#insanely good insanely creative just insane | Explore Tumblr Posts and Blogs

blueskittlesart · 23 hours

Note

i kinda really wanna see a big ol vent/rant from you about genshin now lol. I would read an essay

I'm not sure you understand the insanity you just unlocked in me but ok

genshin impact is probably the clearest modern example i can think of of capitalism absolutely eviscerating a creative project. For context, I started playing genshin in 2021, just after the 1.4 update. it was venti's first rerun/the first windblume festival if that means something to you. and I really genuinely thought that it might have had something special. It was a gacha that didn't FEEL like a gacha, which was a huge feat to me.

it began with a very simple story pitch--you, the protagonist, are one of a set of twin siblings traveling through space. you come upon a seemingly unassuming world and your attempts to continue your journey are suddenly stopped by a mysterious, all-powerful figure. you are separated from your sibling and wake up alone on the shores of this planet you were attempting to leave together. throughout that opening cutscene and scattered through the world and your character's dialog there are implications that all is not as it seems, that your character is something unique to this world and that they possess powers and abilities that you've yet to unlock. You are told that you must travel the seven nations of this world in order to find your sibling, which is great--a simple, zelda-like objective which drives the player to explore the secondary narratives of the world. none of this is bad on the surface. in fact i'd argue it's pretty good. there's a ton that can be done with these story bones. even at launch the map and combat system were full of potential as well.

Note: for ease of reading, i'm going to label the different storylines of the game now. A-plot refers to the central objective of the entire game; the find-your-sibling plot and everything that encompasses, including the abyss order/dain, the heavenly principles, the fake sky, etc. B-plot refers to the secondary objective present in each new nation, usually meeting the archon and/or solving a problem for the archon. (A and B-plots will occasionally intersect.) C-plot refers to any story, location, or background information which remains in permanent gameplay but which isn't directly related to the A or B-plots, such as dragonspine, the chasm, enkanomiya, etc. D-plot refers to any story, location, or background information which is confined to limited-time events and does NOT remain in permanent gameplay, regardless of its connection or lack thereof to the A and B-plots, such as the golden apple archipelago, the infamous albedo/dragonspine event, the infamous kaeya/diluc event, etc. Lore as i will refer to it in this post refers to any information which is present in permanent gameplay but which is not directly told to the player within the A or B-plot story quests and objectives, including books, weapon, artifact, and item descriptions, world quest dialog and puzzles, etc.

So now we're in mid-2021, there are two nations' worth of B-plot story quests released in full, and we've run into our first problem, which is that the game isn't finished yet. I don't have any actual information about how the game was/is written, but based on what i've observed over the past few years, my best guess is that the A-plot has been fully written since the beginning, at least in some form. there were very early-game events and information pertaining to the A-plot that would take years to see any actual payoff in the main story quests (kaeya's origin story, the 1.3 scaramouche fake-sky drop, the flowers in lumine's hair, etc.) but those kinds of A-plot story easter eggs very quickly dropped off when the game absolutely EXPLODED during the pandemic.

this sudden burst in popularity was the true beginning of the end for genshin, i think, because suddenly they had a HUGE fanbase that desperately wanted more content faster than they could pump out new A-plot or even B-plot story quests. one of the most pervasive complaints about the game when I began playing in 2021 was that there was nothing to do between story quests. update 1.4 (which was the update I started playing at) was important in that it was the first time since genshin's release over a year before that players recieved any new A-plot, in the form of the archon quest We Will Be Reunited, also known as the quest with the most fucking misleading name of all time. you'll never guess what doesn't fucking happen during this quest. anyways. we were a year into gameplay, two nations out of seven released and a third on the not-so-distant horizon, and it seemed obvious that players were owed some sort of A-plot payoff. and that's very much what WWBR was advertised as, from the quest's name to the banners full of art of the twins staring wistfully at each other. The thing is, what i'm describing as A-plot payoff was actually. not really A-plot payoff at all. WWBR was the reveal that the protagonist's sibling was working with the abyss order, and that the abyss order was connected somehow to Khaenri'ah, which at this point casual players would only have known about from THAT QUEST and MAYBE kaeya's character descriptions if they were diligent enough to get him to friendship level 10 (which, btw there is no indication that you should do to get important context about the story of the game, because kaeya is a 4-star starter character and the only character in the entire game that actually has genuinely important story hidden in his character descriptions.) So what I'm calling A-plot payoff felt at the time a lot less like A-plot payoff than it did like an abyss sibling cameo in an attempt to satiate everyone who was begging for more story. We actually gained almost net 0 information. this is very quickly going to become a pattern.

As I've already alluded to, the motives behind this writing decision are transparently obvious. Genshin is a free gacha game which relies on a consistently active and engaged userbase to make its money. With fans getting restless about the lack of engaging story at the time and a new, very ambitious B-plot quest gearing up for release that would require major support from that fan base in order to remain profitable, the writers were backed into a corner. they HAD to throw the fans some sort of bone in order to keep them engaged with the A-plot, since it was originally pitched as the driving force for the story as a whole, but they were also clearly not at a stage of the writing process where it was prudent to give the player any REAL information about the A-plot. This is how we ended up with a 10-second abyss sibling cameo and an offhanded mention of Khaenri'ah, a nation whose plot-relevance was at that point still basically unknown.

The real problem is, WWBR worked. at least, it worked as intended at the time. It satiated story-focused fans in the interlude between B-plot nations, as hyv was gearing up to release inazuma, which required a lot of time in preparation. WWBR was followed almost immediately by the C-plot golden apple archipelago in 1.6, widely regarded as one of the better events of version 1. GAA was memorable especially because it was the first event that involved an entirely new, limited-time-only map, meaning the event had much more longevity than the standard events players were used to. This is, imo, most likely the update combination that led to the standard formula which hyv uses for its quests and events nowadays. the back-to-back release of WWBR and GAA satisfied both fans who wanted A-plot story AND silenced criticisms about the game lacking endgame playability, which at the time must have seemed like a goldmine to writers desperate for a solution to their content-to-fanbase ratio problem.

