hi i am juyo juyomi akecsu (。•̀ᴗ-)✧ she/they 19
spacewaffles + revenants 4ever
ao3 | spotify | last.fm
DEAR READER
Claire Keane
Cosmic Funnies

Love Begins

pixel skylines

★
Lint Roller? I Barely Know Her

No title available
"I'm Dorothy Gale from Kansas"
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todays bird
let's talk about Bridgerton tea, my ask is open
trying on a metaphor
noise dept.

祝日 / Permanent Vacation

Discoholic 🪩
Keni
we're not kids anymore.

Kaledo Art
he wasn't even looking at me and he found me

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@akecsu
hi i am juyo juyomi akecsu (。•̀ᴗ-)✧ she/they 19
spacewaffles + revenants 4ever
ao3 | spotify | last.fm
minecraft is such a malleable game that it is primarily communicated through inferences which allows stories to form in the channels it creates. you leave empty space guided by action and you receive a network of information flowing to the next indicated direction. where else is it done quite like this. where do i find more of it
being into some bullshit that nobody cares about and also is stupid really changes you
HAI i was wondering if you might want to yap a little about hannahs lifesteal character. im so curious and intrigued by her. i want to know more but i don't have a lot of time to watch a lot of vods (#employed) so i thought id see if you have a a character analysis ramble rattling around OR specific vod recs maybe to start with to understand her...
i would love nothing more in this entire world....
okay first and foremost. vod recs: here is my warden arc revenants (hannah+bacon) pov reclist, it has most of the individual vods id rec from s6 except mapicc may 17th but that vod isnt on the ls archive so heres my clip compilation.
here is my ultimate list of her every appearance in s7 including annotations telling you what vods are most important to watch to fully understand her s7 character
character rambles under the cut, warning that they're not the most organized lol
Happy pride month! 🏳️🌈
Here's a Spacewaffles clip compilation made by one of our VOD compilers :)
lifesteal couldn’t even get 10 women to add lmao
and if i never elaborate on this one you have to forgive me becauae it is six in the goddamn fucking morning and I CAN'T SLEEP. things i've said before: a body is an open notebook. a body is an interrogation. things i've started saying and then failed to finish the fic for: a body is a performance. a body is a signal? or the medium through which a signal is conveyed. man okay . things i am considering: a body is a bargaining chip.
i love making pointless lists let's make another pointless list
re: an open notebook: a body is a thing you use to tell a story (consider: changing skins to indicate Significant Events Have Occurred. the acting out of behaviours such as limping when there is zero mechanical need for it. a body anchors you in a specific time and place from which a story can be unfolded). other people's bodies can be conscripted into your story. you know that thing in mcrp where in matters of disagreement about what happened fictionally, the person who has more narrative authority tends to get to decide? not as a product of actual mechanics or behind-the-scenes negotiation but because that's what the audience will know/remember/hear about? falling into someone's orbit or putting yourself in someone's orbit until you have made yourself legible to them and entangled with them, until they can reach into [who you are / what you are for / what you care about] and twist it for their own ends. drag you into a plot beat that forces you to change the entire way you present yourself to the world. overwrite the associations people have with your face.
re: an interrogation: a demand from the game itself that you ask what happened because (1) a body, as in a minecraft avatar, is not actually supposed to linger after the moment of death. the presence of a body after death indicates A Problem on the level of the game's mechanics. inviting questions of not just how and why did this death happen but also how and why did the outcomes that followed the death happen. (pointing at martyn's double life episode 3. around 48:30 he sees that ren has died. he goes to where it happened and ren's body is just there, tinted red, fallen over on the hillside. Something's Really Wrong There! also, separately, shoutouts to evan wengine for the concept of [the items a person drops when they die == their corpse] on account of that fucking rules. and that stuff despawns after five minutes too, so if you're seeing it, you should probably pay attention before you get got too <3) (2) being in a place invites the question how did you come to be in this place and to what end? i think minecraft's a really good game for ruined and abandoned places, the feeling of [something happened a while ago and you missed what exactly that was but nothing has really changed in the meantime], and A Body in that place is a question mark. why here if this place was otherwise untouched for so long? why you? also being in another person's / your old abandoned base is being in someone's body. i believe this.
