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#etho cant catch a break
avi-mation · 3 months
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-The first to fall-
Spoilers for Secret Life session 9 Etho’s POV
Cw: blood
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ethogirlsgogames · 1 year
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ETHOS ESTRANGED EX WIFE TELLING HIM HE SUCKS FROM BEYOND THE GRAVE HE CANT CATCH A BREAK
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strifesolution · 3 years
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so sorry if this exists and i just cant find it, but might you have a post or something similar where you list the specific songs you associate with each of the songs in your 3rd life playlist? i am listening to it right now and quite adore analyzing it, but i am curious about a fair few of the songs and what lens you viewed them with. you listed a couple on the playlist post reblogs, but i am not sure about the others.
ayy sorry this is a late reply, i kinda forgot to get around to it :P i know i talked about them somewhere but i’ll do a quick analysis. with some lazier than others. this got long lmao.
do it all the time - idkhow
where the playlist name comes from! now we're so young / but we're probably gonna die. it’s the vibes of getting stuck in a game you don’t want to play but embracing it anyway, and the selling lies/trust fund lines tie into the scamming themes
great vacation - dirt poor robins
this song is along the lines of a telling of the rapture. i associate with the idea of the 3L cast being taken from their home servers into a new world.
the other side - the greatest showmen 
desert duo. need i elaborate 
six feet - patent pending
a very 3L/LL song. ain't nobody coming when you make the call, cause every man's gunning for the first to fall // so it's left, right, left, down, the trail of the dead, and only six feet between me and catching my breath, only six feet between me and getting some rest. basically a hardcore minecraft song.
people i don’t like - upsahl
kinda associate this one with scott or etho specifically? but it’s the idea of disliking the players around you, ‘i’m surrounded by idiots who don’t know how to survive.’
it’s tough to be a god - the road to el dorado 
early session renchanting. ‘nuf said
i can’t decide - the scissor sisters
your classic villain song. pick your fancy of who you like it to fit
the fine print - the stupendium
this is a scar song.
bang! - ajr
session 4 lmao
nicknackatory - mr b
early renchanting, again
crazy=genius - patd
desert duo
revolution - queenpb
ren song ren song ren song. start a revolution and watch your body decay from head to toe / start a revolution, and laugh as you think that you have control. the arc of the red king’s fall into blood lust.
anti-hero - sekai no owari
an etho song, imo
cops and robbers - the hooisers
blame simon, 'cause he said, you've got two lives down and one life left / blame simon, 'cause he said, you could think better with a hole in your head
wolf in sheep’s clothing - set it off
joel song!
the ballad of sara berry - 35MM
scar as sara and ren as julie, or swapped, depending on who you wanna view as the villain in the series (these two are morally gray parallels, which is the point of them swapping places depending on perspective)
brutus - the buttress
power hungry red lives.
the wolf - siames
red life vibes, specifically ren or joel for obvious reasons
misery fell - tally hall
the denial of early game, where it was supposed to be cooperative, and their was still hope they’d survive...
business man - mother mother
scar, again. he’s the most common character across POVs, what do you want from me? :P
come along - cosmo sheldrake
mysterious new world with a magical energy that comes with it of the lives system and blood lust vibes
off with his head - jack conte
ren, ofc
curtain fall - area 11
A11 PROPAGANDA!!! there are some ways to win, the primal games we’re in // cling to me and my scars that prove it all, don’t let the curtain fall
those who carried on - ghost
a 3L into LL song. the players are unique entities that will continue to be reawakened to play the game again.
i’m gonna win - rob cantor
fun fact, i said this would be a grian song if he ended up winning long before the finale. i was very right. i'll be bloody and bruised, i'll be breaking my bones /  i'll be paying my dues, i'll be laughing alone
send them off! - bastille
ren and martyn because i love crying
terrible things - april smith
about the unreliable narrator phenomenon in the series.
