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thoughts-on-bangtan · 3 years

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Three Asks

It’s been a while since we answered some asks so today and maybe tomorrow, or the day after tomorrow, we’ll collect some and answer them since we’ve gotten while a few in the last two or three weeks.

In today’s post I picked out the three most recent asks we’ve received, two of which are ones I’d usually just delete because answering is pointless but one of them showcased a popular pattern so we decided to reply just this once. So this time around the questions are about Namjoon and Seokjin, next time we’ll do ones about Tae and Jimin (and vmin), and so on.

Ask 1 - Did Namjoon have to bring up the criticism he received in 2015/16 in the Juju Chang interview?

Ask 2 and 3 - questions from either diet solos (someone who isn’t quite a solo stan just yet but exhibits the same thought patterns as solos do) or full on solo stans.

From anon: So you must have seen their interview alongside the President right on a news show? Most of it was fine and I liked how involved they were especially JK, but a point Namjoon made is what I'm kinda dicey about. He addressed that they were called out for WoH lyrics but the thing is I'm not sure if it needed to be brought up. Especially in American media and the way they contextualize things..

Obviously he meant that they grew from it but not sure if that was the way to put it I guess?

I will admit, there aren’t many times when asks that get sent to us annoy me, but this one in conjunction with the absolute nonsense that took place about this on twt just made my blood boil. Let’s look at the question and answer so we have full context when it comes to the interview and then, after that, we’ll look at the greater context of why Namjoon saying what he did is significant and a big deal.

Juju Chang: You guys are an all male band and, let’s face it, Korea, historically, has been a very male dominated culture and yet here at the UN one of the core values in Sustainable Development is educating women and having gender equality. You have a lot of female fans. What would you say to them about gender equality and working towards that?

Namjoon: Personally, I received a lot fo criticism regarding misogyny in 2015 and 2016, which led me to get my lyrics reviewed by a women’s studies professor. That experience, in turn, was an opportunity for me to self-reflect and question whether I’d been insensitive toward gender equality. I want to do the best I can to take interest in the topic, learn and make improvements. That’s my perspective now.

Namjoon used a personal story as framework to showcase that even someone like him, a man in a position of power/influence from a country which, as the interviewer explained, is very male dominated can learn, grow and, in the long run, contribute to change. It takes tremendous bravery to do something like this, to not only admit that you made such a mistake, but also to take it and grow from it, take the time to reflect and strive to better yourself to never repeat it again. And also talk about doing so not only during an international broadcast but also while your own president sits right there next to you.

Perhaps there are a relatively big number of countries in the west where equality is much closer to being a reality, where it is a core value to respect woman, one that you are raised with, but here the context was specifically BTS and their background, their country and their culture. From K-ARMY we know that things have taken a turn for the worse in Korea when it comes to women’s rights and the behavior of men toward them, how feminism is treated essentially as a dirty word and you will get hunted down for using it or for behaving in a feminist manner. Namjoon himself was placed on some list made by misogynists labeling him as a dirty, dirty feminist. The same men who even went after the military to get them to stop using a hand gesture which could, if you really want to, be used to make fun of a man for a small d*ck. In polls men in their 20s and 30s have voted being against feminism and I don’t mean just like 10 or 20% of voters, but rather 50-70%, even some presidential candidates have apparently been revealed as anti-feminists.

Circling back to Namjoon, having this context, do you now get why it was a big thing for him to say this, why it makes him a role model and why it was important to do so? Besides this isn’t just about the WoH lyrics which, to be frank, were never an actual issue but instead were made into one (the line I know that usually get’s brought up most is “The girls are equations, and us guys are solutions” which, if you think about it, actually means that boys and girls are equal since 2+5=7, the equation and the solution are the same, and also the song is satire about hormonal boys and their behavior which people have decided to ignore for the sake of sitting on their high horses instead). Namjoon wasn’t even the only member credited for the lyrics yet he took the blame upon himself, used this to better himself even though we know 2015 was an extremely dark time for him. But he is the leader, he took responsibility and he grew from it. He stands as example of how change is possible even in a country that is male dominated and misogynistic.

From anon: Reading your post about My universe I can’t but be heavy hearted.

It’s such a beautiful song but Jin not having almost any lines ruined the experience for me. He deserves so much more than being a mere backup vocal. Same goes to Jimin but I’m not as effected as Jin, since we’ve all seen a pattern there.

We know the boys decide collectively decide LD and how it fits their personalities and voices but I can’t but feel icky about Dynamite, not today, BS&T and now MY.

I truly hope this doesn’t continue and BH decides to respect Jin more as an artist. He’s one of the biggest reasons the group is where it is now.

Though I can’t say with 100% certainty that this comes from someone that has consumed too much solo stan “content”, it does very much feel like it and the only reason why I’m even answering this is that I’d like to highlight something, a pattern we've seen a million times over for years now in regard to line distribution but that is even more glaring and flawed in this case, after we’ve seen how My Universe was recorded:

“We know the boys collectively decide” and yet “and BH decides to respect Jin more”, with this you’re basically saying that you know all the members, including Seokjin, are involved BUT since giving him and the others slack for it would make you look bad, you instead throw blame at BH, which in this case had no say in the line distribution. That choice was Christ Martin’s to make. If you already complain about line distribution, at least have the guts to direct your hate at the people you just said yourself make the choice--the members. Solos already belittle Seokjin’s efforts as it is, and constantly demand an acting debut of him which basically, to me, just comes across as them wanting him to act because they don’t value his singing and music, so would it be really that farfetched for them to also hate on him for, what, not speaking up and demanding more to satisfy you?

Seokjin was so happy and excited while recording My Universe, while meeting Chris Martin, someone he’s admired and been a fan of for so long. He gave his best while recording and sounded absolutely marvelously, and yet instead of celebrating him, his voice, and what we do hear of him, you just focus on the negatives.

BH isn’t perfect by any means, don’t even try to come into our asks calling me a company stan or whatever because I’m far from it, but in this case they had nothing to do with it. Coldplay and Chris Martin did. We saw all the members record the chorus, and we heard it, we saw and heard Seokjin sing absolutely beautifully and get praise for it, and we saw how happy this collab has made him. Why can’t you just let this be a happy time, why must you immediately search for things to be negative about?

Would I have liked so hear more of his voice on My Universe? Obviously, I even said as much in my post about the song. I love Seokjin and his voice a lot, he is my bias wrecker for a reason. But the song has already happened, been recorded, mastered, and released. What will a negativity parade change? What? Absolutely nothing except for make him feel bad because you can’t just say “Seokjin did amazingly, I love his voice”, no, you have to go around yelling “OMG he is being cut from the song because BH hates him”. What does that do for him? Like really, tell me, because I don’t get it.

And if my opinion isn’t valid enough for you, it is, after all, just an opinion, take Seokjin’s opinion about the collab instead:

Or asks such as this one:

From anon: I honestly can’t wait for Seokjin to go solo one day. Go where he’s appreciated for his talents and musicality, not cuz he’s just a “hyung” or “comic relief” or “WWH”.

Where, tell me, has he ever expressed an interest in going solo? No, I’m serious, where, because all I know is that he is happy with his members, with what he does, that he enjoys making music and getting more involved than he used to. Just the other day during the interview with Juju Chang he spoke about how he misses the old times where he could go for soju and food with Yoongi to spend some time together.

And just a few years before that Yoongi said that Seokjin has been good from the beginning, and there are tons of other examples of the members praising Seokjin in terms of his voice and musicality. When he was going through burnout last year, Bang PD encouraged him to channel his thoughts and feelings into music, recommended him a producer he thought work well with him, and Seokjin said it really did help him. And we got Abyss as result from it all, a gorgeous and raw song.

Yes, he gets praise for being a good hyung, because guess what, he is a good hyung. Maybe for you that’s not good enough, but he’s proud of it, has always taken the fact that he’s the eldest seriously even when goofing around with his members. How is that a bad thing?

Seokjin loves his members and they love him. Seokjin loves ARMY and we love him back tenfold. Just because solos hate the members and aren’t satisfied with Seokjin, how is that my issue or even his? If you’re a genuine fan of his, support his hard work, support all his contributions to BTS’ music, their performances, their dancing, and everything else. Because he is part of BTS regardless if you like it or not, and as far as we are aware, he doesn’t plan on changing that any time soon, or at all.

#answered ask #namjoon #seokjin

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five-rivers · 3 years

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I:"So why?" D:*sigh*"Would you believe me if I said it's because I'm an idiot?" I:*doubtful* T:"Actually, THIS part checks out." D:*flatly*"Thanks, Toshi. You're a real friend." T:*raises eyebrow*"Exhibit A: The dustbin incident." D:"YOU PROMISED NOT TO TALK ABOUT THAT!"

Izuku had some expectations when he opened the door to Aizawa-sensei’s apartment. Namely, he expected Eri to be in the apartment. Just Eri, because he had been asked last-minute to look after her by Aizawa-sensei who’d been called away by a hero emergency.

Now, Eri was in the apartment. Which was good. Izuku was always slightly paranoid about leaving Eri alone for any length of time.

Less good was-

“You!” shouted Izuku, pointing.

“Uh,” said Danny Fenton, who was, for some reason, kneeling in front of Eri holding a large flower. “I can explain?” he said.

“Deku!” said Eri, bouncing on the couch. “Danny’s teaching me about my quirk!”

“Or she can explain. That’s good, too.”

Izuku hit the ‘time traveler panic button’ and frowned at Fenton. Fenton waved.

“So, uh. You probably have questions. Have you seen Banjo-san yet?”

“Do you know All for One?”

“I met him. Once. Not really my best decision. And before you say anything, I know that what I said to you and what Kazuki-san showed you about that is different.”

“Yeah? And why is that?” asked Izuku, cautiously approaching. He wanted to be between Eri and Fenton, but there wasn’t any way he could do that subtly.

“Deku?” asked Eri.

“Don’t worry,” said Fenton. “I just worry him. Here.” He handed Eri the flower, and stepped away, almost to the other side of the apartment, between the kitchen counter and a table with a vase with decaying flowers in it. “Would you believe me if I said it was because I’m dumb?”

Izuku, mindful of the new space, put himself in front of Eri. He almost wanted to take her and run, but he wasn’t sure what Fenton was capable of.

“Actually,” said Toshinori-san, pushing the ajar door open the rest of the way, “that part checks out.”

“Thanks Toshinori-kun, you’re a real friend,” said Fenton, flatly. “Who’s with you?”

Toshinori-san frowned, glancing at someone behind the doorframe. “The dustbin incident, for example,” he said.

“Oh, come on, you promised not to talk about that! It wasn’t even my fault.” Fenton tilted his head. “Normally, I’d guess Sorahiko-kun was behind there, but he’s too short now... And that doesn’t feel like his quirk. Something to do with truth?”

Toshinori-san glanced to the side and shrugged. “Might as well,” he said.

Detective Tsukauchi stepped into the apartment.

Izuku had hoped Toshinori-san would bring someone a little more suitable for a fight.

“You can call me Detective Tsukauchi. Although, I suppose you already knew that, being a time traveler.”

“That’s not really how this works,” said Fenton.

“Then how does it work?”

Fenton looked back at Izuku. “It’s related to the whole ‘I’m dumb’ thing from earlier. It’s, ah.” He glanced at Eri and then Detective Tsukauchi. “The person that we were talking about, the one who the discrepancy was about, I didn’t realize they were the same person until later.”

“How can you know so much about One for All, and not that?”

“My boss is the one that has all the answers, not me.”

“That’s a lie.”

Fenton frowned. “Well, I guess... It would be better to say Clockwork has all the answers, not me. He’s not really my boss.”

Detective Tsukauchi nodded. Izuku made note of the name. It was clearly an alias, but he doubted they’d get anything more concrete from Fenton.

“So what is your relationship?” asked Toshinori-san.

“He’s... sort of my guardian. My mentor.” Fenton shrugged. “It’s a long story and not relevant. The thing is, everything is a lesson with him. As much as this is a learning experience for you, it’s a learning experience for me.”

“When did you first meet All for One?” demanded Izuku.

“Ah... From my perspective? About a month before I met Toshinori-kun. I didn’t realize it at the time, thought. I thought that when I joined Toshinori-kun’s school was my first time in this timeline.”

“And what did you do?”

Fenton made a face. “The details of that aren’t safe. But, um, the basics are that I got lost, someone asked me for help, and I gave it.”

“Not safe for who?” asked Detective Tsukauchi.

“You guys, mostly. I can always just not come back.”

“Did this Clockwork send you to All for One as well?” asked Toshinori. His tone was bland and even, but Izuku could tell that there was a lot of anger behind his eyes.

“I- Look. I will answer that, just... Let me say a few things first?” Fenton’s hands, still in a half-raised position, twitched in an aborted gesture. “First, I genuinely mean no harm to anyone here. I don’t think Clockwork does, either. Second... Midoriya-san, did you think about what I asked you, last time? Why Toshinori-kun’s shape changed when he was using One for All, but yours doesn’t?”

Izuku bit his lip, wondering if he should answer. He’d talked about it with Toshinori-san a few times, but he’d never said the explanation he’d come up with out loud.

But his curiosity was a bit too great to resist.

“It was his quirk, wasn’t it?” he asked. “One for All made him develop his own quirk.”

“Bingo,” said Fenton. “I mean, you did talk to Banjo-san, right? At this point?”

Izuku nodded, slowly.

“Great. Like, because of that, you might be able to do the shapeshifting eventually, but, more importantly, you can’t move in that space, can you? When you can...”

“That body,” said Izuku, “it’s not me, it’s my quirk being put together.”

“Basically, yeah.”

Had this been a year ago, Izuku would have been thrilled. Now, however... He really had enough on his plate.

“You know what it’s going to be, don’t you?”

“I have guesses,” said Fenton. “But, no, I don’t know.”

“You said you’d answer my question,” said Toshinori-san.

“Right. Yes. Well.” Fenton took a deep breath. “I don’t know.”

“If he sent you to that time-” started Toshinori.

“I don’t know if it was even him that did that part,” said Fenton. “He might have, but he usually gives me a warning. No. It’s... ugh. Here.” He reached over to the vase and plucked out one of the flowers. Light warped oddly around it and his hand, and when everything was clear again, the dahlia was as vibrant as it had been the day it was picked. “Eri and Clockwork aren’t the only ones with time powers.” He smiled at the little girl who was still hiding behind Izuku. “Mine works a little differently, though.”

“You do have multiple quirks, then,” said Toshinori-san. “What did you do, to get All for One to give you them?”

“I didn’t get anything from him,” said Fenton, sharply, “except for a promise that he broke basically immediately.” He muttered something under his breath. “My powers- I’m not even sure they can be called a quirk.”

Izuku couldn’t help but look at Tsukauchi, who looked... confused. But not like he was being lied to.

“I didn’t get them from anybody, I wasn’t born with them, they weren’t inherited. I didn’t have them until I was fourteen. They were an accident. Like I told you I’m not from this timeline. There are no quirks in my timeline, and only two other people even remotely like me, and-” He took a deep breath. “Sorry. I’m ranting. I have to go, soon, your teacher is almost back. Last question.”

