#THE 20 BEST DEBUT FANTASY BOOKS EVER WRITTEN | Explore Tumblr Posts and Blogs

soundsof71 · 3 years

Note

So, considering you are a passionate fan of music released in 1971, I feel justifiably obligated to ask you what you think of Buffy Sainte-Marie's 'She Used to Wanna Be a Ballerina' album. 😂 (Also, it would make me beyond happy if you could post more about Buffy, my friend! Thank you! ❣)

Buffy Sainte-Marie + Crazy Horse - what’s not to love? LOL I confess that it was the Crazy Horse connection that caught my attention first. I had a general idea who Buffy was, had seen her on TV a few times, but I was a big Crazy Horse fan. News that they were her backing band for this album was easily enough for me to scoop it up.

They weren’t doing anything much with Neil Young in 1971 (other than this album, on which Neil also appeared!), but they had released a tasty solo album in February 71, produced by Jack Nitzsche (who also produced this, and would later marry Buffy), and featuring Ry Cooder (also featured here, although did not marry Buffy).

(btw, the first place that Buffy, Ry, and Jack worked together was on the Nic Roeg film Performance, starring Mick Jagger. People obviously remember Mick in that, but musically, Buffy was the best part!)

She Used To Wanna... also features Jesse Ed Davis, a Native American guitarist and singer who was a frequent “usual suspect” at these sort of “sure, invite everyone!” jam albums of the era, and played a prominent role at 1971′s biggest concert (at least in the US), The Concert for Bangladesh on August 1.

(I know you know RUMBLE: The Indians Who Rocked The World, the documentary about indigenous music’s influence on rock and roll, which has chapters on both Buffy and Jesse Ed. I just watched it again recently, and love it! A reminder of Buffy’s pivotal role in classic rock history. Not mentioned in the film: she relentlessly championed the work of her fellow Canadians Joni Mitchell and Leonard Cohen, helping them get their first record deals.)

youtube

I haven’t listened to She Used To Wanna Be A Ballerina for a while, so I definitely need to do that, along with posting more pictures of Buffy. (I can’t believe I’ve only posted two!)

But I’ll tell you what still stands out to me about that record years later. “Smack Water Jack” is an underrated track from Carole King’s Tapestry that got a ton of airplay at the time. Quincy Jones did an instrumental cover as the title track for his terrific 1971 album, too, but it has somehow faded to obscurity since then. Buffy takes a playful trifle, and turns it into a powerful fable of men of color who explode into violence in response to the violence visited upon them, and self-satisfaction of whites in authority who answer their demands for better living conditions by killing them on the spot.

No need for a trial when you can murder them in the streets, right? “You can't talk to a man when he don't wanna understand / And he don't wanna understand” hits different when Buffy sings it, and in 2020 for that matter.

It’s also just a terrific performance whose combination of soul and rock and roll and driving piano in a sort of Old West-sounding context would have made this sound right at home on a record like Elton John’s Tumbleweed Connection or something by The Band. I’m limited to five video embeds per post so I can’t embed it here, so I'm linking instead: anyone who hasn’t heard this definitely needs to.

Her cover of Neil’s CSNY track “Helpless” has things I like even better than Neil’s original, including Merry Clayton standing in for CSN. Buffy’s version is more muscular (thanks again to Crazy Horse), and taps even more deeply into the isolation of the song that the star power of CSNY somewhat obscured.

Buffy’s version also made a brief but memorable appearance in the 2018 film Hotel Artemis, starring Jodie Foster. A weird little movie that I loved maybe more than it deserved LOL but I recommend nonetheless:

youtube

I know that this album gets attention because of the unusual number of covers, including one by Leonard Cohen, and a cover of a cover that Leonard had made famous on top of that, called "Song of the French Partisan” (hers is the far superior version imo, a song of French resistance to Nazi occupation from the perspective of a woman hiding a resister), but there are a couple of standout originals too.

I love the title of this record, and the title track is a delightful little stomper that playfully cautions against equating the intentions of grown women with the childhood fantasies they’ve grown out of. More Merry Clayton goodness here on backing vocals too.

youtube

“Soldier Blue” is a powerful song first written for the 1970 film of the same name, billed at the time as “The most savage film in history” -- and maybe it was. It used the 1864 Sand Creek Massacre as a metaphor for Vietnam, and it's still shockingly brutal. It was the third-highest grossing movie in the UK in 1971, though, and the single became a top-10 hit for Buffy there.

It didn’t do as well here, either the song or the movie. Perhaps not shockingly in retrospect, Soldier Blue was pulled from American theaters after a few days, the Vietnam metaphor not at all lost on the Nixon administration.

As horrifying as it was, this is about when I was reading Bury My Heart At Wounded Knee (first published in 1970), and Soldier Blue resonated with me in a whole lot of ways. Here’s the song in the opening credits of the movie.

youtube

I was also really struck by “Moratorium”, which is the story of “Universal Soldier” (from her 1963 debut, but a bigger hit for Donovan in 1965), coming from the opposite direction. In the earlier song, she blamed war on the soldiers who think that fighting is honorable, but here, she has empathizes with the young men, boys really in many cases, who’ve been lied to by their countries, their parents, and even their friends. They’re not vainglorious. They’ve been duped by people they trusted.

(I don't think she takes enough into account how many men sign up to fight because they want to embrace and celebrate their worst, most violent impulses, which was of course an undercurrent of “Universal Soldier”, but I appreciate her empathy here. More than one thing is true at a time.)

Buffy goes even farther, though, calling on soldiers to support and validate demands for peace as explicitly supporting them, summed up in the unforgettable cry, "Fuck the war and bring our brothers home!"

1971 was the peak of antiwar demonstrations in the US, with the biggest crowds ever seen in this country until the 2017 Women’s March. The May 1971 demonstrations pretty much shut down Washington, culminating with Vietnam Veterans Against The War throwing back their medals on the steps of the US Capitol, incredibly powerful stuff to see on TV in my formative years, and Buffy was right there in it. Anti-war songs were a cottage industry for sure, but nobody was writing with the nuance and empathy that Buffy was.

Here’s a 1972 performance of “Moratorium”, Buffy and a piano, and more emotionally bare than that:

youtube

There’s obviously lots more to say about Buffy, far outside the realm of protest music that was actually just a small part of her musical palette -- her pioneering experiments with electronic music, her educational philanthropy starting in her 20s, Sesame Street, you name it. Her commercial peak was still in front of her, and while I can’t say that this is my favorite of her records, it does have some of my favorite songs of hers, and 1971 and She Used to Wanna Be A Ballerina is definitely where I went from knowing who Buffy Sainte-Marie was to being a fan.

I'll also note as I do now and again that while this blog started as an offshoot of a book on 1971 that I’d started but abandoned, I mostly listen to music released now. That’s always been my policy, including in 1971. When 1972 rolled up, I was mostly listening to music from 1972, music from ‘80 in ‘80, ‘91 in ‘91, 2018 in 2018, etc., to name just a few other favorites. (Plus The Beatles, okay? LOL I still listen to The Beatles every day. No apologies.) Honestly? It took me until 2011, in my fifties, when a whole bunch of 40th anniversary editions of 1971 albums got released all at once that made me think, “Wait a minute, this was maybe THE pivotal year in classic rock history!”

So yeah, the historian in me dug into 1971, but even though I happened to be alive and enthralled by music in that year, what I’m doing here has nothing to do with nostalgia, or any idea that that was the *best* year in music, even if for the narrow slice of music that is classic rock, yeah, it absolutely is. For soul/R&B too, and for the explosion of women artists outside the even narrower confines of pop as well. This is not subject to debate. No year like it, before or since. It's just that classic rock is a such a narrow slice, and I like my slices wide. LOL Which is also why my blog has less and less 1971 content as I go along.

While my general policy is that my favorite year for music is THIS year, this particular year hasn’t left me as much energy as usual for listening to music. Some of it is These Trying Times™, some of it is my bipolarity and schizophrenia getting the better of me in waves, as is the way with these, uhm, things. (Keep taking those meds, kids!) I listen to music and post about the people making it as a creative act, not a passive or reflexive one, and I just haven’t felt as creative as usual.

(This is also has everything to do with why so many Asks have been piling up unanswered. I apologize if you’re one of the many kind and indulgent souls who’s gotten in touch, but I swear I’m gonna get to ‘em all!)

To get an idea of what I’m ACTUALLY passionate about right now, my “to be edited later” running list of 2020 favorites randomly added to a playlist as I encounter them, to be properly curated later, is at Spotify, cleverly entitled “2020″ -- 94% women, which is about right. LOL

But since I do in fact listen to old stuff (by which I mean 2019 LOL), I made a list of mostly 2020 bangers from women rockers with some tasty treats from 2019 that I haven’t been able to let go of just yet, inspired by a post I saw at tumblr saying that punk music by women is just plain better (also beyond debate), called “Women Bangers: A Tumblr New Classics Jam”. I’ll be posting an essay with a YouTube playlist soon, because god forbid that I only talk briefly about anything LOL and most of these women need to be heard AND seen.

Like Buffy Sainte-Marie, whom you'll both see and hear more often on my blog soon. Thanks for the reminder! Always a pleasure to hear from you and be challenged by you. :-)

Peace, Tim

#ask #musicrunsthroughmysoul #buffy saint marie #women in rock #1971 #she used to wanna be a ballerina #1971 album #youtube #1971 single #crazy horse #essay #me

63 notes · View notes

skekheck · 4 years

Text

30 Days of the Dark Crystal Challenge

Decided to do poultry-blocks Dark Crystal challenge because it looks like a lot of fun to do. However I’m cheating and I wrote all of this within a couple of days. Warning: fairly large post with pictures and fan ramblings.

EDIT: I FORGOT TO INCLUDE DAY 16 WHOOP. It’s in there now.

Day 1. Your favorite skeksis

Idiot, feral, wildman who stole my heart. How? Why? Who knows. *chef kisses* Beautiful stinky bastard.

Day 2: Your favorite gelfling

Bless her and her skeksis cosplay. What a queen.

Day 3: A character that you love that everyone seems to hate.

The tides are changing for her it seems. I think people are appreciating her more, but she still faces her fair share of controversies. Not that I don’t think it warrants discussion nor am I excusing her actions. But she’s way more complex than what a lot of people are making her out to be.

Day 4: A character that you hate that everyone seems to love.

Hate is a strong word as I don’t hate him, but I don’t really care for Amri. He feels like a bootleg Deet mixed with a little bit of Kylan and Gurjin. Wasted potential and honestly shouldn’t have been the POV for Tides of the Dark Crystal. Seems I’m alone in this opinion, though. Maybe the book warrants rereading?

Day 5: Movie or TV Show? Why?

TV Show by miles! I think the series accomplishes way more than the movie does, like establishing lore, better written characters, and a more engaging story. I actually cared about the gelfling and it really fleshed out the skeksis in an interesting way outside of “oh they do evil things because they’re evil!”. Doesn’t mean it does everything right, but I’ll get into that later.

Day 6: Something you wish that happened in the series but didn’t.

Just a few things. I miss the gelfling intermingling with the mystics, particularly urVa. I love everything that happens with urGoh and skekGra, but some of the bonding moments Naia had with urVa are precious and I wish we had more of that. I also wished the gelfling got the message out to the other clans like they did in the book where Kylan dreametched their message onto the Santuary Tree’s blossoms and scattered them all throughout Thra. I also wished Tavra and Onica were an established couple, but maybe it’s not too late for that.

Day 7: Favorite gelfling clan

The Sifa! It was the Dousan at first, but the more I learned about the Sifa the more I grew to love the clan. If I were a gelfling I would probably be a sifa myself LOL.

Day 8: You opinion on Aughra

She’s a fun and fascinating character! Aughra puts a unique spin on the whole beautiful, wise earth goddess trope by making her ugly, old, and cranky. She’s also a character with her own flaws, even having a mini arc about neglecting to take care of her planet and doing whatever she can to make amends. Not to mention she’s wildly entertaining. Much love for Aughra!

Day 9: Skeksis or Gelfling?

Both!

Day 10: Your opinion on podlings?

They’re just funky little potato people who just want to have fun, dance, and drink all day and I respect them for that. They’re great. Also Hup exists and he’s just an amazing character so there’s that.

Day 11: Your The Dark Crystal unpopular opinion

I think it’s okay to sympathize with the skeksis as long as one is not excusing their actions. I see a lot of people say you shouldn’t because they’re evil and they commit atrocities. Which, yes, it’s true, but I think both can co-exist. I mean, skekTek’s whole cycle of abuse is written very sympathetically yet the show doesn’t coddle him. It shows the ugliness of his character and what happens when someone isn’t capable of cutting off from said cycle. Also the writers consider the skeksis as tragic characters due to their broken nature so I don’t think it’s wrong to be a little sympathetic. But once again with great emphasis, sympathy is fine as long as their actions are judged. They are awful bastards and no amount of sympathy will change that.

