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weaselbeaselpants · 3 years

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Weird week behind me weird week ahead of me but I’ve done a lot of self reflection and came to the weirdest epiphany. The older I get the more I realize all my ‘problems’ with VivziePop - her thoughts on criticism; the choices she makes in story telling; some of the people she’s worked with (not that any of that’s my business; I’m not her mom) really aren’t about Viv, but more about her fandom.

I’m speaking of the preHazbin era Viv here and as someone who’s only watch horny fish jump at the surface rather than jump straight into the Hazbin-fandom, but given my ‘noncritical’ fellow fans have told me that the Vivziefandom now is also terrible - I guess I’ll go over my experience and make the most out of what I do know.

I followed Viv in 2009 and fell off in 2013 cause I kinda just lost interest and found myself wrapped up in other fandoms. I’ve always felt amicable about her content; I could give or take designs or the way in which she wrote characters -- ((Zech represent!!!)) but it’s honestly surreal and really fun seeing this person I recognize make it big and improve so much. Like I’ve said before I am very happy and very impressed with Viv doing all she’s done in the span of TWO YEARS. wow gurl.

Trouble is, there was the particular breed of fan who really made me...uncomfortable. They felt almost possessive of Viv’s attention. They sang praises about her work in a way that just made me want nothing to do with it because I was worried if I drew those characters these people would be like ‘hey, I’M Viv’s fav artist, not you!”. They would unironically write Viv messages like:

“you are a GOD” -- “I’m so not worthy compared to you” --“I wish I was as talented as you” -- “YOU ARE EVERYTHING AND CAN’T DO WRONG VIV”.

The kind of messages which were meant to sound flattering but, intentional or not, came off as gaslighting, like they were guilt tripping Viv about being better than them. This behavior, treating your favorite artist/internet personality like your superior and groveling like Starscream, it strikes a nerve with me; partly because I was this way with my favorite artists and influences back in the day, but also because once I got a taste of that treatment myself I realized just how bad it could be:

There was once a girl on dA who was jealous of me because of the attention I got on my art instead of her. I told her that I wasn’t gonna stop drawing but also that there was nothing wrong with her art and she’d find her place. It was weird being put in that position where someone is very clearly upset at you but also looking for your approval.

The second was some scumball who I blocked in 2016. He wouldn’t speak to me, only write condescending, backhanded comments on my art; check on my profile daily; call me a bootlicker (cuz I took commissions) behind my back; redrew my art and would talk about me in his personal artist notes about how I ‘probably wouldn’t see this’ - oh yeah all the while he did fan art of my characters but again never spoke to me when I replied. When I finally messaged him about his behavior he said he thought I was “really overrated” and “bad for the fandom” cuz I took money and kept him from getting the love he deserved. It took messaging another person within our fandom, one I had been in spats with online before, to finally realize I shouldn't put up with that bs....

That guy who was stalking me btw did so while I was well under 1.K watchers and am still pretty obscure. Anyway, I had one guy unhealthily watching me for the wrong reasons. Just one. This is why when Viv says she “hates creeps” I 150% believe this woman and am not about to call her a liar who just can’t take criticism. Like, if you really think that, I’m sorry but you don’t know what Viv’s gone through from both her critics AND fans.

Of course, a lot of people will be like “I bet you’re just jealous and really just want that kind of attention yourself so you’re preaching to the choir”, but like...no. I am envious of just about any creator who’s the social butterfly I’m not, but, like, if I'm jealous of an artist none of that is that artists’ fault. Ever. It’s my own issues with being comfortable with myself are at stake. If I criticize Viv’s work it’s not because I see her as competition or my Squilliam Fancyson; it’s because I’m a critical fan of animation and cartoons and have my own thoughts to share on the cartoons of an artist I’m familiar with. Jealousy/envy/mixed-admiration/godIwishthatwereme.jpeg feels are totally natural and valid emotions when you’re a creator. Envy becomes a problem when you internalize, weaponize, and scrutinize people on the basis of them being what you aren’t which -yes - some people do in the name of criticism. ((Although, I would hardly say some of the nastiest AntiViv folk are jealous as much as they are angry that this project they think is harmful is getting attention and using that as justification for some really shitty behavior of their own, which no, this post is not a part of by virtue of coming from a critical fan.))

Critique can come from either a good place or bad place; good critique can be used to bad ends and bad critique can come from a well-meaning place, and vice versa. It’s the difference between many a criticalfan having a sour taste in their mouth regarding the Viv’s base but persisting in a critique+admiration separate of that, and this asswipemonster trying to weasel his way into Spindlehorse while also bashing Viv on a public forum for clearly vitriolic reasons. He was a creep.

So yeah um please stop insisting that every Hazbin critic is just jealous’ because a) there are people who have a past with Viv’s base and that clouds their judgement, but in a lot of cases that doesn’t invalidate their feelings or thoughts on her work separate from that, and b) I’ve seen what clingy gaslighting jealous fans are. Spoiler: they’re not so much Annie Wilkes as much as they are Tommy Wiseaus. You don’t want Tommy Wiseau following you.

Another bad vibe I really picked up on that I can kinda confirm is still probably the case now: people think that they know Viv and the Spindlehorse crew and have the right to send them shit they don’t need or WANT to be seeing.

Like, I talked with Viv once ages ago. I don’t remember what I said other than we were talking about Frankenweenie, I think. She was nice. Outside of that she said “thank you” to my comments on her deviations but that’s it. I DO NOT KNOW THIS WOMAN AND unless you’ve worked with or are a legit friend/mutual of hers, NEITHER DO YOU. But I don’t think every Vivzie stan/critic knows this. Whether it be people assuming she MUST think they’re headcanon is now canon-canon cuz she liked a comment they made; or some critic thinking they must have seriously hurt her pride because they’ve been blocked by her on twitter (or you know, maybe she and the rest of Spindlehorse is tired of getting @s and don’t have to time to read through your analysis so they’re gonna just block and move on cuz they’re busy).

Just because the creators talk with fans doesn’t mean fans are literally their best friends and have a part in the show’s direction. And yes, critics and reviewers fit that bill as well. Know your damn boundaries people.

If you find/make some kind of contribution as a viewer that’s awesome but you should never expect nor DEMAND the creator see it. The most obvious horror stories involving this and Helluva/Hazbin have been the Instagrams made by the crew being harassed by incestpedo enthusiasts, but it applies even to just @ing creators as well.

I’ve seriously had someone tell me to just take my criticisms directly to Viv and like...no. Why would I do that?

I respect Viv and the artists working with her enough to know that they’re working their asses off on an animated series and should not be bothered. I don’t want them to stop all they’re doing and reply to me. I want them to keep working. Also, that kind of logic makes me wonder how many critics Viv’s found because she found it on her own or if some obsessed fan told her about it - which is really messed up cuz if it IS just good critique you’re, again, just pestering her, and if it wasn’t critique but full on harassment WHY THE FUCK WOULD YOU MESSAGE HER ABOUT THAT ANYWAY? I’m sure she doesn’t need to be reminded that people drew and said really awful shit about her on Tapatalk. My point being I’m sure what people think they’re doing is

“OOOoh Viv lookitwut this person is doing in our fandom we need to ban together against this toxic behavior”

but what they’re actually doing, and sounding like, is -

“Hey Viv I know you are working so hard on the show and you’re trying to figure out where to go from here but LOOKITWHUTTHISHATERSAID. LOOKATIT! VALIDATE ME VIV AND PUT’EM IN THEIR PLAAAAAACE!”

TL;DR Viv’s fanbase back in the day consisted of everyman artists and interests but there was this one breed of fan -who I hope was just a vocal minority- that ruined it for everything else.

Call it stanning or ‘simping’ or as it’s classically known, ‘white knighting’, whatever it was it really soured a lot of people on her because of those fans.

That’s why the DollCreep drama got so bad from what I can tell. Doll and Viv had a falling out and then called out eachother online where people who took it upon themselves to speak for them starting throwing mud.

Back in the day I remember Viv used to get mad at artists for ‘stealing’ her style. I think this attitude from Viv directly has vanished but I remember it happening because one of the people she thought was stealing her style did art for me at some point and they were basically shamed/chased off deviantART by a gaggle of these really nasty Vivfans.

inb4> “VIV WAS AWARE AND STILL WEAPONIZES HER FANS THO”

I don’t know that. And honestly, where I’m inclined to believe she’d do something like that then I think Viv is really different and has improved her business and public image from her college days. I’d be very disappointed in her if she was pulling a Butch Hartman or Derek Savage, but I just don’t think she is one, k?

Viv is more self critical and aware than any of these uber protective-gatekeeping fans give her credit for. She said on the Pizzapartypodcast that she knows the Hazbin pilot wasn’t perfect; she’s been able to identify the problems with old Zoophobia; this woman knows that criticism of all kinds need to exist and from what I see she sounds like she’s trying to get used to that. It’s just, you know, when you have nasty antis badgering you, stalkers, obsessive yes-mam’ fans, opinionated shit posters, r34 artists, entitled shippers and the NDAs of a company alongside your own branded image - all that negativity, even the constructive bits, tend to clump together and you just want to scream at it so you can finish the damn cartoon already!!!!

TL;DR: PART TWO

VivziePop/mind is basically indie Tim Burton. Her work is fun, shallow and made with love but is marketed as being for everyone when it’s really not. Parts of it I love to watch; parts of it drives me crazy cuz of reasonswhatev this isn’t a review.

BUT any fanbase where people tell me I should just “expect what’s coming to me” when I’m trying to argue against dragging creators into fandrama is troubling. People have a parasocial bond with fandoms and their creators and they need to learn when to back off.

#vivziepop critical #hazbin hotel critical #helluva boss critical #critical fandom #I'm sorry to all the people I messaged n bothered over the past year bout my stupid thoughts #tw: stalker

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ramuoto · 4 years

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TOP 10 MANHWAs

if anything good came out of 2020, it’s my discovery of manhwas.

well, it’s not like i’ve never read a single manhwa in the past 15+ years but tbh, the ratio of manhwa:manga i consume on a weekly basis has jumped exponentially this year. previously it was like 1:99 and now it’s like 90:10 LMAO.

so, just to remind myself that the world is still full of good things, i had to make this list. which i will probably edit in the future, if i can be bothered to. :)

anyhow, this list was not made in any particular order, just whichever came into mind. it’s loooong so be prepared! (I’ve read way more titles than mentioned but just included the ones worth checking out)

for whoever stumbles across this list, i hope some of these resonate with you and i hope they make you as happy as they made me.

pic credits: https://geekculture.co/geeks-guide-to-transmigration-novels-avoid-death-at-all-costs/

1. Ebony

https://mangadex.org/title/41838/ebony

Bahahah omg he looks evil there! But our dearest archduke is hardly that aww. Soz, I just ripped off the covers of the manhwa cos I can’t find a panel I liked more than another. I mean, this manhwa is a GEM. I can’t even begin to describe this because everything about it blew me away. This is not something you read when you are craving for fluff, or just wanna have something brainless after a hard day at work or if you just wanna have some eye candy lol. This is something you pick up on a weekend, when you have time, because you need those hours to digest, appreciate, clutch your chest, tear a little because you find yourself falling in love with these characters. It doesn’t have any of that cliche isekai, romance, revenge themes going on. It has a solid plot, backed by incredible characters, beautifully woven by the authors and artist with incredible pacing that keeps you on your toes and keeps you looking forward to the next chapter. Maybe I would have been happier if I found it after it was completed lol. HAVE I CONVINCED YOU ENOUGH TO MAKE YOU WANNA READ IT?! like, idk, just go. JUST GO READ IT GDI.

p.s. it says there romance but naaaaaaah, dont go in with that expectation. :) this story is so much more than that.

2. Bring the love

https://mangadex.org/title/44472/bring-the-love

This...this!!! THIS MANHWA NEEDS MORE LOVE. If you need a lot of fluff, a little, ok maybe quite a bit of sadness and tragedy, sweet sweet romance, cutie pies, please, look no further!!! Again, pacing, character development are so important to me and this manhwa aces it. I love the 2 MCs very much. And the side characters too. :)

3. A Stepmother's Märchen

https://mangadex.org/title/39474/a-stepmother-s-m-rchen

When I first read this, i fucking cried. like please don’t ask me why. it’s not like its an absolute tragedy but I was just rooting for the MC so much and I really want for everything to go her way. That’s how much I adore this MC!!! I LOVE HER. I LOVE HER MORE THAN YOU DO NORA! HAHAHHA. okay soz. I need to keep this spoiler-free.

Anyhoo, there is nothing typical about this time travel plot. Sure, she goes back to try to undo the stuff that went wrong but phew, she certainly changed things so much everything that comes her way have made it so her previous experiences can hardly help aaaaaaand that’s what makes it fun! I sometimes wish the pacing could be a little more consistent, and there could be more characters I could love a little more wholeheartedly (so i wont have to be in so much despair when i read this sometimes lol) but omg the art, isn’t it pretty?! I’ve re-read this soooooo many times but the art blows me away all the time. And have I already mentioned how much I love her?! I LOVE YOU SHULI! AND I WANT YOU TO BE HAPPY!

4. Lady Baby

https://mangadex.org/title/34691/lady-baby

I literally LOL-ed when I saw this cover. WHO THE HELL ARE THEY. WHAT LADY BABY?! ehehehe. okay anyway, uhm, this is already incredibly popular. im not sure if i need to elaborate but yes, it’s adorbs!!! i dont think i like the MC as much as i love her family lol. and everyone else who adores her. im looking forward to when they get older. :) actually not really. please stay cute for as long as yall can! but yeah, i do wish the plot can move a lil faster. i want to see more character development in the other kids too COME ON!

5. Death Is the Only Ending for the Villainess

https://mangadex.org/title/47754/death-is-the-only-ending-for-the-villainess

am i allowed to reveal how shallow i am rn? like the previous choices were all like ‘wow-deep-plot’, ‘wow-character-development’ and this one i just included cos of AESTHETICS ALONE?! the novel covers are breathtaking!!! the manhwa art is amazing as well. and the harem is great! LOL. as for plot... uhm... it’s alright. it’s pretty engaging and i quite like the MC, she’s smart and independent and i love how she views them all antagonistically at all times HAHAHHA. her past is kinda... weird though and i do wish they’d stop referencing it. cos... girl why do you wanna go back to reality!!! stay here! it’s way more exciting!

i love the whole isekai/reincarnate/transmigration theme and this is honestly one of the better, not-so-cliche or cheesy ones HA.

6. Beware of the Villainess!

https://mangadex.org/title/47286/beware-of-the-villainess

do you already see the whole villainess theme?! am i suppose to start feeling embarrassed about my choices?! NO! cos this one is AWESOME!

again, another wildly popular title. for good reasons. it’s hilarious, our MC is as real and candid as it gets and LOOK AT THAT BLUE HAIRED BEAUTY. DO YOU SEE HIM?! IMPLANT HIM INTO YOUR MEMORY NOW!

it’s highly entertaining and breaks all isekai-reincarnation-villainess plot stereotypes. definitely one of the titles i look forward to every week.

7. Who Made Me a Princess

https://mangadex.org/title/32506/who-made-me-a-princess

what? why did i choose this?

BECAUSE OF CLAUDE OF COURSE. ahahaha. okay aside from the amaaaaaaazing art and the beautiful people, the plot is not too bad. a little extreme at times but it’s interesting enough to keep me going. it’s currently on hiatus though and i was highly annoyed by how the first season ended. (YOU WANNA KNOW WHAT HAPPENED? NOTHING.)

i hope the plot can move faster in the next season! and that our dearest MC athanasia can you know, finally be a little more useful... like omg just tell lucas already!!! and tbh girl, no matter which guy you choose, i approve. :D

8. The Flower That Was Bloomed by a Cloud

https://mangadex.org/title/37648/the-flower-that-was-bloomed-by-a-cloud

i featured this before, mostly out of frustration HAHAHA. do you see why i chose this cover?! yeah, i support this (unpopular) pairing okay! the other one is doomed!!! no matter what the author is trying to do now!! I DONT SUPPORT IT!!! lol.

anyway, i had to feature this cos the art is unique! and the story is great. :) and i looooooove listening to the ost while i read it. it starts out kinda slow but as the pace picks up, you won’t be able to stop. and you find yourself conflicted at various points. it did win an award for a reason.

no matter what, i still think dowun is best for her okay. it’s dowun or nothing. he’s devoted to her, we all know that! he just needs to ditch that annoying female guard!!! ok yknw what, maybe nothing is better. :/ *cries*

9. Solo Leveling

https://mangadex.org/title/31477/solo-leveling

why do i even bother? this manhwa is popular enough.

the art is great. the MC is great. i use him and his gang as my wallpaper.

im just not sure i like how this season’s plot is progressing. :/ but i guess it brings us nearer to solving the mystery in the first leg of the manhwa. i just enjoyed the whole part of him leveling up and now that he isn’t really leveling up anymore... idk. am i hoping for more plot shit like bleach (oh wow now u quincy?)... idk man. anywho, no regrets starting on this series and marathon-ing it to death.

cross fingers the plot picks up and doesnt get too complicated for its own good.

10. The Reason Why Raeliana Ended Up at the Duke's Mansion

https://mangadex.org/title/31606/the-reason-why-raeliana-ended-up-at-the-duke-s-mansion

okay, tbh, by the time i reached 10, i still have like 15 other series i was considering LMAO. i even considered lengthening this top 10 to top 15. but that would just be more of me and my nonsense. so... why did i choose this?

COS I LOVE THE 2 MCs!!! they’re adorable. the plot is again, kinda far-fetched at times (i literally laugh my head off at some parts) but it’s isekai-reincarnation okay! anything is possible in whatever magical crap country you end up in! lol. and i like how straightforward it is... in the sense there’s no 2nd lead. like okay i mean they are there but we all know they have no chance. oops. sorry!

and cos i can’t give up on the other titles i have, imma just list them down, without pictures... cos im tired. HA.

11. Doctor Elise

https://mangadex.org/title/29474/doctor-elise

Kudos to the huge improvement in art style lmao. The good... lovable MCs, engaging plot. The bad... sometimes lengthy, incredulous medical moments (i work in the medical field so i... idk. sometimes this borders on iryu LMAO and i need to remind myself this is romance) otherwise, this is a highly highly entertaining read.

12. Seduce the Villain's Father

https://mangadex.org/title/46775/seduce-the-villain-s-father

This is another of my ‘father-love’ whims. MC is adorable and ML is handsome. enough said.

13. The Villainess Lives Twice

https://mangadex.org/title/49644/the-villainess-lives-twice

This is like a lesser version of Ebony and Bring the Love combined HAHAHA. The plot and premise is great and it’s awesome to marathon! I don’t find myself loving the MC as much as I should but the ML is a darling! I just find her a little toooooooo gloomy. Like come on girl, be more spunky!

14. The Stereotypical Life of a Reincarnated Lady

https://mangadex.org/title/46790/the-stereotypical-life-of-a-reincarnated-lady

I dont know why I like this so much HAHAHAHA. It hardly has a plot. I just find the MC and ML amusing i guess lol.

15. I'm Stanning the Prince

https://mangadex.org/title/45586/i-m-stanning-the-prince

Sometimes I wonder if I should be ranking this higher but I kinda feel this manhwa is trying to achieve too much with an underpowered MC. I love her... but I just don’t like how she’s just a pawn of everyone else and I dont know how she can change this situation of hers. It’s cute though. the MC and ML. and the ML reminds me so much of american/jap Mackenyu.

16. The Villainess Reverses the Hourglass

I HAD TO. the art is so pretty! but girl, dont use the hour glass so much! you look a little too old! i would appreciate it if MC stops basing too much of her moves on the “past” tho like idk you are gonna sound unoriginal soooooon like develop your own thoughts soon okay? <3

17. Inso's Law

ANOTHER ONE. omg. im a lil on the fence regarding this but i like MC too much. and her harem LOL. i dont see where the plot is going either but i just hope for a happy end... ):

18. Why Are You Doing This, Duke?

HAHAHA. this is sooooo sooooooo cute, i would have ranked it top 15 if it wasnt licensed by tapas tho cos they are a joke. WHY NOT TAPPY GDI.

19. Miss Not-So Sidekick

Uh-oh. Is this a top-20 list now? anyway, the MC for this series is GOLD. im not liking where it’s currently heading tho thus the lower ranking.

20. IRIS - Lady with a Smartphone

omg IVE NEGLECTED THIS FOR TOO LONG. lemme go buy more chapters hahahaha. it’s a tad too lengthy... otherwise i like the MC and yummy ML!

still not enough?

Special Mentions - Okay, these will be unranked cos I don’t think these are that good but probably still worth a read.

I've Become the Villainous Empress of a Novel - this is new, im looking forward to how it progresses wheeeee.

