a very good bad thing isn't my favorite mother mother album sonically, (i haven't heard all of their albums yet but i've been working my way through them all recently) but god damn some of the lyrics on that album! i think that about every album of theirs but for some reason i feel like i need to talk about these specifically. there's something about how honest and blunt their lyrics are, like "no this isn't necessarily good or even okay but i'm gonna say it anyway." like
i got a date on friday
not gonna eat anything till then
i'm gonna look so skinny
she'll want to feel my bones against her skin - i go hungry
or have it out as a whole. the way he sings about his anger and hatred for himself. like he just loathes himself is so familiar to me, someone who struggles with similar thought patterns. the almost excitement he has to destroy himself, that it's gonna be like war, it's gonna get "ugly" and "messy" but then also blaming himself for allowing himself to continue the pattern. he keeps letting this bad tendency back in but doesn't stop him and describes himself as a "spectator of war." the specifics of how he's going to ruin everything he loves so he can't do it anymore. he'll make him an addict, he'll cut off his fingers and his tongue. he also mocks how he thinks of himself, because he says "can't play the rockstar," which belittles what he does and makes it clear he doesn't believe he is cool/good enough. the line about having sex with young girls adds to this like, "oh you think you're such a big rockstar, huh? you just say a bunch of bullshit and creep on girls"
also the softness in alone and sublime, the questioning of himself, that he both likes being alone and wonders if that's okay but also wants to be with people but struggles to do so
i wonder, did they make me right?
aren't i supposed to want to fight for love in life?
anyway basically i love mother mother and their lyrics so so much
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my godddddddd those last two days have drained me in such an absurd way.
just a constant stream of standing in mildly uncomfortable heels (not uncomfortable enough to cause actual pain but definitely enough to drive you insane) trying to keep a straight face cause The Audience Sees All. dvorak dvorak dvorak. trying desperately not to think about [redacted]. expressing your honest opera opinions that nobody asked for to your friends' great chagrin. getting drunk off the free alcohol at the banquet that is not really there for you but nobody paid you to be there so you might as well take it like what are they gonna do lol. going out to get more drunk. stumbling home and Bothering The Cat and falling asleep. rinse and repeat.
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Portal 2 is still the perfect game to me. I hyperfixated on it like crazy in middle school. Would sing Want You Gone out loud cuz I had ADHD and no social awareness. Would make fan animations and pixel art. Would explain the ending spoilers and fan theories to anyone who'd listen. Would keep up with DeviantArt posts of the cores as humans. Would find and play community-made maps (Gelocity is insanely fun).
I still can't believe this game came out 12 years ago and it looks like THIS.
Like Mirror's Edge, the timeless art style and economic yet atmospheric lighting means this game will never age. The decision not to include any visible humans (ideas of Doug Rattmann showing up or a human co-op partner were cut) is doing so much legroom too. And the idea to use geometric tileset-like level designs is so smart! I sincerely believe that, by design, no game with a "realistic art style" has looked better than Portal 2.
Do you guys remember when Nvidia released Portal with RTX at it looked like dogshit? Just the most airbrushed crap I've ever seen; completely erased the cold, dry, clinical feel of Aperture.
So many breathtakingly pit-in-your-stomach moments I still think about too. And it's such a unique feeling; I'd describe at as... architectural existentialism? Experiencing the sublime under the shadow of manmade structures (Look up Giovanni Battista Piranesi's art if you're curious)? That scene where you're running from GLaDOS with Wheatley on a catwalk over a bottomless pit and––out of rage and desperation––GLaDOS silently begins tearing her facility apart and Wheatley cries 'She's bringing the whole place down!' and ENORMOUS apartment building-sized blocks begin groaning towards you on suspended rails and cement pillars crumble and sparks fly and the metal catwalk strains and bends and snaps under your feet. And when you finally make it to the safety of a work lift, you look back and watch the facility close its jaws behind you as it screams.
