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#its bound to be way different

ravs6709 · 5 months

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i was on a plane so i couldnt rlly send you reactions BUT we are through w the divorce arc (i think? tbh they still need to communicate more) and they met fucking. buddha. which like ok i guess this is normal AND THEN they got reincarnated and like can i just say i have sm respect for the author bc they gave us the whole joongdok divorce ugh ouch pain and then they gave us hankim right fucking after w like tiny yjh/hsy crumbs (what is the ship name for this. btw) ANYWAYS LIKE idk man it was so insane total fever dream also somewhere in there ysa is like. dead and being reincarnated but we haven’t seen her again somewhere

Kdj meets a guy (gender neutral): extremely normal that's not even a surprise anymore

joongdok and their shitty communication but also it's their ONLY method of communication HANKIM IS INSANE. yoohan is... i dont even have words its the side i understand the least because they get the least focus BUT also just as insane

#if theres anything i want so badly. its' the orv authors writing process. i NEED to see their notes SO badly #i NEED to know their planning process which parts came first i wanna know how it developed as a draft #WAIT roshan did you know its authors. as in. plural. the authors are married.#which is SO interesting like im pretty sure theyre actively not tryna say much as to who wrote what which is totally cool respect that #but i DO wonder how that impacted the writing process. ive only done minor writing projects with friends before but as a married couple #its bound to be way different #orv #astra's asks #roshan #roshan reads orv #orv spoilers

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constantvariations · 10 months

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I am once again begging for the people who work on rwby to learn how to frame shit

Blake chews out Batman for acting like he's alone and then storms towards Arkham Asylum. She walks alone into darkness while he's bathed in warm light next to everybody else

It's so contradictory. If they wanted to properly frame this shit, it should be Blake with her friends and in the light because she's enlightened and Batman swathed alone in shadows. As is, this frames Batman in the right (which he is) and Blake as going crazy

Either the artists rebelled against this shit by weaponizing the framing, like the animators of rwby did multiple times, or everyone who works on rwby stuff gets overdosed on stupid juice

#rwde #seriously blake what in the absolute shit is wrong w you #batman has a legit concern of relying too much on an ability hes bound to lose and you somehow think thats a fear of being weak in general?#youve also known the dude for like. 3 hours under extremely unusual circumstances. you dont know shit abt who batman truly is #you are projecting so hard its making you look stupid #preachy prick #but seriously this is ridiculous. it has to be on purpose #there shouldnt be a way to fuck up this bad as a professional #THREE different dudes worked on the art. i refuse to believe it slipped everyones notice. there's just no way #also this is the exact same problem ive talked abt before w the framing of ruby yelling at qrow in v6 #rent composition 2 electric boogaloo

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swordatsunset · 10 months

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My general (not hardline) opinion on the ‘family’ within media and art and stories is that it can be deeply stifling and exhausting to see stories that uphold the family as the place where you return to comfort and safety— but that I think much of the friction in more general stories is with terms. “Found family” as a concept I think can be very affirming for this idea of companion or kinship, when not simply twisted into “found family is when random people end up reenacting all the roles and dynamics of the nuclear family, except this time the gruff dad is not ACTUALLY her biological dad!” The family is shorthand for comfort, and kinship, and companionship, and it is very difficult to articulate those particular relationships without needing to reference the family, or familial dynamics, but I don’t think that inherently condemns lots of media in this grey space as regurgitating the structure of the family even if you call it by the name of “found family,” because I think oftentimes they are engaging with an approach beyond the family

#my post #overall I think the media that approaches or concerns itself with the found family dynamic still ends up play acting the family at times #but it to me also often presents the ways in which companionship and kinship can be something not bound by the family structure #even if it stumbles in its political alignment with what we consider the family #on the other hand they often still implicitly position the found family as mirroring the nuclear biological family in a way that can be #even more strange and unfamiliar in its determination to present the family as NATURAL #and the end point for any relationship between a group of people 3 or more #so to me it is certainly a tossup. it’s very difficult to present a critique of the family while still presenting companionship as something #comforting and affirming. it’s been difficult to not use ‘familial’ as a shorthand in my comments!#unfortunately the family is ingrained in us . and often the best critiques of such structures do not present examples of other options (NOT #me saying that they need to show different examples. I’m just noting that)#re: family abolition

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qualityrain · 1 year

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sorry just the concept of knives naming legato slays me but like. the fact that he didnt even name him a bad thing. like the way knives absolutely hates humans and literally wants to commit genocide to kill them all and. and he names one?? and its not even a name with a bad connotation. like he couldve pulled a lucilus and named him something like belial that means worthless and he doesnt???? that in itself just absolutely slays me. but the way knives names him legato. and the way you could kind of theorise that knives plays the piano in 3max because of that one (1) panel of him in that ridiculous outfit in front of a piano and. legato is a music term. so already knives names this human not something bad, but rather something associated with something that he does??? maybe likes???? enjoys???? and legato has many meanings but yknow its like smooth. and. and connection. connection. you connect two notes together smoothly and thats a legato. the chapter of legatos backstory is two people against the world. haha you could say thats where knives and legato gain a connection- i cant take it here bro