Lady to Queen - It’s a ruthless manhwa. There was a point i started reading all sorts of sadistic content (i was running out of content i swear) and this was one of the better ones. I appreciate the MC very much. the plot now is a little weird and im a bit wary of the MC’s sister... hopefully the ML can be more useful. he’s pitiful though. but dude come on, dont rely on the wrong gal.

Goodbye, In-law - I’m not sure if i like the current progress buuuuuuut MC and ML are cute so who cares.

The Duchess' 50 Tea Recipes - plot is still engaging. MC and ML are cute. i dont know where the plot is heading towards though.

A Falling Cohabitation - this is interesting and fun but a lil lengthy.

Light and Shadow - the sequel is out!!! i highly enjoyed this entire series!!! i would have probably ranked it a lil higher if i did this post earlier but too many series have overtaken this in my heart lol.

This Girl Is a Little Wild - is the hiatus ending yet? i would add it back to top 20 if it came back LOL. it’s highly entertaining tho. ML is adorable.

The Duchess With an Empty Soul - pretty nice. MC and ML are a little boring. i think it can end soon. LMAO.

A Capable Maid - it’s amusing how she gets her powers for all sorts of situations lol. the prince is creepy tbh. and im secretly rooting for the other king hehe.

Beware of the Brothers! - it’s cute and heart-wrenching at the same time! not too sure im digging the latest plot development but okay... i’ll take it. they’re all cuties.

Living as the Tyrant's Older Sister - hehehe. it’s cute. duke is kinda silly but the latest chapter made me squeal!!!

The Evil Lady's Hero - idk where the plot is going but MC and ML are adorable!!!

The Dragon Next Door - HAHAHA. it’s hilarious.

The Youngest Princess - she’s growing uppppp noooooooooooo

Virtues of the Villainess - ginger is hilarious. i dont see where the plot is going tho... and cant say i like the ML yet. i dont even get to see him much, hello?!

The Justice of Villainous Woman - pretty wholesome... i like the MC! (the ML is fine. no one else to contend with so...) can u end already?! lol.

Amina of the Lamp - hey, what happened to this? it’s pretty inconsistent but i do like the MC and ML... and the art...

The Villain's Savior - this is some sadistic shit. i reserve it for when i feel sadistic. i pretty much wanna see MC happy but idk if she’s making the right choices. :/

I Don't Want to Be Empress! - HAHAHAHA uhm it’s getting interesting. i just want ML to step up more...

La dolce vita di Adelaide - I FINISHED THIS! and it’s wholesome, feel-good and cute. some parts felt a lil extra but ah whatever.

The Black Haired Princess - plot. move. faster!!! otherwise the MC and ML are pretty cute.

The Abandoned Empress - im a lil on the fence but i know how popular this series is. it started out HORRIBLE. i hated the ML so much. and then i found the green hair boy creepy. like MC, you need better taste in boys. it’s certainly getting more interesting now though. so please, continue to make my money’s worth!!!

Lucia - i. am. not. guilty. of. anything. *smut warning* anyway go read the novel. it’s better. hehehe.

What's Wrong with Secretary Kim - i do not need to elaborate any further.

Past loves

I created this section just to remind myself, that what i could like one day, i could hate the next LOL.

The Monster Duchess and Contract Princess - I know this is wildly popular. but i lost interest in it once she grew up. i dont think she’s particularly lovable. soz.

Survive as the Hero's Wife - another popular choice. I find the plot kinda boring now. MC and ML are cute though.

Sincerely: I Became a Duke's Maid - another popular one. again, boring plot. like cant it end yet? oh you mean we need to wait for the real female lead to show up? dont need luh.

I Am a Child of This House - wow. the plot is shit now. and i do not support the MC and her guard. soz. she’s OVERPOWERED tbh.

This Is an Obvious Fraudulent Marriage - idk what happened but my enthusiasm for this died.

Charlotte and Her 5 Disciples - i don’t get it. i dont get their obsession for her.

#manhwa #fav manhwa #ebony #bring the love #a stepmother's marchen #lady baby #death is the only ending for the villainess #beware of the villainess #who made me a princess #the flower that was bloomed by a cloud #solo leveling #the reason why raeliana ended up at the duke's mansion

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ultimatemusicians · 2 years

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A LOOK INTO THE ULTIMATE MUSICIAN'S INSPIRATIONS AND GENRE EXPLORATION ( art credits : 1 & 2 )

in the various media she has appeared in , from danganronpa’s anime , games , and mangas , ibuki’s approach to music has always been a staple function of her character. as is established in game , ibuki was once a part of her school’s light music club. ❛ light music ❜ is described as something akin to western pop music. at some point in time , ibuki realizes that her musical interests do not align with this creative direction , resulting in her breaking away.

in my rules , i note that i write ibuki under the specific title of ultimate musician. i choose ❛ ultimate musician ❜ over ❛ super high school level light music club member ❜ as : 1. i think it’s quite apparent that light music was never where ibuki’s heart was. 2. ibuki mioda is a musician in the most purest form. not a member of a band or club , but an artist in her own right. that is not to say the members of her previous club were not artists ———— but , her talent lies in her virtuosic ability of creating music. that is , without the constraints of a genre , instrument , or confinement of a group. ( though forming a band seems to be a very important dream to her ) 3. ibuki wrote all her bands music and it was so good that it instantly became a hit single and sold millions ———— komeada explains this to hajime during goodbye despair’s prologue. this coupled with the other aforementioned points lead me to believe that hope’s peak scouted her under the title of ❛ super high school level musician ❜ or more simply put , ❛ ultimate musician. ❜

her music style debuts in chapter three of goodbye despair when she hosts a concert event for fuyuhiko’s return. to everyone’s surprise , it is rather unique. based off the song , titled ❛ from me to you ❜ it seems to me that ibuki’s musical stylings fall inline with the overarching genre that is ❛ downer rock ❜ aka. heavy metal ———— i know , truly groundbreaking stuff. which i get is supposed to be shocking , though , i think that it is an interesting choice and thing to explore.

known to render is listeners unconscious , and possibly even scarring a one innocent kazuichi souda for life , it suffices to say that ibuki’s music is not well suited for the light - hearted , which is fair tbh.

❛ from me to you ❜ is a song that features a wide arrangement of vocals. consisting of screaming , death growls , clean and semi - distorted vocals , all laid over each other. with it’s alternating tempo , melodic vocals , and shredding guitar placements , it’s not that hard to find elements that fall in line with the attributes seen in what i perceive to be a more accurate depiction of ibuki’s main genres ( in the context of my portrayal ) ———— DOOM METAL , POST METAL , INDUSTRIAL ROCK , NOISE ROCK , PUNK ROCK. instruments that are staples in ibuki’s discography would be : drums , organs , bass , piano , electric guitars , synthesizers.

HEAVY METAL + ITS SUBGENRES : on the subject of doom metal , the neo world program reverts the members of class 77-b to be pre - ultimate despair , but even then , ibuki was still working on her craft. hardly ever does a debut song sound anything like later projects. with this in mind , ❛ from me to you ❜ is an iteration to what would become the more ❝ refined ❞ sound of ibuki’s musical catalog.

as the name would suggest , doom metal was birthed from the heavy metal genre. characterized by slower tempos , guitars , hard drums , low - pitched vocals that utilize distortion + growls , and a patented darker mood. doom metal’s roots are often traced back to the 1970 self-titled track of birmingham's very own —— BLACK SABBATH. ( yes , that is , ❛ black sabbath ❜ by black sabbath on the album titled . . . black sabbath ) with direct calls to satanism , the occult , mysticism and a seemingly impenetrable darkness , the early works of the band led black sabbath to often be touted as the very progenitors of all things metal ; and by extension , doom metal. tony iommi specifically is said to be the father of heavy metal , with ozzy being it’s godfather. applicable subgenres : gothic-doom metal , doom/death metal , thrash metal , drone metal , black metal , power metal , sludge metal , glam metal , doomgaze.

i don’t think people passing out upon hearing ibuki’s music is just some wacky accident. in dangan island , ibuki reveals despair is something she is well acquainted with. doom metal is known for its atmospheric qualities , drawing upon the very hopelessness that is associated with an all-encompassing sense of , well , doom. some might even say . . . despair.

ibuki’s anti - establishment beliefs drew her to punk rock and by extension trash metal leading her to experiment with faster paced songs as opposed doom’s longer run times. themes often found in her music are fantastical and i feel like she places great importance on upholding appropriate ambiance. one of the best ways i can think of referencing this is in danganronpa’s anime , where during her performance ibuki has a guitar that literally shoots out flames and ❝ plays ❞ it with her teeth like the iconic jimi hendrix. her shows are just as much of an integral part of her artistry because they support the music & elevates is communication. which is why she makes such a spectacle out of live events , drawing inspiration from bands like alice cooper , kiss , and twisted sister.

this blog’s despair verse ( which you can read more about here ) references some of ibuki’s concerts but i didn’t touch on what sort of vibe / aesthetic they have. —— since the despair era still preserves a certain level of original character personas , i’d say ibuki’s live shows during that part of her timeline wouldn’t differ all that much from later concerts post danganronpa 3. it draws quite heavily from the horror and shock factor seen from alice cooper. from fake guillotine executions to stabbing fake baby dolls , virtually everything was fair game. another way of rebelling against whatever was acceptable and rejecting the idea of a death by society , of creativity , originality , and the self. ibuki even refers to herself in the third person in the same way vincent furnier , aka. alice cooper , does.

NOTABLE INSTRUMENTALISTS :

pretty self - explanatory , granted the mun for one , does not know shit about any sort of instrumental techniques. jimi hendrix , eddie van halen , prince , eric clapton , jimmy page , kieth richards , steve stevens , jeff beck , danny carey.

PROTO SONICS —— MUSICAL INSPIRATIONS FOR REVIEW :

PART I : focuses on a collection of artists and songs that inspired ibuki. BLACK SABBATH is of course on here , by right. METALLICA : with the faster tempos of trash metal being a staple of the band's discography , plus just being one of the biggest names in rock music , it’s hard to envision what would shape ibuki’s sound without listing this band. IRON MAIDEN , DIO , DEEP PURPLE , EXTREME , AND MORE APPEAR ON HERE.

PART II : serves as the more holistic overview of what ibuki’s music would sound like. it is the culmination of all artists featured in PART I. there is a bit of overlap with some artists in the first playlist since i can’t magically make ibuki make the songs herself. EMMA RUTH MUNDLE : specifically the ❛ may our chambers be full ❜ album for it’s sludge vibes. i can see ibuki moving away from this type of sub genre , focusing more on the other subgenres mentioned. naturally , there is much overlap to be mindful of , and it’s not like she’s going out of her way to stick within one specific aesthetic. KING WOMAN : layered vocals and thick in - your - face drums are paired with the melodically majestic voice that is kristina esfandiari. ARTISTS FEATURED HERE ARE : CHELSEA WOLFE , THE BODY , TYPE O NEGATIVE , SUBROSA AND MORE.

#holy FUCK did this take FOREVER #literally hundreds of songs later #i feel like john milton would bust SEVERAL nuts if he had the chance 2 listen to iron maiden or like stairway to heaven #alexander the great by iron maiden is just so funny #bc like they list off all these baddass ws and then f in the chat for my guy he peaced out from a fever #WOAHWOW THATS SO METAL BROOOOOOOOO #reminds me of tom hardy’s character from the movie lawless #also making this unlocked the core memory that is ‘ the unforgiven ’ by metallica #like 🤯🤯🤯🤯🤯🤯🤯 how did i forget that song #meta mondays b like

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josefavomjaaga · 3 years

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Helfert, Joachim Murat, Chapter 6, Part 4

Sorry as usual for the long delay. I really had to finish some other work. When we left off, Murat was still in Corsica, planning his landing on Neapolitan soil.

In Ajaccio, Murat's imminent arrival was soon known, and on the 23rd, when he made his entrance, a reception awaited him that sealed his doom. For now he was drunk from joy and a feeling of victory. His pride, his ambition, together with his adventurous, extravagant imagination, won over him to such an extent that he remained completely deaf to calm ideas, to rational arguments. "This is how my Neapolitans received me," he exclaimed to Franceschetti in the evening, "whenever I returned from the field to their midst!" And after a while: "Yes, so be it! I will live or die among my people! I want to go to Naples, let us not miss a moment to be there!" To make the measure of his delusion complete, a letter from Count Borgia of Rome, sent to him via Porto-Longone, came into his hands in these days, describing the mood in Naples as immensely favourable to him, and King Ferdinand as hated everywhere. Lambruschini, who could teach him otherwise, was, as we know, not even in Naples at that time, let alone that any news had arrived from him, which, incidentally, in the mood in which Murat now found himself, would hardly have changed his decision.

The next few days were spent preparing for departure. As a side piece to the Bogognano Manifesto, he now had a "royal decree" drawn up which could almost be called Napoleonic, so much thought was given in it to the most insignificant details. The constitution is to come into force on 1 January 1816, and the convocation of the chambers is to be initiated without delay" (Art. 1). "All civil servants, officers and dignitaries discharged since May 21 shall immediately resume their official positions; the former division of the army shall be restored; all grades, all allocations, all promotions, honours and rewards made during the last campaign shall remain in force (Art. 2, 8, 10). On the other hand, all those appointed since that day shall immediately leave their posts, otherwise they will be declared rebels, inciters of civil war, traitors to the fatherland, put outside the law and treated as such (Art. 3, 4). Neither the royal palaces, summer residences and estates were forgotten, for which the former court servants would once again have to take care, nor the king's horses, equipages and carriages, for which the chief stable master and his staff were made responsible (Art. 13, 14). "All our adjutants and orderly officers must appear without delay at Our Headquarters and rally around Our person" (Art. 18). . . The decree, consisting of 20 articles, was calculated to 36. It provided for the composition of the ministry, for the filling of the leading military posts in the capital and in the provinces. But because it was pointed out to the "King" that a premature appointment of these personalities, most of whom were in Naples, would only expose them to Ferdinand's revenge, Murat agreed to the relevant articles being suppressed. The decree and the manifesto were then sent to the printers at Ajaccio, in order to have a sufficient number of copies of both at hand at the first moment. The place and date of execution were left open; both headings were to be filled in as soon as they were in place.

On 28 September, everything was ready for departure. The desired vehicles were prepared and equipped as needed: there were five trabacoli and one felucca, larger barques (gondoloni), as the Barbaresks used them for their raids; the crew to be embarked, officers, soldiers and seamen, numbered about 250. Immediately before embarkation, the "King" promoted all officers by one rank each and awarded the Order of Both Sicilies to those who were not yet decorated with it. The relevant decrees were written in all royal chancery style, so that the clerks available in Ajaccio had to be diligent enough in their work.

Joachim entrusted the supreme command of the flotilla to the frigate Captain Barbara, a Maltese by birth, who had been given the baronate by Murat.

On 25 September, Colonel Maceroni had arrived in the port of Bastia, from where, after learning that Murat had departed from Vescovato, he had telegraphed his imminent arrival in Ajaccio. At noon on the 28th, he arrived in the capital of Corsica and went to Joachim without delay to inform him of the conditions of the Great Powers, to hand over the travel documents for the journey to Trieste and to enclose his most urgent ideas not to reject the offer made to him out of hand. At the same time, the British Captain Bastard, who had long ago arrived in the port of Bastia with the frigate Mäander and two sloops of cannon, offered to take the ex-king across the sea. But it was impossible to have a sensible word with him. If the Corsicans, for whom he had never done anything, had welcomed him so enthusiastically, would this be less the case in Naples, which he had showered with benefits as king? And should he abandon the hundreds who had now joined him to the revenge of the French government? And if his enterprise failed, what could happen to him? That his person should be secured and that he should be kept in some remote place like his brother-in-law! - When his faithful congratulated him on the unexpected salvation opened up to him by the offer of Emperor Franz, he exclaimed: "Of course, I will go to Austria, so that one morning I may be found strangled in the bosom of my family! I would rather go to Constantinople! But no, even there I would be killed!" Nevertheless, he wrote a letter to Maceroni in which he did not necessarily reject the proposal of the allied powers, but reserving the right to consider it as soon as he would be with his family. He explained that he had to decline Bastard's invitation because it had been made in an improper manner: "une sommation trop peu mesurée"; no doubt the captain had addressed him simply as "Marshal Murat".

Carabelli also arrived in Ajaccio that day and had a conversation with the ex-king, without achieving anything other than encouraging the ill-fated man in his intentions.

Helfert comments on the arrival of the Neapolitan Carabelli in a footnote with reference to two other reports:

Franceschetti p. 39-41 and Colletta-Gallois p. 30 f. present the matter as if the Neapolitan government had sent Ignazio Carabelli, who is supposed to have joined his brother Simone after his arrival in Corsica, in order to play the agent provocateur with Murat and lure him to Naples. This is not only contradicted by Ricciardi's explicit testimony, but also by the entire situation and mood at the Court of Naples, where Murat's ventures were feared, not desired. It is downright nonsensical when Colletta-Gallois add the remark: "Ainsi on était informé à Naples de tout ce qui se passait en Corse". Was there an undersea telegraph at that time? Lambruschini, who certainly hurried to bring his well-meant warnings to the ex-king, needed seven days from Rome to Bastia, 6 to 12 October, and Ignaz Carabelli was certainly not sent by Minister Medici before mid-September, probably only after the 18th, when Jablonovski had his conversation with the king. Now Carabelli, who no doubt had a government ship at his disposal, may have managed his passage to Bastia more quickly than Lambruschini; but from Bastia he still had the arduous land route or the circumnavigation of Cape Bianco in the north or Cape Bonifazio in the south - Maceroni had taken a full three days from Bastia to Ajaccio! - so that he certainly did not meet Murat before the 28th, which is also consistent with explicit witness statements. And then one should have been informed in Naples "de tout ce qui se passait en Corse"!

The text continues:

Before midnight Murat wrote a second long letter to Maceroni, in which there was no longer any question of yielding: "I will never accept the conditions which you have been instructed to impose on me; for me they are nakedly and simply tantamount to an abdication, for which I am offered the sole advantage of being allowed to live in perpetual slavery and under the arbitrary control of a despotic government. I have not abdicated, I have the right to reclaim my crown if God gives me the strength and the means to do so! I place freedom above all else; captivity is death to me. What treatment have I to expect from these powers who made me spend two months under the daggers of the assassins of Marseilles! I have laid down my life a thousand times in battle for the fatherland: shall I not be allowed to lay it down once for my own interest?"

Immediately afterwards, he went to the ships, the anchors were lifted and they set out into the open sea. The citadel of Ajaccio, whose crew had not dared to take any action against the Muratists, sent a few live rounds after the flotilla, which, however, did no damage because the flotilla was already out of range. The sky was clear, the sea calm. But on the 29th a storm came up and the small squadron had to drop anchor on the 30th at the deserted island of Tavolara, on the north-east coast of Sardinia. On 1 October, they set sail again and on the 4th were so close to the coast of Naples that they could see Vesuvius. The ex-king's mad plan of taking Ferdinand by surprise in Portici now flashed through his mind again, but he let himself be talked out of it and they steered south towards Calabria. On the 6th Paola was in sight. Efforts were made to anchor: a storm arose and four of the ships were driven far out to sea, only the felucca of Battalion Commander Courrand remained near the vessel carrying the "King". On the 7th they waited for the others to return; when they did not show themselves, a landing was nevertheless to be attempted. A muleteer and one of Joachim's old guard came along the way and Major Ottaviani was disembarked to question them. Their answers did not inspire confidence; they also attracted the attention of the beach guard, from whom two blind shots were fired, demanding obedience. Ottaviani was again put ashore, then two sailors and Baron Barbara, who identified themselves to the local authorities as "Frenchmen on a journey to Tunis"; for Barbara had provided himself with passports to that effect in Corsica. Nevertheless, the officials became suspicious and detained Ottaviani and one of the sailors; only the other sailor and Barbara were released. Murat did not want to abandon his men, but in the end he followed prudent considerations and set sail for Amantea and then even further south.

Courrand's behaviour now became so suspicious that Captain Pernice and Lieutenant Moltedo, who were on his ship, insisted on being transferred to Barbara's barque; indeed, Courrand disappeared with his vessel the following night and was never seen again. Murat had only one ship left, and now for the first time pusillanimity came over him. He had only a handful of men with him; he saw that his enterprise would be foolhardy. He ordered Galvani to throw the copies of the manifesto and the decree into the sea and decided to sail to Trieste in order to make use of the offer of the Emperor of Austria and of his passport, which he had prudently kept with him. But for this they needed money, food and above all a larger ship. They were near Pizzo and Murat wanted to disembark here in order to procure what they needed. Barbara objected to this plan, an exchange of words ensued, Murat became passionate, and all his good intentions were blown out of the water. The ideas of the more superior, and the entreaties of his faithful valet not to run to his ruin, did not succeed: he, the "king," commanded, and the others had to obey. "I have only done good to the Neapolitans," he cried, "they cannot have forgotten me, they will hasten to my aid!"

