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goginaporter · 7 months

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rina + iconic couples in media

this is my fun way of responding to the alternate universe prompt for @rinaweek <3. rina and their parents in every universe, finding each other and falling in love. alsooo this post was slightly inspired by this absolutely brilliant edit linked here (x) and if you want rinatroyella or rinajacey edits, please lmk and I'll send my favorite ones <3333

troyella

the essays that can and have been written about troyella and rina are extensive (and I'm happy to do a longer form one in a separate post). but from being the new girl x boy who's never moved, girl encouraging boy to audition for the musical and actually commit, kissing in the rain, starring in the school musical together, to making a huge commitment to the other person on a stage in front of a bunch of people, rina is quite literally troyella reincarnated. and yeah, lots of people can argue that troyella is perfect as is, that they didn't need another version. and on one hand, i agree. but the way in which rina takes core parts of troyella's story while standing on their own as a ship is beautiful and truly does justice to the original franchise by anchoring the story around these two, both individually and as a couple, just as was done with troyella in the original trilogy. my favorite troyella parallel moment from s4!

4x01 - ricky sneaking into gina's room just like troy would come into gabriella's room through her balcony

4x02 - the note ricky gives gina in the hallway to meet in their secret staircase is just like the note troy slips in gabriella's locker in hsm to meet on the rooftop. (honorable mention to them auditioning for and getting the roles of troy and gabriella in this ep as well <33)

4x03 - of course, it has to go to their rendition of can i have this dance. their voices sound gorgeous and though the choreo they do has similarities to the original, they've made it their own.

4x04 - this one is kinda reaching but I wanted something for each ep! in hsm2, sharpay forces troy to sing a song with her, one she prepared for the talent show, instead of allowing him to go on a date with gabriella. in a similar vein, though with considerably less scheming from dani's side, dani is selected to replace gina as gabriella because she is so busy with the movie, though this is done behind her back.

4x05 - has to go to the rain kiss obviously. although troy and gabriella only ever kiss under sprinklers, it's the same vibes. there's also a still (not included in the scene) of the rain kiss of ricky holding gina's waist as she throws her arms up that's so reminiscent of troyella in the rain during cihtd.

4x06 - ricky and gina running down the hallway at the beginning of the episode feels like a direct parallel to troy and gabriella running to auditions in hsm. also rina fighting to save the show is super similar to gabriella (and troy once gabriella convinces him) pushing for the theater department to put on a show about them for their spring musical.

4x07 - they're literally playing troyella in this ep so I could say so much. i'll just use this space to talk about how much I love them in a night to remember and how much it looked like they were dancing at their wedding. I will say that terri, gina's mom, telling ricky about gina's movie with a smile on her face, reminds me a lot of gabriella's fans setting troy up to talk shit about her on camera to convince her to focus on the decatholon. also reflects sharpay telling troy about stanford, again with a smile on her face.

4x08 - again, this ep is rife with toryella coding because they're literally playing troyella, but the show goes super meta in having them sing the right here, right now reprise as ricky has just found out that gina is potentially moving across the world to film her movie, just as troy finds out about stanford and struggles with gabriella not being there for the rest of their senior year. on a much less angsty note, ricky singing love you forever to gina has the same vibes as troy choosing gabriella and going to school close to her, not to mention that lines in the song directly reference the song "high school musical" (which you can read more about here <3). gina also deciding to move the movie to salt lake is very much her "I choose basketball but I also choose theater but more than all of that, I choose gabriella" her version is "I choose filming this movie but I also choose theater but more than all of that, I choose ricky" just a beautiful perfect scene all around.

these s4 moments only scratch the surface of the troyellarina tether but i'll stop ranting for now and move on to rina's teen drama parent sets.

jacey

after s1, tim federle did an interview where they asked him about him about the ricky / nini / gina triangle, he directly mentioned dawson's creek in guiding his writing process, stating that at the center of his thought process was "how do I surprise audience members with who they're going to ship?" (x). for those who don't know the jacey lore, to make a long story short, their love triangle centered around joey, pacey, and dawson. joey and dawson were childhood best friends and joey has a crush on dawson. pacey and dawson are best friends and joey and pacey do not get along initially. after events of life, dawson asks pacey to "look after joey" at the beginning of s3, the two get super close and eventually catch feelings for each other and they secretly date as they figure out a way to break it to dawson (sound familiar?). they do break up but come back together at the end of the show and are endgame. the parallels between jacey and rina exist both on and off screen. dawson and joey were the initial endgame for the show, just like rini was the show's s1 endgame. however, electrifying chemistry between katie and joshua (jackson) & sofia & joshua (bassett) in their respective shows changed everything. rina is one of the strongest examples of continuing this legacy of disrupting the initial plans concocted in the writer's room to make way for insane chemistry. some of my fave jaceyrina parallels

rina and jacey having a formative, chemistry presenting moment in a car (rina in 1x05 during homecoming, joey and pacey in 1x during their science project)

the sheer parallels between them in 3x19 of dawson's creek and 3x08 of hsmtmts with their kiss scenes. just watch here (x) and here (x) to see. the "stop me" "wait" parallels actually make me go crazy

joey tutoring pacey in 3x09 and gina (presumably) becoming ricky's tutor after 4x06

i'm rewatching 3x09 in preparation for this and jacey has a scene where dawson catches them talking about pacey helping joey with a ballroom dance scholarship thing in exchange for tutoring and he asks them what no one can find out about and a) pacey sucksssss at improv just like gina it's like that 4x02 scene with rina and ashlyn and b) it also feels like rina with the chocolates, again with ashlyn LMAOOO in 2x04

ALSO in this ep (wow it's a goldmine), when dawson and jen catch joey and pacey ballroom dancing, they're forced to join the class and the instructor psychoanalyzes both couples. for jacey, she mentions that the tension and bickering between them suggests their underlying attraction for one another. this is literally what val (their choreographer!!) does after watching rina perform wdykal in 3x05

too much to explain for the final scene of this episode but i just encourage everyone to watch 3x09 to get the same sense of a major scene in a coat check and an ensuing apology

pacey telling joey he remembers everything in 3x22 and ricky telling gina he's never forgotten a thing she's said in 4x03

pacey telling joey that the simple act of loving her is enough for him and that she's "off the hook" and ricky telling gina that of course she has to go and be a star, as well as singing lyf not knowing that she was staying in slc, so he just wanted to let her know that he loved her for the sake of it, not to convince her of anything

pacey having to tell joey something but lying to protect her (and ricky having something to tell gina but lying to protect her (3x07)

naley

another paragon of teen drama royalty is naley. literally the best people ever and it makes sooo much sense that rina is similar to them because they're actually rina's grandparents. naley birthed troyella, who birthed rina. a beautiful family tree. anyways, naley doesn't seem to, on the surface at least, seem to have a lot of parallels to rina. a shy tutor girl and a cocky basketball player who get married after knowing each other for less than a year? (though I will go down with my headcanon that rina gets married super duper young, will not be taking any arguments). despite this, at their core, naley's love for each other is so reminiscent of rina's love for each other, not to mention some incredibly direct parallels that the two have, listed below:

nathan dropping haley home after a party & ricky dropping gina home after homecoming ("yeah, this is my house" & "so, this is where I live")

connecting over dubious circumstances (nathan requesting haley as a tutor/getting close to her to get back at lucas & gina convincing ricky to stay in the show so she could get gabriella, attending hoco with ej to psych nini out but instead connecting with ricky)

nathan putting haley's hand to his heart after telling her it's racing (it was because of drugs but still, it beats for haley) and ricky putting gina's hand on his heart after telling her that his heart's racing (i'm telling y'all this scene is the same, just with the characters and setting swapped)

alllllll of naley's s2 angst is like the intense and more painful version of rina's angst in s4

naley invented rain kisses (even if they existed before them, no they didn't) and rina obviously does justice with their own rain kiss in 4x05

when nathan proposes to haley (their first proposal), he tells her that "I could love you forever." audience, what's the title of ricky's love song for gina? i rest my case

haley being nathan's tutor and gina being ricky's tutor <3333

nathan sneaking into haley's bedroom to study and makeout and ricky sneaking into gina's bedroom to sing and makeout

nathan and ricky being haley and gina's biggest fans when it comes to their careers, putting their success over their personal feelings (nathan collecting clippings of haley's tour, paying chris to let her record music & ricky decorating gina'ss trailer, encouraging her to go to nz to be a star)

rina served cheerleader x basketball player (though at different times and both were fictional but wtv) just like naley

this was super nonexhaustive as rina also has parallels to jam, mondler, sethmer, romeo & juliet, and so many other ships. however, I'm lazy and didn't want to write all of those out. maybe I'll return to them another time, but for now, pls enjoy this <3333

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amethystina · 3 months

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Hi! Do you think about making a analysis on the last episode of TDJ? (If you haven't done already) I just rewatched this ep the other day and I feel like no matter how many times I watch it, there will always be something that surprises me. Every episode does this to me actually.

