan was his responsibility if something was terrible for a supe, he would like to hear about it.

“Yes, terrible.” Carrie looked a little green around the gills. “I’ve heard of a type of chip, I thought they were like Urban Legends, but maybe not.” A tiny sigh escaped ever as she blanched a bit. “Inhibitors.”

Now my eyes turned to slits as I tried to process this reality. That a chip could be implanted to - no, they wouldn’t have, would they? “Inhibitor?”

“If there’s more than one?” I nodded, barely seeing Carrie as I ran through the list of Ryan’s powers like a scroll. “Each chip could be specific for ONE power, in place to stop that one, hold it at bay. Inhibit the supe from accessing it.” Not training him to use his powers responsibly or control them, but to literally neuter him. I felt like throwing up. “Terrible.” She whispered and I had to concur.

#billy butcher x ofc #the boys #alternative universe #mention of smut

4 notes · View notes