#cosmicjoke

More GITM doodles pfft

COSMIC DAYYYYY 🎉

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Unfortunately I only have these drawings for now but I plan for more in the future, every time I want to draw another character I end up drawing fool

dank try to not make smth about fool challenge impossible ITS COSMIC JOKE SO ITS FINE OK

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Happy Cosmic Day and a very Happy Birthday to qwille 🫶

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the thing that ppl like cosmicjoke like about this is that it lets them be openly racist about armand. this is why taking character's race into consideration is important both within the plot and by how the fandom treats them (this isn't aimed at u so much as a general topic I'm using this ask to explain). all of them *are* fun characters and we should be able to talk about and enjoy all parts of them too, but it's also crucial to notice the ways the fandom and the writers are handling them and investigate why.

it's been confirmed by assad in interviews since the finale that armand wasn't as in control as it seemed either, but where are the hoards of posts about his victimhood or his "character assassination"? where's the posts in his defense the way nobody ever shut up about lestat for anything? why is it so much easier to automatically blame the brown man for everything (rhetorical question).

Zaman tells TV Insider’s Damian Holbrook that Armand was “forced” to direct the trial and that all of his subsequent punishment from the coven was “absolutely true.”

I may have lost the plot here but Iceland is not a real fucking place.

First they wanted me to believe that Iceland, a real nation on earth, had a dating app to stop accidental incest.

I said ok.. Who am I to query on this tiny island's private matters.

Then they said hey remember that island with the anti incest app? Well hold on to your socks, because baby it's got no crime.

I said, alright, Life is full of the unexpected!

Then they told me mayor of the Nation's capital was a famous sketch comedian.

Ladies and gents and nonbinary themts I know when a joke's being had at my expense.

And now. Now I'm meant to believe that a REAL PERSON, whose occupation is just businessman and nothing else, has the fake cartoon name Fjölnir Thorgeirsson. Really? Does that not sound like someone just spat out a name they thought sounds vaguely Scandinavian??

Fjölnir Thorgeirsson. You cannot convince me that isn't something thrown together cause they were filming a sketch show in 30 minutes and execs axed one of their skits so they cobbled some tenuous bit about Mr. BUSINESS himself, Fjölnir Thorgeirsson, owner of Ice and Land and Associates.

Oh boy. What a loaded question.

I don’t remember saying that specific thing about Nathan, though I do have to agree that that should have something to do with his success rate. I’m also not sure that I’m the right person to ask about this since I’m not as well-versed re: all the technicals/physics of everything as others, but maybe my layman’s perspective will help in a different way.

When it comes to artistry, it might be important to note that that’s not exactly what the judges are scoring. Rather, they’re scoring the technical aspects of a program that make you, as the audience, feel like it’s “artistic.” It’s kind of nuanced, but this is why skaters don’t have to be actually “expressive” to obtain PCS (though it helps); but they do have to ensure that their skating ability properly comes across through the entire duration of their program, not just in specific elements like jumps and spins.

Following this, the reason why Yuzu’s transitions are widely accepted as “superior” is because—as you mentioned—they make his programs difficult and require a lot of skill to execute. When it comes to jumps, it takes preparation to enter, rotate, and then land one. That’s why you’ll sometimes see crossovers (exactly what it sounds like, crossing each foot over the other on and off the ice) and/or looooong gliding before someone jumps; these don’t take much effort and will thus allow for the optimal entry into a jump. On the other hand, including transitions immediately beforehand can be incredibly risky because they can mess with the timing and speed necessary to make a jump perfect. If a skater can do it right, they should be rewarded. 

Yuzu frequently incorporates transitions prior to (and after he does) a jump, meaning that he’s busy doing moves which take away from time that could be spent preparing his body for the jump. Most famous is his back counter into 3A; which is also where the saying “triple axel out of nowhere” comes from—he is doing so little preparation beforehand that you can’t tell it’s coming until it’s pretty much over.

To see how Nathan’s style differs, here’s a comparison between a 4S by Yuzu and the same jump by Nathan. Both were performed this past week at GPF and received the same GOE of +4.16 by the same panel of judges. 

Yuzuru:

Nathan:

In this instance, Nathan utilizes a quick couple of crossovers to get him prepared for the jump whereas Yuzu opts for none, instead including some footwork that I don’t have the eyeballs to name one-by-one; but hey, I don’t even have to for you to know that it’s not some trivial business. (Also note how Yuzu refuses to put his free leg down afterward. Instead he lets it swing like he’s a fragile little leaf, floating along in the autumn wind. Sorry, I’m getting distracted.)

You can spot their styles pretty consistently across all their programs: Yuzu likes his components, Nathan likes his jumps. It’s pointless to argue which one is “better,” but by giving these two jumps the same GOE, the judges are saying that good components aren’t necessary to get a good score. Which is an interesting perspective, given that they’re a part of the rubric.

cosmicjoke replied to your post “when I say Valjean attacks Cosette like a monster in a horror movie, I...”

This is f*cking unreal.

also the music in that scene is Super Creepy!