Not the last episode as a whole, no, since that would probably make my brain explode xD Like, it's just too big? ANY episode would be too big considering the number of details, plot points, character moments etc. they contain. I wouldn't even know where to start analysing a full episode, at least not in the way I usually write my metas.

I'd need a narrower framework to build my analysis on, like a specific relationship, a specific scene, a specific plotline, a specific theory etc. Which is why my two more detailed metas so far are very contained with very clear goals. That's how much I have to narrow it down to be able to accurately convey something, because otherwise there would just be too much information for me to condense into something coherent. And I would have no idea in what order to present things. Not to mention that I'd be terrified of missing something important because the scope would be too big.

(I'm also just a terribly wordy person who can't write short things to save my life. Can you IMAGINE how long that analysis would be? x'D)

I obviously have a lot of details and ideas stored in my brain, but in order to convey them in a way that's actually digestible to other people, I need some sort of prompt or structure first. And, sometimes, that structure can actually be a fanfic. I'm not joking when I say that Who Holds the Devil is basically a gigantic meta at this point, because I'm pouring ALL of my thoughts and observations from the drama into it.

Which, in all honesty, if I had known that when I started? Then I probably wouldn't have written the fic x'D Because it's so, so daunting to go: "Alright, I'm going to summarize all my thoughts and feelings about this piece of media into this one work!" Granted that this one work is huge enough to fit A LOT of thoughts and feelings, but it's still a pretty insane endeavour.

Anyway! I'm sorry if that's a bit of a disappointing answer. I just don't think that my specific brand of analysis would be all that efficient on such a broad scale. I'm more of a detail-oriented person? So it would have to be something specific from the last episode, not the episode as a whole.

#Amethystina Replies #Anonymous #The Devil Judge #It's mostly for my own sanity tbh #It's just easier #I truly admire people who can analyse entire episodes #I could summarise them pretty well I think #But analyse them?#Defintiely not #I'd get stuck on details and tiny plot points all the time #That's not to say that I can't grasp the bigger picure #(I obviously can)#I just prefer the details

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drbased · 10 months

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Ok, let's have a bit of fun tearing something apart:

The first paragraph is entirely circular reasoning, and I'm going to explain why. Let's pick this apart:

So, transness brings to the equation 'a liberal individualism that assumes a singular, internally autonomous subject'? Really? A liberal individualism is what we want in discussing oppression, is it? No consciousness raising, no recognition of what binds us as a class, no finding self-determination through our relationship with the collective? Nope, 'liberal individualism': two words put together which genuinely sound like a parody of what lefties think like. Furthermore, I don't think transness, trans studies etc. really is something that assumes a singular, internally autonomous subject. If gender is both cultural and innate, then the subject cannot be truly internally autonomous, certainly not entirely. And even if you disagree with that assertion, there's no reason to assume that anyone needs a gender to be internally autonomous. You don't need a 'race gender' to find autonomy as a person of colour, you don't need an 'ability gender' to find autonomy as disabled person. As for me, right now I laugh, I can play video games, I can type dumb shit on the internet, I can wear t-shirts, I can do all the things I would do anyway, I can excercise my autonomy to the fullest without needing to apply a label of gender to any of it. Exactly what freedom is brough to light by having/expressing a gender is never really explained.

Meanwhile, feminism seems to bring... everyhing else to the table. Feminism brings the class consciousness, the political action, the actual recognition of how power operates - expressed in needlessly verbose terms. These two paragraphs are absolutely terribly written, by the way: they swing back and forth from overly simplistic to excessively verbose, and it's very clear that it's for rhetorical purposes. In this case, the description of how feminism recognises and analyses power dynamics is described in such a way that feminism is made to seem impersonal and highly theoretical to the point of it being a primarily academic tool; as opposed to the down to earth trans studies, which recognises the individual human at the center. How... ironic.

And it is here where the overly wordy prose goes off the rails. A lot of words are used for 'feminism was transphobic in the past, so now it needs transness... because.' Yeah, that's the circular reasoning. No real reason is given why feminism needs transness. It lacked it before, and I've implied feminism doesn't recognise the internally autonomous subject, so that's why it needs transgenderism. And there is, of course, the obligatory implication that feminists are the real bad guys who hate deviation from the gender binary. When feminists recognise that men took away women's right to vote, they failed to recognise that by pointing out that men did it to women means they're actually supporting men doing it to women. In actuality, we should all just plug our ears and go 'lalala' at oppression, that's what makes it go away. Christ, what bizarrely conservative rhetoric from such a fan of 'liberal individualism'.

This last bit really makes me mad: 'Feminism needs transness/trans studies in order to deliver on its claim of radical inclusivity'. Yeah, nah. Feminism has never, does not and will never, claim 'radical inclusivity'. You just made that up. Idk, maybe some people IDing as feminists in the past twenty years want to claim radical inclusivity. But at the risk of no true scotsmanning - no real-world radical politics (that is, politics that actually aims to disrupt power systems) aims to be 'radically inclusive'. In fact, I would almost say the opposite is true: if something is radically inclusive, then that means the oppressor class gets to sit at the table with the people they oppress, they get to disrupt the conversation and no real action is ever really achieved. So those with political aims tend to be radically exclusive, so that the voices who would normally be drowned out finally get a chance to be heard. Sure, you might consider it a bit single-issue, but that's not a bad thing, and is often the way shit actually gets done in the real world. Being radically inclusive is a way to dilute the conversation and spy on the people you're oppressing, narc

So the first paragraph was a real nothing-burger topped with circular reasoning, but the second one is where it goes from surreal to anger-inducing:

'Instead of a focus on patriachy understood through a rigid male oppression of women...' How dare you. You know literally jack shit about what you're talking about. All the books, all the feminist theory, all feminists have talked about, all our personal experiences, all we have done, all we have achieved. ALL of it was built on the understanding of what patriarchy is. How could patriarchy be done any other way? The use of the word 'rigid' here is really what gets my goat. Because without it, that phrase is going to read as perfectly reasonable to any feminist worth her salt. The word 'rigid' is purely rhetorical, attempting to slide in a judgment where it isn't needed. This writing is so bad, we've swung right back to the dry prose, and prose that serves as a real head-scratcher to anyone who isn't already part of the choir.

But don't you worry, we are reassured that instead of a basic analysis of the patriarchy that has been the backbone of feminist (and non-feminist general female organising) since forever, '... trans feminists took aim at the gender binary as a more fundamental and robust bedrock for the gendered ills that plague us.' Hmm, do they? I've not really seen any evidence for that. I would say that it's actually very hard to organise towards any societal change without the recognition of who power serves and why. If gendered ills 'plague us', then who benefits from the gender binary, exactly, and how? Considering how gender identity is pretty nebulous and hard to grasp, it seems hard to directly exploit anyone for it, or even realistically discriminate against anyone for it. I could explain in more detail, but I've done that elsewhere. Here, I'm going to finish this point with asserting that no, I do not think that 'taking aim at the gender binary' is a robust bedrock for anything.

So the next part, now bolded, is simply an overly verbose rehash of what was said before about how feminism recognises and analyses how power is wielded by men against women. And jesus, when I say verbose, I fucking mean it. Absolutely nothing of real value is said here, so let's move on.

And then we get a rehash saying, once again, the trans feminism wants to smash the gender binary. Once again, I'd like to see some evidence of what that looks like in practice. Because anyone who pays attention to this topic has seen time and time again that in reality, trans people end up reinforcing the gender binary quite a lot. As I've said before, if the only way to express your gender is through cultural signifiers, and those cultural signifiers are built by sexism, then you're going to be supporting sexism. It is unavoidable, no matter how good your intentions are.

#radical feminism #my writing

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deadcactuswalking · 1 month

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REVIEWING THE CHARTS: 27/04/2024 (Taylor Swift's THE TORTURED POETS DEPARTMENT, Drake's "Push Ups", Headie One/Stormzy/Tay Keith)

Let’s talk about Taylor Swift.

#4 - “Down Bad” - Taylor Swift

Produced by Jack Antonoff and Taylor Swift

Yeah, I’m cactus, welcome back to REVIEWING THE CHARTS, blah, blah, blah - I don’t like bending the format of this series, which actually fares quite well for a massive artist who will inevitably debut on top as it ensures a build-up to the big smash hit, but I also like reflecting the culture I write about. Taylor is such a cultural monolith in much of the English-speaking world and outside of it that despite the episode now having to end with her biggest competitor, Drake, he still doesn’t even stain this week’s biggest story, and really, only news story in an industry less and less important, and further removed from the concept of monoculture outside of freak accident white women like Taylor or Barbie than ever. Regardless of my opinions on her output, I may have to respect and reflect her sheer capability to produce discourse, reaction and most importantly, for people to actually give a shit about analysing music.