“Why are you here?” asked Izuku. It was probably stupid, considering the two adults in the room.

“Um. I thought that was obvious? To help Eri with her quirk. It would be really irresponsible of me to leave things like they were.” He gave Eri a thumbs up. “Don’t forget, little sister, it isn’t a curse. And it’ll be a while, a long while, but you’ll get to meet Clockwork, and it’ll be super coo-”

“And... He’s gone,” said Izuku, sagging.

“At least we learned more?” said Toshinori-san.

“I-”

Aizawa-sensei skidded into the room. “What,” he demanded, “happened?”

Eri tugged on Izuku’s pant leg. “Deku? What’s One for All?”

Toshinori-san blanched. Izuku felt all the blood drain from his face.

This was going to be a problem.

#bnha #danny phantom #dp/bnha crossover #ask #answer #prompt fill #prompt #pep talks

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hajimariwaquartet · 3 years

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mankai company from an outsider's perspective

Exhibit A: The 17 Year Olds

Like a sea spreading out, people made way for the bickering delinquents. Not even the groceries they held and the cute redhead between them could offset their aura. The one with the flaxen hair growls. "Fuck you, Hyodo. We are not getting the sweet shit again."

"Ha? If you don't like it, then starve."

"Can't you get any other shit that isn't disgustingly sweet?"

"Hey, hey." The redhead pushes them apart with smile. He doesn't even seem bothered by their aura. "I heard from Citron that there's a shop that sells buns of different flavors near the park! There's custard, red bean, meat buns, and I think they even have croquettes."

"Is it good?"

"Yep! The custard one was really good, but I haven't tasted the croquettes though. Citron says they're good."

"Fine then."

"Let's get some for the others too!"

"...holy shit, isn't that Settsu from Hana High?! And Hyodo from O High?!"

"You're right... I thought they'd be fighting. You know, with fists like some delinquent movie."

"Feels like we walked into an alternate timeline."

Exhibit B: Supermarket Discount Duo

"Thank you for your patronage, my lady. I'll be sure to invite you to our next show!"

"I'll be looking forward to it, Citron!"

"This meat doesn't have extenders, does it?"

"N-No, sir."

"Good. Give me three kilos of that. You still have that promo, right?"

"O-Of course."

"...Oh, of course! I'll let Omi know!"

"Take this young man, I'm sure you younguns would find more worth in this than a wrinkly old lady than me!"

"You have a heart of gold, ma'am! A kind heart never ages!"

"You flatter me, Citron! Make sure to drop by next week, I'm sure my grandchildren would love to see you!"

"450 yen for three heads of cabbage."

"Make it 400."

"440."

"425."

"Deal. Do you need it in paper bags?"

"Nah. I have a shopping bag here."

"That was a fantastic haul, Sakyo!"

"Mhm. Can't believe you got a free box of radishes."

"I babysat Mrs. Akimoto's children last week, and her family couldn't finish all the veggies her in-laws sent her so she had to give away some!"

"...I think we can save on money if we grew our own vegetables."

"Oh, I feel much terror from the glint in your eyes, Sakyo!"

Exhibit C: Built Different

"Hello. This is Yoshikawa of the Veludo Precinct. How can I help you?"

"O-Officer... some guy just jumped on my roof! I thought I was gonna get robbed! T-Then two more guys jumped on my roof too!"

Yoshikawa hummed. "Are you new to the area, sir?"

"H-Huh, yes?"

"Ah. The roof running is normal in this neighborhood."

"What?! It's normal here?!"

"If one of them talks about triangles, then they're harmless."

"...now that you mention it, he was blabbering something about triangles."

"If you see a green haired man with glasses fighting a white haired man with one eye covered, please do not worry. They like sparring a lot."

"You're not lying, are you? I somehow regret moving here now."

"Welcome to Veludo, sir. This is a very lively town."

Extra:

"You wouldn't believe what happened to me last week, Akira! I thought I was going to be caught up in a spy movie when these two guys dropped in front of me! They're like the main characters from the movie we watched last week."

"That sounds wild. Well, I saw three angels last week! They're absolutely the sweetest, I can't even believe they're actual humans!"

"Oh right, my lil sis was gushing about the cute guys that were doing a street act! They were fighting about this princess and the one with the dyed tips was like a prince! Oh, and they even had Tenma Sumeragi was with them! It's like a dream come true to see an actual celebrity!"

Itaru chuckles from across Izumi who massaged her temples. "Looks like we're pretty memorable around here, Director."

Tasuku could only sigh. "I'm surprised how neither Ikaruga, Utsuki, or Mikage hasn't been arrested for roof running or rowdy behavior."

Tsumugi sheepishly laughs, "I think Chikage might have done something..."

"It's senpai, what do you expect?"

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thexfridax · 4 years

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Translated interview (with omissions)

Céline Sciamma: ‘I love films that hate me!’

David Rams, in: TV Movie, 31st of October 2019

// Additions or clarifications for translating purposes are denoted as [T: …]. For my sanity, I omitted some information that has been mentioned elsewhere. Repetitio stultus facit… 😋 //

Céline Sciamma’s ‘Portrait of a Lady on Fire’ portrays the love story of two women in the 18th century with an incredibly sensual imagery. The director talks about the connection between painting and cinema, the male gaze and voyeurism in this interview.

It is those incredible close-ups and captured gazes in Céline Sciamma’s films (‘Tomboy’, ‘Girlhood’) that are worth a thousand words. No wonder that her newest film ‘Portrait of a Lady on Fire’ is all about gazes and perspectives of two very different women… [T: omitted short description of the film].

She received a well-deserved ‘Best Screenplay’ award for ‘Portrait of a Lady on Fire’ at the Cannes Film Festival. We had the opportunity to meet the director at the Filmfest Hamburg and talk about the hidden female artists of the 18th century, the male gaze and her love of films that should actually repel you.

[T: Omitted Q&A about her research on female painters in the 18th century, but see here or here.]

Interviewer: Are painting and filming similar to each other?

Céline Sciamma: The great thing about cinema is the possibility to reflect on other forms of art. Together with the cinematographer, I’ve asked myself a lot of questions about the role of the painter. What kind of framing makes sense? Where do we have to position the actresses in the image? How do we illuminate the set? At the same time, we also have to think like composers or screenwriters during filming. The relationship between the painter and the model is similar to the role of the director and her actresses.

I: What is the connection between observation and art?

CS: I try to create experiences for the viewer. In my films, there’s always someone who looks at someone else. I focus on the circulation of gazes. Cinema should also always be about bodies. With this film in particular, I dump people into a very active observer role, so that their bodies have to work, too. All of my films aim to convey their own grammar and language.

I: One of the themes of the film is also about the difficulty of getting closer to someone whom we’re not supposed to look at in detail. It’s remarkable how often you work with close-ups in your films. What is the idea behind this?

CS: Most of the close-ups in the film show the painter portraying the model. The close-up is about the relationship of an active observer, who is also observed at the same time. There are also close-ups that relate to the sexual tension, the focus on the armpit during the sex scene for example. But most of the times my close-ups focus on the eyes. For me, it’s mainly about the intimacy that occurs, when one person looks at another. It also gives permission, so that the audience is released from this voyeuristic standpoint in cinema. A close-up can also be perceived as intrusive, but I don’t feel that way at all.

I: One scene that describes this almost voyeuristic tension very much, because it is very intimate, is the abortion scene with the maid Sophie…

CS: Héloïse urges Marianne to watch the abortion. Later on, Marianne draws a picture of this moment – as a memento. At the same time, this is also referring to how much we are missing women as artists and their focus on female intimacy. I have never seen a picture in a museum, which is about an abortion. And it is rare to see realistic abortions in other films, even if I haven’t looked for those. It is a really exciting idea that the model is the one asking to record this moment. [T: @podcastofaladyonfire discussed whether or not Sophie really gave consent for this depiction, listen to the full episode here, or go to 33:23 for this bit.]

I: How would you describe the difference between the two main characters?

CS: The biggest difference for me was that Marianne was financially independent. She is working and earns her own money. That’s why she has the freedom to make her own choices. And that is still a big topic for us women. It was important for us that this is the only hierarchical difference between the two. Héloïse is part of the aristocracy, that’s why she certainly has a higher social status than Marianne. At the same time, this status doesn’t help her at all – quite the opposite.

[T: Omitted Q&A about working again with Adèle and casting Noémie, but see here or here.]

I: An ordinary day of filming can often be quite artificial. How difficult is it to create the necessary sensuality and intimacy in this context?

CS: It always depends on the atmosphere and politics on set. We had a lot of fun during filming. At the same time, it was very important for all of us to capture genuine desire. Not only love, but all the different phases of desire. And it really is a lot of fun to film this. It is about that one gaze that makes you blush. For me, it was all about the rhythm and tension when focusing on desire. And in that regard, I work very precisely. At the end of the day, it all depends on the chemistry between the two main characters. Adèle has always compared this to a joke that you’re telling. We always had the feeling that we’re telling jokes. [T: I guess, this is about tension and release, also see here.] She would cast a glance at Noémie, just when I was about to film Noémie, and suddenly it fits perfectly. The two of them are just a really good team.

I: We see the eponymous picture only at the beginning of the film. When did Marianne paint the picture in your opinion?

CS: I think that she painted it a couple of years after her encounter with Héloïse. Originally, the picture was supposed to be unfinished. Shortly before we started filming, we realised that the picture had to be finished. And now it’s in my apartment (laughs). We already had an exhibition in France with the pictures from the film, and they are going to be shown in other countries, too [T: see here, not much to see though, here, or here]. We commissioned more than 20 paintings for the film [T: shoutout to Hélène Delmaire, also see here].

I: You once said that you are not against the ‘male gaze’ in cinema. Is there a scenario where the male and the female gaze would benefit from each other?

CS: If you are against the ‘male gaze’, then this means you are against the entire history of cinema. I have spent my whole life loving films that hate me. In my current film there are almost no men, which led in turn to some male viewers saying that they don’t want to see my film. My response to that is: ‘As a woman and homosexual, I was despised by the entire film history, but I still love cinema.’ I am therefore not against the ‘male gaze’, but I want it to be called what it ultimately is [T: see here for Laura Mulvey’s male gaze theory]. And if we have a discussion about it on this level, cinema would above all benefit from this.

—

Picture source: [1, also see here]

#TV Movie #Céline Sciamma #Portrait of a Lady on Fire #October 2019 #German interview #Someone had fun on set #The exhibition #that wasn't #Love of cinema #that doesn't love you back #Show 'em how it's done C #My translation

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bettycooperoutfitwatch · 5 years

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3x01 Chapter Thirty-Six: Labor Day

I’m so hype for this episode’s p e a k summer vibes, I cannot even tell you. These outfits were perhaps the ones I was most excited about diving into, not necessarily for any thematic work they do, but just because I love them. It’s that simple. Summer is ~my season. And from this ep it would also appear to be Betty Cooper’s.

She has so many different looks here! It’s the most caps I’ve made for an episode so far, topping out at 631 (don’t look at me like that). She wears A Lot of clothing in this episode, in a lot of different iterations—and this post is lengthy as a result. As such, I’m deigning to try out a read more cut on this one, which is a thing I go back and forth on for this blog—but I’ll save that chat for later.

It wounds me how briefly we get to appreciate this adorable look. The denim shorts?? With the rolled cuff? The gingham?? My god.

I think this dress is incredibly cute (I’ll probably say that a lot this post). Sometimes I think of it randomly and wonder if I can find it for sale on the internet somewhere. I’m just very fond of it.

There’s a moment here where Archie, Jug, and Betty reminisce about Sweetwater Swimming Hole—Betty doesn’t remember an incident involving some leeches (a la Stand By Me—and not even the most overt allusion to that film this season), but Jug and Archie do. This isn’t the only moment Betty will seemingly fail to recall a childhood memory throughout this season. Put a pin in it.

Her envelope purse, introduced near the end of season 2.

It’s quick, but we see her pop an adderall in the courthouse.

Murder me, please, because this is really too cute to be dealing with.

We saw Betty wear (her first!) white v-neck tee in 220. This might be the same one, it might be new, who knows. The short overalls are defo new tho.

Please note she wears her hammer necklace to do some work on Archie’s jalopy, which in the comics is called...Betsy. Which is potentially confusing.

Let’s appresh that Betty has consistently been down to get dirty, as exhibited again and again and again in season 2.

I am a sucker for a floral Reformation dress! I’m weak. Purple was certainly a season 2 color for Betty, and that carries on here—if in a softer, more lavender-leaning fashion.

It looks like the wardrobe team have made some alterations to the back, too, unless this is an earlier iteration of Refo’s Rosehip dress.

(Okay, I’m an avid journalist, but damn girl. What’s the date range we’re talking here?)

Betty’s actual bathing suit (as opposed to her daydream suit—but we’ll get to that later) very much falls under the purview of her brand. Am I crazy, or do bathing suits just work for Ms. Reinhart?

(She also dons a pair of on-brand flip flops I could not capture).

Baby’s first Serpent jacket! Right on top of her pretty purple floral dress, bless.

And yes, indeed, it has the standard patch.

Now this purpley pink is indeed a very season 2 color for Betty, worn with her B pendant necklace, another s2 staple. The shirt has a very subtle ribbing to it, too.

This is a romper, and Betty wears it to both be confronted by her family about what she’s been up to, and to camp out with her friends.

The points that Alice and Polly make to Betty in this episode—that Betty should not be avoiding the trauma of having a serial killer for a father, that she should not be forging prescriptions for adderall, she should not be faking having a therapist—are not so crazy. That said—the Farm’s anti-medication stance, its burn-your-diaries-and-forget-your-past methods are also not the way to go. No one’s fully in the right here. There’s middle ground to be found.

As an aside, I’ll say that I’m near positive that at this point Alice is fully on board with the Farm, and is not yet an FBI informant. People join cults because they find personal benefits, and community, and because it can better their lives. They don’t join cults knowing it’s a cult. There’s a fine but very identifiable line.

Anyway.

We last saw this bra in the pilot! Betty’s very first scene! Can u believe? She wears it with a lacy high-rise brief in a sea foam or light blue color. As a firm proponent of a mixed set, I can only approve.

Her post-swim hair is truly fab. Floral Keds!

Betty self-soothes by building some very nice cairns. She talks about quitting adderall, about getting a non-fake therapist.

Hat: model’s boyfriend’s own.

Short-sleeve floral sundresses appear to be Betty’s summer courtroom go-tos. Love the mustard.

Towards the beginning of season 2, Betty began to wear a lot of sporty stripes, and these pajamas certainly fit within that space. We’ve also seen her in athletic shorts with piping before.

Maybe she did quit her adderall? Maybe she quit cold turkey and she’s having a reaction because of this. (Guys, never stop a medication cold turkey, t a p e r, with the help of a professional.) Please recall Betty was forging her prescriptions—a criminal offense, but let’s not get into it. She doesn’t have the medical advice to do this the right way. But hallucinations are a not symptom of adderall withdrawal (per the internet.) Hallucinations can occur in a seizure, however.

