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vcendent · 5 months

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art vs industry

Sometimes I'm having a good day, but then sometimes I think about how industry is actively killing creative fields and that goes away. People no longer go to woodworkers for tables and chairs and cabinets, but instead pick from one of hundreds of mass-produced designs made out of cheap particle board instead of paying a carpenter for furniture that is both made to last generations and leaves room for customization. With the growth of population and international trade, the convenience and low production costs are beneficial in some aspects, but how many local craftsmen across the world were put out of business? How many people witnessed their craft die before their eyes? There is no heart or identity put into mass produced items; be it furniture, ceramics, metalwork, or home decor; and at the end of the day everybody ends up with the same, carbon copy stuff in their homes.

I'm a big fan of animated movies, and I see this same thing happening too. When was the last time western audiences saw a new 2D animated movie hit theatres? I can't speak for other countries, but, at least in America, I believe The Princess and the Frog was the last major 2D movie released and that was back in 2009. Major studios nowadays are unwilling to spend the time and money that it would take to pay traditional animators who have spent years honing their craft to go frame by frame, and to pay painters to create scene backgrounds. We talk a lot about machines replacing jobs, but when the machines come, artistry professions are some of the first to be axed (in part because industry does not see artistry as "valuable" professions). Art, music, and writing are no longer seen as "real" jobs because they belong to the creative field and there's this inane idea that anyone who goes into those fields will be unsuccessful and starving. I'm not saying that 3D animation is bad, it has its own merits and required skills and can be just as impressive as anything 2D, but it has smothered 2D animation and reduced it largely to studios that cannot afford the tech to animate 3D.

And now we have this whole AI thing to deal with, stealing existing artists' work to "train" it to take over those few professions that, until now, required actual people to do them. Internet artists have already been dealing with people complaining about the price of art for years and now have to face their work being stolen to train AI. With AI technology, anyone who undervalues the work of the artist can now get something generated at little or no cost to them, all at the expense of the artists themselves. Why would studios pay script writers when they could just get an algorithm to do it without pay? Why pay actors to bring characters to life or pay models to pose for ads when CGI has progressed enough we could digitally render humans and cut out having to pay people entirely? Why use practical effects or film on location when green screens and adding in-post is faster and so much cheaper? It's no wonder we had the SAG-AFTRA strike. AI has already been trained to write children's books and produce music, continuing down this road will replace authors and musicians too at the convenience of cost. How much longer until the actual, real-life people behind all forms of artistry become completely obsolete?

Industry is just driving the cost of people-made crafts up and up with every mass produced product and every streamlined shortcut to reduce costs, which only makes it harder and harder for artists of all kinds to make a living, as very few people want to pay for the time and skill of artists when they could just pick something off a shelf or feed AI a prompt and get something satisfactory enough, yet not what they actually wanted, for so much cheaper.

#this isnt my usual type of post but this genuinely upsets me #my rants #industry is killing creative fields #art #writing #acting #screenwriting #animation #2d animation #3d animation #crafts #ai #ai generation #sag aftra #sag afra strike #pay your writers #pay your artists #pay your craftsmen #support all forms of artistry

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basimdasasonst · 3 days

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ofmd s2 rant

so, this is my first post, and I have @ketamoru to thank for corralling (gently suggesting) me into making this. we watched season 2 of our flag means death a while back when it first came out, and i wrote this huge long rant (that I just finished editing) about it, intending to post it to twitter or imdb or something. but. due to the sheer nature of the word length, i couldn't. so, here it is.

On OFMD S2: as a viewer, I’m appalled at the season. As a writer, I could feel my soul escaping my mouth with each cringed breath I took, escaping my pores every time I had to hit the spacebar to pause and bury my head in my hands. I’ve read and written bad stories in my past, I've been on both ends of a shitty narrative, but my god.