re: a performance: a thing i recall being struck by when i was watching third life was the use of red life skins specifically to signal i'm dangerous, you should be afraid of me. digging up notes from the wip i still haven't gotten back to: "if this is a story about bodies as performance, mechs as self-aggrandizing projections into the world of intention and threat, then you have to talk about the handlers’ bodies too, how they perform, how they hold themselves." also, reading someone's armour to assess how much of a threat they are. we can take them because they're just in iron. we should stay clear of all that because they've got diamond. this is like the open notebook thing in that it's about a body as a surface to write on before it's really much of anything else? thirdly (are we on the third point? i'm about to fall asleep at my desk) i'm sort of enchanted by the way that minecraft bodies can... overlap? blend together? yknow, like, stand a little too close to someone and oops you are Inside Them and it's not always easy to tell where you start and end. the not being able to tell is the crux of it to me. insistently performing a separate/distinct self when it'd be so easy to not... additionally from my notes: "clutching at each other in the dark, whole-body, and touching and touching and touching and it doesn’t feel like anything, it doesn’t quite have weight — imagining it, after, lying under the blankets, is almost the same. shuddering, then slipping right through each other, wrenching each other apart and fighting for breath as indiscriminate viscera splatters across the blankets, the wooden planks"
re: a bargaining chip: been thinking about this in relation to vsmp because i feel like my interest in Bodies has kind of faded into a background thing, which is funny when vampires are so good for thinking about bodies, and i wanna see what other angles i can spin up. thing is, i dunno, everyone seems so intent on talking around video game mechanics in the videos that that's just not where my attention has gone so far. but. gestures at how apo was turned. gestures at owen framing [agreeing with legs in this negotiation] as [having his autonomy taken from him]. hmmm. it's cool how minecraft bodies are like. A Whole Thing? it's not like you can mechanically chop someone's arm off in vanilla. you can't give up a piece of yourself, it has to be your whole body or nothing. i've considered something adjacent to this before when thinking about [mcrp working best at the level of the operatic], like, you have to do the big dramatic gesture, if you want for example to communicate that you're protecting someone you can't just yank them out of the way or hold your arm out in front of them, you have to physically put your entire self between them and the danger. the vampires get their hands on you and they get all of you, the way you make sense of the world and the way you move through a space and the way you are understood by others, whether you like it or not.
hello s6 most dysfunctional team 🙏🙏
can we bring back that whole thing abt how the necessity of a narrative is what dooms the character and apply it to mcyt or no. we cld even consider the even greater (?) pressure of having to produce a video or god knows how many streams from it that makes players fervently construct stories and endings. you know what im talking about. the narrative as a grave
Baconnwaffles always on about some teammate dehumanisation ://
bacon i know u check ur indirects sometimes so i just want to give you feedback as a loyal viewer who loves your content & has commented under your videos to boost algorithm before: that shit was genuinely ass & it felt like putting down a beloved pet. i hope as a client-oriented businessman you take this into account for any future endeavors much love & cant wait to see you on lss8 baconnwaffles0 baconwaffles0 baconwaffles baconnwaffles
Long time no see everyone! With summer on the horizon and spring obligations beginning to come to a close, our zine’s moderation team has been coming together to reassess our plans for the project, including our timeline and our goals for the final product. We don’t have anything concrete to announce yet, but keep an eye on our socials! In the meantime, please enjoy this magma page from our wonderful contributors and look forward to more news on The Anatomy of a Heart, a Spacewaffles fan-zine!
the "at least there's the view" line from bart in subnautica is genuinely one of my favorite pieces of dialogue in any media ever and i think about bart torgal at least once a week
theres something so dear to me about a guy who crash lands on a planet, knows he's likely going to die on that planet, and still finds a way to love that planet and the creatures who inhabit it