In addition to...whatever’s going on here, we have two moments in which Betty appears in the subconscious of others in this episode: in seemingly both Archie and Jughead’s daydreams, and later in Archie’s nightmares. Fittingly, one outfit is imagined out of whole cloth (pun); the other, we’ve already seen Betty wear.

How do we know Jughead and Archie are daydreaming? Well, they’re each given a moment of perspective, and Jughead is wearing a different outfit in each scene.

Jug’s POV.

Arch’s POV.

It’s hard to get a read on Betty’s suit—but I’m almost positive it is a bathing suit, unlike the skivvies-swim that happens elsewhere in the episode. This trip out to Sweetwater Swimming Hole was preplanned (...in Jug’s daydream), the Labor Day trip was spur-of-the-moment (per Archie’s ‘livin’ his last weekend as a free man’ vibe). It’s a teal color, which we really have not seen her wear at all. It could be a two piece, it could be a one-piece of a similar backless design like her pink polka dot suit, who knows.

In Archie’s version of the dream, his friends go off to live their lives without him. Betty’s wearing the pink denim skirt we last saw in 216, and what looks like a sleeveless denim top (we’ve seen her in two of those before).

Betty and Veronica are indeed wearing the same bathing suits in each day dream, most evident by Veronica’s suit—but you can also see Betty’s straps. This is probably for practical reasons; two costume changes for a wet scene is probably enough to deal with, three is asking a bit much, especially if it can be easily fudged.

The moods of these scenes are totally disparate, as are their lighting schemes. Jug’s is full of possibility (peep how Betty gives him the eye); Archie is literally being left behind in his. Archie and Jughead are on two separate paths, and here’s your metaphor.

In Archie’s nightmare, we see the gang in their Shadow Lake get-ups from 214. Betty wears her wool moto jacket (a season two outwear staple) and her plaid knit crewneck from that ep.

Summary: Eight outfits in real life: she changes out of her purple dress to put on her bathing suit, so we’ll count those separately; but she wears the underwear she swims in underneath that romper, so that counts as one. In addition there are two dream outfits, bringing this episode’s total to 10. Whew.

I Own This: Yeah, you know this, I own quite a few of those Natori bras (but have never swum in one. Yet.)

Key necklace appearances: Key necklace maybe not be as supreme as it once was. We might have to retire this count.

Best outfit: Excuse u hdu. How am I supposed to pick? I will take one of each.

Please also enjoy this wonderful piece of fanart depicting Betty’s myriad lewks this ep!

#3x01 #s3 #betty cooper outfit watch #riverdale #betty cooper #long post #e x t r e m e l y long post

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gosatsuvns · 3 years

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Weekly Update Compilation

Just realized that I kinda neglected the weekly updates here on Tumblr (sorry about that!), so I'll compile the last few right here:

Weekly Update #328: CG & BGM Progress

This past week, I've focused on drawing the "dead body" CG for GENBA no Kizuna, which is quite an undertaking to say the least. I've made a lot of progress on it, but there's still some work left to be done. It took me quite a while to figure out the exact perspective and angle. Thankfully, being married has its perks, so I got Kuna to take a bunch of reference pictures of me while I was lying on the floor, pretending to be dead, haha. That definitely helped tremendously.

Still, the details are going to give me another headache for sure. We're talking about a guy who got eaten by a T-Rex after all, so there's a lot going on in terms of, well... damage.

Anyway, every now and then, I've also continued working on the outline for Withering Without Hope. And speaking of which, I have just released a new Patreon post, delving into the topic of how Broken Beyond Despair sets up and dictates the direction for its sequel.

If you're curious about the changes I felt were necessary in our recent anniversary update, be sure to check it out!

Next week, I'm planning to make another post talking about the time in between BBD and WWH and what exactly happens there. There is quite a gap between October 30 and December 23 after all...

Now, in other news, I've been working with Solo, our composer, on a new BGM track for GENBA. I've already received a first preview of it and it sounds amazing! Can't wait to hear the full version and share it. This time, we're tackling another investigation theme, specifically for the segments you will play as Rei.

That kinda wraps up this week's progress report. I'll get back to working on that CG now, so please enjoy the rest of your weekend and, until next Saturday, take care! :3

Weekly Update #327: BGs, CGs, Sprites & WWH

After a bit more BG work, I have finally finished a variation for the 1st Floor Main Hall and one for the 2nd Floor Main Hall. That now only leaves one more variation of the 1st floor and all the necessary BGs for the first three chapters of GENBA are done! Hopefully, I can get to that soon, but first of all, I've decided to tackle the "dead body" CG instead, as it is kinda tied to that BG.

Basically, after recovering the body from the Rex jaws, it will be spread out in the main hall and you will be able to catch a glimpse of it on the missing variation of the 1st floor background. At least that's the plan, but I think drawing the CG first will better help me understand what exactly and how much needs to be visible on said BG.

The CG is kind of intimidating to think about, as it is going to be the most difficult to draw by far. As a result, I've been pushing it off for a while now, but I figured, if I get it out of the way now, that'll be a big relief, haha. I've actually started working on it a while ago, doing some initial sketches. You will see almost the entire body lying on the floor. It's going to be an interactive CG too, meaning that players will be able to click all over the body in order to examine it. As you can imagine, it's going to be a very crucial asset towards solving the mystery death at the Kaseki residence, so it will require a lot of attention to detail.

My goal is to finish it by the end of the month, so I have just about a week left, which will hopefully be enough!

Outside of finishing those BG variations and getting back into the body CG, I've been working on some more sprite variations for Keiichi and Amber. Unfortunately, I kinda suffered a setback of sorts by accidentally deleting one of Amber's new sprites "orz Thankfully, I still had the low quality preview I posted on Patreon, so I was able to restore it, even if that was kind of an annoying and rather frustrating occurrence...

I have to doublecheck with the script, but this might be it in terms of sprites for the first chapter, too. In the end, Keiichi only got one new one, depicting him with a somewhat worried expression:

Now, one other thing I've been working on is Withering Without Hope. With the Christmas season drawing near, I'm really getting into the mood for it, so I've been working on the outline for the first chapter. I'd like to continue working on this on the side and hopefully finish at least the entire first chapter outline before the end of the year. The goal here is to have the full script for the game done by the time GENBA will be released.

If you're a patron, you should keep your eyes open, as I'm also going to share some behind-the-scenes info for WWH soon! Been wanting to do that for a while now and just haven't gotten around to it...

Anyway, guess that about wraps it up for today so, please enjoy the rest of your weekend and, until next Saturday, take care! :3

Weekly Update #326: GENBA Background Progress

Alright, after a bit more work, I have finally finished the background for the second floor of the main hall and, along with it, adjusted the other two main hall BGs. If you want to learn more about my struggles with these, be sure to check out last week's blog post where I talk a little about visual consistency. I've also made a post on my private Twitter, showcasing the differences between the old and the new version of the first floor main hall. As for the second floor, here's another preview for that one as well:

Now, what's left are the variations of these two BGs, which I've also worked on. One variation for each of them is almost done as well, just missing one last detail which I'll take care of tomorrow. That will leave only one more variation for the first floor background, which will display a couple more pieces of evidence. As mentioned last week, once these are done, we're gonna be good on backgrounds for a while. That's because the second chapter will not need any new BGs, as no new locations inside the residence will be visited. As for chapter 3, the mid-point case discussion... that one will take place entirely in the exhibition room featured at the end of our demo. So no new BGs for that one either!

Well, I did mention before that I'm playing with the idea of making one more simple BG for said exhibition room. Since the cast will spent quite a while there, discussing the mysteries (think of the dining hall in SHINRAI), it would probably be nice to get some visual variety. However, as I don't deem this to be an "essential background", it's a bit lower on my priority list. For now, I just want to focus on the assets that are absolutely necessary to tell the story. And when we talk about "essential" backgrounds, there are actually only four left now: the wash room, the back corridor, the backyard and one of the suspect rooms.

Before I get to any of those, I'm still aiming to finish all the assets for the first chapter, though. Which (BG variations aside) now only leaves a couple of sprite variations and two CGs. One of those is going to be very elaborate, though, so it will probably take me a while to get it done. I'll most likely work on it next month and, for the rest of November, take care of the sprites and script revisions.

Anyway, that about sums up the current progress. Time to get back to work, so please enjoy the rest of your weekend and, until next Saturday, take care! :3

#shinrai #genba #visual novel #visualnovel #visual novel development #vn #evn #vndev #game development #gamedev #indie game #indiedev #indie #Ren'Py #renpy #interactive fiction #murder mystery #detective game

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jellypipemedia · 3 years

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Art Industry and Equality

The Artist Industry, an industry that lets self-expression come out in a number of mediums.

As an Artist myself, i can tell you how wonderful it has been to have a creative outlet like my multimedia. To express my ideas and watch the momentum of my work turn into something special. As many other Artists, it’s hard to find that validation and legitimacy in the industry that defines you as a professional and makes your career into more than a ‘hobby’. Some find that struggle more intense than others.

The idea that ‘All Artists have to struggle’ is a common ideology but beyond that- do all artists struggle in the same ways? Of course not. This could be combated with a number of different perspectives based off of different talent levels and different environments but commonly, artists are not given the same opportunities based off of more than just their talent. Different aspects come into play.

The Artist Industry has been known for their inclusive atmosphere and supportive community, but is it set apart from any other industry when it comes to addressing equality issues?

Misogyny/Trans-Misogyny , unequal opportunities based on gender, lack of recognition and the power struggle of legitimacy have all played their part in work industries all over- and the artist industry doesn’t escape that narrative.

A common theme that i find more than any other is women, queer, non-binary, and Fem artists struggle to find their power behind their art because they are usually dismissed, deemed illegitimate, or seen as ‘just a hobby’, or they could ‘make it a real job someday’. Their work isn’t given the credit it deserves or the recognition of legitimate work. Opportunities are missed quite often as work lays in favor of social stigmas and safe investments in uncomplicated people seem to flourish regularly.

Stewing over my thoughts on this, I reached out to my social media circle looking for more perspective on the situation. I was able to connect with a couple of people, ask them their thoughts on how these aspects of the industry have affected them on a professional level and their influence on the industry . I want to keep the dialogue going about this and would love to hear more about the perspective of women, queer, fem, non-binary artists on the industry that claims to be so inclusive.

With that being said, I had a great opportunity to talk with the Founder of ‘Siren Nation’. *

Diving into ‘Siren Nation’ media, I came across their ‘LinkedIn’ page. Their Mission Statement spoke to me and left me wanting to dig just a bit deeper into the foundation of their cause.

“Siren Nation is a unique arts organization that showcases and creates performance and exhibition opportunities for women throughout the year. We are the only women’s collective that produces an annual festival showcasing the original work of women working in music, film, performance and visual art.

Siren Nation’s mission is to inspire and empower women of all ages to create their own art and to highlight the many achievements of women in the arts.”

When I was connected with Natalia Kay O’brien, I didn’t know much about Siren Nation or where our conversation would lead too. I had an idea of where i wanted to take this project, not having much more than a foundation and urgency to keep learning more about the perspectives of women identifying, queer and non-binary.

So, I asked if she’d be willing to help me out by telling her story and giving us an insight on her perspective of the industry.

Natalia:

I'd be super happy to help! There's an amazingly rich queer music scene in Portland and the Pacific Northwest. That is a big part of the reason I moved out here!

From 1999-2010 i produced a lot of events that centered queer folx -some from out of town, some in town.

Jay:

Awesome! I appreciate that a lot about Portland and the PNW. I've grown up in Portland most of my life.

Natalia:

Lucky you!

Jay:

What are some of the events that you produced?

Natalia:

I started out doing house concerts for a spoken word artist out of NYC, then booking shows for/with traveling queer female artists i got connected with over time. I ended up doing the booking for mississippi pizza for a couple of years and got some more experience there producing shows--generally national folk acts--and booking artists. That helped me begin to get more familiar with the local music scene and get introduced to some amazing artists like Laura Gibson, long before they broke out.

My experience and frustration, with the local music scene's dearth of female and queer presence and opportunities to get the kind of exposure that festivals offer, inspired me to found Siren Nation, an organization dedicated to promoting and empowering women artists.

As a queer woman I made sure that there was a strong queer presence during my tenure. We were supposed to have ‘Gossip’ headline the first festival and 3 weeks beforehand they broke their contract!

The seven years I spent with Siren Nation exposed me to new queer artists. Unfortunately, at that time, there was no such thing (in terms of identity) as nonbinary, and we didn't put enough effort into be trans inclusive. We produced, and they still do, 2 tribute nights, one for dolly parton, one for billie holiday, that have been happening annually for something going on 15 years! and then the annual festival, in november, which i produced from 2007-2010.

Jay:

That's absolutely awesome that you contributed so much to the queer/fem community. I know how intensely hard it can be to demand that recognition and be seen as legitimate in the eyes of the world. It's no small thing. Can you give me an example of a time where you’ve experienced misogyny/trans-misogyny that directly affected your work as an artist?

Natalia:

I was tired of not seeing enough women and women-fronted acts on local festival lineups when there were SO MANY amazing female bands. My work as an artist (visual) has been almost entirely a private endeavor. however i do think there is a correlation between the fact that i considered my drawing 'doodling' and i'm a woman. I made art for years before I took on the identity and claimed it. I still squirm a little.

Jay:

I can totally understand that. I deeply feel like the accomplishments of women are often made out to be 'A nice hobby' or 'could be a job someday.'

Natalia:

Yes, exactly.

I can tell you as a booking agent for queer female artists in an industry that is heavily male, did not make for the most hospitable environment to work in. Getting club bookers to book an artist whose press kit screams 'radical feminist lesbian" let alone that she was doing spoken word which was just emerging...well, ultimately all they cared about was whether we could fill a room. There were some venues that didn't want to deal with us, in more conservative parts of the country, i.e. midwest and southeast.

I think trans-misogyny was unfortunately a little baked into Siren Nation in the sense that trans women have remained almost invisible within that space. Not enough queers involved with siren nation after I left!

So I tackled showcasing as many media as possible--music, film, visual arts and later fashion and comedy.”

Jay:

That's a powerful tool in today's world too. Being someone who is involved in a variety of media ( myself as well) is a powerful weapon to today's world of perspective. We have a lot more influence than people credit us for. Have you been affected by any people that are positive influencers in the queer community/have given inspiration to you personally?

Natalia:

The artists inspire me!! That's part of why I produced events because I truly believe in the artists and want to help them connect with a larger audience and want people to get exposed! Bands like Team Dresch, who really blazed trails for queer women punks, all around the country at a time when there was virtually no queer presence in media. Beth Ditto and Gossip, for being fearlessly brash, unashamedly fat, and a force! Women who were unafraid to be loud when it wasn't the norm yet--Sleater Kinney, Bikini Kill too!--inspired me and they were tackling issues that I cared about as a feminist in ways that I didn't see straight women doing.