There's three core tenets to a story: plot, world, and characters. You can lean on one if another is lacking, absolutely, BUT YOU CANNOT SACRIFICE TWO OF THEM AND EXPECT THE OTHER TO BE ALRIGHT. THEY ARE CONNECTED. THEY INFLUENCE EACH OTHER. GOOD CHARACTERS HELP A GOOD PLOT, A GOOD WORLD HELPS A GOOD PLOT. BUT A HALF DECENT WORLD CANNOT HELP SHITTY CHARACTERS AND PLOT!!!!!!!!!!

Let me start with the simplest to talk about: the plot.

In an introductory college level physics course without calculus (bare with me), you occasionally do problems with a pulley. If you account for the mass of the pulley and the string in calculations, the problem simply becomes too complex to deal with for an introductory course. So, you call the string massless, and move on with your life. Every single episode's plot was tied together by this massless string. As in, THERE WAS NO INTERCONNECTIVITY BETWEEN EPISODES.

The three sections of plot development are (as highlighted by Brandon Sanderson, who is not writing-Jesus, but is pretty accomplished in the fantasy genre, which should speak for itself) promise, progress, and payoff. Promises are made at the beginning of a story's plot arc. They hint towards the greater plot and arcs, and promise readers a story filled with [x]. For example, if you're going to write a comedy, your opening scene (the promises) should be comedic. You don't start a comedic novel out with a tear-jerker. This is arguably the only part, in my opinion, that OFMD gets right. The opening episode is, to give credit where credits due, pretty comedic for a comedic season. The tone is set properly.

Here come the problems: Progress. THERE IS NO PROGRESS. Stede and Ed make up WITHIN THE SAME EPISODE THEY MEET AGAIN. And then they break up in episode 7. AND THEN THEY MAKE UP AGAIN IN EPISODE 8. There is no conflict between the pairing. There is no conceivable sense of tension or drama or ANYTHING that builds up to a climax. THERE IS NO CLIMAX. It’s just a bunch of minisodes strung together by a massless string. Villains come and go within the same episode (I'm looking specifically at Ned Low). The only one that comes back is Prince whatever-his-name-is (I'll get to him in a second), and we don't see much of him. He's introduced to us as a bumbling fool in the beginning, we lose him for a long while while Ed frolics around (again, I'll talk about Ed's character too in a second), and then he's suddenly a prince (episode 6, I believe) needing to take revenge. He makes a cursory deal with Zheng, we see him for 5 more minutes, and then he blows everything up in a totally-not-seen-coming betrayal. Boring. No progress, no payoff.

Which leads me into the final part I have to say about the plot: payoff. WITHOUT PROGRESS THERE IS NO PAYOFF. Because of the nature of the season, with things just thrown at you with no cohesive narrative the season felt like a continuous dopamine rush with no need to work for anything in return. (What was the ultimate goal of the season, do you think? Ed's reconciliation? The prince's revenge? Stede's path to being a pirate? Do you think any of them were explored? Think about it, for a second.) The climax of Izzy's death (boy do I have some key words to say about that, but that's not the point of this review, far from it) didn't feel...worth it. In fact, I'm not even sure if that was the climax, or maybe it was Ed leaving (and coming back 30 minutes later … ) or maybe it was the bombing. Who knows? I don't. You can have subplots. You can't just treat them all equally. There has to be a point to a story, and you have to favour that point over mindless adrenaline rushes. There was a point to season 1: Stede's growth as a character as he realises piracy isn't all he thinks it is, and eventually falling in love with Ed. There is no point to this season. Or if there is, it's muddled by the 20 other things happening all at once, always. There is no progress, so there is no payoff.

2. Next, the world.

In this case, the physical scenery, the props, the costumes, the music, etc. I'm not a costumer, nor a musician, nor a lighting director, I’m just a viewer with a basic high school understanding of world history – but nothing ... changed about the world in this season. When you establish a world in the first act of a book, do you just stop establishing it in the second act? No! Of course not! You keep building it, because the world changes too.

