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beansprean · 2 years

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Guillermo tells us how to feel.

Like, consistently. He is the closest thing we have to an audience surrogate and HE tells us what our baseline expectations should be based on his reaction to the world. Luring virgins to a house of vampires to be murdered? All in a day's work! Chopping them up into bits and burying them in the backyard? Gross, but necessary! Re-deading your ex-wives in a Bachelor parody? Morally questionable but I'm not gonna stop you. Hypnotizing a man so many times his brain explodes and he dies? Sounds sad but can't talk, I'm embezzling and committing fraud atm. WWDITS is close to being an anti-comedy like IASIP or Seinfeld because the main characters are all awful people who commit terrible atrocities, but we DO care about them and their happiness because we are given that baseline to work from and know what to take seriously and what to laugh at.

The reason s4e9 felt so cruel was because Guillermo responded to it that way. Because HE was hurt and HE was upset and the last shot of the episode was his heart breaking on screen!! We are SUPPOSED to feel how he feels!! All season things have been getting better for him; he has been more appreciated and respected and has taken more control of his life and now the rug is pulled out from under him again. He/we are left wondering: Guillermo, what now? Is all this still worth it? Is it time for you to leave?

The vampires, as a rule, NO NOT CARE ABOUT HUMANS. They're livestock and free labor and occasional entertainment, and that's the way it's always been. (We haven't even talked about the fact that Nadja killed Sofia Coppola 😂😂😂) Vamps are too long-lived and jaded and used to killing to live for it to be any other way. Humans are playthings!! Unfortunately, that includes Nandor's wives. It includes Marwa, it includes Guillermo's family, and it includes Freddie. But it's starting to NOT include Guillermo.

Like Nandor, we are supposed to FEEL THE GAME ENDING. He was having fun, making a new human to play with because he was bored of his old one and getting to spend time with his best…man and literally could not compute that any of this would be upsetting to Guillermo. Because why would it? They're only toys, they can always get more. (Here, Guillermo is already held separate and above other humans)

But Guillermo was upset! He was angry! He didn't think it was fun, he didn't think it was a game, and this human was IMPORTANT to him and we see Nandor falter, stumble over his words, get quiet and soft and ashamed. The comedy is over and he stops having fun. And he does his best (best is debatable but he is very stupid) to fix it!!

Idk if these events will be specifically addressed next ep because we have important Colin things to do and there had to have been a decent time skip between Freddie leaving and Memo going to London, but I want to point out that THIS IS THE DARKEST HOUR MOMENT. Nadja is losing her club, Laszlo is losing his boy, Colin is losing his youth, Nandor lost his wife/boytoy and Guillermo's trust, and Guillermo lost his boyfriend and got his heart broken for the upteenth time. Things SUCK FOR EVERYONE right now - and that's the point!! Ep 9 of season 3 ended with Colin Robinson DYING. Next ep, things will start to look up. Right before something insane happens that makes everything SIGNIFICANTLY worse and leaves us on a year-long cliffhanger! 😃 And I for one am excited to see it lmao

(Also Marwa sidenote bc look how they massacred my girl:

I will miss Marwa and I'm sad about her (I know not everyone was fond of her like I was lol but idk if the writers expected anyone to feel a way about her regardless), and I'm left thinking "is this even Marwa?" If she has none of her own memories or body or personality left, can we even consider it her? Does Marwa no longer exist? May be the best outcome for her mental state if she now exists only in 1300s Al Qolindar again lol. But if the wishes get reversed or something else happens to return her to Marwadom I'm hopeful she will pull a Derek and return one day!! Wwdits is well known for bringing back one-off characters, and Marwa was a season regular in like 7/10 episodes so I'm not giving up on her yet... My fanart will continue.)

#wwdits #wwdits spoilers #wwdits s4e9 #wwdits speculation #not art #nandermo #freddermo #marwa wwdits #I ain’t mad bc I try not to get mad at tv shows anymore I spent all my tears on spn but I am anxious for what’s next lol #my post.#I may have to wake up at like 6 or 7 wed morning to watch

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icarianarts · 11 months

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More about me under the cut! ;P

Icarian • he/they/she (no preference) • transsexual • 21 y/o

I'm a Graphic Design Major ^_^

A running joke about me is a lot of my points of interest reflect that of a cishet boy but I promise I am normal about everything I get into. I may talk about some things more than others because I get embarrassed with what I like easily, but here's a general list!