I will never ever forget seeing Bikini Kill and Kathleen Hannah telling all the 'boys to go to the back'. It blew my mind having stopped moshing b/c it wasn't safe and she demanded and created that space

Jay:

I can definitely vouch for queer punk artists being a heavy influence in the queer community and causing pressure on 'social norms'! It's very empowering and the women in the scene are not a force to be reckoned with. It's still astonishing how such a positive and empowering movement got met with so much resistance.

Natalia:

Kinda like what I wanted to do with Siren Nation. Yeah, some people can't handle a strong woman especially if she is in any way not gender/hetero conforming.

Jay:

I'm sure Siren Nation impacted a lot of people to be the ferocious and powerful people they knew they were.

Natalia:

I hope so!! I know it was a space where, for example, at the tribute shows, artists got to meet and mingle backstage, and spontaneous collaborations would happen.

Jay:

That's the best part of festivals in general. Bring artists from all over and to create that opportunity for networking and creativity.

Natalia:

Right!??!

Practically every female artist who has broken out nationally performed at Siren Nation at some point and offering free workshops was an important way for us to empower and encourage women to create and make their own art.

Jay:

That's awesome! Does Siren Nation still have a website that I can reference too?

Natalia:

Yup! Sirennation.org

As an audience, I found festivals an amazing opportunity to get exposed to new artists.

Most of the language there that is about the organization, like mission statements and values, is mine.

Jay:

So why have you decided not to produce events for Siren Nation more recently? or does the organization take care of itself nowadays?

Natalia:

I left in 2010 because i was pursuing a masters degree, basically decided to pour all the hours and energy i had put into siren nation into a degree that would get me a salary for doing that kind of work. My co-founder December Carson has stayed at the helm and kept it going all these years. There are some longtime volunteers who help at events.

My dream that someday it could be a salaried job I finally realized was not going to be feasible

Jay:

That's a positive transition out of the organization tho! Did you get your master's degree?

Natalia:

Yes! It helped to know that it would carry on after I left, because it was my baby and I was very attached! It has thrived over the years due to the dedication of the board members who make it happen. New blood comes in, and then they add fashion and comedy. It's been neat to see how it has evolved over the years and yes, I got my Masters, in Public Administration.

Jay:

That's so so so good to hear Thank you so much for talking with me today- you have really been insightful and this is truly very inspirational to hear as a queer woman in the multimedia industry!

With ending our conversation, I felt like I made a breakthrough on what direction I wanted to take this project and found the encouragement to keep pushing through the media and highlight these amazing women, non-binary, and queer people.

We lack recognition for being who we are while we make it in this industry. We struggle and fight back - gaining ground and getting traction.

I’m excited to see where this project takes me and I'm glad to have you all on this journey. Stay alert for more to come!

#Art Industry #art #journalism #punk #punkscene #inequality #queer #trans #woman #women

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youngboy-oldmind · 4 years

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ALBUM REVIEW: The Lost Boy

“Try to take a walk up in my shoes/A n**** rapping like I really got something to prove, Cause motherf****er, I do/I climb hills, n***** was sleeping, on Nyquil/ Paint a picture vivid, dawg, on everything, my life's real”

Overall Thoughts

Maryland rapper YBN Cordae plants a solid footprint in the rap game on his debut album The Lost Boy: a 45 minute masterpiece filled with excellent storytelling and production combined with a unique style that proves he’s definitely an up and comer to look out for in years to come.

The Lost Boy was my favorite rap/hip-hop release of 2019. Cordae’s first studio album is contender for one of my favorite debut albums ever. In my opinion, related artists’ (Chance the Rapper, Logic, Bas, J Cole, Kendrick, Amine) debut album’s fall to The Lost Boy. And at 21, his debut releases at an age younger than everyone in that group. To have an excellent project at such a young age is another feat on its own.

One commonality I notice with debut albums is that new artists tend to sound like their biggest influencers; the biggest culprit being Logic. But Cordae stands out with his own style that doesn’t sound too similar to any of his numerous influences. His delivery, word choice, and flow (while not always mind blowing), is not a carbon copy of a rapper from the 90s-00s. Here, Cordae’s sound is his own.

His pen game on this project is consistently above average, but rarely mind blowing. Tracks like “We Gone Make It” and “Thousand Words” exhibit his strongest lyricism. However, Cordae’s story telling abilities are consistently powerful. Tracks like “Bad Idea”, “Thanksgiving”, “Nightmares Are Real”, “Family Matters” all have Cordae illustrating his experiences. He emphasizes his perspective as a young man who’s finding himself through all these experiences. Even his most bragging and banger tracks still feature great humility and storytelling elements, the stand out being “Broke as F***”.

The features on The Lost Boy are all top notch. Cordae includes Chance the Rapper, Ty Dollar $ign, Pusha-T, Anderson .Paak, and Meek Mill, all of whom bring elite verses to their features. It’s even better that the guests don’t completely outshine Cordae. Cordae brings enough weight to each song that its not completely engulfed by the feature. Songs like French Montana’s “No Shopping”, Logic’s “Homicide”, Chance’s “Handsome” all suffer from a feature that outclasses the main artist. But Cordae goes toe to toe with each feature.

I should also mention the two skits, “Sweet Lawd” and “Grandma’s House”. Both are pretty good as far as skits go. I can’t help but assume they were influenced by Kanye West’s “I’ll Fly Away” from The College Dropout, both of which sound very reminiscent to. They display Cordae’s singing abilities and soulful sound. And its touching to hear Cordae’s grandmother on the latter track.

Overall, I can’t really find a weak spot on this project. The runtime, theme/tone, uniqueness, production, and lyricism are all excellent. As far as debut albums go, Cordae made has created one of the best I’ve ever heard.

Album Breakdown

The common theme throughout this project is Cordae’s experiences being young and lost in a chaotic world. I love this theme because it doesn’t limit the scope about his topics. He can make fun tracks, political commentary, and emotional deep cuts while staying tonally consistent.

1. Wintertime

"Wintertime” features a smooth, mellow, jazzy beat; The vibe feels like a instrumental off of J Cole’s 4 Your Eyez Only. Cordae introduces himself, compares where he started to where he’s at now, and discusses some everyday plagues that stress him (anxiety, maintaining success, pressure to appear problem-free) while also aiming for the top and hoping nothing he creates fades away. Great intro.

2. Have Mercy

This next track is lyrically nothing deep or profound, just a banger track with a dope instrumental. The echoy, bassy sound that develops on the last leg of the song is especially great. I also found Cordae’s music video technique interesting. He released two videos, Path A and Path B, that illustrate opposite tones. Path A brings more zainy, flamboyant visuals while Path B is much more dark and eerie. I personally think Path A is the more appropriate for the track. Overall, not a bad banger.

3. Sweet Lawd- Skit

This skit features Cordae singing the hook off “Have Mercy” over a church-like piano. As I mentioned early, strongly reminds me of “I’ll Fly Away” off Kanye West’s The College Dropout. Cordae’s voice is soulful and pleasant to listen to as well. The first gospel-esque track.

4. Bad Idea

Chance the Rapper and Cordae team up to create one of the best songs on the album. They both deliver great verses, Chance’s middle verse being the best. Here they talk about the downsides of Home and the impact those experiences had on them. They borrow the beginning chorus lines “It might not be such a bad idea if I never went home again” from Gil Scott-Herman’s “Home is Where the Hatred Is” and heavily styled like Kanye West’s “My Way Home”. Although Cordae is the main singer on the chorus, he layers his voice to make it sound like an ensemble of singers. A great stylistic choice. And the heavy piano X light strings perfectly end the track. Between the strings at the end, the Kanye West sample, and Chance’s (a huge fan, supporter, and protege of Kanye) involvement, I definitely smell influence from West’s sophomore album Late Registration.

5. Thanksgiving

“Thanksgiving”, the first deep cut on the album, has Cordae introducing a girl to his family during Thanksgiving. However, she’s fake and never stays around, making him question their relationship while remaining hopeful they can maintain it. Cordae demonstrates his powerful storytelling abilities. The overall mellow tone in the production allows his lyrics to fit perfectly in the instrumental; it doesn’t outshine but it doesn’t get over shadowed either.

6. RNP

Anderson .Paak has collaborated with Andre 3000, J. Cole, Rhapsody, Kendrick Lamar, BJ The Chicago Kid, Pusha-T, and Q-Tip, so I wasn’t surprised when I saw Cordae would be collaborating with the talented singer. However, I couldn’t prepare for the amazing back-and-forth chemistry between them. You wouldn’t think when listening to them trade bars that they have a 12 year age difference between them. Also fun fact: J. Cole produced the track.

Both these artists are just having fun over a bouncy beat, talking about the “problems” they’ve experienced being rich. Definitely be favorite fun track so far.

7. Broke As F***

This is tied for my favorite track on the album. Cordae’s lyrics aren’t necessarily the most complex and deep, but he brings such a indescribable energy to his storytelling. He basically tells the story from him being a baby, being in high school appreciating hip hop, where he came from, and where he’s going to go. The great thing here is that its not solely bragging about his possessions. Its a commentary on what he’s GAINED. This adds a touch of humility. And at the end, he comments on how he’s lost, still searching, and doesn’t “really have a lot of answers”, tying into the theme of the album. Perfect.

The spacey instrumental on the chorus, the beat drop after the first line of the first verse, and the beat change midway through makes this one of the best instrumentals on the album. And the ending drums transition to the next song perfectly.

8. Thousand Words

“Thousand Words” has some best verses on the album. Here Cordae talks about the toxicity of social media and how people create false perceptions to hide true pain. While already an intriguing topic, Cordae goes a step further by admitting he’s not holier than thou. He admits everyone lowkey wants to be a little famous, and nobody wants to be “nameless”. I love that. It’s easier to say Instagram and Twitter are toxic (Logic on Confessions of a Dangerous Mind). But to admit there is some validity and positivity to social media...very profound for someone so young. My favorite lines are:

“Living in this false reality that's in this picture gallery/ Based on a n***** profile, we guessin' salary/ The lifestyle you advertise was quite strategized/ Make a minimal amount and then we maximize/ These n***** cappin' with lies how they capitalize/ Creating they own perceptions, what a massive facade/ Digital marketing schemes even broader regime/ Live how you want on the internet, who thought of this thing?”

9. Way Back Home

Ty Dollar $ign stands out on the feature, talking about not letting fame and success pull him from reality. Cordae sings the chorus and most of his verse. Admittedly, I wasn’t a fan of Cordae’s parts; It felt underwhelming. But the instrumental and Ty’s verse carry a significant part of the song. I especially loved the high pitched melodic voice that pops in the beat throughout the song. I also love the sci-fi, techy “WORP” effect throughout the instrumental. But ultimately, this felt more like Ty’s song than Cordae’s.

10. Grandma’s House- Skit

Between “Grandma’s House” and “Sweet Lawd”, I prefer this skit. The harmonious vocals that echo Cordae’s grandma’s vocals give off an amazing gospel vibe. The simplistic yet soulful and intimate aura of this skit makes it one of my favorite interlude-skits off any rap album.

11. Been Around

Another mellow song on the project, “Been Around” has Cordae talking about the development of his career and how he’s going to keep moving forward and not let doubters or bad situations slow him down. I like the chorus more than the verses, but overall its not a bad track. It maintains the tone of the album and flexes Cordae’s pen game a little.

12. Nightmares Are Real

This was the most intriguing collaboration on the album. Pusha-T and Cordae have very different sounds and styles; Pusha-T brings much more aggressiveness whereas Cordae is softer. Cordae’s hardest verses don’t compare to Pusha-T’s baseline intensity. Although they don’t demonstrate strong chemistry, they both bring solid verses. Both tell stories of how they started in the rap game, however, Pusha-T’s wordplay and lyricism is a step above Cordae’s. He talks about dealing with selling crack while developing his skills in rapping. Particular set of lines had me shook.

“Asterisk, skipped school, recorded with The Neptunes/ We was makin' high school classics/ Before I took a kilo and I wrapped it, I rapped it/ Around the funeral with the casket/ Coke avalanche, like a landslide/ Only grew my hair this long because my man died/”

I don’t wanna go too far into explaining these lyrics cus genius will do better job. But Pusha-T brings fire to this track. The tone of the instrumental matches Pusha-T’s intensity as well. As solid of a collaboration this is, its not in my top 3 collabs. That goes to show how amazing this project is.

13. Family Matters

"Family Matters” is tied with “Broke as F***” for my favorite song on The Lost Boy. Cordae talks about the stress of witnessing family traumas and difficulties while experiencing his own success. He expresses feelings of guilt and selfishness when his family hides things from him so he can focus on achieving his goals. He talks about abandonment from baby daddies, aunt’s raising kids that aren’t theirs, a cousin in an abusive relationship, a cousin addicted to xanax, and another aunt who’s a prostitute. All of this is happening while he’s worried about “plays and streams”. It’s an interesting sentiment. Is it selfish to focus on yourself when your family has a load of obstacles and difficulties? Every time he succeeds he has to look back at where he came from and be reminded his family does not share his accomplishments. Nearly brought me to tears when I first heard it.

As I already stated, lyrically this is one of Cordae’s top songs. Arin Ray brings a choir on the chorus that sounds amazing, adding to the gospel sound sprinkled throughout the album. And the light violin strings at the end encapsulate the emotional turmoil Cordae expresses.

14. We Gone Make It

Another top track, “We Gone Make It”, features a collab with Meek Mill to make political/social commentary on todays world and encourage others to keep pushing to succeed. Unlike the other three collaborations “Bad Idea”, “Way Back Home”, and “Nightmares are Real”, Meek Mill’s verses are actually equal with Cordae. Although I’m not a huge fan of Mill, he brings in a succinct, powerful 12 bars and a hook so dope he, as Cordae puts it, had to “sing it twice”. Also fun fact: Cordae used a modified version of the first verse on H.E.R’s “Lord is Coming (Remix)”.

Instrumentally, the beat accompanies the message without overshadowing it. The piano melody and vocal chops throughout mix well with the verses. I personally love the piano keys in the final minute. It adds an aura of delicacy to a song with such an intense message.

15. Lost & Found

In the perfect closing track “Lost & Found”, Cordae displays pride, stating “I was lost boy, now I’m found”. Over a bumpy, bassy beat with epic trumpet harmonies, he comments on everything throughout the project. However, now he has assurance he’s not lost nor insecure from his experiences. And he knows things are going up from here. Like the rest of the album, he’s lyrically above average, reflecting on his life while introducing a fun, braggadocios vibe. Kinda like a “the balls in your court” to the rest of the rap game. Loved it.

Final Thoughts

I look forward to Cordae’s next album. This was a near perfect debut solo album. At 21 years old, Cordae displays strong lyricism and production skills. His ability to story-tell and introspect indicate incredible feats in career. The lowest parts of this project are still amazing, and the high points put this project as my favorite of the year. I don’t know how else to say it. The rap game better watch out for this Maryland born “Lost Boy”. If The Lost Boy indicates the trajectory of his future, Cordae will have the crown in no time.