#i feel like there can be something said abt how legato is played on piano too #cos it differs for instruments? like its really easy to slur on a trumpet #but also im a band kid for five years and i dont know whats the difference between slurring and legato and at this point im tkk afraid to a #sk #also ofhejdjwjsn the way legato sounds really fucking nice #its smoorh theres no adrupt stopping its like woooo smooth fine notes!!#connecting!!#uowhfjjj the way legato can also mean bound together #the way im googling legato on a piano #and its like a piano cannot play a true legato and you can only make an illusion of it #and there is something to be said im just not big brained enough for it #this might mean things or i might be going insane i do not know ignore this #REREAD LEGATOS BACKSTORY AND THE WAY KNIVES SMILES WHEN ASKING FOR HIS NAME #i cant take it here can you hear me crying #i dont know why but i think u can say something abt the way #legato smiles at knives and he way u can see knives eyes widen v the way #legatos eyes widen when knives asks for his name and smiles #like theres smth about it #and i want to eat a pillow

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angelhummel · 1 year

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It seems the Gleeks/klainers like you who have been there from the beginning love season 5b and the newer crowd in last five years hate it. And I think it’s what they did to Blaine’s character in that arc.

He’d been such a high achiever, leader of glee club really, getting into Nyada and engaged and they made him into this dependent wreck who lied and smothered Kurt. I don’t like what they did to his character at all.

weeell of course you know that i'm gonna disagree with that whole last part bc that's not what they did at all

they clearly showed us blaine struggling with body image issues that were exacerbated by his mental health issues. he was never a perfect person who had it all together, even when he was leading show choirs and getting good grades and getting into elite performing schools. we see these issues as early as season two. being oblivious to kurt's obvious feelings, overstepping with people like burt when he asked him to talk to kurt about sex, being unsure of himself - with his sexuality, not understanding people's intentions with him, not sure if he could even be a good boyfriend himself. He was kind of always a "wreck" and it's funny that that used to be what people hated about him and now people seem to see it as a reason to love him all the more

And like. Idk I think he had a dark point in s5 where he was handling things wrong and not communicating or coping like he should've been. I don't think he was 100% leaning on Kurt for support or smothering him. We actually get to see them doing their own things in those few episodes, like Blaine with June and Kurt with Peter Pan. They still support each other when they're off doing their own thing, but say that a success for one of them is a success for both of them bc they're partners who root for each other and know how to cheer the other one on

But even before that I mean, Blaine just went through a huge life change in graduating high school and moving from Lima to New York. That's no small feat. Everything's different, school is stressful, Kurt gets put in the damn hospital. Things are chaotic, and different, and scary. And we see all the NY characters coping with their new circumstances at different points in time. Sam, Santana, Mercedes, Rachel, Kurt - they all have different points of doubt, of feeling like they don't belong or not knowing what direction to go in. Blaine was far from the only one floundering, and it's unrealistic to expect any of them to be 100% sure of themselves and their lives at any point in time, but especially in s4-5

And I appreciate your ask and how you phrased it, with the dichotomy between original fans and newer fans. Because to me that also reads as the divide between older fans and younger fans. As in like, people who were teenagers or older who watched the show when it aired, and the teens or young adults who have just gotten into the show in the last few years*. Because those viewing experiences are bound to be different

I've had around a decade to watch and rewatch Glee, to process everything in it, and for my thoughts and opinions to morph and mature. Not to mention a decade of brain development and personal growth and life experience that would shape how I view a teen show like this. I didn't start watching Degrassi or PLL until relatively recently, and I know my thoughts on those shows now aren't the same as they would've been if I was watching them when they originally aired, either as a kid, teen, or even young adult

Obviously I'm not saying age = wisdom but when it comes to something like media analysis I do think that more life experience gives you more perspective and helps you understand things like this a little differently. I mean my blog is just shy of being 5 years old and I know there are things I said in 2018 that I don't agree with anymore. You just process things differently and you're gonna have changing opinions the older you get, that's just how it is

all this to say i think you mischaracterized blaine and did his s5b self an injustice lol. but that's just my opinion. i'd like to hear from some older/younger/newer/older fans and see if this is a common pattern

*im sure there are plenty of people who watched the show when it aired and were way too young for it, and grown adults who are still getting into it today. this statement was just a generalization and not meant to speak for everyone in the fandom

#glee #blaine anderson #season 5 #my thoughts #long post #asks #anonymous #theres more i wanted to saaay #like about s6 blaine and how he shows that he can function without kurt lol #thats what s6 was for #and also like things are bound to be different for people watching the show ten years into the future #looking back through the lens of early 2010s and what that was like #bc thats not the same either #its a totally different world now than it was even one decade ago #but yeah theres just a lot of factors going on #and everyone's going to have a different opinion #i just wanted to express mine as someone who was there almost from the start #and really literally grew up with the characters being right in their exact age group and all #anyway yeah let me know if anon is right about that #if there are any young fans that recently got into the show who feel this way #or if they feel the way i feel or a secret third option #or people my age or older who watched the show back in the day who agree with me or agree with anon idk #im sure everyone has a different opinion on it but

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swingstep · 1 year

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Please drop mrd theatre au lore????

