#fuck holding writers and artists to impossible standards

[cordeliawhohung]

I saw a reblog of the anonymous ask someone sent you about using character ai, and someone responded saying something about how it’s disgusting to even ask that, which is a liiiitle harsh, but I digress.

The issue here, is that there are more people who don’t understand what AI is doing than people who do understand.

ChatGPT, Open AI, Character AI, Gemini, etc ALL steal from published works on the internet. It cannot be prevented, no one can stop it from happening.

I’m not an artist & I don’t publish my writing, but I do genuinely care about the artists and writers who are having their work stolen and receiving absolutely zero credit.

Please, please, please, do not put someone’s work into AI.

If you want to create a character, or a storyline & use character ai, by all means, go for it. But PLEASE, don’t disrespect or disregard these artists by feeding their work into an AI. It completely diminishes all of the hard work they put into their art.

oh boy, nothing like having a post you made in fucking january suddenly gain a fuck ton of attention lmao.

while i understand where you're coming from, i think you completely missed the main point of my response to that anon.

1: i literally explained that ai steals work to that anon. i said it's a pale imitation of what a real human would write. that it takes works that people put so much effort into and regurgitates it out. i told them not to put stuff into ai. i informed them, and i wasn't rude about it either. emotional, maybe, but i wasn't being rude.

2: the main issue i had with that anon, besides the ai grossness, was the insinuation that i'm not "creating enough content" for them. "the readers can interact more with the characters" comment from them really grinds my gears. even if ai didn't steal from creators, and it wasn't a godawful abomination, them wanting me to put my ideas and works into something that they can interact with that isn't through me completely disregards the entire purpose of me having this blog in the first place. which i ALSO explained to them. why would i want to put my work into a 3rd party source and not interact with my followers when that's literally my favorite part of creating? bonding and talking about the shit i put effort into? i had every right to be upset about that, and so does every other writer.

3: i have no control how people reblog my posts. so idk why you're coming in my inbox about what someone else reblogged, really, just to tell me everything that i've already explained to that anon. i know who you're talking about too, because they're a mutual of mine, and honestly, i agree with them. it's disgusting to suggest someone should put something into a third party source so they don't have to wait for me to "churn out works" or whatever. i know people aren't well informed. which is why i informed them on that post and left it at that. i also explained why it's frustrating to receive asks like that, to hopefully prevent them from doing that again.

also, while i have whoever is reading this, i'd also like to mention that the anon who sent that ai ask sent a response back (that i didn't bother to respond to because i wasn't trying to make this a thing) somewhat apologizing and said they asked me that because other blogs on tumblr were doing it too. don't do that. don't assume that just because some people are doing x thing, that means you can suggest it to someone else. it's rude, and comparing blogs is just frustrating in itself.

anyway. i will not be making this a thing. do not come into my inbox debating the ethics of ai or whatever, as i will simply not entertain it. (:

#core responds #fuck ai everything #fuck holding writers and artists to impossible standards #people have every right to be mad about it #and if they're a little rude about it i #really don't care

[ask-whitepearl-and-steven]

You've probably been asked this question before, but...how do you deal with self-doubt/impostor syndrome as a creator? I'm no artist, but I channel my creative energy into being a writer, and I have a ton of ideas that I want to explore in my writing, but I fear that if I don't utilize those ideas to their absolute fullest, I'd be letting down hundreds of people who like to read my work. Do you have any advice? I'd love to hear it. P.S. I love your WD!Steven comic.

OH! Ha, yes, imposter syndrome. Let’s... let’s talk about that. 

For those that don’t know, imposter syndrome is the phenomenon many creative people go through where they doubt their own abilities. Especially if a creator has gotten a lot of attention for their work, they begin to succumb to the pressure of being “good enough” to have “deserved” their audience. 

To put it simply, you feel like you’re an imposter that has somehow fooled people into believing they’re in for a ‘good’ story, and you will inevitably disappoint everyone when they figure out you’re not as ‘awesome’ or as ‘talented’ as they’ve been led to believe. 

It is self-doubt in its purest form, it is the fear of doing well and the fear of doing poorly all rolled into one bitter, stress-inducing onigiri. 

Let’s discuss self-doubt. I’m going to describe 3 things specifically to keep in mind for this. 

1) The Horizon Goalpost

You may have already read this in my other post about unrealistic goals. 

Basically this boils down to: Don’t set unrealistic goals. 

Utilizing Your Ideas To The Fullest is a wholly unrealistic goal to have, to be honest. No single idea can ever be ‘fully’ utilized because the concept will be different for everyone. Everyone will have a different idea of what the perfect, plot will look like. People literally argue about how shows ‘should’ have ended all day and all night. 

Saying ‘I need to write this story perfectly otherwise it’s garbage!’ is the same as looking at the sun on the horizon and treating it like a finish line.

We know the sun isn’t AT the horizon, and it is impossible to arrive at the horizon in the first place because it only exists as the limit of our vision... your story is like that. You do have limits on how much potential you can see. But that doesn’t mean your goal should be to catch up to it. Take it one step at a time. Many people don’t even START their story, let alone finish it. Set achievable goals. 

2) The Man Behind The Curtain

The second fallacy of self-doubt is the idea that anyone is at all competent. 

It’s false. No one knows what the fuck they’re doing - you included. That’s just how the world is.

Look, I’ll give you an example. Maybe when you were little you would go to your local grocery store and think ‘wow, everything is organized and works so well! The cashiers do their thing, the self-check-out is working... everything is running like a well-oiled machine!’ 

Then you grow up, work in retail and realize that everything except the storefront is held together with chewing gum and cello-tape. No one is ever 100% adequate, at least one person is having a mental breakdown every day, and everything is five minutes away from collapsing like a house of cards - all the while customers are none the wiser. 

This holds true for practically EVERYONE and EVERYTHING.

Sure, we may our good days where we function relatively well. But this is not a held constant and on average, most of us are struggling to maintain the illusion of Everything Is Fine while simultaneously worrying that we’re the only ones that do this. 

On average, we are all incompetent. The people that succeeded are not always better - sometimes they were just lucky enough to be in the right place at the right time. For many of them, that moment happened when they were born to wealthy parents. For some, it was just about utilizing their 6 degrees of separation right. 

The truth is, there are THOUSANDS of people who COULD have been Beyonce, or JK Rowling, or whoever. The popular are not inherently more talented. They just happened to have the spotlight on them. 

3) Schrodinger’s Fanbase

The third thing to keep in mind when you write, or draw, or compose, or CREATE - is that your audience is not a set auditorium of people. 

And statistically, the beginning of your story is always going to be the point at which you have the largest number of potential fans. 

When you START your story, you only have to worry about satisfying people about the premise. You get them hooked and they’re more or less appeased - because the rest of the story is in their expectations. It’s in their head, and they will make up whatever they need to keep them happy. At that point, your story is still 90% their story (or whatever they think your story will be). 

The further you go into your story, the more you will narrow down your fanbase. People who expected it to take a different turn in chapter 2 will drop off. Then people who wanted something specific to happen in chapter 3 (but it didn’t) will also leave. 

And you know what? THAT’S FINE. That’s the normal way stories go. You cannot appease everyone at the same time - you will always have people who will be dissatisfied with the way you decided to do things. 

The important bit is - that doesn’t mean you are a worse writer. It just means that your fanbase organically shifts and expands as necessary. Your story will speak to different people at different stages. Let them enjoy it or not enjoy it. You cannot force someone to like something - but you CAN form connections to those people that do like it! 

In other words - let the fanbase exist as its own separate ecosystem, and don’t depend on it. It will morph and evolve as you write, and you and your fans will find each other and drift away as necessary. 

I also encourage other people - fans specifically - to allow consider this approach! 

I know we all love to kvetch, and yeah, it’s good sometimes to let off steam... But I don’t think hyperfocusing on something you dislike is healthy. If a story doesn’t satisfy you, don’t waste time forming an anti-fandom for it. Don’t fuel more effort and time into something that makes you unhappy. Just... go find something that you DO enjoy! Give THAT your time and attention!

Anyway, that’s just the way I think about it. Maybe it’s because I’ve been around long enough to know that pretty much every author and artist suffers from self-doubt and it’d be silly to hold myself to unrealistic standards that no one else is able to meet?

Hope that helps!

#oyekanmiwork #storytelling #imposter syndrome #self-doubt #how to

[blacksunscorpio]

The Planets, Elevated

Sun

As the Most Elevated indicates a drive to express one’s creative essence and core ego values before the world. This individual will shine amongst their circle of peers. This person’s 15 minutes of fame can extend to a lifetime of fame in one area of life or another. The world is a stage they play on. They were put here on earth to display their creative gifts and talents. They tend to be leaders. Tend to be worshipped. Popular. If the elevated planet is conjunct the Midheaven, this is a strong indicator of celebrity. Martin Luther King had his Sun in Capricorn as the Zenith of his chart. Albert Einstein’s Sun was his most elevated as well.

Moon

As the Most Elevated is more inverted than the Sun. Whereas those born with the Sun highest in the chart can feel an urge toward leadership or expressing their egoic and creative impulses in a public way, those with the Moon highest are more often drawn to project their personality or their emotions into the spotlight. Many actors and musicians have this placement. Individuals with the Moon at the Zenith of their chart can become well-known for their nurturing talents. Their emotions. Their moods and the creativity surrounding them. Their temperament and what they create with them/ expressing their emotions to the public can gain them notoriety. The late John Lennon of Beatles fame had his Moon as his most elevated. Academy Award winner, Meryl Streep’s most elevated planet is the moon as well.

