Hm, I think you should read my gothic horror comic about a knight with an ulterior motive to pursue his obsession while the world succumbs to a moon that slowly decays its prey .
it's full of action, kind of horny, and there's 4 chapters out now! lunarblight.com/comic/chapter-1-convocation
I got a job at a gas station across from a casino and a guy keeps coming in to buy whole cartons of cigarettes and talks in the third person calling himself "snake eyes pete" and every time I tell him his total hes like "tell ya what if old Pete rolls a snake eyes why dont you give it to him for free?" and he rolls the same set of loaded dice on the counter and it does not matter how many times he rolls snake eyes I will not give him the cartons for free he gets so mad
been stewing on an analytical approach to fiction which I call "is this book afraid of me?" and in order to answer this question you determine how hard the book is trying to make sure you don't come after the writer on twitter
Please keep making art. Please make it for yourself. Please don’t let everything become even more of the same flat general appeal nonsense that doesn’t seem to have anything to say
There’s a quality that certain books/movies/TV shows have that leads me to say, “Yeah, I can see people making fanfiction of that.” It’s something to do, I think, with how tight the story is, how much feels open-ended or like it could be elaborated on.
Something like Breaking Bad, for example, has low squiggability (that’s what I’m calling this quality). It’s tightly written, the characters are consistent, there’s little left to interpolate or extrapolate. Obviously, people DO write fanfic of Breaking Bad, but it still has a low squiggability score. Whereas something like Supernatural has a high squiggability score. Fantasy and science fiction often have high squiggability scores. This suggests squiggability could also be related to worldbuilding and potential for people to borrow a premise or setting.
And sometimes you’ll read or watch something and you’ll say, “Ah, low squiggability,” and then you’ll open tumblr and find out that everyone else seem to think its squiggability was very high indeed.
remember when websites were written on purpose, and not generated by autocomplete in the instant you run the web search? anyway, unrelated, this webpage purporting to relay expert knowledge on which plants are safe for my snake's tank just told me I would know if he was biting them and getting irritated because he would start pawing at his mouth.
I don't want to buy mass-produced garbage from a big box store so I go to etsy but half of etsy is now dropshipped mass-produced garbage or AI slop so I go to the local arts and crafts street market but a ton of those booths are also selling the same generic plastic objects or identical stickers or 3D printed dragons so WHERE do I buy real trinkets and art from sincere freaks
on setting up audience expectations, and either satisfying or defying them
i told myself i wouldn't write an essay about tadc, because i should have got my fill of trying to argue with people on bluesky whose critical analysis starts and ends with 'the creator said so'. but i unfortunately do feel very strongly about storycraft, so i'm going to write an essay anyway, focusing mainly on one scene from the finale and how it creates an expectation it does not satisfy, nor meaningfully subvert.
i'm going to be discussing how tone, visuals, and familiar tropes work together to create an emotional expectation, and what could have been done differently to support what is the supposed intended read. while the essay is going to be taking the stance that this scene failed in what it was trying to do, my intent is not to diminish readings that it succeeded. if anything i'm only using tadc and the scene as an example to talk about the greater concepts of narrative catharsis. i'm not here to convince anybody how to feel about the work itself, just make a point. it's educational. i like talking about writing and visuals. it's not a review and there's no moral stance being taken about what is good or bad.
okay?
and to be clear, i'm not going to be referencing or including anything the creator has said, because i've not read any of it, i'm not going to, and i don't need to. 'the creator said so' is a rhetorical dead end that stops discussion in favor of a solid single answer. i'm not interested in fandom discourse surrounding the creator. that's not what this is about. my reading is based entirely and exclusively on the text of the work itself and my interpretation of it.
okay?
okay.
and obviously this will contain spoilers for the final episode
we're going to talk about jax's final scene, 31:30 up through 36ish, conveniently timestamped. for those of you that don't want to watch the whole six minutes again, i'm going to lay out the major beats. in pink, i'm going to point at the musical cues, visuals, and dialogue that i want you to pay attention to.
pomni confronts jax in the center of his psyche after reaching into his abstracted mind to find him. he pleads for her to leave, claiming nobody is supposed to care about him, or love him, and that she's making it harder by being there. gentle, insistent string music sweeps to a crescendo as pomni approaches.