Every single new town the ship visited, every time they docked or got off a ship, the scenery looked and felt the same. How many times are they stranded in the exact same kind of underbrush? The exact same biome, with the exact same kinds of plants? Do they ever go further inland? Is there more to the world than just two ships, one established town and then the shoreline? Of course there isn't! Because that means worldbuilding more than what season 1 did, and that's too terrifying to think about!

And the music. Christ, I'm no musician but did the music feel, to anyone else, passive? In season 1, at least the last time I watched it, the music fit the scene. It wasn't just there because there needed to be music. It spoke to the world, it said something about the scenery. This music, by comparison, is so tame. It's not noticeable. The only part I did like was when Izzy died in silence, because that silence let the death settle with the viewers as Ed weeps openly and – oh, here's the mindless royalty-free music again.

3. And finally, the characters.

Jesus Christ where do I even start with this? Let me start from the foundation of storytelling as any amateur writer understands. YOUR CHARACTERS ARE YOUR MOST IMPORTANT ASSET IN A STORY. I am physically unable to stress this enough. I DON'T CARE IF YOUR WORLD SUCKS MAJOR SHIT. YOUR CHARACTERS CANNOT SUCK. WE STICK WITH THEM THE ENTIRE WAY THROUGH. IF WE CANT STICK WITH THE CHARACTERS, WE CAN'T STICK WITH THE STORY.

(Note: You can write characters with obviously terrible personalities, and that are meant to be disliked, without them sucking. It's about intentionality. If you write a character, and they’re meant to be likeable, and nobody likes them, that character sucks, and you’ve failed. You’ve also (usually, but not always) failed if your viewers hate your character for a different reason than intended. If you write a character you’re supposed to hate for [x] reason, and people hate them for [x] reason, you’ve succeeded. There is a difference between a bad character, and a character with an intentionally flawed personality that you're not supposed to sympathise with.)

Next question: why is everyone in a romantic relationship? The day people realise that platonic relationships are just as important as romantic ones is the day I'm allowed to rest. (I say this beyond just the fact that I'm aroace. I say this as an exhausted reader.) There were not one, not two, not three, not four, but FIVE relationships that were given significant (well, as significant as it gets with 8 30-minute-episodes) screen time. Except, none of them were developed. Not even Ed and Stede's. What was the point in breaking up Jim and Olu, pray tell? Their conflicting personalities were what made them so interesting – to see two opposing forces find ridges where one slots into the other, where two people so different find solace in the other? Now Jim's just got over Olu in a third of an episode and they're kissing that other person. No, I don't even remember their name, because their personality was just Jim's in a different font. You paired two similar people up with each other. Why? Not sure. (I hesitate to chalk it up to some weird exoticism going on behind the scenes, but.) Now I'm bored. There's no tension in that, no story to tell, no good reason for it happening. And Olu with Zheng. NO BUILDUP. Zheng stares at Olu working on scrolls for a little while. That's it. THAT'S NOT BUILDUP, THAT'S JUST WASTING TIME. Her relationship with Olu is so unbelievably forced. (I could feel the crickets of the writers room permeating through my screen – that one stray writer going “well, if nobody else has any ideas, then idk maybe we could … “) They share nothing in common, her "you're the break in my day," is completely unfounded (I’ll get to this when i talk about her character outside of Olu in a sec), it irritates me to no end.

I don't have anything to say about Swede and Jackie, or Black Pete and Lucius, because nothing fucking happens. Black Pete and Lucius make up, after a little bit of progress I will say, and then it's ... a few episodes of them loving each other unconditionally as if nothing happened. It's boring. I'm bored.