General Movies + TV Shows

• Seinfeld

• The Birdcage

• The Yellow Submarine

• The Muppets

• The Shrek series (Unironically, whenever I talk about Shrek it is never for the meme, but for my love of the movies and characters.)

Various Adam Sandler movies + things that are so bad they're good, if that makes any sense. I love regularly watching tacky things that were poorly produced and/or written. Pretty much anything I can commentate on easily with my friends and complain about lightly LOL

Anime + Manga

• Jojo's Bizarre Adventure (Parts 1 + 3 + 6 are usually my areas of focus, but I have read all of it up to 9, which I've yet to really dive into.)

• Dragon Ball (Childhood interest of mine, I haven't watched the series regularly or have drawn fanart regularly since I was 14 or so. Hilariously, I still find myself to this day getting into conversations surrounding it so I might as well include it!)

• Berserk (I LOVE PUCK ^_^)

• Devilman (Obligatory post-Berserk catch up read so I could see the elements Miura was inspired by.)

Video Games

• Pretty much most Nintendo games, I have a baseline knowledge of everything under that company's label. (Focus on Pokémon + Mario + Kid Icarus + etc. it'll be glaringly obvious what my favorites are just by checking my old smash bros ultimate tags...)

• Mega Man Classic

• Second Life + VR Chat (If you ever consider wanting to play any of these games, feel free to shoot me an ask or DM if you'd like an insider's explanation on what the scene is like on them! I can go into great detail the amount of stories I have accumulated from my excursions, all the good and the bad LMAO)

• Genshin Impact (I do not engage with the fanbase, and find a lot of the fans genuinely exhausting to be around. While it is no worse than The Legend of Zelda with its issues, the fans remarkably make it so much more agonizing to talk about.)

• Ball Gay 3

Miscellaneous

• I love the Abrahamic Faiths and sometimes post about my experiences struggling in queer spaces predominantly ran by culturally christian white atheists who choose to say all organized faith is inherently bad and perpetuate the "queer vs. religion" issue.

• I went to a Japanese immersion school from the ages 5 through 11 and have been casually keeping up with the language since!

• I love classic country and folk rock. When I say I like country, I specifically mean the genre and general scene behind country that predates the 9/11 shift in music. I also (embarrassingly) know a shit ton of Beatles trivia. John Denver is my favorite music artist.

...and much more I am probably forgetting to list out! I am critical of all my interests, so please do not be presumptuous. Ultimately, I consider a lot of "Fandom DNI" things to be hypocritical and performative in the sense that it eliminates any nuance.

Simply put, I will just block you if you are someone who refuses to have any critical thinking skills...that being said, given how tumblrinas seem to be incapable of figuring out what that means, here is a brief rundown of what I that tends to encapsulate. LMAOOOOOO

No stupid discourse No creeps No "it's just fictional!" No whatever I deem to be genuinely sickening I know "DNI" pages are performative and areas for people to flaunt their basic morality but lately I have had to block so many people I feel as though I need to put a typical warning up so. You Know. Gestures Vaguely. For Genshin Fans specifically coming to my blog know I do not put up with any ship remotely creepy. I see a good portion of the "short" character model characters as children, and genuinely cannot "unsee" it. This is not something to argue in my asks about. Just leave me alone, I do not participate in the fandom for a reason.

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kurulover · 2 years

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yknow when you’re more awake than awake and the sun is a burning hole in the world’s skin to keep out divine wrath? *seinfeld baseline plays*

#committee memo

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thatkindamusicjustsoothesthesoul · 3 years

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MASH where everything’s the same except every time Radar enters a scene the O’Reilly auto parts theme plays a la the funky Kramer baseline in Seinfeld

#is this anything lol #I had a vision and it was this #mash #m*a*s*h #radar o’reilly #Walter O’Reilly

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kaijuno · 4 years

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Whenever I tell a shitty pun or dad joke I want the Seinfeld baseline to play in the background

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thurisazsalail · 4 years

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so I went and watched Unorthodox on Netflix

and idk i guess i have a Lot of Feelings. it should be noted that i’m still goyische and haven’t yet done conversion, so, print this out and stick it in dirt. three days might not be enough. maybe bury in soft peat for three months.

but like

1) American Jews are less than 1.5% of all Americans, and the vast majority aren’t very religious. like, not regularly attending services, don’t particularly ID as theist, etc. (don’t believe me? okay)

2) TV doesn’t typically show Jewish people in a religious light very often to *begin with*. we have people like Jerry Seinfeld or Lewis Black talking about not being religious and Jewish, but not the opposite.