The barge struck the shore, the officers were eager to jump out of the ship, but Murat refused them: "It is for me to be the first to set foot on the soil of my kingdom." And with that he was ashore. He had enough deliberation left to order Captain Barbara to lead his ship into a sheltered bay close by to be ready for any eventuality. It was on the 8th of October, a Sunday, between 11 and 12 o'clock in the morning.

#joachim murat #colonel maceroni #naples #naples 1815 #helfert murat

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ohshitmomitsawritingblog · 4 years

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Aight my friend I'm here to give you your first post I got you For the Alphabet Soup: Obito, Madara, Deidara, Kakashi, Zetsu, Kisame, Sasori. You ofc do not need to do all, just given some variety; pick and choose, also choose whatever letters you want, my brain can't comprehend so many letters rn Have fun ily

Puca bless u this first post is gonna be a Fat One Folks

Deidara

T hrill - Do they need to try out new things to spice up your relationship? Or do they prefer a certain routine?

Deidara wants to do new stuff all the time, full stop. He’s perpetually uncomfortable with a distinct routine, which he’d consider being stagnant. With his S/O, he’d be down to do anything once - maybe the one bit of consistency in their relationship is his need to be around his partner on a pretty regular basis.

W ild Card - A random Fluff Headcanon.

He thinks complaining to his partner is a good excuse to tell them about his day.

U nderstanding - How good do they know their partner? Are they empathetic?

Surprisingly pretty understanding! I’ve always seen Deidara as being incredibly independent and assumes others feel similarly, so it’s not like he’ll ever be overly dotting, but he will be considerate. In pain? Go lay down. Need help with something? He’ll lend a hand. That being said, he can be a little egotistical so while he anticipates his partners physical needs often, he can be apt to not check in with them emotionally and sometimes doesn’t consider their views on things. Youth, ya know?

N icknames - What do they call their s/o?

‘Hey, you!’

Lmao, he’s a little rude and not the type for being publically sweet to his S/O - in fact I think he’d see it as a kind of weakness or source of embarrassment - so he’d probably come off as a little gruff when addressing them, as if subconsciously compensating for how sweet he really is on them.

K iss - Are they a good kisser? What was the first kiss like?

Decent. He’s not overly passionate, but he gives surprisingly comforting kisses. But. There’s a learning curve. His first kiss with his S/O involved a lot of knocking of noses and clacking teeth. He takes their face by the chin when he kisses.

Kakashi

S upport - Are they helping their s/o achieve their goals? Do they believe in them?

Kakashi probably likes his S/O because they’re tenacious and on the ball in terms of their own goals - of course he 100% supports them doing their own thing, and he deeply believes that they’ll achieve whatever they set their mind to. So much so that it doesn’t cross his mind that they could fail.

N icknames - What do they call their s/o?

Their name. Kakashi nearly passed out reading very innocent phrases from Icha Icha, I think he’d actually choke on his own tongue if he even attempted calling his S/O something like ‘dear’ for like. Years. That’s reserved for the bedroom. 😌

A ctivities - What do they like to do with their s/o? How do they spend their free time with them?

Reading! Exploring the village! I get the impression that Kakashi and his S/O are partial to late night dinner and drinks with friends - especially on cool, smokey nights. Going to obscure bookshops is a big second, and I can see Kakashi enjoying quiet, laid back art scenes - that giant ass painting in his apartment speaks of a taste for impressionist scenery. I feel like Kakashi likes washing the dishes or cooking dinner with his S/O best! They talk about their days, or they just enjoy the silence of working together.

C omfort - How would they help their s/o when they feel down/have a panic attack etc.?

Sitting next to them. Existing in the same space. If his partner is the type to clearly need physical affection during a crisis, I can see Kakashi being the type to sit next to them and press his shoulder to their’s, or to rub small circles on their back. If they’re crying or are generally on the shorter side, he’ll press his mouth and nose into their hair. It’s his way of telling them ‘I see you, and I’m not turning your pain away’.

Furthermore, Kakashi struggles with himself and what his needs as a person are, and isn’t sure how to relate to his partner beyond being a solider or comrade, and desperately doesn’t want to invalidate his S/O’s feelings, as his own have in the past. He also has no idea what to say, other than going off his his own desperate attempts to make sense of his grief, anxiety, and sadness, but often feels like that doesn’t cut it. The pain may, at the root, be similar, but his S/O’s suffering his their own, so he tries not to say anything at all. I think he especially deeply reflects his S/Os feelings when they’re feeling hurt or sad and it shows in those small physical cues.

To quote Cole from Dragon Age: his hurt touches their’s.

K iss - Are they a good kisser? What was the first kiss like?

Yes. Yes. Yes. Kakashi kisses are electrifying - he’s so soft and sweet but so intense. Lots of pecks are his style versus one long kiss. When he first kisses his S/O, it’s almost a little sad, though they can’t place why at the time. He cups his S/O’s face in his hands when he kisses them.

Kisame

A ctivities - What do they like to do with their s/o? How do they spend their free time with them?

Hiking! Swimming! I feel like Kisame would be the type to like to distance himself from civilization during his scant bits and pieces of free time, and would genuinely enjoy the experience nature would offer, any time of year. When he feels restless, I could see him wondering away from his campsite and just exploring the area. Alternatively, I can see him enjoying the stillness of it all. I can see him enjoying a deserted stretch of beach with his S/O, not a soul around but them, watching the spring grey clouds or the washed out blue waves and just taking it all in. Very zen.

H onesty - Do they have secrets they hide from their s/o? Or do they share everything?

Kisame makes it a policy to have zero secrets from his S/O. He doesn’t, by nature, have a taste for lying, but his work and duty have dictated that he lie or, at best, stretch the truth more times than he can count over the years, and now he despises. If it can be destroyed by the truth, it deserves to be destroyed. That being said, Kisame is human, and I think there are things he’s done that he elects not to volunteer unless directly asked.

U nderstanding - How good do they know their partner? Are they empathetic?

Kisame understands his partner and their needs well - I don’t think he rushes into relationships (in fact I think he shies away from anything more than casual interactions more often than not) and I don’t think he wouldn’t take his time truly understanding how his partner ticks. He doesn’t pry, but Kisame is a good spy and a smart man and he observes what his S/O says and does (and reads between those lines) on a consistent basis.

N icknames - What do they call their s/o?

If Kisame’s partner is female, I feel like he definitely calls her by ‘woman’ affectionately. He’s a little old fashioned like that and I can picture him growing up around adults who referred to their own partners like that. Kisame is one of those men who expresses his affection for his partner through the way he speaks (low pitched voice, soft and just loud enough for you to hear, for instance) versus what he says, so nicknames aren’t really his thing.

K iss - Are they a good kisser? What was the first kiss like?

He kisses tenderly, and is kind of stiff - but the more he does it, the more he falls in step with his partner and their likes and dislikes. Not good or bad. The first kiss with his S/O was a simple press of their lips, nothing super passionate, and a little awkward.

Sasori

T hrill - Do they need to try out new things to spice out your relationship? Or do they prefer a certain routine?

Absolutely does not like his routine messed with, and, presumably, neither would his partner. Sasori seems like one of those people who are absolutely adverse to any kind of change and isn’t too thrilled with the idea of ‘spicing things up’. He’s there, he’s present, that’s enough right?

W ild Card - A random Fluff Headcanon.

One of the simplest, most profound expressions of love for Sasori is acts of service - particularly putting a blanket over his partner if they fall asleep without any covers. He’ll never admit it, though.

I nspiration - Did their s/o change them somehow, or the other way around? Like trying out new things or helped them overcome personal problems?

That’s a big ol’ no from me dawg. Sasori is just set in his ways and kind of a prick when it comes to anything messing with his plans and how he views the world. If his S/O did slowly influence or help him overcome anything though, I think it would be his consistent rejection of intimate relationships. Like, Sasori has spies, Sasori has informants, Sasori has Akatsuki teammates and associates, but hardly any of them see his ‘true form’ and even less actually like him. He’s a hard man - whose hard on others - who very ruthlessly destroyed his relationship with his sole living relative AND single handedly threw his birthplace into chaos by murdering the third Kazekage.

For him to even toy with the idea of having an S/O, he’d have to really, REALLY like them. He’d have to put aside a lot of subconscious fears and complexes and decide, at the vert least, that he wants them. That’s a huge change, for him, and not one he can fully commit to 24/7. Basically, his S/O changes him before they even get together. Good luck trying to squeeze anything else out of him.

N icknames - What do they call their s/o?

‘Woman’/‘brat’/‘boy’. Sasori is kind of a dick and he definitely means it as half a put down, half letting anyone in the vacinity know who his S/O belongs to.

K iss - Are they a good kisser? What was the first kiss like?

Noooope. Sasori doesn’t do affection well, isn’t super inclined to kisses even when he has a human body, and as a puppet, he’s kind of stiff. The first kiss with his S/O is a quick press of the lips to the head or temples - not much of a kiss at all, but for Sasori, it means a lot.

Madara

Z eal - Are they willing to go to great lengths for the relationship? If so, what kind of?

Have you watched Naruto?

Yes. Absolutely. Madara has lost so much, and when he connects with someone enough to presumably fall in love with them and pursue a relationship, it’s for the long haul. Madara’s love means Madara’s protection means Madara’s almost obsessive worrying he hides under twenty layers of coo cool, smooth boyfriend material. Worst case scenario, Madara will kill a man for his S/O, and won’t feel bad about it. Worser case scenario, he’d endeavor to create a false dream world where there’s no strife, war, or death, and no choice. ☺️

A ctivities - What do they like to do with their s/o? How do they spend their free time with them?

Physical activities! Hunting, rock climbing, falconry, hell, even cleaning - i can see Madara’s idea of a relaxing time being cleaning out a shed or re-organizing his office! Presumably his S/O would either be similarly inclined or would indulge him. It does need done after all! There’s something about these all consuming, mentally stimulating activities that i can see Madara truly enjoying. He’d come out feeling refreshed. When feeling less adventurous, or maybe even, gasp, lazy, I can see Madara and his S/O playing board games, practicing calligraphy together, or painting.

D reams - How do they picture their future with their s/o?

In a long term relationship? Madara definitely sees a future where his S/O is Lady or Lord of the house, deeply involved with clan matters, and maybe, if they’re wanting and capable, with some kids running around. Keep in mind I imagine large families were common amongst the Uchiha pre-Konoha merge, so his idea of ‘some’ probably means five at the least. He has no real expectations of how his S/O would orchestrate themselves - beyond well, that is. He likes them for them, and doesn’t deign to even toy with the idea of putting them in a box, even in his head. The bottom line is: they’re together, and they’re strong together, and the world they build together is sturdier than the one they came into.

D reams - How do they picture their future with their s/o?

A repeat question, but on the more emotional side: I think Madara, for the longest time, genuinely wishes for a future in which he and his S/O live quietly, and well. It’s in that bittersweet way though, the way someone wishes when they don’t necessarily think it’ll ever come true.

Y earning - How will they cope when they’re missing their partner?

Not well. Madara is naturally inclined to pinning and has some intense separation anxiety - which no one would ever know because he’d rather die than show just how much he misses his S/O. Madara, paraphrasing John Mulany, stuffs all his feelings deep deep deep down, and he plans to die like that. He just doesn’t cope, and the longer they’re apart the grumpier he gets. He pouts when alone, almost - but not quite - spaces out during meals, and busies himself with the finer details of cleaning equipment. Anything to shake the creeping dread that digs up his spine. Around his S/O’s return, he presses kisses to the nap of his S/O’s neck, just at their hairline, when they’re finally alone; if still around people, Madara has a habit of watching their neck and mouth, but says nothing that gives himself away.

Obito

L ove Confession - How would they confess to their s/o?

Going under the assumption that he has an S/O during the canon timeline? It’s not the sweetest confession in the world. He’s very to the point: his S/O is his. I can’t ever see him saying the world love, even if his body language expresses it loud and clear. He’ll run his fingers over their cheeks, press his forehead to their’s, and his stare? His stare could peel wallpaper, kill, and undress his S/O all at the same time. He’s just real intense and tongue tied at the same time.

O n Cloud Nine - What are they like when they are in love? Is it obvious for others? How do they express their feelings?

As a kid? Obito is painfully obvious. As an adult with all the maladjusted neurosis boiling under that hood of his? It’s not at all obvious. Obito is a busy man, what with the stirring of many pots and scheming and LARPing as Tobi, local terrorist cell’s local idiot. If he does show his love for his S/O, it’s like a leaking faucet; he doesn’t mean to touch their hand with the back of his, but he does it anyway. He doesn’t mean to look at them as they retreat from a meeting, but he does. It’s the little, tender things that hemorrhage from his cold half dead little heart.

Bonus: if this is a post ‘canon’ au where Obito lives and is the weird, kind of unstable, under house arrest for international dream crimes uncle of the Boruto gen, I can see him being much more open. Super clingy - prone to mood swings where he can become his old, cold self, but that’s just the package deal - a little pouty, and incredibly sweet on his S/O. He’s all hugs when they gets home, his hand pressed firmly to their lower back as they walk the village (probably breaking all kinds of rules in the process) and way more inclined to agree with you or go along with your plans. Everyone knows he’s his S/O’s man because he’s proud and loud about it.

V alue - How important is the relationship to them? What is it’s worth in comparison to other things in their life?

Their relationship is deeply important to Obito. I would say in terms of importance, only the moon’s eye plan trumps his S/O - how he reconciles with these two deeply potentially conflicting facts? He doesn’t. He just assumes they’re on board. Other than that, he will put his partner above everything and everyone else, with an emphasis on their physical safety.

E qual - Are they the dominant one in the relationship, or rather passive?

Dominate, even in a post-canon-I’m-alive! AU. Obito has an unhealthy relationship with control, and while he’s not one to want to dominate his S/O’s will, he would almost expect his S/O to follow his lead.

R omance - How romantic are they? What would they do to make their s/o happy? Cliché or rather creative?

Very very romantic and cliche, although Obito reigns in his more dreamy impulses (flowers or picnics, stuff he daydreamed about as a kid) well. His direct displays of affection or ‘dates’ are few and far in between, and very lowkey. He’ll bring his S/O something he’ll know they like - a string of dried flowers grown only in a particular a temple from the land of Fire, a polished, perfectly oval turquoise rock from the land of Wind. He’ll mail them to his S/O or, more likely, leave these little gifts in places he knows they’ll find them. His idea of a good time, of a happy time with his S/O, is quiet nights where plans and identities are put aside, and they can rest or talk about nothing or go for a simple walk. His biggest daydream he still toys with as an adult is getting caught in the rain and kissing his S/O while they’re both soaked.

Zetsu

P DA - Are they upfront about their relationship? Do they brag with their s/o in front of others? Or are they rather shy to kiss etc. when others are watching?

Well Zetsu is an alien prince(?), and a plant, and generally kind of weird. That being said, I think he’s very upfront about his S/O and their relationship! There’s definitely a gap in time where he talks nonstop about his S/O and uses any chance to bring them up. Obito toys with the idea of offing them just to get him to shut up. In terms of kissing or physical affection in front of others though? He’s a nervous wreck/directly dismisses the idea.

L ove Confession - How would they confess to their s/o?

Honestly, I feel like his S/O would have to confess to him, rather than the other way around. They casually mention liking him, he scoffs, only for them to insist, and it ends with a very vaguely embarrassed plant ‘accepting’ their feelings.

A ctivities - What do they like to do with their s/o? How do they spend their free time with them?

What can you do with a plant man? Probably spying, or exploring various places - he isn’t particularly in awe of nature like Kisame, but he likes the quiet and having his S/O all to himself. I can see him liking cards, too.

N icknames - What do they call their s/o?

‘Babe’ comes to mind - he doesn’t quite get the whole ‘affectionate nickname’ thing humans do, but he likes the sound of babe in particular.

T hrill - Do they need to try out new things to spice out your relationship? Or do they prefer a certain routine?

Nope! Zetsu is just happy to have his S/O present, even if they’re presumably just another human who eventually will be swept away in his mother’s plans. He still loves them, and he’s willing to do whatever they’d like in the time they have together.

#obito uchiha #sasori #kakashi hatake #madara uchiha #kisame #zetsu #naruto imagines #obito x reader #sasori x reader #kakashi x oc #madara x reader #kisame x reader #deidara x reader #deidara #zetsu x reAder #fluff alphabet

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anncanta · 3 years

Text

Hierogamy: Dracula BBC and the myth about Kora-Persephone

Today I would like to talk about the mythological drama in the series Dracula and some of its aspects, without which, it seems to me, the perception of this text will remain incomplete, and the understanding will not be as deep as it deserves.

But first, perhaps, it is worth saying a few words about why it seems to me that it is so significant to consider the mythological drama in a work of fiction in general and in Dracula in particular. Isn't it enough just to look or read, perceiving the text as it is, and not going into the study of some complex deep layers? Sometimes it's enough. But more often – no, it isn't. The answer to the question of why so lies in the very nature of a story and the art of storytelling.

The mythological drama is never fully developed in the text at the formal level, although there is where it precisely can be seen. This seems to be a contradiction just at first glance: the drama (in its original ancient Greek meaning) is a kind of ‘deep development’ underlying all events and scenes. It is like a labyrinth, a skeleton, a matrix on which the rest is built and grows.

That is, why is it important to look ‘from here’? For the same reason that it was important for Jonathan Harker in the film to find a map: in order, firstly, to understand how the castle is arranged (and therefore Dracula himself), to relate himself to it in a certain way – and to get out of its boundaries, that is, to include the castle in a wider context, which will allow the character to find freedom.

Finding freedom, in this case, should be understood quite literally – as going beyond the limits of restrictions and, as Dracula and Jonathan each correctly note in their own way, – a look from above.

This view has many advantages, but the main thing is the ability to perceive what was seen in its integrity.

Because in a good story, ‘how’ is always ‘about what’, so if you don't understand ‘how’ or ‘for what’, or even ‘what it was’ in general, most likely you haven't read the text, and it remained for you something like a set of colored spots on the wall, beautiful or annoying, but – as researchers of the brain and psyche never tire of reminding, – in the absence of a ‘key’ such thing does not exist as the story itself.

It is not at all necessary, by the way, should be a mythological or psychological, archetypal, or fairy-tale ‘key’. Or all at once. At one stage or another in life, each viewer and reader needs their own set of the ‘keys’ or a specific one. First of all, it is the literal sense of the story at the plot level. But without a ‘key’ at all – there is no text. At least because the text itself, as a phenomenon consisting of – whether linguistic, pictorial, or auditory – signs, is a key – to our ability to imagine things that do not exist ‘in reality’, and to ideas, images, and meanings.

But back to the text.

In Dracula, the mythological drama is present at all levels, and there are no parts, ideas, or interactions between characters in any moment of the film where it would not be important in one way or another.

We will not consider all aspects in which the mythological context directly manifested itself, as it will take too much time. Let's see just one – the one that is the main motive of the film and somehow creates the main plot collision, and with it – the metaphor and essence of the story itself.

And this is the motive of hierogamy.

Hierogamy as a concept can be considered in two aspects. The first is mythological, in which it represents the name, description, and modeling in the ritual a sacred marriage (from the Greek ιερός γάμος, Latin hieros gamos) of the god and goddess, and the second is alchemical (archetypal), denoting the combination of male and female principles in the process of creating a philosopher's stone.

Hierogamy in one way or another includes a sexual context, in the sense that it puts at the center of the event and experiences ‘connection’ and ‘dissolution of boundaries’ to create a single one that will be greater than the sum of its parts.

In Dracula, both of these aspects are present and can be recognized from the very first minutes.

We will not go into details, just list a few examples.

The most obvious and conspicuous is Dracula's castle as the fruit of love between Petruvio and his wife (whose portraits hang side by side on one of the floors and, as we learn later, are the ‘entrance’ to the mystery of the castle and its structure, and at the same time – the ‘exit’ to the outside world), Jonathan as the bride of Dracula, thanks to the interaction with which the Count is able to leave his ‘prison without locks’, the connection of Mina and the remnants of Jonathan on the verge of space separated by the sacred bread, allowing Dracula to penetrate inside and give rise to a new interaction of the male and female, and so on.

But the fun begins to happen in the second episode.

Given as a prototype, a form and a plot configuration, the mythological drama of hierogamy has so far been satisfied with literal images of heroes and disclosure at the level of the plot. It was difficult to suspect something more in it than a direct (allegorical) depiction of mental and emotional processes. But in the second episode, a new layer appears in this story. Or rather, it stops hiding.