Day 12: Something you dislike about the series

I think the stuff I don’t like about the show is a result of its pacing and cluttered cast. There are so many stories going on and while I liked how they handled it for the most part, you can also see how the show rushes to get through all of them. A lot of important moments where a character should reflect or something that should simmer more is pushed aside for the next thing. Maybe if the show was given more episodes and time to breath it would have been better off.

Day 13: Most disappointing thing about the series

SkekMal and urVa didn’t have enough screen time and we were honestly ROBBED.

Day 14: Your OTP

Speaking of which... . Its a crack ship, but I’m all about that allegory for self love (and I just want these two to be alive). Day 15: Favorite quote

Listed plenty of my favorite quotes before, but I’ll pick this one:

“ Life is my paint. Death is my canvas”

Day 16: Rate the skeksis from least favorite to favorite OR rate the gelfling from lest favorite to favorite [or both!]

And if you want my gelfling hot takes, here’s this list (just backwards in context to this post)

Day 17: Opinion on Raunip?

Raunip is a fantastic character. I loved him in Creation Myths and I can’t wait to see what role he’d play in the resistance. And I absolutely love the parallels between him and the urskeks it’s great.

Day 18: A character that is most similar to you.

I too am a dark-dwelling gremlin who constantly forgets where I put things and crack a few dark jokes at my expense.

Day 19: Which character do you strongly dislike, why?

This is entirely based on the books, but I find Mera to be awful. I think it’s because she’s so fake and condescending? When Naia arrived in Sami Thicket, she was acting nice and polite but when the Drenchen asked her why the skeksis never visited Sog Mera responded “It’s only worth counting what’s valuable”. She continuously disrespects her by calling her pet names even when Naia became maudra. It doesn’t come off as cute, it’s gross. I don’t recall Mera ever apologizing for any of the shit she did to Naia... or Kylan for that matter. She was a pretty neglectful step-mother to him. She doesn’t have an excuse being busy with Maudra stuff because Laesid was a kickass mom to her kids. So in conclusion, fuck this bitch.

Day 20: What do you like so much about the Dark Crystal?

The better question what’s not to love about the Dark Crystal? It has amazing creature design, an expansive world that feels real and alien from our own, having complex and interesting characters as well as villains, the fact that it relies heavily on practical effects a.k.a puppetry... . There’s nothing like it and that’s what makes it so wonderful and unique. It needs to be appreciated more.

Day 21: Favorite music piece from the soundtrack?

Can’t beat that opening theme.

Day 22: Your opinion on the sequel comics [Power/Beneath the Dark Crystal]

They have cool concepts and ideas, but they’re not written well. Power is just the movie if it was put into a blender and shredded and ignoring a large portion of established lore for the sake of plot. And Beneath is just a generic fantasy story with the Dark Crystal logo slapped on it.

Day 23: Which character from the YA novels/comics do you wish we would see more of?

There are plenty of characters that are a given to appear in the series at some point (skekSa, skekLi, urSan, etc). And of course I want to see them, but I really hope Periss shows up (and his brother too). He is one of my favorite characters from the book series and we could use some more Dousan rep!

Day 24: Your opinion on the Age of Resistance comic?

I have yet to read the comics. I’m waiting on them to be part of a collection so I don’t have to buy all of the volumes at once (I prefer owning physical copies). I’ve heard good things about them, especially the story with Hup and the current Mayrin arc. I’m excited to get my hands on them.

Day 25: The best moment/scene in the series?

There are a lot of great moments, but Rian and Ordon’s fight with skekMal is still my favorite in the entire series. The "Speak For the Dead” scene is a close second.

Day 26: The death of a character that hurt you the most?

He did not deserve this. Fuck you, skekMal.

Day 27: Your favorite episode from the series?

It’s got to be 4. Not just because a number of my favorite characters debut in this episode, but it’s an important one for the plot. Stakes are being raised, we’re seeing set ups to major story elements and character arcs, and events that impact the rest of the series. It also has a handful of my favorite character moments and interactions.

Day 28: Your favorite non-skeksis and non-gelfling character? Why?

I’ve come to realize the reasons why I love urVa are the same as why I love skekMal (incredibly appropriate I might say). There’s enough information about him that we get a good understanding on who he is as a character, but still mysterious enough that there’s interest in wanting to know more. Much like his skeksis, he’s unique from the other mystics and thus giving him unique experiences that are fun to speculate. However, the YA novels are responsible for my current fondness of him.

Day 29: Do you like the urru and skeksis apart or like them as urSkeks together?

A main theme of the Dark Crystal is unity and balance. The main conflict of the franchise are the skeksis, the broken fragments of their urskek self who, according to the writers, “...[have] a dire need for the qualities they lack”. Their only salvation is to become urskeks again and unfortunately many of the pairs never achieve this. They’re basically a giant allegory for the self and self-love. While we don’t really know what they were like when they were an urskek (aside from SilSol perhaps), we can get some understanding when we look at their pairs and see what traits they share. Speculation is also fun! So as much as I love the skeksis and mystics as individuals, I prefer them to be whole again.

Day 30: What are your wishes for a possible season 2?

A whole bunch of things. I want to see them explore more about the mystics and their lifestyle, having Raunip play a big part in the plot, seeing more of skekSa’s fall from grace from her perspective, the beginning of the Garthim Wars, and more.

#the dark crystal #my posts #long post

16 notes · View notes

molihuas · 3 years

Text

favorite books of 2020!

tagged by @kagetatsumis. ily condy. <3 in no particular order! top 10 books i’ve read in 2020 are:

the blade itself by joe abercrombie — hello??? the best written characters i’ve ever read?? the only grimdark i’ve ever loved not to mention liked???? so many shoujo manga tropes (yes, shoujo manga tropes) subverted beautifully?? tbh this just has a lot of manga / video game tropes in general LOL. and i loved every single one of them.

the bird & the blade by megan bannen — the pacing of the plot was SO WELL DONE WITH THIS ONE. SO. WELL. DONE. the characters’ voices were distinct and immersive! the LINGUISTICS, the RESEARCH DONE TO MAKE IT THE LANGUAGE AND THE CULTURE OF THE ERA AND COUNTRY LEGITIMATE??? listen... 🤌🏻 also everyone knows i’m a hoe for family dynamics and the father-son + found family here was just. just!!! choice. ✨

radio silence by alice oseman — hi, i’m no contempoary expert but even i know this is a literary treasure of this generation. hands down best coming of age i’ve ever read AND IF YOU WANT TO a) cry a lot, get attached to and immensely relate even tho ur already in ur 20s or b) educate urself on our generation U SHOULD READ THIS. thank u.

the way of kings by brandon sanderson — if u like epic epic fantasy aka reading a whole ass saga about larger than life things and crying over a precious boy who’s well! the ‘perfect hero’ type of character ngefl! but hey epic highs and lows and the best fight scenes!! well then. you should read this.

the diviners by libba bray — just check out my review. this is definitely one example of perfect storytelling.

shadow of the fox by julia kagawa — i’m pretty sure this is the only book i pulled an all nighter reading this year. it was A WHOLE TREAT to read. i’m not usually fangirling about romance but geez louise this one’s SO CUTE.

girls of paper and fire by natasha ngan — THE BEST WLW IVE READ IN MY ENTIRE LIFE SO FAR. criers war, please get out of the way. ALSO THE WORLD WAS SOOO INTERESTING.

beach read by emily henry — DHDJDKDJD i’ve never enjoyed an adult contemporary ROMANCE so much and it wasn’t even because of the romance (maybe unsurprisingly). it was because of the CULT STUFF. look... all i can say is the healing from trauma here was written soooooo fucking nicely. HELLO! IT WAS AMAZING.

the poppy war by r. f. kuang — i was not a fan of the pacing (especially of the character arc, less so for the overarching plot) and that stuff’s really important to me BUT THE CULTURAL VALUE OF THIS BOOK cannot be ignored. especially since i’m east asian. alsooooo for a debut it’s insanely impressive for what it accomplishes to tell in 500~ pages. like. yes of course i’m fucking taking pointers from kuang.

no longer human + the setting sun by osamu dazai — yes i’m cheating by putting two in one bullet point, WHAT ABOUT IT. these were just so very well written and no other author had made me feel the way dazai has. i doubt anyone ever will. it’s such a unique flavor of EMPTINESS, how can they? ... that may sound horrendous but this guy is a king at symbolism and CLASSY foreshadowing. like if you told me that was the only reason why this is a classic, i would believe you.

tagging! @seomarshalls and @darrigann because i have no other friends.

#tag games.

3 notes · View notes

buckities · 3 years

Text

i read books this year, so i’m doing a 2020 reading stats survey. just because.

Number Of Books You Read: 44 Number of Re-Reads: 1 Genre You Read The Most From: Fantasy

1. Best Book You Read In 2020? This is the biggest cheat answer of all, but I don’t care. Carry On by Rainbow Rowell, Vicious by V.E. Schwab, and everything that I’ve read so far of the Realm of the Elderlings series by Robin Hobb, from Assassin’s Apprentice to Fool’s Fate. That’s as much as I can narrow it down.

2. Book You Were Excited About & Thought You Were Going To Love More But Didn’t? Vengeful, by V.E. Schwab. I thought I’d love it. I did enjoy it, and Victor Vale is one of my favorite characters ever, but I didn’t get all that I wanted from it.

3. Most surprising (in a good way or bad way) book you read? Surprising in a good way: The Kingdom of Copper, by S.A. Chakraborty. I did not enjoy City of Brass as much as I could have, and I absolutely loved this sequel from the very first page. I devoured every word of it.

4. Book You “Pushed” The Most People To Read (And They Did)? My peeps don’t really read books, so I’m just pushing with no hopes of ever getting anyone to read anything, but I pushed a lot for The Dresden Files series by Jim Butcher.

5. Best series you started in 2020? Best Sequel? Best Series Ender of 2020? Best series I started: The Realm of the Elderlings. Best Sequel: Royal Assassin, by Robin Hobb. Best Series Ender: A Conjuring of Light by V.E. Schwab.

6. Favorite new author you discovered in 2020? Robin Hobb.

7. Best book from a genre you don’t typically read/was out of your comfort zone? I guess I don’t typically read non-fantasy, so I’ll go with All The Light We Cannot See by Anthony Doerr, although you could argue (and you should argue) that it has fantasy elements.

8. Most action-packed/thrilling/unputdownable book of the year? Changes, by Jim Butcher. I could not find a chapter to just stop and take a breather.

9. Book You Read In 2020 That You Would Be MOST Likely To Re-Read Next Year? Vicious.

10. Favorite cover of a book you read in 2020? Vicious. And A Darker Shade of Magic. V.E. Schwab’s book covers are works of art, basically.

11. Most memorable character of 2020? “I remember all of them.” Bucky Barnes, Captain America: Civil War, c. 2016. No, seriously. But for this, I’ll go with The Fool from the Realm of the Elderlings series. He’s memorable alright.

12. Most beautifully written book read in 2020? The Liveship Traders trilogy, by Robin Hobb. All of it. I said what I said.

13. Most Thought-Provoking/ Life-Changing Book of 2020? I’ll go with Vicious for this one. Picking up books again was basically an experiment, and I didn’t know if it would work out for me. Vicious is the first one I read and I remember opening the book and going, very warily, “Hello, potential new friend.” And then I was mesmerized.

14. Book you can’t believe you waited UNTIL 2020 to finally read? Dune by Frank Herbert.

15. Favorite Passage/Quote From A Book You Read In 2020? There’s so many deep meaningful passages that I’ve picked out, but as soon as I spotted this one, I deemed it my favorite quote of the year. I guess it makes sense only in context, but it still gets the prize: “You don't get to decide whether you're going or not, because I'm the captain and I already decided that. You're a ship, not a flowerpot.” YOU’RE A SHIP, NOT A FLOWERPOT. I love this line, shush. It’s in Mad Ship, by Robin Hobb.

16.Shortest & Longest Book You Read In 2020? Longest: Ship of Destiny by Robin Hobb, 903 pages. Shortest: Cemetery Boys by Aiden Thomas and Wayward Son by Rainbow Rowell technically seem to have the same number of pages, 352.

17. Book That Shocked You The Most Ship of Destiny.

18. OTP OF THE YEAR (you will go down with this ship!) Simon Snow and Baz Pitch from Rainbow Rowell’s Simon Snow series. I WILL GO DOWN WITH THIS SHIP!