3) now we finally have a show about religious (Satmar Chasidic) Jewish community... and they’re the Bad Guys. Netflix made a show about ultra-ultra Conservative fringe group, and this is gonna be the only show most goys know about Jewish people. I’m worried people are going to think all Jewish people are either “Lewis Black” (good guy! white passing! atheist!) or “those guys from Orthodox” (weird clothes? not always white-passing? *religious*).

4) the show was way overdramatized, saying it’s “based on a true story” but the actual woman it’s based on didn’t escape to a non-Jewish community in Germany. she escaped to an Orthodox community in New Jersey. WITH her husband and child. they divorced later, after counseling.

what I DO like:

- OMG there is SO MUCH YIDDISH- and I can actually understand lots of it! <3 it helps that I spent some time around native German speakers, and German is mixed with Hebrew, So learning some Hebrew along the way has helped.

- the care of the mikveh ritual and showing women’s involvement; women actually do have a lot of social power in Chasidic communities, within their own lens of community.

- Israeli vs. American political glimpses

- the short bob cut of so many wigs. many Chasidic American communities actually don’t do this; you can have long wigs or somesuch. But the idea of modesty is plain colour, short, etc.; a woman’s hair is powerful and can be hidden beneath sheitl or wig, either one. so attention to small details of fine ritual here. witches who read this blog should be interested here- a lot of “modern witchcraft” directly comes from Zohar and 1500s Lurianic Judaism, and some Chasidic rituals are also absorbed through culture whether non-Jews recognise them or not.

- Israeli actors! also the guy who plays Yanki is gay IRL

overall, it wouldn’t be such a bad series if most people had a baseline idea of the culture it comes from

like, when I see a typical american “based on a true story” movie, I can expect that it’s hugely inflated, like how “Hidden Figures” had a scene where the Black woman had to run like, 2 MILES for a bathroom. I have a baseline background in this culture, so I know that running 2 miles in that era at a NASA facility would not have actually happened. That was extremely dramatized for the movie.

but damn near NONE of us are Chasidic, right? and ~98.5% of us Americans aren’t Jewish- that’s just math. so we have *no baseline expectation* for what’s drama and what isn’t.

this is a series with a lot of ISRAELI actors in it- Israelis probably have a lot of Chasidic people who moved to Israel in the early days when being there was to escape from Russia and WW2, it was to be safe. They know there’s a difference between Orthodox, Chasidic, Progressive, etc. communities. They know what’s cultural baseline, and can ID what’s dramatized. Americans, not so much.

but now I’m going to have to deal with people, including certain friends with Christian religious trauma, who will think that ALL Judaism is like this stupid series because there is no wider narrative. there are no mainstream series that normalize things like passover, shabbat, like... nothing. there’s no “Friends” for four women (including a transwoman) and some of their guy friends (and maybe one token goy friend) set in New York who are all jewish and who practice differently and who all hold each other in high esteem to normalise different ways of being Jewish. meanwhile, our president fucking quotes actual nazis.

fuck. it’s not “Unorthodox”s fault, yeah? maybe? I don’t want to say it is. I don’t think it should never be made. I ain’t with the “cancel” crowd on tumblr. I just think that if there had been more in media than JUST THAT ONE SERIES, displaying Jewish people as strange and controlling and hyperpatriarchical, then maybe it wouldn’t be a problem. what do other people think?

edit: holy crap, the guy who played moishe actually DID come from an ultra-orthodox fundie group and went to berlin, where is HIS story? I want a mini series on THAT guy also FUCK YEAH the producers busted their tuckus to get as many jewish people on this show to make it as accurate as possible and it shows, i love it. i love it.