from the ground up - laura shigihara
if you watch the music video for this song, it’s about a couple playing in a hardcore minecraft world, living for literal centuries in it, and choosing to play again once they die. still gives me chills.
viva la vida - coldplay
damn i wish fallen kingdom was on spotify, anyways, ren
solider poet king - the oh hellos
a classic. you know the deal
two birds - regina spektor
red/green duos
skulls - bastille 
when our lives are over and all that remains, are our skulls and bones, let's take it to the grave / and hold me in your arms, hold me in your arms, i'll be buried here with you / and I'll hold in these hands, all that remains
no children - the mountain goats
again, another one i don’t feel i need to explain.
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things2mustdo · 3 years
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When I ask myself what films in recent years have been my favorites, I find that the answers all seem to have a few things in common.  One, the movie must tell a compelling story; two, it must rise above its genre to make a larger statement about life or some universal idea; and three, it must be technically well made.  All great art—including film—can serve as a vehicle for the presentation of ideas, and the promotion of a certain virtue.  Although the mainstream American film industry has become more and more a sad repository of feminist cant and lowest-common-denominator commercial pandering, the foreign film world has undergone something of a renaissance in the past fifteen years.
The best films of France, Germany, Spain, and the UK are edgier, more intelligent, and more masculine than anything found in the US.  It was not always so.  But the work of great European directors like Jacques Audiard, Gaspar Noe, Nicolas Winding Refn, and Shane Meadows leaves little room for doubt that the true cutting-edge work is being done in Europe.  (Argentina deserves honorable mention here as having an excellent film industry).  The mainstream, corporate-driven US film industry has effectively smothered independent voices under an avalanche of political correctness, girl-power horseshit, chick-flickism, and mind-numbing CGI escapist dreck.
Movies that deal with masculine themes in a compelling way are not easy to come by these days.  Honest explorations of masculine virtues are repressed, marginalized, or trivialized.  One needs to scour the globe to cherry-pick the best here and there, and in some cases you have to go back decades in time.  Luckily, the availability of Netflix and other subscription services has made this task much easier than it used to be.  Access to the best cinema of Europe, South America, and Asia can be a great way for us to catch as glimpse at a foreign culture, as well as reflect on serious ideas.
I want to offer my recommendations on some films that I believe are an important part of the modern masculine experience, in all its wide variety and expression.  Out of the scores of possible choices, I decided to pick the handful of films that are perhaps not as well known to readers.  My opinions will not be shared by all.  I encourage readers to draw up their own lists of films dealing with masculine themes, and hope they will reflect on the reasons behind their choices.  Below are mine, in no particular order.  In italics is a brief plot synopsis, followed by my own comments.
1. Straw Dogs (1971).
A mild-mannered American academic (Dustin Hoffman) living in rural Cornwall with his beautiful wife becomes the target of harassment by the local toughs.  Things escalate to a sexual assault on his wife, and eventually to a brutal and protracted fight to the death when a local man takes refuge on their property.
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Dustin Hoffman reaches his breaking point in “Straw Dogs”
This is a classic example of the type of movie that could never be made today.  Arguably Sam Peckinpah’s most daring film, it contains a controversial rape scene that seems to leave open the question whether Hoffman’s wife (played by Susan George) was a victim or a willing participant.  Faced with his wife’s betrayal, and continuing harassment from local miscreants, Hoffman’s character finds himself completely isolated and must learn to stand his ground and fight.
A chance incident later in the film sets the stage for a blood-soaked confrontation which is as inevitable as it is necessary. Peckinpah presents a compelling case for the cathartic power of violence, and the achievement of masculine identity through man-on-man combat.  It is a theme I find myself strongly drawn to. Controversial, powerful, and unforgettable, Peckinpah proves himself an unapologetic and strident advocate of old-school martial virtue.  We would do well to listen.  His voice is sorely missed today.  (Note:  avoid the pathetic recent remake of this movie).  Honorable mention:  Peckinpah’s The Wild Bunch (1969) and Bring Head of Alfredo Garcia (1974).