It's so simple, so obvious and so cheeky frank that when you watch it for the first time, you miss it in an attempt to follow the plot. And only by the end of the episode you do guess that you should follow something else.

Yes, we do not yet know – and we have nowhere to find out – that the action of the prologue of the second episode takes place on the same ship, which will become the stage for the internal and external drama, but the style and images, the very structure of the situation, gradually suggest what will be discussed here.

And it will be the drama of Kora-Persephone.

Let me briefly recall the content of the underlying ancient Greek myth about Kora, Hades, and Demeter.

The daughter of the goddess of fertility Demeter, Kora, attracted the attention of the ruler of the underworld, the god Hades, and he kidnapped her, taking her to him, to the lands of the dead. There Kora spent some time, communicating quite closely with Hades, after which she begged him to let her go to the ‘upper world’ for a while so that she could see her mother, whom she was terribly longing for. Hades fulfilled Kora's request, but on the condition that she would return, and gave the girl several pomegranate seeds for the journey. During her stay in the kingdom of Hades, Kora refused to eat anything, so by the time she received the gift she was very hungry, and therefore, soon after she found herself on earth, she ate the seeds. And since the pomegranate is the fruit of Hades and the symbol of marriage, this made her return to Hades a must. Meanwhile, in the ‘upper world’ fields and plants ceased to bear fruit, and eternal winter came, as Kora's mother, Demeter, mad with grief and longing for her daughter, turned away from people and nature. Zeus found a solution to the problem. He decreed that Persephone (that was the name of the goddess who had ceased to be a girl) should spend six months on Olympus, that is, with her mother, and six months – in the kingdom of Hades, now her husband.

Thus, the myth, on the one hand, describes in the language of an archaic worldview the logic of the changing seasons (Persephone on Olympus – Demeter rejoices, spring and summer come on earth, Persephone in the kingdom of Hades – Demeter suffers, autumn and winter come on earth), and from the other, represents the mystery cycle of successive transformations of a girl into a woman and the unification of male and female in sacred marriage.

Let's see how this mystery cycle unfolds in the film – on a formal and substantive level.

The ship on which Dracula sails to England is called Demeter. In the center of the plot of the episode are the abduction of a virgin (a nun is by definition a virgin, if not physically, then symbolically) and the interaction of the hero with her on a ‘lower’, deep level. Lower, in the sense – detached from the everyday, visible to everyone, taking place in the light of universal attention and perception.

The hero who kidnapped the virgin (by the way, we have no doubt that he kidnapped her, from the very beginning – just do not know how exactly it happened; and therefore our desire to follow them closely is so intense) does not completely belong to the world of the living, although he does not belong to the world of the dead either. He seems to live on the border, not being part of either of these two realities. So that no one has any doubts about who he represents, let us recall that Hades was not always associated with death among the Greeks, and was never considered the master of hell and a synonym for death and destruction. He created a kingdom for himself, which he called by his name, in order to live away from everyone. And only later did he become the ruler of the world of the dead.

Obviously, the description of Dracula's life in the castle refers to the reality of Hades in the underworld, largely parodying it. Because, although Hades is the king of shadows, he is still a king, and his kingdom is real. Whereas Dracula lives, in fact, in a dump filled with bad memories and rotting broken dolls, locked in the boxes.

But Hades also kidnapped Persephone, not on great terms.

Both stories, the mythological one, and the story told in the film, lead us to the fact that the hero (the masculinity, the organizing principle) for completeness and development lacks a partner, another view of the same world, a beloved-opposite.

Dracula finds her at the gates of the convent and, according to the logic of the mythological drama, drags her to him. There is an interesting moment: hardly, having captured Agatha, Dracula went with her immediately to the ship. Most likely, he first brought her to his home, that is, to the castle, and only after that, when the time came, he sent her to Demeter. So, their interaction began in the castle, in the literal realm of the dead, and continued on a ship in the middle of the sea, in a transitional space, in a space of changes. This fully corresponds to the myth of the transformation of Hades, who has gone from voluntary loneliness to becoming a king in the world of the dead, where everything is indefinite, mobile, unsteady and although it does not change in the sense in which it happens on earth, it represents the idea of change as it is.

Everything is possible in the space of changes, therefore, here the most important thing for the whole film takes place, and that will give the story an impulse to move forward and being resolved in the form, which we see in the third episode.

Let's turn now to Agatha's story.

On the ship, she travels in the role of Kora – at first, abducted and held in the ‘underworld’ and not realizing her position (Hades, let me remind you, having kidnapped Kora, did not immediately make her his wife, and she was sort of his guest – until the moment when she persuaded him to let her go to earth to see her mother), and then – in fact, the mistress of this very kingdom.

Why mistress? It is rather difficult to answer this question. But there are details in the text that give hints and, on close examination, leave no room for double interpretation.

The simplest and most obvious is the physical location of the characters in the frame. They are on an equal footing, both in the center, and although Agatha is shorter than Dracula, she is as ‘in her place’ as he is and feels just as confident.

The second is how they communicate. In addition to the fact that the dialogue, the beginning of which we see in the prologue of the episode, is quite friendly and mutual (no one hangs over anyone, does not threaten anyone, and does not try to pressure – for those who have forgotten what it looks like, there is the final conversation in the convent), Agatha's position is read from the phrases thrown by Dracula in passing, but very eloquent. Such as ‘You choose’ – in response to the question of who will play black and who will play white. And this is only the upper layer of interaction, there are more of them, and on each one, it is acutely felt that here Agatha is not a prisoner, but a partner.

You might say, – of course, this is all part of an insidious plan to keep Agatha in the dark, and no real courtesy (not to mention real respect and closeness) is out of the question. Dracula is just playing with his victim. But this is the essence of the story and what happens on Demeter, as well as in the space of the original drama. Hades kidnaps Persephone as something alien, beautiful, and unfamiliar, something that attracted his attention in the distant upper world and that, like a fruitful grain, fell into his dark hermetic kingdom and ignited the spark of life in it.

Hierogamy and everything that precedes it is a mutual process, otherwise it makes no sense.

But then a moment comes in the story, which in the mythological drama corresponds to the stage of the earth, empty due to the grief of Demeter and the despair of Kora, yearning for the upper world.

On the ship, which has lost most of the passengers and half of the crew, because of Dracula's appetite, tension grows, and in the same way, it grows inside Agatha, who despite her quite comfortable position, begins to realize that something is wrong here.

Internal and external tensions converge at one point – on both sides of the doors of cabin number nine. And when the doors open, the mythological drama comes to the surface.

Interestingly, the story here does not even try to hide what it really is – from a detective in Agatha Christie's style, turning into a mystery action. Moreover, it directly admits it – when Dracula invites passengers and crew members of the ship to cabin number nine and brings them to Agatha's bed, he opens the curtain.

But what is going to happen here?

Let's see what the situation is in terms of structure.

The hero, who for a long period of time keeps a woman abducted by him from the ‘upper’ world, alien to him, experiences the invasion of this very world and is forced to present this woman to those around him and somehow explain her presence in this place and their relationship. Let us recall that the relationship between Kora and Hades also remained ‘unnoticed’ for the time being, or rather, until the moment when its uncertainty began to create problems.

Let's forget for a while about the individual needs and questions of passengers and crew – the important thing here is that all the ‘inhabitants’ of the ship demand to explain what is happening and to open cabin number nine.

Demeter demands Kora to her. She does not agree to put up with the current situation and calls Hades to account.

What remains for the hero? He, as in the Greek myth, acts with cunning: in this case, in the film, he tells the story that the woman lying in (his) bed is a murderer, the terrible eater of people whom passengers and crew have been unsuccessfully looking for throughout travels.

Dracula is trying to explain Agatha's presence here and now, on this ship and in these circumstances – not only to deflect suspicions from himself, but also to structure the situation in which they find themselves – not so much because he wants it, but because that he has no other choice.

What happens on deck is a logical consequence of his decision. Brought to light Kora is no longer the same as before – having visited the kingdom of Hades and entered into a close relationship with him, she can no longer remain a girl and just a daughter of her mother. Her innocence is left in the arms of the lord of the underworld. And since he really does not intend to let her go, all that remains for him is to make their relationship ‘legal’.

The hanging scene, entirely built on the interaction of Agatha, Dracula, and the ‘choir’ consisting of the crew of the ship and passengers, looks like another erotic at the same time (after the first scene in the convent), in which Agatha again from above and again largely dictates conditions, – and as a kind of coronation scene.

But not only the one.

There are so many meanings in this scene, and they are so closely intertwined and interconnected, that in order to see them all, you should carefully examine it – slowly, gradually.

First, Agatha is placed on a barrel and a noose is thrown around her neck, intending to execute her.

It would seem, what does Hades' marriage to Persephone have to do with it?

According to ancient pagan beliefs, the remnants of which are also preserved in Christianity, the bride, who left her home and married the fiancé, was considered dying for her previous life and being born for a new one.

Not everyone on the ship agrees that an unfamiliar and barely breathing woman is indeed guilty of the murders on the Demeter, and a dispute erupts between the judges hungry for justice. Among others, the captain speaks out and says that the woman standing on the barrel is the wife of the mysterious Mr. Balaur, who paid generously for her transportation in cabin number nine, without attracting unnecessary attention.

The word ‘wife’ is important. Firstly, because Dracula (Hades) still knows more than Agatha (Kora), even if he did not fully formulate it for himself. And secondly, because in the mythological reality in which the characters undoubtedly are, words matter. Let us recall that events still take place in a transitional space in the midst of changing and constantly moving waters. In this reality, what is not uttered is not defined. What is not shown does not exist. (I don't think I need to explain to anyone that cabin number nine is Schrödinger's box.) Thus, the one who utters the word determines this reality.

In the noise that arose after the recognition of the captain, most of the spoken words are lost, but two of them are heard clearly and turn out to be the main ones. This is the word ‘bride’, declared as a negation, and ‘wife’ disputed by no one.

At the plot level, this is just a confusion, a skirmish of frightened and distrustful people, but at the symbolic level, everything is clear and logical.

First, the bride announced that she is not the one (‘I'm not Balaur's bride!’).

Second, another person declared publicly that she was the wife of Mr. Balaur. Who, in turn, is nothing more than a mask, a pseudonym for Dracula. This is not enough for marriage, you say. Yes, sure. At the plot level, no doubt. But the characters are in symbolic space. And here, in this space, it is important who utters these words.

The captain pronounces them – a person who, by his position, is the master on the ship, who has the right to judge and resolve disputes, the right to execute and pardon, and – to seal marriages.

But this is not enough either. There are almost no coincidences in such texts. It was not in vain that I mentioned that the word ‘wife’ was not disputed. A mythological drama is being played out before us, but it is being played out in a nineteenth-century setting. Therefore, for a legal marriage, another formula becomes significant.

‘And if there is anyone among us who knows the reason why this marriage should not be contracted, let's tell now or be silent forever.’

Then one final touch is missing to complete the ceremony.

The moment when Agatha asks who has the courage to knock over the barrel and hears Dracula's answer: ‘Me,’ on a metaphorical level, ‘closes’ the frame of the ritual action.

The fiancé approaches the bride and makes a movement to ‘end the game’ – literally to kill Agatha, and symbolically, to complete her transition from bride status to wife status. Here even blood is present as an attribute of the loss of virginity, even though, in this case, the bride has long since said goodbye to it. But we are talking about the symbolic aspect of what is happening.

Let's not forget, however, that the lord of the underworld kidnapped Kora-Persephone and involved her in marriage without her direct and informed consent (more on this later). Therefore, Agatha's actions, when she spits blood in Dracula's face, literally designed to reveal his vampire nature for everyone, symbolically signify the resistance of Kora-Persephone and the desire to escape from her husband. But some things, having started, are quite difficult to stop, so Dracula still knocks over the barrel. Having successfully landed surrounded by ‘guests’ at the wedding, Agatha survives. But on a symbolic level, her death was not the goal. The goal was to physically separate one part of her life from another. This is exactly what happened.

Thus, we can conclude that after the end of the second episode, we are no longer facing Kora, but Persephone – the queen of the underworld.

But, as in the myth, Persephone at this stage is still the point of intersection of the conflicts of several characters. This is Hades, who wants her to return to him from the upper world, Demeter, who does not think to retreat, and... Persephone, who needs to deal with herself and who she is now, and how she will continue to be.

At the mythological level, it is the conflict that will become central in the third episode.

In the myth, at the request of Persephone and Demeter, Hades released Persephone to the upper world, giving her (some sources say – forcing to eat, but this is unlikely since it does not correspond to the function of that types of objects in myths and fairy tales) several pomegranate seeds... It was because of this that Persephone, having eaten them already on earth, was forced to return back to the underworld.

Do you remember what happens in the third episode?

Zoe van Helsing (a doctor, who, by profession, every day deals with the reality of both the ‘upper’ and ‘lower’ worlds, and exists and works on their border) – who can be considered a kind of ‘earthly’ incarnation of Agatha, Persephone from ‘upper world’, meets Dracula, whom she did not think to meet. By her own admission, she never really believed that Dracula would be found. And Dracula, seeing that his ‘wife’ does not remember him and does not want to return, gives her his blood and offers to ‘read’ it – if Zoe guesses how to do it.

That is, you understand – he does not directly offer her to drink his blood. He only gives her what she wants. Just like in the myth.

Zoe is a researcher, and besides the fact that she may have hoped that Dracula's blood would somehow help her recover from a fatal disease, she probably really wanted to know the secret of vampire blood, as any real scientist, inquisitive and hungry for knowledge.

Now let's turn to myth again. Persephone ate the pomegranate seeds that Hades gave her because she was hungry because she refused food all the time she was with him.

By the way, these seeds originated from drops of Dionysus blood.

The connection of Dionysian ecstasy, wine, blood, intoxication, and the processes occurring at the level of the ‘lower world’ – the world of the corporeal and the unconscious, is spoken directly in the text several times, but I think there is no need to dwell on this here.

After that, it is not surprising that the symbolism of the field appears here, – in the middle of which Zoe finds herself after drinking Dracula's blood. If in the second episode Demeter was present as a ship, a womb, a mother, carrying the potential of the future and protecting her child, then in the third she appears before us as a fertile layer, a bed, giving Agatha-Zoe-Persephone her blessing and, thus, the opportunity to complete the transformation and become a full-fledged spouse of her husband, at the same time, keeping the connection with the mother on a new level.

All this allows the story to unfold in the finale in a mysterious – alchemical context.

The fact is that the cult of fertility, the cult of Kora-Persephone, presumably formed the basis of the Eleusinian mysteries, mythology, and philosophy of which greatly influenced the views of medieval Western European alchemists. From here comes the similarity and continuity of images, ideas, and descriptions of processes, a close, often inherited metaphor, and, in a certain sense, an underlying common myth.

As the screenwriters themselves remind in one of the interviews, Dracula is a story of resurrection. So there is nothing surprising in the fact that in the finale of the third episode and the entire film, the mythological motive of Kora-Persephone and the alchemical one – coniunctio oppositorum* – are combined in one hierogamy.

This is openly stated in the text as well. In one of the last scenes of the series, Dracula says, addressing everyone present at once, and indirectly to the viewer: ‘Journey's end. Lovers meeting.’ This is a literal description of the alchemical stage of the union of the masculine and feminine principles.

Therefore, in the final scene, he and Agatha are making love – at the level of the plot, this is due to the development of their relationship as individuals, as a man and a woman, but at the symbolic level this is because the opposites they represent have reached a state where they can merge to give the beginning of a new one.

It is important to remember here what the story is constantly showing visually: there is what is happening on the ‘outer’ plane and what is on the ‘inner’ plane. The space of the film is constantly divided into two levels-states: Dracula's castle and the monastery, the monastery and the area in front of the monastery gates; what is happening in Agatha's workshop and the same thing – recorded in Dracula's blood and played in Zoe's head, Dracula and Agatha, lying on the table in Dracula's apartment, and Dracula and Agatha together in a golden light.

Let me remind you again: a real myth, an archetypal drama, very rarely unfolds in front of the viewer or reader directly, told in literal, poster language. Most often they turn out to be ‘wrapped’, embedded in the shell of a legend, parable, or fairy tale. In this sense, nothing has changed since the time of the ancient Greeks. The basic narrative structures are the same. How, perhaps, we all remained the same. Therefore, stories like this work. Therefore, they are important.

And also – because they are all-conquering beautiful.

* Сoniunctio oppositorum (Latin) – the combination of opposites. One of the key stages of alchemical Work.

P. S. In conclusion, I would like to show a few symbolic images from alchemical treatises. I will not show the corresponding scenes from the film – I think you yourself will recognize them. The first two illustrations are prints from the Splendor Solis, the third – from the Rosarium philosophorum.

#dracula 2020 #bbc dracula #count dracula #agatha van helsing #meta

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passionate-reply · 3 years

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ABC are known for their high-brow sophisti-pop, but did you know they started out as something closer to an industrial band? Find out all about The Lexicon of Love, on this week’s Great Albums. Transcript below the break!

Welcome to Passionate Reply, and welcome to Great Albums! Today’s album is one of the more unique triumphs of early 80s synth-pop: ABC’s The Lexicon of Love. The Lexicon of Love would be the first album released under the ABC name, but prior to their metamorphosis into ABC, the band had been known as Vice Versa. They also had a very different sound than the one they’d later become known for.

Music: “Riot Squad”

Vice Versa had been a heavily electronic, experimental outfit, more in line with fellow members of the Sheffield music scene like Cabaret Voltaire and the early Human League. As ABC, they would pivot dramatically towards lushly arranged sophisti-pop, and produce some of the most iconic hits of the early 80s, like “The Look of Love.”

Music: “The Look of Love”

Between the minimal synth lashings of Vice Versa’s EP Music 4 and The Lexicon of Love, the band that would now be known as ABC saw a major addition to their lineup, in frontman Martin Fry. Fry had been a member of the Sheffield music scene prior, as the author of an underground fanzine, but was recruited to become the new lead vocalist of Vice Versa after interviewing them. Fry’s crooning is certainly one thing that makes the album sound different, but I’d also be remiss not to mention the influence of its producer: Trevor Horn.

By this point in his career, Horn was mainly known as a member of The Buggles, of “Video Killed the Radio Star” fame, and the progressive rock group Yes. He also brought along two of his more consistent collaborators, with whom he would go on to form The Art of Noise: J. J. Jeczalik, programming digital synthesisers, and Anne Dudley, arranging and orchestrating electronics and strings. The Lexicon of Love was one of Horn’s first major forays into production, something he would go on to prioritize in his career. Still, I think tracks like “The Look of Love” demonstrate Horn’s signature style of rich, bombastic, borderline campy pop in full force, as much as his later work with artists like Frankie Goes to Hollywood and Seal. Horn is certainly known for his complex and painstaking orchestral arrangements, which are something you’ll hear a lot of on The Lexicon of Love. The lone instrumental it features, “The Look of Love (Part Four),” makes that particularly easy.

Music: “The Look of Love (Part Four)”

While the album’s famous single is often referred to as simply “The Look of Love,” its full title is actually “The Look of Love (Part One).” Before you ask, yes, there are second and third “parts” of this suite, which were all released together on their own EP, or perhaps extended single. In the context of the album, though, parts one and four bookend the second side of the LP, with part four arguably serving as a sort of reprise of that unforgettable hit single. Speaking of singles, “The Look of Love”’s success in the charts was actually preceded by that of another entry in the top ten: “Poison Arrow.”

Music: “Poison Arrow”

As the title implies, “Poison Arrow” is focused more on the darker side of love, when things don’t go one’s way. The Lexicon of Love is a sort of loose concept album, which deals mainly with romantic love, and the trials and tribulations of those who seek it. Perennial subject matter for pop, of course, but it is executed with a lot of style. While “Poison Arrow” certainly has synthesisers, they’re hardly the first thing you notice in its dense arrangements.

Ultimately, The Lexicon of Love is a very backward-looking kind of album, particularly in the context of synth-pop. Where so many of their contemporaries were looking to the future, ABC were committed to capturing this suave, traditional pop glamour, somewhere between Motown and Sinatra. Despite all the efforts being made to embody this classic sense of cool, there’s still an undeniably 1980s sensibility about the album that I think shines through in the end. But I don’t think of that as an indictment of the material, simply a neutral feature of it. I don’t really believe music can truly be “timeless” or “dated”--those terms get thrown around by people trying to ground their taste in objectivity, but at the end of the day, we all like what we like. I think The Lexicon of Love sounds like it was made when it was made, but also holds up, insofar as it’s still enjoyable to listen to.