#unorthodox

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arecomicsevengood · 5 years

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A Year Of Reading Acknowledged Masterpieces #2: Saul Steinberg’s The Labyrinth

Maybe my most pointless worry is for how aliens, or whatever civilization comes after us, will struggle to learn anything from the jumble of signals that is this modern moment of our undoing. Our language and its referents cannot be understood without full immersion, and so much of what holds a privileged place in our culture, like religion or celebrity, correlates to daily existence in a confused and unclear manner. I dwell on this theoretical future because my far more pressing worries make art feel useless and decadent. As much as I love work that feels like it’s arrived as an artifact from a parallel universe, like Peter Greenaway’s The Falls or Ben Marcus’s Notable American Women, they only confuse the issue of an easily imagined not-too-distant future where everything recognizable is extinct, and even man’s many gestures at mimetic realism and journalistic explanations appear to the only prevailing consciousness as incomprehensible as the Codex Seraphinus.

It is in the context of this insane existential anxiety that Saul Steinberg’s work functions as a huge relief. Here the big ideas and our idle habits are captured in the same graceful line. It’s beautiful and funny, thoughtfully considered but never belabored. Everything feels like the platonic ideal of ideas being captured in a distilled form; if I were to liken it to music I would cite John Fahey. Fahey had a hit record with a Christmas LP, Steinberg’s work achieved a high circulation due to its placement in The New Yorker. The cartoons in that magazine seem vaguely notorious for being unfunny and inscrutable, at least to a generation that remembers vividly that one Seinfeld episode and was otherwise weaned on the gags in The Far Side. There are people who dismiss Christmas music as a concept as well. While Steinberg’s work definitely lives up to any rep for dry wit, I don’t really view any of it as being gags. Once you remove the expectation that this work is intended to elicit a laugh it becomes pretty easy to see it as just great art, and its placement in a widely-circulated magazine is just a better delivery system to the masses than art galleries are.

Here’s a Steinberg cartoon the New Yorker reprinted a few months back. It’s from a different time period than the stuff in The Labyrinth. It contains a caption, which none of the pieces in The Labyrinth do, though whether or not they did on their first publication is unknown to me.

The Labyrinth is an art book somewhere between a monograph and a sketchbook, edited and ordered for maximum readability as sets of ideas are explored. Many of those ideas are about drawing, and the drawing often feels close to doodling, as many pieces explore what you can do with a single line without removing pen from paper. It is arguably “not comics,” in that there isn’t a story you read from panel to panel, but the relationship to comics is pretty clear. If you are a maker of “avant-garde” or “art” comics, this book would be as informative to your process as reading E.C. Segar’s Popeye* would be for someone who writes Iron Man. Originally published in 1960, it was recently reprinted by NYRB, although not through their comics imprint, which has published artists whose work is prefigured here. Certain drawings seem to outline ideas that would be elaborated on in Pushwagner’s Soft City (drawn in the seventies, and published by NYRB a few years back), and drawings of people playing music, where the sound is rendered as various abstractions, bring to mind stuff in Blutch’s Total Jazz, published by Fantagraphics in 2018, though NYRB handled an English-language version of his book Peplum in 2016. There’s also stuff in the drawing that calls to mind Sasaki Maki’s Ding Dong Circus. All of these works are done by people outside of the U.S., and I can’t really assert with any historical certainty that those people saw the work in question before their own undertakings, though the amount of copies of The New Yorker that are printed make it seem not impossible. It also seems like Steinberg might’ve attained something of a celebrity status enough that potentially photographs of his drawings of women on bathtubs would’ve made it to Life magazine or something. As great as the drawing is, I’m not sure how much of it you would deliberately copy unless you were seeing individual images in isolation. Seeing so much collected in one place the takeaway is how unaffected it all is: It might inspire you to do more sketchbook drawing to see if you can capture the energy of life as effectively as Steinberg did, but you’re certainly not going to capture the verve of his line by studiously redrawing his work.

In terms of intent, Steinberg’s cartoons set a precedent for Jules Feiffer’s Explainers strips, which would run in The Village Voice a few years later. Feiffer, of course, was well-versed in various kinds of comics, having worked in Eisner’s studio, and his avid readership of the earliest comic books is documented in his book The Great Comic-Book Heroes, but there’s not really anything in that stuff suggestive of the sort of observational acuity of the middle-class that you get in his writing, that is present in Steinberg’s work. The depictions of playing music are rendered similarly his depicting to other forms of communication as outgrowth of power dynamics. The drawings of art galleries and artist’s studios exist alongside pieces that seem to primarily document his own drawing process, all of it capturing how much of mankind’s energy is spent choosing to willfully distract itself, how much we throw ourselves into art. In Feiffer you read these self-involved and circular monologues and dialogues of educated neurotics. Steinberg depicts what these people get up to when they’re not talking through their thoughts, but the reader can still intuit the neuroses through posture and gesture, and the depiction of the social settings that create them.