From here, genshin started following a standard method of release for their next three nations--inazuma, sumeru, and fontaine. the formula generally went as follows: one major version update (usually version x.0) containing a major map update which included all B-plot relevant locations in the new nation, and the first chapter of the B-plot story quest relevant to that nation. this would then be followed by 2-3 version updates which would each contain the next chapter in the nation's B-plot story quest, sequentially. After the nation's B-plot quest ended, during the downtime in which the next nation's story and map would be finalized, subsequent updates would be largely C-plot, and would contain minor expansions of the map to increase endgame playability via exploration and world quests. This is how we ended up with updates like the chasm, the several extra islands in inazuma, and the quite frankly ridiculously large sumeru map, as well as the offloaded maps like enkanomiya and the sea of bygone eras. with the possible exception of the chasm, none of these areas are A OR B-plot relevant. hyv has realized that artificially inflating the map makes their game technically more engaging during the downtime between nations. However, this comes at a price. While the scenery and set design of the game remains consistently beautiful, the actual, mechanical gameplay that populates that scenery very quickly became mind-numbingly boring if not borderline unplayable. While the 1.0 questlines were not perfect, there was at least an emphasis on the player actually DOING things. 1.0 B-plot quests would have you going to mini-dungeon temples and completing challenges which would acclimate you to the combat system while also serving narrative purpose. There were quests that required you to navigate open-world dungeons. Because your characters were lower-level, combat challenges that arose during these quests were CHALLENGES, rather than two-second buttonmashing segments. By the time we get to sumeru, though, both B-plot AND C-plot quests have become little more than moving your character from location to location and tapping through (usually unvoiced) dialog. there's no GAMEPLAY in the quests anymore, because gameplay isn't what makes money. What DOES make money is giving players 300 hidden chests to find in an open-world map segment, each of which gives them 1/80th of a gacha pull. And so the story suffers and the map gets bigger.

Along with the map expansions, downtime between nations usually also nets us one A-plot quest, usually involving the character dainslief, who was the driver of the initial WWBR quest. This is the second half of hyv's magical formula for keeping fans happy between major releases. the A-plot quests will, as a general rule, give players either very little new information or no new information at all, but will dress up the delivery in such a way that it ALMOST feels as though the protagonist has moved forward somehow. the most recent example of this writing style, the 4.7 quest bedtime story, amounts to about an hour and a half of gameplay and, while it DOES contain a segment in which the protagonist finally actually has a conversation with their sibling, that conversation literally begins with the line "I have so many questions, but for some reason I don't want to ask them right now," ensuring that the sibling will not actually be required to give away any plot-relevant information whatsoever, and the quest ends with the protagonist FORGETTING THAT THE CONVERSATION EVER HAPPENED IN THE FIRST PLACE.

As I think I mentioned before, the cardinal problem of genshin impact's writing is that fans want answers faster than the writers are prepared to give them. I don't doubt that there's a game bible or relevant equivalent somewhere within hyv which contains the explanations we are currently lacking in regards to the A-plot. the game is consistent enough in its storytelling for me to believe that this isn't all just being made up as we go along. But I'm also certain that a lot of the late-game A and B-plot that is planned (especially if the Khaenri'ah is truly planned to be the 8th nation of the game) hinges on the player knowing very little about the A-plot. this would be fine if genshin was a standard single-release video game that players could work through at their own pace, but it isn't. it's unfinished, and each nation in the game releases months to years after the last, leaving the writers to scramble to fill in the gameplay gaps and players struggling to remember plot-relevant information when it's brought up literal years after they last heard it mentioned. Not only does the time between updates leave players frustrated about the lack of A-plot, it makes the A-plot harder to understand when it is brought up, because the writers are required to throw in so much dense C and D-plot just to keep engagement high enough to make the game profitable in its downtime. we joke about the insane convolution of genshin's lore, but that is first and foremost a byproduct of its financial model. the game requires engaement to be profitable, and adding lore for players to look into drives up engagement. The fact that having so much story with so little plot relevance muddies the waters and makes the A and B-plot stories considerably harder to understand doesn't matter as long as money is being made.

I want to take a quick detour here to talk about the release of sumeru specifically, because this is when I really began to clock the fact that genshin was declining. on paper, racial sensitivity issues aside (Not that they're not important, but i'm doing this deep dive from a storytelling and game design point of view, nothing else. that's a whole can of worms i don't have time to get into here) sumeru was a really promising addition to the game. The new B-plot quest which was set to drop in 3.0 was highly anticipated for several reasons. Two fan-favorite characters (kaeya and scaramouche) were expected to play major roles, because of earlier C and B-plot quests, and much of the nation's scenery that was teased in trailers and promotional content appeared to tie into the A-plot. the most exciting draw about sumeru and version 3.0, though, was the major update to the combat system.

Arguably genshin impact's most interesting feature upon release was its combat system. The map was basically a botw clone at that point, and the story quests, while decently engaging, were rough around the edges to say the least. What genshin DID have going for it was a unique real-time combat system that rewarded strategy and quick thinking.

Genshin's combat system is elemental, and on release there were 6 elemental affiliations: anemo (wind), cryo (ice), pyro (fire), hydro (water), geo (rock), and electro (electricity.) in a sort of pokemon-like system, certain elements were weak to other ones, but more importantly, certain combinations of elements could drastically boost combat stats. Players got to construct four-slot teams of characters, each with an elemental affiliation and certain "skills" which would match their element, and you were encouraged to use the interactions of these elements to build teams. very quickly, a huge community formed dedicated to optimizing teams and tiering characters. People would even make a game out of building teams specifically to do high-level damage with "bad" characters or characters who weren't designed to be damage drivers (my 100k jean burst was an incredible moment fr.) this was, of course, also a picture-perfect driver for the gacha aspect of the game, which was how players obtained new characters.