Mercury

As the Most Elevated indicates a native with an urge to project one’s ideas or verbal skills before the world. They will find many ways to get their voices out there or “broadcasted to the public”. The sign the Planet is in indicates how this will be done. This individual will be renowned for their linguistic, mental, and/or intellectual talents. Could become well known for their teaching abilities, writing abilities, communications abilities, or public relation abilities. Writer Sylvia Plath had Mercury in intense Scorpio as the highest planet in her chart.  

Venus

As the most elevated indicates a desire to project beauty and/or harmony in some way before the public. Widely desired/admired.  Marilyn Monroe was born with Venus as her highest planet, and she became virtually synonymous with mainstream ideals of beauty. They will be the Models, the creatives, The fashionistas, the person with a “nice girl or nice guy” persona.  This placement often leads to occupations directly or indirectly involved with aesthetics and design. Tom Hanks, widely considered as Hollywood’s nicest leading man [A Beautiful Day in the Neighborhood, anyone?] has Venus as his most elevated. Marilyn Monroe and David Bowie both did as well.

Mars

As the most elevated Indicates a drive to project energy and strength before the world. Muhammed Ali had Mars as his most elevated planet. Ruthless ambition. Renowned undefeated heavyweight champion in boxing. Martial arts ruled his life and where he received the most notoriety. Definitely a feisty placement as well as one that will make the native hard to ignore. This placement indicates a leader. The types to set shit off. The type to be the “boss” in whatever field of work they choose. Spearhead some sort of militant movement. The ‘Gangster” placement. Very often seen in the charts of those who take part in sports. Franklin D. Roosevelt had Mars as his most elevated planet and he was the driving for behind America’s decision to partake in WWII. Founding father of the Mafia Lucky Luciano also had Mars at the zenith of his chart.

Jupiter

As the most elevated Indicates there is confidence about matters of career or dealings with the public. As a result, this is one of the leading chart indicators of popularity and success, as well as general “good luck,”. Global awareness, travel, teaching, and philosophical/spiritual matters will be their forte. The “prophet” or “guru” aspect. Someone who’s calling in life may involve lots of travel or they can be a “citizen of the world”. Angelina Jolie has Jupiter at the highest point in her chart and not only was her film career a huge success, but she also became a bit of a 2nd Mother Teresa, traveling internationally to adopt children, and doing humanitarian work worldwide. There is also an interest in different spiritual teachings [i.e the Cambodian prayer tattoo on her left shoulder blade.]  This is one of the hardest-hitting horoscopic indicators of popularity and success, as well as general “fortune/luck” in life. Basketball heavyweight Michael Jordan has Jupiter at the Zenith of his chart as does Kim Kardashian. This is also an indicator of one who can become famous or well known for their ideas/thoughts on spirituality. If Jupiter is in Virgo, the native can become renowned for their writings on esoteric or spiritual matters.

Saturn

As the most elevated Like Jupiter, Saturn near the top of one’s chart can show considerable success and prominence in one’s life. But unlike Jupiter, this usually involves far more work and a few tough building blocks along the way. There’s a “late bloomer” quality to the lives of these natives. Many instances, they can experience great struggle in building their career and reputation — that constant ‘between a rock and a hard place”. Yet these people often live to see great rewards and prestige as a result of said hard work. The types to be in inevitable positions of authority in whatever they do but also the types to hold themselves to impossible standards. They must be the best. They will often become well known/ be in positions that involve structure. For example, Queen Elizabeth has this placement, I don’t know a life more structured than the life of a monarch. Spanish artist Picasso was born with Saturn in Taurus as his highest planet; he was subject to enormous criticism regarding his art early on, but eventually found prosperity and fame as a result of his discipline and productivity. Bill Clinton has Saturn at his Zenith and became the leader of the free world. Jazz musician Louis Armstrong rose from an intensely difficult childhood in Louisiana to become a pioneering artist admired by audiences all over the world.

Uranus

As the most elevated indicates a native who possesses a fiercely independent streak and a desire to pursue uniquely personal or unconventional life paths. The weirdo who becomes famous for being.. well, a weirdo. Needless to say, this generally makes it difficult for these people to adapt to rigid routines and structured environments, and in terms of career, they like to have/need as long a leash as possible. They think outside the box and as a result, can gain prestige for doing just that. The “fuck it I do what I want” aspect. This attitude may make them famous and even admired. Geniuses. Actor Steve McQueen had Uranus in Aries as his highest planet, and virtually became Hollywood’s poster boy for the ‘Rebel’ archetype. He also spent time in reform school as an adolescent. The late great Nipsey Hussle had Uranus at the Zenith of his chart and he lived his life in unapologetic opposition to the law being part of the Rolling 60′s Crip gang. You can see this rebel spirit in many of his songs that went platinum. Many Astronauts including Edgar Mitchell have this placement. Those with Uranus as their most elevated see “beyond”. This also indicates the maverick spirit of innovation. This placement is often connected to technology or the media [remember, Uranus has an ‘electric’ energy to it]. A prime example is Apple computer founder Steve Jobs who had Jupiter and Uranus in conjunction as his highest point.

Neptune

As the most elevated indicates a spirit of “reaching for the stars”. I see this planet most elevated in the charts of those renowned for their artistic talents. ESPECIALLY in music and the arts. Many actors have this placement, which is fitting considering Neptune is the planet of dreams/fantasy, and actors are paid to pretend to be someone else. Famous for the mask they wear. Powerful spiritual impulses. An inspiring individual. Can become famous/well known for their idealism or the spiritual messages they send out to the world. When well aspected or unafflicted it can indicate an individual who can become revered for their fantastical ideas. Walt Disney’s most elevated planet was Neptune and I feel many of us can agree that his classic works of fantasy shaped our childhoods. His billion-dollar empire still stands today decades after his death. Elevated Neptunian Bruce Lee not only brought martial arts to the attention of thousands but also expounded on its spiritual philosophy in writings and interviews. He even created Jeet Kune Do, a martial art deeply rooted in spirituality, wrote a book about it, too. 44th President Barack Obama has Neptune as his most elevated planet and his campaign slogan “hope” gave many just that during the 2008 election. An affliction to this most elevated planet can still make one very well known but not necessarily for the best reasons.  When afflicted it can be a dangerous placement and one can suffer or make others suffer from fanatical or delusional teachings. Cult leader Jim Jones had Neptune has his most elevated and his spiritual teachings resulted in the death of hundreds of naive and innocent people due to drugged [Neptune] kool-aid.

Pluto

As the most elevated indicates that an individual’s career or sense of “calling” will be involved with any or all 8th house dealings. Sexuality, death, transformation, secrets, the occult. Megan Fox has Pluto at the highest degree in her chart, though she is a Taurus, her MC is in Scorpio and conjunct her Pluto which is the most elevated. She comes off an undeniable Sex [Plutonic/8th house] symbol. Same for the late great musician Prince, who was very public about sexuality. Vladimir Putin, President of Russia has his Pluto closest to his MC and he was a KGB spy. This is definitely a placement of someone with considerable power. Not one to be underestimated. Capable of covert manipulation and may/can become famous for it. They may also become well known for dealing with dark matters. Jack Kerouac, who celebrated the bohemian “underworld” had his Pluto elevated. Mary Shelly, author of Frankenstein became renowned for a book that had to do with a monster made of dead bodies transformed through supernatural means. It is now one of the first books parents will read to their children on Halloween.

Honorable Mentions

There’s been an ongoing discourse about Asteroids/Hypothetical Points being considered “elevated.” It’s a topic of debate within the astrological community. However, if we are to entertain them, this is what they can mean:

Chiron

As the most elevated indicates a calling in life dealing with healing. Dealing with the pain of others and making things better for them. A teacher that is known for helping others find their way.

Lilith

As the most elevated indicates an individual feared and admired for their rebellious sexual spirit. The seductress/seducer. The individual can become loved or hated for their ability to put their wily charms on both men and women. Audrey Hepburn had Lilith at the zenith of her chart, quite close to Saturn near the MC.

Juno

As the most elevated planet may become famous for their marriages or whom they are married to.

Vesta

Famous for their devotion or well known for becoming homemakers.

Pallas

As the most elevated can indicate someone known for their wisdom. How they temper their instincts with discretion.

#For the multitude in my inbox inquiring #Hope this helps ❤ #Elevated planet #astrology tips #astrology #bruja tips #sun elevated planet #Moon elevated planet #mercury elevated planet #venus elevated planet #mars elevated planet #jupiter elevated planet #saturn elevated planet #uranus elevated planet #Neptune elevated planet #pluto elevated planet #Chiron #lilith #juno #vesta #pallas #my writing #witchblr

[nightswithkookmin]

Imo there is enough to support the possibility of a romantic relationship, but you are writing full on narratives with impossible specificity. You know what confirmation bias is but some young impressionable people dont yet . Forgive me but misleading with ' alt facts' can hurt someone even if you dont mean it. I think you are a good person not looking to hurt anyone. But the way you postulate without any evidence makes your actions a little but like those of a charlatan. Peace and kindness

All these kind words you spew...

It feels more like an advice than a question so I'm not sure how to respond to it...

Let me just say thank you? I never quite understood what the brouhaha was about with my posts but after talking to a few people, 'on the other side' lol and reading your Ask, I think I'm starting to get a better sense of what the problem is.

Something about young impressionable minds or people?

Let the council of elders know, those are not my audience please. I cater to a much more mature audience- at least so far. The people that I interact with and engage with on my posts on and off Tumblr are very mature and not impressionable at all.

They are People with brains who can tell an opinion from fact and can engage in deep complex controversial conversations without throwing up, shedding tears or cussing through to the heavens.

If there are 'impressionable people' reading my blogs- they do so at their own risk. If you know any such people or they run to you with my theories kindly point out to them it's just theory because that's what my opinions are.

I think the best thing you can do is to advice such people to grow up if they are going to sit at the adult table or not read my posts at all. I think you need to learn to hold the right people accountable for their actions.