Now if we’re talking opinions on her output… you can probably get more out of me from looking at my first impressions account of listening to the new Taylor Swift album on RateYourMusic in my 2024 listening log (the account name is exclusivelytopostown). Oh, yeah, if you somehow don’t know, Taylor Swift released an album called The Tortured Poets Anthology and then two hours later, reissued it with the subtitle The Anthology, and naturally, broke all kinds of Spotify records, got a billion streams in a week, what have you. I have less to say about these individual songs than I do about the album, so I’ll try to weave it in but the crux of my takeaway is that this album’s title naturally leads to polarising results and it’s no surprise that she has compelled and practically controlled pop music and celebrity discourse for the entire week… it’s also her worst album attached directly with my favourite piece of full-length work she’s ever released.

Whilst there are plenty of in-depth reasons to compare and contrast the two releases, from here on referred to as ‘sides’ even though I’m not actually sure how the physical releases for this one worked out, the primary reasons for my stark difference in opinion lie in two fundamental components, both of which are not night-and-day between the sides, but have such a detrimental effect on my enjoyment when the two factors are combined that it ends up just as effective.

For “Down Bad”, I’ll focus on the first, and perhaps most important, reason for my preference of The Anthology: lyrics. Do not get me wrong, the second side has its fair share of strange lines and choices, as with any Taylor album, especially in her current obsessive, wordy over-sharing era, and some of its most befuddling are present on this half, making it stand out even more because of the array of lyrical perspectives that are actually on display. The second side lives up to its name, it allows for further exploration of the narrative perspectives Taylor adopts, the subtler details of decidedly unsubtle songs. I’m not saying that Taylor isn’t writing from her own perspective on all 15 tracks - there are 31 in total, of course, thank the Heavens for arbitrary singles chart rules - because she’s absolutely making parallels to if not directly referencing known moments in her life and career. The approach is adventurous, the charm returns to her clumsiness that was my favourite part of Midnights, and there are moments that can be genuinely biting and, well, poetic.

The standard edition is, for lack of a more accurate term, cringe. Again, there are absolutely moments where that is the case for side B, and I’m not claiming there’s a void of good lines… but there kind of is, isn’t there? We will always gravitate to clunkers, but what I’m more bothered by is the deadpan delivery of these lyrics, that don’t feel very Taylor-esque at times yet don’t establish themselves as a separate perspective. This is exemplified in “Down Bad”, which could be written by anyone outside from some Swiftisms in the verses, which really sound more like derivatives of her prior work rather than a signature style at this point, and really, I don’t need to explain to you why Taylor Swift should not have wriitten a song called “Down Bad”. Musically, this album spends much of its time in dull adult contemporary lightened up by Jack Antonoff synth wank that fails to distinguish the record from what came before it, so when the lyrics don’t feel like Taylor outside of when they’re at their worst, most petulant and bratty, which she fails to consistently sell because of said musical backing, it becomes a slow exhaust of four minutes… this song should really not feel this long. Hopefully now, you’ll understand what I mean in how the two components are mediocre by themselves and fail to constitute a complete package. We’ll talk more about the sonics with…

#3 - “The Tortured Poets Department” - Taylor Swift

Produced by Jack Antonoff and Taylor Swift

Musically, the first side of this album feels uninspired, a retread of steps Taylor’s been tracing alongside Mr. Antonoff for years now, with its most unique textures reminiscent of 90s adult contemporary and soft rock… it could work as utter background music if that weren’t a complete misunderstanding of why Taylor Swift works as a singer, songwriter, musician and cultural presence: an imperfect mess that has achieved unbeatable status not through style or character but through ability to craft a narrative regarding herself and everyone involved, or in some cases, allow others to craft that story for her. Taylor, despite me not enjoying a large amount of her catalogue, admittedly never made it off of bad songs: those came after the good songs, and those bad songs - the “Shake it Off”s, “Bad Blood”s, “ME!”s - were risks, paying off not in acclaim or sometimes even notable chart success, but for developing and evolving the mythos. An unstoppable force - of fans, acclaim, criticism, ex-boyfriends, cultural osmosis and Kanye - has finally made her the immovable object, and it sure sounds like it on this first side of the album, especially compared to the organic, risk-taking and more ambitious, often minimal, instrumentation that Aaron Dessner brings to the second, alongside some work from Antonoff that feels more delicate and refined, unless Taylor really wants to bring the punch in because when she takes a swing, she does it with mesmerising grace. When she misses… the album just kind of sounds like twinkly soft-rock ass.

I’m sorry, this song is fundamentally fine, but it is lost both in its production, a meandering piano jog with no compositional drive, and in its lyrical conceit of megastar Taylor having an affair with some nerd from a band I’ve been a proud hater of for years - check the archives - and mirroring Drake’s inability to explain who the fuck Jason is in “Away from Home”. I know who Lucy and Jack are, do I want to? No, do I dig the farfetched historical comparisons? Kind of, it adds texture lyrically, but it’s also as tacky as saying Charlie Puth should be a bigger artist. He’s big enough. He’s fine. I don’t even think HE wants to be a bigger artist. If it’s sarcasm, then it feels mean and if it’s genuine… maybe you should start listening more closely to the art of your friends - if that’s still accurate here - and fellow musicians that you reference in your music. Maybe there’s something there you haven’t fully grasped in all your security as the biggest artist alive: the ability to truly fail. I’m not sure Lucy Dacus, or Charlie Puth, or even Matty Healy, could survive an album as polarising as this, but once again, that mythos, that fanbase, that tree branch connection to every record and radio executive in the damn Anglosphere and beyond, it’s a comfy king-size bed to sleep on. Is the poet really tortured when they can go through the Hell of showbiz and come back to that? I don’t know, but what I do know is that the song fades out instead of ending properly, you fucking cowards.

#1 - “Fortnight” - Taylor Swift featuring Post Malone

Produced by Jack Antonoff and Taylor Swift

Inevitably, it’s her fourth #1, his second, and it has a well-directed video to wrap it all up. Self-directed, too. There’s a relatively solid foundation of this being about her relationships with Joe Alwyn and you know who. I think there’s a fascinating dichotomy that can be made if you interpret the song in different ways: the breakdown of her relationship with Alwyn, or the closing of the distance between her and bitch-face. I think the wham line of “I love you, it’s ruining my life” develops on one of my favourite songs of Taylor’s, “You’re Losing Me”, even if it doesn’t reach the same heights - or realistically, lows - instead going for a typical Antonoff synth pastiche that frankly disappoints. I think Post Malone’s presence, whilst perhaps underused, is best fit to haunting backing vocals to establish that looming male presence, and he sounds great here. The song largely goes nowhere, planting seeds it refuses to grow, but that’s a problem with the production more than anything. Like “Anti-Hero”, it’s a strong-concept, nuanced lead single that I don’t like primarily because of reasons outside of her control, and I’m just glad to wrap it up in a simpler bow that I can compare to her previous album… because Lord knows that’s what the first side of the album really doesn’t want you to do. Seriously though, this is absolutely lethargic, I can assume this felt like the best way to represent emotional numbness but there are much more unique minimal textures and patterns on the back-half, this feels cheap. Perhaps a good lead single, but terrible opener in my opinion, it really set the tone in a frustrating way. Sabrina Carpenter’s “Espresso” is at #5, Hozier’s “Too Sweet” is at #2. Welcome back to REVIEWING THE CHARTS.

Rundown

So other things happened, more than I expected, actually and to be honest, the intention is to be relatively brief. You know what the notable dropouts are but I’ll say that I cover the UK Top 75 anyway and that they are songs exiting out of the region after five weeks or a peak in the top 40, so we bid adieu to “Supersonic” by Oasis, “so american” by Olivia Rodrigo, “Been Like This” by Meghan Trainor and T-Pain, “Never be Alone” by Becky Hill and Sonny Fodera, “Praise Jah in the Moonlight” by YG Marley with uncredited appearances from Ms. Lauryn Hill, “Houdini” by Dua Lipa, “Water” by Tyla, “Asking” by Sonny Fodera, MK and Clementine Douglas, “Cruel Summer” by Taylor Swift and of course, rest in peace, “Lil Boo Thang” by Paul Russell, and welcome back to “Mr. Brightside” by The Killers. Camila Cabello’s “I LUV IT” featuring Playboi Carti is our other re-entry at #65 which is just funny if anything given this week.