2. Sorcerer (1977).
A group of international renegades find themselves down and out in Nicaragua, and volunteer for a job transporting unstable dynamite across the country to quell an oil rig fire.
Due to inept marketing when this movie was first released, it never achieved the credit it so fully deserved.  A motley group of international riff-raff (including the always appealing Roy Scheider) seeks redemption through a harrowing trial.  But will they get it?  Is it even desirable to escape one’s dark past?  The answers are complex, and director William Friedkin refuses to supply easy ones.  The characters in this film are doomed, and they know it, but they still hold true to their own code.  Which is itself honorable.  Consequences must be paid for everything we do in life, and often the price comes in a way never expect.  Dark, brooding, and humming with a pulse-pounding electronic score by Tangerine Dream, this film has deservedly become a cult classic.  The ending is a shocker you’ll never see coming.
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Roy Scheider undertakes the most perilous journey of his life in William Friedkin’s 1977 masterpiece “Sorcerer”
3.  The Lives of Others (2006).
A coldly efficient Stasi (East German security service) officer (Ulrich Muhe) is enlisted by a Communist party hack in a surveillance program against a supposed subversive writer and his girlfriend.  But monitoring the writer’s life awakens sparks of nascent humanity in the Stasi man, and he eventually must decide whether to follow orders and destroy the writer, or to sacrifice himself to save him.
This German masterpiece was made with great fidelity to the look and feel of 1980s East Germany, and the results are evident in every frame.  It belongs on any list of the greatest films ever made.  The masculine virtue here is of a different type than viewers may be used to:  it is a quiet, understated heroism, the type of heroism that probably happens every day but is hardly noticed.  There is no bragging here, no chest-beating, no big-mouthed bravado.  (In short, none of the wooden-headed caricatures that pass for masculinity in the US).  The ethic here is about love and self-sacrifice, the noblest and greatest virtues of all.
The ethos of self-sacrifice is now considered old-fashioned and almost a punch-line, but historically it was valued very highly.  It features in nearly all the old literary epics and dramas of Europe and Asia.  Actor Ulrich Muhe pulls off a minor miracle of characterization here with his portrayal of a Stasi man named Weisler, whose special wiretapping assignment against a playwright transforms him from heartless automaton into awe-inspiring hero.  The movie made me wonder just how many quiet, unassuming men there must be out there, whose toil, heroism, and sacrifice has never been, and never will be, acknowledged.  The ending is transcendently beautiful, and moving beyond words.
4.  Homicide  (1991).
A police detective (Joe Mantegna) is assigned to investigate a murder case.  The case awakens in him stirrings of his long-suppressed ethnic identity.  Unfortunately, he will eventually be forced to choose between conflicting loyalties.  And the consequences will be devastating.
No modern American director has probed the meaning of masculine identity more than David Mamet, and all of his films are meditations on themes related to illusion, reality, masculinity, and struggle.  Homicide, a nearly unknown gem from the early 1990s, is perhaps his profoundest.  Mamet knows that a man must make choices in his life, and for those choices, consequences must be paid.  And very often, we find ourselves derailed by the mental edifices we construct for ourselves.  The Mantegna character is led through a complex and increasingly ambiguous chain of events, only to find that at the heart of one mystery lies an even more inscrutable one.  Beware the things you seek.  You may not like what you find.
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Joe Mantegna deals with the fatal consequences of his decisions in David Mamet’s “Homicide”
5.  A Prophet (2009).
An Algerian Arab is incarcerated in a French jail, and is drawn into the savage world of Corsican gangsters.  Forced to kill or be killed, he is drawn into a pitiless world that recognizes only cunning and brutality.  He finds himself straddling two realities:  the world of his own nationality, and that of the Corsicans.  And to survive and emerge triumphant, he must learn to play all sides against each other.