19. Favorite Non-Romantic Relationship Of The Year My first response ended in, “But IS IT absolutely non-romantic, though?” So I’ll go with an answer that’s definitely non-romantic. Kell and Rhy Maresh from the Shades of Magic series. Honorary mention for Victor Vale and Eli Ever from the Villains series, because, damn, do they have an intriguing dynamic!

20. Favorite Book You Read in 2020 From An Author You’ve Read Previously Inadvertently Emma by Jane Austen, because all other authors were new to me. But that’s fine, I love Emma.

21. Best Book You Read In 2020 That You Read Based SOLELY On A Recommendation From Somebody Else/Peer Pressure/Bookstagram, Etc.: Carry On by Rainbow Rowell. Solely on the recommendation of an overexcited Booktuber.

22. Newest fictional crush from a book you read in 2020? Brashen Trell from the Liveship Traders trilogy. This man. THIS MAN. I HAVE SUCH A HUGE CRUSH ON THIS MAN.

23. Best 2020 debut you read? Cemetery Boys.

24. Best Worldbuilding/Most Vivid Setting You Read This Year? Well, the world of the Realm of the Elderlings series, shocking, I know. But honorary mention for The Daevabad Trilogy world, because wow.

25. Book That Put A Smile On Your Face/Was The Most FUN To Read? Carry On, hands down.

26. Book That Made You Cry Or Nearly Cry in 2020? I nearly cried or got teary-eyed for A BUNCH of books. I properly cried while reading All The Light We Cannot See, and I cried on my book hangover after A Conjuring of Light.

27. Hidden Gem Of The Year? I’ll go with Dead Beat from The Dresden Files. It redefined deeply how I feel for the series.

28. Book That Crushed Your Soul? Fool’s Fate, Robin Hobb. At some point I described it as, “It shattered my heart to pieces, then mended it, then poked at the cracks that are still there.”

29. Most Unique Book You Read In 2020? Vicious. The protagonists are both villains. It’s delightful.

30. Book That Made You The Most Mad (doesn’t necessarily mean you didn’t like it)? Beach Read, by Emily Henry. I partly blame the marketing though.

#books #reading #if this were twitter #just sharing the love

2 notes · View notes

hellzyeahwebwielingessays · 4 years

Link

Lets debunk the BS from this. Up top a lot of this BS comes from Bob Chipman/MovieBob who is the guy who if you recall said:

- Superheroes like Superman (and thus by extension Spider-Man who marry civilians were jerks for putting their spouses through the same stuff soldiers’ spouses go through

- Spider-Man appeals best to teens (even though he provably doesn’t since most people get into him before their teens and he appealed to college students in his heyday)

- The Spider-Marriage was nothing more than a forced publicity stunt

- Sins Past is worse than OMD

- Spider-Man is about passive aggressive power

- And the best one, ever since OMD Peter and MJ had become ‘more interesting’

That all being said lets dive into this:

Someone asked the panel what a queer reading would add to the character of Miles…Jesus…that’s just the greatest sign of hope for this podcast isn’t it? Shoot me now…

Miles was not 3 dimensional when he was created. Even if you disagree it is nonsense to say that Peter wasn’t three dimensional when he was first created. Just look at how much Stan explored Peter’s psychology in this singular panel from ASM #50

Look at that. Peter Parker pulled between the two sides of his life. Making a judgement of someone. But then calling out his own judgement of them and acknowledging maybe he’s in the wrong.

This was 1967!

That isn’t three dimensional?

Additionally other people would disagree that Peter wasn’t three dimensional early on.

And even if you disagree with that it’s nonsense to say he hasn’t SINCE become three dimensional or that retaining his origin story (which Miles broadly uses as the basis for his story in every version of his character) somehow holds him back from being three dimensional. If nothing else Peter was at least multifaceted for the time period.

Spider-Man wasn’t an example of stories about a 15 year old made for 7 year olds. Spider-Man was intended to be a senior in AF #15 and the stories were written by Stan for at worst an older audience but at best basically just for him.

Stan Lee confirmed that AF #15 was written not as a one off but as something that if successful COULD become an on-going series.

Its BS to say Peter makes no sense as a character because he makes sense about as much as any character within the confines of the superhero genre can. MILES doesn’t somehow make more sense whatsoever.

No. Spider-Man wasn’t merely a thrown together ‘hey here is a teenage superhero story with a downer ending’ it was a story about selfishness, responsibility and appealed via it’s relative normalcy and lack of idealization of the superhero protagonist.

The psychology and thematic idea of his exclusive powers (invisibility+venom blast) is the same…how? How is disappearing and repelling people the same thing? They keep saying that in the podcast as though it’s obvious and it’s really not

Great Power=Great responsibility isn’t Peter’s catch phrase it’s the philosophy underpinning everything he does

‘The young end millennials have been thrown under the bus by society so the optimism is reserved for the young end millenials like Miles and Gwen’ oh but also ‘you need 5-10 years added to each character to have this make sense and also Spide-Ham doesn’t quit fit’…So…the theory doesn’t make sense then does it. Also, what optimism is there for teen millenials in the late 2010s? We are all shit scared Global warming needs to be fixed within the next 10-20 years. The young end millenials will not be in much of a position to do that. Maybe not the high-end millenials either. The power rests in older Gen Xers or even older generations. So this ‘generational’ theory is bullshit. Yeah, Miles as the next generation maybe makes sense but not when you apply real world concepts of who the different generations are. Especially considering that’s made up bullshit anyway.

‘Blah blah blah for most of my life I’ve been uninterested in Spider-Man because I’ve believed him to be WHITE MALE teenaged wish fulfilment.’…*internally groans*…oh boy…this woman is one of those types huh. Frankly I, and I would advocate others too, take a salt shaker with them whenever they hear someone say something like this. But more importantly Spider-Man is seriously NOT what she describes. For starters Peter was a senior in high school when he began and shouldered adult responsibilities when his father died. That’s wish fulfilment? That’s a BURDEN. The reason that spoke to so many people was because he was just different and because his imperfections made him more relatable. The whiteness idea is also bullshit since he was intentionally or otherwise subtextually Jewish and has spoken to countless people of all colours across the generations. He very particularly has a HUGE following among African Americans which was partially what prompted the creation of Miles Morals in the first place! Shit, the showrunner for the 1994 Spider-Man cartoon was black for God’s sake. Many of the head honcho creators for ITSV were people of colour who were clearly MASSIVE Spider-Man fans!

‘As a woman Spider-Man didn’t resonate with me’. Spider-Man is male. And he acts in ways a male would in the context of the situations. But the character as a whole, in his deepest themes and concepts, is a universal character. He does and has spoken to people across race, gender, sex, sexuality, class, culture and generations. Spider-Girl, Mayday Parker, was her father’s daughter and far more similar than different to him. She spoke to male and female readers. Peter Parker himself has had female fans since his inception. There is no end of female fans here on tumblr or in other online spaces that are the proof of this, to say nothing of old letters pages.

Miles feels more like a real kid and fits together better than most other versions of Peter Parker?...how? I don’t like USM the comic but hwo the fuck do you take that, Spec Spidey, the 1994 cartoon and the Raimi movies (that MovieBob adores btw) and say ‘it doesn’t fit together properly like Miles’. Dude, Comic Book Miles Morales is a teenager in New York who goes to a bordering school for scientifically gifted kids and yet is supposed to be an everyman. That fits together well? He risked his life before being motivated to do so which is how most 13 year old woudn’t have acted. Then he feels guilty about Peter dying but his BFF explains it’s not his fault and he accepts this but then goes on to become Spider-Man anyway. And somehow this equates to guilt+responsibility. THAT’s better put together? His character got web-shooters two different ways by the same writer and the guy he was a legacy to was resurrected within like 3 years of Miles’ debut. That’s well put together? This makes more sense and is more believable than a kid who’s Dad dies because he didn’t use his gifts altruistically, so he spends his whole life striving to use them altruistically?

Blah blah blah MovieBob spewing more shit about how Peter is a teenage wish fulfilment power fantasy even though he clearly isn’t from a modern POV and REALLY wasn’t in the early 1960s.

By extension arguing Peter is an adult male’s retroactive teenaged wish fulfilment fantasy of working stuff out is so plainly wrong. Peter Parker in the early 1960s didn’t have everything figured out. The whole world was against him totally unfairly. He needed Aunt May or the Human Torch at times to give him pep talks. His social life was barely existent! You wanna see a middle aged man’s retroactive young wish fulfilment fantasy? Go read Brand New Day, which MovieBob claims was superior to the pre-OMD era. What is the wish fulfilment here? That attractive young women like him? Is that it? That one thing vs. all the horrible shit beating Peter down?

Bob claims there was a lot more Steve Ditko in the early issues of his run compared to Stan Lee because Peter was very angry. First of all Ditko was such a private person claiming he was definitely angry and that the anger was all him is a MASSIVE speculation. Especially considering Stan wrote Spidey as angry plenty after Ditko left. More importantly, Peter wasn’t angry in the early Ditko issues except for maybe issue #8. He had his moments sure, but it wasn’t at all consistent. He wasn’t raging out or smashing shit like he did later in Ditko’s run. He was more anxious and neurotic in those early issues which is comparatively closer to how Stan and Romita handled Peter in their earliest issues together. Peter and the whole world of Spidey got angrier towards the end of Ditko’s run. You know when Stan was letting Steve plot stuff more and more…It’s almost like Bob is full of shit or something

Bob tries to claim by the time ITSV was being written the kinks in Miles’ character had been worked out in the comics. Nah fam. If anything they’d been exacerbated. In reality it was the ITSV writers who took the wonky early Miles character and worked out those kinks themselves, creating an overall superior rendition of the character. A viewpoint I am not alone in.

‘The Prowler has never been a particularly noteworthy villain in the comics’ That’s because he’s not a villain. He was kind of a villain in his debut but he very quickly became an ally to Spidey

The panel then get into a very pretentious discussion about how ITSV preaches you arne’t stapled to your origin, you are not your trauma. That claiming that is pretentious ala Zack Snyder. But like…isn’t that the POINT of super hero origins? That they contextualize everything about the heroes thereafter? Isn’t carrying his trauma with everything they do practically the point of Batman and Spider-Man’s origins; you know the 2 most popular heroes? Uncle Ben’s death IS stapled to Spider-Man because it underlines everything he ever does. Shit it doesn’t even make sense when applied to Miles in ITSV. He does what he does because his Spider-Man died and then so did his uncle. There is even a whole scene in his dorm room where each Spider-Hero relays the grief that shaped their own lives. I’m not saying you need death and tragedy to be Spider-Man. But that’s neither a bad thing nor something that ISN’T applicable to Peter nor ITSV Miles. Aren’t these idiots supposed to be film buffs? How do you screw up such a basic reading like that?

One of the pundits claimed the movie preaches acting heroically in spite of your tragedies not because of them. Again though…that’ not Spider-Man. Peter is a hero specifically because his uncle died. Miles endeavours to become Spider-Man because his Peter died. His Uncle Aaron’s death further fuels him and allows him to make to final leap of faith. Yes, Peter B. continues to be a hero in spite of his failings but it is only his experiences with Miles that make that possible.

‘They don’t need the tragedies to be heroic they are already heroic in their own right. Look, I don’t disagree with that more broadly. Mayday Parker didn’t need tragedy to be a hero. But in terms of the specific characters in this movie? That’s clearly not true:

youtube

This whole ‘in spite of tragedy’ shit is so pre-Marvel DC comics it hurts. Heroes who just innately do the right thing because it is the right thing to do is a dated and archaic invention Spidey and the other Marvel heroes were reacting against.

‘Spider-Man Noir detracted from the film’s message of diversity because he was a brooding WHITE MAN who prowled the night to enact fist based justice!!!!’ Do I even need to say anything to that? First of all literally every hero in the movie enacts fist based justice. Why does Noir operating at night make him worse than Peter B? Why does him being male make that worse than Peni or Gwen? Why does him being white make that worse than Miles or Peni? And as for detracting from the message of diversity, shockingly diversity can be found within the same ethnic or gender group. You know white/male people aren’t a monolith and all that. Plus creatively you want PERSONALITY diversity more than anything else. In this movie in particular you want shorthand conceptual differences too. ‘Spider-Man but an anime mech girl’ ‘Spider-Man but a noir character’. ‘Spider-Man but a cartoon pig’. This is how asinine this disgusting modern day mentality is.

Wow…MovieBob defending Noir from the asinine comment. I’m genuinely surprised. Too bad he doesn’t use the most obvious defence of ‘that is obviously a ridiculous statement to make you moron’

The next topic of discussion was related to Marvel moving away from Gwen as Spider-Man’s dead girlfriend. I spoke a lot about Bob’s ice cold take on that in this post.