Pre-3.0, combat was... well i won't say it was balanced, but there was no elemental reaction that had any MAJOR advantage over the others. when you actually ran the numbers, i believe vaporize was the best reaction in terms of damage output, with the best team being raiden national with kazuha for EM buffs. but a well-built freeze or melt team could do similar numbers, or even better numbers depending on your artifact rolls. (ayaka permafreeze you will always be my #1.) Despite a steady stream of new characters with each update, characters from the earliest version of the game like xingqiu and xiangling were still topping the charts in terms of usefulness and versatility in teambuilding. However, as early as 1.0, players had been teased that a major update to the combat system was planned. There was a seventh element, dendro (plants) which pre-3.0 only existed as an elemental affiliation for menial enemies. there were no playable dendro characters, and the only elemental reaction that existed relating to it was very low-level and not particularly useful in combat.

Originally, dendro was projected to be added to the combat system somewhere in version 2, but its release was delayed substantially, meaning it came out along with its affiliated nation, sumeru. And as soon as it came out, it basically broke the combat system. I assume that the scaling they ended up going with may have been out of fear that players would be hesitant to integrate a new element into their pre-established team builds, and thus they may have been worried about sales on their dendro character banners, and i assume that the fact that 3 elements are required to get the highest-level reaction was an attempt to make the meta more balanced in the face of that scaling, but, well... it didn't work. At this point, the genshin impact combat meta is basically "if you're not using hyperbloom what the fuck are you doing." there's basically no reaction in the game that comes close to it in terms of both damage and ease of use. you are not going to beat a hyperbloom team with anything other than a better-built hyperbloom team. combat is now very heavily skewed in the direction of dendro, meaning that if you DON'T want to use a dendro team, you're going to be doing significantly lower numbers. And since enemies are added with each update, post-3.0 combat becomes difficult and annoying if you don't have a hyperbloom team on-hand.

The major gripe i have with dendro isn't even the scaling, though. I mentioned offhand earlier that the 1.0 B-plot questline had a section which taught you the basics of the combat system via mini-dungeons. These mini-dungeons, of course, taught you the version of the system that existed pre-3.0, so there's no tutorial for dendro reactions. Rather than integrating the tutorial into the story and world like they did in their early quests, upon playing 3.0 for the first time players were given a popup that explained, very wordily, how dendro reactions worked. there was no opportunity to test these reactions in an environment without consequences--if you wanted to try them you'd have to remember the relevant information, build yourself a team, find an enemy to try them on, and just hope you got it right. This lack of integration is something i began to notice more and more with genshin as it progressed, especially in sumeru. where in mondstadt and liyue open-world puzzles would be explained to you by an npc or via environmental context clues, in sumeru you'd be stopped while exploring every two seconds by a popup explaining some puzzle or another which, of course, you wouldn't read, because you didn't want to do the puzzle right that minute anyway, and then by the time you DID want to do that puzzle you'd have no in-game way of figuring out how to do it. The puzzle popups may seem like a small thing, but it's one of the clearest examples in the game to me of the fact that the player experience is so clearly not being prioritized here. the game doesn't even TRY to be immersive anymore. they have no qualms about pulling you out of the story to read a paragraph about how the puzzle works. they don't care how your character, in-universe, is supposed to have acquired that information. they don't care why your character, in-universe, is doing the puzzle in the first place. because they know the reason YOU are doing the puzzle, which is to unlock a hidden chest that gives you 1/80th of a gacha pull.

That was not "a quick detour" was it lmfao. ok anyways. back to the story. Now i want to talk about D-plot, meaning limited event stories, and lore as i defined it earlier, meaning contextual details not present in quests or playable story. This is where i think genshin's story becomes completely inaccessible.

Already, we've covered the fact that in order to consume the very basic story, players have to be willing to wait years between A and B-plot quest releases, punctuated by irrelevant map expansions and interlude quests. I mentioned before that genshin's incompleteness is one of the major problems of its story. the fact that players have to wait years, remembering plot-relevant information that they have no way of knowing will even BE plot-relevant, for the payoff of these narratives is frustrating at best and actively malicious at worst. But in theory, there should be an obvious way to circumvent this. One could just wait until the game IS completely finished to play the whole thing. Sort of like buying a game in early access but waiting until it's actually finished to play it all the way through. that's theoretically possible. but, as i have been hammering home this whole time, genshin is a free game, and therefore genshin relies entirely on a consistently engaging fanbase in order to remain profitable. if genshin does not have a base of players who are willing to log in every day, or at the very least once every update, the game's financial model collapses on itself. therefore, genshin puts on limited-time events. this is a standard in gacha games, as a way to keep the fans consistently engaging. What is not standard, however, is the way that genshin uses these events as vessels for its story. about 19 out of 20 limited events in genshin impact will be useless menial bullshit with no effect on the story or really even the player aside from maybe making you fucking angry. 1 out of those 20, though, will be innocuously named, with nothing in the banner or event description to indicate that it's special in any way, but it will contain serious A or B-plot relevant information that exists nowhere else in the game. My personal favorite example is the infamous 1.3 scaramouche appearance, in which he showed up, told the protagonist that the sky was fake, and then immediately fucked off again. Scaramouche did not show up again until at least 2.0, and the fake sky wasn't so much as MENTIONED again until 3.2, almost TWO YEARS LATER. but there are others, such as the (almost equally infamous) albedo doppelganger event in which a major character's loyalties are called into question, or the event where major biographical information is revealed about kaeya, the only playable character with major known connections to the A-plot and Khaenri'ah. With all of these events, once the event period ends, the information contained within them vanishes from the game completely. there's no way to replay old events that you've missed, even sans rewards, so if you miss a plot-relevant event the ONLY way to catch up on that story is through word of mouth. again, this is a transparent way to keep genshin's userbase engaged during downtime between B-plot quests; if you don't log in and play every event, how will you know if you've missed something important? You might not be able to fully understand the future story if you miss out on the D-plot now!