One of the most endearing features it does have is Fry’s witty, clever lyricism, full of unique rhymes and lofty allusions. He had studied English at Sheffield University before entering the band, and that literary flourish really sets him apart. While Vice Versa certainly had some indignant numbers, Fry sells us on a much more posh kind of anger on tracks like “Valentine’s Day.”

Music: “Valentine’s Day”

The cover of The Lexicon of Love is nearly as busy and complex as the album’s arrangements. It shows a scene from a theatrical narrative of some sort, in which Martin Fry catches a woman falling backwards, seemingly fainting with fright. With determination, he points a gun at some unseen, off-stage antagonist. The bright red of the curtain, at stage left, draws our attention to that suspenseful absence, and gets us to wonder what’s happening here. Adding to that sense of the incomplete or not fully known is the way the action is boxed in, almost claustrophobically, by the eye-catching, high-contrast text showing the album title and band name. In the lower left-hand corner, you’ll find a surprisingly large block of text--I think this album has a higher word count on its cover than anything else in my collection! That text consists of an amalgamation of lines from several different songs on the album. Both the inclusion of this lyrics box and the title “The Lexicon of Love” put emphasis on the concept of language, and, perhaps, the difficulties of putting the most powerful of human feelings into communicable words. Given that Fry’s lyrics are such a standout, I think that angle benefits the album a lot.

Over the next fifteen years or so, ABC would see several further lineup changes, and add infusions from house and early hip-hop to their take on synth-pop. They continued to see modest chart success up through the late 80s, though they would never crack the UK top ten again, after The Lexicon of Love. In more recent years, Martin Fry has revived the ABC name and released some new material, including, most notably, an album called The Lexicon of Love II, intended as a proper sequel to his magnum opus. As ambitious as that is, I think it really works, but you can listen for yourself and decide.

Music: “Viva Love”

My favourite track from The Lexicon of Love is, without a doubt, “4 Ever 2 Gether.” The average song in my music collection sounds a lot more like Vice Versa’s efforts than it does this album--I like a lot of harsh, synth-forward stuff. “4 Ever 2 Gether” is closer to that sound than anything else on the album, with a chilling vocoder part that really stands out against the rest of the album’s sonic footprint. It’s also got some of Fry’s most striking lyrics--deeply abstract, but still bitingly bitter. That’s all I’ve got for today--thanks for listening!

Outro: “4 Ever 2 Gether”

#music #album review #album reviews #great album #abc

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rcguna-archived · 3 years

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“ Raguuuunaaaaa~. ” Rem had been gone for most of the day, after forewarning him that she would have to be preparing for a very important meeting with some very important politicians on this very important day, but she had also informed him that when she comes back that night, she’ll have a gift ready for him.

Little did Raguna know, it was all a plot from the very start. If the strange absence of Betty was anything to go by (or maybe he assumed she had to be present as well?), Rem wasn’t just preparing for an important meeting. No no. That was all a ruse; a little white lie to save face for what she had in mind…!

And what she did have in mind was a gift so grand, so heartwarmingly filling that the mere mention of it would warm any icy heart! But to really make it meaningful, Rem had to employ the help of another member of her new, immediate family; Betty.

Having Betty help with baking a cake would have once been pretty difficult. Were it not for the various occasions Betty had spent with both Rem and Raguna practicing baking, she likely would not have been at all prepared for this day. However, Rem was fully ready to show her the ropes, and placed a bet that Betty could help her to make the best birthday cake Raguna’s ever seen in his life! But what would it be…?

Betty had joked about it being a dirt cake, but little did she know that that idea alone had influenced a growing idea in the back of Rem’s mind; a literal black forest cake! the inside would remain the same as such a thing, but the exterior would be artistically created using Rem’s fine skills with all the baking tools and goods at her disposal!

Thus, the two got to work. The past few days had consisted of Rem taking small-ish breaks from the farmhouse to gather supplies as discreetly as she could, and today marked the day where the cake would be created. And the result…?

Rem’s voice had called out to him so that he could open the front door to his lovely, isolated home. Perhaps he was taking a bit too long, and a smaller voice almost immediately followed. “ Hurry up, I suppose! This is heavy..! ” A little fairy girl who he’d grown quite fond of, sounding bothered by something. When that door opens…

The surprise is revealed! In both of their hands, Rem and Betty hold a platter housing a rather large, circular-shaped cake, styled in a fashion with frosting and edible fake props that help the cake to resemble a growing, beautiful forest, with a field of flowers Rem had basically spent all day getting just right with the tools she had on hand! The edible flowers created a garden that looked vaguely similar to the one in which their favorite bench is parked next to. It becomes evident, then, that the cake itself is meant to be an artistic recreation of their new home, and a special candle that is molded almost perfectly to fit the image of Raguna, with a thumbs-up and a wicker in the middle of the thumb, lit aflame by a quick flash of fire magic that Betty incants the moment the door is fully opened.

“ Happy birthdayyyy~!”

“ Happy birthday, I suppose…! ”

------------------------------ @onlyhorn

Raguna hardly even thinks about his birthday. Given the fact he has amnesia, it very likely wasn’t even his actual birthday! Just the day that was given to him to use as such many years ago when he first showed up in Kardia. His birthday, his name, his taken occupation. All of these things were given to him like gifts of their own by an oddball of a young woman. They’re celebrated if remembered. And sometimes he’ll have people wave him down when he travels into town, but otherwise he’s perfectly content to let it pass without any fanfare.

For him, the coming of Spring means the coming of the next season of planting and the farewell to the frost. This meant that the farmer was busy. Clearing brush. Tending to the soil. Ensuring he had the right amount of seeds for the fields he was going to have prepared for that first warm week. That was the excitement, and something very clearly conveyed to Rem and Beatrice. He never even mentioned his birthday once, which of course didn’t keep Rem from finding out about it. She wouldn’t have had much trouble learning about it from other townsfolk after all.

Raguna would thus be none the wiser to her disappearance along with Betty’s. While he may have appreciated assistance now and then in the fields, this was nothing he wasn’t used to doing on his own. They had their duties and he had his. What was important was that they continued to support one another.

The day that his birthday at last rolled around was probably the busiest yet. Intentional? Certainly not. But he does decide that he’s done about the best he can do without hurting himself. If there was one thing he didn’t want to do it was come back inside and look as if he had overworked himself. Dirty, slouchy, weary... Rem didn’t like it. And he didn’t like making her worry about him. So with the setting of the sun does the farmer wash himself off at the spigot and put away the tools. A little bit of a stretch before opening the door at his fiancee’s beck--....???

“ Happy birthdayyyy~!”

“ Happy birthday, I suppose…! ”

“........” Stunned speechless? Well, yes. That and genuine surprise. There’s a decent helping of oh right it was my birthday... mixed in those features as well. Realization comes at him quickly as he looks between his contracted spirit, no, his adopted daughter, and then his wonderful radiant fiancee. Even with how beautiful that cake looked, her pride in it shone even brighter without a hint of exaggeration.

He’s certainly not biased.

“Wait, you guys... you... did you two bake this cake together? For me?” Hard to see it any other way. With how confident and smug (in the case of Beatrice) the pair looked that was definitely how things were looking in this home. His heart warms and any fatigue he had felt washes away with their voices as they begin to sing a short song together. He’s blushing, he’s sure of it, but is still able to blow out the rather unique looking candle once it’s all said and done.

The cake is gorgeous. All the small nuances of their shared home evident in its design almost down to the array of flowers themselves.

“Thank you... I love you both so much. This is really really special. I wish we didn’t have to cut into it, it’s like taking apart a painting or a book, haha. What a piece of art...” His musing is interrupted by a rumbling gurgle from his insides. Even if he was trying to flatter them, other parts of his body were suddenly feeling very impatient to do otherwise.

“....er, shall we get the knife?”

#onlyhorn #inbox :: submission #inbox :: answered ic #though the past is painful our future will bloom like a garden :: rem x raguna #if only they had cameras #or the patience to paint a picture #because that must be one hell of a cake #submission

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amphtaminedreams · 4 years

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Filling the Met Shaped Hole (No, Not Like That): The Best Red Carpet Looks of Awards Season 2020

Hi to anyone reading,

I want to jump straight into things and ask a question. Which is the best Met Gala theme of the last 5 years and why is it Heavenly Bodies: Fashion and the Catholic Imagination?

Seriously though, despite the fact that I’m not sure anything will top Heavenly Bodies with the preceding and succeeding Met Galas being relatively disappointing (the camp theme definitely could have been taken further and lets not even talk about the Comme Des Garcons disaster), I still get excited for the gala every year, staying up til whatever hour of the morning so I can see all the fashion live. Of course, it makes complete sense that this year’s event has been postponed until October given the circumstances but the chosen theme of Fashion and Duration had the potential to be quite interesting, so I hope we do eventually get to see it; whilst I don’t miss endlessly scrolling through photos of every white male celebrity wearing the exact same suit and tie to the point where fangirls claim Harry Styles to be a pioneer of breaking gender norms because he wore a pink top, I long for the days where we could all temporarily coexist in peace and harmony thanks to the internet’s collective dragging of the Kardashians for paying no attention to the theme whatsoever. We should’ve guessed life as we know it was about to be flipped on its head when they actually turned up in something interesting last year.

What I’m trying to say is that I would love nothing more than to jump back in time to when tomorrow morning’s top Google search would be best Met Gala looks, and not how many lives did Boris Johnson’s fuckery cost us today. So in honour of the lack of trivial content, I thought I’d fill the Met shaped hole in our lives (amongst many other unfilled holes; today the freezer door at work hit me on the ass whilst I was putting ice cubes out and I think for a split second I got all flushed) by putting together a collection of my personal favourite red carpet looks from this year’s awards season and their respective afterparties: the BAFTAs, Brits, Critic’s Choice Awards, Golden Globes, Oscars, SAG Awards, and the Grammys to finish with.

Enjoy!

British Academy of Film and Television Arts Award (yes, that’s the BAFTAs but I needed a longer title)

(L-R: Zoe Kravitz in Dior, Rooney Mara in Givenchy, and Scarlett Johansson in Versace)

I am a British fan of television and arts but I will gladly say it: of all the awards ceremonies, the BAFTAs is hardly the most exciting, and the red carpet even less so. As I said, lots of boring men in boring suits and middle aged women being dressed by stylists who seem to think we’re dead from the neck down by the time we hit 40 and dress us accordingly so. Any hint of a décolletage explicitly forbidden.

There were a few good looks, however. From left to right, above we have Zoe Kravitz in Dior, Rooney Mara in Givenchy and Scarlett Johansson in Versace, who looks so amazing I almost forget that 1). Versace is going down the drain and 2). Scarlett Johansson would stand in front of a forest and take the role of a tree if she could. Which, along with her whole defence of Woody Allen, is really shit-she’s genuinely great in Marriage Story and an otherwise talented actress. As for Zoe Kravitz, she is up there with Robert Pattison as one of my biggest crushes right now and looks amazing in literally everything she wears, and Rooney Mara is consistently low-key yet elegantly dressed.

(L-R: Greta Gerwig in Gucci, Florence Pugh in Dries Van Noten, Renee Zellweger in Prada)

Renee Zellweger proved an exception to the rule when it came to women over the age of 40 generally having clueless stylists-her dress is beautiful, very reminiscent of the delicate, demure beauty of 50s icons such as Grace Kelly and Audrey Hepburn. Florence’s dress, I actually really loved. It didn’t seem to go down all too well with actual Florence Pugh fans but red and pink together is an elite combo; I’m still firmly on the “surprised that it works but I’m into it” train. I mainly included Greta’s dress for the green velvet, to be honest; it’s disappointingly low-key for Gucci but nice enough all the same.

(L-R: Andrew Scott in Paul Smith, Charlize Theron in Dior, Daisy Ridley in Oscar de la Renta, and Emilia Clarke in Schiaparelli)

I was particularly excited to see Emilia Clarke in Schiaparelli-yes, I adore her because she played Daenerys Targaryen and I was ride or die for that bitch but also whenever I see her interviewed she has the most exuberant energy and honestly I want to be best friends. It’s not the most interesting dress Schiaparelli has ever put out there, but I like the fact that she went for something unique all the same.

Forest green is a colour I find hard to resist which is why I included Andrew Scott’s otherwise kinda basic suit (points for it being velvet) and Daisy Ridley in Oscar de la Renta. As elegant as the dress is, I would love for her stylist to have really leaned into the forest nymph vibes I’m getting and do something a bit less uptight with the hair and makeup; like imagine loose curls with tiny braids and hair rings and a dark lip and a slight smoke around the eye and...yes, I have very specific visions, I know. As for Charlize Theron, her work with Dior is the only reason I care about the brand; there’s definitely a case to be made here for giving Maria Grazia the benefit of the doubt, assuming that she tries all the prototypes on women who look like Charlize and that that’s why she’s happy to send dresses that are otherwise relatively underwhelming down the runway.

The Brit Awards

(L-R: Charli XCX in Fendi, Ellie Goulding in Koche, Hailee Steinfeld in Fendi, and Harry Styles in Gucci)

In my opinion a much better reflection of quintessential British style than the BAFTAs, I originally ruled out including any music award ceremony red carpets in this post until I saw Maya Jama and Charli XCX’s looks. Consider me pleasantly surprised by Hailee Steinfeld’s cobalt blue burnout dress, a classic incarnation of the regal bohemian aesthetic Fendi channelled in their 2019 haute couture show. Plus Charli’s emo take on Glinda the Good Witch is also Fendi, driving home for me just how much I love their collections. I don’t know if I’d be sure about Ellie Goulding’s dress on the rack but the simple styling makes it work and she looks gorgeous, and Harry Styles looks just as pretty in a Gucci look that is MADE for him.

(L-R: Adwoah Aboah in Vivienne Westwood, Celeste in Gucci on the far right! I’m not sure who the guy in the middle is, I’m sorry and if anybody knows drop me a message and I will correct this immediately!)

Unfortunately, Harry Styles and Celeste didn’t get to pose together because this is really a perfect his and hers Gucci look; I feel like seeing one outfit next to the other would really highlight the quirky elegance of each. That being said, it feels criminal to talk about elegance without including Adwoah Aboah in Vivienne Westwood in the sentence; the dress is obviously stunning quality on its own merit, but Adwoah is what elevates it from unremarkable to ethereal. Fuck the weird ass knight figure that’s currently on top of the Brit Award, this woman is the definition of statuesque! Put her on top of the trophy you cowards!

And just to get it out of the way, when it comes to the guy in the middle, to quote Keke Palmer:

Sorry to this man.

Honestly, I saved all the red carpet photos from a Nylon (I think it was Nylon?) article back when the awards aired and towards the end of the photos they stopped including names-this happened a few times when I was looking through red carpet galleries. I reverse image searched where I could but not every photo turned anything up. If anyone does know who this man is, message me so I can include his name. He looks sick, and as far as suits go, this one is built upon and accessorised enough that it’s actually a look rather than the same old variation of a suit we’ve seen a million times before that may as well be the straight man’s designated red carpet uniform.

(L-R: Maya Jama, Neh Neh Cherry in Bottega Veneta, Laura Whitmore)

And now the woman that forced me to include the Brits red carpet in this post in the first place: Maya Jama. Don’t get me wrong, my mind isn’t blown by this dress on its own, I probably prefer Laura Whitmore’s (Jaded do a similar newspaper dress and I’ve resisted adding it to my basket for 6 months now, this is the ultimate test of whether or not I finally cave), but Maya looks fucking MAGNIFICENT. The fit, the gloves, the confidence with which she carries it, it’s all SO good. Considering the timing, this is basically her Princess Diana revenge dress levelled up, 2020′s Jessica Rabbit moment.

(L-R: Maya Jama, Ellie Goulding, Kendall Jenner)

Obviously anything is gonna be a step down from the red carpet look but Maya’s Brits afterparty outfit was cute too, if a tad Pretty Little Thing.

Don’t ask me what Kendall Jenner was doing at the Brits afterparty btw, because I have no idea. We live in a world where the Kardashian-Jenners just seem to occupy every public space possible and I’ve begrudgingly accepted it at this point. I don’t have the energy to question it-and it helps that green catsuit is actually Very Cool™.

For the last of my favourite Brit Awards looks, we have a few more afterparty photos-from left to right we have Charli XCX again, Lizzo, and Anne Marie. It was Charli posting her dress on Instagram that sent me searching for afterparty looks in the first place; apparently wearing nothing but feathers and crystals is something that appeals to me, and the more I read that statement, the more it sounds spot-on. I’d categorise it as gothic glamour hoe, and slot it in with the rest of the night-out clothes in my wardrobe that I think I’ll finally have the balls to wear out of sheer desperation once this lockdown is over. The Blossom to Charli XCX’s Buttercup here, we’ve also got Anne Marie looking extra AF and I loveeeee it; it’s an ensemble somewhere between a high-end version of Alaska Thunderfuck’s candyfloss Sugar Ball dress from season 5 of Drag Race (Alaska DID deserve to win AS2 nation, rise up) and a low-key version of a Katy Perry California Dreams Tour costume. I don’t call it low-key as a drag, just a regretful admission of the fact that maybe wearing a cupcake bra which squirts whipped cream out of the boobs is a bit too much for most of us.

Critic’s Choice Awards

(L-R: Alison Brie in Brandon Maxwell, Chloe Bridges in Azeeza, Cynthia Erivo in Fendi, Florence Pugh in Prada)

I was going to say the Critic’s Choice Awards is kind of America’s version of the BAFTAs but then I remembered that the BAFTAs is really the only big TV and film awards ceremony we have here in the UK and that it’s kind of sad that I have to compare our most high-profile red carpet of the year to L.A’s most low-key one. Getting Cynthia Erivo and Florence Pugh to infiltrate is the best we can do.

THAT BEING SAID!

They both look amazing. This is Florence’s best red carpet look of this year, imo (she the prettiest icicle I’ve ever seen), and Cynthia Erivo’s arm must ache from serving the entire awards season. And in Fendi! Taste!

Side note before we move onto the next set of looks: has anybody else watched Alison Brie in Mad Men and Community simultaneously and experienced the extreme cognitive dissonance that comes from watching her play a tragically nerdy (relatable tbh) 18 year old and an overly-sophisticated 30 something married to an ad man in the 60s at the same time? Weird, but anyway! The orange dress with the red lipstick is channelling Marina Diamandis’ Froot era style subtle sex appeal and is a timeless, playful combo. Put the hair up into a beehive and it’s Megan Draper on a date in Cabo-don’t know much about the place but I know the sea is aqua and the sun seekers are blindingly white and the cocktails are plentiful (and whatever colour you want them to be), and all that together is a juicy palette if we’re talking cinematography. The Mad Men directors are out there somewhere shaking their fists at the sky that they never got to consult me on that, I’m sure.

(L-R: Phoebe Waller-Bridge in Dior, Saoirse Ronan in Erdem and Zendaya in Tom Ford)

Zendaya’s red carpet look was the stand out of the Critic’s Choice Awards for sure; the skirt I can do without but I hope that hot pink metal breastplate ends up on display somewhere because that is ART, and she is the perfect person to wear it. The Tiffany Pollard “she's so powerful” meme was made for this moment.

Also, can we talk about Phoebe Waller-Bridge backing up my Dior 2019 Haute Couture wasn’t *that* bad hypothesis? Because unless I’m mistaken this is one of the dresses from that collection and it is quite beautiful. Yeah, black mesh isn’t going to start a revolution or anything but it’s so delicate looking it almost seems out of place on a red carpet-I don’t know if it’s the structure of the bodice or the tulle but I can totally see this in a gothic ballet, whether that’s sensible in theory or not. Probably not. But then again I did quit ballet when I was 10 after months of getting people to near poke me in the eye on the way out of class so it would look like I’d been crying and I didn’t have to go to my lessons after school. So what do I know? Fuck all, in case that wasn’t clear. I also feel a little vindicated by Saoirse wearing one of the Erdem dresses I loved from last year’s collection-if multi-award winning actress Saoirse Ronan’s probably ridiculously well-paid stylist liked it enough to pick it out for her then I guess I’m doing okay in terms of taste levels.

(L-R: Olivia Wilde in Valentino, Lucy Hale in Miu Miu, Mandy Moore in Elie Saab, and Margaret Qualley in Chanel)

The last few Critics Choice Awards looks I picked out above aren’t thrilling or anything but they’re cute enough to include-from left to right we have Olivia Wilde in Valentino, Lucy Hale in Miu Miu, Mandy Moore in Elie Saab and Margaret Qualley in Chanel. It’s kind of besides the point, but Margaret worked with Chanel throughout awards season and I just wanted to add my two cents in here and say that I think she’s the perfect person to collaborate with (also think Laura Harrier would be a good match, anyone agree?) and that in a similar vein, I urge Miu Miu, the creative directors of which I’m sure are eagerly awaiting the opinion of irrelevant Tumblr user amphtaminedreams, to work with Lucy Hale more often. I feel like if girl stopped starring in those shitty Blumhouse horrors and did something a bit more sophisticated she’d fit the brand right down to a T.