He claims they introduced Spider-Gwen because the idea would be taboo and thus would get people talking. HA! Spider-Gwen was done as just a general idea not something to spark controversy. It wouldn’t even BE controversial. Marvel brought back a version of Gwen within 2 years of her death. They brought her back again 15 years after her death. They brought her back again 22 years after her death along with other versions who melted because it was the Clone Saga. During and after all those times they had AUs of Gwen in What If, Age of Apocalypse, Spider-Man Loves Mary Jane and other such stuff. An explicitly AU of Gwen Stacy in 2014 was one of the most aggressively uncontroversial things you could do.

Gwen’s ballet shoes differentiate her from every other Spider-Man ever. I mean yes in terms of being a dancer I suppose but in terms of being dedicated and studious, training hard and earning immense physical control? There have been plenty of versions of Spider-Man pre-2018 who are like that.

The only way you can make Spider-Gwen work going forward is by not tying it to her death in the canon? Boy…too God damn bad her debut and origin is entirely built upon that. Her origin in the comics and in the movies is built upon a role reversal because it is Peter who dies to motivate her. Film audiences would’ve still grasped that role reversal because it was only 4 years ago Emma Stone’s highly popular rendition of the character died. And that was in the last pre-MCU Spider-Man movie to boot!

‘The only Iron Man story anyone cared about was Demon in a Bottle’ Actually they only cared about that story and Armor Wars. But yeah, the MCU version is lesser for neither having his alcoholism nor a crippling heart condition. The mere fact people became complacent about that doesn’t mean it wasn’t reductive.

‘These are fictional characters they need to grow and change with the times to remain popular’ Gwen Stacy sucked shit in the 1960s-1970s and was then killed off and defined by her death. Somehow she still wound up becoming a fan favourite by the 90s and 21st century. Spider-Gwen sucks as a character but not in concept. I never had a problem with the concept. But the idea that she needed to exist to keep Gwen popular is bullshit because Gwen had somehow become immensely popular in spite of being a nothing character. And that even presumes anyone needed to perform maintenance on Gwen to keep her popular. No we didn’t. She was an irrelevant character beyond her death. It’s like saying we need to change Uncle Ben or Bruce’s parents to keep them popular.

Gwen’s affect on Peter Parker was important for awhile but we aren’t that society anymore. It’s not a fucking societal concern! Putting aside how a 2014 movie did Gwen’s death just a few years before ITSV, Gwen’s death is about a universal human experience. Death, grief, moving on. Oh, I see. This halfwit mistakenly believes Gwen is an example of women in the refrigerator.

Gwen died because Peter had this perfect lovely girlfriend and everything was too great for him and they didn’t know how to write beyond that. An oversimplification. Gwen died because they needed to shake things up for sales in general. Because Conway shipped Peter with MJ. And a 20 year old Spidey in 1973 really was too young to be killed off. Oh and you know she was written like shit. Yeah that’s the part no one ever talks about. Gwen is played up as this underserving victim of a character but she sucked shit.

It’s almost the 2020s! So fucking what? People still lose loved ones in the 2020s? I’m not even saying Spider-Gwen should have died in ITSV or revolved around her counterpart dying. I’m saying this dumbass is wrong for bringing it up as though killing Gwen off is dated on principle. But this is the same moron who unironically said ‘I never connected to Spider-Man because he is a teenaged white male wish fulfilment fantasy’. I’m sure she got top marks in her gender studies class

‘sOme PpL nEEd 2 gEt oVa iTTTTTTT’ I genuinely wish this person would wake up mute someday.

‘We could do a whole movie about Spider-Gwen’. I don’t respect where this opinion is coming from but I don’t necesarilly disag- ‘Get Seanen Maguire to write it’…nevermind. This gets even worse when you consider Maguire had only been writing Gwen for literally 3 issues at the time this podcast was released. Of the back of three issues you are declaring this writer qualified to write an entire movie about the character? Not even Jason Latour who created her. I smell someone who just jumped on the bandwagon or worse is blinded by agenda and ideology.

‘Gwen could’ve done with 5 more minutes’ It’s not her movie! It’s Miles’ movie and secondarily Peter B’s movie because he is Miles mentor. It is through their mutual relationship that Miles learns to be Spider-Man and Peter learns to be Spider-Man again.

It never made sense for an 80 year old woman to be raising a 16 year old boy! Aunt May in the 1960s wasn’t in her 80s. She just looked that way because, duh, standards of health were different back then. A 40 year old now looks much younger and in better health than someone who potentially might’ve been born in the 19th century circa 1962! A working class woman no less…With chronic health problems! Even if she was in her mid-late 50s her looking like that was totally believable in context! And her raising Peter was also entirely believable depending upon how old Ben and May were when Richard and Mary were born. It’s not beyond possibility at all that there was 15-20 years separating Ben and his younger brother, meaning if Peter was born when Richard was 25, Ben and May would’ve been in their 40s. Thus by the time Peter was 15 they’d be in their 50s or 60s.

These idiots keep treating Peter from Miles’ universe as a bona fide version of 616 Peter when it’s blindingly obvious he’s supposed to be an idealized rendition of the character. A version intended to be a juxtaposition to the version we all know walking into the movie.

Peter B. Parker having a more traditional version of Aunt May as opposed to a more proactive and involved version has left him with a sense of giving up. Er…no. It’s pretty obvious Peter B. Parker is the Spider-Man we know and love who normally doesn’t give up but one string of failures after another has brought him to his lowest. But he rises back up again. Look Peter is supposed to be a representation of human beings. Human beings need people and need emotional support. When you lose those people and are alone you can go to a very dark place. That’s Peter B’s story. If Aunt May had been more involved but everything else went wrong (including her death) he’d have still wound up in the dark place he went to. Blonde Peter might’ve weathered May’s death better in theory but he had OTHER stuff in his life to keep him afloat. Peter B lost most everything. What horseshit it is to argue if Aunt May was different he’d have not given up.

There was no purpose for Aunt May being as old as she was or on the cusp of death in the original comics. Er…yeah there was. She was that old because it made her more vulnerable and thus accentuated the loss of her husband and the need for Peter to be her support network. It also internally justified why she was so frail and unwell. Old people usually have health problems. Duh! But then Bob admits there is a reason for those decisions. So he is contradicting himself.

Bob presumes Blonde Peter told Aunt May his secret even though there is no evidence in the movie to support that idea.

Kids today aren’t resentful of their grandparents like older generations were, that’s why Aunt May is played differently now. Um…Peter was never resentful of Aunt May in the first place. He sincerely loved her and felt he needed to pay her back for all she’d done for him.

‘Kids today have cool grandparents because 50% of them would have been hippies.’ Hippies aren’t cool. And never were. They were pretentious losers that hid behind causes as an excuse to do drugs and have lots of sex. Over half a century later the world they claimed to fight for and want to build has yet to materialise and in fact is in a lot of ways far worse off than it was before their generation rose to the seats of power. The hippy generation are part of the baby boomer generation that are so thoroughly mocked today. The people in power who’ve fucked up the job and housing market for consequent generations. These idiots literally spouted a dumbass theory earlier on about how first wave millenials have been thrown under the bus. Who do you think did that? The baby boomers, many of whom used to be hippies! And NONE of this demands Aunt May has to be different. I have no problem with her being different in ITSV. But the idea of someone who used to be a hippy being doting? Being a worry wart? Why the Hell is that a dated concept?

These idiots clearly view the world aggressively through an identitarian and group weighted lens as opposed to how the world really is. I.e. 7 billion+ individuals

There was a weird amount of focus upon gangsters in the Spec Spidey cartoon considering it was for kids. Not really, the show was reverential of the original comics. The original comics (which were for children) had lots of gangsters

To the people who bitch and moan about getting another Spider-Man it doesn’t take away from the one you had before. No one was complaining about Miles as another Spider-Man in this movie. People weren’t claiming it ruins the Raimi movies or something. People resent it in the comics because it waters down the brand and makes Spider-Man himself less special when he is an ONGOING character. It’d be one thing maybe if the torch was passed from person to person. But nowadays it’s literally all of them co-existing.

Blah blah bah symbolism of a young black boy fighting a big WHITE business MAN. Blah blah blah this is the type of bad guy Miles would fight in real life blah blah blah…Jesus Christ… these people really just buy that type of Kool-aid in bulk don’t they? As if Miles, were he ‘real’ wouldn’t fight anyone who’s doing bad things. FFS they just got done talking about Tombstone from the Spec cartoon. Tombstone is an African American! And he’s in this fucking movie. He’s not some weird fantastical guy, he’s a regular gangster who happens to be albino. That’s it. Miles fights him in this fucking movie! Miles first major adversary in the comics was the Prowler who was another African American. Miles wouldn’t JUST fight ‘evil white businessMEN’

‘As far as I know about Doc Ock from Superior Spider-Man, which is excellent’ Wow. So, as would be obvious with anyone with a working brain and some prior knowledge of Otto, Superior is garbage. And saying you are basing your assessments of Otto on Superior is like saying you have never known about the character

Doc Ock is in so many Spidey stories as a scientific assistant to other people because the Green Goblin is always either dead or completely untrustworthy. Bob really just said that huh? This is further proof Bob has read precious little Spider-Man material. Doc Ock is NOBODY’s assistant. Even in Secret Wars he had to be threatened into compliance by Doom himself when Ultron was his attack dog. Doc Ock isn’t recruited by other people for his genius, he is the mover and shaker. He recruits other people and is the man in charge. And who the fuck is looking to get the help of Norman Osborn because he’s a scientist? Not to mention Norman is untrustworthy, oh but Otto?????????? The guy who tried to nuke NYC???????? WTF is Bob talking about?

Since we are in the ‘age of heroes’ (whatever THAT means?) it is impossible for Spider-Man to not be mentored by some other hero. Er…yeah it is? This is obviously a defence of MCU Spider-Man and it holds no water. First of all DC and Marvel have had young heroes show up when there are a plethora of heroes around they’ve not had mentors. Second of all it’s entirely possible for Peter to not WANT a mentor and it’d be entirely believable that the other heroes might not see themselves as mentors or might mistrust him.

The Spider-Heroes take their grief and turn it into action. WHOA WHOA WHOA! Didn’t these guys say earlier that the movie preaches the heroes are more than their trauma? That they aren’t stapled to their origins? That they move on from it? What’s this change of tune all of a sudden?

Miles Dad was probably made into a cop to avoid having a difficult discussion about how the police would react to a black super hero or a black Spider-Man. Yeah, or it’s because you know…his Dad worked in law enforcement in the comics so you know…faithfulness. Also the police don’t discriminate against black heroes in the MCU except Luke Cage. Also, also not every fucking cop is racist. Also, also, also how would they know Miles is black his costume covers his whole body!

Miles Dad was super authoritarian. Dude. He didn’t like vigilantes and he followed basic rules like stopping not abusing police sirens. That’s hardly akin to being a jackbooted fascist.

Miles would’ve had a different relationship with authority and the police if his Dad hadn’t been a cop. Er…no not necessarily. First of all being the son of a cop doesn’t mean he’d have not experienced institutionalized racism from the police. Second of all even if he had experienced that he could still believe in justice and taking down obviously evil and dangerous people like Kingpin.

They never touched upon institutional racism from the police in Luke Cage which was for adults. Er, yes they did. The rapper in the later episodes of season 1 (the Bulletproof Love guy) stated he wasn’t going to call the police. The police were stopping and searching black men in their hunt for Cage. Black people wore shirts with holes in them in order to protect Cage and defy the cops. The rap mentioned how nobody was interested in protecting their neighbourhood.

Nobody wants the tell a superhero story about institutional racism within the authorities. Isn’t that literally Luke Cage’s origin? Didn’t Black Panther mention that earlier in the year ITSV was released.

I’m going to disagree that Miles fighting Kingpin was unnecessary because of the cultural connotations we talked about….God…You couldn’t just say ‘the main hero obviously has to defeat the main villain. Duh!’…

Dan Slott is a dang genius! As if you needed more proof these people are unqualified to talk about Spider-Man…

Spider-Verse’s (the comic’s) fan service is what happens when you get Spider-Man fans to do the story vs. ITSV. Nah fam. ITSV is what happens when you get real fans who are talented vs. Spider-Verse is what happens when you get a real fan who fundamentally misunderstands the characters and is a hack

There is no real Peter Parker. Who cares! The real Peter Parker is the original because he is the one everyone else is derivative of and therefore based upon. And fans AND creators and Marvel itself clearly care about that because they sure as fuck didn’t kill him off so Miles could replace him. They killed off the secondary and surplus Ultimate Peter Parker. Treating the original version as the true one doesn’t invalidate any other versions because they can still be great characters unto themselves. But given how disgustingly SJW this whole podcast has been I am unsurprised they go in for this participation trophy form of analysis where everything is equal all the time.

