#so IMO the best you can do is breathe new conceptual life into them

[ganymedesclock]

Y’know I think the popularity of Lady Dimitrescu from Resident Evil 8 just illuminates that we could have more variety in “the designated big tanky one” besides large rough and tumble man, the latter with some sort of intended-to-be-humorous idiosyncrasy, or ‘comically’ undersized girl.

(I use comically in air quotes because frankly I don’t like that trope, it just feels like an excuse to not ever have to put muscle or fat on girls. Yes, I have known petite women who can kick your ass, but if you are introducing a character who fights like a heavyweight, give them the physique of a heavyweight. Look at powerlifters! Look at olympic gymnasts in the categories closest to what your character is doing!)

Like just grab other character traits and just make them also huge compared to their teammates. The options are very fun.

The Dimitrescu Classic where they talk like an aristocrat and dresses like a yesteryear starlet but can bench your entire body. Tanks a land mine and is mostly annoyed because “You’ve dirtied my dress!”

Dramatic-ass thespian artsy type who’s handsome and brooding and also they happen to be a chiseled adonis. Especially if they’re the type who worked out this much because they’re actually a dancer, not a powerlifter, and they are a technique-over-power type while still being big and strong.

Variant on the Dimitrescu Classic where she comes off like an indulgent rich grandma, dated fashion sense and all, wearing odd and pungent perfume, with the punchline being at some point she shrugs off her oversized coat to her favorite surrogate nephew and says, “honey, you better clear out, I’m about to sort this fella’s bones out” and she’s absolutely shredded. Can even foreshadow it by that she’s a grand dame in stature and prone to some overbearing hugs but it’s assumed to just be slapstick framing of a normal-strength hug until it turns out she’s been holding back.

The Princess Classic archetype because nothing’s funnier than that one image set I saw once of a refined princessy type looking at someone, saying “do you want to fight me” and then tearing her dress off and she’s wearing a wrestling singlet underneath. Bonus points for sheltered ingenue who practiced some sort of noble-accepted sport to get the energy out and became like, nigh undefeated at it.

Most variations of wizard archetypes are funny if they can punch you. You’re ready for Merlin of the Floor-Length Beard to cast fireball at you or something but are you ready for Merlin’s prizefighter suplex? nobody is.

Straitlaced desk jockey bureaucrat who could pick up the desk and throw it at you but won’t because then they’ll have to re-file all of this goddamn paperwork. Don’t make them pick up their favorite paperweight.

Swishy fencer braggart who you have every reason to suspect is a technique over power type and because of that you realize too late that it’s actually not do-nothing bragging that they want to fight like everyone around them and they are actually as good as they say they are. Bonus points if they come off like a cocky do-nothing because they were previously surrounded by people they had either already fought and were no longer curious about, or otherwise saw little prospect in fighting so the party only finds out they have a berserker in musketeer’s clothing when they’re already deep in trouble.

Washed-up has-been reveals at a triumphant point in character arc that their problem was primarily psychological and while they let themselves go in terms of physical conditioning, some things don’t die easily and they can get back into shape over time.

#writing ruminations #generally there's no new tropes under the sun #so IMO the best you can do is breathe new conceptual life into them #what are the backbone qualities of the archetype and how can you re-frame them in something new #for 'the strong man of the team' #there's a lot of questions you can ask about strength and potency #and assumptions about bodies #is a well-mannered body restrained in expensive clothing less threatening #what about an aging body hidden under eccentric clothes

[kae-karo]

marianas trench: phantoms

the absurd album overanalysis, commentary, and ranking nobody asked for

first, my personal ranking (don’t get me wrong tho i love the entire damn album):

1. wish you were here 1. don’t miss me 1. the death of me 2. your ghost 2. the killing kind 3. only the lonely survive 3. echoes of you 4. glimmer 4. i knew you when 4. eleonora

the album as a whole: oh such an awesome story and so awesomely inspired by the horror genres?? i think some of the non-singles hit the horror mark better but like oh my god it’s such a cool vibe the whole entire thing???? i know the concept was like,,,,,,descent into madness but you can totally feel this struggle with it and with the idea of a doomed/dead relationship, it’s just so so well done??? my one complaint is that i’m not musically inclined enough to recognize where all the references are bc unlike in no place like home and dearly departed, there aren’t really as many lyric references to other albums/songs, it’s more the music. and i know it well enough to go ‘oh that’s familiar, for sure’ but i can’t for the life of me figure out where from (in most cases)

eleonora: i mean the title is based on the short story by edgar allan poe (x) true to theme from the beginning, which (long story short) is about a woman the narrator falls in love with (well, his cousin) but she’s ill and will die, blah blah blah she does and the narrator vows never to marry anyone else but later he does and his first love comes back from beyond the grave to give her blessing for the new marriage - already basically i’m getting vibes of like,,,,,,a genuine desire to move on? which is great imo and like a step forward from previous albums? plus the whole acapella delivery is super reminiscent of so it goes (x) and the layered voices reminiscent of the intro to end of an era (x). plus we have the direct ref to the raven (x) by poe with ‘midnight dreary’. also the idea of ‘don’t hush’ which is later touched on as ‘just hush’ in the killing kind? oof interesting v v interesting