Top 3 Tracks:

1) Family Matters

2) Broke As F***

3) Bad Idea

Overall Grade: A+

#music review #album review #hip hop review #hip hop #cordae

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robin-blogs · 4 years

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-11.03.2020- Fiona James - Wednesday Lecture

Introduction

In the beginning of the lecture James’ said she started feeling emotional while she was thinking about sharing work. She is a trauma worker so she thinks deeply when it comes to emotion and how it relates to artistic practice. Throughout this lecture she was trying to share some tools of how to work and how she works with her own work and artistic practice. She then explained how she sometimes feels stressed as an artist and how she sees art as a personal intervention for her. When she explained this point I found myself relating to it heavily. This is because I tend to make a wide range of my artwork about my personal life and I additionally use it as a release of stress or emotion.

Part 1: Issue Across Scale

Throughout the first segment of her lecture she poke about a part she called “ Part One: Issue Across Scale”. She explained how she considers herself principally as an artist even though she practices as a therapist// trauma worker. She then made connections about how she uses art to crate connections through her life and deal with healing practices. She then went onto a section that I found myself relating to personally. She stated that when people say we are what we are genetically and that’s it is a fallacy and how its complete bullshit. I fully agree with what she said. Although I’m not one to get political with my own work, I found this to relate to how I feel both with my mental health and depression and how I feel being transgender. I was born a female and I couldn't change that at birth. I know I’m a man and I feel very strongly about this, I know I’m a trans man and no one can change that fact. If I went through my life living as female and living how I was born I would honestly be the most miserable person on earth. I just couldn't live like that so having someone say we are born how we are doesn't make any sense to me. I felt myself relating to her feelings towards politics and I feel so related to how she explained herself throughout this whole lecture. There are things we can speculate in art that we can’t do with anything else, and I think that’s one of the most amazing things about being an artist.

Shifting Practice - Distractable Reading Room & Gutless Speech

Throughout her second segment of the lecture she spoke about how her practice shifted and developed. She started to work a lot more with performance art and working form peoples reactions. I feel like all of her work so far has directly impacted and related to my own work. I have begun shifting and developing on my own work by focusing more on how people react to my work and relying on peoples own experiences and reactions when seeing my work. When she then went to talk deeper into her work I could see how much politics had affected and fed into her work. She touched how how she is personally a radical feminist, egocentric and a capitalist. I found this interesting as when compared to a wide range of other lectures I have attended this far none have them have been so clear and expressive about their political and social views. When knowing this information and using it as both metaphorical and physical context for her work I found it to build upon the work further and helped give the work more depth. Additionally, I felt it added to her work in how she has structured and named all of her pieces. Even before she began to explain her work I found myself being more engaged as I could see how thorough and planned she was for this lecture - you could see her passion before you could see the work. She then spoke about an experiment she ran which she named “Egocentric” in which a child was shown the red and green side of a ball. If they see one side of the ball as red they will know its two different colours and will know that you will see the other colour as a result. Then a developing child would be shown one side and they will only believe the ball to all be the same colour and will think you see the same colour too. The final segment of the experiment was run with an adult. They knew about the two sides of the ball but they would be able to rotate it at will and see both colours whenever they wanted. I found this experiment to be incredibly interesting and I further thought that the naming of the being being “egocentric” to add to the piece. When knowing the name of the piece I found myself thinking deeply about it and what it says about the development and sense of ego that people naturally have. James then went on to explain a piece of performance she experimented with that consisted of 9 mothers and 10 babies. This was to present the consequences of sex and how people can end up having children just from one wrong decision. I found this piece to be especially relevant to the world now and how people perceive sexuality and how people see sex and having children. The children had cameras on their heads to show the performance from their perspective. I found this to additionally be an interesting factor as when people talk about social and political issues like this they only ever talk about it form the adults perspective and how they had to cope with it. I found it to be much more impactful to have this performance rather form the perspective of the children and how they would physically see things and how they would cope from this. She created this particular piece using the medium of performance and utilizing a range of fabric props. When first viewing this piece I could see how she set up the theme and tone for the work. She created a range of large fabric eyes and ears to be set up around the room along with some rugs and bean bags to set up the atmosphere and theme of children and how it visually feels to go through that stage of your life. She utilized a range of soft and pastel colours within the fabrics to create an overall calming atmosphere for both the mothers and children. I found this segment of her lecture to be incredibly informative and as a result it was one of my favorite pieces she created, especially the social and political messages and conversations it developed.

Bidston Observatory

http://www.bidstonobservatory.org/

Instagram: https://www.instagram.com/bid_obs/

The next segment James’ went on to talk to was a project she has been working on for 10 years called “Bidston Observatory”. Her practice fed into the building and how she uses art as a comfort zone and a way to cope with her own issues. She additionally has an Instagram and a website for the project which I have linked above. The Bidston Observatory is as the name suggests an Observatory for artists to visit to escape from their daily lives - she sees it as a sight for artists. They charge 15 to 20 pounds a night and have a month maximum stay. Although she mentioned this Observatory she didn't mention any exhibitions or galleries she has been included in although I see this project to be an exhibition of its own. Furthermore I see her performance pieces to act as their own smaller private exhibitions. She doesn't believe in a split between domestic life, artistic expression and reproduction to her, they all go hand in hand. I found myself relating to this as I do everything in my bedroom - to me its like my home away from home. Its a place I can relax and have fun while generating ideas for artwork. I have always used my bedroom as a studio and I create a wide range of my pieces there as its a place I feel most comfortable and relaxed.

Another aspect she spoke about in this segment was attachment theory. With this she explained how we are exposed to a range of things when we are developing as a child. We are convinced to prove something through life and always have an end goal. I have always lived my life through this too, as its how I was brought up. I was brought up to constantly be thinking about my future and that I need to work towards a main end goal in life. I both agree and disagree to this to a degree. I agree with this because I think its important to be thinking about your future plans and how you will be going through your life financially. I personally think about my future plans frequently being a trans man and thinking of when I will be going though the next stages o transitioning and th costs it will take on me physically mentally and financially. Its important to think about. Although on the other hand I don’t think you should think about your life as just one big end goal. That feels boring and depressing as hell to me. I want to think of my life as a constantly changing exploration. I never want to be set and content with one thing - I want to always be changing and trying new things in every aspect of my life.

The last segment of this area she spoke about in her blog is feeling burnout as an artist. About how it feels to not be working enough or not being enough or doing enough trying to convince yourself that you’re good enough. Stop thinking you’re expected to do things – stop thinking you have to do everything to be valid to people. Whatever you’re doing is already enough. I whole-heartedly felt connected and related to this last point. When considering my mental health I never feel good enough, I’m constantly comparing myself to those better and more skilled than me and the expectations others want of me. I always feel like this when thinking about university. I always compare myself to other students and how much further ahead they are compared to me. I constantly feel like I have to prove myself in some way to all of the lecturers and students just to give myself any validation and I still never feel good enough. I just need to take a step back sometimes and realize that what I’m doing already is good enough, and that people will always be better than me but that’s not a bad thing. I will keep improving and I just need to believe that what I am doing is enough and no matter what I will always be good enough.

Part 2: Tool Sharing

Thoughts On Value

After James finished up the previous segment she then went on to her next part which she names “Thoughts On Value” which from seeing the title alone reminded me of the previous section. James went on to talk about how living in the current system we’re in isn’t good for our bodies and questioning what is valuable to you. James then went on to talk about stress and how when something isn’t safe for us or when our safety is at danger we feel that stress. She then linked this onto personal growth, acceptance and helping others. She talked us through an experiment// test to help deal with stress. You start this test by taking 10 minutes to write down how stress affects you and why it’s so important to you.This then starts a synaptic change for both sides of the brain. and those synaptic loops connected. When challenging these ideas the links get stronger and the synaptic glue is connected to this new connection - it’s a belief change. This change happens in a matter of seconds and then proves that everything is adaptable - even the stresses and struggles we feel everyday.

Thoughts On Creativity

This segment of the lecture felt much more based around science rather than emotion which the previous segments of the lecture seemed to be relating to. James then began to talk about a range of scientific statistics. When she was going through this segment of the lecture I found myself having mixed feelings about it. On one hand I enjoy this segment as it delved deeper into the sciences behind art and creativity but I then found it to be an odd contrast compared the the rest of her lecture. The rest of her lecture has been very personal and emotional so it felt like an odd contrast to then boil down all of the thoughts and emotions she expressed into some compact analytical statistics.

In this segment she began to talk about some statistics and facts I found to be interesting and intriguing. James spoke about negatively arousing images such as car crashes and positively arousing images such as seeing puppies. There was an experiment in which people began to reacting to image before it came on the screen and 80% of people began judging it before seeing it just from being told if it would be positive or negative - the heart reacted first. She then spoke about how everyone can be connected by a negative stimuli. If something bad happened in the room, everyone within 5 meters would know about it - they would be connected by the feeling of that emotion. James then spoke of another experiment that I felt to be very relevant to my mental health and how I would cope with panic attacks. You would start with your hand on heart and having that connection of touch while thinking about the heart whatever it might be to you. You would then breathe in for 5 to six seconds and then breathe out for 5 to six seconds to synchronize your breath so both are the same which would then create a natural equilibrium. This helps the body reset every part of the body. This would help me control my panic attacks with controlled breathing and focusing on the heart and thinking of gratitude. I could think of something I appreciate such as a cup of tea in the morning. This would then resonates with my body and help calm me down just from relating my heart and breathing to something that makes me happy and relaxed.

Accessing pleasure

The last segment of James lecture was about accessing pleasure and rewriting change. She spoke about highlighting parts of your system that you can’t access yet and how you could relate ideas to that. Something that’s not current to you now. I feel this further relating to my artwork as I make a lot of my artwork based around me being transgender and how the actions in the future can impact me even now, even though they aren’t currently relevant or happening now. There was yet another experiment she went through called “Waking hands”. With this experiment you would be lying back in bed comfortable, close your eyes, put your hands on pillow and explore one object. By doing this you would be slowing down and finding happiness and pleasure of just feeling an object. Your hands grow through the same muscle of your heart and brain – there is a physical connection. I decided to experiment with this by lying down in my bed closing my eyes and focusing on one object. The object I decided to focus on was a plush my girlfriend gave me when we first started dating. Already I knew how important this was to me so as soon as I began to just focus on this one object I began to feel emotional. I started to focus on the soft, warm textures of the foxes fur and how soft it felt through my hands. I started to think about all the times I missed her and I went to hug it, knowing it would make me feel closer to her. I felt like this impacted me more now than ever considering I cant see her at all due to the self-isolation. I find myself constantly missing her and each time, I go back to this plush and I hug it, thinking about how happy I was when she first gave me it. It was a bittersweet happiness that I couldn't get rid of. As I’m writing this I have the plush at my side to hug to help keep me calm and re assure me that I’m okay. James then went onto a point that related to this in how we turn to others to give us pleasure and how this gives us indirect access to happiness. I already know I do this, I do this with my girlfriend every day. When I feel sad, I turn to her and she makes me happy, I know shes having a bad day and Ill send her something to put a smile on her face or say something to make her laugh - and that makes me happier than anything ever could.

Overall// Conclusion

Overall, I enjoyed James’ lecture as I felt she explained a range of different aspects of her own work that I felt directly impacted my own work and life. I think this is one of the few lectures that has had a lasting affect on me and its one I think back on often. It reassured me that what I’m doing now is already enough and how I should be happy with where I am. It helped me not only reflect on my own art practice but how I deal with my own emotions every day. One thing I feel that could have improved this segment of my blog is if I had attended her Q&A. I felt too busy and focused on work at the time which felt ironic when thinking about what she said in her lecture. But if she held another lecture I would have happily attended her Q&A.

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jiminjoo · 6 years

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my holy jikook fic rec pt.3

third part of my holy jikook fic recommendation series. hope you like it!

(also part one and part two are here) click keep reading for the part three!

You Broke My Heart (but I broke it myself) by Rose_gold715

Jimin's fiancé has abandoned him on his wedding day, and Jeon Jungkook, Jimin's first love and worst heartbreak, is back.

“i love it. i was having a problem finding a nice fic and this fic saved me !”

parallax by gangbang

jungkook needed help realizing that he'll always love jimin: past, present, and future.

“amazing, i love the author and I enjoyed this so much.”

friday nights (with you) by kstorms

How a random night at a karaoke bar leaves Jimin with two new friends and a frowny, terribly handsome crush.

“characterization is on point, i love this awkward kookie”

Can You Give Me My Breath Back by DeadpanSnarker

Six months till the tournament that would decide Jungkook's future. Six months where he and his team were in dire need to monopolize the ice-rink that had taken a liking to Uni’s new sweetheart. Where Jimin made a bet with Jungkook, which, if Jungkook lost, he would have to be taught how to ‘truly’ skate.

Or as how Jimin had phrased it, ‘By the time I'm done with you, you’ll have fallen in love with figure-skating’. Surely things didn’t work out in Jungkook's favour.

In their fickle game, Jungkook is in for sex and Jimin is in for love. By the end of the six months, perhaps he would like figure-skating, but he would have adamantly fallen in love with the figure-skater.

“very enjoyable read, the dymanic between them was done well but i think ending was rushed a little bit.”

A Glass of Water by Rose_gold715

Namjoon is maybe a little over protective of Jimin and takes it upon himself to find out the identity of his new boyfriend. The others are absolutely no help.

Or,

Jungkook and Jimin are dating and everyone knows except Namjoon.

“funny and different, a jikook fic written from namjoon’s perspective”

As You Are by jonghyunslisterine

Jungkook's looking for a model for his Shibari exhibition. Jimin just needs some money.

“vulnerable jimin is always nice to read.”

past the point of no return by busan_brat

Jungkook has never been the one to give up on things that mean the most to him.

Jimin isn't an exception to that rule.

Open Your Heart, I'm Coming Home by DeadpanSnarker

‘Falling for you was my last violent act unforgiven by the gods.’ It is about time Jungkook and Jimin put down their cameras and looked at everything with the walls let down; it is about time they both saw things without any addendums. Little did Jimin know that this is the story of the one time when his heart doesn’t choose wrong—as few reassurances as existed. Little did Jungkook know that it is such a fine line between trying to make a wound scar-over, and inadvertently reopening that wound—as little harm as intended. Still, who would have thought it would take two tragedy-laced tattoos, one back-when photograph, and one double-edged short-film to fix two broken hearts—to bring them together.

In short, this is the story of bright sparklers, long rides, and bittersweet falls.

International playboy (don't answer) by blt_prf *WIP

oH I FUCHKED UP I FU UCKED UP YOUR'E NOT NAMJOON

yeah what I've been trying to tell you

the one in which Jimin manages to mess up everything in one night and accidentally texts the guy he has a crush on

all about your heart by bonnia

Jungkook has to exercise incredible control not to think about Jimin, naked, just a room away. He’s not a pubescent boy. And it’s just Jimin.