The D-plot problem is something that I think could, in theory, be circumvented by dedicated record-keeping. if the wiki had anything resembling an easily accessible event database that marked story-relevant events and contained summaries or gameplay videos, at the very least you wouldn't have to fear being completely lost on the off chance that a random throwaway line in an event from fucking 1.3 becomes plot-relevant. but hyv obviously doesn't want that, because it undermines their financial model, and the sheer number of events and the amount of rerunning of irrelevant events they do makes the task of recording and categorizing them all daunting if not impossible.

Then, of course, there's lore. this is arguably what genshin is infamous for in certain circles of the internet. You know that unraveled video where bdg reads every book in skyrim? if you tried to do that with genshin the video would probably be about 10 hours long. and it's not just books; genshin hides (potentially) plot-relevant information in weapon and artifact descriptions, in random hidden world quests, in character bios... the list goes on. and 9 times out of 10, the information is essentially written in code. Plot-relevant characters will have multiple names, or the relevant information will refer to them as vaguely as possible, presumably to further the "mystery" and encourage theorizing among fans. but the sheer amount of information like this that exists within the game makes it all but impossible to determine what is plot-relevant and what isn't. For a topical example, the most recent A-plot quest bedtime story mentions the name Rhinedottir in connection with events in Khaenri'ah, suddenly making that name A-plot relevant. Rhinedottir is an alternate name for the character Gold, whose existence you would only have known of before this point if you'd unlocked and read the character Albedo's character bios. (Albedo is a limited-run character who hasn't been available since november 2022, btw.) the only other information about Rhinedottir permanently available in the game comes from the description of the weapon Festering Desire, which was only obtainable from a limited event back in 2020, anyway. So basically, if you wanted ANY context for that remark, you'd have to have been playing the game since AT LEAST 2022, AND you'd have to have taken the time to go over your weapon and character descriptions with a fine-toothed comb. keep in mind that as of right now (june 2024) there are 85 playable characters in this game, each with 10 unique unlockable character bio sections, and over 150 weapons, each with their own unique descriptions, not to mention over 50 artifact sets, each with 5 unique artifacts, which all have their own unique descriptions as well. there are also 51 different collections of books which contain written lore as well. the idea that any player could keep up with all this, or that anyone could even sift through it all to pick out the important things that they NEED to keep up with, is insane, especially when the game makes a point of withholding crucial plot information from its players within the A and B-plot quests. this amount of written lore only exists, again, to drive up engagement in the hopes of subsequently driving up profit. Even if the average player isn't reading and absorbing all this information, the fact that it's there coupled with the fact that the writers consistently refuse to reveal anything beyond surface-level A-plot information means that there's basically ENDLESS theory fodder. and THAT means that people will be posting their theories and talking with each other and getting into arguments. it means "genshin impact" trends on twitter. it means engagement, and engagement means money.

basically what it comes back to is that everything is so transparently money over player experience with this game. I think what we're witnessing with genshin is what i would call an end-stage gacha game--a gacha game that's gone on a little too long and gotten a little too popular, and so the veil has started to slip a little more than usual. Gachas work primarily because they operate by toeing the line between what is fun to play and what is a predatory mechanic. As long as the actual gameplay remains engaging and rewarding, players can ignore the unsavory business practices underneath. At this point, genshin has swerved too hard into the money-hungriness and is still hoping that they can use their old tried-and-true engagement farming methods to remain popular regardless. currently, it seems like those methods are still working, unfortunately. Like I said in the post that prompted this, i really can't wait for the hyv writer NDAs to expire 10 or so years down the line, because I can only imagine what an insane shitshow writing for this game must be. I want to see the tell-all articles. I want carnage.

That being said, I played genshin impact religiously from 2020 to 2023. I loved the game. Despite myself, I am still really, REALLY interested in the A-plot. I want to know what's going on with the protagonist and their sibling; where they came from, what happened to them, what the heavenly principles are, what role celestia plays in all of this. I want to know Kaeya's full backstory, what role Khaenri'ah plays in the overarching story, and what happened to it in the past. but I don't really have any faith that I ever will, because I know that as long as keeping their fans in the dark and stringing them along remains profitable, that's what hyv will continue to do.

Do I think genshin impact is unsalvagable? in its current state, yes. If I was given the ability to turn back time and convince a bunch of executives of the profitability of this venture, I would change almost nothing about the story of genshin and completely rework the mechanics of its release. I would make it a series of single-release self-contained games rather than a constantly-updating gacha. Each game would be one B-plot quest, or one nation, eight games in all, preferably released once every year. Removing the gacha mechanic, players would be given access to a certain pool of characters to build teams at the start of each game, and then periodically unlock new characters as the story progressed. for example, if you were playing the inazuma game, you'd start out with only your protag, and after progressing to a certain point in the story you'd get a pool of inazuma 4-stars to teambuild with freely. Then, as the story progressed and you met plot-relevant inazuman 5-stars you'd add them to your pool. I'd change basically nothing about the combat system except for a properly integrated introduction of dendro when it makes its appearance in sumeru. Once you completed the story in that nation, you could move onto the next game in the series if it was out, or if it wasn't, you could continue to explore the open world while waiting for the next release. Would this be as profitable as the gacha model? probably not, but what it WOULD do is allow for much more consistent pacing and writing, with the added bonus of not making your userbase feel like you'd shoot them in the head for their pocket change.

#jesus christ. hi everyone #asks

238 notes · View notes

ponytarot · 1 day

Text

GENERAL TAROT READING (pick a pile)

pile 1 pile 2 pile 3

════ ⋆★⋆ ════════ ⋆★⋆ ════

pile 1

you're very reactive as opposed to active , i think your reactiveness , while gives you more understanding of others ... makes you more empathetic then sympathetic . when you understand people , you relate them to your own feelings , which may put you in a bad or depressive mood . you need to just acknowledge people's pain sometimes , you don't need to feel it with them . this is how you lose track of your feelings vs what you take on from others , be wary with how much time you put into others and their problems regardless of your own.

