Snarkily Remarking on Past Articles (And maybe analyzing a bit)

Emotion in Alternative Tango and Abstraction of Art:

(I’m in general less a fan of alternative tango now versus when I wrote this article)

“I have to disagree though that the lack of humans in performance or direct emotion from the music robs dancers of their ability to express the music. Instead, the way I see it, it lets the listener form a personal connection to the song more easily and permanently imprint their own emotion subjectively onto the song for every time they listen to it.”

My basic argument here is “I know everybody else thinks about it this way, but I don’t.” I think I had a valid-ish point with this though. The other side of this argument is that Alternative tango tends to be very precise with when which parts correspond to certain movements, so from that perspective, it is difficult to really have much free reign over how you’re dancing to the music. My counter to that is even permitting that is true, there are certain movements that would be kind of improper for most traditional tango music which alternative tango allows people to explore. So even if in some regards, alternative tango is restricting, there are benefits to playing at least a limited selection in a milonga. Regarding this whole idea of having inherent emotion versus people bringing their own emotions to the music, it’s good from a mathematical perspective, but from my very very limited and circumstantial understanding of psychology, people tend to be more willing to express their own emotions in situations where other strong emotions are already present.

“I wrote all of that in a huge rush, so why don’t I try to reiterate this differently. “

Uhg… I know I’m still guilty of clunky transitions nowadays (ha! Geddit? Because I’m trans… Wait, what?) but this is really brutal reading back.

“I believe that a work of art’s impression on a viewer / reader / listener / consumer is far more significant that the original intent of the piece. In essence, what a person takes out of art — their subjective experience with it — is more important than the piece of art itself.”

This is a totally different argument from the past part. I’m basically just reiterating the thesis for death of the author here and it’s only tangentially related to my original point.

“Alternative tango can enable the listener, by being more abstracted in emotion, to form an easier sentimental value with the song.”

This is just blatantly untrue and would give people out of the loop a misconception about alternative versus traditional tango… If I were to make the fallacy of categorizing an entire genre of music at all, I’d categorize alternative tango as too blunt with its emotions. Listen to “Otra Luna” by Narcotango or “Cinqo Minutos de Soledad” by Tangolectra. Mind you I’m generally a fan of both of these artists, it’s just this particular songs that, gosh, they sure are abstract with their emotions. I have no idea what they’re going for at all. I think a lot of traditional tango music can be emotional, for sure, but it doesn’t beat you over the head the way these songs do. The former, at least in my local tango group, is highly regarded as one of the great gems of contemporary tango music. *shudders*

Madarame’s Big Resolution:

“I’ll be honest, I thought there was a chance for MadaHato to be a reality. A slim one at that. But now Genshiken is telling us how silly it is to think anything other than this would happen….Well, I’m sure that MadaHato did have a real — but slim — possibility….I’d say more disappointing than MadaHato being a reality is that Hato isn’t interested in men….”

I did a nice job editing out all the sniffles there. Aha! Be proud, past me! You have been avenged.

On Content Creation:

“I feel like society has started putting a stronger focus on the creators of works and their personality and personal lives….”

Hang on, repeat that.

“I feel like society…”

Okay, right here, starting anything with this phrase is just a bad idea. If you write a blog article and this is how you start it, you’re doing something wrong. Now, beyond that, I do think I have a valid point here within the world of YouTube, but it’s a pretty damn big generalization to say all of society is this way,

This Kind of Writing:

“Often I have ideas for why I like some aspect of some anime or manga, and the idea is complex enough to take up 500 words, but I’d love to be able to go full-out Hearts of Furious Fantasies style with the 10,000 word posts.”

Aw, that’s cute, even if I do mess up his blog name.

Genshiken Has Made Me Depressed:

See, I even knew it at the time. Can you all understand why I’ve written like, 5 blog articles about how great Spotted Flower is in the past month?

Revolutionary Girl Utena’s TRUE REVOLUTION:

I definitely have this habit of conflating my emotional attachment to things with analytical points. I’d have to do my research here, but I’m gonna go out on a limb and guess that 革命, the word for “revolution” in Japanese, probably only means revolution in the sense of The French Revolution and not so much in the sense of revolving around an object. It’s possible that the creators were aware of the dualistic meaning in English and chose the word 革命 based off of that, but I highly doubt it.