As for our gains, there aren’t a ton, but a surprisingly fair few considering the amount of new entries, so I’ll note down the boosts for “Cry” by Benson Boone to #55, “FE!N” by Travis Scott featuring Playboi Carti at #53 - good week to be whatever species Carti is, I suppose - as well as “Never be Lonely” by Jax Jones and Zoe Wees at #50, “Never Lose Me” by Flo Milli at #49, “We Ain’t Here for Long” by Nathan Dawe at #47, “Back to Black” by the late Amy Winehouse at #43, “Good Luck, Babe!” by Chappell Roan at #21, “Tell Ur Girlfriend” by Lay Bankz at #18 and finally, one I’m very happy to see, the scrunkly Shaboozey at #16 with “A Bar Song (Tipsy)”. I can see top five in this one’s future, but speaking of… oh, wait, we’ve already covered it. Seven new songs! Speed round!

New Entries

#69 - “Joga Bonito” - AJ Tracey

Produced by Remedee and Nyge

The bar for cover art is in Hell. That is a PlayStation 2 model of a flag-wearing Brazilian lady showing leg, and that is now a charting single. It’s no surprise to me that Tracey is hopping on Jersey club-influenced beats, particularly with the mellow, filtered R&B sample and incredibly mundane flexes, as whilst he’s always been fun, and occasionally latches onto excellent hooks, he’s ultimately tied very heavily to trends and guest features, and this just feels a bit… empty, without a real “hook” outside of, well, its hook. He’s chatting the girl up, he says that she would look sexy in his merch, and he has the incredible bar of “I like Japan, so do you”. It must be true love. Look, if I’m going to critique Taylor for lazy writing over empty production, I can’t really give this a free pass either, even if it has some vague energy - none of it feels palpable or driving. ‘tis a shame, I tend to like Tracey’s output more consistently than other UK rappers.

#67 - “Pedro” - Jaxomy, Agatino Romero and Raffaella Carrá

Produced by Jaxomy, Agatino Romero, Steffen Harning and Reinhard Raith

Okay, this one might need some explaining. Raffaela Carrá was, and still is, a beloved icon in Italian pop music, LGBT and women’s culture, and seemingly the entire country. I’m not familiar with her at all, but that’s purely my bad: she’s sold millions upon millions of copies internationally, and released a prolific amount of albums worldwide in multiple languages. A gay icon and self-proclaimed Communist, Carrá’s classic hit “Pedro” never made it to the UK charts from release in 1980 until now, long after her passing in 2021. Latin disco by an Italian Communist sounds like I’d adore it, and for the record, I do. The original song is infectious, silly and brimmed with bombast from its obnoxious horn section to percussion so incredibly layered, especially with the snaps and claps, that it feels almost claustrophobic. Whilst far from a bad singer, Carrá brings a childlike clumsiness to the song’s hooks that define the song’s infectious personality. As someone who’s been introduced to this song literally today, it kind of feels like it’s been here for all of my life and that I’ve heard it at like seven school discos. Sicilian DJ Agatino Romero joined forces with Berlin-based Jaxomy for a pretty faithful remix that may pick up the pace and replace its rhythm section with pounding hardcore kicks, but the horns remain, because how couldn’t they? In fact, they sound even more full of life when placed onto much less organic instrumentation, from being just one element of a cacophony to a disco ball shining in your direction whilst you’re on the worst, most pounding, migraine-inducing high in a rave. It doesn’t change the song structure or even its fundamental instrumental texture a ton, probably out of respect, but that one change to the song’s arguably most important component does a lot to flip it on its head and I can really appreciate how skillfully it’s done here. Rest in peace to Raffaella Carrá, and I really hope this ends up sticking around. It’s just too infectious.

#62 - “Starburster” - Fontaines D.C.

Produced by James Ford

This is Irish indie rock outfit Fontaines D.C. with their new single about accidentally eating the Starburst with the wrapper on. Jokes aside, this is a great song. I’m not particularly invested in Fontaines as I am for some other indie and alt-rock acts that pop up here and there on the charts, in fact, I’m not familiar with their work at all, but it doesn’t mean this can’t stand on its own as one of the leading single for their next record, which I might actually have to listen to if it’s in this vein. I was initially worried given the sprinkle of pianos over lo-fi strings and James Ford production that this would be a late-era Arctic Monkeys rip but as soon as the dejected drums came in alongside that droning lead vocal from frontman Grian Chatten, it became obvious that this would functioning in a hip hop structure through way of indie rock, with Chatten actually rapping, in full Irish accent and all, over the instrumental as if it were a collection of loops instead of a live band with some smoky if typical riffs to back him up. Lyrically, Chatten details several violent analogies that seem to coalesce into sexual desire, or at least some kind of euphoric rush, intended to be purely momentary and necessary, even if it intrudes on others, if there’s a moment of bliss to be found. It’s difficult not to see this as kinky, and I honestly get a lot of mileage out of that interpretation given how its bluntness isn’t relegated to the lyrics, before of course, the strings trickle in for an ethereal bridge about swallowing and following, and Chatten asking for someone to “hit [him] for the day”, before returning to the gnarly mantra of the hook with a sly chuckle. Come on, it’s a sex jam. A weird one, for sure, one wrapped in grotesque metaphor, but I dig this on the smoky, grimed-out level it presents itself as, and maybe I’ll have to listen to whatever comes of this upcoming project.

#58 - “Gata Only” - FloyyMenor and Cris Mj

Produced by Big Cyyu

It’s rare to see Chileans chart anywhere outside of Latin America, let alone the UK, so I do want to give this some more of a chance, especially since the synth-led production at the start is a nice, promising ambiance… that gets immediately washed out by some of the shrillest synths and cheapest reggaeton percussion I’be heard in the genre. I’m not intimately familiar with the scene but I’ve heard plenty with more character, and even reggaeton that’s relaxing and ethereal. That could have been the play for these two auto-crooners, if it wasn’t for… THAT sound they keep repeating. Translating the lyrics, though of course this can lead to miscommunication, we get little of substance to chew on either. The most mush-mouthed appearance here is from Cris Mj, who was criticised by his own fans for his overly-reverbed, robotic performance before other fans convinced him that it was cool, actually, preventing him from deleting the song or at least removing himself from it as promised. I guess it turned out well as this is both acts’ biggest worldwide hit - it’s a massive deal to get a reggaeton song of all genres to cross over to little ol’ England - but if it weren’t for its inexplicable viral success, maybe he had the right idea initially in staying humble and listening to feedback. This is rote and droll in the worst kind of way because it’s in a genre that can be so exciting and weird… yet that stuff wouldn’t dare chart over here so we have these guys. I’m sure they’re nice, talented guys, but this is not compelling in any way. I can weirdly see it growing on me through some kind of subliminal hypnosis… but I don’t see myself revisiting it enough for the brainwashing to have its effect quite yet.

#41 - “Malicious Intentions” - Pozer

Produced by RA Beats

…really? Pozer? Of all possible guys in UK rap to give a second hit, it’s Pozer? The “Kitchen Stove” guy had that much potential? Whilst I have nothing against the guy, and “Kitchen Stove” is completely fine, it’s a viral breakout hit which finds its main appeal in a novel ambient sample flip taking advantage of the Jersey club wave. He does not feel built for another #41 peak, let alone however long this ends up lasting afterwards. Ironically enough, Pozer himself was the most out of place element of that song, and he seems to have understood that. Does that mean he’s changed his flow and delivery to fit a more chill and atmospheric tone? No, not at all. He’s ditched the ambient sample, replacing it with a wave of synth strings that sound pretty triumphant and play off pretty well against incredibly bass-heavy and driven Jersey rhythms less bothered with fancy percussion additions, and more with the sheer intensity of the 808s, slowly and gradually developing into a more traditional drill beat through the eventual addition of enough additional drums, it’s a really cool idea for an instrumental, especially when it reverts to pure numbing intensity for the chorus, and serves well for what Pozer is going for: an incredibly consistent flow delivered much livelier and with a significantly bouncier, funnier grit than before, and bars that really aren’t bad. Pozer also adapts very seamlessly to the changing rhythm of the beat, and his more introspective moments stick out as perhaps surface-level but particularly potent when delivered with the same restlessness as any other bar. Unrelenting feels like a good way to describe the song, always punching and punching a bit beyond its weight and getting reversed back - and that’s the rhythm. Whilst it’s not reinventing the wheel, this is genuinely pretty infectious and difficult to not get excited to, in spite of - or because of - Pozer’s acquired delivery that takes a while to get used to but shares its realm more fairly than you’d think with such great production and a rapper I didn’t think much of until today. Well done, man, this is an unsettling piece of production that is transformed by the confidence of the rapper on it, and for that, I really dig it.