SONG : my fault by eminem

pile 2

you may be in a depressive state as of late ( lol that rhymed ) . you may feel abandoned or left out especially right now , and while that may be the case , you have a choice . you have a choice to find people who you fit in with better . to say you are alone forever , or to say you don't fit in or aren't meant to be loved , is to lie . don't let your mind or situation take you over , because most of the time , it's a lie .

SONG : in bloom by nirvana

pile 3

you may be struggling right now creatively wise , this is especially dire if your job or main hobby is creative . don't fret , make shit up . i know this sounds absolutely insane , but just jumble a bunch of things you like together to make one . if you like 2 songs , and those 2 songs have a meaning , combine those 2 meanings to make art . make stupid shit that doesn't make sense , maybe it's not conventional , but you need to focus on invoking feeling rather then making something that looks pretty . that's how you lose yourself , losing feeling in your art . put all of your feelings into one thing . do it . the only person stopping you is yourself .

SONG : good luck , babe ! by chappell roan

#tarot reading #tarot card reading #tarot cards #pick a card #pick a pile #littlest pet shop #lpscommunity #lps #nostaligiacore #nostalgia #tarotcommunity #divination #tarot reader

80 notes · View notes

saintobio · 3 days

Note

i can’t believe i caught the ask box open 🥹 first off, miss saint, sy11 had me on my knees gasping for air i kid you not. your writing is truly incredible, and i will say time and time again that you are genuinely one of a kind!

okay okay. time for theories yayay! i know heaps of people have said this already, but my delusional ass self would love to believe that satoru rly did chase after akemi only to let her down. or to hit her with the “my heart belongs to yn. it always has” line. i feel like yn might’ve encouraged him to run after akemi, since yn must’ve also felt guilty since she played a role in gojo cheating on akemi (+ she was put in a similar position so she would know how it feels). since we have four more chapters to go (minus the epilogue), i feel like yn would likely distance herself from gojo, purely bc she feels horrible and didn’t wanna do akemi like that. it was just something done in the moment. i also feel as if the miscommunication trope will still move forward, despite yn and gojo pouring their hearts out to each other at the lake :’)

i have a gut feeling that momjo is likely going to make an appearance back and cause havoc again. maybe we’ll see some parallels between momjo and eula, or momjo and dadjo (who knows). but most likely she’ll plant seeds of doubt in satorus mind by implying things like how yn might only be using gojo as a rebound to ‘get over toji’ (even though we all know the complete opposite 😭).

kinda hoping for some sachi and yn moments bc the angst is too good to be true 🤌 kinda miss their interactions i can’t lie :( sometime tells me that towards the end or during the epilogue of sy, they’re gonna have another kid again (sachiko 🥺) purely bc they did it w/o protection lmao (im going insane)

anyways, i wish i could come up with the brilliant theories that some other readers can come up with (i lack the creativity to) but once again, from the very bottom of my heart, thank you so much for once again releasing another beautifully written chapter. pls don’t mind my rambling hahah. ilysm saint <3

no no, your theories were great and i believe many woudl agree !! so thank you for sharing them and for reading sy <33 i appreciate ur kind words

momjo will be definitely back for a bit, and like i said, gen and yn’s side of the family would make an appearance too. i think you guys already have a hunch as to why :)))

as for sachi, there’s a reason why he’s not in these episodes as much. but munchkin will be back soon!!

#🖤: letters to saint #series: sincerely yours

34 notes · View notes

lucawrites11 · 2 days

Text

russo and stanway vs. france (away)

stanway and russo are both 25, they came up through england youth at the same time but stanway joined up with england first in 2018 since beig consistently in the man city senior team since 2015 while alessia wasn't called up until 2020 while at the tar heels and then had a significant time out with injury, missing the olympics, until late 2021

furthermore, georgia plays as a central midfielder both defensively and in attacking motions but she preferred as a defensive midfielder for both club and country. this is a position that is historically difficult to fill whereas alessia as a striker faces a lot more competition for her place. for context, stanway is probably one of the top five defensive midfielders in the world with amandine henry, lena oberdorf and keira walsh alongside her. alessia russo doesn't go near the top ten yet and that's okay. strikers tend to hit their best a LOT later in their careers, the average age of the ea fc top ten strikers (best list i could think of) is 27.8 with the youngest sophia smith at 23. russo is undoubtedly england's best option though with so much room to improve and she's doing so every season

however, the biggest element of both alessia russo and georgia stanway's games is that they play their roles a little outside of the mould set for strikers and defensive midfielders

stanway loves to shoot especially from outside the box which is rare and she's also a lot faster that the average defensive midfielder. keira plays as a classic defensive midfielder. so far in the liga f season, she's averaged 0.05 goals per game (one) and stanway has managed 0.29 goals per game. if this is brought up to goal involvements (goals and registered assists), stanway still take the lead with 0.48 per game while keira has just 0.23

