Scale Notes, Belting/Mixing, Arrangements, Music Themes/Leitmotifs, Singer interpretations, Singer in character, Singer growth, Orchestra and Music piece improvement over the years based on a new interpretation
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thinking some more thoughts re: eliot being so attuned to his people. all it takes is a single look or a barely there shift in posture and he's already up and moving to do whatever's needed. he can tell by tone of voice alone when something's up, doesn't even have to see what's going on. and it's so funny every time in the show where one of the crew is just like "...eliot?" and he comes in hot
and i imagine it's so scary to the bad guys. like let's say you're some rando evil dude talking to parker and it's going south. maybe you grab her up by the collar or something and yeah, she can totally hold her own and twists out of your grip easily, but all it takes is a tilt of her head and you're dust before you can blink.
or imagine you've totally cornered hardison, thinking you got off easy chasing the nerd but then he just starts grinning. dude hasn't said a word, just smiling like a maniac, then all of a sudden your shit is so rocked your ancestors feel it
idk where i was going with this i just really love eliot
-drought/hiatus
-inferiority complex
-automatic writing euphoria
-successful writing when upset in some way
-successful writing after socializing/going outside a bit
-successful writing after creating a goal to hit
-successful writing after an idea struck
-successful writing after watching an inspiring tv show/movie/youtube vid
-tried to use prompts.
-tried the set a timer technique
-tried the plan everything out in advance technique
-tried the seat of your pants technique
-tried remember what am I writing for/where I'm going/what am I trying to say technique.
-tried to track my words.
-tried a million writing apps.
-tried reading a million writing advice posts.
-tried fixing my psychology/mental state/executive dysfunction.
-wrote fanfic
-wrote original fiction.
I have something here. I'm not a creature that defies nature like writers who wrote since they were kids, or a genius socialist extrovert who wrote about everything correctly in a book. I have some doubts of my writing ability and I would like for someone to look at it for me and tell me what they think but after going thru so many shit re: school/uni(s) the fact that I still want to write my stuff makes me excited.
I see right now some factors that don't allow me to write. I have already developed a discipline to writing I just can't do it rn.
So this is my last summer of my last year of not working. I was supposed to relax and take it easy, maybe write a little. What happened was everyone pressuring me to get a job. I sent some applics but literally everyone's vacationing right now and are not responding to me. What do you want me to fucking do??
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obviously there’s nothing morally wrong with the projectionist lens through which a large portion of fandom operates but it does get kind of tiring to constantly feel like. hey guys what if we stopped talking about ourselves and instead talked about the character
and of course a degree of projectionism can be a very useful lens in certain circumstances, such as having unique insight into a character who shares certain aspects of your own experiences. but at the end of the day you still gotta recognize that there are going to be aspects of them that diverge from yourself
every single conversation abt ip on here devolves into a bunch of people being really anxious that someone is going to take away their hypothetical income from them for their creativity and like, that is already happening. that is literally happening. how do you think publishers like penguin, harper collins, macmillan et al got big and stay big? how do you think publishers like elsevier et al maintain such a stranglehold and charge such amounts? do you even know how individual IP rights operate these days, especially when you're licensing them to a company? have you read a contract ever in your life? have you had to work on preparing a contract ever in your life? do you think your much vaunted, precious authors have the rights to reprint their books whenever if they realise their publishers are fucking them over? don't make me fucking laugh. at the very least please pull your heads out of your asses and read helen dewitt's extensive chronicling of her run-ins with the publishing industry as is. god knows you can pick up the biography or collected/published letters of almost any author* across time and encounter a section with their run-ins and struggles with their publishers, either because they're not being given enough royalties, or because they're writing to contract and need to give their publishers a book by a specific deadline, or a specific kind of book, even when circumstances & health issues are conspiring against them. do you think copyright gives them any control over their lives, or any sort of creative control? don't be so naive - and nevermind the fact that it is basically impossible to have a career in writing these days and that the rare few who do are writing extremely formulaic genre fiction written to, again, insane deadlines that are punishing for any sort of creative work. stop being naive!!!! take an actual look and reckon at what the actual circumstances and conditions are for producing art! it is not good! copyright is not going to save you! it is panacea at best! you will literally do better campaigning for universal basic income over championing the cause of copyright!