It also doesn’t invalidate the idea of Spider-Man being anyone. Spider-Man CAN be anyone. But not everyone can be Peter Parker. If we are going to say otherwise the praise these jackoffs lauded onto Miles for how his specific identity was explored is invalidated. Peter is Peter. Miles is Miles. They can both be Spider-Heroes worthy of the mantle.

Because Miles is a POC people who don’t look like Peter can believe they can be Spider-Man. I’m not arguing against Miles but seriously, that was the case before Miles existed. The showrunner of Spider-Man 1994 was an African American and he related to Peter Parker in the 1960s. Poc can relate to Spider-Man regardless of skin colour.

The original comic book version of Spider-Man isn’t the true one just because he is the original. Er….yeah. It seriously does precisely BECAUSE he is the version all the other ones are derivative of. Hence he’s from the PRIME universe. Shit the Spider-Verse comic book the movie takes mild inspiration from literally says that. Granted it then contradicts itself but the point still stands. Because he is the original one he IS the true one because without him the others would not exist. He is the canonical one!

The true 616 Spider-Man will never be in any adaptation because there is too much continuity…Yeah…so? How does that make him not the original one in the broad context though when you compare every version?

Continuity is the killer of enjoyment when it comes to movies. No, this podcast is the killer of enjoyment. And btw, maybe ask all the people who went to see Infinity War earlier in the year ITSV was released and ask them if continuity ruined that movie for them. This is such a lazy, myopic attitude.

If continuity is used to exclude people it is bad. Good job nobody was ever saying ITSV shouldn’t exist because Miles isn’t Peter then

Infinity War is a fine movie even if you do not know who everybody is. No it isn’t. Infinity War is wholly inaccessible if you do not know who everyone is because it’s throwing dozens of characters at you with little-no context provided.

Black Panther is better than Infinity War, this proves continuity is bad. No. Black Panther not having to have it’s story wrapped up in everything else in the wider universe was what helped make it better. FFS, Winter Soldier is better than Avengers 2012 and that still relies upon plenty of continuity. Civil War is better than Thor the Dark World and the latter has way less continuity than the former. It’s not about having continuity it’s about how you use it. Black Panther was world building in it’s own corner. It wasn’t plugged in so directly to the wider universe the way Homecoming or FFH was. THAT’s what made it good but that’s not a continuity issue that’s a world building issue.

Continuity is toxic when you use it to claim a long running fantasy series didn’t satisfy you. Uh huh, hey do you wanna ask all the people who hated Game of Thrones’ final season that?

Oh, and one of the pundits, the one who bleeted on about Spidey as a ‘tEEnAgE WHITE mAle wish fUlLfiLmEnt fantasy!’ is a Hollywood actress. Now her views make waaaaaaaaaay too much sense

In conclusion…Sigh…For a podcast called School of Movies I think these guys need to go back to kindergarten.

21 notes · View notes

spaceshipkat · 4 years

Note

If you're looking for thoughts on CCity, a booktuber I follow, beautifully bookish bethany, just did a reading vlog of the arc. She's very self aware of s/jm criticisms and addresses a lot of that in her thoughts on the book. Biggest surprise? No smut scene until page 590!

here’s the link, for anyone who wants it! thank you alerting me of it! so imma give some thoughts as i watch the vid, too, bc why not. (this’ll also help if you don’t actually want to watch the vid, which is ~20 minutes long, as i cover every point she makes or thing she shares) also, i am in no way taking this as hard and true facts about the book, am not interpreting what the reviewer says to fit an anti mindset, and am not attacking the reviewer. i’m simply listing what she says and giving commentary, as i do with any vid i watch and transcribe on here. just to get that out there.

color me shocked there’s a lot of world-building in the first pages

apparently there’s a complex political system

there are blank pages for maps and lists of important things to know in the world

there are humans, shifters, angels, demons, satyrs, fae

a blend of sci-fi and fantasy (science fantasy? why not just call it science fantasy, blooms, if that’s what it is? that’s what Gideon the Ninth is and Tor has literally said that’s their most successful SFF debut ever)

Dani, Bruce’s best friend, apparently calls to mind Kate Daniels (Dani is a “super-powerful werewolf shifter”)

Part 1 is 90 pages

powerful friend groups are something that sj///m writes but, imo, not with any skill, so imma take what this reviewer says with a grain of salt

okay so we evidently get more diversity than what we typically find in an sj///m book but…this could mean anything from two bisexual characters and two black characters or it could mean every single character has some diverse aspect to themselves and…i’m leaning toward the former

“one of [Bruce’s] best friends is a dancer who sounds like she’s supposed to be black, another one is an assassin who i think is probably Asian” sigh if it’s not clear, it’s not rep (fwiw, the reviewer doesn’t sound certain)

there’s drugs in this. cowabunga. reviewer says that’s why the book feels a little older than her other YA. i just. don’t know how to feel about this.

please insert every single gif of someone throwing themselves out a window here to understand how i’m feeling about 1) “vampyr” and 2) “purred”

“I don’t do possessive and aggressive” excuse me? since when does an sj///m main character not do possessive and aggressive? is this…is this growth??????

i’m…shoot me, please: Bruce smells like lilac and nutmeg. what. the. heck. kind. of. combo. is. that. JUST STOP ALREADY. so pro tip: when i’m writing and giving my characters a scent or something (that’s never a unique scent, but something that comes from their shampoo or actual perfume or some shit) i look up actual perfumes, colognes, and shampoos to find good combos. I DON’T GO TO MY FUCKING SPICE CUPBOARD AND THEN GLANCE AT MY WINDOW BOX FOR INSPIRATION.

i’m okay. i am. i just. Bruce sounds like she smells unappetizing.

Bruce hooks up with people but so far no heavy smut at page 183

there’s hints that there is something special about Bruce

it’s longer than it needs to be! no one is surprised! a big revelation at the end of Part 2

there’s a lot of scenes that make it clear she had fun writing them but aren’t necessary to the plot. where did all the good editors go? *insert fairy godmother falling backward onto a piano*

over the top banter, Bruce showing off her skills at the gun range with all the guys, she’s one of those “not like other girls” characters

another character has been introduced and is setting up for another side relationship (sigh)

there’s a scene where they’re summoning a demon, evidently

halfway through the book there’s a lot of sexual tension between Bruce and Hunt, and an almost kiss, but nothing more yet (i am shocked. genuinely. sj///m herself had said there’s more sex in this than her YAs, so…what gives?)

yeah page 590 is the first smut scene. not written for shock value, but the reviewer feels that it is a pretty important point for the characters. hmm.

end of Part 3 has more revelations and twists. at this point, i’m not really taking these twists or revelations as anything important or ground-breaking, simply bc the reviewer has mentioned there are twists and revelations at the end of every part and at several times between, so make of that what you will. i, personally, don’t put much credence to it.

there’s a long villain monologue

she gets really long-winded in her descriptions, the first 2/3 could’ve been cut way down

the reviewer wants more fleshing out of the characters of color, some of the side characters aren’t white, we have a couple of queer characters

okay so…we’ve been here before. sj///m has introduced series with diverse representation and never followed through on it, killed off those characters, or wrote them horrifyingly stereotypically. just because she includes diversity does not mean it’s 1) good rep or 2) at all meaningful. i could be wrong! i want to be wrong! but i’ve been burned before. when it comes to CCity, i’m going in with an open mind for quite a lot, but not when it comes to diversity. i’m just tired of her writing appalling diversity and ordering us to accept it.

the typical toxic masculinity thing apparently isn’t as bad, nor are the alpha male love interests

apparently there isn’t a full-on explicit sex scene in this book???? did…sj///m change her mind while editing? she said there’s more sex in this book?? i mean, she’s said that at pretty much every interview or panel she’s been on for CCity??? what happened????

(did she listen to me when i said that Adult =/= erotica???)

i’m not being serious there

unless…?

there are steamier scenes later in the book, though. why does this come across as a contradiction of what the reviewer just said, though?

the reviewer feels this is set in the same universe as sj///m’s other books. apparently t0d and k0a are where the similarities between the universes (t0g and CCity) stem from.

“it feels rooted in things she has done before” okay so there’s two ways this could go: it’s actually set in the same universe or sj///m was just too lazy to make up new worlds that actually feel like new worlds, the way she did bw t0g and ac0tar (since those are basically copy/pasted). imo this will be up to interpretation from reader to reader. laziness or a nod? who knows!

there are a lot of romantic connections between characters. yippee.

this apparently has more of the epic scope of t0g than ac0tar, but i already predicted that (genuinely!)

a lot of drugs and alcohol, the reviewer feels it’s handled in a responsible way, lots of f-bombs (and “other things”???)

through most of the book, Bruce is 25 (can’t wait to see how sj///m butchers people my fucking age) and there are other characters older than that (presumably the angels)

in conclusion, i will be making this sound from now until i read it (and maybe i won’t even stop then, who knows?)

#ask #anonymous #anti sjm #anti ccity #receipts #long post

62 notes · View notes

justforbooks · 4 years

Photo

The greatest year for books ever?

Several years including 1862, 1899 and 1950 could be considered literature’s very best. But one year towers above these, writes Jane Ciabattari.

The year 1925 was a golden moment in literary history. Ernest Hemingway’s first book, In Our Time, Virginia Woolf’s Mrs Dalloway and F Scott Fitzgerald’s The Great Gatsby were all published that year. As were Gertrude Stein’s The Making of Americans, John Dos Passos’ Manhattan Transfer, Theodore Dreiser’s An American Tragedy and Sinclair Lewis’s Arrowsmith, among others. In fact, 1925 may well be literature’s greatest year.

But how could one even go about determining the finest 12 months in publishing history? Well, first, by searching for a cluster of landmark books: debut books or major masterpieces published that year. Next, by evaluating their lasting impact: do these books continue to enthrall readers and explore our human dilemmas and joys in memorable ways? And then by asking: did the books published in this year alter the course of literature? Did they influence literary form or content, or introduce key stylistic innovations?

Books that came out in 1862, for instance, included Dostoevsky’s House of the Dead, Victor Hugo’s Les Misérables and Turgenev’s Fathers and Sons. But Gustave Flaubert’s novel of that year, Sallambo, set in Carthage during the 3rd Century BC, was no match for Madame Bovary. George Eliot’s historical novel Romola and Anthony Trollope’s Orley Farm were also disappointments.

The year 1899 is another contender for literature’s best. Kate Chopin’s seminal work The Awakening was published then, as was Frank Norris’s McTeague and two Joseph Conrad classics – Heart of Darkness and Lord Jim (serialised in Blackwood’s Magazine). But Tolstoy’s last novel Resurrection, published also in 1899, was more shaped by his religious and political ideals than a powerful sense of character; and Henry James’ The Awkward Age was a failed experiment – a novel written almost entirely in dialogue.

And in 1950 there were published books from Isaac Asimov (I, Robot), Ray Bradbury (The Martian Chronicles), Patricia Highsmith (Strangers on a Train), Doris Lessing (The Grass Is Singing) and CS Lewis (The Lion, the Witch and the Wardrobe). But other great fiction writers produced lesser works that year – Ernest Hemingway’s minor Across the River and into the Trees; Jack Kerouac’s The Town and the City, written under the influence of Thomas Wolfe; John Steinbeck’s poorly received play-in-novel-format Burning Bright and Evelyn Waugh’s only historical novel, the Empress Helena (Roman emperor Constantine’s Christian mother goes in search of relics of the Cross).

But 1925 brought something unique – a vibrant cultural outpouring, multiple landmark books and a paradigm shift in prose style. Literary work that year reflected a world in the aftermath of tremendous upheaval. The brutality of World War One, with some 16 million dead and 70 million mobilised to fight, had left its mark on the Lost Generation. In Mrs Dalloway, Virginia Woolf created the indelible shell-shocked veteran Septimus Smith, “with hazel eyes which had that look of apprehension in them which makes complete strangers apprehensive too. The world has raised its whip; where will it descend?”

Looking inward

The solid external world of the realists and naturalists was giving way to the shifting perceptions of the modernist ‘I’. Mrs Dalloway, which covers one day as Clarissa Dalloway prepares for a party – and Septimus Smith for his demise – is a landmark modernist novel. Its narrative is rooted in the flow of consciousness, with dreams, fantasies and vague perceptions gaining unprecedented expression. Woolf’s stylistic breakthrough reflected a changing perception of reality. Proust was also all the rage at this moment, as Scott Moncrieff’s translation of Remembrance of Things Past’s third volume was just out. Woolf admired Proust’s “astonishing vibration and saturation and intensification”.