The Golden Globes

(L-R: Cynthia Erivo in Thom Browne, Dakota Fanning in Dior, Jane Levy in Steven Khalil, and Janina Gavankar in Georges Chakra)

Finally! I hear you cry! A more exciting red carpet! It’s not the Oscars, but celebrity stylists still pulled the big guns for this one, the Golden Globes probably being considered the second most prestigious American awards ceremony of the year. Plus Dakota Fanning was there! Big yay for me! She and Elle can practically do no wrong in my eyes and are probably the only 2 women that could take on Dakota Johnson and Jennifer Lawrence when it comes to established red carpet style.

Cynthia Erivo did it again, of course, as slick, as dignified and as regal as she was at the Critic’s Choice. The woman really has got this power stance thing locked down; she always seems so cool and confident in everything she wears that the whole getting dressed up to go out out out (we call going to the club going “out out”, but I’d say a red carpet is a slightly bigger deal than my local club with the sticky floors hence the 3rd out) thing looks like second nature.

(L-R: Zoey Deutch in Fendi, Karamo Brown in Grayscale, Lucy Boynton in Louis Vuitton and Kat Graham in Georges Hobeika)

Lucy Boynton was another of my Golden Globes stand outs, and in general is someone who I really look forward to seeing at red carpet events. She (or her stylist, I don’t know how much of a role she plays!) always seems to commit fully to an outfit and sees it as part of a whole concept where the makeup, hair and accessories are equally as important and that is a girl after my own heart. 60s space age empress is the theme here and I’m all about it-well, either that or a feminine editorial take on the tinman from the Wizard of Oz but the former sounds a bit cooler and does way more justice to how good she looks so we’ll go with that. Quick shoutout to Kat Graham too because she looked absolutely radiant.

(L-R: Shailene Woodley in Balmain, Winnie Harlow in Laquan Smith, and Zoe Kravitz in Saint Laurent)

The trio above I really couldn’t skim over, Winnie Harlow especially; my America’s Next Top Model grudges aside, she consistently turns it out at every event she’s invited to. She’s another woman that wears pieces with such confidence that they look like they were actually made on her body-even if the garment itself isn’t the most breathtaking in the room, she’s the one that draws my attention. Though she’s got these dainty, other-worldly qualities about her, what you’d expect to be a gentle presence is firm and commanding and whilst the sharp drama and glitz of the dress probably helps, that’s just the way Winnie Harlow is naturally, based on her other red carpet appearances.

Zoe Kravitz is an interesting one because, on the one hand, her looking amazing with that bone structure (I would trade a vital organ to look like that any day) is a given, but it does also seem like she went out of her way to do something a bit different this past awards season. I have always loved her street style for its trademark edge and the androgynous, oversized silhouettes that she leans towards, and the overt femininity of her red carpet dresses is that grungy, skater girl aesthetic completely flipped on its head. It’s cute, and if anyone can pull a dress as kitschy as this off, it’s Zoe. She’s got that just rolled out of bed look we all dream of that screams “I’m over this shit” whereas the rest of us have to rely on dark circles to get the message across. It’s very weird to think that she and Shailene Woodley were in Divergent together, especially since Zoe in particular has changed so much since.

My main note with Shailene was just that I got excited to see that Balmain dress off the runway-it was one of my favourites from the S/S 2020 collection (IIRC, mostly on the basis that I’m pretty sure it wan’t haute couture), and it looks good! Not wildly good because I’m not sure the fit of the dress is inherently all that flattering, but still good-she makes it work.

(L-R: Taylor Swift in Etro, Sofia Carson in Giambattista Valli and Scarlett Johansson in Vera Wang)

I know a lot of people online didn’t seem to like Taylor Swift’s dress, but she looks cute, imo. I will say that I’m surprised it’s Etro! At first glance I would’ve thought Carolina Herrera or Oscar de la Renta or something along those lines. And predictably, I think Sofia Carson looks flawless. If you’ve read any of my other posts you’re probably sick of hearing it but I really can’t resist anything that is this modern Disney princess, like powder pink layered tulle? Feathers? What did you expect me to say, ew? I think deep down my clothing preferences will always be that of a 9 year old girl and you know what, that’s okay. Sometimes. Well, when it comes to red carpets. That’s when you can kinda get away with it.

(L-R: Bell Powley in Miu Miu, Billy Porter in Alex Vinash, and Charlize Theron in Dior)

There’s a few things worth mentioning when it comes to the above outfits. Firstly, and most importantly, I need to proclaim my love for Billy Porter. No man is doing it like him, honestly. To compare Harry Styles in his pink suits is unfair. The drama and the beauty and the flair that Billy brings every awards ceremony is on another level and that’s all I have to say about that. If you disagree, I’m gonna need a bullet pointed essay-I am that firm in my opinion.

Second, Bell Powley in Miu Miu semi confirms the direction their PR team tend to head in when choosing women to work with. I might be totally alone here but I feel like she and Lucy Hale both have one of those porcelain doll faces which work really well with Miu Miu’s signature girlish silhouettes and overly-ornate details.

And thirdly, just to restate my earlier point: someone give Charlize Theron a pat on the back for bringing some life to a Dior design. That is all.

(L-R: Jodie Comer in Mary Katrantzou, Joey King in Schiaparelli and Kaitlyn Dever in Valentino)

All the newcomers really turned it out too, which is a sentence I type through gritted teeth; to call Jodie Comer of My Mad Fat Diary origins a newcomer pains the former depressing 2013 black and white Tumblr user in me, though I suppose to the US audiences uncultured in the ways of British teenage angst Vilanelle is her breakthrough role. And how Vilanelle is this dress too!? It’s bold and it’s attention-grabbing and it’s fun and it is definitely very theatrical female fictional villain that you were inexplicably drawn to as a child before you realised why as an adult-”oh, it’s because she was hot”.

Joey King in Iris van Herpen was a pleasant surprise too considering that when I first looked through the red carpet photos I only knew her as the girl who was in that shitty Netflix original-having watched her in The Act, I apologise for the dismissal! And I admire the sartorial choice! I adore Iris van Herpen designs but as a short girl, wearing one of her dresses to a red carpet event is a risky decision-I hate to admit it because casting a diverse range of people for shows is something I have come to expect of my favourite brands, but the appeal of a lot of IvH pieces comes from the movement of the garments on standard willowy runway models. Fortunately, the styling is really complementary here, and whilst it can’t be denied that the dress itself does swamp her a bit, I liked that she and her stylist stepped out of the box.

Kaitlyn Dever’s red carpet look is obviously a lot more typical, but you can't go wrong with a Valentino dress, and this one in particular is so suited to the aura she gives off-it’s young and it’s fun and it’s fresh and the intricate floral print, otherwise muted if not for the spring influenced pops of pink and red, is timelessly pretty.

(L-R: Akwafina in Dior, Saoirse Ronan in Celine, Beanie Feldstein in Oscar de la Renta, and Renee Zellweger in Armani)

Lastly, there was Saoirse Ronan in Celine-one of my highlights of the night; she looked phenomenal, a glacial toned dream, and it was pretty different to what I generally expect to see her in. I might be way off base and in need of a bit of a review of her red carpet style, but I feel like she usually leans more towards pretty than edgy with regards to her styling at these kinds of events and a loose fitting, gun metal glittered slip dress is, imo, the perfect way to hit that previously uncharted midway point between the two.

(L-R: Kate Bosworth in Prabal Gurung, Kathryn Newton in Valentino and Sarah Hyland)

Now onto the afterparty looks, and I’m not gonna lie, they’re usually the highlight of the ceremonies for me; I feel like the initial ceremony is all about looking respectful and maintaining that whole dedicated actor image, whereas it seems the literal point of these showbiz parties is a competition to be the best dressed person in the room. Competition really makes people step their game up, and we always get to see more young talent whose style tends to be more current than that of the people we see on the red carpet.

I’ve got to say, as annoying as I found her character in The Society, I have to overlook that gut instinct of irritation when I see Kathryn Newton and accept how stunning everything going on here is; honestly, she looks like an angel, and I feel like the team at Valentino must reeeeally like her to put her in that dress.

(L-R: Alexa Demie, Ashley Benson in Georges Hobeika, Maude Apatow and Barbie Ferreira)

Obviously I was super excited to see the Euphoria girls on the red carpet, especially Alexa Demie-she does 90s/early noughties inspired glamour better than anyone else on the young actor scene right now and her personal style and the sass she does so well as Maddy Perez shines through every time. Whilst Barbie Ferreira’s look is more casual and achievable for the rest of us in terms of wearability, it’s just as interesting a take on the same period; the delicate pink makeup, hair and jewellery with the 90s inspired slip dress in light teal is a red carpet take on soft grunge for the ages. As for Ashley Benson, she always looks gorgeous and that’s all I’m gonna say before I get emotional and start going into a rant about how her and Cara Delevigne’s relationship was one of the only good things about this shitshow of a year and how now that they’ve broken up the single flame of hope inside me has been extinguished and how their sex swing is gonna get so lonely with them caught in the middle of an ugly custody battle and-

You get the idea.

(L-R: Storm Reid, Sophia Bush in John Paul Ataker, and Sydney Sweeney)

(L-R: Billie Lourd, Paris Hilton, and Camila Morrone)

The Oscars

(L-R: Charlize Theron in Dior, Cynthia Erivo, and Florence Pugh in Louis Vuitton)

Ah, the Oscars. This is where the big money is really spent, and bad decisions are made-in fairness, this year’s winners were a lot more satisfying than usual and I think all of us felt that Parasite was a well-deserved win. I really thought it was gonna be Once Upon a Time in Hollywood just as a bit of a token gesture to Tarantino considering it’s his 9th film, though undoubtedly his worst of the ones I’ve seen, so I was relieved that this wasn’t the case. That being said, it still pains me to see the horror genre being ignored by the academy-in my mind, Florence is here for her performance in Midsommar just as much as Little Women.

At the risk of getting repetitive, just assume my opinions on Charlize Theron in Dior here are the same again, that Cynthia Erivo is still bringing goddess energy (this is probably my favourite of her looks), and that against the opinion of the masses, Florence looks divine in this colour. I mean, when I say the masses I just mean the people I follow on Twitter, but still, I just wanted be an excuse to be dramatic so that I could insert a meme.

(L-R: Natalie Portman in Dior, Regina King in Versace, Scarlett Johansson in Oscar de la Renta, and Sandra Oh in Elie Saab)

Once again, Scarlett Johansson’s stylist is doing God’s work; this outfit is everythingggg-the Oscar de la Renta dress is probably my favourite thus far. Like we’re talking angel, but make it fitted and sexy, and I hope you read that in the Tyra Banks voice I intended because 2 memes in a row would rob me of any credibility I’m building as a fashion account and I’m not ready to trash that for bad memes just yet; give it a couple of mental breakdowns and I’ll be there. Natalie Portman’s look was a favourite of mine too, with the cape over the top adding a sophisticated touch to the celestial, slightly bohemian feel of the dress. I initially found the detail of the names embroidered into said cape to be quite moving-in a dream world, directing would be my career of choice and so I really admired the statement-but finding out that Portman herself is the only director hired by her own production company ruined that for me a little bit. Then again, multi-millionaire celebrities making performative gestures for good publicity and not doing all that much to make any real change? Colour me shocked.

(L-R: Beanie Feldstein in Miu Miu, Brie Larson in Celine and Billie Eilish in Chanel)

Now, of all the Miu Miu looks so far, I think Beanie Feldstein definitely got the best one. The intricacy of the embroidery, the silhouette, the old Hollywood stye curls-it’s all so graceful. I’d say this is probably her best look of awards season and she and her stylist did a really great job.

And as for Billie Eilish...Guys...do you think she might be wearing...Chanel...by any chance? I’m not sure.

Seriously though, as far as an oversized tweed suit with the brand’s logo emblazoned all over it goes, I like this look. The acid green roots and the jewellery are what make it for me, adding to the grunginess of the outfit which is interesting against Chanel’s prim and proper aesthetic of the last few years. I know she has good reason for the way she dresses, but I’ve never quite been able to appreciate it-this outfit proves to me that her style doesn't automatically equal ugly and occasionally, she can make it work.

(L-R: Leona Lewis, Colton Haynes, Dita von Teese)

Elton John’s Oscars afterparty being the less exciting of the two big ones in terms of fashion-the other being the Vanity Fair afterparty which I’ll cover in a moment-I thought I’d whizz through it (posturing aside though, I bet Sir Elton’s party was a lot more fun).

(L-R: Chiara Ferragni, Donatella Versace, Bella Thorne)

This is a big statement considering Alexa Demie attended, but I think Chiara’s outfit and overall styling might be my favourite of the partygoers; if they decided to do a live action Barbie film in 2020 minus the PG ratio-because lets be real, she’d be a noughties Paris Hilton type and get up to some SHENANIGANS-this is the look that would become iconic.

(L-R: Ashley Greene in Off-White, Alexa Demie, Sydney Sweeney, Annalynne McCord)

It was a hard decision to make though: I’m just as into Sydney Sweeney’s interpretation of burlesque come 1950s red carpet Barbie, Ashley Greene’s surprisingly delicate Off-White number, and Alexa’s dress and (as always) impeccable styling. That being said, Chiara’s clearest contender here for the best dressed of the night is Annalynne McCord. I know I'm one to throw similes around but she looks like an ACTUAL Disney princess-the dress is magical and an absolutely flawless fit. She carries it with such grace. I'm truly in love.

(L-R: Tessa Thompson in Versace, Vanessa Hudgens in Vera Wang, SZA)

As for the Vanity Fair Oscars afterparty, there were SO many iconic moments this year. SZA was the definition of the fire emoji, Tessa Thompson’s throwback Versace was the mermaid’s take on BDSM fashion I never knew I need to see, and I’d die to turn up to my graduation ceremony (here’s hoping for a successful attempt at the old uni shebang this time, lol) looking as elegant and simultaneously extra as Vanessa Hudgens did in Vera Wang. I mean, this was before Vanessa went on her dumb Instagram live corona rant because she was upset she couldn’t go to Coachella and I still kinda lived for her, mostly because of moments like this. She’s always been the queen of channelling a more hedonistic, carefree era and this dress is the most refined example of that boho decadence yet. It sounds dramatic to say but the rich purple is such a bold choice considering it’s a a colour we rarely see on the red carpet but now I’ve seen eggplant coloured silk I need it, lol.

(L-R: Suki Waterhouse in Fendi, Lili Reinhart in Marc Jacobs, Lucy Boynton and Margaret Qualley in Chanel)

Then there was Suki, Lilly, Lucy and Margaret as well who all went full angel mode in some of my favourite runway looks of last summer’s haute couture week; Suki’s Fendi dress and Lili’s Marc Jacobs number were highlights of both their shows and there’s something even more magical about them both when the uniformity of the runway is removed. I also would go on about how much I love Lucy Boynton’s style for the millionth time but I think you get my point.

(L-R: Nicole Richie, Cynthia Erivo, Hunter Schafer, Billie Porter)

The more I look at the photos I saved from the Vanity Fair “red” carpet, the more I come to the firm conclusion that these looks are my favourite as a collective. Along with the elegance and sex appeal of the outfits above, we’ve got all these looks too which are so VIBRANT and fun and experimental. Billie Porter is absolutely majestic and continues his reign as the king of in-your-face, theatrical red carpet style, and Hunter and Cynthia look so radiant. Whilst Nicole’s look isn’t as colourful, she still brought drama with the satin gloves and the smoke lined eyes, and she is definitely ready to step on someone’s neck here.

(L-R: Halima Aden, Ella Balinska in Schiaparelli, Emma Roberts, Ciara)

(L-R: Kiki Layne in Michael Kors, Kim Kardashian in Alexander McQueen, Kylie Jenner in Ralph and Russo, Lashana Lynch in Michael Kors)

(L-R: Rowan Blanchard in Iris van Herpen, Rosie Huntington-Whiteley, Stella Maxwell, and Sarah Paulson with Holland Taylor)

I’ve got to say, it’s really cool to see Rowan Blanchard in Iris van Herpen too; it’s interesting that as far as I know, she and Joey King were the only ones to wear her this awards season, both being up and coming actresses. It would be a good choice for the brand, probably best known for its futuristic, conceptual aesthetic, to also focus its PR efforts on the young potential inheriting that future. Orrrr it could just be that Rowan, Joey and I have the same (good, lol) taste-not gonna lie, from my experience of stalking her instagram Rowan Blanchard does make some unique fashion choices and her feed is full of bold outfit inspiration.

(L-R: Adriana Lima in Ralph and Russo, Alessandra Ambrosio in Armani, Billie Eilish in Gucci, and Donatella Versace in Versace)

Then there’s Billie Eilish, who is really on another level. This is her second custom made baggy suit of the night, this time Gucci. IMAGINE. Chanel and Gucci making custom pieces to suit your very specific style. Again, though, I really like this; whilst it’s very clearly a Billie outfit, it’s got a level of sophistication, cohesiveness and glamour to it that takes it to that I can admire.

(L-R: Camila Mendes in Moschino, Barbara Palvin and Dylan Sprouse, and Chiara Ferragni)

Honestly, the Vanity Fair red carpet really belonged to young talent this year, and Camila Mendes in one of my favourite Moschino looks from the Picasso collection really seals it. She could’ve just gone for a basic pretty dress-this isn’t a natural choice-but she really does have the proud, regal look of a woman who knows some man is gonna paint her a portrait that will end up in a famous gallery one day.

One last thing before I move on, though. How the fuck does Chiara Ferragni get everywhere?! And by that I don’t mean how does she get invited, I had the shock of finding out this woman I followed on Instagram because I liked her outfits and thought she was pretty is a hugely successful businesswoman in Italy long ago. Power to her. She’s a big deal! I get it! I just mean, physically HOW? How do you hit Elton John’s party AND the Vanity Fair party in one night and look this good? God really does have favourites, huh. Well, I guess in this hypothetical scenario where I believe in him anyway.

The SAG Awards

(L-R: Dakota Fanning in Valentino, Kaitlyn Dever in Ralph Lauren, Scarlett Johansson in Armani, and Zoe Kravitz in Oscar de la Renta)

So, I kinda forgot the SAG awards existed and thought that my post was basically finished before I looked in my folder and saw the one dedicated to this ceremony. My initial reaction was like “oh, this is the shitty Oscars, right?” and I assumed the red carpet would be shit and that I could call it a night-it’s 3:30am, I wish I was calling it a night-but then I looked and saw that I had even more outfit photos saved in that folder than I did for my Oscar dedicated one. Because fuck, I want to to sleep, but the SAG awards had a surprisingly good turn out?! So maybe not as irrelevant a ceremony as I thought? Because Dakota Fanning turned up looking like some divine mythical being again, Scarlett Johansson pulled another incredible look out the bag, Zoe Kravitz was a modernised Audrey Hepburn, and Kaitlyn Dever read my comments about her dress being “timelessly pretty” and said “bitch, you really thought” before showing up looking hot as fuck. Truth be told, I think the SAG awards were first but in this universe where Kaitlyn Dever would pay any attention to my opinion of her outfit do we really care?

(L-R: America Ferrera, Andrew Scott in Azzaro Couture, Camila Mendes in Ralph and Russo, Caleb McLaughlin )

(L-R: Lupita Nyongo in Louis Vuitton, Lily Allen, Nathalie Emmanuel in Miu Miu, Cynthia Erivo in Schiaparelli)

See, I was going to make a comment above how I took back what I said about Camila Mendes not just going for pretty dresses (which I guess I just did here instead-JUST TO BE CLEAR SHE STILL LOOKS STUNNING) and then I uploaded the next photo set and got distracted by 2 things:

1. How weird it is that British legend Lily Allen, who does not get NEAR enough credit for her smart her songs were might I add, is dating David Harbour AKA. Hopper off Stranger Things!?

2. How mad I still am about Game of Thrones and how dirty the writers did Nathalie Emmanuel (and Emilia Clarke and Lena Heady and Nikolaj Coster-Waldau and basically everyone else on that show but that’s another story).

In this same universe where Kaitlyn Dever cares about my opinion can we make the issues I have in the last bullet point not exist? Please?

(L-R: Sophie Turner in Louis Vuitton, Renee Zellweger in Maison Margiela, Phoebe Waller-Bridge in Armani, and Renee Bargh)

(L-R: Gwendoline Christie in Rick Owens, Madeline Brewer in Monique Lhuillier, Kathryn Newton in Valentino, and Lili Reinhart in Miu Miu)

Finishing off the SAG looks, we’ve got the four above.