This is done largely without language. If on first publication they were accompanied by typeset lines of dialogue beneath them, those have been excised for posterity. When a selection of drawings of Russia appear, you recognize it by changes in architecture and fashion. Towards the end, however, there are a few pieces that use lettering as part of the landscape of a piece to convey the meaning of the word being used, i.e. a piece where the word “sick” is laid up in bed. The afterword, dating from the time of the first printing, calls these drawings “conceptual art,” a term which would soon after be applied to something else entirely, making this attempt at nomenclature the sort of historical footnote that’s funny to me. These pieces aren’t the best stuff in the work. They have this children’s book illustration quality that nonetheless brings home how beyond language the rest of the book is. It’s a lesson in expression being taught by someone impossibly fluent, a genius condescending to explain himself: I probably would not have come up with this piece’s introductory paragraph, explaining a way into the work, without their precedent. After readers have been shown what humans are, they’re bestowed tools to understand language. These pieces appear at the end because they’re a way out of the labyrinth, out of Steinberg’s system of association between drawings where lines go wild, and back into the world of humdrum communication.

I have read speculation that music’s initial evolutionary purpose involved soothing the young. A mother’s lullaby, like a cat’s purring, is its origin, and both language and instrumental ornamentation followed later. The musicality of Steinberg’s line, as presented here, follows a similar arc, where beginning from a baseline of recognition at shared humanity, and advancing through harmonic extemporizing with each new suite of drawings serving as a piece of counterpoint, becomes both more abstract and more articulate. The end result is something like an ethnography and something like a symphony.

(*: I’m probably going to talk about Popeye next month. At least one motivating factor behind this series is to get away from the promotional cycle of hype for the new, and look at work worth of being approached almost like items on a syllabus. I hope it doesn’t result in too much writing where I list influenced works to make a case for “historical importance.”)

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thelazyhermits · 6 years

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If UT Sans plays the trombone, do you headcannon any of the other skeles playing instruments, for joke puropses or otherwise? I always imagine Stretch would have a bass and hw could do that awful Seinfeld baseline. And Mutt having drums so he could do the little ba dum tss thing. Plus theres xylabones and bonegos and saxobones and otomabones and all sorts of others

Hmm I’m no music expert so I haven’t thought too hard on this subject. I do think that all the pun lovers can play a pun-related instrument for joke purposes at least. Stretch on bongos would be great, and Red using a saxophone would look awesome. However, I’ve seen a lot of people that have written Stretch playing the guitar which I like. I could see Pup playing bass. Red either on electric guitar or bass. I think Blue on drums would be fun considering his energy. Black on the keyboard would be cool. Captain on xylophone simply because the image is great and so Comic can make puns about it. While Edge on guitar would look cool, I kinda wanna see him play violin. I dunno I just think it’d look classy haha

Sorry, this isn’t very detailed. I wish I knew more about instruments, so I could give you a better response ^^’

#the redhead answers #just imagine these guys in a band #that would be so freakin awesome #totally would go see them live XD

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instatrack · 5 years

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The king of "normcore." #FanArtFriday credit: @beatlemegan ・・・ *seinfeld baseline plays softly in the background* #seinfeld #loml https://ift.tt/31czFTg

#Instagram #All #Pics #All Extra #Everything

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hipcityreg · 5 years

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Playing Social

This won’t be nearly as organized / cohesive as I or you would like. But need to get these very raw thoughts down somewhere. It’s too long for my Newsletter and is too all over the place for a Twitter thread. I write about the nature and nuance of identity, all the time. This will be much lighter on that front than previous essays.

Short Precursor

Let me start by saying that gaming has always been social, and social has always been a sort of game. Something something, Eugene Wei, something something, status. But I want to focus more on the productized manifestations that we have seen, and how I am currently thinking about building moving forward.