THIS IS NOT BAD. it's just showcasing that georgia stanway has an exceptional ability to shoot and score that is not often seen in a defensive midfielder. this also comes with an insane speed, an insane penalty and an insane ability to pick a pass and send a long ball over heads going forward whereas keira walsh prefers a pass cutting through the midfield across the floor. she has insane vision to pick out players (it's why they are SO good on the pitch together for england because their play styles compliment each other)

stanway plays with her sights set on going forward, another rare quality in a defensive midfielder that normally prefers to press, win the ball, keep the ball and then give it to someone else to take it forward with quite a few passes. walsh does this and it's why she fits perfectly into the barcelona set up of tiki-taka football which is a style of play where there are a lot of passes in a game to get the ball forward and keep the ball and make the oppositiona chase them and get exhausted while they do very little (however this play style is incredibly difficult and relies on insanely talented players)

having this attacking-minded defensive midfielder gives a fresh dimension to england and bayern munich's play. it allows for goals to come from not just long balls over the top that traditionally come from centre-backs and goalkeepers (leah williamson and hannah hampton are both reknown for their balls over the top - leah's created that goal for beth in her first game back v reading if anyone wants an image of what i mean when i say long balls over the top) and give england a lot more creativity in how they create chances through the midfield

however, this is only possible if stanway has those touches on the ball to create chances and both she and keira were marked out of the game in the home leg against france and failed to get themselves into space. in the next leg, keira and georgia both improved and found themselves in space and this allowed their play styles to thrive in creating chances particularly down the left with lauren hemp. a change in alessia russo, ensured these chances weren't wasted

as i said above, alessia doesn't play like your classic number nine striker. to think classic number nine, think sam kerr, alex morgan, ada hegerberg. especially sam kerr, they stay in the box, typically good at headers, strong at short passes, decent pace and then all the classics hallmarks of striker: decent pen, good volley, good finishing, power behind their shots, the ability to do a decent long shot and often a really good dribble too with a lot of control where alessia lacks is occasionally her finishing, it's good but she'll miss a sitter and then score an impossible goal pretty often

however, alessia is more than just a striker. the best part of her play and the thing that sets her apart is her hold up play. hold up is when she gets the ball, dribbles, holds on to it against defenders and waits for support and then passes the ball out wide. if you watch arsenal or england you see it a lot, often the ball goes to whoever is in the 10 and those on the wings then she gets in the box. meanwhile, someone like sam kerr or stina blackstinieus are just waiting in the box. alessia goes and gets the ball, holds it up, creates the chances and then gets in the box but this delay getting into the box often means a chance is missed. ideally, when she lays off that ball, she needs someone else in the box

and you can't just lose that chance creation from alessia russo, it was there in the build up to both goals even if she's just acting as an extra player in midifeld, pulling a centreback out of position and allowing another player to get into the box or on the ball unmarked. her vision and that movement is crucial to getting past good centrebacks like renard and lakrar last night. she can create a chance from nothing and england need that in the big games. however, it's not the easiest striker to play with and sarina failed to coach the midfield and wingers how to play with her in the last game or they just forgot. whatever it was, alessia russo is the focal point of that attack and the style needs to adapt to her and not the other way around. if england wanted a traditional striker, they are available, sarina can put them in but she wants russo's play style so the team has to work with it

the other facet of alessia's game that is insane and you need to watch closely is her first touch. this isn't relevant to last night but just go watch her score goals. she has an insane first touch that brings the ball away from the defense often requiring her to turn her body insanely fast and then chases after the ball either dribbling and creating a chance or just shooting and it's BEAUTIFUL (srsly watch her goal complimations and her first touches)

back to her dropping into the midfield to create chances, the combination of her and stanway in the forward-mindedly midfield linking up well with the wingers, especially lauren hemp, to create chances and score goals in a way they just weren't against france in the home leg

lauren hemp was also crucial to this but she plays her game as the perfect left winger and it's not so fun to analyse, but it was the link-up of these three that made the game and it's a link-up that hasn't had the time to develop and build. the bayern, man city and arsenal tactical systems are all different so coming into england they need to adjust fast to very different players. hemp is used to playing with that direct nine in bunny shaw and stanway is more accustomed to the similar directness of harder and schüller

stanway and russo grew up playing together but russo played a different role back then and was only move into the nine in university. russo links up well with mead and toone having been with them at arsenal/united and with more practice, hopefully over this summer, that whole frontline should develop into a well-oiled machine that it hasn't been given the chance to become with injuries and such a packed schedule

this was so long and a wall of text was overwhelming so i put the pics in to break it up, thought i'd end with a classic of them as babies

#lucas analysis #alessia russo #georgia stanway #lauren hemp #england lionesses #england wnt #england women #woso #keira walsh #ella toone #beth mead #arsenal wfc #bayern munich #bayern frauen #fcb frauen

26 notes · View notes

bizlybebo · 5 months

Note

oh my god im not your girlfriend but i NEED your normal album analysis omg (im normal about will wood btw)

HI OH MY GOD I TOOK SO LONG TO ANSWER THIS I AM. S ORRY

AUGHH this is definitely an excuse to ramble and i am TAKING it thank you so much for this

im fucking obsessed with the normal album. like sosoos much. it's such a subversive and creative and just. sort of album that you've never seen before, i think it seriously doesn't get the credit it deserves augh

first off here's a link to a 3-hour long analysis of the normal album that i haven't actually watched yet

here's where im cutting the post off before i start incoherently rambling about every song so that i don't curse people's dashes with having to Scroll for a million miles

THIS IS. A LONG ASS POST. LIKE 2.3K WORDS. SO IF YOU CLICK ON THIS BE WARNED LMAO.

i don't expect this to get more than like 2-3 notes this is literally just an open ramble about the normal album cause i got an excuse to.

Suburbia Overture / Greetings from Mary-Bell Township / Vampire Culture is SUCHH a good intro to the album. like. not even going into the lyricism it's fucking so insanely well-composed in a musical sense, I LOVE the samples and the immediate, like, doorbell sound at the very beginning because it just. introduces the ENTIRE album so well.

and the way it introduces will wood's motif of "Everybody's all up in my goddamn business" is SOSOO good.

The first half or so of the song is very illustrative of the typical, like, nuclear family, with these sounds inspired by a very upbeat, like... almost 60s-70s kind of music? It's a very creative song but it's tune and melody are also somewhat restrictive for a decent part of it, expressing perfectly what will wood's saying about this kind of lifestyle. If that makes sense?

and THEN the sudden switch into vampire culture is INSANE. im fucking AUGHGHGH over it.