*off the top of my head just based on the biographies & other primary sources i've read: agatha christie, aldous huxley, jrr tolkien, georgette heyer
mind you, this is only in publishing/writing. the conditions are not that much better in other domains. music? most artists are being fucked over by their record companies cutting deals with spotify that leave them getting very little revenue while not actually owning their own masters. visual arts? a handful of artists will break through each year and it depends heavily on your ability to network and attend extremely expensive art events, from what i know of. but maybe you can get lucky working in highly exploitative conditions in a well-known artist's studio where you produce works that are sold under their name :) can't say i know much about television or film, but my impression is that its not that much better (perhaps the greatest evidence in favour of this is the way the number of working working class actors in the uk has nearly dropped completely off and nearly all of them are privately educated in one way or the other). so genuinely who do you think the so called ip law is protecting right now? bc right now from where i'm sitting, it is protecting literally those with the greatest amount of money and purchasing power, on both sides of the cultural production and cultural distribution divides. which as you might imagine is anathema to any kind of genuine creative culture.
2. 'I didn't account for the rotation of the planet and how that affects the constalations while my characters stargazed at different times of year, I have failed as a writer, and this entire thing is trash'
... I was writing a short reply and it turns out I Have A Lot Of Ideas about this entire thing. Uhm. Behind a keep reading, but I deal with the contradiction by working within four tiers and a couple of fantasy names if I have to differentiate:
1- Uppers, Downers, The Opiate (commercially available) -- includes Tranqs, a vapeable version (Blend) and alcohol. Everyone uses them. Save for the latter, people euphemistically call them Meds (the definition between them and actual medication is rather blurry.)
2- Uppers, Downers, The Opiate (street ver.) -- are they manufactured in the same fucking labs/industries in worse conditions with unsafer ingredients and cut with whatever? Are they made by some illegal lab by randos? You can't know. More bang for your buck, Worse For You.
3- Uppers, Downers, The Opiate (company-exclusives) -- We've gotten to Perks, Hypnaids, and Razine. Not for the proletarian masses, they're for the workers who're comparatively lucky enough to die for the company inside the offices. Commercially available stuff won't scratch this itch. They... encourage productivity. Don't Get Laid Off.
4- Whatever the fuck was going on with Gurathin -- Who on top of the third tier gets the Research Chemicals, and an automated dispenser meant to aid him during missions: the very worst version of confidence in a bottle.
This way, you get it all! All of the shame, internalized ableism, and marginalization; plus scenes like LeeBeeBee going "anyway do you want some meth from the medkit" the way someone might offer coffee. One has to keep in mind, too, that the power in the CR belongs not to the state but to the companies. I actually wonder how much of a state there is! The fact they talk of "polities" gives "this station is monopolized by"/"this is a company town", which blurs the definition a lot.
Anyway. Sci-fi, thankfully, is forgiving of euphemistic boring names. The Most Potent Company Opiate is Razine because I was punning on resin, thinking of the opium poppy tar. I haven't had to come up with named street drugs, and thank god because they'd likely be weird as hell: A bright pink mix of Cocaine, Ketamine, MDMA, and Oxycontin already exists -- and it's called Tusi. But yeah, I make the emphasis on these things because through the entirety of human history, they are what we've sought over and over: Energy, chill, and analgesia. Except... There's also, and I'm saying this full-chest as an atheist, the spiritual: I'm not forgetting psychedelics or deliriants.
LSD is legit too pure for whatever the CR has going on. DMT is called "the god molecule" because users can experience melding with the universe/ego death. Ketamine and MDMA fiddle with serotonin and so, they're being explored for therapeutic uses. However, I think the recreational versions of CR street drugs are psychedelic-infused to enhance how pleasant the effects can get, while the productivity-oriented Meds are not. Looking up "Research Chemicals", you can find all kinds of fun analogues to any of these, of a dubious/grey legality, that haven't been tested good and proper. NBOMes have been getting regularly passed as LSD for over a decade and those can have a similar effect! Or they can kill you. You can't tell until you get there.