#33 - “Cry No More” - Headie One featuring Stormzy and Tay Keith

Produced by Tay Keith, Pooh Beatz and Tommy Parker

Speaking of promising UK rap, here we have Headie One with yet another single from an upcoming project titled The Last One. Whether this is a full retirement, we can never tell with rappers. But would this be a strong farewell verse? Well, yeah, it’s impeccable for Headie, it feels like a perfect example of what he does well: a cold staccato verse that runs like a train, punctuated by dejected ad-libs and delivery and paranoid, detached bars revolving around gang violence over tight drill percussion and some of the best mixes I’ve heard for a drill beat: it all sounds crisp to me, especially that warping bass. The sample may not be the most interesting melody to go for over this beat, but its sing-songy tone reassures its ability to be both eerie and anthemic, alongside the incredibly clever implementation of Asake’s “Lonely at the Top” - which peaked at #90, though weirdly I did review this one - in Stormzy’s verse. How it doesn’t feel tacky is beyond me, it feels like a genuine shout-out that matches the tone of the song perfectly and leads into the flex in a subtler way than he probably would have done without it. Notably, Stormzy goes for a similar flow to Headie but kind of shelves him in the wordplay and rhyme scheme departments, even if neither are too lyrical here, mostly showcasing a clash between the images they have to maintain and the real people behind them, though some of that may be unintentional given all the flexing that surrounds it, especially in Stormzy’s verse where they’re so well-intertwined. I was expecting to like this, but came back with even more to chew on than I thought I would, so I’m glad that, even if only for that big debut week and a few more, it can land on the chart, this is great stuff. Hyped for whatever forms out of this and “Marvin’s Sofa”, honestly two of Headie’s best singles leading up to this forthcoming record so expectations are high.

#14 - “Push Ups” - Drake

Produced by Boi-1da, Tay Keith, Preme, Fierce, Dramakid and Noel Cadastre

I’m not Kendrick Lamar so who cares what I think about a Drake diss? Genuinely, what purpose would it be for me to sit down and analyse bars that have been thoroughly annotated on Genius already, discussed and taken apart by hip hop podcasters and influencers, if not other rappers, and in some cases, went completely viral? There’s a mix of corny and clever bars here, mostly in the latter which is impressive for late-era Drake, and I hate to say he has some points regarding what seems to be a convenient, preplanned attack on Drake that just confirms his suspicion and contributes to his own narrative. The beat is hard, the mix is rough but it’s a diss track so that is the least of anyone’s concerns. I assume the abrupt beat switch, after a DJ Akademiks meme inserts itself into the song like the leech he is, is a demonstration of Drake having more bars to come, but given there’s only one real punchline in that section, it feels like a long build-up to nothing and a strange decision to include overall as an epilogue. Otherwise, it’s a fun, venomous track with some of Drake’s most well-thought-out and honestly, well-delivered bars in years. It’s crunchy, it’s to the point, and I’m excited for what Kung-Fu Kenny has to say in response.

Conclusion

He’s not getting Best of the Week though. A cool diss doesn’t always equate to a memorable or replayable song, and for me, I think Pozer of all people has the most infectious here, colour me surprised, with the evil-sounding “Malicious Intentions”, but I’ll tie him with the more joyful “Pedro” by Jaxony, Agatino Romero and the late Raffaella Carrá for a more balanced Best of the Week. Hell, there’s enough good stuff here to tie the Honourable Mention up two between Headie One, Stormzy and Tay Keith for “Cry No More” and “Starburster” by Fontaines D.C. As for the worst, it should unsurprisingly fall out quite easily: Taylor Swift has Worst of the Week for “Down Bad”, with the Dishonourable Mention going to “Gata Only” by FloyyMenor and Cris Mj. For what’s on the horizon, I mean, hopefully more good to look forward to but knowing my luck… I don’t know, Bladee? For now, thank you for reading, rest in peace to Mike Pinder, and I’ll see you next week!

#uk singles chart #pop music #song review #taylor swift #the tortured poets department #post malone #drake #push ups #headie one #stormzy #tay keith #raffaella carrà #agatino romero #jaxomy #fontaines d.c.#floyymenor #cris mj #pozer #aj tracey

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actualbird · 2 years

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I've been anticipating the analysis since you brought it up, and it did not disappoint! You summed up why I love Luke's anniv card and Luke himself so well! Your explanation of why you enjoy Luke being a flawed, imperfect character really resonated with me, and helped me figure out some of my own personal tastes in media and why I have them, and you breaking down the "believe in us" line made me look at that line, which I had preciously glossed over, in a totally different light and made me appreciate it so much more. Yet again, an excellently done analysis!

This is kind of unrelated to the actual analysis, but to share some of my own thoughts I think the line that resonated with me the most was what mc said in the second option. "Not being able to love you while there's still time scares me more" and everything she says when you pick it.

It's so common in fiction to have love interests work day and night to find a cure for their dying loved one and eventually succeed, and I get why, I really do. I love it actually. But I think I've come to realise that I like stories where the two characters just cherish the time they have left, no matter how long it is. I love what mc is saying in that line. As you've said in the analysis, mc's view of the uncertainty of the future leaves a lot of room for hope, hope that Luke can be cured. But in that line to me, what stood out is that to mc, even if what Luke fears come to pass it won't have been all for nothing, because what was important was being able to love Luke while he was still there. No matter how it lasts, the time she spends together with Luke is special, and that's a fact that won't change even if what he says does come true. I adore mc and how she cherishes the present, and this is no different.

There's a line associated with a character from another game that reminded me of Luke and his shortened lifespan when I first started playing ToT. It comes from one of her endings with another character. I haven't compared the two in a long while because they're two very different characters who deal with their shortened lifespans in very different ways, but reading the anniv card brought this character and that line back to the forefront of my mind. "It is said that, for however long it lasted, they were happy." I think this line just about sums up lukerosa and the anniv card to me.

So this kind of got away from the original analysis ddtidti thank you for reading this if you did! I haven't commented on an analysis in so long and while this isn't quite the same as my previous comments on your previous analyses considering this one has way more of my own thoughts it does feel nice to be able to comment on an analysis post again.

🌌

HI HI MILKYWAAYYY :DDD hhh thank you so much for reading the luke anniv analysis!!

tho i must apologize in advance that this response is not gonna be as wordy as my usual responses cuz im currently overtiming at work and actively dying but also this ask rlly is so sweet that i cant let it stay in my drafts for a second longer hhh, im rlly glad u liked it, first off

second off, HHHHHHH the entire concept of their love being worth it and good and happy even if that 3yr end comes.....it's really beautiful, i wholeheartedly agree. i simply cannot think about it for too long or else i'll burst into tears. ur right :'( however long, it all still matters :'( im....gonna burst into tears jhKHFKSJD

thank you again for reading it and for this lovely ask :') i hope ur having a great day!

#milkyway!anon #asks #commints #if anything i post or say doesnt make sense tonight im v sorry ive been writing nonstop for over 10hrs

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hrfranklin · 8 months

Text

Progress Post 3 - Assignment 3

Hi,

Our Plan

Over the past week, Connor (my groupmate) and I have shared our game around our friends and coursemates and have received some great feedback on our prototype. At time of writing, we have 10 days to finish our prototype, so our plan is as follows: - Review playtesting round 1 results - Improve the game based on feedback - Go to class on Tuesday 24th and take part in more playtesting, send the game around our friends again for round 2 - Review round 2's results - Improve the game one final time

Feedback

Negative Feedback

I've spent some time today analysing our feedback and working in GDevelop to make some improvements on the most notable issues people had with the game. Speaking of which, I'll list the main issues below, split into two categories:

Bugs:

Fleet health < 0 doesn't = game over

(and so) The boss asteroid hitting the fleet doesn't destroy it

missiles re-lock (sometimes) between levels

fleet health doesn't reset (this is actually by design)

possible to leave the map whilst boosting due to turning circle

'speed' when not moving was showing as 200

UI pop-ups for the boss overlapped other UI elements

Other feedback:

"There is only one level, I'd be okay with it if it at least got harder"

"I feel like upgrading firerate should have an upper limit."

"The UI is too wordy, images would be nice"

"We need a controls screen to make sure we know how to play" (this was surprising as we told each player the controls)

"There is no sound"

"The intro narrative text should be faster"

The above feedback was all pretty much what we were expecting to hear, especially regarding the fleet health not being hooked up to the end-game mechanics.

The main other negative comments were the game being repetitive, levels being short, there being no ending and no sound. The control system was also a point of trouble for some people. These are all fair comments. Although, Connor and I weren't sure where to go with the ending of the game, as it's only a prototype.

Positive Feedback

There was, thankfully, some positive feedback too, which is great! This took the form of:

"Sprites, backgrounds and animations are good"

"It's simple, but I like shooting the asteroids"

"The introduction of story is great"

"I knew what I had to do"

Slightly off-topic, but one comment that made me laugh was someone liked the little pop-ups, specifically "AAAGHHH" that appears on screen when you get damaged. I like that feature... ANYWAY, back on track.

There were more positives, but that's the gist of it.