The year 1925 also contributed to the culmination of Gertrude Stein’s career. She had moved to Paris in 1903 and established a Saturday evening salon that eventually included Ernest Hemingway, F Scott Fitzgerald, Sinclair Lewis, Ezra Pound and Sherwood Anderson, as well as artists Pablo Picasso and Henri Matisse. Stein responded to her immersion in the Parisian avant-garde by writing The Making of Americans, which was published in 1925, more than a decade after its completion. In over 900 pages of stream-of-consciousness, Stein tells of “the old people in a new world, the new people made out of the old,” and describes an American “space of time that is filled always filled with moving”. Early critics like Edmund Wilson couldn’t finish Stein’s complex web of repetition, but she has been credited with foreshadowing postmodernism and making key stylistic breakthroughs, including using the continuous present and a nearly musical word choice. As Anderson put it: “For me, the work of Gertrude Stein consists in a rebuilding, an entirely new recasting of life, in the city of words.”

Stein’s experiments with language influenced Hemingway’s signature sparseness. Beginning with the autobiographical Nick Adams stories in his first book, 1925’s In Our Time, his fiction is characterised by pared-down prose, with symbolic meaning lying beneath the surface. Nick witnesses birth and suicide as a young boy accompanying his father, a doctor, to deliver a baby in the Michigan woods. He is exposed to urban crime when two Chicago hitmen come to his small town. And as a war veteran trying to keep his memories at bay, he gravitates toward the familiar pleasures of camping and fishing: "He had made his camp. He was settled. Nothing could touch him."

Modern times

The midpoint of the Roaring ‘20s was a time of rare prosperity and upward mobility in the United States. The stock market seemed destined to climb forever, and the American Dream seemed within the grasp of the masses. 1925 was special, though. In New York, Countee Cullen, Langston Hughes, Zora Neale Hurston, Claude McKay, Jean Toomer and other writers of the Harlem Renaissance were given a definitive showcase that year in the anthology The New Negro, edited by Alain Locke. At the same time Harold Ross launched a revolutionary and risky weekly magazine called The New Yorker, which featured portraits of Manhattan socialites and their adventures and offered what would be a treasured showcase for short stories ever since.

F Scott Fitzgerald dubbed this flamboyant postwar American era “the Jazz Age”. Alcohol flowed freely despite Prohibition; flappers followed the sober suffragettes into a time of sexual freedom. New wealth was spreading the riches and opening doors to players like Fitzgerald’s immortal character Jay Gatsby, whose fortune was rumoured to be based on bootlegging. The Great Gatsby, published in 1925, gives a portrait both tawdry and touching, as Gatsby remakes himself in a doomed attempt to win the love of the wealthy Daisy Buchanan. The tarnished American Dream also was central that year to Theodore Dreiser’s naturalist masterpiece, An American Tragedy. Dreiser based the novel on a real criminal case, in which a young man murders his pregnant mistress in an attempt to marry into an upper class family, and is executed by electric chair. Also ripped from the headlines, Sinclair Lewis’s realistic 1925 novel Arrowsmith was a first in exploring the influence of science on American culture. Lewis wrote of the medical training, practice and ethical dilemmas facing a physician involved in high-level scientific research.

These books weren’t just original, even revolutionary, creations – they were helping to establish the very idea of modernity, to make sense of the times. Perhaps 1925 is literature’s most important year simply because no other 12-month span features such a dialogue between literature and real life. Certainly that’s the case in terms of how new technologies – the automobile, the cinema – shook up literary form in 1925. John Dos Passos’ Manhattan Transfer introduced the cinematic narrative form to the novel. New York, presented in fragments as if it were a movie montage on the page, is the novel’s collective protagonist, the inhuman industrialised city presented as a flow of images and characters passing at high speed. "Declaration of war… rumble of drums... Commencement of hostilities in a long parade through the empty rain lashed streets,” Dos Passos writes. “Extra, extra, extra. Santa Claus shoots daughter he has tried to attack. Slays Self With Shotgun." Sinclair Lewis called Manhattan Transfer "the vast and blazing dawn we have awaited. It may be the foundation of a whole new school of fiction."

Was 1925 the greatest year in literature? The ultimate proof, 90 years later, is the shape-shifting the novel has undergone, still based on these early inspirations – and the continuing resonance of Nick Adams, Jay Gatsby and Clarissa Dalloway. These characters from a transformative time are still enthralling generations of new readers.

Daily inspiration. Discover more photos at http://justforbooks.tumblr.com

#JUST FOR BOOKS

15 notes · View notes

tisthenightofthewitch · 5 years

Text

KISS THE GO-GHOST: AN INTERVIEW WITH TOBIAS FORGE

Ghost, formerly known as Ghost B.C have cultivated a cult following within the metal community since their debut almost 10 years ago. Known for their dark persona and eerily catchy soundscapes, they not only have a sound that’s unmistakable, but a stage presence so involved that there are backstories to each Papa(the name used by each rotating front person) that has taken rein thus far.

I remember when I first discovered their 2010 release, Opus Eponymous, and how enthralled I was with their sound. Granted, I was late to the party, as they had already toured through Utah before. By the time I had completely immersed myself in their music, it was 2014—a year after their second full length album, Infestissumam had released. I was hypnotized by their macabre charm from the get-go, and I’ve eagerly anticipated every release since then. I’ve always loved how frontman Tobias Forge’s vocals shine against the instrumentals, as well as how grim the lyrics truly can be.

With the surprise “re-release” of their single Seven Inches of Satanic Panic, which originally had debuted in the ’60s (according to the Ghost timeline), this magic touch is exceptionally present. As 2018’s LP Prequelle had hints of disco and other nostalgic influences from the 70s and 80s, Seven Inches is laced with the catchy, punchy sweetness of the 1960s—inspiring sounds reminiscent of The Zombies and The Monkees with a sinister twist.

As their grandiose tour, The Ultimate Tour Named Death, conquers North America for the remainder of the month, Forge and I spoke about the band’s origins, song influences and meanings, and life on tour.

SLUG: What inspires you to make songs based around dark themes, such as Satan? Where does this aesthetic come from, and how does it exist in your full-length releases?

Forge: It wasn’t just an epiphany that I had. I grew up, as many others, in the metal underground community. Ever since I was a child, I’ve been a fan of hard rock, metal and all kinds of rock music. My main tool of expression and what I sympathized most with was heavy metal—especially the bands that were big around the time that I was very little. Around 1984, when I was three years old, all of the new, big bands were shock-rock bands like Twisted Sister, Motley Crue, Wasp and Kiss. These, among others, were the first bands that I really, really liked. My older brother, who was significantly older than I was, gave me those records and it just went from there.

I’ve come to expand my liking of music a lot. I loved a lot of 60s music and 70s pop-rock and all kinds of musical styles. When it comes to expressing myself, there’s always been some sort of shock-rock value to whatever I’ve done—a little bit more explicit when it comes to lyrics and a little bit more explosive with image.

My first band that I ever formed was a death metal band and I spent my whole adolescence playing death and black metal where obviously satanic themes are omnipresent. So, when Ghost happened, it wasn’t like I was coming up with a new image—it was so natural. Then, it expanded over the years because I felt like if I’m going to keep things fresh and keep being inspired, I need to expand the lyrics going forward. I’ve always drawn parallel lines, and my ways of expression are always leaning towards darkness and goth in the same way Nick Cave and Leonard Cohen do. I feel more kindled with them when it comes to song writing than I would with Venom—even though I love them, too. The lyrics that I try to write nowadays are more focused on symbols for something real. Satanism is a very good symbol for turmoil or conflict, but most of the lyrics from albums two, three and four have more parallels to real life and the world. It’s just explained with satanic parallels.

SLUG: What are some of your favorite songs from your discography and why? What makes these songs special to you?

Forge: You have the “cream-of-the-crops” in a way—like, the immediate songs. I think “Dance Macabre” is an immediate song and is a song that I will be playing for the rest of my life. I think “Square Hammer” is like that. “From the Pinnacle to the Pit” is a song that is very immediate. I think “Cirice” is one of the best songs I’ve ever written and probably will ever write, but for different reasons. Sometimes I really enjoy songs that are simple. Sometimes it’s harder to write a simple song. You have all of the ingredients that you need in order to make a song, and a risk that the song will be considered premeditated. But, yes, it is. Every song that has ever been written was done so with some sort of intent. Even the songs that people think are made with no commercial interest whatsoever are usually written to feel or taste a certain way.

So, you’re always happy when you manage to say the things that you wanted to say and have the moods in the song that you wanted in there without making it complicated. It’s so easy to get stuck in a complicated arrangement that’s hard to get out of. Where “Square Hammer” is so simple, “Cirice” is a little bit more complicated. It has a long intro that has nothing to do with the rest of the song. It has more of a classic metal arrangement, whereas “Square Hammer” is way more punk. So, I like those songs for completely different reasons, but they both do the trick and they’re songs that will come to embody Ghost. That’s how it feels right now, at least.

SLUG: Your live shows and stage presence are always so elaborate and beautiful. How has your stage show changed with the introduction of Cardinal Copia in comparison to Papa(s) one, two and three? Where did the idea of having a masked band to this intricate extent come from? Why Papa and why Cardinal Copia?

Forge: Early on in the creation of Ghost, I was just reviewing what I had heard. When we recorded the first demo, when I heard my songs, my first impression was that it sounds like a heavily imaged band. If I were a fan of this record that I hear, I would be disappointed if it turned out to just be four or five dudes just standing in jackets and t-shirts. It doesn’t sound like that. It sounds more like an experience and that’s where it originated.

The aesthetics and the ideas are a mash-up of everything that I grew up watching and listening to. It’s black metal mixed with horror films and showmen. I’ve always been a fan of every single character that balances genius, charisma and being pathetic. That’s where Papa comes from. He’s supposed to be cool, but he’s also slightly out of touch and pathetic—and funny, I think!

SLUG: The last time I saw you in Salt Lake City, you opened for Iron Maiden. Now, you’re touring North America after touring Europe with Metallica. What is it like to tour with these big names in metal? How have these bands influenced you in the past and what does it feel like to work with them now?

Forge: I am still as much of a fan of these groups as I was before, which is a very nice feeling knowing that I can completely separate my ideas, my dreams and my fantasies about both of these bands. But I think that has to do with the fact that for most of my life, I’ve idolized those bands while still always also knowing that what I wanted to do with my life was very similar to what they did—meaning record albums, go out and tour the world and change the world and have a deep impact on people in the same way that they had an impact on me.

On a very professional level, from the get-go, both Iron Maiden and Metallica have been very informative to their fan-base. Iron Maiden started that with their album Life After Death. All of their tour dates were in there, there was a lot of info about their touring life and the technicalities of playing live. I used to sit down with a map book and circle everywhere they played. I would try to figure out their days off and where they were playing next. Very early on, as a kid, I sort of approached it from a professional point of view. Not only did I want to stand on stage like I saw in the pictures, but I wanted to tour like they do. That’s the school of rock that I went to. Metallica would be even more informative later when they released their box set Binge and Purge. You could see old faxes between management and them, and I read everything I could see. I already knew 20 years later that that was a part of the program. I’ve learned so much from studying Iron Maiden and Metallica that when the day came when I started touring with them, I was like “I know this!” It was something I had done before. Now, I have the luxury of learning so much more firsthand.

SLUGMAG.COM

#Tobias Forge #Tobias Interview #The Band Ghost #Ghost Band #Cardinal Copia

45 notes · View notes

betterbooksandthings · 1 year

Text

The Jasad Heir by Sara Hashem

The Jasad Heir by Sara Hashem is a beautifully textured Egyptian-inspired high fantasy book that rips your heart apart and puts it back together again. As an orphaned apothecary’s assistant in a small town, no one expects Sylvia to hide powerful magic and an even more powerful lineage. When the kingdom of Jasad fell to the kingdom of Nizahl a decade ago, everyone believed all members of the royal family fell with it, but the magically adept Jasad heir escaped, and she has been on the run ever since. Her magic has been dampened for years so typically there is little threat it will be detected, but one day Arin, the Nizahl heir, discovers her power anyway. He cannot imagine she is lost royalty, but Arin knows her magic is powerful and can tell her strength will serve his political goals. With knowledge of Sylvia’s powers and Jasadi background, he blackmails her into becoming his champion for the Alcalah, a deadly series of trials where each kingdom has one chance at selecting a future victor that will bring pride to their country. Now she must keep her identity as the lost Jasad heir a secret from the strict and inscrutable heir, even as they grow inextricably close. If she wins, Sylvia will have enough money and status as the Alcalah victor to hide for the rest of her life, but as Jasadi rebels and her own conscience demand she takes up her throne, she has to decide if she is willing to live a life of peace at the cost of her people. The book is filled with magic, political intrigue, friendship, enemies-to-lovers tension, and a magical competition to tie it all together. I could not recommend this book more.