Stede and Ed. Oh boy. Ed is clearly not ready for a romantic relationship in this season, despite whatever work he did last season. (Thrown out the window by this season! Who’s ever heard of setting up future seasons in your earlier seasons? Not the OFMD writers room!) He grapples (barely) with the idea of not being a necessarily good person, and tries (in heavy quotation marks, more on that below) to redeem himself, but ultimately just ends up right where he started: Blackbeard. He ends up reversing all of his progress in terms of his character arc. Right back where he started. Christ. And he's clearly too busy grappling with this to be conceivably ready for a romantic relationship with Stede. But Stede and Ed happen anyway. If handled by someone who wanted to comment on the nature of toxic relationships and wrote this intentionally, this would have been a GOOD PLOT. But it was clearly not intentional, as nothing seemed to flow together, characters spoke like robots, and I could feel the fact that the script was obviously just a shitty first draft. Not to mention the fact that Ed doesn't ACTUALLY do any thinking on what he's supposed to be. That purgatory thing was the best we get – and it was damn good in comparison to the rest of the season where he doesn't really reflect on his actions. He has one conversation, decides he's a changed man, then goes straight back to his previous actions.

And STEDE – man. They DECIMATED his character this season. In the beginning, in the first season, he was the gentleman pirate – two juxtaposing adjectives. WHICH IS CENTRAL TO CREATING A CHARACTER. No real person is one track (even the most stubborn of us), no real person can be effectively summed up in a few words like a bad character creation sheet. The conflicts that we deal with as humans are what make us human. Flaws, in no small part, are part of the human experience. (I could get into this, but if you’ve ever looked at AI art and felt its soullessness staring back at you, then you know. It’s too perfect. Too lifeless. Too flawless.) Every single person deals with layers and layers of complexity. Two completely opposing things can be true at the same time and that is a VERY REAL THING that we must grapple with as humans. There is no such thing as black and white on issues. Stede as a gentleman pirate was this COMPLEX LAYER that made him such an interesting character to begin with because “gentleman” and “pirate” are two very different things with two very different histories and connotations. To see the intersectionality of where these worlds collide and where they conflict was what made him so interesting in the first place.

In this season, he’s just a bumbling fool that calls himself a pirate. His backstory isn’t mentioned. He’s stupid in a cringe-ing way (not even comedic), and is just no longer a gentleman. He’s just a bad pirate. It’s so boring in comparison to the complex characterization we got last season, that every time he spoke I had to physically restrain myself from petulantly clogging my ears and going “lalalalala!” to pretend that he wasn’t really saying half the things he was saying. He’s just a puppet, waving around in the wind, contributing nothing to conversations and existing without complexity. It makes me want to bash my head into a table.

Zheng. Why? What was her purpose? I’m white, I should note, so I’m not entirely qualified to talk on this subject from an experiential perspective, but a great big part of her character felt like something I wrote my end of high-school thesis on: orientalism in science fiction, and specifically the pervasive notion of the “submissive eastern woman”. This isn’t science fiction, but it does employ (subtly, might I add, but still noticeable) tropes that Edward Said wrote about in his work “Orientalism” (1990) -- stuff, specifically in OFMD S2, like being the "other" (in particular, viewing the east as a "backwards west" that requires a "western touch" to correct) in the way that Zheng's ship was clearly portrayed as "abnormal" to us in every way -- the all female crew, the rigidity, the organization, etc. We were told repeatedly, time and time again, that she is powerful. But think about it for a moment, did you ever really feel like she was powerful? When she revealed she was an infamous pirate lord that made people cower, did you feel it? We saw some displays of power – but only deep into getting to know her. We never really felt this power that we were told repeatedly that she had, this fear of being some pirate queen. No, she was just a pirate with money.

