Ive been a fan of final space since it came out.And when it was cancelled a few years back I was devestated.It may have been doofy and crude at times but that's what I loved about it.It could strike a balance that made it feel real,And made me cry at several times.
But my highlight of the entire show was the music.It always made you feel sad and meaning.It was beautiful.The space backgrounds were beautiful.Not just black backgrounds they had color and mystique
The songs i recommend the most are
"enter one" by sol seppy
"When the night is long" by shelby merry
This one can have two names depending on who you ask but "Mother/through the atmosphere" also by shelby merry
Shelby merry is an icon
Without A doubt I adore final space
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VERY RAMBLY BUT I think rose and martha are like the inverse of one another in terms of narrative, in that they both meet a doctor who is deeply deeply hurt, but the doctor interacts with them about it so differently, because of where they're at with that hurt, and the doctor is like "hey, I'm suave and vulnerable beneath the surface, which is quite attractive, want to travel in space and time in my whimsical timeship?" and they both go "oh heck yes!" and then it's like splintered glass from that point on, like martha lives in a funhouse mirror of rose's story -- up until she makes it her own of course and she does call the doctor out on it relatively early on, although rose continues to have that haunting effect
so rose has this bubble created around her that is perfect and unchangeable almost, in which nothing bad can ever happen (except for all the times it does but huuush, we'll be together forever forrealsies don't look at that big ol hurricane hurtling our way), which then inevitably bursts, but is always there-as-memory, because rose becomes something of an impossible ideal to some extent
and martha isn't protected at all, and has all the badness spilling out on her because the doctor is unable to contain any of it (and maybe is relieved to finally give up on being strong), and subsequently all of the promise of wonder has an air of sourness to it, and the doctor will always feel incredibly guilty about how it all ended
but crucially there's a lot they have in common, that is quite different to, say, donna (who is woven in in her own, interesting, way) -- they both become attracted to this powerful, interesting, and suuuper traumatised being, they're both taken along on a journey of promised wonders, they're both incredibly reliable to the point that the narrative is retroactively fitted around how much the doctor's belief-systems revolve around belief in their companions, with many others from the past given their dues (starting with sarah-jane), and they both do see wonders beyond their comprehension (and so does donna, but again, there's something a bit different there to poke at in another post...),
except where for rose this wonder helps her break out of the path that was set down for her and become who she always had the potential to be in a way that is mostly framed as a positive (although with some -- I think -- under-analysed caveats...) and she will be forever thankful for the doctor arriving in her life, martha's is more like an awe that the universe is so hostile and so lonely and so heartbreaking, and so she needs to become more resilient and more ready to make choices that are terrible (from travelling the broken world for a year to the osterhagen key....), and so there's another story about someone who becomes strong and tough (just like rose) but it's because the doctor wasn't really able to be there for her, and while I don't think the show (from memory) ever has her totally regretting the doctor dropping into her life, there for sure is some solemnity to how her story ends, a bit of a dampener in comparison (even tbh in comparison to donna, who yeah, gets her memory taken, but is suggested -- now confirmed perhaps? -- to get more of her life in order/feel more self-confident, also partially because of that subliminal influence of her time with the doctor)
and this isn't to say that it's all-bad for martha! her working for UNIT and Torchwood has a lot of very interesting facets to it, and she is fulfilling her potential to be this impressive, capable person, but the ways all of this was built up to is so heartrending
rose coming in and "saving" the doctor, except it was a bit of a lie, because the second she wasn't there they crashed even harder than before, and martha coming in with the idea that she could save the doctor and walking away when realising what it was doing to her life, and both rose and martha irrevocably changed to the point that the person pre-doctor is barely recognisable in them anymore, both take on the doctor's self-sacrificial traits...
and also the idea that rose gets the fantasy, but it's the fantasy a-bit-to-the-left (funhouse again) because there's always something a bit disconcerting about the lengths the doctor goes to to maintain the bubble, to the point of offering up the alternate-him/tentoo so that she can still have it, even though the actual physical doctor that shared it with her isn't actually there! and martha gets the glimpse of the fantasy, and then has to come to terms with the fact that she's not the person it's "for" and reassess her relationship to the idea of a fantasy in the first place (it helps that martha is an incredibly practical, pragmatic person, but it's still so... ouch)
I don't think it was intentional, but this also fascinating from the perspective of rose as a white woman and martha as a black woman -- who is the fantasy for, to the extent that strange and universe-breaking events go into maintaining it, and who has to be practical and pragmatic and self-reliant?
and also, it's got more tragedy in both cases -- rose as a spectre/haunter of the narrative is always a little bit intangible when she's looked back on (even though in the story she's in she's incredibly real and well-rounded, every time I go back to s1 I am struck by how grounded she is in reality), and I think that's something interesting in terms of her mother's warning in s2, how if she travels with the doctor "forever" she'll become something else, something not her
and martha's mother warns her as well, although she's not completely sure of what, and in contrast to rose this warning comes into very painful fruition, harming her entire family (except, maybe her brother? I wonder if there's anything written about that), but where rose is so omnipresent, martha tries several times to take herself out
(also something about both of their mothers being their anchor-points)
there's something there that's at the centre of both rose's and martha's arcs:
is the change they're going through because of the doctor... good? good for them? good for their families? good as in they're becoming better people than before? good for the world they inhabit? is it good for the person they used to be? did they become better than that person? can they ever truly deal with or even begin to comprehend how these events made them who they are? can they even connect who they are now to who they were then? was this good?
they both become these larger-than-life people, somewhat without noticing on both parts (but the narrative does notice), one of them a ghost, and the other a soldier -- one of them an increasingly intangible, ever-present idea, and the other someone who has to fight every step of the way
it's just a bunch of things I've had going through my head that I can't quite formulate in coherent essay-like sentences, but for sure it's there
opposite sides of the coin, rose tyler and martha jones
I do wish they'd had space in the story for them to talk
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Goodbye Volcano High on PASTE Magazine's Best Games of 2023!!