It draws back on this stereotypical, happy lifestyle where something just seems a bit off and leans ENTIRELY into the uncanny-ness of it all. it's a sudden jump into random tempo switches, fucking just making all the noise he wants, and screaming "fuck your culture".

like the symbolism is so clear yet so subtle. I fucking love it.

and I am

OBSESSED. with this outro.

and THEN the little 'love me, normally' melody at the end is fucking INSANEEE augh. there was literally no better way to start this album off.

2econd 2ight 2eer (that was fun, goodbye) is EASILY one of my fucking favorites on this album. like. god.

IMMEDIATELY starting off with "take it with a pillar of salt, H.A.L.T., it's not my fault", illustrates the point of this song so well.

HALT is the acronym Hungry Angry Lonely Tired. It encourages you to "halt" and think before making an important decision and evaluate-- are you any of these four things?

And it's often been suggested by psychiatrists to a lot of people dealing with mental health issues.

The reason why I'm so obsessed with this lyric is because this entire song is basically accepting, "hey. i'm mentally ill. like i am. FUCKED in the head. this isn't something i can't escape, not really. i'm learning to be okay with this instead of searching my whole life for a cure. i'm never going to be able to assimilate fully into normal society."

and it's mixed with this very, like. Rudimentary view of how society views mentally ill people / those struggling with more severe psychological conditions. The chorus is literally "I'm just a psycho babe; come and go out my mind"

It's almost like this expression of mania, what with the upbeat tempo and the dark lyrics.

"I didn't lose it, I set it free" is another lyric in this song i just. augh. love. love love lvoe vloevleo this whole album. this is DEFINITELY the song i could say the MOST about. but i feel like i'd almost have to save that for another, more organized post.

Laplace's Angel / Hurt People? (Hurt People!)

AUGGGHHHHH.

god.

The title Laplace's Angel comes from the idea of Laplace's Demon, which concerns the whole idea of determinism, etc. It's essentially the idea that if a demon knew the position of everything, everywhere, the laws of physics would allow it to predict and understand the future.

it. doesn't make a lot of sense to me tbh.

BUT.

i understand determinism in a sense, and it's basically the idea that free will doesn't exist and that we and our actions are. products of the things that have already happened to us.

That's the best way I can explain it.

And I think that all of this, tied together with how the song is discussing important topics of morality, etc. is just. So cool and artistic and. God.

It references this guttural, primal sort of fear and this sort of "predictability" of the human psyche with the lyric that throws the entire song into it's first chorus-- said lyric being:

"Run your diagnostic tests, it's posited; nobody dies agnostic, though we still dial 9-1-1."

AND THEEENNNN. the chorus itself. augh.

You could go on all day about the main voice, "Could you take a look at me?" but i'm more in love with the backing chorus--

"It's the norm for animals, it's the norm for chemicals -- It's the norm for particles, eye for eye, for tooth"

and you can see a lot of references to other philosophies such as "an eye for an eye".

AND THEN the bridge being "wash your hands of where you been until you flood the second floor - neatly fold your skeletons but still can't shut the closet door"

essentially just being this greater commentary on morals as a whole, and how, in a sense, morality is just. subjective. Like I don't think I have the skill to illustrate just how insightful this song is on the topic of morality. god.

I / Me / Myself !

so obviously i / me / myself is a remaster of sorts of i / me / myself by Will Wood and the Tapeworms (versus just solo Will Wood)

BUT I LVOE THIS SONG. SO MUCH.

Will Wood wrote this song, essentially, about wishing he could express his femininity properly, right? how he felt like people refused to accept his identity as cisgender and heterosexual because he was a crossdresser, and very proud of it?

i fucking love that. he just puts absolutely everyone on blast for that. he's a cis dude who's also fucking with gender and fashion and art and he's letting people understand that.

but here's where i get personal because i ADORE the song as a lesbian who doesn't consider himself cisgender in the slightest.

I've spent my whole life wishing I could "be a girl" despite being born and raised female-- I simply just didn't fit into the mold of traditional femininity and, growing up in a religious background, that just made it even more difficult to fit in.

So I LOVE the lyric "i wish i were a girl".

AND THE BRIDGE IM JUST OBSESSED WITH TOO

"Eating your prosthetic, meet your anesthetic criteria, pathetic seeing you become acetic -- Say my name like a slur, but I've been called worse; I've heard it all before, no this isn't a first -- Let me be the void you fill with taxidermy fingerprints, taxonomize our differences -- I am quantum physics, my witness brings me to existence"

I think I just. need to leave that there. Cause it says more than I ever could. rahgaghag

and then closing out with the repeated line "all identities are equally invalid; don't you think that there's a chance that you could live without it?" is such cool like. food for thought yk?

idk i love the view Will Wood gave here, honestly. Especially knowing that he's very accepting of the lgbt+ community.

...well, better than the alternative

HOLY SHIT I AM. AUGH. UNWELL OVER THIS SONG.

see, the way I view it, is this attempt to just. Play into a normal, quiet life, despite EVERYTHING mentioned previously in the album. It's about trying to shove beside everything else for a normal existence.

It ties into suburbia overture, i / me / myself, and 2econd 2ight 2eer soso well. it's the perfect "halfway point of the entire album".

another lyric that i just HAVE to throw in here "This isn't my first kiss, it's better to be lost than loved, now isn't it?"

i'm mainly just. obsessed with that because of how aromantic it sounds. even though i know that's not how it was intended.

but i LOVE. THIS SONG. AUGH i love them all obviously but this one has such a special place in my heart.

It's asking somebody to "play along with" you (referring to the normal life thing) and THEN the whole "I just wanna do what's right by you"

it's just. tying together all the previous songs and like. expressing, essentially. "I'm fucked up. Are you willing to put up with me?"

or maybe im just yapping about absolutely nothing on this one idk

I don't know much more about the second half of this album, but I feel like diving into the lyrics of Outliars and Hyppocrates : a fun fact about apples is something i definitely need to do soon. i love this song's musical composition and.

