Some thoughts on "Holy Cow":
I don't think it's specifically an issue with Holy Cow in a vacuum.
Instead, it's more about the massive increase in proliferation of "meme cards" and "joke cards", cards that make references to real life idioms, seek to break the 4th wall in some way, make puns or jokes that pander to everyone, naming cards after a ubiquitous a turn of phrase in pop culture, etc.
Sometimes it's cute and whimsical but when it misses, it can feel pretty cringe. I don't want my favorite game to have a bunch of cringe references which becomes a possibility when Magic makes dozens of "joke cards". It also makes the Magic world and universe feel less bespoke and more like a series of existing references.
For what it's worth, I think the Holy Cow reference would have been funnier if it weren't so obvious (i.e. design the card as is with the same art but name it something different).
Years ago, I made this card:
I love puns, so much so that I wove this one into the story (this was the Weatherlight Saga that Michael and I created). Very, very few players got it. (The pun is "squeeze toy", the squeezable rubber toy that makes noise when you squeeze it, like you would give a dog.) Every time I explain this, I get more people say, "I never got that."
I have nothing against the subtle joke now and then (and there are some pretty subtle jokes in the Un-sets), but I would rather do jokes that the majority of players get. If the trade of is some people roll their eyes and say "that's not my style of humor", but many others laugh and enjoy it, I'll gladly take that. A joke more people get is "funnier" in the aggregate.
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I've recently been watching these very interesting Star Wars video essays on YouTube (yeah I know, a rare breed) and it brings up these comments Lucas has made about how he views Star Wars as almost like a silent film in terms of how important the visuals are to him in comparison to the dialogue. But this essay also points out how important Lucas finds all of the "rhyming" moments in his trilogies and the way he utilizes them to remind you of something else for emotional or thematic reasons. And there's so many of them, both in visuals and in dialogue, and it's interesting to consider how important this is to him, the repetition for a purpose as well as the storytelling through visuals above everything else and then to look at Star Wars since the Prequels came out and realize how little has really been able to match up to those ideals since then.
The ONLY thing that's come out since the Prequels that I think really hits these two things the same way is, in fact, Andor. One of the things I noticed about the way people discussed Andor as it was airing in a way I haven't really seen for any of the other shows or films was the visual SYMBOLOGY. So many times I saw people noticing the Imperial cog everywhere, from the aerial shot of Narkina 5 as the prisoners escape to the architecture of Mon Mothma's house. There were people picking up on the use of items in Luthen's shop that are familiar from other things to give this idea that Luthen is from another time, he's attempting to preserve this world he lost, that if you're not looking closely enough you won't notice what he's really saying or doing with this shop. The color choices for the different locations and people got analyzed because the people involved spoke about how they intentionally utilized color to SEND A MESSAGE about the characters and the world. We know that the people who made the costumes and sets really worked hard to treat Star Wars almost like a period drama and study the history of the franchise as if it were a real place so that the things they came up with felt like they belonged in this world everyone knows so well even if it's completely new. And of course there were all of the myriad references to things from Rogue One, the constant repetition of "climb", the sunset on the beach, etc.
Nearly EVERY SHOT in this show was created with so much intention behind it in order to say something meaningful about the characters, the world, this specific story they're in, and the overall saga of Star Wars itself. It's insane how much greater impact this show was able to achieve through the incredibly careful usage of visual symbols and thematic repetitions, much like Lucas did before them. It feels like they didn't just study the history of the galaxy far far away, but they studied the history of STAR WARS and what Lucas was trying to do and say with this story. They peeled back his onion a bit more and were able to create something that really has that same visual feel even when it's not created for a child audience. It also is experimenting with its narrative style through its structure and through Cassian's character being allowed to be somewhat more reactive than proactive, and while that didn't work for everyone, it does feel like it's following in Lucas's footsteps of experimentation through Star Wars. Push the boundaries of what Star Wars is and can be and what you can say with it.
But this only works because they peeled the onion back enough to TRULY understand all of the messages Lucas was sending with it. They got the heart of Star Wars and despite its lack of space wizards, despite the lack of most major characters in the Saga, this was a show that honestly got the message more than just about anything else Star Wars has put out since the Prequels. The choices between selflessness and selfishness, the themes about how you always HAVE to make a choice even when it feels like you don't have any (sometimes ESPECIALLY when it feels like you don't have any), and how important it is to make sure to choose the path of compassion above everything else. The themes of connection to others, the symbiotic circle and the impact even the smallest person can have on world around them, it's RIGHT THERE and it's CENTRAL to Andor's storyline.