30. Goodbye Volcano High
It isn’t easy surviving high school—or an extinction-level event. Goodbye Volcano High, a story-driven adventure game from the designers of 2017’s charming interactive toy box Gnog, charges its teenage ennui with the threat of Armageddon, as its cast of anthropomorphic dinosaurs are fully aware an asteroid is coming to destroy their civilization. These lizards share our human frailties, grappling with anxiety, indecision, questions about their identity, romantic hopes and failures, and the chasm of uncertainty we all face as we enter adulthood. Oh, it’s also a rhythm game, where you help its lead character write songs for their very 2020s-sounding indie band. (It turns out songwriting is just as hard as high school and impending doom.) Goodbye Volcano High is more of a visual novel than a traditional game, but its well-told emotional story will resonate with anybody who has ever felt depressed and confused—so pretty much everybody. Also there’s a cute triceratops who won’t shut up about bugs. She’s cool.—Garrett Martin
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Eddie chronically leaves his rings at Steve’s place to the point that Steve checks the bathroom and kitchen sink every time after he leaves, only to find one of them there every time.
Not that Steve is entirely complaining since this means he gets to call him and Eddie gets to stop by on his own to pick them up.
But when they’re at the Wheeler’s place, and Eddie says he’s going to the bathroom, Steve says, “Be careful not to leave one of your rings behind,” with a wink that has the kids exchanging confused looks. But Steve doesn’t notice because he’s too distracted by the light blush coloring Eddie’s cheeks.
“Why would Eddie leave one of his rings behind?” Dustin asks Steve when Eddie’s out of earshot.
Steve laughs. “He leaves one behind every time he washes his hands I swear. I don’t know how he hasn’t lost one at this point.” But his amusement is quick to die down when he realizes the kids are staring at him as if he’s absolutely insane. “What?”
They all glance at each other, and Steve is surprised when Mike is the first to pipe in, “He never leaves them anywhere. They’re like his prized possession. I’ve never even seen him take them off.”
Steve frowns and glances around at everyone, sensing that there’s definitely something he’s missing, so he’s quick to lie, “Well, I guess it was only once or twice that it happened. Maybe it was my fancy soap. Made things too… slippery.”
He gets a few eye rolls at the comment, but the group is quick to move on especially when Eddie comes back a few moments later with all his rings on his hands.
Steve gives him a quick smile, and Eddie is quick to return it, eyes lingering on him for a few seconds longer than necessary and the same blush from earlier returning.
It hits Steve very suddenly.
The rings are an excuse to come back.
And with this knowledge, Steve’s let’s his own gaze linger on Eddie longer than he usually allows, moving into his space more often than not, and carefully keeping track of time, waiting for the hang out to end.
When it finally comes to a halt, Steve is quick to say his goodbyes, hoping that Eddie will join and let the kids have their unnecessarily prolonged goodbyes in private. And luckily, Eddie is quick to move out of the basement, following after Steve in a way that’s supposed to look causal but is anything but casual now that Steve knows to look for the signs.
When he and Eddie silently go out the front door, Steve is quick to turn to him and hold out his hand. Eddie gives him a confused look but offers his hand which Steve takes and slides one of the rings off of.
Eddie stares at it for a moment, looking slightly frightened, as if he’s been caught doing something he isn’t supposed to.
Steve is quick to soothe the fear as he pockets the ring and says, “Just so you’ll have an excuse to stop by later tonight.”
Eddie’s cheeks flush bright red and he runs a hand over his face. “Shit.”
Steve laughs, “So it has been on purpose?”
“No,” Eddie clearly lies, pulling a strand of hair in front of his face.
“And what if I told you I wanted it to be on purpose?” Steve asks.
Eddie freezes for a moment as if he’s waiting for Steve to tell him that he’s joking, but Steve sits in the silence, letting the question settle between them.
“Then,” Eddie starts, taking a small step forward into Steve’s space, “I would-”
The door behind them bursts open and Dustin yells, “Hurry up I have a curfew!” as he races off to Steve’s car.
Steve rolls his eyes at the kid and takes a step back as everyone else makes their way out the door to the cars or their bikes.
Steve and Eddie linger behind for a moment, which Steve uses to quietly ask, “I’ll see you tonight?”
Eddie gives him a bashful smile in return and nods. “Yeah, I’ll see you tonight.”
Steve resists the urge to celebrate in any way in front of the kids and instead puts his hand in his pocket, fingers curling around Eddie’s ring.
As he gets into his car, ignoring Dustin bitching and complaining, he slips the ring over his finger and smiles at it.
He notices the car go quiet and he nearly groans at his mistake.
“Is that Eddie’s ring?” Dustin screeches.
It’s going to be a long drive home, but Steve doesn’t mind when he has Eddie to look forward to.
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