(As an aside: the theme of power is notoriously difficult to get right in fiction, because it's so multifaceted. If you want my professional opinion (as some random internet nerd who spends time in a weird mix of fandoms) on who gets it right in modern fiction: I think JJK does it really well. I could go on about JJK for hours, both its rights and wrongs, but it gets the notion of power right if nothing else. For those unfamiliar, the “mentor character”s name is Gojo, who is a sorcerer born with a rare combination of techniques that makes him incredibly powerful – almost completely untouchable. To the viewer, he is silly, aloof, and overall goofy as a character (it’s actually a front, but this is an OFMD essay, not a JJK essay) which allows us to get to know him beyond his power level – but when he’s not acting aloof, when his smile deepends (or worse, when it drops) we can feel the power emanating from him. From impact frames, to the fact he’s constantly unserious, to enemies cowering at the mere mention of his name – his entire thing is that he’s the strongest sorcerer alive. Curses (evil spirits) quite literally can’t do anything while he’s around – so much so, that when he gets sealed in a prison dimension in s2 of the anime, the effects are felt quite literally all over Japan. With one simple action (the sound of the cube sealing him hitting the floor of the train station) an entire nation’s power has turned on its head – every curse, every sorcerer feels it. When his power is gone, there is such a large disparity between the protagonists and the antagonists, you can feel it through your screen.)

Zheng does not have this. She does not have the luxury of being in a story where the writers care about making her a threat. I could extend this to Blackbeard too to a lesser extent, but I won't. OFMD is a comedy. But being a comedy doesn’t mean you can’t tackle heavy topics – you can, and should tackle the heavy stuff in your comedic show. Repeatedly we were told that Zheng is powerful – but nobody treated her like that. Hell, the show didn’t give her the power that it claimed she had. We only ever saw the safe side of her, the kind side of her that (for no reason) liked and cared about Olu. Complex female character? Nah. Random romantic love interest for Olu? Hell yeah.

Fucking Christ. And don’t get me started on the costuming choices. Pigtails? Really? You had no other options? You couldn’t have dipped your fingers into any historical media for reference, like you’ve been keen to do with European references in the show? Alright man.

Finally, Izzy. WHY did they kill him? Probably my least favourite trope in modern media is when a character finally gets some closure towards the end of their arc, starts becoming a truly better character/dragging themselves up out of a deep pit – only for them to die mid arc. COME ON. If you wanted shock value it would've made more sense for ED to die because he’s, at least, stuck in his old ways. That could’ve been interesting, seeing him stick to his old ways to his detriment. Not to toot my own horn, but in the story I’m writing (shoot me if I mention it again) one of the primary main character’s whole theme is centred around desperation, and his eventual death as a direct result of it. His death is not just for "shock value" it serves a purpose. It's to further the commentary I'm trying to speak on about how far we’ll go to live in an idea rather than the present. I really, truly, honestly think that if they did that with Ed the story could’ve been so much better; and I say this having experienced the difficulties with writing out a central character. But again, this season lacks intentionality. Ed doesn’t die, and instead Izzy does after being the only character with any sort of redeeming qualities this season. I get, to some degree, it’s supposed to be a metaphor for Ed leaving behind his past but, does he really even do that? He’s Blackbeard when we end season 2. Izzy’s death didn’t mean anything to me beyond just wishing the season ended quicker, because (as we witness with Ed’s rebounding) concrete decisions made by characters can be reversed in the flip of a second thanks to Plot™! There is no permanence to the story’s cohesion, and Izzy’s death just doesn't stick. “Okay,” you say, exhausted. Nothing feels real. Nothing is internally or externally consistent. It's just a mess of ideas poorly strung together, and that's being nice about it.

I wont say much about craft because this is getting long winded but. Fuck me, dude. Why does every dialogue happen in a vacuum? NOBODY IS EVER DOING ANYTHING INTERESTING. a lot of scenes felt like filler -- there only to extend the series' runtime. I’m tired, man. It’s sloppy writing. I'd almost give it a better rating if Season 1 wasn't so much better by comparison. Instead of just being a bad season, it now also ruins what the show built up in the first season. I'm beyond disappointed.

TL;DR: please for the love of god start loving the stories you're writing. the future generations deserve more than money-laundering garbage edit: whoops got her name wrong halfway through its zheng not zhen my b lol

#ofmd #ofmd s2 #analysis #media analysis #blackbonnet #stede bonnet #ed teach #edward teach #pay your writers #i blame disney+ for the commodification of our media #pay your artists #and stop paying your billionaires #fuck this season #more disappointing than kfp4

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