pomni embraces him. jax claims it's too late, that there's no coming back from abstraction. pomni entreats him to talk to her, and he turns and kneels to hug her. the music remains soft, gentle, and sweet.
jax says he doesn't want to go, and starts breathing heavily. pomni tells him to stay with her. he begins glowing bright white.
we cut to a montage of jax scenes, set to a cover of stevie wonder's Isn't She Lovely, a song about the birth of his beautiful baby girl.
pomni keeps holding on to the glowing white body of jax as the music continues, ending on the lyrics isn't she lovely, made of love. the screen goes entirely white.
zooble and the others pull pomni out of the glowing white body of jax. they lean over her and say "you weren't going to try and take care of him all by yourself, were you?" and "i'm glad we weren't too late" and "like you guys keep saying, we're all in this together."
the song continues without the lyrics as they put jax in a pillow fort tent.
those are the basic facts of the scene and the musical cues. yes, there are more details, but these are still The Basic Beats between pomni finding jax, and the end of the scene. two characters emotionally embrace, the music swells with hope, one of them starts glowing white, the most joyful, loving song of all time starts playing, and the whole cast shows up, eager to help, happy they weren't too late, reminding us that they're all in this together.
how is the scene setting your expectation for what comes next? what sort of feelings do the music choices lead you to? where have you seen similar scenes play out, and how did they end? the music is hopeful and positive. the characters smile tearfully, and speak words of encouragement. the character in crisis glows white when embraced by a friend who refuses to give up. obviously the answers to my questions are subjective, maybe you hear isn't she lovely kick in and you come to the immediate conclusion jax is dead forever and get sad. but the answer i'm trying to lead you to, and that i would argue all of these elements combined are leading you to, is a positive resolution. you're led to believe something good will happen to jax. that the power of love will overcome the abstraction, and jax will come back from the brink knowing that he--or she, as the case may be--is loved. isn't she lovely, made of love?
but that's not what happens. we leave this scene and move to a montage of building a pillow fort tent, into which the abstracted jax is dragged like an animal and left. nobody joins pomni in her attempt to pull jax out of abstraction, seemingly all they're glad to have done is not lost pomni in an explosion: "i'm glad we weren't too late." but they were too late--for jax. the character we've spent the past two episodes and thirty minutes examining under a microscope, the character who was in crisis, the character who needed help, and never ultimately got it until it was, factually, too late. the world state of "jax is abstracted" did not change. we, and pomni, understand him better for having insight into his mind. but no change occurred. if you're standing outside of all this, pomni went into a room, turned off the lights, and then was pulled away from an abstraction that glowed white and then...never stopped being an abstraction. nothing has changed. there is no positive resolution beyond "nobody else got hurt worse".
this is tragic. it is a tragedy! and i do sincerely believe it's meant to be tragic. but everything outside of the literal facts of the scene, the music, the tone, the way the characters talk, directly contradicts that. it is not presented as a tragedy. an instrumental of isn't she lovely continues playing as they build the tent and put jax away, but it's an entirely straightforward cover, still upbeat, still positively coded. there's no contrast between the use of the song and the way the scene is presented that would make it "bittersweet", nothing in the way it's shot tells me this is sad. the situation is only logically sad--if i feel sad, it's because i know i'm supposed to. i'm not being made sad.
and that's where the issue is. if the scene is supposed to be sad, if it's not supposed to make you think 'the power of love and friendship can save you', then it's not using the tools at its disposal effectively. it can still make you sad, but is it doing it the best way that it could? everyone's familiar with the old sarah machlachlan ASPCA commercials. images of sad cats and dogs in shelters, while she mournfully sings in the arms of the angels, to make you think about the fact that many of these animals will be put down without finding a home. the imagery and the music cues are working together to make you feel sad. now go mute that commercial and play grover washington jr's just the two of us overtop it. how does that combination make you feel? maybe it evokes hope, maybe it makes you want to adopt a pet. just the two of us, we can make it if we try. adopt a dog, you can make it if you try! it's a far cry from sarah's plea.
obviously this is a commercial, it's trying to sell you on an idea (however noble an idea it is), but that's not really any different from a story. the story is trying to sell you on the idea it wants to convey, and how it wants you to feel, and it's using music, visuals, and dialogue to achieve that. by the way, if you intend to respond to this essay in a reblog to argue with me, turn one word blue, otherwise i'll know you didn't read it closely all the way through and just wanted to fight. anyway if the scene is meant to make us go "oh my god i thought it was going to work out but it didn't" then it needs to convince us it believes it didn't work out. because as it is, it presents putting jax in the pillow fort forever as the positive resolution, because that's what the music is telling us.