Keeping profit in mind, no corporate group in their right mind (legal or not) would produce drugs that aren't addictive, or that would honestly provide more than a temporary relief. I think that, in an universe where the capitalist dystopian side prints their food, you'd be hard pressed to find the vegetable or fungi versions of anything; unlike in Preservation. Getting a replicator to spit out a bunch of capsules based on a molecular model sounds way easier than, say, printing instant ramen. The hardest part would be making it so the commercially available home printers couldn't be jailbroken to produce the things.
But that's what you've got proprietary formulae for :33 And/or a lifetime of unpaid hard labor on remote colonies if you get caught, and have no proper backing from a lab.
to be clear this is a fully sincere political belief that I have. I am pro copyright infringement and in fact anti "asking for permission to make derivative art"
a few people in the notes seem to be under the impression that this is a stance that requires caveats. so just so we're all on the same page: no exceptions. "stealing art" (copying existing works for personal gain) is a good thing.
some of you seem to have bought into the capitalist lie that copyright infringement causes artists to "lose money", which fundamentally assumes that everyone (or even like a notable portion) who obtains a would-be-illegal copy would have otherwise paid full price to obtain the original. and like we all know that's not true right
So without copyright, what would prevent capitalists from taking a book and selling copies of it at a much lower price than the author? (thereby preventing the author from making money on their creative work)
this is already how copyright law works. working creatives (the majority of people in the industries) already sign away their work to "capitalists" (problematic wording - petit bourgeois artists are typically already capitalists, but i do understand the intent) and then are not permitted to make money off of or sell their work, have no claim to it, and will be legally decimated if they try to outside of whatever very narrow avenues may be granted to them
I get in theory why people complain about het ships or whatever, I get wanting to watch queer media I really do, but I guess where y’all lose me is like. I saw some asshole on a post about Sinners complaining it was “hetslop”—this person was specifically doing so while also claiming Remmick was a queer character and thus they were justified in caring more about him than the Black protagonists. which is a whole other disgusting can of worms that has been well addressed by others at this point. but even in the absence of that part of the argument, like, no, i actually don’t think that a hunger for queer stories is an especially good excuse to deride and dismiss a piece of landmark Black filmmaking, especially as a non-Black person. I have a post that’s been going around encouraging folks to engage with more Native stories and characters, and I had someone come onto that post saying in the tags that they’d need these stories to be queer in order to care. and I just think that, you know, sucks! like obviously as a queer Native I also want to see more of those stories too. but idk how else to put it other than to say that Black people and people of color shouldn’t have to be like you in order for you to care about our narratives and experiences. and I think some of y’all are using this disdain for heterosexuality as a cover for your unexamined racial biases. it’s not okay to be racist to people just because those people happen to be straight, and you continue to be white before you are queer.
on an even more basic level than that, also, I simply just think some of y’all NEED to learn how to interact with media and storytelling without ships and fandom in mind. like if not being able to write fic about two men kissing is genuinely going to be a dealbreaker for you I think that’s actually something you need to work on within yourself because at that point I think you’re no longer really interacting with art and themes and narrative so much as just kind of playing with toys. which is, like, fine I guess. have fun. but it wouldn’t kill you to disengage from that from time to time. especially if would allow you to actually appreciate rich and deeply moving cultural stories from communities of color that you desperately need to learn how to see as human
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I do love how quietly influential Homestuck has been on a generation of animators because it means sometimes I'm just watching a tv show and I have to pause and ask "hey. is that Dave Fucking Strider in the background?"
They have done most of the things I said I feel. They addressed everything from the bringing media trained friends on stream to creating a stable series. It might've been the depression that Karina left but they brought the good/decend jokes not the adult cocomelon and I laughed a bit.
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