Once again, Kathryn Newton was Valentino’s blushing crown jewell; Allie Pressman hate aside, she really is the perfect dressing up doll for the brand. Fresh faced and poised, she has all the elegance and gentle femininity necessary to make floating down the runway as Valentino models do look natural, and Lili Reinhart did an equally good job being a Miu Miu girl. She makes that idiosyncratic cutesy-ness work, all the frills and fragility of a china tea set look easy where I’d just look like I’d been consumed by a charity shop doily. Madeline Brewer did a good job too, helping a Monique Lhuillier design pop in a way that it doesn’t usually. When your hair is bright red and your dress cerulean blue, coral tinted lipstick is a *ahem* choice, buuut in this case it paid off because the result is a look which demanded my attention-ML dresses are reliably pretty, however, they tend to be predictable. Madeline and her styling did a good job subverting that formula. To end the section, though, I feel it’s only fair to save my fave woman til last-probably one of the few people in the world that isn’t a Rick Owens model that can pull off his designs. Ofc, I’m talking about the queen that is Gwendoline Christie. If we’re talking embodying brands, she did justice like nobody else could to the spectacle of Owens’ formidable, out-of-this-world aesthetic. This is her version of the princess moment, and when you’re as striking as she is, nothing less would do.

At least my girl Brienne of Tarth is thriving<3

The Grammys

(L-R: Ariana Grande in Giambattista Valli, Cardi B in Mugler, and Pia Mia in Julien Macdonald)

TBH, like I said with the Brits, I never planned to do any music award ceremony red carpets, just because I feel like the fashion tends to be more geared towards a younger audience buuuut I’m kinda glad I changed because Ariana looks INCREDIBLE. MESMERISING. TRANSCENDENT. JFC. There’s a reason the photo of her on her Wiki page has been changed to one from this night and it’s because she looks absolutely exquisite, like some kind of moon goddess with an R&B touch which I suppose is kind of her brand? Sometimes I go kind of lukewarm on Giambattista Valli and forget how mystical but at the same time frothy and indulgent and all around luxurious the pieces can be. This is a cupcake of a dress and I want to eat it. Cardi B has become a bit of an unexpected fashion icon and Pia Mia looks as hot-party-girl as ever but I feel to put anyone next to Ariana in this dress seems harsh because she just completely stole the show and I don’t even know if she won any Grammys.

(L-R: Josephine Relli, Gwen Stefani, Jameela Jamil in Georges Chakra, and Chrissy Teigen in Yanina Couture)

Other than Ariana, I’m not gonna lie, there was nothing wildly exciting, BUT I did think there were some beautiful colours out on the runway-plus for all her occasionally bad takes I really like what Jameela Jamil stands for and her style has always been very quirky cool. The electric blue tiled effect with the black mesh underneath kinda reminds me of a peacock, and contrasts wonderfully with the carpet-it’s very reminiscent of her T4 days. She’s one of those people that seems to get aggression directed at her that’s completely disproportionate to whatever it is she’s supposed to have done; sometimes the way she goes about saying things is wrong but the intention behind what she’s saying is usually good. Then again, the internet still despises Chrissy Teigen (in a way that’s kind of excessive considering what we seem to collectively let some people get away with) for a dumb AirPods tweet and I’ve included her too. THIS IS NOT A POLITICAL STATEMENT, this time anyway. I just think she looks good!

If I’m going to get controversial about anything, it’ll be Gwen Stefani. She looks stunning, the dress is stunning, and the boots are stunning. The outfit is not my problem! My problem is how she seems not to have aged at all. This woman is 50 years old! That she drank the blood of her Harajuku girls is the only explanation here. Can you imagine if she tried to pull that shit today? She’d get rightly accused of being a culturally appropriating weeb in about 10 seconds flat and we’d have to pretend to stop liking Cool and Hollaback Girl.

(L-R: Finneas O’Connell in Gucci, Lucky Daye, and Shaun Ross)

(L-R: Tess Holliday, Dua Lipa in Alexander Wang, Tyler the Creator, and Grace Elizabeth in Giuseppe di Morabito)

Back to what I’m supposed to be talking about in this blog post: the fashion. And here, most importantly, Tyler the Creator looking like a cast member of the Grand Budapest Hotel. IDK why. But I love this man.

(L-R: Lil Nas X in Versace, Lizzo in Versace, and Shawn Mendes in Louis Vuitton)

(L-R: Billie Porter, FKA Twigs in Ed Marler, and Swae Lee in Giuseppe Zanotti)

See in general, the men were a lot more interesting on the Grammys red carpet. With the exception of Twigs, Dua and obviously Ariana, the men’s outfits are a lot more memorable; Billie Porter became the most fashionable meme on the internet, for god’s sake. And even when their outfits weren’t extravagant, they were just more interesting, imo, which is a rare occurrence. I didn’t expect Finneas O’Connell to be the writing half of Billie Eilish (the other half being Billie herself) I cared about and yet, in that Gucci blazer, here we are.

(L-R: Jessie J, Hailee Steinfeld, and Madison Beer)

(L-R: H.E.R, Usher, FKA Twigs, and Matt Shultz)

Of the afterparty looks, my favourites are what we can see of these more casual outfits-I love what F.K.A Twigs and H.E.R are wearing, the headscarf with the leatherjacket on top is in particular very throwback rockabilly, and I’m even into whatever it is Usher’s got on.

(L-R: Olivia O’Brien, Amine, and Alrissa)

(L-R: Salem Mitchell, Machine Gun Kelly, and Sydney Sweeney)

Now, how to round this all up!? How to relate the confusingly persistent but very welcome presence of Sydney Sweeney on, like, ALL these red carpets back to the MET!?

IDEK. It’s been a long year.

The Met Gala has usually come and gone before we know it, but with everything going on, it’s been the longest January-May I think most of us have ever known. I keep going on about COVID-19 in all my posts now but I have almost forgotten how to write an intro and outro because the pandemic is pretty much consistently on the brain and unless I have something right in front of me to use as a distraction, my mind tends to wander off into a very anxious place. I think, like many others, I feel frustrated and disappointed and angry with the way the situation is being handled by the people who are supposed to protect their citizens, and by how much of a fight some are putting up against measures that are in place to try and save lives. The point of this ramble, I guess, is that whilst we should never forget what’s going on and do the best we can to help prevent the spread of the virus, it’s okay to still care about mundane shit. Was this post one big long distraction for me? Probably. But if there’s something harmless you can do to keep your anxiety at bay, don’t feel bad for doing it. Contrary to popular belief, you can care about more than one thing at once. You can be sad that something you were looking forward to has been cancelled whilst still being sad for the people who are suffering because they’ve lost love ones or who have been forced into precarious living conditions. If talking about clothes on the internet is going to help you get through this pandemic, power to you.

If anyone has read til the end, thank you! I hope you are well! As always, feel free to reply to the post or inbox me with your thoughts! It doesn’t even have to be related to this post. If you’re struggling with everything going on, feel free to reach out too. I spend too much time on the internet anyway, lol! My plans are to finish my fashion week reviews and then I have a Lana Del Rey albums inspired lookbook which I pinched off the stans on Twitter (who I will of course credit when I write it!). For the time being, look after yourselves!

Lauren x

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thesunnyshow · 4 years

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EPISODE 11 BONUS ROUND: K-POP

What groups do you stan?

NCT, BTS, Seventeen, SKZ, EXO

Who are your biases?

Haechan (ult), Jeno, Jimin, S.coups, Hyunjin, Baekhyun

If you could do one activity with your ult, what would it be?

Take him out for food.. or he takes me out i hear he knows a lot of good places!

Why do you think people love idols and their stories so much?

The entertainment material they put out to the public for consuming is full of different ideas, artistic styles and aesthetic choices for people to appreciate. visuals and performance aspects are a highly important factor in the industry and it makes sense that people favour these public figures and invest time and money into supporting them, and that’s how the industry works. The reason why I think people are drawn to these idols is because they provide a means by which we can escape our reality and smile at them, laugh with them, cry with them and ultimately feel something. Their music can lift our spirits even when we’re down in the dumps, or we can relate to their sadder songs and express our emotions through listening to music. We commit to following and supporting these groups because we feel something. The stories about them allow us to imagine a world in which that relationship was personal, perhaps look into another universe in which they could have met, have loved, have died together, and so on.

Where do you think the line between fantasy and reality should be drawn?

I know it is concerning if people cannot distinguish from their fantasies and reality. Integrating these fantasies with their thought patterns in real life can have detrimental consequences and we’ve seen that through the actions of sasaengs. That being said, I can’t blame people who say, “I want to marry them!” because yes! I have also said that too. I’ve lamented with my friends about how my standards have shot up because of kpop and the people I see on screen. But I understand that there is only, even if there was, a miniscule chance that that could possibly happen in this lifetime, given our respective situations and settings. In my opinion, the line should be drawn where people say “I want to marry you!” and instead, a better thing to say would be “I want to marry someone like you!” I’m sure idols themselves have mixed feelings about when fans say how much they want to date them, and how much they want to marry them, etc. and I’m sure a good portion of them would feel uncomfortable about it and some even say it upright: “no”. We have to understand that they’re human too, and even if we didn’t exist in their life, they would still be able to live on without us. Going against their own choices (especially romantic ones) seems hardly supportive of them as people. Nothing creeps me out more than when fans act like they own their faves and I can’t see whether or not they’re joking.

What would you do if you met your bias in real life?

If I met Haechan, I’d tell him that i envy his life performing onstage and the way he’s able to bring so many people joy and happy memories, and that me having the pleasure of sharing my youth with his presence is enough for me. I’d thank him for doing what he does. That I hope his own sacrifices paid off and he realises the rewarding aspects of his job. That his relationships with his members are so nice to see, that he’s amazing at what he does and no matter what choice he makes, there will always be people behind him, ready to support. I’d tell him that I’ve heard from my friends that he reminds them of me, laugh about how my sister called me the female version of Haechan. I might make a joke that I must have committed a terrible crime in my past life to have been condemned to admiring him from afar. I’d ask for a hug, because he always looks ready to give someone a good hug.

Is there a need for reform in the industry?

Yes, definitely. lots of problems arise with the idols’ health and the extents to which fans can overstep the line between what’s acceptable and what’s absolutely outrageous. Stereotypes need to be erased, viewpoints need to change, prejudices against people need to be proved wrong, double-standards need to be addressed and corrected and health needs to be the focus in many, many cases, both mental and physical. The systems in place need to be reevaluated with these in mind and people need to realise that the material they consume is for entertainment, not necessarily an extension of their own social life.

If you could be a K-pop star, would you?

I’m aware that not everything there is meets the eye. Companies can screw you over, fellow trainees can screw you over, your own bandmates can screw you over, fans can turn the other way in a heartbeat and you could lose everything — but for me, the stage and the arts are what I live for. There is nothing like being able to perform and represent my country and the messages I want to deliver to anyone listening. And kpop in this sense, I think is an effective medium to do that. Especially since kpop is becoming a worldwide phenomenon, a global audience would be an amazing opportunity to share my expressions of art and music. So yes, given that I receive the opportunity and take part in the production and creative choices to an extent, that’d be my dream.

What would you do if you found out that [insert idol here] had read [this] fic about them?

Honestly, if they read any of my works, I’d probably laugh. That’s probably it. depends whether they liked it or not, if they agreed that that’s what they’d do in that situation. If they ask me why I think they’d do that, I’d tell them that it’s the human instinct. I could picture it in my head. Ask them if it made them feel anything. Maybe jokingly ask them if they’d like to act it out in a film I direct.

Why did you choose to write for a real person vs. a fictional one?

I think I’ve answered this a little in my previous answers, but in a nutshell, I write about these people because they’ve given us enough content to allow me to guess what their reactions would be in a certain setting. I try my best to keep their personalities consistent but also to get inspiration for new dialogue and actions that someone might do given that they were born into that particular universe.

Has K-Pop changed your life in any major way?

Yes, in a sense that I’ve been introduced to a world of new music and fresh concepts and the underlying social/cultural implications of my own culture and people; but I also believe that it was inevitable for me personally, as a Korean living in a time like this, in which I find national pride in our culture which includes modern music and sources of entertainment as well as traditional instruments and art forms. But yes, being exposed to the industry made me realise how much I love performing, and that I pride my creativity above most.

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owenshire · 4 years

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Robert Muhlbock (virtually) Inducts Nine Inch Nails into the Rock and Roll Hall of Fame 2020

Nine Inch Nails. One band, and often one man, with a computer (and guitar) against the world. Oh yes, Nine Inch Nails have added members for live performances and gained members (well, a member) for studio compositions, but from this “band-like-musical-entity’s” earliest days, it was just one person—one person who combined pop-hooks with industrial whirs, and harrowing rage with uncomfortable vulnerability. And his name is Trent Reznor.

No one should claim that Nine Inch Nails invented a genre. They didn’t. But they sure as hell popularized and perfected it. Electronic, Industrial, ‘Disco Death Metal’—whatever you want to call it, the labels don’t really matter. In fact, I think the genre should just be called “sounds like Nine Inch Nails” which is compliment enough on its own, right?

Nine Inch Nails are one of the most important, vital, inspirational, talented, and unique of musical artists. I love them. And now I’m going to tell you why…in a lengthy video essay, so settle in. And if you don’t have the fandom or attention span for what I’m about to say, go back to consuming shitty tweets and dumbfuck Instagram posts because you’re not wanted here anyway.

_______________________________

My first introduction to NIN began like so many others: by catching the iconic video for “Head Like A Hole” on MTV—the band rocking out amidst electrical wires and magnetic tape, until it seemed like the entire writhing mess would consume them whole. It’s an image as potent today as it was some 30 years ago.

However, my real introduction to NIN was originally steeped in urban legend. I was in grade 10 and I heard Pretty Hate Machine played on my school bus on the way home. The owner of this cassette tape, a “cool girl” who shall remain nameless, told me that the album was “out of print” and “unavailable.” In short, she assured me that I would never be able to find a copy, but, guess what, I did.

In a trade with former MMA coach Shawn Tompkins—and in my grade 10 art class no less—I swapped two ninja stars for a box of his old cassette tapes, and Pretty Hate Machine was one of them. This was my own NINJA moment, if you will—does anyone get that reference—anyway, upon witnessing said trade some random guy in my art class immediately offered me $25 for the Pretty Hate Machine cassette tape—a king’s ransom in 1990—but of course I wouldn’t sell. I knew it was valuable—and in more than one way. Instead I played the hell out of the cassette in my Walkman. I was 14 years old. “Terrible Lie” was my favourite song from the album. And it still is.

And then—poof—like that, NIN dropped out of my life. Where’d they go? Well, I guess they were making a name for themselves during Lollapalooza 1991, white chalk dust and all. Not that I knew any of this. Pre-internet I had no idea what was going on. In fact, I wouldn’t hear any new NIN music until almost a full year later when one of my friends with a penchant for industrial music introduced me to the Broken EP. As he handed me his CD for borrowing, he warned me that it was “pretty extreme.” And he was right. The Broken EP is why album warning stickers were invented: it was a fist to the face, a kick to the face—it was even an ass to the face.

Anyway, the Broken EP was my real introduction to the seemingly bottomless rage of NIN. When I heard Broken I was just starting to get into so-called “heavy” music, but nothing could have prepared me for the lyrical and musical brutality of “Wish.” While Reznor’s litany of profanity was extreme—at least to my sheltered 16 year old ears—what truly staggered me was the song’s main riff (you know the one I mean) the one that is so distorted, so disturbing, that it sounds like a guitar being burned alive while flailing in a wind tunnel.

I’d never heard anything like it before—it wasn’t cock-rock; it wasn’t fake satanic rage done for laughs, theatre or to impress--no. Instead it was the audio embodiment of complete destruction and utter despair. And 30 years later, it’s lost none of its power.

__________________________________

These same sentiments must be applied to The Downward Spiral, Nine Inch Nail’s career defining work that launched the band into mainstream success. Too often discussions of the record get bogged down by emphasis on “Hurt” or “Closer,” or, to some extent, “Heresy.”

Yes, “Hurt” is the perfect album closer and expression of pleading vulnerability, and, yes, “Closer” and “Heresy’s” choruses were brutally raw and shocking in 1994 (and, it should be said, still above average shocking in 2020), but I feel the album is best presented as a whole. This was the beginning of NIN’s discovery that (to paraphrase one rock critic) just as much tension can be generated with a whisper as with a scream.

Dynamics have always been a huge part of NIN’s’ sound, and The Downward Spiral stands as a defining moment. The album, as all of you know, begins with “Mr. Self Destruct” (well, that’s not entirely true—the album actually begins with the audio of what appears to be a man being beaten to death while submerged underwater)—but anyway, “Mr. Self Destruct” was as sonically astonishing to me as “Wish” was two years prior. As I listened to the verses of “Mr. Self Destruct” I kept asking myself “Is it supposed to sound like this? I can’t hear what he’s saying”—it was such a cacophony of meticulously detailed and layered noises, but of course not without substance or a melody: its quiet refrain of “And I control you” buried so deep in the mix, it mirrored the subconscious itself.

“Mr. Self Destruct” gives way to “Piggy”—again a haunting track that’s almost tender and such a shock in sequence given the song that preceded it. Again. Dynamics. Surprise. Making the atypical typical in the best non-traditional way. Does that make any sense? Anyway, I felt the same way about the mini-piano solo/ lyric pairing of “now doesn’t it make you feel better” before the dramatic pause in “March Of The Pigs”—I don’t think any of us saw THAT coming. I was literally shocked when that phrasing appeared out of no where, emerging like a tiny ironic rainbow out of the whirlwind of thrashing drums, crazy guitars, and “stains like blood on your teeth” screams the preceded it.

Speaking of screams, the title-track of The Downward Spiral still stands as a monument to vulnerability, despair, and pure abject horror. It’s the only song I’ve ever heard that I am afraid to listen to. When I listen to The Downward Spiral, I wait for the song the way a child hides behind a blanket awaiting glimpses of a film monster: I know it’s coming, and I know it’s going to be horrifying…and it always is. So why do I subject myself to it?

______________________

That’s a fair question. Let��s be frank here: Nine Inch Nails isn’t for everyone. It takes a certain personality to fully appreciate the band’s complete package of black, blue, and bleeding, “but you can dance to it!” Still, NIN is more than mere nihilism and hopelessness. Those who label the band in such ways, kind of miss the point. To me, NIN has always been—lyrically at least—about catharsis: I suppose ALL music functions as such—a tool of understanding, and a mechanism for coping. Trent Reznor once commented on the vulnerability of his lyrics, saying in an interview with NPR that his topic of choice was less about vanity than it was about delivering a performance with honesty and integrity. The only topic that mattered—his emotional struggle—was the only subject he could speak about with authority and with conviction.

However, it just so happens to be a struggle that millions of other people share. When Trent Reznor sings “Now you know/ this is what it feels like” on The Fragile’s “The Wretched,” he is inviting his audience to share in his pain. Whether he intended it this way or not, his is a gesture borne or isolation but ending in comradery: many of us certainly know what “this” “feels like.” And many, many more of us can certainly relate to the words “Dear World, I can hardly recognize you anymore.”

In short, Trent Reznor’s lyrics, as personal as they are, speak for us: his fans. He speaks for me. He still does.

Interestingly, themes consistent in NIN’s best work offer a type of almost emotional ambivalence: caring, but not caring; wanting to be helped, yet rejecting help; and most importantly, wanting to be alone, yet desperately wishing to connect with others. The songs “We’re In This Together” and “The Fragile” perfectly illustrate these sentiments. To me, it is no coincidence they are sequenced side by side on the “some-critics-didn’t-like-it-at-the-time-but-have-since-come-to-their-senses-album” The Fragile.

_________________

Musically, however, NIN is best known for three distinct styles of music: computer chaos, groovy beats, and symphonic soundscapes. I’ve touched on the first—and will return to it—but for now, let’s discuss the second. I’m not a huge fan of the term “death-disco”; however, NIN’s long list of ass-shaking beats, should not be overlooked. What began on Pretty Hate Machine with “Sin” and “The Only Time,” pleasantly resurface on “Into The Void” only to be perfected on “The Hand That Feeds,” “Only” “Capital G,” and “Discipline” not to mention a large portion of Hesitation Marks.

But back to computer chaos—or maybe just chaos in general. I can think of no better example to illustrate my point than the final coda to the song “The Great Destroyer” on the fabulous dystopian opus Year Zero—one of my favourite albums of all time: the sound of things falling apart—wires frayed, systems destroyed, screens cracked: static humming and ‘please stand by’ messages flicking forever. The Eater of Dreams. “All we ever were—just zeros and ones.”