Let me also say, before diving into this, that I’ve been reading Snow Crash and playing Ready Player One in the background while I work. And although the movie isn’t that good, it still allows certain product-philosophies to be presented in a clear way. I think it is always important to share inputs at any given time of producing something, because it allows a clearer look into the thoughts of the creator.

Podcasts: Founders Fund Anatomy of Next, little A16Z, and very little Village Global

Music: Solange, James Blake, Theophilus London, Bob Dylan, Khruangbin, Frank Ocean, The Internet, Lil Pump, Paul Simon, Jordan Rakei, King Krule

TV: Haven’t consumed much tv lately only new thing is Wild Wild Country, mostly rewatching Seinfeld & Mad Men

Art: Mark Rothko, James Turrell, Dan Flavin

Fortnite

Let’s take the clear example of Fortnite. I’m not going to talk about the obvious / pseudo-hot takes we see on Twitter. We have those in abundance.

I tweeted a while ago, probably deleted now, that Fortnite is the precursor to the Oasis. I thought the Marshmallow concert on Fortnite was interesting. But it was interesting in a very limited way.

If the goal is simply, time spent on Fortnite. Then they can keep plopping in more and more entertainment to form around. It builds an experiential content retention layer. The sense of space is very clear. Navigation is very clear. And expression through skins still works. There’s nothing too groundbreaking. We have had vr dj sets for a while. This is a similar sensation for the flat internet.

But what’s clearly missing, and again if this is simply a retention tool for time spent maybe it doesn’t matter, is how it touches the game itself. What is the most basic, yet compelling, way that Fortnite can create a social layer?

You leverage your strengths. Fortnite has created a detailed and rhythmic world. And this is what they need to expand upon. Although I make jokes about it all the time, this probably actually looks like Club Penguin. I want to go around DJ Island. Have mid-day retreat on Meditation Island. The list goes. Then a timer goes off, I’m thrown off a plane, and I’m fighting.

I workshopped this in a tweet. But this level of world building could continually expand the meta-space that is Fortnite.

Pokémon Go

When Pokémon Go first launched, it was the Summer between my junior and senior year at Penn. And in that time, I thought that a game had solved racism. Obviously, I say that jokingly. But the collective experience of going around Williamsburg, catching Pokémon, battling gyms, all while meeting and talking to complete strangers was truly magical. It also destroyed my phone’s battery.

The downside of mobile AR for this game, is that you are getting in the way of anyone not playing the game. So, the environment is not collectively heightened. This is part of the friction of trans-reality.

This was part of a discussion on Founders Fund Anatomy Of Next Podcast, where residents that lived near a park wanted to strip the location from the game. Which brings up an interesting question of how we think of digital layers, and what that means to physical communities. But for another time.

The social layers being built within Pokémon Go are truly interesting. And something I have started playing around with more. My friction here is that most of my peers don’t play anymore. So to build a social component for myself, I would be starting from scratch. We do this with Twitter, to some extent, after choosing the community we want to explore. But with mobile AR, there is no digital barrier. I’m not in a “Twitterverse”. Any new social connection from the game is made from interacting directly, without any previous context of who someone is.

Niantic is a company that doesn’t get enough credit, but in terms of consumer AR, I would argue Niantic and Snap are delivering the most powerful experiences right now. We’ll see what happens with Ubiquity6.

Eternal

As a believer that every day is day 1 of our future, I ask what worlds can we build.

Games on social platforms do not elevate the network in which they take place. At its most basic, we have playing games on Facebook. And at its most interesting right now, we have Snapchat / Houseparty / Messenger (and others) gaming through video chat / messaging. There seems to be two things top of mind moving forward from here.

1 - Social AR and editing a shared digital layer. (Niantic, Neon, Ubiquity6)

2 - Avatars and unlocking the next phase of digital identity.

The second is where I currently focus, and what the rest of this post will be about. As we push into avatars as our medium of expression, we unlock a new level of social freedom.

When I talk about digital avatars/identity, I am referring to high photorealism. Not Bitmoji/Genies/Zepeto. We want Frankie as our quality baseline. Photorealism gives us a stronger connection to the abstraction of our identity, and allows us to blur reality enough to make the experience feel valid.