OH HOO BOY so. genuinely did not remember i never explained that au huh ksjdngd its been a hot minute since ive messed with that one, but lets see what i can dig up for it. as a disclaimer, its kind of an... abstract au, very rough around the edges as well. dont expect it to be anything too concrete WAHAHA

anyhow. tldr: the mrd theatre au is exactly what it sounds like: the plot of the game described entirely through the lens of a theater production! alternately referred to as the dance au, because... its a musical! major events are described through dance, each piece pushing the story forward with the power of music and expression. literally-- the story won’t move on without it. starring mad rat as the lead role, rat god as the director, and heart as... That One Guy, Sure!

the abstraction kicks in in its presentation though-- it's told through the framing of a stage-- however, the story itself is Real to the characters. their world is real, and as characters, they see it as such. to everyone else, it's exactly as its namesake: a play. the term "actor" and "character" go hand in hand, practically synonyms. actors are the characters. the narrative is their world. all in all: the theatre au is an inspection of the meaning of Reality and Perception, the meaning of what it is to be a Character or a Person, and a play on Stories and Roles. more under the cut.

---------------

As it does in canon, the narrative starts with Mad Rat waking up, and Rat God telling him his situation. Y'know, he died, she's giving him a second chance, etc etc. However, she Specifically tells him that he is, in fact, a character in a play and, as someone outside of the narrative, she knows what to do and what paths to follow. As long as he followed her, he'd be able to make it to the end of his story a-ok, and finally get the ending he deserved!

In the beginning, Rat God starts out with a whole musical number as she narrates the scene (to both the audience and Mad Rat) to catch him up to speed on where he is, who she is, and why he died. As she finishes, hands off the (metaphorical) mic to Mad Rat to get a word in for his debut scene. Unfortunately, Mad Rat, having just recovered from a terminal case of Being Dead, Does Not In Fact Have The Nicest Voice. Seeing this, Rat God quickly interrupts and redirects to another option: Dance. Which is where a major quirk comes in: every character has a specialized dance style!

Rat gods style is tap/swing, which is what the intro scene Truly is! It's Rat God introducing Mad Rat to the concept of The Show in a duet swing performance. Specifically, in this performance, Rat God takes the lead role in this one for several reasons: 1) She's Extra and Likes Showmanship. 2) She's ensuring Mad Rat goes in the direction he's supposed to-- making sure he's following along. And 3) She's effectively re-teaching Mad Rat how to move after. Y'know. Being Dead. Swing is a heavily motion-focused and improvisational dance: Mad Rat Does Not Know How To Dance. However, Rat God is good enough at it that she can take the lead and turn his stumbles and missteps into motion and flair. It's essentially the tutorial stage!

The narrative is pretty much the same through the first third of the game, more or less. Mad Rat meets Heart, who doesn't really Dance but rather just cheers him on, and they begin "travelling" together, with periodical "intermissions" where Rat God, off to the side of the stage presents recaps, narration, and questions-- but it's never clear if it's to the audience or Mad Rat. Maybe both. What's really important is the Framing, though. Mad Rat (kind of) acknowledges he is just a Character, but doesn't really Understand it.

Despite the knowledge, he still functions through the frame of a Character. He perceives the stage as The World Around Him rather than A Stage, while Rat God is the opposite. This leads to Mad Rat essentially just Following Her Lead. Which ends up just seeming... brazenly reckless and incredibly dangerous-- because Mad Rat doesn't think it will lead to anything. Obviously he's the main character, so he's probably going to just... get to his goal and whatever happens happens, right? Rat God said which way the story goes so... whatever, right?

Which all culminates at Heart's intervention: Heart notices all of this and gets worried. Whatever this Mess about "shows" and "story" and "directors" is, Mad Rat is still being really really flippant about how many Near Death Experiences he's had (not to mention the whole "Seeing Things That Heart Doesn't" thing.) So he decides to step in.