____________________

The final cornerstone of NIN’s musical contribution is soundscapes and instrumentals, and what a can of worms THAT is given all that’s transpired since 2011. Anyway, when The Fragile was released in 1999, more than a few fans bemoaned its inclusion of no less than 7 instrumentals, and yet these contributions have always been a signature addition to NIN’s body of work: from “pinion,” “help me I am in hell,” “a warm place,” the deeply personal “La Mer,” to Ghosts I through VI, NIN’s experiments with sound have always been integral to their songwriting process—a willingness to experiment and a love of discovery which surprisingly, yet somewhat inevitably, lead to NIN’s work in soundtracks. Beginning somewhat inadvertently with Tony Scott’s Man On Fire (look it up), and then deliberately on the video game Quake, this creative direction eventually resulted in (as we all know) various Oscar and Emmy nominations and wins for Trent Reznor and Atticus Ross, and yeah, while technically not “Nine Inch Nails” releases, I think we can all agree it’s hard to separate the two sometimes because as we all know, the line begins to blur, amiright?

The point is this: Nine Inch Nails were and are no strangers to pushing boundaries musically, visually, and artistically. Some defining unconventional moments in the band’s career to me are as follows:

· The 97 one-second tracks on the Broken EP before its final two songs; the infamous Broken film itself—a movie I found on a bootlegged VHS tape and rented for a mere 1 dollar at the time—and then proceeded to wish that I never did.

· Moving on, there is of course the band’s seminal 1994 Woodstock performance, where the musicians arrived on stage in a foggy haze, caked head to toe in mud, and bringing the apocalypse with them;

· Next we have the Alternate Reality Game developed around the release of Year Zero,

· There was the free download of The Slip; and the free downloads of Ghosts V and VI some years later

· Who could also forget about the NINREMIX website where fans were invited to remix the band’s songs and post them for all to enjoy, and copyright be damned.

· Um, there was also that time they said “a heartfelt fuck you” to the Grammy’s.

· And finally we have Nine Inch Nail’s unexpected live appearance on the rather toned down Austin City Limits.

And the list goes on. Trent Reznor once explained such actions in the most self-aware terms possible: he likes pushing himself (as well as his fans) out of comfort zones, to flirt with mainstream conventions but to approach and execute them as only Nine Inch Nails can: with integrity and—to borrow Trent’s appraisal of the late David Bowie—“uncompromising vision.”

_______________________________

Speaking of integrity and uncompromising vision, NIN’s humility is one of the band’s most inspiring and endearing characteristics. In Reznor’s case, we’re talking about an accomplished artist who admitted publically that he still feels he has so much to learn about his craft—that he’s barely scratched the surface regarding his mastery of sound and songwriting; a man that mocked his own starry eyed expression upon receiving an Oscar by pairing it with the caption “I see unicorns” and inviting fans to provide similar self-deprecating taglines. A man who speaks in measured tones about his opportunities and successes in his life—and does so, repeatedly I might add, quietly, humbly, and gratefully.

Such self-awareness is extremely rare in show-business let alone by a band that’s achieved as much as Nine Inch Nails.

And guess what? Here’s the thing. I think there’s no stopping them. With Nine Inch Nails—particularly, Trent and Atticus no matter what they call themselves and until they are inducted into the IHOR as solo artists, anything’s possible:

· Scoring a children’s movie? The upcoming Pixar film Soul? Why not? Let’s have some more. Give me a children’s album!

· Creating a vintage jazz ballad (the unparalleled “The Way It Used to Be”) in a week and making it indistinguishable from other songs of the era? Of course!

· Winning a Tony Award to become part of the EGOT club—I say sure. In fact, prediction: before the end of the world (so basically, in about 30 years) Nine Inch Nails will get an EGOT. There. Prove me wrong.

______________________

In 1997 Spin Magazine once hailed Trent Reznor as “the most vital artist in music today,” while in that same year Trent Reznor appeared on Time Magazine’s list of the top 25 most influential Americans.

These accolades were well earned; however, I prefer a statement made by some music magazine critic whose name escapes me in their review of a Nine Inch Nails album whose name also escapes me: they said, “we can only hope something else pisses him off,” sentiments which I’m sure are echoed by many, and to which I reply…there seems to be no worry about that.

____________________

Nine Inch Nails encompass a facet of popular art that is as necessary as it is compulsory: they remind us that the world is not pleasant; tragedy is inevitable; the game is rigged; faith is a lie; and everyone you know will abandon or disappoint you.

But guess what? If you’re lucky, the way out is through, motherfuckers.

I am honoured to induct Nine Inch Nails into the Rock and Roll Hall of Fame.

#trent reznor #Robert Muhlbock #Owenshire #Nine Inch Nails #Rock and Roll Hall of Fame #Rock Hall 2020 #The Fragile #Year Zero #Pretty Hate Machine #Broken #Hesitation Marks #The Downward Spiral

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tigerkirby215 · 4 years

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5e Tianhuo the Fire of Huoshan build (Them’s Fightin’ Herds)

(Artwork by Mane 6)

看最長的龍馬！

In my attempt to branch out from making nothing but League of Legends builds here’s a character from Them’s Fightin’ Herds! The Fighting is Magic project is something I followed for quite awhile and I was quite happy to back their IndieGoGo. (You can find my name in the credits!) While I’m personally not that great at fighting games TFH is a lot of fun and is rather welcoming to newcomers with several features to move it away from the traditional elite crowd that fighting games draw in.

Personally I’m a garbage Tian spammer who has no idea how to combo or do anything. (Occasionally play Papi and do want to learn Oli someday. Warlock Unicorn uwu) Tian has a fun rushdown style and focuses on aerial combos which as a garbage Bella / Beo spammer in Skullgirls really tickles my fancy.

GOALS

拳頭格鬥遊戲 - Them’s Fightin’ Herds is a game of hoof-to-hoof combat. Tianhou needs to punch, kick, and flip with the best of them.

龍的火焰 - The longmas of Huoshan channel the dragon’s fire magic into every strike. I mean, how else could you tolerate living on a volcano?

龍的飛行 - With wings of flame we’ll need to be able to take off in combat.

RACE

There are two directions we can go for the race: Centaur or Dragonborn.

Centaurs are interesting if you want to channel more of the horse aspect of Tian. You get a plus two to Strength and a plus one to Wisdom, but notably you start with 40 feet of movement putting you 10 feet ahead of everyone else. You also count as a Fey instead of Humanoid which does have some interesting interactions with spells like Hold Person. But as a Centaur you get the Charge feature which lets you make an unarmed strike with your hooves after making a weapon attack, and your Hooves do damage equal to a d4 plus your strength modifier. However full disclosure we won’t need that extra attack for this build, and your Equine Build affecting your climbing speed isn’t that useful either. You do get extra skills from Survivor however but seeing as we won’t be using Centaur I’ll talk about our other option:

Dragonborn! Dragonborn are much easier to summarize than Centaurs and are going to be our race of choice. You get a +2 increase to Strength and a +1 to Charisma along with a choice of Draconic Ancestry. Your ancestry of choice will determine your Damage Resistance as well as the damage type and shape of your Breath Weapon. For maximum fire damage choose either Brass, Red, or Gold depending on what size of breath weapon you want. I personally opted for Gold as gold is good luck in Chinese mythology. But most importantly Dragonborn won’t immediately label you as the guy playing their MLP OC at the table... it’s not an OC dammit!

ABILITY SCORES

15; DEXTERITY - You move so fast your hair is literally on fire!

14; WISDOM - “The wise are like a river; they go forward and upward, never backward or downward.” ― Matshona Dhliwayo

13; CHARISMA - You need an intimidating face to bring your soldiers in line. Charisma is also a requirement to multiclass.

12; CONSTITUTION - To fight with an ice-slinging diva, occultist unicorn, or crazy love-bug alpaca you need to be able to take a hit.

10; INTELLIGENCE - To study the art of war you need to be smart. As a general you follow the orders but you need to know why.

8; STRENGTH - While I wish this could be higher it’s unfortunately not too necessary for this build, but thankfully our racial bonus will increase this to a flat 10.

BACKGROUND

Your background is very straight forward for Tianhuo: you’re a Soldier. You get proficiency in Athletics and Intimidation as well as land vehicles and a gaming set: I’d opt for Three-Dragon Ante as it makes sense for a dragon soldier.

As a Soldier you get a Military Rank, meaning that soldiers in the Huoshan army defer to you. In addition you can influence other soldiers to provide aid, access to military encampments, or horses... to ride. That’s insulting!

(Artwork by Mane 6)

THE BUILD

LEVEL 1 - MONK 1

We’ll be starting off as Monk so we can kick as well as flip. You get proficiency in two Monk skills: Acrobatics are a must and for your second skill I’d opt for Insight so you can tell if your soldiers are lying to you. You also get proficiency in one Musical Instrument or Artisan’s Tool and of course we must go for Calligrapher's Supplies; the pen’s mightier than the sword and to master the pen makes you the mightiest of them all.

But as a Monk you get Unarmored Defense equal to 10 plus your Dexterity and Wisdom modifier. While Tian has been shown to wear armor it’s mostly for show, and she mainly fights with nothing but her scales to protect her. You also get Martial Arts which have a bunch of benefits:

You can wield Monk Weapons, including shortswords and any simple melee weapon that doesn’t have the heavy or two-handed property.

You can use Dexterity instead of Strength for the attack and damage rolls of your unarmed strikes and monk weapons.

You can roll a d4 for the damage of your unarmed strike or monk weapon.

When you Attack with an unarmed strike or a monk weapon you can make one unarmed strike as a bonus action.

As a Huoshan warrior you’d be trained to use a spear or a sword, but at the end of the day your weapon of choice is your two hooves... hands... being a horse in D&D is weird.

LEVEL 2 - MONK 2

Second level Monks get Ki points to use on a variety of combat techniques. Flurry of Blows lets you make two attacks with your bonus action instead of one, Patient Defense lets you take the dodge action as a bonus action, and Step of the Wind doubles your jump distance and lets you take the Dash or Disengage action on your turn as a bonus action.

In addition second level Monks get Unarmored Movement to move 10 feet faster if they’re not wearing armor or using a shield. You need to rush your opponents and never let up! Stop trying to hit me and hit me!

LEVEL 3 - MONK 3

Level 3 Monks get their Monastic Tradition and there are a lot of traditions to choose from for a fire horse-dragon: Four Elements, Kensei, Sun Soul... but the fighting style of choice for fighting characters would be Way of the Open Hand. Open Hand Monks get Open Hand Technique: when you hit an enemy with Flurry of Blows you can force a variety of effects on your target. You can either force a Dexterity saving throw or knock them prone, force a Strength saving throw or push them 15 feet away, or just make it so they can’t take reactions until the end of your next turn.

You also get Deflect Missiles which lets you reduce the damage of a ranged weapon attack by a d10 plus your Dexterity modifier and your Monk level. If you reduce the weapon’s attack to 0 you can spend a Ki point to throw it back at the enemy like a dart. Most of your opponents are blasting you with magic but that’s just because they know how pointless a bow would be. Burn up any projectile before kicking it back at them!

LEVEL 4 - MONK 4

At level 4 you can spread your wings of fire with Slow Fall, reducing any falling damage you take by 5 times your Monk level.

You also get an Ability Score Improvement or Feat and the Athlete feat will let you quickly get up if a cow causes an earthquake. Standing up only uses 5 feet of movement, climbing doesn't cost you extra movement, and you can make a running jump after moving only 5 feet. You can also increase either your Strength or Dexterity and of course we’ll be going for Dexterity for nice even numbers.

LEVEL 5 - MONK 5

5th level Monks get an Extra Attack, adding up to 3 attacks total or 4 attacks when you use Flurry of Blows. Speaking of attacks your Martial Arts die increases to a d6 at this level. But most notably you get Stunning Strike to start up some combos: when you hit a target with a melee weapon you can spend 1 ki point to force a Constitution saving throw or stun the target until the end of your next turn. Keep your enemies in hit stun and get that Ultra Combo!

(Artwork by Aegann on DeviantArt)

LEVEL 6

Now that we know how to fight it’s time to get our wings and learn how to fly. There are a lot of subclasses that can get the ability to fly: Sorcerers and Wizards can learn the Flight spell but get a bit too much magic for my liking, and while Artificers can make Winged Boots that requires a lot of level investment and Tian is hardly an inventor. I want a class that can provide powerful and consistent results, all with an infernal flair to keep us in the fight.

WARLOCK 1

Here’s a shocker huhn! You can rule the Warlock multiclass as a variety of things: the strength of your dragon mother, your allegiance to Huoshan... regardless you’re going to have to explain why you have a Fiend as your Otherworldly Patron. I have to remind everyone that the names of the classes are suggestions only! Feel free to roleplay them however you want.

Regardless: Fiend Warlocks get Dark One’s Blessing, granting them temporary hit points whenever they slay an enemy equal to their Charisma modifier plus their Warlock level.

You also get Pact Magic allowing you to cast some dragonfire! Prestidigitation will let you do a variety of small tricks including heating food and drinks with your fire breath or lightning candles with a puff of flame. And since this is a Warlock build you may as well take Eldritch Blast to fight at range - it’s more of Oleander’s thing yes but it’s not like you have much else to choose from.

You also get two spells of your choice at this level: Burning Hands from the Fiend list is a more potent dragonfire, and Hellish Rebuke will let you burn anyone that strikes you.

LEVEL 7 - WARLOCK 2

Second level Warlocks get Eldritch Invocations: Devil’s Sight will let you fight in the dark because Dragonborn don’t have Darkvision for some reason. Fiendish Vigor will give you a bit of added vitality to block some attacks during a fight. These are the choices I’d personally go for but there are a few other suggestions I can make:

Armor of Shadows will increase your AC by 1 at the moment since you only have +2 in your Wisdom.

Beguiling Influence will make you a master of social affairs, though Deception isn’t very in-character for you.

Agonizing Blast, Eldritch Sight, and Eyes of the Rune Keeper are all just generally useful.

You also learn another spell at this level and Hex will let you do an extra d6 of damage with every hit in your combo. Considering that as a Monk you can attack a total of 4 times per turn that’s a lot of damage!

LEVEL 8 - WARLOCK 3

Third level Warlocks get access to their Pact Boon, and seeing as Tian doesn’t use weapons or have a familiar we’ll of course be going for Pact of the Tome. You get three cantrips from any class’ spell list: Control Flames will allow you to channel your dragon lineage to do some funky fire magic, and while there are other fire spells (Firebolt / Produce Flame) they’re not nearly as useful for us so take Guidance to assist your soldiers and Thaumaturgy for the voice of a general. (As well as some more fire shenanigans.)

You also get access to second level spells and Scorching Ray will let you spread your wings to scorch three enemies within 120 feet of you.

LEVEL 9 - WARLOCK 4

4th level Warlocks get an Ability Score Improvement and you’re going to want to further increase your Dexterity for stronger strikes and tougher scales.

You also get another spell at this level but I’d hold off on it for now since we get some pretty good stuff at our next level. You do get another cantrip but truthfully you can grab just about anything and still remain in-flavor. I personally opted for Create Bonfire because it’s a fire.

LEVEL 10 - WARLOCK 5

First and foremost 5th level Warlocks get access to 3rd level spells and there’s two in particular we want: Fly gives a creature you touch (ideally yourself) a flying speed of 60 feet. Secondly Fireball... you know what this is. It’s Fireball. In D&D. Use Fireball and only Fireball; nothing but Fireball. Just Fireball. Just Fireball. Just Fireball. Jokes you can now fly and use your super! 闷烧踢燃烧风！ (Thanks to the TFH devs on their official Discord for giving me the kanji for Tian’s super.)

5th level Warlocks also get another Invocation. Cloak of Flies can be good for an immolation aura or if you want to straighten up your soldiers but feel free to take other options from earlier levels if you so desire. If your DM allows Unearthed Arcana the Class Feature Variants UA has a few options: Eldritch Mind can help compensate for your low Constitution so you don’t stop flying, and Far Scribe can be nice to keep in touch with your soldiers over long distances.

LEVEL 11 - WARLOCK 6

6th level Fiend Warlocks get Dark One’s Own Luck, letting them add a d10 to an ability check or saving throw. It’s called “luck” but you can contribute it to raw skill. You also get your last spell at this level and while I personally opted for Counterspell you can take just about anything. Truthfully all we’ll really be using is Fly and Fireball.

(Artwork by unousaya on DeviantArt)

LEVEL 12 - MONK 6

Straight through Monk now. Level 6 Monks get Ki-Empowered Strikes making their fists magical for the sake of overcoming resistances. Paprika’s wool might be able to absorb regular blows but they can’t absorb the flames of Huoshan! Your Unarmored Movement also increases to 15 feet, giving you 45 feet of movement total.

Open Hand Monks meanwhile get Wholeness of Body. You can take an action once per Long Rest to regain an amount of hitpoints equal to three times your Monk level. They can knock you down but they aren’t ready for Round 2!

LEVEL 13 - MONK 7

7th level Monks get Evasion: if you’re forced to make a Dexterity saving throw you only take half damage if you fail, and you take no damage if you succeed. Blocking is great and all but dodging is important to avoid chip damage! You also get Stillness of Mind letting you channel your inner dragon to remove an effect of Charming or Frightening on you as an action.

LEVEL 14 - MONK 8

8th level Monks get an Ability Score Improvement: cap off your Dexterity for swift strikes and expert evasion.

LEVEL 15 - MONK 9

Level 9 Monks get an Unarmored Movement Improvement letting them run across water or along walls as long as they end their turn on solid ground. Clearly this isn’t you running “across” the water or “along” the wall but rather you just gliding over them.

LEVEL 16 - MONK 10

Level 10 Monks get Purity of Body, making you as hearty as a horse and immune to Poison and Disease. Your Unarmored Movement also increases by 5 feet for +20 feet, or 50 feet total. Just a reminder that the Fly spell makes you move 60 feet per turn.

LEVEL 17 - MONK 11

Level 11 Open Hand Monks are affected by Tranquility, giving them the effects of the Sanctuary spell whenever they finish a long rest. Sanctuary does go away if you attack though, which by the way your Martial Arts die increases to a d8 at this level.

LEVEL 18 - MONK 12

12th level Monks get another Ability Score Improvement and you have a few options: Constitution will increase your health and the effectiveness of your fire breath as well as help you keep your concentration on Fly, Wisdom will increase your AC and make your Open Hand techniques / Stunning Strike harder to resist, and Charisma will let you roleplay the captain better and give you better attacks with your fire magic. And of course if none of those appeal to you feel free to take a Feat instead: this build is just a suggestion and you’re welcome to change it however you want.

LEVEL 19 - MONK 13

Level 13 Monks get Tongue of the Sun and Moon, allowing you to speak and understand all languages. I’m sure the translators have already localized you for every region: they certainly have China down!

LEVEL 20 - MONK 14

Level 14 Monks get our final Unarmored Movement increase, bringing your movement speed up to 55 total. Reminder that this is 5 under your speed if you cast Fly.

But more importantly you get Diamond Soul as your capstone, giving your proficiency in all saving throws! This is insanely useful for keeping your Concentration on Fly, and now your lowest saving throws should be a +6 while your highest saving throw (still Dexterity) is at a whopping +11! 鑽石堅不可摧！

FINAL BUILD

PROS

迅速的火焰 - You have an immense amount of mobility with 55 feet of movement that can go across water and along walls as well as the ability to quickly get on your feet and jump into the action. And if worse comes to worse you can fly!

四分之一圈沖床 - Unlike most Monks you have quite a few good ranged options, and even though you’re best in melee you’re not above some projectile spam like Velvet.

像馬一樣健康 - You have quite a bit of sturdiness to you. Good AC, proficiency in all saving throws, 9 Temporary Hitpoints whenever you strike an enemy down, and Wholeness of Body giving you a 42 HP pickup when needed.

CONS

冰很好 - All your damage is either bludgeoning or fire. Remember that you are allowed to take spells that are less roleplay-focused if you want to do better in the mirror match.

你一定是 MAD - The Warlock dip makes an already MAD (Multi-Ability Dependent) class even MADder. This build requires Dexterity, Wisdom, Charisma, and Constitution is also good to have. See if you can grab some Ioun Stones, stat tomes, or a better initial stat array; because damn you’ll need it.

英雄不孤單 - The truth is that while the Warlock dip is nice to throw Fireballs we really don’t need flight from the Fly spell. If you have an Artificer or a cool DM you can easily get either a pair of Winged Boots or the Wings of Flying to give you the flight speed. And even then as a Monk you truthfully have more than enough mobility to not need flight on top of it.

But self-sufficiency isn’t a weakness. Of course a general is nothing without an army, and while Foenum may rule one-on-one combat the rules are different in the forgotten realms. Command your troops and take the frontline to fight the predators back! Just know when to take a loss and call it quits: no one likes a salty dragon-horse.

(Artwork by kompy on DeviantArt)

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