So yes, it experiments a little with narrative structure, but it's possibly the most Star Wars thing to exist Revenge of the Sith because it honestly truly GETS what Star Wars was about, both in its themes and in its filmmaking. A lot of people said that Andor didn't feel like Star Wars to them, usually because of the lack of space wizards and the fact that it's not a story aimed at children. But to me, Andor is EXACTLY what Star Wars is and has always been. They're stretching the boundaries of what Star Wars can be, but it's saying the exact same things Star Wars has always said, it's just saying it slightly differently. This doesn't feel like fanfiction to me, not really. Unlike things like the Mandoverse or the books, Andor isn't just taking some of the toys out of the sandbox and going to play with them somewhere else. Andor is IN that sandbox. It's building a slightly different sandcastle, but it's still within the sandbox, using the same sand that Lucas did.
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I want to talk about all the details I put into the Ties comic cause I worked on that thing for like a week and my brain likes to think about many things
Anyway, pspspsps I'm info dumping about my own designs gather round.
Notes for the character designs themselves
-The colours show if they are Red/Yellow/Green are different per character. Tango with bright colours, Skizz's are cool and dark, Impulses are more yellow, and Ethos are more desaturated.
-Not all characters in the Life Games will get colour indicators in their eyes, the fact 3/4 of the designs here have it is unimportant shut
-Impulse has a heart knot in his tie!! Look at it!!
-Impulse cannot tie a tie. Tango does it for him.
-Tango having his tie undone is his own choice
-The choice of them having/not having pupils is intentional.
-Etho only has the one on one side, maybe its cause the red eyes a little fucky in the vision, who knows though
-Impulse has i's in the eyes
-Skizz just straight up doesn't have em, but I normally don't draw pupils with that iris shape anyway. something something normally only draw that iris style with certain magical characters
-I just stopped drawing with Tango with iris' at some point, idk
-Skizz is designed as a fallen angel. that's why the halo's are all separated/broken, and why you can see darker feathers growing
-maybe Impulse used to help him dye them white cause of some insecurity, maybe not
-the lower his lives go, the less dark feathers are seen in his wings. like a cruel joke the watchers get a kick out of
-mullet Skizz MULLET SKIZZ!!!!!
-Etho is a sentimental mf /pos. they will keep and make a lot of patches for memory's and stuff. notable patches are, The NHO patch, a creeper cause of general Spazz, Canada flag cause Canadian /j, I normally add rainbow ones for the button saga of s7 but forgot to this time.
-the rings are from all their divorces /J
-the colours on the rings correlate to their owners (Bdubs, Cleo, Joel) lives. ie will be red if one of them is red kinda thing.
think that's the most of the design thoughts, now the Details in the comic itself,,,
-Skizz is the kinda mf who would fiddle//stim with random things in his hands. Many times its other peoples hands
-dude will just hold peoples hands randomly when talking to them, team Ties just got used to it
-That's why Etho took so long to notice the bracelet!
-their ass isn't phased by this kinda stuff anymore /hj
-Skizz just enjoys contact man let me be
-Throughout most of the comic Skizz has some sort of contact with Etho
-Tango and impulse also end up giving Etho bracelets as well
-All the bracelets Etho gets share their colour indicator + the colour form the person who made it!
-you can see the colours slowly shift when Skizz ties on the bracelet, something something the magic of the world does some shit sometimes man.
-Skizz taught Impulse how to make the bracelets, so they have similar styles, Skizz's is more of a simple braid style though.
-Tango went for something that took longer to do. it is a little scuffed /pos
-Ethos been getting their ass handed to them the episode before this, had to rightfully reflect that. you know? /j
-the Slashes across their chest where form when Gem/Cleo killed them twice in that one episode.
-The bite was originally supposed to be cause of Scars dogs. But someone in a reply made a joke about it, and frankly I think it'd be funnier if it was cause of Joel or some shit like they said.
-Had the axe as more of a battle-axe style. It was something Impulse made for Skizz (I forget who actually made it//Didn't want to go back to check)
-I like showing characters having specific styles/ways they make armor and tools.
-It's fun to show characters with tools and armor that can be distinctly seen as being made by another player
-That being an axe Impulse made adds more weight to the narrative of this moment and I want people to cry
-something something for Etho its a moment of taking a weapon that Impulse made to protect Skizz, and using that as the tool that finally kills him
-For Skizz this is a moment of his trust and care for his teammates. Being surrounded by people that he cares about and tokens that show their love for each other.
-Suffer, I could have been angstyier, and I will be actualy.