I must say, Hashem’s debut is an impressive feat of the genre. The magic system and world-building are top-tier for those looking for fantasy with multi-kingdom political intrigue and well-developed characters. Everyone and everything introduced to the book is there for a reason and they all have well-developed backstories and interior lives. I believe the book follows an iceberg approach to fantasy where we see a fraction of the worldbuilding that goes into crafting such an intricate system where everything feels real. Small details from clothing, food, and value differences between kingdoms give life to the people and the places they inhabit.

Sylvia is a wonderful character. She is a believable traumatized 20-year-old. The book is a good recommendation for fans of New Adult-aged protagonists, but it is firmly adult fantasy. She is comfortable with murdering for survival and capable of doing so. Even without consistent access to her powers, she is clever and calculating and knows how to wield a bevy of weapons. It doesn’t stop her from caring about a select group of people including her two best friends Sefa and Marek who follow her throughout the book. They have their own story that I will not spoil but rest assured they are wonderful and Sefa is on the ace spectrum for anyone who wants to know.

Now, there is also an enemies-to-lovers subplot in the book between the two heirs, Sylvia and Arin but it is a slow burn, backburner, low-spice (but high-heat) romance. Both characters have a certain level of touch aversion one due to a magic curse, the other due to a traumatic childhood. They are also two people who don’t trust or love with any level of ease. Nonetheless, they care about each other, and the growing care leads me to believe in their chemistry. I can find no confirmation that Sylvia was written to be on the ace spectrum so please correct me if I am wrong, but I read her character as demisexual or somewhere on the ace spectrum. I am completely on board with this ship either way.

Training for the Alcalah and the Alcalah itself is so well done. Anyone who likes a good high-stakes fantasy competition will be satisfied with this storyline. The secrets and political intrigue create ongoing tension throughout the book and I cannot wait to see what is going to happen in book 2.

All that is to say this book is absolutely wonderful. Thank you Orbit Books for providing me with an arc for an honest review and I would highly recommend you preorder yourself a copy because when The Jasad Heir by Sara Hashem comes out on July 18, 2023, you will want to get started.

#The Jasad Heir by Sara Hashem #book review #high fantasy #fantasy book review #Sara Hashem #The Jasad Heir #orbit books #magic #political intrigue #enemies to lovers #magical competition #fantasy book recs #Egyptian-inspired #ace books

30 notes · View notes

entamewitchlulu · 4 years

Photo

so i did a reading challenge this year and i wanna talk about what i read

transcription under the cut

i did Popsugar 2019 and wanna talk about what i read: Book Reccs and Anti-Reccs

1.) Becoming a Movie in 2019: Umbrella Academy (vol 1) by Gerard Way and Gabriel Ba

4/5. A fascinating take on superpowers, dysfunctional families, and the apocalypse. Can get pretty gory, confusing here and there and you have to pay close attention to panels for lore, but overall an entertaining romp.

2.) Makes you Feel Nostalgic: Circles in the Stream by Rachel Roberts

4/5. Middle grade novel about the magic of music, belief, and of course, friendship. Definitely written for kids, and has some unfortunately clumsy Native rep, but overall an absolute joy to dive into once again.

3.) Written by a Musician: Umbrella Academy (vol 2) by Gerard Way and Gabriel Ba

4/5. Ramps up the confusion to ridiculous degrees with some absolutely bonkers, unexplained arcs, but still fun to watch this dysfunctional family do its dysfunctional thing.

4.) You Think Should be Turned into a movie: All That Glitters by Rachel Roberts

4/5. Continuation of Circles in the Stream, but with more unicorns, more rainbows, and more fae, which makes it automatically even better than the first.

5.) With At Least 1 Mil. Ratings on Goodreads: 1984 by George Orwell

1/5. I understand why it's important and all but wasn't prepared for some of the more graphic scenes and the overall hopelessness of the message. Would not recommend or read again.

6.) W/ a Plant in the title or cover: The secret of Dreadwillow carse by Brian farrey

5/5. A fantasy world where everyone is always happy, save for one girl and the princess, who set out to solve the mystery of their kingdom. Poignant and great for kids and adults.

7.) Reread of a favorite: Cry of the Wolf by Rachel Roberts

4/5. Yet another installment in the Avalon: Web of Magic series, which clearly I am obsessed with. Please just read them.

8.) About a Hobby: Welcome to the Writer's Life by Paulette Perhach

5/5. A welcome kick in the pants, chock full of great advice told without condescension, and full of hope and inspiration for writers both new and old.

9.) Meant to read in 2018: The Poet x by Elizabeth Acevedo

4/5. Absolutely beautiful coming of age novel told in verse. Do yourself a favor and listen to the audiobook version.

10.) w/ "pop," "sugar," or "challenge" in the title: Black Sugar by Miguel Bonnefoy

2/5. I think maybe I just don't understand this genre. Or maybe the translation was weird. I was confused.

11.) w/ An Item of Clothing or Accessory on the cover: Our dreams at Dusk by Yuhki Kamatani

4/5. It had a lot more slurs/homophobia than I was prepared for, but otherwise is a very touching, relatable collection of queer characters living in a heteronormative world.

12.) Inspired by Mythology or Folklore: Ravenous by MarcyKate Connolly

3/5. A girl goes on an impossible quest to save her brother from a child-eating witch. Really wanted to like it more because I loved the first one, Monstrous, but it dragged a little.

13.) Published Posthumously: The Islands of Chaldea by Diana Wynne Jones

3/5. I adore Diana Wynne Jones, but this one was missing some of the magic of her other books. Not sure if it was because it had to be finished by someone else, or if I just grew out of her stories.

14.) Set in Space: Binti by Nnedi Okorafor

4/5. Powerfully written story of a girl straddling tradition and innovation, who wields power through mathematical magic, surviving on a spaceship alone with a dangerous alien occupation after everyone else has been killed.

15.) By 2 Female Authors: Burn for Burn by Jenny Han and Siobhan Vivian

2/5. Ostensibly a story about a revenge pact in a small island town, but leaves far too many dangling threads to attempt alluring you to the sequel.

16.) W/ A Title containing "salty," "bitter," "Sweet," or "Spicy": The Price of Salt by Patricia Highsmith

3/5. It's okay but I literally just never know what anyone means at any time. Are they being reticent on purpose or do i just not understand communication

17.) Set in scandinavia: Vinland Saga by Makoto Yukimura

2/5. Technically and historically accurate and well made, but the story itself is not my cup of tea. Very gory.

18.) Takes Place in a Single Day: Long WAy Down by Jason Reynolds

4/5. A boy goes to avenge his murdered brother, but ghostly passengers join him on the elevator ride down. Stunning and powerful character-driven analysis.

19.) Debut Novel: Nimona by Noelle Stevenson

4/5. Charming and then surprisingly heart-breaking comic about Nimona, a shapeshifter who wants to become a villain's minion. Really love the villain/hero dynamic going on in the background, along with the dysfunctional found family.

20.) Published in 2019: The Book of Pride by Mason Funk

4/5. A collection of interviews with the movers, shakers, and pioneers of the queer and LGBTQ+ community. An absolutely essential work for community members and allies alike.

21.) Featuring an extinct/imaginary creature: Phoebe and her Unicorn by Dana Simpson

4/5. Incredibly charming, Calvin and Hobbes-esque collection of comics featuring the adventures of Phoebe and her unicorn best friend.

22.) Recced by a celebrity you admire: The Emerald Circus by Jane Yolen

2/5. Recced by my fave author Brandon Sanderson. An unfortunately disappointing anthology proving that any story can be made uninteresting by telling the wrong section of it.

23.) With "Love" in the Title: Book Love by Debbie Tung

4/5. One of those relatable webcomics, only this one I felt super hard almost the entire time. Books are awesome and libraries rule.

24.) Featuring an amateur detective: Nancy Drew: Palace of Wisdom by Kelly Thompson

4/5. REALLY love this modern take on Nancy Drew, coming back home to her roots to solve a brand new mystery. Diverse cast and lovely artwork, though definitely more adult.

25.) About a family: Amulet by Kabu Kibuishi

4/5. Excellent, top tier graphic novel about a sister and brother who have to go rescue their mother with a mysterious magic stone. LOVE that the mom gets to be involved in the adventure for once.

26.) by an author from asia, Africa, or s. America: Girls' Last tour by Tsukumizu

4/5. Somehow both light-hearted and melancholy. Two girls travel about an empty, post-apocalyptic world, and muse about life and their next meal.

27.) w/ a Zodiac or astrology term in title: Drawing down the moon by margot adler

3/5. A good starting place for anyone interested in the Neo Pagan movement, but didn't really give me what I was personally looking for.

28.) you see someone reading in a tv show or movie: The Promised NEverland by Kaiu Shirai

4/5. I don't watch TV or movies where people read books so i think reading an adaptation of a TV series after watching the series counts. Anyway it was good but beware racist caricatures

29.) A retelling of a classic: Meg, Jo, Beth, and Amy by Rey Terciero

5/5. We can stop the Little Women reboots and retellings now, this is the only one we need. In fact, we can toss out the original too, this is the only one necessary.

30.) w/ a question in the title: So I'm a spider, so what? by Asahiro Kakashi

4/5. Cute art despite the subject matter, and a surprisingly enthralling take on the isekai genre. Love the doubling down on the video game skills.

31.) Set in a college or university campus: Moonstruck (vol 2) by Grace Ellis

2/5. An incredibly cute, beautiful, and fascinating world of modern magic and creatures, but unfortunately falls apart at the plot and pacing.

32.) About someone with a superpower: Moonstruck (vol 1) by Grace Ellis

4/5. Though nearly as messy plot-wise as its sequel, the first volume is overwhelmingly charming in a way that overpowers the more confusing plot elements.

33.) told from multiple povs: The Long way to a Small, Angry Planet by becky Chambers

4/5. Told almost in a serial format, like watching a miniseries, a group of found-family spaceship crew members make the long journey to their biggest job ever.

34.) Includes a wedding: We Set the dark on fire by Tehlor kay mejia

4/5. Timely and poignant, a girl tumbles into both love and resistance after becoming one of two wives to one of the most powerful men in the country.

35.) by an author w/ alliterative name: The only harmless great Thing by brooke bolander

3/5. Much deeper than I can currently comprehend. Beautifully written, but difficult to parse.

36.) A ghost story: Her body and other parties by Carmen Maria Machado

4/5. It counts because one of the stories in it has ghosts. A sometimes difficult collection of surrealist, feminist, queer short stories.

37.) W/ a 2 word title: Good omens by Terry Pratchett and Neil Gaiman

4/5. Charming, touching, and comical, probably the best take on the apocalypse to date. Also excellent ruminations on religion and purpose.

38.) based on a true story: The faithful Spy by John Hendrix

4/5. Brilliantly crafted graphic biography of Dietrich Bonhoeffer, and his assistance in fighting back against Nazi Germany.

39.) Revolving around a puzzle or game: the Crossover by Kwame alexander

4/5. The verse didn't always hit right with me, but the story is a sweet, melancholy one about family, loss, and moving on.

40.) previous popsugar prompt (animal in title): The last unicorn by peter s. Beagle

5/5. Absolutely one of my all-time favorite books, it manages to perfectly combine anachronism and comedy with lyricism, melancholy, and ethereal beauty.

41.) Cli-fi: Tokyo Mew Mew by Mia ikumi and Reiko Yoshida

4/5. Shut up it counts

42.) Choose-your-own-adventure: My Lady's choosing by Kitty curran

3/5. Cute in concept, a bit underwhelming in execution. Honestly, just play an otome.

43.) "Own Voices": Home by Nnedi Okorafor

3/5. The storytelling style was definitely not my style; while the first book was slow, too, it felt more purposeful. I found my attention wandering during this installment.

44.) During the season it's set in: Pumpkinheads by rainbow rowell

3/5. Cute art, but precious little substance. The concept simply wasn't for me in the first place.

45.) LITRPG: My next life as a villainess: All routes lead to doom! by Hidaka nami

5/5. An absolute insta-fave! Charming art, endearing characters, an incredible premise, and so much sweet wholesome fluff it'll give you cavities.

46.) No chapters: The field guide to dumb birds of north america by matt kracht

3/5. It started out super strong, but the joke started to wear thin at a little past the halfway point.

47.) 2 books with the same title: Unfollow by Megan Phelps-Roger

4/5. A brave and enduring personal story of growing up in and eventually leaving the Westboro Baptist Church. Really called to me to act with grace and kindness even more in the future.