(Jimin, whose hands fit so perfectly into his. Jimin, who’s got the greatest thighs Jungkook’s ever seen and whose weight feels so perfect when he’s feeling playful enough to sit on his lap. Jimin, whose body is moves with fluid, sinuous grace that only a dancer could achieve — )

Okay, so maybe it isn’t just-Jimin.

(or: jungkook and jimin end up sharing a bed after a hotel room mix-up)

Falling for you again by Rose_gold715

Jungkook loses all memory of the last five years of his life.

Jimin is scared he will never love him again.

“every version of jungkook belongs to jimin, that’s all I’m going to say”

maybe baby by gangbang

there's something weird in the air! jimin has a sneaking suspicion it might be a love potion.

“it’s kinda jimin/everyone but end game is still jikook,like always *winks*”

time slip by namakemono

Jimin wakes up in the year 2017, which is very strange, considering the fact that last he checked it was 2013.

Primal by Rose_gold715

Jimin goes into heat and Jungkook sees Jimin's unguarded, unrestrained Omega side for the first time.

“very well done abo fic”

100% success rate by bonnia

Legend has it, that whenever Kim Taehyung unleashes the ;) face, things do not bode well for Jeon Jungkook.

But legend also has it, that Jeon Jungkook has a penchant for making terrible decisions.

(or: in which jungkook has a crush the size of manhattan, taehyung is his alleged wingman, and jimin is only wilfully oblivious)

Late Night, Early Morning by cest_what

Jungkook just wants somewhere to sleep.

“it was soOoOOo cute”

your body is a place to stay by jonghyunslisterine

In which Jungkook juggles a five-year-old daughter, Jimin the pretty bookstore employee, and coworkers who like to tease him too much.

Push-up (push me down) by mintsugakookies

Jungkook needs to finish his work out and Jimin's lips are his motivation

"Jungkook is that kind of person who will ask Jimin to lay underneath him while he is doing push ups and every time he lowers himself he kisses another part of Jimin’s face."

“if you want a fresh air from all this big angsty fics, this is what you need.. short, sweet and nothing else.”

my, what big teeth you have by jonghyunslisterine

Jimin's locked in a cellar with Jungkook on the night of the full moon, and the only way to stop the werewolf from killing him is by becoming his mate.

3, 2, 1... Bang (Me) by DeadpanSnarker

Three things you need to know: Jeon Jeongguk was the reason Jimin('s life) was hard; Kim Taehyung was the reason Jimin and Jeongguk became ‘sinnervers and partners’; (Kinky) Online games were dangerous, kids. Innuendoes thrust aside, Jimin would consider his relation with his ‘crush’ quite successful. How better could it go from silently crushing and pretending he wasn’t head over heels, to a shameless one night stand and pretending everything was still the same, to teaming up in a sexual game of life and death, really?

Their story would later be known as a twisted version of Seven Minutes in Heaven. Or alternatively, The Big Bang – a conspiracy theory.

“it turned out very differeent than what I expected when I first started to read but I guess it was good :D”

Finally by Rose_gold715

Unloved and outcasted, Jimin runs away from his mate and his pack. Jungkook comes after him, and saves Jimin in more ways than he could imagine.

a dream come true by ito

“you know once in a while you need a fic that “no plot yes smut”

Hey Mickey! by yoongidontdoit (sammyinnerdglasses)

Park Jimin, star cheerleader, has it bad for the doe-eyed, shy freshman star of the lacrosse team, but the kid doesn't have any idea how hot he is. Jimin sets out on a mission to get senpai to notice him.

won't say i'm in love by vminism

Jimin’s there in a flash, because of course he is, he always is. Spinning around on his heel and reeling Jeongguk in with an arm around his neck.

mine (hands on your body, i don't wanna waste no time) by gothguk

Jimin has expectations for his first summer back home from university; Jeongguk somehow manages to single-handedly destroy them all.

two sides; same story by namjoone

Okay, so maybe Jimin thinks his neighbor is hot.

A little.

Okay, maybe a lot.

White T-shirt and Brown Timberlands by Rose_gold715

Jimin is filing for divorce after eight years with Jungkook. He needs to let go, and yet, he wants to hold on a little longer.

“is it obvious yet that i like this author little bit too much.”

Dream Maker by graesun, Polkari Seuta (VeritasEtVita)

Oh, dream maker, you heartbreaker / wherever you're going, I'm going your way.

Several days in the lives of Jimin and Jungkook living off instant ramen and lots of kisses.

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therainypizzacollector · 5 years

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Newcastle Restaurant Happening - Carry your Taste-buds to LifeSeptember 13, 2013 London has its own of the most various culinary flavors black evening dresses.

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promisedangel · 6 years

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BronyCon 2018 Highlights

Wednesday

-Pretty rocky day of travel. Ended up getting to Baltimare (yes, I’m going to pun it this whole post) around eleven pm. Mostly because of stops and a storm on the way in. By then, I was pretty cranky. -The Hilton staff didn’t help this. I won’t do into much detail, but let’s just say there were problems with our room situation and the person seemed either untrained or unprepared for this. It ended up taking an hour to get into our rooms because of it >.> I unpacked only a few things before I went straight to bed, still surly.

Thursday

-Day zero. We used this day to go to the aquarium! We got there pretty early so we could enjoy it slowly. The most surprising exhibit was the Golden Tameren Lion Monkey up top in the Amazon Exhibit. He was a lazy little darling. -We got to see the dolphins do a couple of tricks during the nurturing show, where they showed us the dolphins’ curriculum and how they stay in shape. -There was a giant sea turtle! She was so cute! She was in this huge tank with other fish and we finally got a good shot of her sleeping in some coral! -Got to pet a ray in the touch tank and pet some jellyfish! I knew they’re soft, but they live up to the name in spades! -The cafe the aquarium has was REALLY good. Cheap and they give you a lot of food that doesn’t taste cheap. -So, they take a picture on the way in. We decided to get a few copies of the picture. One of our friends wore a green shirt that blended in the green screen. The lovely ladies at the photo desk not only showed us this but also uploaded the picture onto our digital copies for free!! -Swung by the convention center to pick up our badges. Little more crowded than last year but was still an easy pickup. -Most of us swam in the hotel pool. we had a lovely time horsing around. :P -Had some pizza and relaxed the rest of the night. A friend introduced us to the Fallout board game, but we only played for about an hour before most of us were too tired to continue (mostly because of swimmer’s eye for me, I think).

Friday

-Day one. Went to opening ceremonies, but I ducked out early in order to go back to the room and change into my Pinkie Pie cosplay and bring The Cake of Friendship down to the con! -I went straight to autographs and got M.A Larson, the first of many guests we got this time around! His handler REALLY liked the cake. -Met back up with my friends and went with Green Ranger Dashie. A few of us, including him, organized to give Dwillstinator a gift. We showed it to him, the hat, and he flipped out. IT FIT PERFECTLY! -to the cosplay photoshoot. We had some fun talking with Blue Star (I think that was his pony name?) and some Flim Flam Brothers cosplayers had some fun before they were ‘chased’ out of Harmony Plaza by my friends and a few others. -The “Quillin’ It with the MLP Writers” panel was amazing. Nick Confalone was hilarious, Amy Keaton Rogers was a little nervous, but M.A Larson had some awesome deleted scenes from Slice of Life! It was a great panel. -Went to Them’s Writing Words, but I didn’t really absorb much since I was standing, holding the cake, and standing near the back. It was alright. -Went to the community guest panel to FINALLY get Nowacking’s signature. Missed him last year and I’m SO glad I was able to get him this year. -Went down to the vendor hall. Bought a couple of things and took pictures so a co-worker could choose a gift. -Got some food, briefly went back to the vendor hall, and changed out of my Pinkie Pie cosplay. -I placed fourth in the Prance tournament!!! Also, another person from our local meetup group placed first! Way to represent northeastern Ohio! -Briefly went to Bronypalooza. Then I went to relax at karaoke until I finally was able to sing. I was the last one to get a number and I sang “This Day Aria”. -A dance group went after me. They were pretty good. -I was too tired to continue on at this point. I went back to the room and passed out.

Saturday

-Day two. -We decided to try the buffet breakfast at the Hilton. Pretty good! -Jackbox games with the MLP crew was kinda funny and relaxing. -went to “Singing Studio Vs. Broadway”. Lot of interesting information. Not gonna lie; I got a little salty that they cut the question line right before I would ask my question. I was only going to ask Gabe and Michelle what their expeirences in recording western animation vs. anime. I’ve heard form a lot of anime voice actors that there are some differences and I wanted a take from someone who’s more versed in western animation. -A couple friends and I tried to get Tabitha’s autograph, but they capped the line way before we got there. I ended up changing out of my pinkie cosplay early. Came back to get Lena Hall’s signature!! Though we had to miss Tabitha’s panel and Pinkie Tales to get it D: But we got all the singatures we wanted except Tabitha during all that time! :D -Went back to the vendor hall to get a quick present! -caught the end of The Princess Paradox, which gave a new perspective on Twilight’s character development. -Got some dinner then got to the Screaming into the Mic panel. Very informative and fun! -Went back to the room to drop off my purchases and the cake. Then went back down and decided to go to Peter New’s 21+ panel. Lots of laughs and signing strange body parts. I was going to see Gabe and Michelle’s set in Bronypalooza, but this was fun. -Went to the 2D vs. 3D panel. I noticed there was a certain 3D animator there we wanted on the cake. I rushed back up to the room to get the cake and got armademon to sign the cake! -The Advanced writer’s panel was interesting! The five questions deep point was so funny! -Got tired, so I went back to the room and passed out. I somehow didn’t wake when ppl came back at about 2:30 AM.

Sunday

-Final day. -Went to autographs early to get Tabitha St. Germain as soon as we could! I was pretty chill about it, but the two boys accompanying me freaked out either during or after. We had a lot of in line talking with people. -We decided to go down to the vendor hall quickly; I had to show someone in our group where I bought my T-shirts! Decided to explore down there for a while. -At 2, we did an Escape Room based on Edgar Allen Poe. I wasn’t too good with it, but I did help with a couple puzzles and had fun! We succeeded with 9 minutes and twenty seconds to spare! -Ran back down to the vendor hall cuz I forgot to buy a keychain! Got there in time. -We went back to the room because the damn keys no longer worked, even though they said we didn’t have to come back Sunday to re-instate the keys (LIARS!). Ran back down to closing ceremonies just in time to hear the news that BronyCon will be 4 days next year, but will be the end!!! I took it kinda hard at first, mostly cuz of the running around and the ceremony starting with ppl still in line. One of our group took it REALLY hard. -Helped two of our group pack up and leave. They had business monday and didn’t want to be late. -Ended up getting food, but that whole situation wasn’t fun. Not going into details. I’m still surly about it. -I was left to relax alone until bed since I was one of the drivers. Gave me time to catch up on my Tumblr feed the past few days.

Monday

-Time to go home. We checked out before 11 AM. We ended up getting a bellhop to our room. He helped with the remainder of our stuff. Tipped him for his trouble. -One of us ended up getting a hug from Dwillstinator. Now he knows for sure they’re friends. -we said our goodbyes once again to Baltimare. We know that at least a few of us are coming next year. I’m already planning to save up for a big Cadance cosplay, I just need to find a good dressmaker.

#bronycon 2018 #bronycon #promised reacts #long post #I'll post pictures of my swag later

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factoronto · 6 years

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MEET THE FAC 2018 RESIDENCY ARTISTS: Katrissa Singer

What, from your life or experiences, has influenced your work most? What do you hope to achieve in your art?

I have always used my art as a means of dissecting and analyzing my experience, so whatever is going on in my life at any given moment is bound to be reflected in what I create.

For the past several years I’ve mainly been making art that speaks to navigating life with chronic illness. I’ve explored this subject from many different angles in a wide range of media. A zine poking fun at prescription medication labels, a large photographic series confronting the embodied experience of being at the mercy of medical institutions, assemblage sculptures out of prescription medicine bottles, t-shirt designs referencing the spoonie subculture, a community-based art project aiming to de-stigmatize prescription medication use, street art encouraging self-compassion, and many other smaller projects came out of this period of discovering, denying, exploring and finally accepting my limitations. I don’t think that “accepting limitations” is the same as “giving up”. It is more about finding different ways to do things, adjusting one’s expectations, reassessing priorities, or allowing oneself to grieve and move on.

Lately I’ve been going through many different transitions simultaneously, and I’m often finding myself in liminal spaces. Sometimes I am finding it hard to adapt to always being in flux, and I yearn for certainty. At other times, being-not-quite-here-but-not-there-yet-either feels perfectly natural and even a bit exciting. This is why right now I am inspired by change and growth. I want to reconcile myself with my past and let go of the baggage that’s been dragging me down. I’ve been reading a lot about the effect trauma has on our minds and bodies, and how it restricts one’s ability to think clearly, feel pleasure and bond with others. And now, more than ever, I am looking to find a way to heal and become whole. Part of this process involves exposing things that haunt me to light. There is something extremely validating in sharing a part of yourself that makes you feel alone and realizing that, in fact, many others can relate. Another part of healing, the one that I am still struggling with, is imagining a future where things are different. I am still very tentative when it comes to making plans, but I am slowly becoming more confident. I am, once again, in the in-between stage, not stuck in the past all the time yet not fully free of its burdens, still afraid to face the future, but planting seeds in the present that will hopefully thrive.

As for what I hope to achieve in my art… that’s a pretty complex question. I create for primarily selfish reasons; art makes me happy. It gives me a voice. It consoles me when nothing else can. It excites me. I am hoping that it will continue to do all these things for me, and also for others. I tell stories through my art, and if these stories help someone feel more present and connected, even for a moment, it brings me joy. I want my art to open minds, even if it sometimes means making someone feel a bit uncomfortable. Several of my projects exploit discomfort to deliver the message: Please Be Patient, for example, that will be featured in the Exposed exhibit at Scotiabank Festival involved getting my models out of their everyday clothes and into a thin paper hospital gown, making a statement about the depersonalization that occurs when individuals face institutions. I want my art to continue doing what it is doing right now, but to do it better. But most of all I wish to be able to continue creating art. I am worried that I won’t be able to afford my art practice for much longer. I am trying to “sneak” art into my future career, and I am hoping I succeed. This year, I joined Workman Arts, and they have been an amazing support. I got some training, exhibition opportunities, a few gigs, and my first grant through them, and I am incredibly grateful that this organization exists.

Can you speak to the variety of materials and methods you use in your art and why you have chosen them?

When I first imagined becoming an artist, I thought I would draw and paint. That’s pretty much what an average person asks me when I say I’m an artist: “What do you paint?” It was pretty heartbreaking for me to realize that while I am competent at both drawing and painting, I’m not in any way outstanding. At some point I gave up on art entirely because I’ve been taught that I will never be successful unless I’m absolutely amazing. I had a very limited view of what doing art can look like, and it took me a while to question where these assumptions came from, deconstruct them and shift my perspective.

Seeing art as a means of achievement rather than of expression was part of this toxic set of beliefs. Part of the process of embracing art as a way of life was discovering new media. You can use pretty much anything to make art. I have always looked up to artists who appear to effortlessly combine disparate elements and create something greater than the sum of its parts. I am drawn to contrast and reconciling the opposites.