ruler of everything with (mostly) s7 bacon. 'cause i had to
orpheus, don't look back
i shared a couple of my thoughts on creating this piece in my twitter replies, but I wanted to go more in depth with it since this entire concept has been haunting me since october!
first: the composition. this piece is intentionally in vertical orientation, and it's for two main reasons. one of them is the visual pluralism of joker 'exiting' toward the surface (top of illustration) and akechi remaining in the underworld (bottom of illustration), which is just like, wordplay but in visual form.
the second, more distinct one is to make obvious the readability of progression. as your eyes (and your screen) travel down the piece, they follow joker's (orpheus's) changing figure, and become witness to him as he actively turns around. similarly (this was an observation by someone in my replies!), as you scroll past the image, you slowly cut off parts of it until akechi is the only thing left. if in horizontal orientation, it could be read L->R or R->L which would obscure the action being conveyed: orpheus is looking back, not turning forward.
moreover, in regards to lighting and colors, i wanted them to reflect the gradual shift from the surface, to the underworld—from our true reality, to maruki's reality. closer to the exit, joker is kissed by the warm hues of sunlight. overall, his coloring is darker and more grounded; his shadows have form and weight to them. but, as he recedes back into the throes of the underworld, maruki's reality awashes both him and akechi in bright pastels that are saturated and shadowless—ghostly and unreal. it's that specific sense of 'unreality' that i wanted to convey.
the last thing of note is joker's reflection on the lefthand side. this, combined with the fact that you don't see akechi's reflection, represents their souls and the uncertainty of by akechi's existence: is he there, or not? is he real, or not? is he part of reality, or not? neither the audience or joker know the answer, which is why you can't see his reflection.
now, my jumbled thoughts on joker and akechi's relation to the myth of orpheus and eurydice!
this piece is a portrayal of the 'bad end' (accepting maruki's reality) because the defining component of the myth's tragedy is that orpheus, no matter what, will always look back. there's a variety of reasons/ portrayals of how he looks back, why he looks back, and when he does, but he always looks back. and it is always an act of love. orpheus looks back because he loves eurydice—he holds her so dear that he can't make it out of the underworld without knowing she's there.
orpheus is the active player in their myth—the one who traverses the underworld, sings his songs, and begs hades to let eurydice return. seldom do we get ever get eurydice's perspective. she does not have agency/control over her death, nor over her return—it is she who is taken to the underworld, and it is she who is bargained for—never is it her own choice. i imagine you can start to see the akechi parallels. despite the fact that eurydice is stripped of her agency, it doesn't discount the fact that orpheus's choices were made out of love for her at every step, and that he dooms them both because he loves her so dearly.
third semester as a whole is constructed on the cast's deepest, most intimate desires, and for joker, his greatest desire is to see akechi again. the same is true for orpheus. for both of them, that desire is what dooms everyone involved.
in another draft of this idea, i had a comic-like line overlay of joker's eyes, tearily turned to the side in unknowing. akechi's face was obscured, so neither the viewer nor joker knew what he was thinking. in this version, you see joker turn around, and outstretch his hand towards akechi. if you were to look closer at akechi's body language, you can see how he stands stiffly, and his foot is retracting, as if in retreat. you don't know what he's thinking. but you do see that akechi is looking forward, toward his own death, while joker looks back at him and wants nothing more than to see him again.
the caption i chose is ironic; everyone knows how this story goes. "orpheus, don't look back" is nothing more than a frail warning that does nothing to prevent what will happen and will always happen: orpheus looks back.
Hannah: I'ma send you a link and...
Mapicc: Oh okay
[Bacon joins VC]
Minute: Yo Chungpire
Bacon: yoo 👋 Chungpire
Hannah: Wait, BACON?! How's Bacon here?? [As in she didnt invite him to the vc]
Bacon: I just guessed the password
Hannah: Really? :o
Minute: Fuckin' Baconwaffles
Hannah: Here join this
Bacon: Yeah it was pretty easy
[Mapicc & Minute laugh]
Hannah: I sent you a link
Mapicc, audible smile: I spammed my keyboard he did not 'guess the password' yo
fun fun fun snowball fight 😊😊