The best I can do in this case- to hold myself accountable, is to put up a disclaimer on my posts to let people know what it is that they are reading- something I do quite often. But I will make conscious efforts to put up those disclaimers each time henceforth. Thank you.

That I write full on narratives with impossible specificity:

Is this Latin for, 'you write fiction get the fuck outta here?' Chilee.

I don't even know what you mean by this exactly so I may not be able to respond to it to your satisfaction. Bare with me.

So what if I write fiction? What is wrong with writing fiction? Do you hate fiction writers? I don't get what the hate is with these complaints honestly. Do you want me to put up a disclaimer stating my blogs are fiction? Would that help? I would glady do it.

If it helps you sleep at night think of my blogs as fiction- a rose by any other name. I've been keeping up with Shakespeare. Lol.

I don't think it's that deep. Listen, you gotta understand that just because we both 'ship' Jikook don't mean we are on the same team...

Most alt shippers I know and who read my posts and engage with it are not even Army to begin with, for your information. They could care less about these shipping politics of yours. Have you thought about that?

Some simply ship JK and JM and support them because they believe they are members of the LGBTQ plus community not because they are part of BTS.

There are different communities out there who are also into Jikook- for very different reasons. You gotta respect that.

To you, Jikook is just a ship within BTS that may or may not be real, but to some of us they have very much outgrown that description...

They are a brand of their own, a power couple and members of the LGBTQ plus community- Gay Icons extraordinaire. I think we take very different stock in Jikook. So stop trying to fit us all into one box.

It's disrespectful to try and control the way that people perceive their OTP and support them. Jikook don't just belong to Army Jokers, they belong to different communities outside Army. Are you aware of that?

And please don't confuse the intersect. I am an alt-shipper yes but I just so happen to be an Army too. But if I wasn't an Army, I'd still pretty much 'ship' and support Jikook- make no mistake. There are quite a few of us running around these streets, you know?

So you have every right to want to gatekeep your Army Jikook- but you have to do that without infringing on other rights of other 'Jikook communities.'

Throughout my blogs I have tried to shed light on what altshipping is because I thought it would help bridge the gap but clearly that hasn't worked. Sigh.

Misleading alt facts

Do you not know what it means or you are just being ironic?👀

Why is it ok for you to believe and proclaim that JK and BigHit lied about JK dating the Tattoo artist but it's not ok for me to believe JK is telling the truth when he says he didn't date her and that BigHit saw an opportunity to kill two birds with one stone- hence why they didn't press charges against the shop for breach of privacy like they had said they were going to do. Instead, they had asked the shop to keep calm till the scandal died down on it's own?

You start your piece off with the whole, 'there is enough evidence to support a romantic relationship' between JK and the tattoo shop lady- I assume.

For context, this Ask by this anon is in response to my recent post/ answer on the tattoo girl scandal where the topic of discussion was on BigHit, JK and the tattoo artist and not Jikook perse.

A statement that is in direct conflict with JK's statement, BigHit's and the lady in questions, all denying that there was a romantic relationship between her and Jungkook- and somehow I am misleading who- who now with my theory??? Chileee.

Do you see the problem here? Double standards- the hallmark of bigotry. Lmho. You are literally doing the very thing you are accusing me of. Making confident assertions and claiming you know more about JK and the Lady's relationship and even have 'enough evidence' contrary to BigHit, JK and the Tattoo artist's statements denying the rumors- at least when I theorize I admit I'm being delusional. What's your excuse? When you say charlatan are you referring to yourself? You must be. Lmho.

Now I'm confident in my comprehension skills and intelligent enough to know when you make an assertion like this- it is your opinion and you are just stating your opinion. If you are not then honey you'd be opening yourself up to some serious litigation... goodluck I guess. Lol.

You are allowed to form an opinion about a topic. There is nothing wrong with that. If to you, JK and this person dated that is fine. I am not going to cyber bully you, stalk you, throw slurs at you, harrass you, dox you, slid into people's Dms to spread hate and lies about you just because I don't agree with your opinion. And for the record, I don't agree with your opinion. Hehehehe.

I have stated my opinion on the matter. I said I think JK and this person did hang out, go on dates but that there was no romantic sexual relationship between them because I believe that would have had much serious consequences and effects on Jikooks dynamics no matter how much they tried to keep a cool facade. Whoever felt cheated on would have acted more insecure than usual post the incident- how does this make me a charlatan? Are you saying it's wrong it have an opinion? Chileee.

Now if you can produce 'evidence' of them having sex or even kissing, then I will gladly change my mind on the topic and not sweat it.

Jikook have done way worse questionable things in 7 good years and people still don't believe they are dating. Jk hangs out with a female friend a few times in less than a month and suddenly he is dating her? Lmho.

You don't need me to tell you people are more eager to accept a heterosexual relationship than wrap their heads around the fact that two male idols are gay and in a gay relationship with eachother. Don't you just love it when homophobia meets heteronormativity and stinks? I do. Lol.

I mean this is a fandom that thinks JK is 'too touchy' and doesn't respect his boundaries- they practically swear JK is cheating on Jimin with every member any time he hugs, kisses, wings at within the group. You think they will be 'objective' about JK hanging out with a girl? Even if it happened once?

You said something about confirmation bias.... I will not touch it. Lmho.

This is not the first time JK has gone on a date with a girl. This is not the first time he has 'dated a girl', he has hand girls on his laps or whatever- what is a back hug? I think people need to stop defining Jikook's lives by their own standards. If a backhug is intimate to you. Thats you. If you think a grown ass man cannot hang out with a female friend, that's equally you.

You think if he thought it was inappropriate and risky he would do it 'in public?' Get with Kpop Idol dating culture. Lmho.

Do you know the lengths they go through to keep their relationships a secret? Especially non celebrity girlfriends? Chen from EXO got married and where is his wife? They keep their flings tighter than Trump keeps his toupee on his head. Lol.

They hide them not out of shame but out of love and the need to protect their loved ones. These idols have family members who have their restaurants and businesses shut down because they want to keep their privacy.

You think JungKook's girlfriend would- on her own, issue a statement regarding a scandal that Jungkook's agency had specifically directed her and her shop to keep quiet about and lay low till it blew away on its own? And later, started liking couple posts about her and JK? If they were dating, certainly JK would have dumped her after that move. In my opinion.

You think JK would let his fandom drag the person he is in a relationship with to the extent she loses her Job- when in his Itaewon gay pub scandal BigHit referred to the issue as his private affair immediately it happened? They could have kept the same energy with her, no?

They handled his gay pub scandal much better, with much respect and consideration for his privacy- if he dated her sorry but she mustn't have meant much to him at all. And if I were her I would have dumped him for that shit and not stay liking couple posts about us. Damn- But do you.

Taehyung was in a scandal with a girl too- did you see her liking posts and shit and going out of her way to do the most? Did you see how BigHit handled that scandal?

Nothing wrong if JK is 'dating' her or had 'dated' her and whatever person he decides he wants to be in a relationship with I will support him- that's why I support Jikook.

But your opinion is equally valid my guy. Just don't call me a charlatan for mine. You believe they dated, I believe they didn't- and to your impressionable young minds, I hope you are not selling them anything contrary to BigHit and JK's statement. That would be very irresponsible of you. Lol.

What else did you say?

Oh postulating without evidence...

Next time I write a theory based on my observations about Jikook, remind me to break off a piece of my brain and attach it to it- I guess that way people would finally understand when I say things like 'I think' 'in my opinion' 'I feel' 'I believe' that these are just my thoughts and opinions and not facts.

Let me leave you with this:

Peace and kindness. Namaste.

Signed,

GOLDY.

[anhed-nia]

BLOGTOBER 10/4/2020: SOCIETY

Without having a survey to back me up, I feel comfortable asserting that as a horror fan, you go through different phases with SOCIETY. It’s a basic fact of life, and yet it morphs and mutates underneath you, shocking you anew just when you think you’ve got a grip on it. You never forget your first time, because there is simply nothing like it. Then, after you get over the initial shock of its patented brand of body horror, you start to take it for granted; it's so broad and monolithic that it becomes something like the Grand Canyon--when it’s not right there in front of you, you begin to experience it more iconically, as part of the wallpaper of existence, rather than an in-your-face confrontation with the limits of experience. Then, you revisit it every few years (or months, depending on what sort of person you are), and the prophylactic layer that your brain has wrapped around your memories of it--the one that allows you to think of SOCIETY as a fun, wacky cheap thrill--begins to crumble, and you realize all over again how iconoclastically vile it is. Wherever you happen to be at, with this inimitable genre landmark, you'd be hard pressed to deny that it earns its royal status among horror movies, just for being so uniquely fucked up.

Filmmaker Brian Yuzna is best known as the co-creator of the indispensable RE-ANIMATOR (or as the co-writer of HONEY, I SHRUNK THE KIDS...depending on what sort of person you are, again), itself a milestone achievement in the blending of sex and gore that so characterized '80s horror production. That film clearly brought out the best in Yuzna and frequent collaborator Stuart Gordon (also of HONEY, I SHRUNK THE KIDS fame...among other things), but it's interesting to see how they operate apart, to understand the unique ingredients that each filmmaker brought to the more perfect union of their classic Lovecraft adaptation. Gordon skewed darker and more intellectual, as evidenced by the end of his career with the shattering mob thriller KING OF THE ANTS, the disturbing true crime drama STUCK, and the Mamet-penned EDMOND. Yuzna, for his part, is almost anti-intellectual, preferring to cook up blackly comic, semi-pornographic nightmares like his two increasingly horny RE-ANIMATOR sequels, the terminal S&M fantasy RETURN OF THE LIVING DEAD 3, and the shamelessly hokey comic book adaptation FAUST: LOVE OF THE DAMNED. Yuzna's lack of shame is really his defining feature as an artist, and nowhere is this more obvious than in his directorial debut and signature masterpiece, SOCIETY.