/// For those that haven’t read previous posts about Eternal, we are building a social network allowing users to have multiple avatars for expression. This is grounded in core truths of liquid identity. First we are building a social game, so get excited about that! ///

The most direct thing, from a business perspective, is building a digital marketplace to customize / augment your avatar. This isn’t new. But it creates a bridge into the first thing games can unlock within social. Rare digital goods. I think the compounding nature of this opportunity starts with abstracting your identity to a digital avatar. Without that essential foundation, this doesn’t make sense. The best we can do on current platforms is getting “verified” but even that has lost some of its value.

With default open networks, we are able to host competitions for every user to submit to. I think this pulls at compelling themes that allow us to dive deeper to see what some of these experiences looks like.

By directing the energy of the crowds, we not only create a shared goal through collective intentions, but we create a shared history for the platform itself. Meme culture is hyper ephemeral. However, to memorialize a moment that we’ve all witnessed and participated in, rare digital goods creates a lasting token. Or as my very sharp friend and builder, Paari, dubs it can render digital reputation.

For the absolute worst example, if the platform wants to host “Supreme Street King”. Users would share a video where you tell us why your avatar should be crowned. If you win, your avatar is donned with a Platinum Supreme Headband, where we can all call back to what that means. This is most similar to artifact hunts in Ready Player One.

A question I’ve been meditating on, is what happens when you can win a singular customized identity? Maybe it is non-gendered. Maybe it doesn’t have racial identity attached to it. Maybe it has a different racial identity than you, or a different gender than you normally express yourself with. How deep can we push this? What does this do to our sense of identity?

I could go on, but I think the goal with the intersection of gaming and social comes down to a few questions that we can optimize around.

1 - Can everyone on the platform take part in the game? And is simply playing enjoyable, no matter the result

2 - When you are amongst the winners, how does the prize live beyond the game as users interact on platform? What does this do to interactions?

3 - Am I in another world?

In the end it comes back to a feeling, that this is unlike anything else. To create next gen-experiences, we cannot be anchored to social as we see it today.

I hope this doesn’t sound vague or reductive. I’m hyper aware that any time a founder paints a piece of their vision of what they want to build, how the world works, or how they view emergent behavior, there’s the more intense reality that it probably won’t happen. Which is the basis of fear when pursuing what you deeply believe.

Some of these thoughts are off / half baked. But I want to come back to this to go deeper on specific ideas, throw away parts, clarify how products manifest themselves... and more.

/// This is a side thought I figured I’d throw in here. A couple of weeks ago, I wrote about how I’ve been meditating on the nature of space. With consumer AR, the space is wherever you are. This has it’s obvious frictions, as I stated previously. More and more I’ve been obsessed with creating (1) a sense of space through direction (2) a sense of space through lack of direction. On the first point, there is an incredible lack of depth representation in mobile experiences. I should be pushing inward, to consume a history of you. Not gliding by it vertically. Weight of response and collaboration is held equal, when that isn’t skeuomorphic to how we ideally process interactions. On the second point, and I don’t remember who shared this idea with me, what if the future of social is a digital garden that we all help tend. I think lack of direction is beautiful and a potential direction of our future. Collectively caring for something. Conversing while we do it. Making new connections. Actively building a new world. ///

As always, love to hear your thoughts. Share, email me, follow me on Twitter. You know the deal.

#technology #avatars #digital identity #digital goods #ready player one #Snow Crash #NYC #products #mobile #AR #gaming #social #social media #consumer internet #internet

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maximummightyx · 7 years

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diamond is unbreakable american version

josuke: heh... if it isnt kira yoshikaGAY and his stand... Killer Queef *seinfeld baseline plays*

#jjba

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morphogenetic · 7 years

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my internal monologue right now is just that vine that's numb playing over the seinfeld baseline

#junpei.txt

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limulidaes · 6 years

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do yall remember that one april fool’s day where tumblr would play the seinfeld baseline whenever you scrolled because for about 3 minutes that was the funniest thing in my life

#i want it back

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yahoo-the-dagger-blog · 7 years

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Wisconsin upsets Villanova on Nigel Hayes' game-winning layup

yahoo

The defending national champions are done. Done before their title defense could even really get started.

Top-seeded Villanova was upset by eighth-seeded Wisconsin, 65-62, in the second round of the NCAA tournament Saturday, the first major upset of this year’s March Madness.