-Skizz is the one putting the axe to his own neck in this moment. Etho is putting as little force into it as they can.
-Red king parallels who-
-Etho also gets cut by the axe, something about sacrifice and how no life/time can truly be free in these life games
-The blood wasn't actually intended to be golden ichor, I was just lazy and didn't want to draw red blood// wanted to have the cool lighting effect
-Etho has the same colour in their blood too so, take it as you will
-I've had this comic planed since EPICODE ONE. had full intentions for it to go angsty in the end, and dam if the narrative didn't play right into my grubby little hands.
-I also just love how well I could parallel the moments in this comic. the comparison of the pages where both their faces are visible? the Joy in ethos face turning to complete anguish? the fact Skizz never stopped smiling?
the way both moments start with an outstretched hand, and end with Skizz still holding onto Etho in a moment of trust? beautiful
-all the pages in the second part of the comic were framed specifically so I could avoid drawing Skizz ass.
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Do you have any gothic novels that you can recommend off the top of your head? Especially to people who want to try their hand at the genre? I've hit a wall in my project and I need to get some fresh inspiration, but I don't know where to start and the book side of tumblr failed me the last time I tried asking them for recs
Hell yeah! I made some old posts for this a while back, but it's good to look at it again with my more recent taste! Let's see...
Classic Gothics
Dracula: The one, the only. Often imitated, never equalled.
Frankenstein: Short, sad and world changing! Can get a little slow at parts, but definitely worth it. (True story, my parents read this to me as a fetus to calm my kicking, so it's part of my personal mythology!)
The Case of Charles Dexter Ward: The most gothic of Lovecraft's work, and possibly my favorite. Novella length, usually found in collections.
The Picture of Dorian Gray: Sinister, sexy, philosophical, with a main character I want to punch in the face!
Carmilla: Another novella, about as lush and swooning as vampire stories get.
The Hound of the Baskervilles: A very readable gothic mystery.
Confessions of a Justified Sinner: This one isn't as action packed, but if you have big religious issues like me, it's incredibly haunting.
The Monk: Like the above, but sleazier and crazier!
Northanger Abbey: A gentle parody of early gothics, starring an adorable proto-goth girl.
The Italian: I'll be honest, I find Anne Radcliffe kind of a slog, but if you liked Northanger Abbey and want to read what Catherine Morland reads, this is probably the most accessible.
A Long Fatal Love Chase: This starts as campy and then takes a plunge into gut-wrenchingly intense. The book Jo March was always trying to write!
The Strange Case of Doctor Jekyll and Mr. Hyde: Another novella, and Stevenson is one of the best writers out there for excitement!
The Werewolf of Paris: Gothic monster as serial killer, still scary today.
Rebecca: The foundation of all gothic romance to come afterwards. A ghost story without a ghost, with an ending that's still debated as happy or sad!
Jane Eyre: The other foundation of all gothic romance to come afterwards. I bounced off the child abuse-heavy beginning a few times, but I'm very glad I finally read to the good stuff!
The Castle of Otranto: Considered the first gothic novel, a goofy b-movie in written form.
Modern-ish Gothics (post-1950 or so)
The Dark Descent of Elizabeth Frankenstein: Fuck the haters, I love this book.
Mexican Gothic: Genuinely scary, genuinely romantic, genuinely creative. A favorite.
Blackwater: A southern gothic saga of a family in a flooded town, whose scion marries a woman who isn't quite human. A whirlwind ride!
A Bloodsmoor Romance: Another family saga, this one northern gothic, with sisters whose lives all go off the rails in different supernatural ways. Give this a try before writing Joyce Carol Oates off entirely!
The Silver Devil: A nasty, problematic bodice ripper where you'll cheer for the heroine to bring the hero down low!
Interview with the Vampire: To be honest again, I'm not super into Anne Rice, but this is a page-turner, and every vampire book that has come after it has had to respond to it in one way or another. Read the next two Vampire Chronicles books if you like it!
A Taste of Blood Wine: My own preferred sexy vampire romance!
The Bloody Chamber: The ultimate dark sexy fairy tale work, accept no substitutes.
Haunted Castles: Contains the brilliant novella Sardonicus, as well as some other campy gothic stories!
A Great and Terrible Beauty: Many millennials were introduced to the gothic genre via this, Fear Street Sagas, or A Series of Unfortunate Events. This is my favorite of the three, though the sequels are a bit of a letdown.
Gormenghast: This series is a throwback to the pseudo-medieval, Otranto-style gothic, but much better. Don't read Titus Alone.
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