Salvador Dali's "The Great Masturbator," a chief visual inspiration for SOCIETY.

Yuzna was able to leverage the success of RE-ANIMATOR to lock in two directorial opportunities, BRIDE OF RE-ANIMATOR, and a bizarre body horror exercise about a Beverly Hills orphan who discovers that not only are his adoptive family from a different bloodline, but they're not even from the same species. That both pictures employed the writing team of Woody Keith and Rick Fry gives you a little taste of what to expect from SOCIETY, but to be frank, the latter threatens to make the former look like a very special episode of ER; "overkill" barely begins to describe SOCIETY’s ambitious assault on the human body. In a recent interview, the philipino-american director giggles perversely, "I think my friends were a little embarrassed for me (when they saw SOCIETY)," and this sound bite reminded me that the last, most important ingredient that Yuzna contributes to any project is unabashed joy. It's a little hard to imagine stomaching SOCIETY without it.

In this unusual scene from the class struggle in Beverly Hills, Billy Warlock (son of HALLOWEEN 2's Michael Myers, Dick Warlock) plays Bill Whitney, a rich, handsome, athletic high school student with a heavy duty anxiety disorder. Although he appears to have it all, he is plagued by nightmares and hallucinations, reflecting suspicions that the family that spoils him is also out to get him. Perhaps this is all understandable, though. Bill is under a lot of pressure these days, with his parents devoting all of their attention to his sister's coming out party, and his narcissistic girlfriend pushing him to ingratiate himself to the assholes higher up the social ladder; it's enough to make any teenager feel alienated and insecure. But, do these garden variety anxieties account for his visions of his sister's body deforming itself unnaturally, or the dubious evidence he finds that her debutante ball involves incestuous orgies and human sacrifice? Is Bill simply crumbling under the strain of societal expectations, or is the friction with his shrink, his parents, and his peers all symptomatic of an elaborate plot against him by elites who are truly less than human?

I can’t believe they use this cheapo blanket trick MORE THAN ONCE in a movie that is famous for its unforgettable special effects, and I guess I kind of love it.

In case I haven't made the answer abundantly obvious, I'll add that while SOCIETY is the purest expression of Yuzna-ness on the market, it has an important co-author in Screaming Mad George. The eccentric japanese FX master, whose name is apparently an amalgamation of Mad Magazine, Screamin' Jay Hawkins, and...George, has produced some of horror's most outrageous makeup and visual effects, mostly for Yuzna, many of them in SOCIETY. If you've seen even a trailer for Alex Winter's 1993 oddity FREAKED--which is itself a grossout criticism of American social standards--then you are already familiar with SMG's trademark style. He specializes in twisted perversions of the human form that would make a cenobite blush, driven by a penchant for puns, and influenced equally by THE THING's Rob Botin, and Big Daddy Roth’s Rat Fink style. Screaming Mad George is instrumental in articulating Yuzna's premise: that behind the shimmering veneer of success and sophistication, the upper class are just a bunch of degenerates, who literally degenerate into something unimaginable behind closed doors. It's impossible to imagine SOCIETY without his sinuous, slithering monstrosities, or his indescribable realization of their most important social event, "the shunt".

One of many great images from a zine I wish I owned, on SMG’s Facebook page.

It's easy to get overwhelmed by SOCIETY's visual impact, but its message is just as potent now as it was at the end of the Reagan era: Rich people are not only different from the rest of us, but in fact, they aren't even human. Writers Keith and Fry make an interesting choice of hero to help put this across. A lazier writer would have selected any archetype from the Freaks and Geeks set to create an easy Us vs Them tension, but SOCIETY is led by a promising young man who, for reasons he himself does not yet understand, is just not "the right kind of people". Bill appears to have every advantage in life, including a level of popularity that wins him presidency of the debate team despite his nerdier rival’s superior prowess--and yet, he suffers from a stigmatizing psychiatric disorder that is the natural result of feeling indefinably different from one's peers, and intuiting that, as a consequence, they don't even really like you. The shallow jock with deep-seated emotional problems is a much more interesting protagonist for this kind of social allegory than the charismatic outcasts that you get in movies like THE FACULTY and DISTURBING BEHAVIOR, for whom the idea that the elites could be aliens is just de rigueur.

It's worth noting that this complexity of character extends to Bill's love interest, sympathetic society girl Clarissa Carlyn (Playboy Playmate Devin DeVasquez). At first, she seems villainously eager to introduce Bill to the many splendors of "the shunting", but as the plot against him mounts to its horrifying conclusion, she defects. There appears to be a reason for this, although honestly, this is the most difficult part of SOCIETY for me to wrap my head around. Clarissa lives as an essentially independent adult, only burdened by her mother (Pamela Matheson), a possibly brain damaged hulk who lurks in and out of various scenes just to be disturbing, always announced by some toots on a tuba, before eventually siding with our heroes. I'm really not sure what's supposed to be going on in this part of the movie, except that this character contributes to a number of distasteful jokes. But, I hold on to the idea that by virtue of whatever disorder Mrs. Carlyn suffers from, she serves the purpose of priming Clarissa to rebel, since her very existence makes her daughter something of a societal outcast herself. That's the best I can do.

In any case, everyone working on SOCIETY commits completely, with Mrs. Carlyn being no exception. The movie's climactic orgy of the damned is an all hands on deck operation, just as reliant on Screaming Mad George's artistic abilities as it is on the actors' responsibility to make you believe that this fucked up shit is really happening. There's a visceral patina of sleaze spread over the entire film, dripping from the way that characters talk to and touch each other, flirting and flaunting their bodies in a distinctly unseemly fashion, even when it stays within the realm of mundane reality. This constant sinister, insinuating attitude on the part of the whole cast lays the foundation for what is to come, and while I appreciate everybody's hard work, my favorite performance is from an actor who only comes in at the very end: David Wiley as society king Judge Carter. Wiley's career consisted almost exclusively of the most ordinary sort of television work, which makes his outrageous turn in this alien porno flick all the more respectable. While other characters transition from suspicious pod people to full-on mutated perverts, Judge Carter has to show up just for the finale, establish his authority, rip off his clothes, and plunge straight into a sea of slime, happily fisting his way through the cast. Wiley meets this challenge with aplomb, making of himself a hybrid of Robert Englund and Gene Hackman, perfectly embodying the movie's joyful absurdity, and never betraying the slightest hint of embarrassment. 

SOCIETY is very much a don't-look-down type of endeavor, a fairy that could expire at the slightest lapse in faith. There's a visual pun in the last act that's so gross, so offensive, so frankly idiotic, that I don't have the courage to describe it; my whole body tenses up when I know this scene is coming, as if it were the meat hook scene in TEXAS CHAIN SAW MASSACRE or the brutal rape in the middle of SHOWGIRLS. I don't like it, but at the same time, I respect Yuzna's unhesitating commitment to show it to me, and I think that actor Charles Lucia should get some kind of award for shouldering the burden so valiantly. SOCIETY is a daring movie in the truest sense, a film with more balls than brains, and in this it exposes the limitation of intelligence and taste, and the real need for pure transgression, in producing art of any real value. You might argue with me about whether Yuzna's masturbatory magnum opus really qualifies as art, but to respond to that, I'll quote the great transgressor Alejandro Jodorowsky: "If you are great, EL TOPO is a great picture. If you are limited, EL TOPO is limited." So stick that in your shunt and smoke it.

PS Here, have this stuck in your head for the rest of your life.

#blogtober #2020 #society #brian yuzna #screaming mad george #woody keith #rick fry #billy warlock #Keith Walley #devin devasquez #david wiley #horror #black comedy #satire #body horror #social criticism

[lightsaroundyourvanity]

Do you have any bumbleby fic recs you wouldn’t mind sharing? Thanks!

yeah totally!!

a classic place to start (if you haven’t already!!) is the oeuvres of @twelveclara and @pugoata, who are both extremely talented, prolific fic writers. margaret’s current project is a western called gunslinger that i’m catching up on rn and it’s so immersive and cool. sheriff yang “i never miss” xiao long is so fckn cool. and i still think about erin’s rock star au (if it’s not living if it’s not with you) with bonus schneekos!!) all the flippin’ time lol.

some more stuff i like:

skewed by lakes and seas by @thecousinsdangereux (26.2k, T. post v6 atlas fic and my personal GOLD STANDARD for all things found family in rwby. the arcade date the bees go on is the stuff of legend…… )

can’t steal the love that we’re born to find by @qualiteablogger (101.3k, M. childhood friends blake and yang are pulled apart by trauma and then brought back together during the trial of adam taurus. i read this fic over a series of plane and train rides this fall and it fucking destroyed me. incredible imagery, so much emotion.)

lucky number (come and take my hand) by @neurolingual (52.2k, M. tinder au!! blake and yang meet on tinder and slowburn their way into each other’s hearts. so, so much lovely metaphor and pining; one of my fave au yangs to date. note: completion is potentially on hold.)

at least it was here by usoverlooked (69.3k, T. a good old fashioned college au with a lot of fun group moments and wr/arkos povs. i sort of think of this as like the perfect rwby starter fic. it was the first one i ever read!!)

much sweeter than it ought to be by @perpetuallyfive (168.3k, M. a dishonoured au!! i have not actually played this game, but p5 worldbuilds with such grace and care that it really never matters. and yes, lots of good bee stuff but the sister bond between ruby & yang and some stellar qrow & yang povs really push me over the edge with this one. WIP.)

the weight of memory by @blakebellafuckingdonna (53.8k, M. hhhhh this fic. impossibly sexy and romantic. makes me believe in soulmates (or at least soulmates aus). their first kiss……….. god, please just read it!)

different than we used to be by  @empressofedge (2.1k, G. v7c5 missing scene. blake and yang talk about how they are so much more than teammates. perfect longing, great characterization.)

we are falling but not alone by @fiddleabout (42.3k, T. this is a series of oneshots that makes up one big leverage au – which if you haven’t seen the show (u should see the show) is about con artists taking on capitalism and becoming a family. witty, spot on, dynamic writing. potentially ongoing but can be read as is~)

i’m in love, i’m alive, oh i’m burning by bloodflood (6.3k, N/R. a moodier blake than i am used to reading but a great one!! more importantly this is a softball au – which i have a real weakness for akgdhfg. they’re in love at first sight and so am i with this fic. WIP.)

before something breaks (that cannot be fixed) by @patchodraws (1.8k, G. poetic, angsty piece where blake notices the physical toll yang’s semblance takes on her. really pretty oneshot – i’m so soft for blake’s concern in this piece

i also wrote a short rec list here a few months ago that has some more stuff to check out!! happy reading, b (ﾉ◕ヮ◕)ﾉ*:･ﾟ✧

#bumbleby #fic rec #Anonymous #asks

[not-the-blue]

Superman’s Pal Jimmy Olsen (2019) - review

this pretty much wrote itself. contains much, much negativity about Matt Fraction and Steve Lieber’s Superman’s Pal Jimmy Olsen, be warned! 