This film must be counted among the greatest crime dramas ever made.  You simply can’t take your eyes off the screen.  The lesson here is that a man must learn to survive on his wits, and do whatever is necessary to stay alive.  The Corsican boss whom Al Djebena (Tahar Rahim) works for is just about the most malevolent presence in recent screen memory.  Part of France’s continuing internal dialogue about its immigrant population, A Prophet is not to be missed.
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Tahar Rahim learns a thing or two about Corsica in “A Prophet”
6.  The Beat That My Heart Skipped (2005).
An intense young man (Romain Duris) works for his father as a real estate shark in urban Paris.  His “job” consists of intimidating deadbeat immigrant tenants, vandalizing apartments, and forcibly collecting loans.  He also plays the piano.  Eventually, he is forced to decide which life he wants:  the path laid out by his shady father, or the idealistic path of his own choosing.  He’s seeking redemption, but will he find it?  And at what cost?
Again, we have here the themes of redemption and moral choice.  Romain Duris has a screen presence and intensity that rivals anything done by Pacino in his prime, and some of the scenes here are fantastic.  (His seduction of his friend’s wife, Aure Atika, is one of many great scenes).  All men will be confronted and tested by crises and situations beyond their control.  How they respond to those situations will define who they are as men.  Duris’s character proves that redemption can be achieved, if wanted badly enough.
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Romain Duris embodying screen intensity
7.  Red Belt (2008).
Martial arts instructor Mike Terry is forced, against his principles, to consider entering a prize bout.  He is abandoned and betrayed by his wife and friends, and must confront his challenges alone with only his code and his pride.
Another great meditation on masculine virtue and individualism by David Mamet.  In his own unique dialogue style, Mamet showcases his belief that, in the end, all men stand alone.  At the moment of truth, it is you, and only you, who will be staring into the abyss.  Our trials by fire will not come in the time and at the place of our own choosing.  But when they do come, a man must be prepared to hold his ground and fight his corner.  Watch for Brazilian actress Alice Braga in a supporting role here.  We hope to see more of her on American screens in the future.
8.  Fear X  (2003).
A repressed security guard (John Turturro) is searching for answers to who killed his wife.  His strange behavior and ticking time-bomb manner begin to alarm friends and co-workers.  One day he finds some information that may be a lead to solving the mystery.  This discovery sets him on the path to realization. Or does it?
I am a big fan of the films of Nicolas Winding Refn (The Pusher trilogy, and Valhalla Rising), and this one is perhaps his most penetrating examination of a wounded psyche.  It failed commercially when it first appeared, as many viewers were put off by his artistic flourishes and opaque ending.  For me, this film is the deepest study of grief and repressed rage ever committed to film.  All men will be confronted by tragedy, grief, and inexplicable loss during their lives.  How we handle it will define who we are.  The greatness of this film is that it explores Turturro’s claustrophobic, neurotic world in a deeply personal way, and at the same time suggests that he may actually be on to something.  This film covers the same philosophical ground as Francis Ford Coppola’s The Conversation, in that it hints at the ultimate ambiguity of all things.
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John Turturro confronts the unrelenting darkness of his own psyche in “Fear X”
If you are a Netflix subscriber and watch movies frequently, as I do, you may find it useful to keep a notebook near your television and jot down the titles of movies you see, and a few notes about what you liked or didn’t like.  You’d be surprised how much you can learn from movies.  There are just so many good and bad ones out there that having some system for keeping track of them will be time well spent.
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lord-hermod · 4 years
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I'm planning on starting watching Hermitcraft
But I'm only going to watch 1 perspective due to time restraints. So here’s my main requirements for who I’m going to choose to watch, and I will eliminate hermits according to these requirements until I figure out who I want to watch.