only the lonely survive: a bop a massive bop but! also! just a very intriguing take (at least to me) on a doomed-to-fail relationship, the idea that you can actively acknowledge a relationship is hurting both parties but...choose to stay. i also like the idea (which i might just be extrapolating) that to truly live, to have a really poignant relationship, you have to sort of give yourself over to it? ‘only the lonely survive’ - only those who isolate themselves truly ‘get out alive’ if you will but like, that’s the beauty of putting yourself out there? is like, you truly feel everything, i guess. ‘it hurts like hell to love this well’ sort of touches on that same idea for me. anyway the whole thing goes hard as hell and i love it. ‘he’ll never know you / not the way that i knew you’ we love intra-album references !!!

echoes of you: okay didn’t love this at first bc it felt repetitive (and it was coming on the heels of only the lonely survive which i adored) but it also felt really unique and a little different? when the released it as a single, it’s the first time i thought of this album as truly horror-inspired and totally picked up on the tell-tale heart vibe (x) which was just so interesting, i love how stories like that have turned into these really fresh songs that still call back to these kinds of madness-inspiring stories - that a love can inspire that kind of madness, even when it’s gone. i also wonder if the idea of ‘can’t stop myself from falling now’ has less to do with falling in love (which is, for me, the immediate connotation) and more to do with ‘falling into madness’. the verses and the tempo are so well-paced as well, like this frantic feeling? then the chorus comes in with this suspenseful set of chords? and the theremin in the background!!!! the best way to give a truly Spooky™ vibe. the idea of tell-tale heart, the story, too, is that the narrator is trying to sound completely sane, and explain the murder they’ve committed and why it was justified - that goes along with the theme of this album, too, where there’s this undercurrent of trying to insist that the doomed relationship is somehow justifiable

don’t miss me?: oh i adore this and the idea of ‘oh hah yeah no i don’t miss you like at all,,,,,,,,,,,,,do you ‘not miss me’ too?’ and like this,,,,,,not obsession but the idea of trying to actively move past missing someone? but just constantly getting caught up on it? unrelated to the meaning but oh my god the little background vocals, adore it. ‘some people try to raise the dead / some people try to live instead’ is like. that’s one of those things that i lowkey would love to get tattooed on my body or something. just really good words, because that’s what it’s like moving on from a rough relationship - and it’s hard to like, see that when you’re in the thick of it? bc like imagine losing a loved one and trying to bring them back to life - we’ve all heard the story, it’s never what’s expected, it’s never quite right and the same goes for relationships. and so, the idea of living instead, of moving on. also the vocal run up to the high note toward the end (x - look idk Music Words) reminds me of something but i can’t quite place it. also ‘i don’t remember why we stayed’ and then in wish you were here, we get ‘i don’t recall now why we’re buried’ which is a fun contradiction

wish you were here: that middle-of-the-night madness that goes alongside one love (x) like,,,,,if you took it one step on the other side of madness and entertained the idea of reviving a relationship that should be dead. except it’s such a bop unlike one love, like it sounds a lot like it could be on astoria, and it’s got that back beat matching this means war (x) in fact, it feels like the exact polar opposite of this means war (like...instead of ‘lmao i’m totally awesome without you’ it’s like ‘i’m,,,,,maybe not doing so great without you, shit i really wish you were here, wish we were together’)? but with the same sort of vibe in terms of the music itself? and the outro (x) reminds me hardcore of something else i can’t quite place

your ghost: this one also reminds me a lot of the general vibe of astoria with hints of like. modern touches? this one reminds me a lot of wildfire actually? (x) but a bit more upbeat? like that guitar style i think is what does it. it feels a lot like there’s this...almost unwilling pull toward the idea of ‘madness’ that they’re focused on, like....a sort of awareness of the descent? also the softer bit toward the end where it’s just josh and the guitar (x) reminds me a lot of something that i once again cannot place for the life of me

glimmer: oh no,,,,,,,,,okay first this (it’s just audio but tumblr won’t let me add audio on its own in a post like this):

so my first and most important comment is that all i can think about when i hear this song is ‘halo by beyonce halo by beyonce halo by beyonce halo by beyonce’ and it tends to run over everything else lmao. but! i think conceptually it’s more of that descent into madness, into seeing some sort of trace of a relationship, like some sort of residual glimmer that sticks to things, to people. ‘it’s funny what you find when you go without’, like the idea of....probably hallucinating in a sense, but starting to see the relationship/the other person everywhere, on everything, when you’re missing them? even to the point that, when the person comes back, maybe the memories of that relationship stick around too - ‘you’ve changed but it’s not enough / and doubt is insidious / creeps up on you softly / i can’t get it off me, i can’t get it off me now’ like this idea that even though it’s something wanted, to come back together (no matter how bad it might end up), memories and the past can’t really be forgotten - ‘you’ve changed but it’s not enough’ - very reminiscent of wildfire (x - ‘so now you show up when you’re alone again / but we haven’t changed, but now you’re interested) ngl too the overall feeling of the song reminds me of one love? (x)