Improvements from Playtesting Round 1

Regarding the negative feedback, I've spent a day or so working on improvements, in-between cramming for other units :(

Here's the lost of negatives again, but with the improvements I've made crossed off:

Fleet health < 0 doesn't = game over

(and so) The boss asteroid hitting the fleet doesn't destroy it

missiles re-lock (sometimes) between levels

fleet health doesn't reset (this is actually by design)

possible to leave the map whilst boosting due to turning circle

'speed' when not moving was showing as 200

UI pop-ups for the boss overlapped other UI elements

"There is only one level, I'd be okay with it if it at least got harder"

"I feel like upgrading firerate should have an upper limit."

"The UI is too wordy, images would be nice"

"We need a controls screen to make sure we know how to play"

"There is no sound"

"The intro narrative text should be faster"

Sooo... yeah! Lots of work done on this and I feel a lot better about the game. Most of the above fixes were fairly easy, although it took me a while to get going again.

I was thankful that a lot of the feedback was regarding Quality of Life fixes and adjustments, such as the UI, and only a few were to do with the main game loop. Partly because this meant that the main gameplay I had envisioned all those months (or years at this point, who knows...) have actually come to fruition, but also partly because QoL changes are much quicker fixes.

With all that said, what now?

Our Plan (Again)

Tomorrow morning (if we wake up...), we have an in-person playtesting party on campus, which I'm looking forward to. Here, we intend on getting more playtesters to play the prototype and fill out our documentation. From tomorrow, we will send the game around our mates again and, again, get them to fill our our post-playtesting form for a second time.

Hopefully then, a day or so later, I will go over the results and likely report them here. Ideally, my next post won't be as long..

Thanks for reading!

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grad604-macytaylor · 11 months

Text

Week 2: Lecture

Notes from Week 2 Lecture

Design Practices: A Device for Voice and Storytelling

Nz practitioners!

“Contemporary photographic and design projects that utilize graphic, text and lens based modalities and which give a platform for voice/s and a distinctive point of difference”

Ways in which you might examine practice:

Threaded Magazine

5 thematics to analyse + reflect

Empathy Collaborative. Connection. Awareness

Humanity Climate crisis. Sustainability. Wellbeing

Storytelling

Community

Identity

McCarthy Studio - Arts Month Campaign

Public code signs! Anyone can add drawing etc to composition (digital and sharpies)

Handwritten: more personal - therefore friendly

Tatiana Tavares - Vivian; A Graphic Novel

Really good illustration!

Narrative is memorable, special, adds empathy through detail

Aaron Mclean- Stone Soup vol. 7

Publishing thing

Cool photos- connection through food

Tyrone Ohia - Te Oro System

We Compost Campaign

Cute typeface- very original

Stay away from leaves, recycling symbols, not too wordy

Simple playful persona

Food Nation

Merge plants with animals in a fun way- cool illustration

Mate Act Now

In response to the bushfires- couldn’t protest, this was the protest

Osborne Shiwain - atamira dance campaign

Catherine Griffiths

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hannmadi · 1 year

Text

The rise of AI and its resulting threats (TL;DR: tech is bad).

This post is a little different to the others on my blog, here I want to talk about a theme that is undoubtably cropping up more and more within the art world. That being, the rise of tech (notably AI) and the threat it poses to contemporary artistic, curatorial, research, and conservation practices.

It goes without saying that modern technology has revolutionised the art world. From digital art to virtual reality exhibitions, galleries and museums have been working hard to incorporate these rapid advancements into their display. Think of the rise 2022 saw in immersive exhibitions…if you didn’t get to one, check every warehouse near you, trust me there’ll be one.

Anyway, if we are to continue to rely on AI and other technological advancements in the future, we must question their impact on current artistic practices and the potential threats being posed to the nature of art itself. That’s a wordy way of saying we should really think about what art and art spaces mean to us in order to preserve them going forwards.

Seemingly every job in the sector is under threat. Even curators can now be replaced by machines. There is AI software which can put together exhibitions that appeal to certain demographics or match themes and briefs. Things like data analysis can be done through computers, and when humans don’t exactly desire these jobs (well I don’t anyway) what can be the harm? Let me tell you. Whilst it definitely sounds good at first, replacing such jobs with technology questions the role of the curator entirely. Is it okay for us to rely on AI to curate exhibitions, or should we follow the pattern that has always existed, should we trust the people who have built up careers of expertise in bringing creative and new ideas to galleries and exhibition spaces? I’m hoping that you read that in a slightly sarcastic tone as was intended. If it isn’t obvious, I am in favour of humans remaining in their chosen fields.

Moving on to conservation practices, the use of technology raises concerns around the preservation of artworks. Whilst AI can be used to scan, analyse, and restore existing artwork by predicting what the original image may have looked like, it still remains unable to replicate the work of conservation professionals working to ensure that we can continue to enjoy our favourite pieces for years to come. Arguably, in this field more than any, the human touch is essential to ensuring that artwork is preserved in a thoughtful way which preserves not only the history of the piece, but also the cultural significance.

Contemporary artistic practice itself has been impacted by the rise of AI. As new technologies emerge, and we become more reliant upon them, artists are more inclined to explore the possibilities of including this in their work. This is largely why we saw a surge in popularity with NFTs during 2021, it became trendy to talk about them and so artists began digitising their work. However, as the line between technology and art continues to blur, with recent trends including the use of AI to create art in varying styles, questions around authenticity become prominent. Is something ‘art’ if a machine created it? And if it is, then who takes the credit, the AI itself, or the human who programmed it? Thus, to end my rant, the rise of technology within the art world has (some) positive implications though will ultimately force us to question the human expertise, emotion, and interpretation that are essential to artistic practice. Not only this, but it is conceivable that we may even wind up entirely redundant one day. Not to be too nihilistic. Though I suppose this one notion may offer some comfort: fundamentally, art is about the human experience, and no machine can replicate that…yet.

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compuease · 1 year

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class1akids · 2 years

Note

There's been some awful takes this chapter espeically regarding Shouto like calling him an Endeavour stan or completely missing that he did in fact emphasise with Touya because he didn't blame the trauma for everything. So I'm so happy to have your takes on what happened in the chapter and diving into Shouto's mind and character. So thank you for very good views.

I'm still not ready to analyse what Shouto is saying down to the level of nuance, because I feel like the Scanlation may be not giving the most accurate interpretation. With wordy chapters, it's always better to wait for the official.

But I think the gist of it is consistent:

Touya unleashes on Shouto, dissing him for how he had everything Touya ever wanted and wasted it by not living up to his masterpiece potential - and it's new, because it's a very real frustration Touya has with Shouto - that's not fully about Endeavor, but about Shouto's actions.

Shouto acknowledges some of this (though I think his words are not translated fully correctly here), but in any case, he realizes that he was lost and foolish/half-hearted (let's see how the official will translate hanpa 半端)

I'm also curious how the "watch me" line will be translated, but then explains he made a move just for Touya

He pretty bluntly says that Endeavor was insane and none of it was good and then something like "it was your choice to burn people who had nothing to do with it" and "you have to stop dragging outsiders into it, so take it out on us instead". I mean all of this is just facts.

I simply have no idea how anyone can see the slightest Endeavor-stanning in this.

I guess, maybe they refer to the phone call, which once again, I wanna see how EXACTLY it goes in the official, but even as it's here, I think, the important part is:

Endeavor reaching out after the battle plan discussion, because indeed he does feel terrible about leaving it to Shouto (like I know he's been a piece of shit and also that he was pussyfooting after the war, but I'd expect this from current Endeavor that win or lose, this fight is just emotionally a terrible burden for Shouto and the most likely outcome is losing one or both sons. So yeah. Tough shit.)

Shouto saying that Endeavor has to fight AFO I don't think is any way hyping him. He's still the most experienced and highest damage pro they have. Deku is on Shigaraki, he needs Bakugou there, so yeah - they are stretched thin and Shouto cares about his friends

Shouto says that "his power is the right one for his brother" and "he wants to be the right person for this fight". He wants to do it.

And I think what he says about doing the fight together - he means it in the way Class A has been saying the whole time - that they all fight, they all do the part they are best suited for.

I mean sure, Shouto is not calling Endeavor names, or telling him he screwed up - because Endeavor knows that. And even if the instinct would be to dig into him, the heroes - not just Shouto - but everyone needs Endeavor on the top of his game, because frankly even then, he's weaker than AFO. So Shouto is being reassuring - and I don't take this as sucking up to his dad or forgiving him or any of that - but just being the type of hero, the type of person he wanted to be.

#c1a asks #bnha 351 #bnha manga spoilers

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musashi · 2 years

Text

I posted 9,720 times in 2021

3208 posts created (33%)

6512 posts reblogged (67%)

For every post I created, I reblogged 2.0 posts.