so what do we do about this, if we want to ensure the audience comes to the "correct" conclusion? number one is, of course, the music. isn't she lovely is a great pick if you want to lead us to a trans girl jax ending, but if it's supposed to be tragic... you have to change the tone. you have to make it sad. jax doesn't get to live as a girl, make me sad about it! bring down the tempo, change the key. if it's meant to be mournful, it has to sound like it. and the music surrounding it, the music in the void as pomni and jax embrace--that too should not be so hopeful. bring in the cello, bring in the piano, take out the steven universe plinky synths. we know what sad music sounds like. make it sound sad! or at least contrast it with the visuals. if you want to use an upbeat song for dramatic irony, that's fine, but irony requires going against expectations. i expect an upbeat song to be accompanied by happy hopeful visuals. make pomni scream and reach for jax and be held back while the song plays, make her suffer. make it contrast.
then there's the visuals. the glowing white light. embracing somebody who's glowing white can be considered neutral, but, in tandem with the music, it leads to a reading of a coming transformation, a rebirth. something new is going to come out of that white light. rewatching the scene, i guess it's supposed to be a literal explosion triggered by the abstraction creature stepping on the grenade, but like... c'mon? c'mon. it's not ABOUT the grenade. it's about jax falling apart and losing himself fully and pomni trying to hold on.
and if that's what it's supposed to be, make his model start going abstract when he enters his panic attack. make it absolutely clear that we're losing this last piece of jax and can't get it back. turn the model black, make it warble, make it grow the eyes. the fact that we don't see jax abstract on screen originally, that it's just something that happened elsewhere, is another problem i have with the finale, but is not the point of this post. if the story doesn't want to show it the first time, that's fine! but if it wants this to be the moment when jax goes to the point of no return, it should make sure we know that's what's happening. a glowing white light is hopeful. a growing black shape is not.
and finally, the dialogue/the way the characters behave. i am not convinced by jax saying "there's no coming back from this" because i'm not convinced he knows that. of course he would say that! of course he would believe it! but that line is a band-aid over the problem of WE don't actually know that. we've never seen it tried. we don't KNOW that all of your friends coming together and genuinely caring about you isn't enough to bring you back. much like we don't KNOW exactly what causes it or makes it so irreversible, because we don't see it happen. i'm absolutely on board for abstraction being a metaphor for this or that, but because it is still a literal event in a world that isn't built exclusively on metaphor, we still need literal information about it and its rules. this is a problem with science fiction. you can do plenty with metaphor and analogy in the genre, but you can't metaphor the hard facts that make up the world. those of you who've been here long enough know how much chobits makes me insane because it acts like the reset button being in her pussy is happenstance in service of a metaphor for sex changing you and not a choice her freak roboticist father had to make in the lab when he built her. some things you do have to address.
anyway. i'm getting off track. if the story wants me to think jax really can't come back, i need to know that's impossible in order to be sad about it. and if i don't get to know that until this exact moment in the story (which is fine!) then i need to know it through failure. if everyone is going to walk up like thank god we're all here! we're not gonna let you try alone! i... need the group to actually try, and i need them to fail. otherwise, everything else being exactly as it is, hopeful music and all, i'm led to believe friendship could've save the day--if they'd just tried. but for some reason, they don't try. they just put jax in the tent and i'm left questioning why nobody else tried to hug him better. the expectation that something could be done was set up, and then not followed through on, nor subverted. if they failed, that would have been a subversion, the narrative playing on my expectation that love conquers all in order to make it more impactful when it says 'no, it doesn't.'
that's what i think it wants to say, anyway. that is the logical conclusion, based entirely on the events, and ignoring all the narrative devices surrounding them. but i'm unsatisfied by the logical conclusion. i don't want to have to examine cold facts when trying to deduce a story's conclusion. i want the catharsis of having my expectations raised, and then either met--which is still good storytelling--or subverted. a story doing exactly what you think it's doing is not inherently bad, it means you heard what it was saying. i don't think tadc would be worse if pomni and the gang loved jax back from the brink and she was reborn into an avatar with a cute bow on her head and started making an effort to be better. and i don't think i'd be unsatisfied by a narrative that said no, you can't save everyone no matter how hard you love them, if it said it clearly and confidently.