An artist - I honestly don’t remember who - once told me, “be careful when you make art about making art. You can easily get stuck in a cycle of cynical meta and your work will have no substance.” - and he was right. It’s easy to get lost in your feelings about creation, and end up making something that’s basically feeding on itself, with nothing to hold it up as a work of art that’s actually about something. 

Few have done this right. Kelsey’s Wroten’s Cannonball comes to mind, as does Kieron Gillen and Jamie McKelvie’s The Wicked And The Divine. Many have done this wrong - think every parody worthy “I’m a cynic who drinks whiskey, fucks models and writes the Great American Novel” type. Matt Fraction and Steve Lieber’s Superman’s Pal Jimmy Olsen manages to get even worse than that, because it’s not even trying to sound deep. It’s above sounding deep. It’s above being anything. 

The story - if it can even be called that - follows, as the title suggests, Jimmy Olsen, who’s friends with Superman (Clark Kent, but you didn’t hear it from me). The red headed, butt headed menace has a knack for shenanigans, and he’s sometimes a dick. That’s pretty much everything the reader gets to know about the main character. That, and his apparently problematic family legacy, from before Metropolis was even called Metropolis. As of issue #6, the two plot threads - the modern adventures of Jimmy and the life story of his “great-great-grand-something” Joachim Olsson - have not yet been connected. I’m sure they will. I’m sure it’ll be very clever. 

Jimmy Olsen gets in trouble. Jimmy Olsen flees from Metropolis. Jimmy Olsen fakes his death. There’s a conspiracy - I think - and Batman shows up at some point, but if there’s an actual plot - a story that develops and follows some kind of thread to a satisfying, earned conclusion - it’s lost between flashbacks, flash forwards, Joachim’s side plot, mini chapters, faux cliff hangers and gags. 

This review is actually kind of heartbreaking for me to write, because I love Matt Fraction’s work. Well, I love Sex Criminals and Hawkeye (2012), but I love them so much, I thought loving his work was a guarantee at this point. Hawkeye is smart, well structured, deeply personal and innovative without being showy about it. Sex Criminals is heartfelt, complex and cares a lot about its characters. Hawkeye, in second reading, can be a bit gimmicky, self important and sexist. Sex criminals is a bit hard to follow and at some point, a character being an asshole stops being interesting and starts being annoying. The only reason I’ve noticed these flaws is because Jimmy Olsen takes all of them and plays them up to eleven, making it impossible not to notice them in Fraction’s better works, which makes the comic, in my opinion, actively worse than just a bad story. 

The art of Jimmy Olsen is very good. The lines evoke a nice vintage comic vibe, but it’s still extremely dynamic and expressive. It’s a very “the good ol’ times” wholesome, almost self parodying feel. Lieber does an excellent job at taking a classic character and modernizing it in a way that feels slightly off but still very pleasing to look at. It’s classic, it’s iconic, and it’s so completely wasted that it makes me want to cry a bit. 

Now, a disclaimer: this is my introduction to Jimmy Olsen as a character. I also don’t read a lot of stuff published by DC comics. This is not by design - I don’t believe in the marvel vs. DC debate, they’re publishers, you can read both - I just haven’t found anything I like yet. My standards when it comes to superhero comics are, with some exceptions, “involved a woman somewhere in the making process”, so, uh, yeah. There isn’t much. 

I don’t feel like knowing Jimmy Olsen would’ve made me like this better, though. On the contrary - this comic book mocks its reader for the mere possibility that they’d ever want to like, relate to or enjoy the content or the character in any way. It mocks the format of old comic books with long, ridiculous chapter openers that stop the story completely for a couple of paragraphs at a time just to tell you that no, the story doesn’t take itself seriously, god forbid. 

Sometimes when a story doesn’t take itself too seriously, you get something delightful, like Kyle Starks’ Kill Them All, that’s basically just one big action sequence where three main characters kill a bunch of bad guys and it’s great. Sometimes you get the vintage comic Jimmy Olsen gets out of its way to mock - I managed to get some old West Coast Avengers (1989) issues recently, and reading through them, missing arcs and water damages and all, has been lovely. It’s over the top! It doesn’t make sense! But we’re all here to have fun. The writers, the artists, the readers - there’s a value in this kind of stories, a value Jimmy Olsen refuses to see. It starts with someone, or someones, REALLY WANTING to tell a certain story. These stories might not take themselves too seriously - they’re not here to say anything important, to be capital a Art - but they are treated seriously in that we all know what kind of experience we’re in for, and the creators make sure it’s delivered to the best of their ability, because they’re passionate about it. 

To paraphrase Hannah Montana, Matt Fraction gets the worst of both worlds here. It is - or at least it feels like it is - trying to be capital a Art, like it’s trying to say something important and deep. But with the same breath it tells you, you know what, you won’t get it, and fuck you for wanting to enjoy a story. This is not what serious comic readers do. Serious comic readers sit in the dark and stew in their own meta, and if passion tries to get anywhere near them they instantly destroy it with a ray of cynicism so concentrated it will tear through Hawkeye’s suit and leave him shirtless for the rest of the story (no, YOU’VE been reading too much West Coast Avengers). 

When Matt Fraction is passionate about telling a story, it makes up for the less good bits and the story becomes an instant classic. It seems like when he’s not, though, it’s everyone else’s fault. I hope he finds that spark again, but i’m not sticking through issues #7-#12 to find out. I prefer comics that wants to be read.

#comic review #jimmy olsen #superman's pal jimmy olsen #i know i never do this often. comic reviews and posting negative stuff here #i like to think the reason i feel so strongly about this is because i care and i wanted this to be good and i love fraction's writing #yknow? #if you like the comic honestly good for you #feel free to argue but know that i'm not necessarily disagreeing with you #right now though i am very salty. i wanted to like this so much #i was so ready to have a good time!! #oh i forgot to say!! there are moments i liked in the comic #where jimmy and clark get to be actual pals #these moments are adorable

[spamzineglasgow]

(HOT TAKE) Notes on a Conditional Form by The 1975, part 2

In the second instalment of a two part HOT TAKE (read part one here) on The 1975′s latest LP, Notes on a Conditional Form (Dirty Hit, 2020), Scott Morrison ponders the tricksterish art of writing about music, before riffing on the history of the album as form, questions around genre, nostalgia and a sense of the contemporary, not to mention that saxophone solo and why Stravinsky would love this album.

Dear Maria,

> How pleasant it feels to begin a review with a note to a friend.

> Shoutout/cc:/@FrankO’Hara – I always liked his idea to write a poem like it’s addressed to just one other person. It strikes me as interesting to begin a piece of criticism in the same way. So, this is the mode I will try to inhabit throughout.

> As I read your words, and pondered, and learned, I was caught in the twin state of delighting each time you hit upon something already identified in my own thoughts – some of which I will expand upon here - and equally delighted every time you wrote something I could or would not. Such is the joy of conversation.

> I suppose in this preamble between speakers, which keeps up the pretence of our characters conversing - which will, inevitably, lapse as the form of this review gives way to a longer, more oneiristic, probably, onanistic, possibly, enquiry into the album (an act impossible in real conversation, by the way, imagine, imagine someone actually speaking for this long, how boring and alienating that would be, and yet that is usually what criticism is). Anyway, before all that, to help set the scene, I should mention a few ‘real world’ details. All of which happened either online, of course, or in isolation, because that, as you mention, is the real world now, during the violent interlude of Covid-19.

> I was delighted – that word again, repetitions and patterns begin anew already – to be asked to write this review. Firstly, because, like you say, I am a fan of The 1975. But also, because I am a writer and I am a musician and I am trying just now to forge a new mode of writing about music, one that can be both analytical (technically, socially, historically) and expressive (personally, lyrically, emotionally). And, most of all because I have always been, at best, suspicious, and, at worst, dismissive, of album reviews.

> I wrote, in our Messenger chat, ‘I usually find music reviews unhelpful’, which makes me sound like a bit of a dick, really. But what I meant is, what I meant is.

> There’s a saying I think about a lot, as the aforementioned writer and musician who writes about music: ‘writing about music is like dancing about architecture’ (Martin Mull, Frank Zappa, or Elvis Costello, or any of the other people that sharp quote is blurrily misattributed to.)

> Incidentally, I would love to see a dance about architecture. But sometimes I think the sentiment of the statement is true. Will writing about music always be missing the point? Will it, through words, ever really be able to get to the essentially wordless essence of music? But I am a writer. And I am a musician. And I like writing about music. (Incidentally, I like making music about writing less). Yet I do feel there is some truth to the saying, I guess. Twists and turns. Try again. Here is another way of saying what I am trying to say.