i knew you when: so this song sorta came out of nowhere to me, like it felt weird and off-kilter like...i knew you when? when what? but like. now it makes a lot more sense, in this sort of...well, twisted way. it feels like things have been twisted around. it comes off the back of glimmer, too, and i think that’s like - oh, these memories are here, lingering, and this is almost a deep-dive into them? it tells a bit of a story and i think it’s less abstract, but it definitely harps hard on the idea that ‘i’ve been loving, loving you too long to just sudden-suddenly move on from this’ that sort of encompasses the entire album really cleanly. it’s interesting, actually, it almost feels like a very sincere moment of clarity and specificity amidst a mess of this drifting toward ‘madness’, but still hinting at that little bit of ‘okay but if you want to....i’ll know you then’, this like concession to that madness, an indulgence in it? 

the death of me: oh catch me melting over the transition between songs, utterly seamless. love it. this one is another one that like....feels like a breath of clarity in awareness? like this acknowledgment that there’s something off, this lingering desire for someone from the past, that there’s an emptiness, that this new thing isn’t right, even if it’s something wanted. because other wanted things (or people) make it impossible. i think it’s also the first time in a while where another party (ie not them nor the person they’ve got this tangled relationship with throughout the album so far) is mentioned which is v interesting. i think this track does an excellent job of bringing a ghostly vibe to it, the echoing vocals and background sounds, they almost elicit this feeling of like. the person is drifting away from the person they’re trying to make a new start with, like literally drifting? almost being pulled in by the ‘madness’? and it’s a heartbreaking song, too, bc there’s this emanating desperation to like...move on? and make things work? but this acknowledgement that...maybe that’s not happening? maybe it’s not possible? maybe there’s too much baggage, in a sense? there’s also that very long outro that starts off a little intriguing, adventurous almost, and then descends into this frightening crescendo (x - that also has a hint of something else in it) before these voices come in, crescendoeing again into this sudden stop and then you’ve got josh saying ‘save me from myself’ which i feel like is a reference?????? also cannot believe they made me download that and reverse it so i could figure that out lmao

the killing kind: it wouldn’t be a mt album without a song that’s all over the place and somehow still cohesive and intriguing, huh? oh big mood for the intro, with the very great imagery of wandering a haunted house at night, staring into the shadows, and then ‘the killing kind’ - i think the whole thing is a super interesting concept, again, this acceptance of some of the fault in a failed relationship? ‘but you’ve been haunted too’ and yet not all of it, i think a lot of media represents things as black and white, with all the blame on one person, when that’s rarely the case? anyway, it’s interesting it’s addressed. ‘nevermore’ of course being another edgar allan poe reference (disclaimer there may be other references i’m missing since i’m not massively well-read in the horror genre) i’m also intrigued by ‘can’t get out / from under it / nevermore to leave here’, is that a lover dearest (x) reference? bc that’s what came to mind, honestly. again, excellent with the background vocals giving that eerie vibe. and then the stephen king ‘it’ reference with ‘we all float down here’. ngl that one feels a little forced but again, i’m like. not well-read in the horror genre so there may be more layers to that one than i know. ‘it gazes back / sings to me / i know my love can be the killing kind’ - i think this is interesting that it sings back, that feels very much like a callback that maybe their own previous songs are hinting at the love being ‘the killing kind’. also ‘you should never be here’ makes me think of something (x) the hard guitar/violins in the background during ‘here and now / this is it’ etc remind me of something else. and then ofc we have the astoria run/vocals (x) and then the ref to echoes of you (although it sounds like the slightest pitch lower than in echoes of you?) and then the whole bit with ‘don’t love the bottle’ i swear on my life it sounds like it comes from somewhere? same with the background melody? but i have no idea where, it just sounds like a reference. and then we have the background little melody (x) after he says ‘a hidden melody’ so it’s like reinforced that it’s a reference but idk where from rip lmao. edit: ty to the lovely anon who mentioned it’s from masterpiece theater!!!!! and once again a++++ use of a theremin in the background for max spooky vibes. also ‘evermore’ is totally a reference to ever after (x) along with the little lift after that (i assume) and then the whole acapella bit calls back to eleonora and the ‘now’ bit to something (x) plus the ‘hear me now’ from something wow i’m great at this game lmao as well as the ‘don’t you hear me’ part. ‘we could be together here / forever we’re together bound in madness’ i think again a lover dearest and then ofc we have the vocal runs from something (x) and then the strong background violin from another thing (yeah yeah i know they’re all references i just don’t know what from) and then he says ‘just hush eleonora’ which, as previously mentioned, is a very intriguing development from ‘don’t hush’ like this,,,,,,acceptance of the madness? and then ofc he says ‘eleonoria’ in ref to astoria. edit: also the whole ending is so so similar to the ending of ever after

#marianas trench #phantoms #kt #oh my god i'm so bad at musical references #when it's lyrics i got it easily #but oh my god #someone sned hlep #this feels so incomplete #ah well c'est la vie i suppose