Nigel Hayes, after two years of struggles on offense, won the game for the Badgers with a nifty move on the baseline with 11 seconds left to break a 62-62 tie:

NIGEL HAYES pic.twitter.com/d7hbdDES3l

— Abdul Memon (@abdulamemon) March 18, 2017

Wisconsin then sealed the game with a stop on the other end.

The No. 8 seed had come back from a seven-point deficit late in the second half to tie the score. With the game knotted at 59 with two minutes to play, Bronson Koenig came off a down screen and buried a 3-pointer:

Bronson Koenig again… pic.twitter.com/nzTBunzde1

— ⓂarcusD2.0 (@_MarcusD2_) March 18, 2017

Koenig nearly turned from hero to goat on a later possession. Up one with 40 seconds to play, his weak pass was stolen by Donte DiVincenzo, who was fouled by Hayes. DiVincenzo, however, missed the second of two free throws. Hayes won the game on the other end.

Villanova, the top overall seed, went 32-3 on the season, won a fourth consecutive Big East championship, and took home the Big East tournament title a week ago. Josh Hart and Kris Jenkins came into the NCAA tournament with an opportunity to become the winningest players in college basketball history. That quest was cut short as Jenkins was held to just six points on 2-of-9 shooting.

The Badgers came in to the game hot after a run to the final of the Big Ten tournament, and, after seeing off Virginia Tech on Thursday, they stunned the Wildcats. Villanova was held to 41 percent from the field.

Wisconsin is on to its sixth Sweet 16 in seven years. The only time the Badgers didn’t play on the second weekend of the NCAA tournament since 2010 was 2013, when they lost to Ole Miss in the first round. After a late-season run of losses and a dip to a No. 8 seed, the streak looked likely to end in 2017, but Greg Gard and the Badgers have rediscovered last season’s magic.

Less than a year after Koenig beat second-seeded Xavier in the second round of the tournament with a fall-away 3 at the buzzer, the senior guard was at it again. He returned to the game with four fouls, made a 2-point jumper to bring Wisconsin within three with 4:25 to play, then tied the game with a 3-pointer with 3:28 remaining.

It was Hayes, however, who won the game for Wisconsin. Hayes has had an up-and-down career — more up early, more down lately. As a sophomore, the 6-foot-8 forward shot 54 percent from 2-point range and 40 percent from 3. But he regressed as a junior to 40 percent from inside the arc and 29 percent from outside it. His iffy jump shot made him a one-dimensional offensive player, and inhibited Wisconsin’s offense.

Hayes didn’t need a jump shot to beat Villanova, though. He only took one 3-pointer and missed it. But he was 8-for-15 from inside the arc, scored a team-high 19 points, and came through on one of the biggest drives of his career. He had attacked the rim relentlessly all season and all afternoon, sometimes successfully, sometimes unsuccessfully. His ability to bully his way through an undersized Villanova team was invaluable for Wisconsin.

The Badgers jumped out to an early lead despite foul trouble for star forward Ethan Happ. Their defense was stout. Koenig scored nine first-half points. A Hayes three-point play put the Badgers up 20-12.

Villanova came back to cut the halftime deficit to four, and made a gradual second-half charge with Koenig on the bench. The senior point guard picked up his second, third and fourth fouls early in the second half. Villanova led 57-50 with just over five minutes remaining.

Wisconsin finally regained the lead on Happ’s driving layup with 2:36 left, then needed the big shots from Hayes and Koenig to seal the upset.

The Badgers will play the winner of Florida-Virginia on Friday night in New York. Their win opens up the East regional for No. 2 seed Duke, who becomes the clear favorite to emerge from it and advance to the Final Four.

More March Madness coverage from Yahoo Sports: • Marquette’s loss cost one Berkshire Hathaway employee $1 million • Charles Barkley fuels on-air beef with Lonzo Ball’s dad • UCLA star Ball suffers scary fall in win • Watch: Who wins the Yahoo Sports ‘Seinfeld’ bracket?

#_uuid:084e14c1-4264-3d96-ad61-047618afed9b #_lmsid:a077000000CFoGyAAL #_revsp:497660ab-6a82-4a53-b16c-6a93638f82dc #_author:Henry Bushnell #_category:yct:001001076

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