Is Copyright a Cultural Bias?:

I think this is a really great idea and pretty forward-thinking for a point in my life where I was having my red-pill phase, but when I said,

“This could just be sanctioned because most of the musicians and orchestras were friends with one another and had their own cool kids club, but I feel like most of them genuinely didn’t care if another orchestra played their song.”

I did like, no research at all to confirm whether or not this was true. My source for this was basically some (non-Argentinian) DJ giving me this whole narrative about this thing rather than actually looking for whether or not it’s true for myself.

How to ‘Get’ Action!

Oh god. I just realized the song is called “Get Action” in an album titled “Bedroom Bedrock.” Maybe that was the point, but if so I didn’t get that until now. I hate this article so much though. Heh. Wait, what’s this article? I don’t see it…

Video Games are the Apex of Art

This title is so misleading. My point here was that games are one of the only forms of art that incorporate several different sensory experiences and that’s cool. I think I was trying to go the clickbait title route but I ended up just looking dumb.

Thievery Corporation’s “The Temple of I & I”: What to Expect:

Cultural appropriation  Shit, can’t use the C-A phrase.

“Now in The Temple of I & I I think we’re going to hear more of those parts that make Saudade great: noticeable evolution from past albums, more emphasis on the culture of their album, prominent vocal tracks. However, it brings it back closer to the instrumentation of Thievery Corporation we were accustomed to.”

Bringing it closer to the instrumentation we’re used to is me trying to soften how this album already sounded like it was cherry-picking the parts of Jamaican music and culture that it liked and ignoring the rest of it. Not really something I should be trying to soften.

The Temple of I & I:

“Now, I’m aware The Temple of I & I has received some critical reviews for misappropriating the sound of Jamaica. I’m not Jamaican, nor have I ever been strongly invested in Jamaican music, so my opinion my fall secondary to someone more familiar with the culture Thievery Corporation is incorporating this album. Just a heads up.”

Well, at least I was blue-pilled enough to be aware that the points I’m making are kinda dumb. The gist behind saying this is basically, “Hi I know that this album is problematic, but I’m a dumb white girl so I’m going to give you my dumb white girl opinion anyway!”

Reading through the article, I don’t have as much a problem with it as I expected to though. My impetus for making this post was because I remembered making an article about Temple of I & I largely praising it even though it’s a very good example of the C-A phrase, but seeing as I at least gave a warning that this was a dumb white girl opinion I guess I can’t fault myself too too much.

Chroniko’s Boots — How Kaiba Portrays a Corrupt Society

“The society in Kaiba here is portrayed as the corruption of capitalism with all of the wealth and power belonging to a tiny number of rich people and none of the wealth or power belonging to anybody else.”

Isn’t that just normal capitalism?

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Embrace The Cringe

Upon taking a detour to review my past writings, it’s astonishing how bad I was just a couple of years ago, or hell, even six months ago. Yea sure, maybe that’s because I’m still a smol bab but yeesh, I didn’t think of myself as being that incompetent or poorly spoken! What happened to all those teachers from high school who told me I was such a talented writer? What happened to generic compliments from my parents about how well I write? I tremble to think of how this must reflect past me as a person. Woe is I, filled to the gills with cringe! And moreso in the future— just think of how I will view this in a couple years. The naive ramblings of a small child!

But, you know what? That’s a good thing. If I’m looking back on myself six months ago and thinking, “Damn, she’s a shitty writer,” then it means I’ve gotten that much better in six months. On that side, I’m doing pretty well eh? Sure to all you mature adults of this world I must seem like every other annoying teen who because they are / were / will soon be a senior in high schoola senior in high school! So old! So prepared for the outside world! or even worse, a freshman in college you’re still so, so mature though, right? Legally an adult*! You make your own decisions now!

(*Or perhaps you graduated early and therefore are annoying all your peers with your added year of inexperience (or subtracted year of experience?))