> Music reviews make me hate adjectives. And I love adjectives. But often commercial reviews – for dozens of reasons, many of them valid, most of them related to that capital prefix – become attempts to describe a sound, invariably an artist’s ‘new sound’, again related to that capital prefix. Often, the goal is to generate press, to entice people to listen – or not – and so feed the music industry and the market. And to describe these new sounds, adjectives are piled-up like car crashes. Trying to describe a sound at any great length is, I think, ultimately fated to fail. Adjectives, up to a point, can provide greater and ever-more strident clarity. But, after a certain point – that appears very quickly in most pop reviews - saturation point is reached, and the clarity disappears, and we are left very far away from the music we were originally trying to pile word upon word to reach. ‘Nothing Revealed / Everything Denied’, you might say, if you were into foreshadowing. Which I am (obviously).

> So, I suppose, to continue thinking out loud (in silence, at my keyboard) I am interested in writing around music. Not describing the sounds (‘Let sounds be themselves’, says John Cage, whispering in my memory’s ear), but I am interested in writing that can tease out some of the ideas in and around the music and extend them in new directions. That, I think, is a different and interesting kind of dance worth attempting.

> We understand a review, then, as this kind of dance: as a record of the reviewer’s experience of listening to a record, which will accept that it will largely take as its subject the listening, and not the record. Even better if it’s a dialogue between two. So, here’s what I think about the album.

*

> Ok, before I talk about the album, actually, I would like to talk about a book. I hope that’s alright. There is no objective correlation between the album and the book except the proximity in time in which I experienced them. Let’s get that out of the way at the very beginning. The book has nothing to do with the album. But it does have something to do with how I heard it.

> The book is called An Experiment with Time. I mentioned this to you once already over Zoom. It was written in 1927. My copy belonged to my grandfather, in fact, and his writing – and so his pen and then his hand and then his whole vanished being – appeared occasionally at marginal or pivotal points throughout the text. That was part of what I liked about it, I guess.

> The book – which I allowed Wikipedia to tell me only after I had pushed my way through it – is regarded as an imaginative curiosity, but one which science has never taken seriously. That’s fine for me, because I am far more familiar, fluid and fluent in the language and implications of the imagination that I am of science.

> The book, broadly in two halves, sets out in its first strange span experiences of premonitions in dreams. That will give you the idea of the kind of science book it is. The second half is an attempt at a logical, philosophical, and occasionally mathematical explanation of Time that can account for these premonitory fissures.

> It posits that, in addition to the three dimensions of space (height, breadth and depth, I suppose), that time is a fourth dimension in our universe. I’ve heard that said, but I never really got it before. I do now, and it is very beautiful, because it begins to make me imagine, how, like a sculptor, I can ply, fold and shape with this new dimension. You can imagine how this might be useful to a musician, music being an art that can only exist through time.

> Anyway, the book then goes on to posit that a fourth dimension in which something can be observed to travel (our consciousness), must necessarily imply an observer in a fifth dimension to observe that travel, and then one in a sixth dimension, and so on, ad inifitum, infinite regress, serial time.

> I confess this somewhat surpassed the boundaries of my metaphysics (and/or silently slipped over my head), but the image of the infinite regress has stayed with me, the clickanddrag of old Windows windows ossified and pulled to leave twisting, spiralling trails; the gold-tipped rhythm of tenement window embrasures, repeating, far off, clickanddragged up a hill (hints and twists of Escher), on my daily walks.

> Wikipedia later told me that an infinite regress is a shaky ground on which to base a philosophical proof. Again, this is fine for me: I am a bad philosopher, because I am not competitive, and so this does not bother me very much.

> The infinite regress is a beautiful image, with lots of possibility in it for further imaginings, and it entrances me. So, keep this idea of serial observers and the limitless extension it implies close, please (foreshadowing again, you’re welcome).

*

> I will switch now, briefly, too briefly, from critic to fanboy (I contain multitudes, etc.).  

> Notes on a Conditional Form as an album title made me smile a smile that was very close to a wince or wink. Classic Matty, was probably the thought that came next. You have already summarised dastardly, dear, endearing, calamitous Matty, so I will move on assuming that, Matty Healy, yeah, I know.

> Back to the critic. The conditional form, in this review has already been (drumroll, eyeroll) music reviews themselves. See part one.

> Now I would like to take the album as the form in question – not this album, but albums generally, as this album is an exploration of the album form. The Album, capitalised.

> Albums have become normalised. But let’s play dumb for a moment – one of the cleverest things we can do - and we’ll see that albums are anything but inevitable, especially in the boundless age of streaming.

> Before this, albums used to be defined as collections with physical bounds. The capacity of a CD; before that, a length of magnetic tape; before that, the edge of a vinyl, a shellac, a wax cylinder. That about takes us back to the start of recorded audio media, I think.

> After Edison’s initial, waxy curiosities, albums began - like most things we love and hate - as a product. The form of the album was a circle. The music was a line. The edge of the line was the end of time. Marcel Duchamp’s Rotoreliefs, as a fun aside. And, as another, did you know that there’s a funny B-plot in all of this to do with Beethoven. (It’s always to do with fucking Beethoven.) Beethoven’s Ninth Symphony became the arbitrary marker for the desired length of the CD. It had never before been possible to fit the symphony onto a single, uninterrupted piece of media. And so, the B-plot goes, this is why the standard CD holds the amount of time that it does.

> Anyway, regardless of who shaped them, physical recorded media have, since their staggered births, profoundly shaped culture. Pop songs, especially singles, are still 3 and a half minutes long because that was the maximum amount of time that could be squeezed onto a 78, in the shellac days. Time was short and simple then, seemingly.

> Notes on a Conditional Form is 81 minutes long. It had 8 singles leading up to it, released over a span of ten months. Clearly, physical boundaries and marketing timelines, are not being treated in the usual way. You could just release singles forever now. But the fact this ended up as an album shows some belief in the concept beyond the physical and, yes, the commercial. Let’s press on, look elsewhere.

> Since we’ve started talking about classical music – ok, since I started talking about classical music – I’d like to dwell there for a moment, because there are foreshadows of The Album, conceptually speaking (and this album specifically) several layers up, several parenthesis ago, criticism as serial digression, in classical music.

> Collecting songs as albums was a favourite pastime of the Romantics, early emos. @FranzSchubert, @ClaraSchumann, @JohannesBrahms – there’s another B-plot in that trio if you want to look it up, by the way. Also, Clara Schumann is overlooked, like all female composers, because the classical music world is deeply patriarchal. It’s important to say that whenever we can.

> Anyway, the Romantics did not develop the album as a physical form – the only available recording medium at that time was sheet music, which they did sell in a big way, actually. But really, they helped develop the album as a conceptual form. They collected a group of shorter songs to make a larger statement – Schubert especially. In the 19th century, this was known as a song cycle, a lovely phrase, that makes me think of cycling through meadows, which I have done more than usual recently, as part of my state-sanctioned exercises, though the meadow was in fact an overgrown golf course, and no less lovely for it.

> Schubert’s Die Winterreise is a classic example of the song cycle – and another example of the emo-Romantic - a cycle of poems set to music that take the listener on a journey over time. Sound familiar? Albums. Song cycles. Song spokes. Meadows. Grasses and wildflowers. Meandering journeys.

> Anyway, here we finally return to Notes on a Conditional Form. Collecting songs together allows for an exploration of ideas that can evolve or expand over time – a Brief Inquiry, you might say. Art as a tool of investigation. Process. And this album certainly does that. You already touched on some of the ideas in the album: the climate crisis, the Anthropocene, digital communication, social unrest, calls to action, my favourite lyric on that theme, while we’re here:

Wake up, wake up, wake up, we are appalling

And we need to stop just watching shit in bed

And I know it sounds boring and we like things that are funny

But we need to get this in our fucking heads-

> You explore these ideas well so I will not pursue them more for now. Thank you!

> The other effect of collecting songs – or anything together – is that it gives birth to form. (Gasp, he said the title of the movie!)

> Yes, collecting things together as an album is what creates the form in all senses of the word – physical, commercial, conceptual. Form, pure form, is not the things, or the arrangement of the things, but the relationship between the arranged things. Glimpsing this is like getting a delicious glimpse of time as a fourth dimension. As I may have already let slip, I am very interested in time. And so, I am naturally interested in musical forms, which can only be apprehended through time, with time, thanks to time – thank you, time. We don’t often say that.

*

> This is where I will, at last - god, imagine I had been speaking at you this whole time - this is where I will at last get into the main topic of this review. The remarkable form of this album.

> Wait, sorry, one more thing before I do. A really quick one. As well as time, musical form also needs contrast. For sections to appear as distinct, and thus for us to clearly apprehend the difference between them, and thus get a glimpse of Form, they must contrast with one another, for how else would we apprehend change, notice borders, know we are somewhere else. (An interesting digression here is process music, which I love dearly, and which has an entirely different relationship with form. Look it up, if you like.)

> Anyway, for our purposes now, musical form requires contrast. This could be achieved in many ways: traditionally, it was done with different melodies or harmonies; but it could be done with volume, instrumentation, tempo, texture etc. etc.

> The main way that this album delineates its striking – and, to my mind, for what it’s worth, unique and new – form, how it creates its contrast, is using all of the above tricks, but, even more so, by contrasting styles/genres. This was immediately what struck me and thrilled me about this album, and it’s kind of funny – for me as the annoying writer, perhaps less so for you, the reader, I mean listener – that it’s taken me 2,534 words to mention it. This I think is the brilliance of this record. This is why we can call it not just contemporary, but new.