When I am immersed in exploring new techniques and materials I get to reconnect with a sense of wonder I feared I’d lost. I allow myself to play. I feed my curiosity. I rediscover my zest for life. The downside to working in multiple media is that sometimes the learning curve is too steep and I can get frustrated and lose interest. The advantage is that I discover - often by chance - ways to transcend limitations of various media and make something that is needed. I am a synaestete, meaning that my sensory perceptions are sometimes blended: I can taste color, see sounds, etc., so engaging with new concepts and materials can be like cooking, except sometimes I set out to make a steak and discover a new flavour of ice cream.

I am also an avid collector of oddities. I found Jesus (a baby from a nativity scene) on the sidewalk once. I love beach combing, and going to thrift stores. I see worth in things others consider to be trash, and I am often inspired by things I find littering the sidewalks. I joke that I can relate to discarded objects, because I too am broken and not very useful. Humor makes it easier to cope with the fact that my existence as an artist is directly at odds with capitalist culture, since my art practice has very little commercial value. I tackle subjects that are often quite unpalatable to the general public, and the images I produce are not the kind you’d find displayed in people’s living rooms. The saying about how art should disturb the comfortable and comfort the disturbed resonated with me deeply, and I often do just that.

In “Message in a Bottle”, you use pill bottles with anecdotes from individuals living with illnesses or disabilities. Is there a significance to the title of this work? Why do you think these stories are important to tell?

Ever since I read about it as a child, I have been fascinated by the idea of putting a message in a sealed container and releasing it into a body of water, hoping that it would someday be found and read. I often daydreamed about being mired on a deserted island, and I would weave elaborate narratives about what I would do to survive and ultimately escape - a pastime many misunderstood loners could probably relate to.

When I was in the final year of my Bachelor of Fine Arts, I found myself feeling increasingly isolated - I was reeling from a cancer scare, a recent breakup, and the death of my cat. The results of the 2016 US Presidential election left me feeling absolutely hopeless: as an immigrant, a non-binary person assigned female at birth, a disabled person - I felt afraid and heartbroken for people south of the border whose lives would be negatively impacted by the change of government. I buried myself in schoolwork to cope, I wanted to feel numb but I just felt sore all over, all the time. One day I was cleaning and I came across a dozen of old medication bottles. They were mostly empty, and many were from medications I wish I hadn’t taken. I wanted to do something with them - make them part of a memorial to misdiagnosis, maybe. I didn’t have enough, so I hit up a few of my friends for empties. Then when someone dropped off an unfinished bottle of the same medication that gave me awful side effects, I wondered if they had experienced similar issues. I reached out to them and sure enough, their experience was similar to mine: the doctor had dismissed their concerns and told them to increase their dosage and come back in a few months. I felt angry. I needed to do something. As much as I felt like it, I couldn’t go yell at my doctor, because it wouldn’t change anything.

I remembered that my friend sounded relieved when I reached out to them and shared my own experience. I asked them if they would be comfortable sharing their experience with others, anonymously, via a handwritten note inside the bottle with a partially peeled off label. They said “yes”, and I put a call for submissions out of social media. I thought I would get maybe ten “bites” and use the bottles and the messages as part of my upcoming exhibit on chronic illness. I had an incredible initial response, however, and received about thirty entries in two months. I ended up scanning the bottles and their contents, and the “Message In a Bottle” series was the main work featured in my first solo exhibit titled “Spoonderland”. Throughout the duration of the exhibit, I had many people contact me, saying that they were profoundly affected by reading the messages. I decided I would continue to accept submissions, hoping to eventually exhibit again. Then I realized that if I were to confine my work to a physical space, many of the people who need to see this material the most would be unable to access it. I started Message in A Bottle Blog online, sharing one entry a week. I was aiming to keep it alive indefinitely; however, it has been difficult to collect submissions in the past six months. I have not shared my own story on the blog yet, because I was hoping to do so on its second anniversary, which is eleven months away. I’ve tried my best to solicit a diverse pool of respondents, but I found that the project had a few “blind spots”: voices of persons of color (especially men), cancer patients, HIV+ individuals and their partners, and people under eighteen and over sixty were conspicuously absent. I realize that there are many reasons for this, but I feel that the project is incomplete and has room to grow. I would like to continue with Message in A Bottle, but I need help. This project was created to break down stigma and give people a safe platform to share their experiences. I truly believe that sharing one’s stories of prescription medication use: the good the bad, and the ugly, can shift the existing power dynamics between doctors and patients by making people better informed about risks and benefits of certain medications and empowering individuals to advocate for themselves when they are in need of medical treatment.

You can find the Message In A Bottle Project Blog here: https://messageinabottleproject.tumblr.com

Message in A Bottle Project is still accepting submissions: https://messageinabottleproject.tumblr.com/guidelines2sub

#fac #facresidency #fac2018 #feministart #feminist art #loveletters #message in a bottle

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trusted-truthseekers · 6 years

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Phoenix Wright and Miles Edgeworth - MBTI Types

Preface

The following is an MBTI analysis on Phoenix Wright and Miles Edgeworth, all personally typed using the cognitive functions. I don’t claim perfect accuracy, but I researched very extensively and analysed through various type perspectives, so these conclusions are made to the best of my ability. Fictional characters are generally harder to type than real people, because many different interpretations arise from their action. While the themes and narratives of this game are based on characterisation, Ace Attorney was not created around the characters per se. Writers like Takumi stated that they even tried to make Wright a “flat” malleable-protag character, so there is an ambiguous depth of motives in a majority of these characters. Therefore, you could probably make solid cases for these two being another type, and this alternate perspective is valuable because I may have missed certain details that another type could cover. My typing is done through determining each character’s “development path,” determining which major changes in their story are aligned with which function. This has lead me to conclude that Wright and Edgeworth’s character arcs are about “two idealists with differing approaches towards those very same ideals.” As another point, given that I’ve only played the Trilogy and writers will interpret characters differently for each game, this analysis will be typing these characters using evidence and arcs from the three games only. I may use some extra information from the Investigations/Gyakuten Kenji duo as well. With that said, massive post below the cut.

Contents

Phoenix Wright

MBTI Type Analysis

In-depth Function Notes

Miles Edgeworth

MBTI Type Analysis

In-depth Function Notes

Wright

INFP

Not the typing most would expect from him, but the evidence seems to lead towards this way. I had taken into account narrative elements alongside his character development to come to this conclusion.

Character Path

Wright from the get-go is a highly idealistic, principled individual, bordering on romanticism with a snarky twist. A lot of his motivations primarily come from deep feelings of what he wants for himself and others. For instance, the class trial left an impression due to it teaching him about what it means to be truly alone, so whenever he sees someone in a similar position (the defendants), Wright takes it upon himself to alleviate their suffering. The personal impact of this memory on him is further substantiated by the fact that both Larry and Edgeworth do not remember it well. He becomes a lawyer to save Edgeworth, whom he sees as being in great pain in spite of his cold, “Demon Prosecutor” persona. Wright is surprisingly protective of these deep emotions and motivations, as he does not reveal much about what he feels to others. Neither Larry nor Maya, his two closest friends at the time, know about his reasons for becoming an attorney until they confront him about it. These traits point to his introverted tendencies, namely an Fi dominant.

In order to give his emotions an outlet of expression, he relies on his extroverted functions to carry through. These are generally easier to spot in others, which can explain why he appears to be an extroverted person at first glance.

Much of his critical periods of character growth are related to learning how to utilise these extroverted functions better, due to overindulgence in his introverted ones. After getting Edgeworth acquitted on two murder cases, one of which is the DL-6 incident that scarred Edgeworth for much of his career. Wright expects him to know what to do next, because he “saved” him from his pain and suffering, but contrary to his expectations, Edgeworth leaves the country instead. This leads to some self-centred Fi indulgence, because Wright is not considering the external factors that would cause Edgeworth to act this way. Instead, he shuts Edgeworth out of his mind and continues to follow his ideal of “saving others,” getting aggressive whenever others, including his closest friends, try to pry into why he is avoiding the topic of Edgeworth. Wright decides that Edgeworth betrayed him and refuses to let go of his anger in spite of nearly a year passing, which is using Si to indulge in past feelings instead of utilising Ne to view a different perspective beyond his own Fi reaction. It is identifying these Fi-created moral beliefs that gives Wright strength to defend and save people in court, but when Edgeworth becomes the exception to being “saved,” instead of reconsidering the situation (Ne), he further indulges in his Fi emotions, making him prone to looping into Si. This eventually puts Wright in a position where he faces a confounding situation where saving one person will result in the unjustified death of another, leaving him feeling powerless and unable to help those closest to him (inferior Te fears). Thankfully, Edgeworth returns to a much dismayed Wright, and teaches him about the new insights he learned throughout the past year. Wright resists at first, exclaiming that Edgeworth “should never have returned from the dead” and continues on his way. However, after noticing how much Edgeworth is helping him, Wright reconsiders his perspective and comes to find how much he trusts Edgeworth to find the truth. This effectively enables Wright to understand about what is important to him as a lawyer, and how he can more effectively achieve his goals of saving others (clarify Fi and inferior Te development). Afterwards, T&T does not do as much to cognitively expand on Wright’s character, but it does absolve him of his past demons that he has struggled to find closure over.

Function Notes

NOTE: These function notes simply provides evidence and a more detailed description of the cognitive functions used by each character. They are not necessary for reading, since the basic information explained above will be redundant. [Move on to view Edgeworth’s MBTI Type.]

Though it may not appear to be, Wright is very much an introvert. INFPs are highly idealistic types who stick with their feelings and moral values to make decisions. As such, his use of introverted feeling (Fi) as a dominant function is a giveaway. He states that he became an attorney for two reasons: to stick up for people who have no one on their side and to save Edgeworth.

“ Edgeworth believed in me, and I believe in him. He’s in pain… And no one’s on his side. I’m the only one who knows the real Edgeworth. I’m the only one who can help him”. -1-4

His motivations comes primarily from within and are self-defined. He decides that he is the only one who believes in Edgeworth, and that is why he should save him. As for his overall attitude towards clients, he states, “I’ve been there before.” By using his own experience with feeling alone, he takes his client’s situation as his own suffering. Therefore, the reason Wright wants to defend people stems from Fi empathy, taking the feeling in as his own first, and then making a decision. Also take note how he processes the memory of the class trial. Fi is sensitive to experiences and emotions they feel, and will try to give a personal value to them so they are better able to clarify their morals and self-understanding.

It is also seen how he likes to reflect on cases deeply moving to him, and oftentimes it results in him coming to some sort of personal judgement about humanity or himself.

Another example on how Wright makes decisions based on how he feels is during the Engarde case in 2-4. As a lawyer, he is supposed to present his case using hard evidence and logical conclusions, so Fi has little room to be used in court, and he relies on his extroverted functions to pull him through, making him seem like one. Yet, when everything is at a loss, and he has to choose between Adrian and Maya’s lives, there is no need for evidence to make that decision.

In this situation, there aren’t external limitations upon his decision-making process, so Wright must decide based on how he would truly act. In this case, Wright shows a preference for deciding based on what’s in his heart than what is in his mind. His use of Fi as his dominant function is a very clearly shown based on the way he makes decisions.

There are two significant moments shown in the game in which Wright overindulges his Fi and fails to make any progress as a result. The most raw example is when he is the defendant to Mia’s second case and learns that his beloved Dahlia is the true culprit. Regardless of the facts, Wright is quick to protect her from this accusation. He does not care when others are put up with his irrationality; it’s only his own personal belief in her that drives him to action. This results in unhealthy exhibition of his inferior Te, in which he continues to stubbornly insist that “his Dollie” would never act in that way. He lies to make the court to act in line with his beliefs, obviously to no avail. When decisive evidence is presented to incriminate her, Wright goes as far as to hit Mia, his own attorney, and eating it to keep Dahlia from being convicted, regressing into aggression, an unhealthy use of Te assertiveness to propel an illogical “fact” (forcing Fi feelings of right/wrong as the facts). Fortunately, Mia is able to find another way to convict Dahlia, and this leaves Wright feeling heartbroken upon learning the true cruel side of “Dollie.” In spite of this, Wright does not give up on his moral value of believing in the best of others. He decides that the Dahlia on the stand is not the same as the Dollie he knows, and is able to escape an Te grip by further focusing his efforts completely to studying harder so he can save Edgeworth, whom he clearly states he believes in, thus getting back in touch with his Fi values. Unfortunately, he does not come away from the experience unscathed. It’s noted that Wright develops a more cynical, pessimistic attitude afterwards and will use sardonic remarks to express this.

What hurts Wright even more, however, is his internal struggle throughout JFA after Edgeworth “chooses death.” After spending much of his college life studying law in order to “save Edgeworth” and freeing him from his fear that he killed his own father, the confused, lost prosecutor disappears instead. This makes Wright feel “betrayed,” when in actuality what happened is Edgeworth not meeting his ideal image of him. As an Fi dominant, Wright wants to believe in the best of others, and so he expects Edgeworth to understand what he must do to move on from his “Demon Prosecutor” past. Part of this is because he hates betrayal thanks to Dahlia Hawthorne, but it is also true that Wright deeply feels that his role as an attorney is to save people who are suffering, which he outright states in 2-4. Because he couldn’t “save” Edgeworth, the dominant Fi feels violated and this brings out his darker inferior Te side. Once again, Wright lashes out against his closest friends whenever they bring up Edgeworth, and he coldly declares “all prosecutors are heartless,” which is an Fi-Te misalignment accepting (unhealthy) feelings as a fact. The inferior function in all types is bought out in times of great stress and turmoil, and during Wright’s lowest points, it is inferior Te that turns him uncharacteristically aggressive and out-of-touch with his sensitive nature.

In order to prevent himself from being too self-indulgent, what Wright needs is to step out and reimagine other possibilities and ideas, which is the role of auxiliary Ne. He utilises this in court well when a situation looks bleak until he reassesses the perspective the court has been using and “turns it around.” However, it is notable that outside of court, where it isn’t a pressing requirement to use extroverted functions, Wright can be somewhat reserved in judgement and action. Oftentimes, when he must take a client who isn’t personally related to him, he is reluctant to do so until Maya pushes him to interview them.

His most defining moment of aux. Ne development is when Edgeworth returns in JFA. He finds Wright being unable to find closure over his feelings of hurt and betrayal, alongside struggling in a moral dilemma of saving Maya or preventing an innocent from being charged. Edgeworth inspires Wright once again, offering help in the search and teaching him about the ultimate “truth” he learned while away. So, for the first time in his life, Wright forgives a person who committed a major wrong against him. He takes Edgeworth’s words to heart and uses this new idea to become more sure about his morals and principles as a lawyer.