So you know what? I’m gonna treat it as a good thing that I was a brony in middle school, that I read manga now, and everything else that’s cringey in my world. That way, when I grow out of it (fuck man! I don’t wanna grow out of liking anime! My mom’s boyfriend’s like 50 and he still likes anime! He’s fucking awesome! Y’all need to drag me back into this shit if I ever try to run away from the world of contemporary Japanese visual culture.) I’ll be able to look back and be like, “Yea, look how much I’ve evolved as a person now!” That’s pretty cool, huh? Sure I started way back at -1000 goodness points, but now I’m all the way up at -100! It’s not long before I become a good person now, right?

So you know what, future me? Please, find me now as cringe as you can. That’ll mean I’ve come a long way.

Thanks!

Also, Get Rekt You Dumb Bitches

I just saw the comments section on Bato.to for ch 22 and 23. I truly can rest in peace now. NOW THEY ALL FEEL THE PAIN I ONCE DID, THEY UNDERSTAND. Some have turned to reject the canon of Spotted Flower, just as I once did. Many are despairing, just as I once did. I must now wonder, will they create their fanfics where this never happened? Please do, pitiful ones. Please do so, it will only strengthen the reality that HATOMADA IS. I HAVE WON! I HAVE WON! I HAVE WON!

OH SHIT

(Spoilers for Spotted Flower and Genshiken and stuff)

Hey. Remember how I legitimately went through a month-long phase of depression after Madarame didn’t pick Hato?

Well, Kio Shimoku, ever-pandering in his spinoff series, Spotted Flower, has brought peace to my soul. It’s not out in English yet, but I know what I’ve seen. I know what has happened. Sure, they aren’t officially the same characters, but… it’s happened. It’s real now.

I’m the happiest person in the world right now. I am sobbing tears of joy. I am rethinking my entire life. All my life has been for a good reason up until now— to grant me this amazing gift.

There’s no analysis to be made. There’s no deep thought to be said. It’s just… what it is. I’ve been sated. I love everything.

Made in Abyss

HEY GUYS I HAVENT POSTED IN LIKE MONTHS BUT IM GOING TO NOW BECAUSE MADE IN ABYSS IS THE BEST THING EVER HOLY FUCK MAN ITS SO GOOD I LOVE IT HYPE LEVEL IS LIKE MADAHATO BUT ABOUT SOMETHING THAT ACTUALLY WILL HAPPEN CANONICALLY BECAUSE ITS THE BEST THING EVER. (THAT MEANS SPOILER WARNING)

Speaking of Genshiken is Reg becoming Kuchiki? He’s starting to get a harem of hot babes but instead he wants to fuck all of them and none of them want him except Faputa but we don’t know her yet. Anyway, this manga is fucking amazing.

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Best part of the manga goes to the third volume and Nanachi’s arc. Like, to say that I cry every time I read it defiles the greatness that is the third volume. Tears are not enough to express the fucking incredibly story. Nanachi finally liberating her best friend from childhood from an eternity of pain and forcing herself to believe in an afterlife so that she can believe she’ll one day be united with Mitty? HOLY FUCK MAN.

AND AND AND HOW ABOUT THE FACT THAT THE COOL DINOSAUR NAREHATE BRINGS UP MITTY WHAT IS IT POSSIBLE SHES STILL ALIVE WHAT THE FUCK????? HOLY SHIT MAN. NANACHI IS THE BEST.

NANACHI IS THE BEST.

Faputa’s also pretty cool so far tho too.

BUT NANACHI IS THE BEST.

HEY. THINK ABOUT THIS. We all think of Nanachi as being a girl and use she/her pronouns because her design is more feminine, but there’s no confirmation of Nanachi’s gender. Think about how Nanachi being a guy re-contextualizes fucking everything— now Nanachi’s love for Mitty has a more romantic tone (Imean maybe lesbian couple but Made in Abyss is already the best manga it doesn’t need anything else to make it even more amazing) and her relationship with Mitty becomes a more direct parallel to Riko and Reg, with Riko taking the place of Mitty. A bit more ominous now, right?

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Have I mentioned how this is literally perfection of art? This author dude Tsukushi Akihito can super grotesque and horrifying shit but also create SOME TOP TIER ADORABILITY. HE CAN DRAW ANYTHING.