Warning this is long and you likely don’t care, and this is honestly kinda selfish of me to put it in the Hermitcraft tag but whatever here’s a page break
3 Main Standards: It cant be someone I’ve heard of outside of Hermitcraft, they have to upload between 2-5 times a week and should have between 30-40 episodes for s7 so far. I know these are strict standards, but they are what I want to see.
BdoubleO100 (BdoubleO100)
Cubfan135 (cubfan135)
Docm77 (docm77)
EthosLab (EthosLab)
FalseSymmetry (FalseSymmetry)
GoodTimesWithScar (GoodTimesWithScar)
Grian (Grian)
Hypnotizd (Hypnotizd)
iJevin (iJevin)
ImpulseSV (ImpulseSV)
Iskall85 (iskall85)
JoeHills (JoeHillsTSD)
Keralis (Keralis)
MumboJumbo (ThatMumboJumbo)
Rendog (ReNDoG)
StressMonster101 (Stressmonster101)
TangoTek (TangoTekLP)
TinFoilChef (Selif1)
VintageBeef (VintageBeef)
Welsknight (Welsknight Gaming)
xBCrafted (xBCrafted)
XisumaVoid (Xisumavoid)
ZedaphPlays (ZedaphPlays)
ZombieCleo (ZombieCleo)
This is the list and Immediately Grian, MumboJumbo, Etho, Xisumavoid and VintageBeef are eliminated for my knowledge of them outside of Hermitcraft stuff, Cubfan135, and Hypnotizd get a pass because I only know them from Hermitcraft things.
That leaves us with still quite the sizeable list. We can next eliminate BdoubleO100, Docm77, Goodtimeswithscar, Hypnotizd, Keralis, Rendog, StressMonster101, Tinfoilchef, Welsknight, and ZedaphPlays, for uploading an average of once a week, I’m sure they are quality Hermits, and make great stuff, but unfortunately the way I consume content doesn’t quite line up with that.
That leaves me with a list of
Cubfan135 (38)
FalseSymmetry (35)
iJevin (41)
ImpulseSV (36)
Iskall85 (36)
JoeHills (25)
TangoTek (38)
XBCrafted (63)
ZombieCleo (22)
Next to each of the remaining Hermits I have put the number of episodes that have been released upon the time of writing this on July 1, 2020. If you average those out you get 33ish episodes, if you remove the outlier XBCrafted you get an average of 30 episodes. To keep within the number of episodes I am willing to watch to catch up, I will eliminate iJevin, JoeHills, XBCrafted, and ZombieCleo.
I honestly didn't think there would be 5 Hermits remaining after those criteria. I guess I will spend the next day watching each of their first couple episodes of Hermitcraft 7 to see who I end up watching. Feel free to recommend one of them, or try and convince me to go back and watch one of the ones I skipped over for a possibly dumb reason!
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paige-richelle-blog · 5 years
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blog 3
My rhetorical analysis is going great, but its is still a work in process! The way I started this essay, was with a short and sweet introduction that basically just gave a very broad summary of the article. In the body of my essay, as of right now, i have included what style the author uses (cause and effect), the purpose and the audience and how they tie together, how he uses the intro to catch the readers eye, and the appeals. I am kind of struggling with the appeals. I pretty much have ethos covered, and I think i have a plan for pathos, but for logos I am kind of stuck. I know what logos is, and what to look for, but I just cant seem to find anything that really fits. Also, in my essay, I talked about how he uses a picture to catch the eye of the reader, and I included the picture into my essay. Is that okay? Do i need to cite it or anything? Other than that, I really like this essay. I feel like so far, writing this and breaking down the article that I chose, has went pretty smooth. I still plan on putting a paragraph about what i would do differently, and a paragraph about what i absolutely loved about the article. Finally I plan on concluding my essay by giving one last very broad overview and review of how he broke it down, and whether it worked in his favor, which it did!! 
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franchescajep-blog · 6 years
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Is Your Existing Refrigerator Operating Properly? Tips On Saving Energy In Your Cooking area.
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