"Don't wanna be human, anyways -- who pilots all these crude machines" ?? BANGER FUCKING LYRIC.

It's essentially just-- "the things that make you special are the things that make you strange"

meaning. get weirder with it. get fucking weirder with your art.

BlackBoxWarrior - OKULTRA is probably my favorite song on this album in terms of, musical composition and noise. I've pored over these lyrics soosososo many times and a lot of it goes over my head but over time I've started to understand a LOT of it and i just. augh.

also this song has such strong animatic vibes?? this is the one that makes me think SO much about my current writing project and i adore it for that.

I wish i was like. able to coherently express my thoughts on the lyrics of this song but they're just so complicated and. wow. it's. I think Will Wood totally outdid himself with this one because this is the most. Perfectly tied-together song on this entire album.

HOLY SHITTT

MARSHA, THANKK YOU FOR THE DIALETICS, BUT I NEED YOU TO LEAVE

OKAY I LIED I CAN TALK ABOUT THIS ONE ALL FUCKING DAY.

GOD.

I'M AUTISTIC. IN THE DIAGNOSIS PROCESS. AND LET ME TELL YOU I AM FUCKING OBSESED WITH THIS ONE SO MUCH.

Essentially, under our current system, any inability to perfectly execute a grueling 9-5, 5 days a week, on top of the mental labor of schooling and debt etc. is considered a disability. "Actual" diagnosed people are just the canaries in the coal mines, we're struggling soso much daily and it's just.

It's expanding upon this idea of microlabels and how Will Wood feels about them, and i honestly do think that, even though it's not the intent of this song, it can open up a conversation about how autism is not a "silly" thing. yk how the jokes have essentially become "I have (normal personality trait), is this... 'the tism'?" or the obsession with the fucking. god. "Neurospicy" thing.

^and how this improper culture/misunderstanding of neurodivergency and the need to make it more sanitized/palatable feeds into consumerism. but i can. go on a rant about that some other day.

But basically, with the lyric that "Dr., what's my prognosis if the study shows that: disease is in the eye of the beholder?" it expresses this sort of disdain, almost, with greater society's view on psychiatric abnormalities. if that. makes sense.

and then it's this constant repetition of "Back in my day ; ; ; we just drank ourselves to death. And we fucking liked it". It's also jabbing at this idea of how, in previous generations, you were generally just told to suck it up or you were left behind/ostracized entirely. It's about older generations not understanding the surge of mental health issues as of late. Closing with "We just bled out in the bed".

I love this song. So much. But I feel like this is all I'm gonna say about it because honestly this sort of discourse. Tires me out so much.

AAA OKAY

MY FUCKING LOVE MY DEARIE MY SHINING STAR I LOVE THIS NEXT SONG MORE THAN I LOVE ANYTHING ELSE ON THIS FUCKING PLANET

Love, me Normally

GAHHHHHHHHHHHHHHHHHHH

THIS IS THE ONE. THIS IS THETHE THE THE THEHT EH *THE* ONE.

THIS IS THE SONG THAT I UNDERSTAND THE MOST. THIS SONG IS LITERALLY ME. ME ME EM EM ME EAUGGHGH

HOLY SHIT.

I feel like so much has already been said on this song. I want to highlight, specifically, the bridge.

This is. my favorite piece of lyricism Will Wood has EVER put out and i fucking mean that.

---

"Now this is the part of the song where I like to talk to my audience

I like to tell 'em there's something I want from you hep cats tonight

I want you to look to your left, look to your right

Your 12 o'clock, three o'clock, six o'clock, nine o'clock, rock around the clock tonight

And I want you to find those points of no return, those singularities

Those burning rings of fire in the beautiful pupils of the beautiful eyes of the beautiful

Boy, girl, neither, both, or in-between that you brought with you tonight

And I want you to tell 'em how you really feel

I want you to tell 'em that you love the way they so seamlessly, like-a-dream-fully

So beautifully, oh so dutifully

Jam that square peg in the round hole in their heart

I want you to tell 'em that you love the way

That they don't stick out like sore middle fingers

That they crawl their way up the side of the bell curve

Stick their flag in the peak, and slide their way back down

I want you to tell them that you love the way that they're not maladaptive

Not malcontent, not malignant or maleficent, but rather that you love them

Exactly the way that everybody else is!"

---

now is it. unnecessary. to paste it all in here? certainly. but i just. love this so much.

the constant motif of mentioning the bell curve is amazing, too. I love this album because of it's essential... just. Being so outside of the normal bounds of society that all you can do is sit back and observe it all like "huh".

this is another ramble that i'd have to save for another post because this is the one that i understand the most.

I personally like to view this one through the lens of aromanticism. cause i can.

Now I'm not gonna go too much into detail on Memento Mori: the most important thing in the world cause BOY is it existential.

but i do think it's a beautiful way of tying this entire album together.

this entire album is almost like a note to humanity in general, this whole "you may not listen to me ever again, but give me these 45 minutes of your life to change your outlook on all of it".

Despite this album being subjective and subversive? Deviating so strongly from the norm that the average person, hell, even most avid fans, could never begin to relate to most of it?

It has this sort of... span of the human existence, in a sense. It understands it on such a small level, and it speaks bast the barriers that we usually don't try to cross. It just says shit that nobody else has said before.

I <3 this album. So insanely much.

I think that it's honestly one of the better pieces of music period that have been put out in these last few years. nothing else is as lyrically, linguistically, or musically different. aughgg

thank you for the ask if you read to the end youre fucking insane.

#vixen rambles #vixen answers #will wood #the normal album #dont feel pressured to read all of this #im not even proofreading it #i just took the excuse to ramble and scream about this album #becuase. i love it #insanely good insanely creative just insane #william woodiam #love me normally

16 notes · View notes