His lowest points in his career have been addressed and explained through unhealthy use of Si, but tertiary Si is also of great help in keeping Wright in balance. He can be somewhat scattered, but while investigating for his cases, Wright has a decent eye for details and fact recall, sometimes comparing items or words of others to things he has heard before. This function in INFPs is used to keep them grounded on reality as well. Because this type can sometimes be prone to “daydreaming” or spacing out thanks to Ne. Tertiary Si allows for this type to figure out which ideas are appropriate now and which ones may not be in line with their wants. One can observe this type of behaviour in Wright when taking note of the comments he makes regarding his office. He often talks about wanting to clean up to keep things neat, occasionally scolds himself internally for getting distracted, and oftentimes acts quite self-aware and proper while dealing with clients. However, tertiary Si has an obsessive undercurrent because it does not have the same level of stability as it would in a dominant or auxiliary position. Wright is known to be fussy when it comes to cleaning the toilet, continuously scrubbing it until it “sparkles” even when Maya repeatedly tells him it’s fine, and in case 2-1, is said to meticulously rub at a cell phone because of a few dirt specks on the keys. On the other hand, he can be quite careless and overlook certain details.

Edgeworth

INTJ

He’s an archetypal INTJ. From his main struggle to small character quirks, each is reflective of an INTJ overcoming his internal conflict to ultimately become an inspiring figure, dedicated to his self-defined truth.

Character Path

He’s rational, sure and proud of his path in life. He makes sure to colour his actions with meaning and settles for nothing short of his ideals. He’s in pain, despising all criminals to make up for his own crime. He never fails to get a guilty verdict but at the cost of his moral integrity. Edgeworth is quite the complex character, the supposed “true protagonist” of Ace Attorney. Due to his traumatic experience as a child, it’s important to consider the fact that Edgeworth may have PTSD, which can make it harder to distinguish between cognitive behaviour or those affected by his psychological trauma. However, at his very core, Edgeworth is a person who aspires to achieve large ambitions in order to give his life a sense of driven purpose. In fact, it is so much so that Edgeworth has a tendency to build and define his entire identity around these ideals of who he wants to be. For an Ni-dom, this is how they best function if they can see the positive impact these ideals have on the world, but it can also lead to their most self-destructive behaviour as well.

Early on, Edgeworth expressly desires a “perfect record,” ruthless in his tactics, but after 1-4, it is revealed that his techniques are a product of not only his upbringing with von Karma, but also an attempt to shut off his emotions after his trauma. Although blocking off emotional pain is a common defense-mechanism after facing traumatic experiences, with tertiary Fi, these attempts are amplified since auxiliary Te is more likely to perceive emotions as a weakness. Edgeworth sees his emotions as “unnecessary,” yet his actions are ironically driven by feelings of insecurity and doubt. These point to Ni-Fi loop-prone tendencies, in which he attempts to justify his current path with poor moral reasoning (nobody is truly innocent, so I must get everybody “guilty”) instead of utilising his Te to correct faulty thinking. At the same time, Edgeworth also uses auxiliary Te to compensate for a lack of a meaningful Ni purpose. Under von Karma’s teachings, Edgeworth does decide to become the perfect prosecutor who puts every criminal to justice (at the expense of innocent lives), building a perfect record and seeing himself as a person who fights crime, but he is simply getting recorded results that mean nothing in the end. When he loses to Wright in 1-3, the reality of this fact starts to weigh down on him, bringing out inferior Se conflict. Everything Edgeworth has done revolves around this vision of himself being a “perfect prosecutor,” but when it becomes evident that this image is meaningless, he has no idea how to proceed in his life. Feeling “unease and uncertainty,” Edgeworth attempts to gain some semblance of control through Se, angrily telling Wright to stay away from him, deluding himself into sticking with his path, so he doesn’t have to face his problems. During 1-4, after being arrested for murder, Edgeworth eventually acknowledges and communicates his feelings of pain to Wright but has no idea how to proceed after getting an acquittal. He starts to get in touch with his tertiary Fi, recognising his actions are not in-line with his morals, but he uses it defensively as well, insisting that everyone is turning against him when he’s just trying to help instead of taking action to correct them (in 1-5).

This leads to Se grip-like behaviours, in which he becomes uncharacteristically reactionary and explosive, only for these impulses to result in failure later on. For instance, Edgeworth had a “temper tantrum” when Meekins attempted to deliver some files and decided those files were irrelevant to the case without any basis (but they turned out to be a key point and resulted in Edgeworth getting reprimanded by Chief Gant). His lower functions acting up is the result of Edgeworth lacking proper dominant Ni functioning. All of his identity was built around false standards of success, ignoring the fact that they are neither realistic nor purposeful.

Eventually, Edgeworth realises something is missing from this delusional conception, causing his carefully-built identity to fall apart. He then tells Wright that something in him has died. Unable to find a clear path for him to pursue due to feeling like he lost everything, inferior Se demands action in order to regain control over his life. Therefore, Edgeworth decides to “choose death” in order to rediscover the true meaning of his life and career. During this time of isolation, he comes to realise “in a moment of clarity” that it is the trust Wright has in his clients that allows for him to determine the truth. Edgeworth concludes that, in order to uncover the truth, there needs to be a trust in a partner or team, and draws the connection to his and Wright’s working relationship. Thus, Edgeworth’s “Great Revival” begins. He rebuilds his sense of identity and makes it his sole mission in life to uncover the truth, no matter how difficult it may be, thus getting in touch with dom Ni.

In JFA, his return home results in meeting with a broken, distraught Wright. Edgeworth realises what Wright needs is to understand the nature of trust, and where he must place that trust in order to draw out the best outcome for this high-stakes case. Throughout this case, Edgeworth’s dominant Ni shines through in the way he is perceptive about how events will take place and what Wright needs to understand in order to become a better lawyer. His newfound idealism motivates him to uncover the truth so that he may build a better world and achieve tangible progress (refining Te-Fi values in order to effectively and realistically actualise Ni visions, satisfying inferior Se needs). Although Edgeworth is sufficiently developed by the end of JFA, T&T shows further evidence of dominant Ni usage. He is quick to identify Iris, Wright, and Maya’s deeply-rooted personal struggles even without clear evidence and immediately knows the best way to resolve those issues.

Function Notes

Ni dominants want to lead their lives independently, yet also be guided by a self-conceived overarching “truth” about the world. This truth is found by their passive observation of underlying meaning and patterns in the environment around them. However, because this process is usually unconscious, it can be hard to easily spot Ni at work. In fiction, Ni would translate into a character who is perhaps driven and ambitious towards a fuzzy “vision” of what they seek to achieve, with a penchant for thinking in abstract concepts to predict future outcomes. They look for the big picture of situations and are therefore perceptive in figuring out people and systems alike. With Edgeworth, his “Ni visions” can be observed by how he tends to build up his identity around a single concept. In the first game, he mistakenly identifies himself with the “perfect prosecutor” image, trying to get every defendant convicted no matter the method. When Wright destroys his record, Edgeworth is completely lost. Infamously, he declares that thanks to Wright, he is “saddled with unnecessary feelings… unease and uncertainty” that get in his way. If there is anything that makes or breaks an Ni dominant, it is their level of certainty in their ideas of future developments, supported or thwarted by facing the reality of the situation. Edgeworth has essentially built up his entire sense of self around the concept of a “perfect win record,” and uses poor moral reasoning to justify it (nobody is truly innocent, I hate criminals after DL-6, this is my own punishment), resisting correcting a faulty belief by using tertiary Fi to stick with his unrealistic worldview, only to become less confident in himself.

When Edgeworth returns in JFA, it is his turn to guide Wright away from his faulty thinking. He does so rather cryptically, speaking with words that convey a refreshing idealism yet not giving away exactly what he is thinking.

“The answer to that… is something you will find out on your own. I have faith you will see it before the verdict is read tomorrow. But if you can’t, then you will be powerless to change the ending of this story.” -2-4

He is talking about the truth he found, of course, and it is one that he sticks with valiantly. One could even see how he has a bit of a “blind faith” towards pursuing that perfect truth.

“But we will always eventually reach that single truth. This I promise you.” -2-4

So, ultimately, Edgeworth comes back from a journey of self-discovery and reveals that he has found a refined, more honourable outlook for himself. It is one that he proudly, confidently rebuilds his self-concept around, seeing himself as a person who will carry with him the dedication to reveal the ultimate truth. No matter his role- be it a prosecutor, a stand-in defence attorney, or an investigator- this ultimate vision of what he is truly aiming for is unchanging.

Another thing this type does is look at things for underlying meaning, extracting symbols from the ordinary. Edgeworth has a tendency to talk in more abstract metaphors and is quite proud of his profound insights, which points to an Ni style of thinking.

There have also been times when the player has had access to some of Edgeworth’s hobbies out of work, namely his chessboard and the Steel Samurai. It’s interesting to take note of what makes him so interested in such things. For the chessboard, he has one custom-made to represent his courtroom battles with Wright, and when talking to witnesses, he tends to visualise his conversations as a chess match, symbolically representing his strategic style in and out of court. As for the Steel Samurai, Edgeworth gleans meaningful messages out of the pop-culture program, and it’s implied that the show feeds his interests in the concept of justice vs. injustice.

Furthermore, in case 3-5, when Edgeworth defends Iris in Wright’s stead, Franziska points out that he “looks like Phoenix Wright when he is cornered.” He then thinks:

Because right now, I am Phoenix Wright, and I am indeed cornered…!

Note that Edgeworth does not say “I am like Phoenix Wright” or that he must be like Phoenix Wright, he is saying he is Phoenix Wright. The name “Phoenix Wright” has, in Edgeworth’s eyes, transcended the man himself and becomes a symbol of everything a defence attorney must stand for. Ni users have this tendency to abstractly view physical things, adding a layer of symbolism to it so that their perceptions are less about the object itself and more about its underlying meaning.

Also, in spite of his social awkwardness, he is quite perceptive at reading other’s underlying motives. He reads Wright very well, but is also able to pinpoint the motives of people he just met, such as Iris. In 3-5, although he does not know Maya well due to his absence, Edgeworth is the first person to realise the real reason why she is so cheerful after all the tragedy that happened to her. Not even Wright could figure it out until Edgeworth gave him a hint in the right direction.

So, with an eye for observing underlying meanings and a focus on personal visions, Edgeworth is dominantly an Ni user.

Yet, Edgeworth has his lowest points, in which he isn’t able to find a meaningful vision to pursue. When this happens in the first game, the inferior function Se can be seen making way to the surface. When Wright defeats Edgeworth in court, his self-concept of being the “perfect prosecutor” is taken away from him. After this point, Edgeworth’s actions gradually become more “extreme,” getting angry and even explosive, especially towards Wright (shouting at him to leave in 1-4, deciding he can’t become a prosecutor due to not knowing what it means for him anymore in 1-5), which points to inferior Se rising in place of broken Ni. What Ni dominants need to feel confident in themselves is assurance that their actions and ideals are meaningful to them, so they tend to have very lofty goals that gives them self-fulfilment. If that goal is unrealistic, it gets to a point where being unable to get closer to realising that goal results in feeling a lack of purpose in what they want. In Edgeworth’s case, that road to the perfect prosecutor is blocked off, so he feels as if he lost everything. This eventually leads to him realising just how devoid of inner-purpose he is, so he “chooses death.”

“That’s why I left the prosecutor’s office. I felt that I couldn’t stand in a court of law until I knew what a prosecutor really was. And now, Wright… it’s your turn.” -2-4

Nothing scares an Ni-dominant more than not knowing the best decisions to strive for, so at their worst, they will revert to taking extreme action in order to find it. Sometimes, this can also result in misinterpreting the reality of a situation, looking for a future outcome or underlying meaning when there is none. Edgeworth fixates on one such outcome after the trial in 1-5, and in an attempt to prevent his supposed premonition from happening, he resorts to doing something to prevent it due to inferior Se, unintentionally giving Wright grief in the process.

In his lowest points in life, Edgeworth fails to find a meaningful direction for himself. This in turn leads to the extreme, highly reactive behaviour perpetuated by inferior Se. This is only resolved once he finds prevailing truth for himself, one which he continuously strives for no matter his role.

However idealistically Edgeworth may believe in his truth, he is not exactly the classic romantic in his pursuit of it. Thanks to his upbringing in the von Karma household, Edgeworth has had many an opportune to finely hone his use of auxiliary Te. It helps bring him utilise the objective facts of a situation, to work within a structured system, and efficiently set goals. Sometimes, however, overuse of auxiliary Te can result in Edgeworth having an absolutist or adopting a “the ends justifies the means” mindset.

In this case, tertiary Fi steps in to help the strict Te see the moral complexities and shades of grey. Edgeworth can be surprisingly empathetic at times, by offering to cover other’s expenses or providing valuable advice. As a matter of fact, a majority of Edgeworth’s character development during the first game focuses primarily on tertiary Fi. Because he is haunted by the traumas of the DL-6 incident, and also the fact that he was raised under the strict, “perfect prosecutor” teachings of Manfred von Karma, Edgeworth turns to reaping Te accomplishments to make up for his inability to find a more personal life purpose. This makes him appear cold, ruthless, and rubs Wright (a feeling type by contrast) the wrong way, but in actuality these attempts to build a “perfect record” are caused by emotional turmoil and a hatred of criminals (lower Fi). When Edgeworth decides to aid the defence by keeping Vasquez on the stand in 1-3, it is at this point that Edgeworth realises he trusts in Wright’s judgement, so he can't let an innocent person get declared guilty when the true culprit is right there. This way, Edgeworth is getting in touch with his sense of morality which overuse of Te tries to override. In 1-4 and 1-5, Edgeworth gradually exposes his more emotionally warm side and rediscovers his moral beliefs that he’s attempted to bury.

An Ni-Fi loop dynamic oftentimes consists of a “self-centred paranoia.” They observe things from a “this impacts me me me” perspective, while lower Fi makes them feel insecure, so they often assume others are out to get them for no apparent reason.

So you’ve come to laugh at the fallen attorney? Go on, laugh! Laugh! Why aren’t you laughing?! -1-4 ~ It seems everything in this case is designed to cast doubt on me. -1-5

As a result of this self-centred focus, Ni-Fi in a loop also tends to blame themselves for a negative situation out of their control, shifting the impact of said situation solely to their own. This may then lead inferior Se to act up. They feel completely convinced that their view is the only correct outcome, and this can result in extreme or reckless action to fix it.

Concluding Notes

So, I have gone over the main character developmental arcs and explained each major portion using MBTI theory. With Wright, he ultimately wants to follow his core values and emotions, being dominant Fi. What he needs to learn to do is have a good handle on the details of each case to defend his client (tert. Si), but also learn to adopt and utilise new perspectives (aux. Ne) in order to best accomplish his goals (inf. Te). Edgeworth, the tragic character, loses his father in the DL-6 incident, and as a result is taken into a household that teaches him faulty concepts of success, in which his dominant Ni deludes him into feeding his aux. Te desires. However, this is not who he truly is, and by becoming aware of his moral fallacies (tert. Fi), he rediscovers a more meaningful life purpose and identity for himself in order to truly make real progress in the world (inf. Se).

#Miles Edgeworth #Phoenix Wright #Ace Attorney #Ace Attorney MBTI #MBTI analysis #meta

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