I added 6,628 tags in 2021

#song of the hero - 1931 posts

#wordy wendy - 1426 posts

#to the sky - 744 posts

#wendy answers - 716 posts

#anonymous - 467 posts

#linkedu - 446 posts

#courage never forgotten - 281 posts

#1000 lifetimes - 230 posts

#like no one ever was - 199 posts

#hand of sorrow - 188 posts

Longest Tag: 139 characters

#you fight for good and you keep fighting no matter how bad things get. you believe in people so much and it doesn’t even make u look stupid

My Top Posts in 2021

okay since its fi loving hours, do you have a favorite optional bit of fi dialogue? a favorite statistic? and/or a favorite enemy analysis?

optional fi dialogue:

"On slippery slopes, you may lose your footing and slide down on your backside. Quite gracefully, I'm sure, Master."

"As you may have observed during your time as one, human beings are not a species that can stay underwater for long periods of time."

"However, because of its size and weight, I do not believe it could be carried by a human. No offense intended, I assure you."

"I suggest you cease being scared and speak to her."

"I have identified the item that the... highly unusual man on Fun Fun Island says was lost."

"Master... unless you plan to carry the tub on your back, now is not the time to be picky about who will help you."

(^ she asks if you want to call Scrapper and if you say 'not that guy' this is how she responds. but fun fact, if you tell her 'sure' she asks a second time if you want to call him just to confirm, and if you say 'not that guy' the second time, she has slightly different fialogue where she says 'despite your warranted reservations--' which is so fucking funny to me, Link is like HIM??? and Fi is like "look dude, i know, but--")

"She hates housecleaning but adores antiques. I recommend keeping a safe distance from her."

"Master, your interest in this young woman is clear. I can see your aura shining brightly with joy in her presence. ...I strongly recommend that you do not mention this when you next encounter Zelda."

"You may not know this, but human beings are not a species that can survive in extremely high-temperature environments."

best statistics:

"I can verify with only 40% accuracy that this person is a plant, however--"

The probability of your assessment being correct is... 10%. Rounded up."

"The probability of this life-form being Zelda is 5%, so I must conclude that this is, in fact, not Zelda but a peaceful forest creature known as a Kikwi."

"I sense a large disturbance in this individual's aura. There is an 85% probability that he is experiencing the emotion humans refer to as "love.""

best enemy analyses:

"If you make contact with this type of Chuchu when it is charged, it will give you a shock. Then it will attempt to feed on you. This is not pleasant."

"This bird seemingly jettisons its droppings upon people's heads on purpose. It is unclear if this is due to a carefree attitude or pure malice. Should its droppings land on you, I calculate the probability of your intense aggravation at 100%."

every single bokoblin analysis mentions their underwear. like she. she can't stop infodumping about their underwear.

"This horrifying Bokoblin reanimates after death. Analysis indicates it fears pure, shiny items and will startle at the sight of a sacred shield. It is able to reanimate purely through its hatred of this world...and its attachment to outlandish underpants."

OBSESSED WITH HER

I CAN'T STRESS ENOUGH IF YOU ARE PLAYING SKYWARD SWORD FOR THE FIRST TIME THIS MONTH I NEED YOU GUYS TO TALK TO FI SHE'S SO FUNNY

709 notes • Posted 2021-07-04 00:27:54 GMT

See the full post

1209 notes • Posted 2021-02-18 03:47:04 GMT

can you guys imagine how Link must’ve felt running down the sealed grounds past all those hoards, fighting for his life to get to zelda, after a lifetime of people telling him he’s late and can’t keep up, only for the first words out of ghirahim’s mouth to be a seething “You’re far too quick, boy!”

1231 notes • Posted 2021-07-25 00:39:45 GMT

See the full post

22532 notes • Posted 2021-05-24 20:03:27 GMT

'its not realistic for two characters to talk in the middle of a sword fight' cool I wrote it anyways because it fucks severely

39463 notes • Posted 2021-11-18 00:04:47 GMT

Get your Tumblr 2021 Year in Review →

#my 2021 tumblr year in review #your tumblr year in review #CANT BELIEVE EVERY SINGLE POPULAR POST I MADE THIS YEAR WAS ABOUT ZELDA #long post

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quillsink · 3 years

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Hey Ink

What do you think of this Paper?

To the People of the State of New York:

IT MAY be contended, perhaps, that instead of OCCASIONAL appeals to the people, which are liable to the objections urged against them, PERIODICAL appeals are the proper and adequate means of PREVENTING AND CORRECTING INFRACTIONS OF THE CONSTITUTION. It will be attended to, that in the examination of these expedients, I confine myself to their aptitude for ENFORCING the Constitution, by keeping the several departments of power within their due bounds, without particularly considering them as provisions for ALTERING the Constitution itself. In the first view, appeals to the people at fixed periods appear to be nearly as ineligible as appeals on particular occasions as they emerge.

If the periods be separated by short intervals, the measures to be reviewed and rectified will have been of recent date, and will be connected with all the circumstances which tend to vitiate and pervert the result of occasional revisions. If the periods be distant from each other, the same remark will be applicable to all recent measures; and in proportion as the remoteness of the others may favor a dispassionate review of them, this advantage is inseparable from inconveniences which seem to counterbalance it. In the first place, a distant prospect of public censure would be a very feeble restraint on power from those excesses to which it might be urged by the force of present motives. Is it to be imagined that a legislative assembly, consisting of a hundred or two hundred members, eagerly bent on some favorite object, and breaking through the restraints of the Constitution in pursuit of it, would be arrested in their career, by considerations drawn from a censorial revision of their conduct at the future distance of ten, fifteen, or twenty years? In the next place, the abuses would often have completed their mischievous effects before the remedial provision would be applied. And in the last place, where this might not be the case, they would be of long standing, would have taken deep root, and would not easily be extirpated. The scheme of revising the constitution, in order to correct recent breaches of it, as well as for other purposes, has been actually tried in one of the States. One of the objects of the Council of Censors which met in Pennsylvania in 1783 and 1784, was, as we have seen, to inquire, "whether the constitution had been violated, and whether the legislative and executive departments had encroached upon each other. " This important and novel experiment in politics merits, in several points of view, very particular attention. In some of them it may, perhaps, as a single experiment, made under circumstances somewhat peculiar, be thought to be not absolutely conclusive. But as applied to the case under consideration, it involves some facts, which I venture to remark, as a complete and satisfactory illustration of the reasoning which I have employed. First. It appears, from the names of the gentlemen who composed the council, that some, at least, of its most active members had also been active and leading characters in the parties which pre-existed in the State.

Secondly. It appears that the same active and leading members of the council had been active and influential members of the legislative and executive branches, within the period to be reviewed; and even patrons or opponents of the very measures to be thus brought to the test of the constitution. Two of the members had been vice-presidents of the State, and several other members of the executive council, within the seven preceding years. One of them had been speaker, and a number of others distinguished members, of the legislative assembly within the same period.

Thirdly. Every page of their proceedings witnesses the effect of all these circumstances on the temper of their deliberations. Throughout the continuance of the council, it was split into two fixed and violent parties. The fact is acknowledged and lamented by themselves. Had this not been the case, the face of their proceedings exhibits a proof equally satisfactory. In all questions, however unimportant in themselves, or unconnected with each other, the same names stand invariably contrasted on the opposite columns. Every unbiased observer may infer, without danger of mistake, and at the same time without meaning to reflect on either party, or any individuals of either party, that, unfortunately, PASSION, not REASON, must have presided over their decisions. When men exercise their reason coolly and freely on a variety of distinct questions, they inevitably fall into different opinions on some of them. When they are governed by a common passion, their opinions, if they are so to be called, will be the same.

Fourthly. It is at least problematical, whether the decisions of this body do not, in several instances, misconstrue the limits prescribed for the legislative and executive departments, instead of reducing and limiting them within their constitutional places.

Fifthly. I have never understood that the decisions of the council on constitutional questions, whether rightly or erroneously formed, have had any effect in varying the practice founded on legislative constructions. It even appears, if I mistake not, that in one instance the contemporary legislature denied the constructions of the council, and actually prevailed in the contest. This censorial body, therefore, proves at the same time, by its researches, the existence of the disease, and by its example, the inefficacy of the remedy. This conclusion cannot be invalidated by alleging that the State in which the experiment was made was at that crisis, and had been for a long time before, violently heated and distracted by the rage of party. Is it to be presumed, that at any future septennial epoch the same State will be free from parties? Is it to be presumed that any other State, at the same or any other given period, will be exempt from them? Such an event ought to be neither presumed nor desired; because an extinction of parties necessarily implies either a universal alarm for the public safety, or an absolute extinction of liberty. Were the precaution taken of excluding from the assemblies elected by the people, to revise the preceding administration of the government, all persons who should have been concerned with the government within the given period, the difficulties would not be obviated. The important task would probably devolve on men, who, with inferior capacities, would in other respects be little better qualified. Although they might not have been personally concerned in the administration, and therefore not immediately agents in the measures to be examined, they would probably have been involved in the parties connected with these measures, and have been elected under their auspices.