This is the first time we ever see Heart dance! He'd always insisted on being moral support/backup for Mad Rat, not really stepping in in any major way. Turns out, he's really good at a lot of dance styles. It's the first time we have a music genre outside of showtunes and the adjacent. It's heart basically trying to tell him that, whatever bullshit about "Narratives" he's following, Mad Rat is still Here. He's still a contributor to the world around him-- he can affect It, and it can affect him. It doesn't matter what he knows about Whatever This Is because it all wont matter if he gets himself into Real Trouble. Which is a convenient segue to the next arc-- they go off-script.

The following arcs are pretty much just those two figuring out what to do and where they’re going. Mad Rat, up to this point, was just (kind of badly) trying to imitate the swing style from the beginning, but slowly starts figuring out his own specialty on his own. Mad Rat kind of dabbles through a lot, but is Particularly good at breakdance/krump. It’s a bit of a slow process, but he slowly forges his own place in a world he technically does not belong in.

All the while, Rat God is suspiciously quiet. They weren’t supposed to go that way, or do any of that, But she could improvise. She passively tried to mess with them from offstage-- changing the background scenery, tossing obstacles after them-- but they just. Kept going. Mad Rat even began Understanding the nature of The Stage and learning how to use that to his advantage, predicting the way things would move or shift, and using that knowledge to move even faster. It was only after Mimolette’s scene (which was Not supposed to be this early in the script, to Rat God’s chagrin,) that she Really started to get particularly miffed. They’d completely gone off-script, avoided Everything she sent after them-- but there was still an ending that needed to be told, and she was going to tell it no matter how messy it was to get there. Which leads to an intervention of her own.

As the director, she had direct control over a lot of things-- but she herself could never interact with the Narrative. She had no real Hold, as it were. She was barely a concept to the characters in the narrative-- they could not really perceive her. So, she decided to break that rule-- and interact with them directly. Rat God’s scene is incredibly similar to that in canon: Incredibly Chaotic and Hard To Track. She mostly keeps to swing, as that’s her specialty, but regularly switches it up to try and throw Mad Rat off. But things are different than their first dance.

Mad Rat has a grasp on himself and his goals. Rat God’s plan is already off its rhythm-- it was clear from the start that this was a last-ditch effort on her part to kill him. Despite her still trying to take control, Mad Rat was nothing if not stubborn. He was just as good at deflecting and navigating the scene as she was. But it’s hard to truly get rid of something like Rat God. She isn’t done until the Story was done. There was still a story to be told, so here she stayed. She could keep going as long as he could, and longer. So knowing what he did now, and understanding the circumstance, he did the only think of. The two had, to some extent, switched places: Rat God taking the stance of a Character/Participant in the scene, and Mad Rat seeing the full scope of The Stage and how it worked. The show was still going, so all he had to do was end it.

Tricking her into a monologue, he truly exits the frame of the narrative for the first time, grabbing one of the curtain ropes and letting it free, closing the curtains on the stage-- with Rat God behind them. And... silence. In the end, it was just the closed curtains, the audience, and Mad Rat and Heart in front of them. They saw the audience, truly, for the first time-- that larger force constantly watching over him from beyond his view, pushing the show forward not of their own actions, but of their presence alone. This is who it was all for. And seeing this, Mad Rat makes the decision... to ignore them.

They weren’t important anymore. The show was over-- the audience had no more use here. No more power here. They meant nothing to him. Nothing to them. He has one last talk with Heart-- they knew they weren’t alone, not truly-- but all that mattered right then was just the two of them. What they’d seen, what they’d been through-- it all had to come to an end eventually. But not by the hand of someone who had no stake in their story-- in their lives. Mad Rat gets to make his own choice about his future: And with no story left to tell... he gets up, and walks off the stage.

The Story Is Over.

#pikasks #mrd theatreAU #long post #no fandomtags we die like men #anyhow. thanks for enabling another essay of an infodump ur a real one <333 kdjgnkdjf #this au means The World to me but because its so... [waves arms around.] its very hard to explain in a way that feels Correct.#a lot of it is Vibes alone. feelings and concepts and notions of motion and song. as it is in canon too i think.#as with canon; its a play on tiers of personhood and control-- of who truly gets to choose fate; or if it really exists at all.#its about grabbing on with such fervor that the fabric of the world around you bends to your will.#about the inescapability of Role and Expectation; of Progress and Actions. how nobody in this story; truly; could choose how it ended.#not alone; at least.#rat god is equally bound to her role as director. she has no sway in this world. no matter how deeply she may want it.#the difference between her and mad rat is something tragic; to me.#two people in such similar roles reacting so differently they mirror each other perfectly.#surrender to a role you have no control of and hope it eventually benefits you-- or fight tooth and nail against forces stronger than you.#but these are the tags. im just waxing poetic at this point.#if you want a more clear read of the vibes this was inspired and started entirely by the mrd piano medley by tmsy.#please go check it out it slaughters me. id point out a specific part but its kind of all of them.#anyhow. thanks for reading and also enabling me. have a lovely day !! <33

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