> The 1975 have always been shifting, but never like this. This album contains, sometimes literally right next to each other: punk, orchestral music, UK garage, Americana, shoegaze, folk, dancehall, 80s power ballads – and, of course, pop, whatever that means. Stravinsky became famous for sharp juxtapositions of distinct musical blocks. He would fucking love this.

> I messaged you, after my first listen, to say that the album reminded me of one of Sophia Coppola’s soundtracks. That was an instinctive, emotional response, but, having thought about it, I can now demonstrate the reason for the similarity. The stylistically varied end products are similar to one another because the methodology is similar: soundtracks select music practically to achieve emotional affects. Soundtrack albums use music as a tool to heighten ideas that lie elsewhere, in their case, in the filmed scenes they accompany. If you believe Matty Healy, this is also what The 1975 do. They use beauty, in whatever style or genre they find it:

‘Beauty is the sharpest tool that we have - if you want someone to pay attention, make it beautiful’.

> What do you make of that, @Keats? No, really, I would love to know.

> I think this is a remarkable musical strategy, that requires flexibility, knowledge and skill. That there is such a high level of all these things in the band is what allows it the strategy to be successful.

> I would like to pause here and consider the implications of this strategy on a personal, social and cultural level.

*

> Musical genre and personal identity have been as fused for as long as pop music has existed. This could be a trick of the market, or it could be a need of the individual psyche, or both. I think there is some truth in theory that in the increasingly widespread absence of God – by which I mean organised religion – people need to find both a guide for their metaphysics and morals, and a structure for their community, as these are some of the most effective tools we have discovered for constructing our Selves, making sense of our lives and the world. Art can provide the guide for many people. It also provides community. These communities, collections – albums? - of political, moral and aesthetic views, then become subcultures.

> Until very recently, subcultures were fixed. ‘Hardcore till I die’, ageing ravers, old punks. Interestingly one never really sees ageing emos. But that’s a subject for another essay.

> This, I think, is perhaps what is so striking here: musical genres are normally culminations (or roots, depending on how you look at it) of lived sub or counter cultures. These usually result from a fixed viewpoint about life and society, shared by the individuals that comprise them. The individuals identify with what the music says, how it is presented and how it looks as much – or perhaps even more - than how it sounds.

> Before now, it would have been shocking to imagine a band switching effortlessly from one style to another – this occasionally happens over the course of a career, between albums, but almost never in the same album itself - because it would feel like a betrayal, if we accept that bands and styles represent fixed ways of life and viewpoints and that neither lives nor viewpoints can change. Which, obviously they can. And which, obviously, they do, nowadays, with increasing speed, @Coronavirus.

> Matty’s appearance is a perfect demonstration of this. Minging Matty, Hearthrob Matty, Matty in vintage jeans, in a skirt, in a pinstripe suit. If we accept the old association of musical style/subculture and the clothing/uniform each produces, what would the ideal garb of a The 1975 listener be? A screen. A real, working search engine, fused with their body.

> Previously, the model was that bands had ‘influences’ which they ‘blended’ to create a ‘new’ sound. Here, The 1975 don’t really focus on blending sounds at the level of individual songs: the blend, boldly, happens at the level of the album. If the album is like a soundtrack, it is the soundtrack to the algorithmic age of effortless consumption of media.

> And I would like an examination of that idea to be the final track on this album. I mean, review. I mean conversation.

*

> The 1975 are inseparable from recorded media. Not just their own, but recorded media from the past. They are not able to invoke and inhabit this startling panoply of styles, to my knowledge, because they have studied in individual places or with masters of each craft or tradition – they are able to do it because they, like us, are able to consume recordings of these styles, and they, like us, have done so all their lives.

> When The 1975 invoke these styles, they are not evoking a tradition, or a way of doing things, or even seeing things. They are invoking personal memories of experiencing recordings, encountering media. We can take a look at a few examples of this.

> Let’s start with the classical stuff. The orchestral interludes do not sound like they are written by classical composers, or even composers of film soundtracks - the use of orchestration is different. It sounds, to my ear, like acoustic instruments playing what were originally MIDI parts. Which, I imagine, is what happened. That would usually be called bad orchestration. I am not interested in saying that. I am slightly interested in the effect of getting classical musicians, with their classical training, to play music written by people without classical training on a computer. What are the implications of writing for the flute as a soundfont, rather than a person, instrument or tradition?

> And what is the significance of placing an orchestra, playing instrumental compositions, on a pop record. These are not backing arrangements in an existing pop song, as we commonly encounter; nor are they classical arrangements of a pop song (see Hacienda Classical et al).

> These are standalone orchestral compositions on a record that also includes shoegaze, UK garage, two-step, Americana, punk. What, then, is the significance of this? The instruments, I believe, are being chosen less for their own sonic timbres, and more for their social or cultural timbres. I will try to explain this thought.

> Matty has often spoken about ‘Disneyfication’; he said he wanted ‘The Man Who Married a Robot / Love Theme’ on A Brief Inquiry into Online Relationships to sound like a Disney movie. What does that mean? It means, I think, he wants it to sound like old movies, childhood, nostalgia. The orchestra is a sinecure for the ‘symphonic’, the cinematic, the dramatic; the orchestra is used like a banjo, which is, elsewhere on the album, used to conjure the exoticism of Americana as heard by someone listening to it in the UK, to paraphrase Matty’s words.  

> The stylistic references in the album are as much references to media as much as they are to music. Disney: orchestral sounds, likely filtered and wobbled through VHS cassettes. The orchestra, already made symbolic by its association with movies, made a double symbol, a reflection of a shadow, being invoked through the original sound not really for this sound but for our associations with it. The banjo invoked as both an instrument of yesteryear and over there. The music constructs frames of otherness to facilitate wistfulness, longing, memory.

> The chart success of ‘If You’re Too Shy (Let Me Know)’ is that it’s a modern bop that sounds like 80s bangers. Its artistic success is that it contrasts the feeling of halcyon safety created by its imitation of 80s bangers (experienced for millennials usually as triumphant climaxes in movies, jubilant moments on oldies stations), and rubs this up against some of the disturbing parts of the present: the angst of online relationships, nudity with people you don’t know and have not and may never meet. This is a simple but highly effective juxtaposition.

> ‘Bagsy Not In Net’ does this too: a quotidian, painful experience of childhood (not wanting to play in goal in a football game), expressed as a yearning and grand orchestral statement. This is true, too, of ‘Streaming’. This is pop music Pop Art: the contemporary quotidian expressed in the language of an old tradition and invested with the significance of an Art it simultaneously questions the power and validity of.

> And, to linger on ‘If You’re Too Shy’ for just a little longer, what is the meaning of a saxophone solo in pop music in 2020? It is symbolic: a shortcut, practically a meme. Saxophone solos exist in a present in contemporary jazz - they are a living history making new futures. But saxophone solos almost always only exist in pop music as ghosts (careless whispers) of the past. This particular sax solo is so euphoric to us less because of its musical content and more because of the emotions we have learned to associate with sax solos through other media.

> The final, most perfect example of this, of everything I have been getting at, really, is the UK garage references. These are themselves references to artists like The Streets, and Burial, who, themselves, were referencing the primary records of UK garage which they (The Streets and Burial) never experienced in clubs, but as recordings. And The 1975 experienced these recordings of recordings. Layers and layers of reference. And here, abruptly, we find ourselves back at the opening image of the infinite regress.

> At times, this album wants to express the present moment back at itself, and so prompt reflection and action. The fright of the zeitgeist. In this we can include Greta Thunberg, ‘People’, and the overtly socio-political statements on the album. I hope these tracks will be successful. In the future, they will take on the significance of historic artefacts: preserved truths from a vanished time, fixed and rich, like amber.

> But there are long swathes of the album, that do not have this intent, and which will, I believe, have a different longevity. These are the (often wordless) lyrical sections: the abstract, the vague, the instrumental sections – in all senses of the word. Records of the individual imagination listening to another individual imagination listening to another individual imagination. What will these tracks become in time, in Time?

> There is something ethereally delicious about the thought of people in the future coming across people in the past’s nostalgia of another past, now three links distant to their present, compoundly insubstantial, glittering, compelling. Fifth, sixth, seventh dimensions - serial nostalgias.

Notes on a Conditional Form is out now and available to order.

~

Text: Scott Morrison

Published: 26/6/20

#review #reviews #album review #music criticism #music review #Scott Morrison #The 1975 #Maria Sledmere #Matty Healy

[mechanicallyrecoveredmeat]

This is a rambling cathartic mess.

For a minute I felt like this was it, this was the year. Normalness was becoming more apart of my life at the start of the year. I could go to work, exercise, see friends and enjoy social spaces without too many issues or feeling exhausted. Dating still felt impossible then but maybe possible at some point in the future as I was on track to receive some kind of therapy beyond the standard CBT they offer everyone.

My life still felt on hold before this and has for a long time. Ive made steps towards moments and periods of progress but anytime things get too much I'd slip back into isolation, the regret, the guilt creep back up from wherever I hid them. At the moment this isolation is far too comfortable in some ways and mind clawingly frustrating in others. A real life pergatory.

Privileged as fuck too as I'm all too aware. I have plenty to do, with little to worry about in terms of essentials for living and people are out there really on the edge of survival. I’ll probably always have a roof over my head and survive.

My mind still falls into the same patterns it has for the last few years. How could anyone ever love me again, why would anyone ever take a chance on me. I don't think I'm even capable of love again. Is my life worthwhile. With so many others out there not this screwed up why take the gamble. Let alone my own self isolation basically means no one would know I exist. I'm not good looking, rich, charismatic or special enough for anyone to be expected to take me with this much baggage.

Like some writer or artist who dies before their work is recognise I feel I might die before whatever small worth I do/may have is recognised. People have seen something in me in the past. But I've destroyed so many chances of happiness I think life is done with trying with me. Ive sometimes felt like I've not had much agency to control the flow of my life. I've likened it to feeling like a stick drifting in a river and I just hit things along the way or the river forks and I'll be sent down one or the other. Sometimes into great things sometimes bads things. Sometimes I've got control, sometimes I make the right call mostly I just fuck everything up.