PUBLIUS.

It's Federalist Paper No. 50.

-Morgs

Bestie I’m just here to shitpost about these dead gays, I do not have the energy to analyse political shit

I’d say it’s really wordy lmao, like bitch write a bit simpler will ya

#ask ink #morgs

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tianqius · 3 years

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Jang Hanseo, my personal thoughts.

As the puppet of his brother that would eventually be cast aside, Hanseo took a leap of faith to fight against the puppeteer and the strings that tied him up. While he used to be a coward that would run away with his tail tucked between his legs, he matured into a young man who could stand for what he wished for and what he believed was right. Overall, his character leaves behind a message that left many thoughts for me to ponder and write about. Buckle up, and hopefully enjoy.

(PSA:

This will be less wordy than my previous draft, which tumblr ungratefully destroyed. It's okay. You are saved from my wordiness.

PSA 2.0

This is somewhat of a character analysis. It pretty much is. I'm not perfect at character analyses, so hopefully you get what I'm trying to say. If not, my bad.)

Jang Hanseo's first impression on me wasn't that memorable. He appeared somewhat snobby, much like typical CEO rich men, but he lacked confidence. It was almost like he wasn't the one pulling all the strings - like someone was pulling his own.

Almost immediately after, he's revealed as a puppet of the real figurehead of Babel - although their identity is not revealed until a few episodes later, his interactions with his puppeteer highlight his cowardice and weak attempt to stay on their good side. His cowardice makes up the foundation of his character.

When Hanseok - the puppeteer - is revealed, his relationship with Hanseo can be examined with much more depth. Hanseok has obviously caused Hanseo to fear him, in order to prevent him from acting out of line. But Hanseo still has some bits of resilience left in him, even after Hanseok thinks he's smoothed it all out.

Hanseo is seen voicing his wishes to be free from his brother multiple times. Of course, he is afraid of what his brother might do to him, or he's fearful of what he might lose if he turns away from his brother's side. Even so, he shows enough resilience to want to break free from his brother's control.

Hanseo finds an ally in Han Seunghyuk, a friend who resembles him when it comes to cowardice. Hanseo probably knows but doesn't acknowledge that Seunghyuk is not enough to break free from his brother, but he still follows his advice and acquires the necessary means to take his brother out once and for all.

Although Hanseo has the determination, he lacks the confidence. He does a shabby job of injuring his brother, which is nowhere near a successful kill. He doesn't have the confidence to kill his own brother, which can be seen in his hesitation throughout their hunting scene. A part of him still considers Hanseok part of his family. It holds him back, which is why is he is unable to kill Hanseok that day.

His failure only makes his brother more aggravated. Hanseok is now aware that his puppet's strings are starting to become loose and thin, to the point of breaking. He reins his brother back in, using the tactics he's always used, and decides he needs to come out from the shadows.

Now, Hanseo might think that he's finally been tossed aside as a puppet. But deep down, he realizes that he's nowhere near safe yet, because he's under his brother's radar, and who knows what Hanseok might pull in retaliation for his stunt during their hunting trip. While Hanseok might talk sweetly and make him believe that he won't be harmed, both brothers know that can be changed in an instant.

Even with Seunghyuk on his side, Hanseo knows that he needs something else to grab on. His final straw.

Vincenzo Casanova Cassano.

When Mr. Consigliere intereferes with Hanseok's intitiation ceremony, Hanseo looks at him with awe. He knows that Vincenzo is the enemy of his brother, the enemy of him, but he needs to find a method to keep himself safe and free from Hanseok's iron control.

Seunghyuk's suggestion to meet Vincenzo is the lifeline that Hanseo grabs onto with his dear life. He won't let go after this.

While their first meeting is unsightly and particularly rude on Vincenzo's behalf, Hanseo most likely believes that Vincenzo is the only way he can be free. He even offers to deliver his brother into Vincenzo's hands, to which the mafia man says he doesn't interfere within family matters.

Even so, Hanseo does not give up. Instead, he becomes one of the moles that Vincenzo wisely utilizes. In some instances, his quick thinking got Vincenzo out of some sticky situations - particularly the situation with the INTERPOL. Hanseo's actions reflect his decision to follow Vincenzo and support him, which is something he may not have even done with Hanseok.

Hanseo's bond with Vincenzo is special. He regards him as a brother, someone he feels much more comfortable with than his actual brother. His bond with Vincenzo allows him to shrug off the strings that his brother placed on him, and he starts to grow out of his own shell. He begins to spread his own wings, and become more confident in his character.

When Jipuragi reunites with Wusang in court, Hanseo makes clear whose side he's on. Seated next to his "Vin hyung", he flaunts his relationship with the Italian lawyer to his associates and a very peeved Choi Myunghee. He's happy to be by his side, and he doesn't regret it one bit.

(I found this interaction between Vincenzo and Hanseo absolutely precious. They're just two brothers looking out for one another.)

To the very end, his loyalty towards Vincenzo never wavered. Even as Hanseok promised to spare Hanseo if he just followed his orders, Hanseo ignored his brother's potentially false words and retaliated - he's ready to be finally free. He knows that once he goes down this road, there's no turning back.

As Hanseo calmly says, he "will make a choice that [he] won't regret". (This is my favorite quote ever. Not even gonna lie to you.)

In his tussle with Hanseok, Chayoung becomes one of the injured. With quick thinking, Hanseo sacrifices himself and fights with Hanseok for control of his gun once more. He sets himself up as the sacrifice so his brother won't harm the other two, which is completely unlike his character thus far. Hanseo has always feared his brother and his abuse, but he now places himself in the way of bullet in order to protect Vincenzo and Chayoung.

In the end, he takes the bullet. He's free from his brother, but at what cost? His own life. It's an ending that Hanseo knows was coming.

Hanseo's character has always had to make very difficult decisions. Whether it was to follow his brother's orders, betray his brother, suck up his pride and plead to his brother for a second chance, follow Seunghyuk's advice, or even take to Vincenzo's side, Hanseo has had multiple decisions that affected his growth as a person. If Hanseo hadn't taken the leap of faith to follow Vincenzo and break free from his brother, he might've been stuck at the strings of his brother's doing for much longer. He might've died at his brother's hands as nothing more than a pawn waiting for its removal, rather than die in his attempt for freedom.

Hanseo is a character that endlessly struggled for what he wanted, and some might say he died in vain. He would probably disagree with that. While he still feared his brother, he didn't let that fear overtake him; he looked death in the eye as he was willing to sacrifice himself for his loved ones' sake. He no longer cowered in fear; he bravely stood for what he believed was right.

All in all, Jang Hanseo was not a character who died in vain. His story of redemption leaves behind a reminder to viewers that struggling may be necessary to move onto a life that is much more fulfilling; you don't always get the easy way out. Hanseo was scared, he was always scared of his brother, but he also summoned the courage to stand against his own brother, simply because he wanted to be free. He was strong enough to fight against his brother, rather than sit by and let him do what he wanted.

Hanseo didn't die with regrets. He was happy to finally be free.

#vincenzo #jang han seo #jang han seok #kwak dong yeon

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adaan-gcc · 3 years

Text

10 Tips to Write a More Compelling Copy to Attract Customers

The idea behind content marketing is to share informative content in a relevant way while conveying valuable information to your target audience. There are four forms of content- written text, audio, video, and images. Copywriting is a text meant for advertising or other forms of marketing, so it needs to evoke interest and grab attention. You can hire any digital marketing agency in Bahrain, Kuwait, Oman, Qatar, Dubai, U.A.E. and Saudi Arabia for content marketing, whether it is creating a new one or improving your businesses existing marketing efforts.

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How can you write the perfect copy?

Brands either outsource content marketing services or hire copywriters for their content team to write compelling copies for all their business needs. If your goal is to write a clear, concise copy, you can keep these tips in mind and train yourself to do that.

Determine your target audience: Decide who you are targeting. Get specific about your audience to analyse your copy from their perspective. If you have a broad audience, you can choose a subsection to focus on.

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Write in an active voice: “Bananas are adored by monkey’s” vs “Monkey’s adore bananas”. See the difference? Active voice conveys a strong, clear tone and is more concise.

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Focus on the customer: Instead of bragging about your business, convey how your customers would benefit from the brand.

Provide a solution: You need to show that your business can solve a problem and highlight the solution without being wordy.

Use analogies: To explain a complicated idea more easily, use parallels that the average person would understand to increase empathy.

Practice these tips next time you write a copy, and with time, you’ll steadily compel more people to take action. If you are looking for a digital marketing company in Bahrain, Kuwait, Oman, Qatar, Dubai, U.A.E. and Saudi Arabia to improve your content marketing strategy, you can get in touch with us.