Or the horror of knowing you're already miles underground, and then Wheatley smashes you down an elevator shaft and you realize it goes deeper. That there's a hell under hell, and it's much, much older.
Or how about the moment when you finally claw your way out of Old Aperture, reaching the peak of this underground mountain, only to look up and discover an endless stone ceiling built above you. There's a service door connected to some stairs ahead, but surrounding you is this array of giant, building-sized springs that hold the entire facility up. They stretch on into the fog. You keep climbing.
I love that the facility itself is treated like an android zooid too, a colony of nano-machines and service cores and sentient panel arms and security cameras and more. And now, after thousands of years of neglect, the facility is festering with decomposition and microbes; deer, raccoons, birds. There are ghosts too. You're never alone, even when it's quiet. I wonder what you'd hear if you put your ear up against a test chamber's walls and listened. (I say that all contemplatively, but that's literally an easter egg in the game. You hear a voice.)
Also, a reminder that GLaDOS and Chell are not related and their relationship is meant to be psychosexual. There was a cut bit where GLaDOS would role-play as Chell's jealous housewife and accuse her of seeing other cores in between chambers. And their shared struggle for freedom and control? GLaDOS realizing, after remembering her past life, that she's become the abuser and deciding that she has the power to stop? That even if she can't be free, she can let Chell go because she hates her. And she loves her. Most people interpret GLaDOS "deleting Caroline in her brain" as an ominous sign, that she's forgetting her human roots and becoming "fully robot." But to me, it's a sign of hope for GLaDOS. She's relieving herself of the baggage that has defined her very existence, she's letting Caroline finally rest, and she's allowing herself to grow beyond what Cave and Aperture and the scientists defined her to be. The fact that GLaDOS still lets you go after deleting Caroline proves this. She doesn't double-back or change her mind like Wheatley did, she sticks to her word because she knows who she is. No one and nothing can influence her because she's in control. GLaDOS proves she's capable of empathy and mercy and change, human or not.
That's my retrospective, I love this game to bits. I wish I could experience it for the first time again.
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the thing that people are missing about TLT—what makes it so good and so extremely affirmingly gay—is that it is layered through and through with queer desire of all kinds: Sick desire, wrong desire, desire that will never be voiced let alone fulfilled, desire that CANNOT be spoken of, desires that shouldn’t be fulfilled or run counter to social mores of the setting in ways that are alien to the reader’s own. It is So. Horny. People are horny for corpses. They’re fucking using other peoples’ bodies (without consent). They’re subtextually fucking their siblings. The core homoerotic relationship is a necro/cav relationship, which in the book’s setting, romantic or sexual necro/cav relationships are considered repulsive.
And it will never be fulfilled or consummated in the sense that most people imagine them. Nobody is getting what they want. Girls are kissing girls who are in love with someone else’s corpse. Girls are lobotomizing themselves to save other girls’ souls. Girls are spearing their hearts on iron fences and offering their souls to other girls to eat. They are both profoundly Not Getting Laid and also having intimacies and consumptions that make sucking and fucking seem about as profound as a puddle. The penetration metaphor of Naberius’ death and the bottoming metaphor of Gideon’s cannot be overstated. Someone’s arm is amputated and it’s the closest thing that book has to a sex scene.
And somehow, even though it portrays repression in some cases, it is not Repressed(TM). The girls are Jesus; the girls are reading porn rags; the girls are dying as virgins. Someone tries to fuck a hallucination that is also the ghost of the Devil and also of the Earth. The ghost of the Earth and the Devil says “Huh. One moment, I have to cross time, space, and the River beyond death” and roughly… a day later, fully possesses their body.
Sex doesn’t begin to describe it. It is sublime; it is spiritual; it is as crass and visceral and compulsive as whatever sick pornographies anybody gets off to; it is as grimy and solipsistic and subterranean as any human unconscious.
You simply could not get that in a light and happy “found family! ✨” rainbow sci-fi
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