I'll never not have depression but Im capable of managing it but I can't imagine having the energy beyond that to really try again with someone new. I want to but I just can't picture it, can't picture myself as a physical/sexual/social being. New people feel like danger, vessels of future pain or problems. It feels like a fundamental part of being alive that is shut off to me.

The new friends I have made have been few but cherished and are people that click right away. There's too much keeping me here for this to end with me taking my life, so I feel trapped, in a way its like I'm waiting out my time. Life shouldn't feel like serving a term but the amount of work I've put in already and I'm still feeling these things and the as mount of work still to do before I'm any where near OK is so daunting at this point as I'm so tired.

Is it worth if it cost me my late 20s and what feels like it could cost most of my 30s? I feel like I'm ruined, beyond repair at this point, In the most invisible of ways. If I went full on bat shit insane, manic bi polar schizophrenic delusional there'd be a quick solution and place for me to go. The comfort in that fantasy being I may not know I'd gone mad.

I've never noticed much of a change in myself over the years. I think of 18 yo me when I was 24 and feel fine, I was older now I've changed but in ways I expected. But the older I get the more maybe I don't like those changes or I'm realising more and more how I don't have it figured out. Right now I really don't recognise the guy in the mirror anymore or maybe I do but I cant reconcile that person with the person in my memories.

The me that could love and could accept live from someone else, the me that could leave the house without too much thought, the me that only thought like this when things were bad not everyday. I don't feel that was ever me, I don't know if it was the one event or a building things but something happened and it feels like I woke up one day after those memories as who I am now and that person feels abruptly seperate from those old memories. If it was as simple as that it'd be fine but I know I'm that person that's my past my path through life I'm looking back on. This complete dissonance from knowing that's my reality and the feeling of disconnection from it feels so hugely impossible to ever reconcile. I fear it will only get worse.

Like how they say when your young you feel invincible and that you know it all but as you become older your own mortality becomes more apparent and wisdom brings the knowledge of the more you learn the more you know just how much you don't know.

Before the quarantine I even said to someone close that I don't know if I want to die but I do want everything to stop. I got my wish, the normal flow of society has stopped to a degree however I should've been more clear in my monkey claw's wish that I want the swirling mess in my brain to stop and that I could sleep and dream forever. In my dreams I'm never worried about these things, I just get on a deal with whatever happens and really feel the nowness of what weirdness is going on. Its truly completely blissful and a huge relief most days. It's getting about that time today too. I'm running out of energy and hope tomorrow's a better day.

I right this as therapy, catharsism, if anybody wants to talk about it, wants to help, I'm open to it.

But I'm happy with the feeling of screaming this into the void as I don't really ever let myself dump like this onto anyone that I know personally. I don't expect anyone to read this or make sense of it cus it really is a train of thought extended stream of verbal throw up.

A lot of people have it far worse than me and no one appreciates that fact more than me, I'm just trying to make sense/reconsile what's goin on in my head.

[jtmercronin]

A lot of this still holds up, especially regarding Corporate, Publisher management, shit editors and mother company oversight company men. People who only value profits and the popular trends one pulls out of their asses and try their hardest to blot anything positive in the industry.

Now, it's all poor management, often nonexistent editing or direction, reckless spending, scandals, pandering, a deep-seated pettiness, deceptive/misleading business practices are listed in the following paragraphs.

Sexual Orientation and Gender Politics are used to present the LGBT(Q) and Non-binary community. There's more distrust and witch hunting there with in-house prejudice I just don't want to address. Comics won't. It's a big LGBT utopia written by straight overwhelmingly "progressive" liberal people with Matt Fraction being the wildcard. Representation used to be big because there wasn't a lot of it. Early on where it was against the Comics Code Authority. They want you wholesome, virgins, straight and embracing your gender roles plus reign in on apathy, incest, gore, rape, torture, satanic themes, deities, etc. because 1950s horror comics went buck wild. Wonder Woman was co-created by the inventor of the polygraph, his wife and his mistress/dominatrix. With those beginnings folks wrote about LGBTQ in roundabout ways and stereotypes with code words "confirmed bachelor, more New York, left handed" as a means of self-expression while closeted. Today, there's more marketing ploy because the niche untapped demographic is the target audience. I want their money today, yesterday. When representing a demographic as gimmick to target the correlating demographic of potential consumers for the quarter: The art is great with vibrant colors, top work. Everyone is attractive in the marketing way. The writing is shit, context is nigh-nonexistent, the characters are two-dimensional, non-issues are played up to personal crises. It's Fucking Insulting. A Progressive actually thinks I'm stupid (I'm fucking stupid) enough to buy flaming dog shit in an original da Vinci where the subject it is flipping you off. The only exception is to new full-bodied fleshed-out characters with at least decent endearing writing.

Race politics (consider that there's some beating a dead horse here. People live well and comply with law/law enforcement but are marginalized and face adversity on a tiered contradictory pandering system structured on an ideology based on racial stereotypes, subjective opinions developing a disproportionate privilege based on race implying some "minority" races contribute less to society and enable White Privilege for a higher privilege standing than the other minorities (((like equating Jewish to Caucasian))). Two Jewish men made the Black Panther sidestepping the bollywog incompetent sidekick portrayals from times past. Afterwards Black writers became more prominent and paid. Conservative-Democrat Christopher Priest and Republican Dwayne McDuffy had a very deep and engrossing run. Character personalities, interactions, motivation, goals, dreams and passion sold those issues. They would create the DC Milestone Comics imprint for African-American writers and artists. Reginald Hudlin breathed in some new air in a creative way. re-imagining classic D-list villains, Hudlin spun gold out of manure covered straw. His Grab for Power arc would be serialized into a BET television show that went on YouTube for free. Reginald Hudlin's run is however, is marred with portrayals of people as overwhelmingly racist with implications that everyone harbors some amount of inherent racism. The Masai are racist, late 1890-1900s South African troops are racists (they are), The Joint Chiefs of Staff are racist. All of Europe via the Catholic Church conspire to break heathen n****r Wakanda ((a strong independent African country who don't need no man)) and bring it to heel. Hudlin didn't care to know about anything about non-black tertiary characters and they're poorly written. (Example: Rhino wears a Rhinoceros style suit, so He'd want to kill a Black Rhinoceros) There's an attempt to honor African culture that comes off like Kwanzaa compared to the African plains tribes spring festival to several deities.

Class Warfare (on a Democrat politician level where wealthy people you like are good and don't are bad despite the pre-established ideology that the %1 ($1,000,000+ club) is to blame. There are 250+ millionaires in office from their untaxed salaries), politically left ideology in the most superficial partisan way with Marvel Worldwide, Inc- A Walt Disney Company and DC Comics-a subsidiary of Warner Bros. Entertainment.

Oddly enough when it comes to Oregon native Gail Simone, respecting and adding onto what Robert Ervin Howard started and L. Sprague de Camp finished. Howard was 23 years old with Weird Tales showcasing His short stories earning $800.00 per week. Howard shot and killed himself upon hearing about his mother in 1934, He was 30 years old. Sexism, serious Lolita complex, old world racism and stereotypes echo the old work, a product of their time. Red Sonja was created from reworking source material into the Hrykanian (Russian Federation, ethnically the USSR ) warrior clad in brassiere and fauld of scaled lustrous unbreakable metal. Mane of fire, mouth of a sailor, speed & finesse a blink would miss, supple and strong as an ox. Scarath is her God bestowing weapons, armor and unconditional prowess for Her vengeance in exchange for celibacy.

You can always make some all-new all-different characters with incarnations, but Howard has hundreds of thousands of years plotted linear fictional history set up into six ages: The Age of Creation, Second Age (Kull), Conan the Barbarian with Red Sonja in the Third Age-The Hyperborean, geographically all in the northern hemisphere. The Fourth and Fifth Ages. We live in the Sixth Age. Simone is contractually obligated to follow it. placing the setting further in the future Snake men sprout of the ground can really hinder the story you want to tell in someone else's universe. I am so up to realism in media but even industry feminists go cheesecake. It really nullifies the argument when you have full reign and embrace the impossible body standards while knowing damn well that desk work without activity or carb control will balloon you out. 20 pounds in 3 weeks on 5:00 AM-7:00 PM shift sucks and the stretch marks are ugly AF. Reality, as life is needs meat on those bones without a bodybuilder's physique. Julia Vin lifts 287 lbs. at 5'4 and 106 lbs. A stick with two buoys on the chest two in back and stick limbs can't fight. Farmers are strong hardworking people. Sonja has that in common as the daughter of an artisan level serf. The land had stables, some space for studding rather than ranching, a warren of rabbits, rye, potatoes, cabbage and beets. The rye takes forefront as required by the noble, a Boyar-Postelnic or Varnic. Specifically, a Landowning Noble of largely rural agriculture driven economy made by clearing forest to supplement steppes land but enough for hunting and wood. As the 13th Century for Edward I of England, the early reign of Wenceslas I of Bohemia and the Sengoku Era of Japan can tell, wartime, constant war with governmental instability, post battlefield and post-war influx of battle hardened conscripts with no fields (or lack of wanting to) yields bandits. After refusing their home (thatch domicile, reinforced with cedar, mud and clay) to conscript soldiers. Kill father, beat, rape and kill the family. Fighting through the whole ordeal catches Scarath's notice and garners favor. Sonja will be revived as Scarath's Champion. Anybody can do anything and the strong can take what they please. Sonja does everything on her terms. She is the best and usually the only Female mercenary. It feels weird to morally, narratively, and logically to shake off surviving rape, mortal wounds, losing your family and immediately live on one-night stands.