48.) 2 books with the same title: unfollow by rob williams and michael dowling

1/5. How many times do you think we can make Battle Royale again before someone notices

49.) That has inspired a common phrase or idiom: THe Outsiders by S.E. Hinton

4/5. Definitely good and deserves it's praise as something that pretty much revolutionized and created an entire demographic of literature.

50.) Set in an abbey, cloister, Monastery, convent, or vicarage: Murder at the vicarage by agatha christie

3/5. I just cannot. physically keep up with all of these characters or find the energy to read between the lines.

ok that's all i got, what did y'all read and like this year? (oh god it’s gonna be 2020)

#book reccs #lulu booktalks

15 notes · View notes

thisguyatthemovies · 4 years

Text

Cat-nipped

Title: “Cats”

Release date: In theaters Dec. 20, 2019

Starring: Francesca Hayward, James Corden, Judi Dench, Laurie Davidson, Jason Derulo, Idris Elba, Jennifer Hudson, Ian McKellen, Taylor Swift, Rebel Wilson, Ray Winstone, Laurent Bourgeois, Larry Bourgeois, Robert Fairchild, Mette Towley, Melissa Madden-Gray, Steve McRae

Directed by: Tom Hooper

Run time: 1 hour, 42 minutes

Rated: PG

What it’s about: Based on the long-running stage musical by Andrew Lloyd Webber (which is based on “Old Possum’s Book of Practical Cats” by T.S. Eliot), “Cats” is a musical fantasy about a tribe of cats in London called Jellicles who attend the annual Jellicle Ball and compete for entrance into Heaviside Layer, where they will undergo reincarnation.

How I saw it: Let’s get a few disclaimers out of the way. I have not read T.S. Eliot’s “Old Possum’s Book of Practical Cats,” nor have I seen the long-running stage musical based on it, “Cats.” I am not a musical guy, whether the musical is in stage form or at the movies; I prefer a movie be told in words and pictures rather than songs and dances. My knowledge of musicals goes about as deep as “The Wizard of Oz” and “West Side Story” -- and the musical based on “The Planet of the Apes” starring Troy McClure in “The Simpsons.” Which is to say, I am horribly underqualified to watch a musical, let alone review one.

That said, I did watch the much-maligned trailer for the movie version of “Cats,” and it seemed like a must-see spectacular train wreck of a film. Humans posing (and singing, talking, dancing, prancing, mewing) as cats – what’s weird about that? And as a bonus, the trailer made it clear that expenses were spared in morphing actors into cats (with human faces) in noticeably subpar CGI. Still, at one time it was widely reported that the production had racked up a budget of $300 million. Those reports apparently were not accurate, as “Cats” now seems to have had a budget in the more believable $95 million range. That’s still a lot of money to make a 102-minute film about cats with human characteristics.

Did the full-length film deliver on the mess promised in the trailer? Yes and no. “Cats” is as weird as you might expect, a hallucinatory song-and-dance trip full of “I can’t believe what I just saw!” moments. No one could ever get used to seeing cats with human faces showing affection by rubbing heads. But it also is based on just a sliver of a story, it sails adrift in a sea of tonality, and at some point it becomes clear that it’s just a relentless series of explanatory songs (spoken dialogue is sparse) about an army of characters and types of cats. And worse than that, about halfway through it seems rather dull.

What there is of a story is this: A white cat named Victoria (ballerina Francesca Hayward in her feature-film debut) is dropped off in London among cats called Jellicles. They are preparing for the annual Jellicle Ball, where one of them will get to be reincarnated by being sent off in hot air balloon to a place called the Heaviside Layer. The competition is fierce and is sabotaged by a Satan-like cat, Macavity (played by an uncomfortable looking Idris Elba), who himself wants to get to Heaviside Layer. Who will have their ticket punched?

Along the way, each cat we are introduced to gets their own song and story, and the song count really starts to add up. “Cats” could have done without some of them, most notably unfunny Rebel Wilson as Jennyanydots and James Corden as Bustopher Jones. Their intros come early in the film and would have you thinking this might be a routine comedy trying to milk as many yuks as it could out of fat jokes. But they come and go rather quickly, as does the tone they brought with them. From there, “Cats” slides into a sentimental story about Victoria not fitting in and eventually taking pity on Grizabella (Jennifer Hudson), who was part of the Jellicles tribe until she was tempted by Macavity.

“Cats” has some stellar moments in which it threatens to become a decent musical movie, and they are lumped together in the middle of the film. Hayward takes the spotlight for “Beautiful Ghosts,” a touching ballad written for the movie by Lloyd Weber and Taylor Swift (who has her own brief part in the film). Ian McKellen as Gus the Theatre Cat tells his story (he’s an aged stage actor with palsy) through a sentimental half-spoken, half-sung song. Hudson gets the show-stopper song, “Memory,” and she clearly has the strongest voice among the cast (some of the signing is suspect), but her song comes across as bombastic – noticeably so given the tone of the rest of the vocal performances.

It's difficult to become emotionally invested in a film about human cats. That there is so much weirdness in the visuals doesn’t help. I saw the first version released to theaters, and the cats had human hands; a version with supposedly improved CGI (and presumably paws) was released a few days later. Also, perspective is an issue. At times the cats seem human-sized; at other times they seem about the size of mice; and at times they are roughly the size of cats. And when some of the cats wear hats, they just seem like humans with hair where humans don’t typically have hair.

Lessons abound here, of course, including how we are all the same even if we are different, how we need to let go of the past so that we can happily sing and dance in the present, and, as Judi Dench (as the Cowardly Lion-looking Old Deuteronomy) sing-talks in an awkward explanatory final scene, cats are not dogs. Cats are not humans, either, but they are in “Cats,” and there’s just no getting past how strange that is over the course of a “what’s-the-point?” movie that doesn’t figure to be remotely as successful as the stage show.

My score: 27 out of 100

Should you see it? Not unless you are a diehard fan of musicals and your curiosity gets the best of you.

#movies #movie review #cats #musical #cgi #stage #andrew lloyd webber

1 note · View note

hiphophistorian-blog1 · 6 years

Photo

My 10 favorite rap albums of all time: 10: To Pimp a Butterfly (Kendrick Lamar) Some of you out there might get M.A.A.D that I placed this so low on the list or that I picked it over the phenomenal Good Kid, M.A.AD City, but I still believe To Pimp A Butterfly is a funk masterpiece. I remember seeing reviews of it when the record first dropped saying “It sounds like a crazy person broke out of the asylum just to release this album”, but to me, they just don’t get it. The album as a whole, felt so free form and suits Kendrick so much better than what he usually does. Alright is still considered a black pride anthem by many and the single version of “i” is still one of my favorite Kendrick songs today. 9: Lil Uzi Vert Vs. The World (Lil Uzi Vert) Now, before I get hate for this one, I have to go off the record and say that I LOVE Lil Uzi Vert. In a world of Lil Pumps and Lil Yachtys, Lil Uzi is probably the least hated mumble rapper in the game right now. And aside from probably my favorite song of his, “XO Tour Llif3”, Lil Uzi Vert Vs. The World is my favorite thing he’s made. I remember the album catching my attention for the simple fact that the album art was based on the Scott Pilgrim comics’ art style. And this album was actually the first mumble rap album I actually liked. It’s because of it that I anticipated Lil Uzi’s “The Perfect Luv” so much. Though in my opinion, the darker tone that Vs. The World had fit Uzi much better. 8. Free 6lack (6lack) Many respect 6lack for starting out as a rapper and becoming something more. When I first heard Free 6lack and its opening song “Never Know”, I was immediately blown away by 6lack’s flow. It was more than just mumble rap, in fact it was very lyrical. It was more like he was singing. This album showed me and many others just who 6lack was and what he was capable of. 7. The Best of N.W.A (N.W.A) Okay, so this might seem like a cop out, but I was extremely torn between N.W.A’s debut album, Straight Outta Compton and their last studio album, Niggaz4Life mostly because without Ice Cube, Dre, Ren, and Eazy really shine with their word play and DJ Yella gets more time to show off. On the other hand, Straight Outta Compton was great because Ice Cube wrote most of the lyrics masterfully for their first outing. Plus, Express yourself is N.W.A’s best song. Fight me. 6. Coloring Book (Chance The Rapper) I was a huge fan of Chance for reasons that’ll be clear soon. So I was definitely waiting weeks for this album to drop. When it did, I was stunned by the features: Lil Wayne, 2 Chainz, Jeremih, Kanye West, Justin Bieber, D.R.A.M, Lil Yachty. This album is straight up NUTS, but in a Christian way. Within the first hour of this album dropping, people through around the word “masterpiece”. In fact, Coloring Book IS a gospel rap masterpiece. Everyone was going crazy for this mixtape Chance released for free. Not only that, this was the first mixtape ever given out for free to win a Grammy. 5. Acid Rap (Chance The Rapper) “Wow, Hip Hop Historian, you must really like Chance.” Fuck yes I do. Chance is God’s gift to man. This was my first Chance album and it made me fall in love with Chance. The first time I heard the album was browsing SoundCloud and stumbling across “Favorite Song” because of Gambino’s feature. I listened to the rest of the album and now I know the track list by heart. There’s a song here for everyone. Whether you wanna listen to something conscious, you want to vibe, or you just wanna have a good time. And the way Chance starts and ends this album with “Good Ass Intro” and “Good Ass Outro” is simply incredible. IGH! 4. “Awaken! My Love” (Childish Gambino) Putting this on the list was always gonna be controversial. This isn’t exactly a “rap album” but being an album under the genre or hip hop and by a rapper, it qualifies it. Anyway, this is another album where the word “Masterpiece” was tossed around a lot. I could probably attest to that. Although not my favorite Gambino album, and probably Donald’s least favorite album to make, you can’t argue with the results. This album solidified Gambino as not just a great rapper, but an amazing artist. “Awaken! My Love” is quite simply a funk magnum opus. Songs like “Me and Your Mama”, “Boogieman”, and “Riot” instantly stand out to me. “Baby Boy” is a beautiful track, and anyone who hasn’t listened to the sensation that is “Redbone” has never experienced true joy. 3. The College Dropout (Kanye West) Okay, here we get into some real shit for me. No matter what anyone says, Watch The Throne, 808s and Heartbreak, Graduation, Yeezus, and My Beautiful Dark Twisted Fantasy will never compare to Kanye’s first studio release. The College Dropout was the album that got my high school English teacher into rap when he was a teen. Kanye just never released an album more down to Earth than it. In his other albums, it always seems like Kanye’s putting on this persona, while in The College Dropout, we get a side of Kanye that lived a lower class lifestyle for almost 20 years. Because of that, we have songs like “It All Falls Down” and the 10 minute “Last Call” where Kanye just keeps the beat going to tell us all about how much he struggled just for a deal. 2. Bizarre Ride II The Pharcyde (Pharcyde) If you asked me what my favorite old school hip hop album was, I’d tell you it’s Bizarre Ride. If you asked me my favorite Pharcyde member, I’d say Fatlip. No, wait! Imani! This album just has so much variety to it. From the funkadelic Soul Flower Remix to the slow and impactful Passin’ Me By. A copy of both Bizarre Ride and LabcabinCalifornia need to be locked away in a vault for safe keeping. Pharcyde in general are essential to the history of hip hop and are one of the most important rap groups ever. I could honestly geek out and quote this album forever until I die. 1. Because The Internet (Childish Gambino) Now, I don’t mean to ride on Donald Glover so much, but not only is he my favorite rapper, but he’s my idol. He does it all. From movies, to tv, to standup. And all of that really shows on this album. Alongside the album came a short film written by Gambino named “Clapping For The Wrong Reasons”, and a companion piece to the album in the form of a screenplay also written by Gambino. The screenplay and all it’s mysteries have to be my favorite part of the story to this borderline rap concept album. I know I said Bizarre Ride had variety, but this album is on a whole ‘nother level. From songs everyone knows like the heartfelt “3005”(which has my favorite music video ever) to the silly “Sweatpants”, there’s so many gems in this gold encrusted diamond of an album. And along with Bizarre Ride, Because The Internet is one of the albums that I know every single lyric to. Plus, this album has my favorite Gambino song ever, “Crawl”. And I’d just like to point out that when Chance had Gambino featured on Acid Rap, he let him rap a whole verse and take over one of the choruses. But when Gambino has Chance featured on “The Worst Guys”, he has Chance repeat the same five words over and over again. I love Gambino to death. Because The Internet isn’t the cleanest album ever, in fact it’s sloppy and seems rushed together in hindsight, but that’s just it. This album represents Childish Gambino’s down to Earth starving artist phase and that’s something I can relate to heavily. I love Because The Internet.

80 notes · View notes

aion-rsa · 4 years

Text