Oh also Ozen’s pretty cool. I appreciate that Tsukushi-sama took a seen-before archetype and made her into A FUCKING BADASS HOLY FUCK MAN.

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Ok… If you can’t tell I have nothing legitimate to say about this. I’m just really fucking hype.

Kaiba – How to do a Dystopia Correctly

I was baffled by how much my father praised the movie Blade Runner after we watched it together— it’s not a bad movie but there’s a reason it didn’t win any Academy Awards. I was also baffled by how praised George Orwell’s 1984 is in the realm of English literature. Again, it’s not bad, but I’d never consider it my favorite book. While Kaiba is largely building off of these giants in its dystopic society, it did it right. That’s because it focuses on the humanity of a dystopia, rather than the society itself.

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One of the first things we see in the show is the machine memory chip-sucking flying things that absorbs the chips of a couple of random guys on a natural-looking bridge. We don’t know anything about these guys, but we can assume from their reaction and physical appearance that they’re pretty ordinary working-class people, and through this we can immediately get that this is a futuristic world with a government or society that is either oppressive or neglectful. These few seconds let us infer everything that 1984 and Blade Runner spend significant portions of their time to establish and analyze.

From here, Kaiba takes time only to look at the human effects of this dystopia. Later in the episode we see the squalor most citizens live in— small gatherings of people with scrap equipment and innumerable memory chips and nothing to do with them. This only preps us for the tearjerker in episode 3 with Chroniko’s Boots (as I discussed the other day). The episode effectively highlights the corruption and apathy of the society in Kaiba, but the focus is put on Chroniko and what happens to her. Contrast this with 1984— sure, there are other relevant characters besides the protagonist, but it only marginally exposits how society is corrupt through the events regarding a particular character. We do see this in one character, Julia, but she tells us very little about the world of 1984 that we didn’t already know.

Listen to the music, too— one of the first songs that is played is “Catch it up!” It’s an action-y, heavy synth song that instantly reminds me of Tron (the original Tron, mind you). And, lo and behold, Tron is another futuristic dystopia movie! Immediately after this tech-y sci-fi song, we’re brought back to the humanity of this world in Planet (laughing version) which is characterized by its bizarre sound that feels down-to-earth and alien all at once. Even here the focus remains on the people, and how they interact under these circumstances.

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This establishment of the extraordinary before giving the audience something to empathize with is how Kaiba conveys its dystopia. It goes a step further in “show don’t tell”— rather than letting the audience see the corruption in the society and how X government official gets assassinated, we see the personable side of it and where we would stand in the shoes of others. And, more importantly, we see Kaiba standing in the shoes of others. The show gets away with expositing what the world is like by making it Kaiba who is watching this unfold. This further establishes Kaiba’s relatability to the audience, which makes us root for him just that much more and be even more surprised when we realize he’s supposed to be the evil king of this world. How can a boy so empathetic be a cruel ruler? And, mind you, all of this is to facilitate the arc of the show. The dystopia isn’t simply a setting in Kaiba, it functions as an influential part of the narrative. And, as such, the expositing of the dystopic setting is all part of the story of Kaiba.

Odds

When I was younger, I was always bothered how heroes would always win by the skin of their neck and against some unfathomably large odds. I wouldn’t believe that in a hundred books where the hero has a one in a hundred chance of survival, they would always live.
But that isn’t the point of storytelling. Just because something is unlikely, it is still possible. The reason the hero never gets hit by gunfire or never roles below a perfect 20 is because that is the story we are telling. Sure, we could tell the story where the hero dies at a certain point, but we can also tell the story where that doesn’t happen. So long as something is within the realm of possibility, it makes sense to tell the story of the person who breaks through those possibilities rather than the one who doesn’t. If we’re telling a story about a person who won the lottery, it’s okay if they only bought one ticket. Even though it’s incredibly unlikely, we as people are interested in the stories about people winning the lottery rather than the people who didn’t. So it makes sense that we would tell the story about the man or woman who won the lottery, or beat a dragon where they had a one in a million chance of survival or was able to destroy every asteroid against all odds or whatever. It as an individual event is unlikely, but because it is in the contextual realm of possibility and gives the most narrative interest, it is okay to tell the story.