it just doesn't successfully do that.
phew. did you make it all the way down here? do you understand what i'm trying to get at, even if you don't necessarily agree with it? i hope so. if you read all that and want to yell at me for saying the cartoon clown show could have been better, please consider: nobody would spend their sunday writing an essay about a cartoon clown show if they completely hated it. i must have liked it well enough. i just want it to be better. you should always want better from the work you take in, and for the work you make. tadc already exists and can't be changed, so this essay is ultimately for YOU 🫵 to think about your own work and how you can use the tools you have to elicit the feeling you want in your audience.
that's one of the reasons for critical analysis. if you can identify what doesn't work in somebody else's story, and can identify how it would improve, you will be better at identifying these things in your own work, and your work will be better.
talking about impenetrable accents/dialect just reminded me. when I was in Milan a couple of years back I was staying in this little rathole hotel and I had the biggest fucking migraine, so I was like non c'è problema I'll just go buy painkillers. of course every pharmacy on the map in a three block radius was closed, so my stupid ass just starts wandering around trying to figure out on the fly if you can get OTC from supermarkets in italy.
I walk into this little everything store (to my foreign eyes the kind of place that back home could sell you a bunch of carrots, a 6-pack of beer, pantyhose, bleach and a screwdriver set) and I see some household basics in the back but not what I need. with the confidence of a person who is only in the city for 3 days because he got bored and packed a bag and booked the cheapest flight available the week before (<= MENTAL ILLNESS), I was like no worries I know some italian, I can just ask.
I grab a bottle of water, walk up to the counter, and I'm like Ciao, hai il paracetamolo? And the guy is like che, and I'm like paracetamolo. Per la mia testa. And he's like che?
This is where I would have said 'aspirina' except I can't take aspirin for medical reasons, or 'antidolorifico' except I don't know that word and I've got no phone data for google translate and also I'm stupid. So in my fucked up leith-glasgow-italian accent I'm like paaa-ra-cetta-mollll-ooo. He's like ohhh bene, bene, and he calls another guy out of the back and asks him to go get something. Other guy then walks out of the store into the street, and before I can be like hey, che la fuck, he comes back and hands me a huge bundle of herbs.
At this point I'm like okay this entire interaction has been a bust, but these guys have been very nice and patient and they're both smiling happily at me because they've been of service, so I'm like ahh perfetto, grazie, pay them a couple of euros and leave.
EVENTUALLY I find a pharmacy that's open, and my head is fucking killing me, and my phone still isn't connecting, and now I have this small shrubbery poking out of my coat pocket, so I don't even bother looking around the shelves. I just walk straight to the counter and I'm like uhh ciao, scusi. And hearing my nightmare of an accent the guy answers in english and I'm like thank christ, do you please have paracetamol. Not aspirin, I can't take aspirin. And he's like yeah yeah hold on, goes into the back, comes out with what I need.
Only when he comes out he gives me this look, and then he starts laughing. And then he pretends he's not laughing and rings me up and I pay, and as I'm leaving I can see him losing it. But I don't care, my head is going to explode, I'm going back to the rathole to close the blinds and fall comatose for four hours.
When I get back to my hotel room I take off my coat and remember the huge bouquet of herbs in my pocket. They smell amazing, and I'm like I'm pretty sure this is parsley in which case I can just get some tomatoes and mozzarella later and make it work. but since I have no idea what that interaction was, I want to make sure. I bring out my phone to get a visual reference of what parsley leaves look like, and because I was using it for google translate earlier I put 'parsley' in the wrong box like a dope and translate it to italian.
prezzemolo
I wish I could have been the pharmacist in the moment he looked at my tired pissed off anglophone ass, heard me say 'paracetamol' in my fucked up accent, and turned around saw what was in my pocket. I'd have lost my shit too.
I'm sure that's true, but something tells me googling "nun tied up by other nuns" "hot wax" "confessing sins" will likely get what you might call rather un-academic results
never going to be over that time I was trying to explain polyamory to my mum, and she said "I just don't understand how someone could be in love with two people at once" and I gave her my the-cognitive-dissonance-is-causing-me-physical-pain face and she said "what??" and I very quietly said "mother....you had an affair...."
amandla
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dailybridgerton
