(late) valentines

I just realized I never posted photos of this really pretty harvestman i came across a while back. Note the green pedipalps and the dark and light spots on its back.

harriet is still the same height but instead she wears those disco platform shoes so she just towers over everything i think

ok

i lied when i said I wouldn't draw more

An introduction to narrative styles of the Locked Tomb series, care of me rambling about it on discord

Book 1 is like LMAO BONES. And hot girls 😏 Murder mystery dinner party, with sciency magic but mainly we just understand the swords. Protag has no idea what’s going on but that’s actually very helpful for helping the reader understand what’s going on.

Book 2 is like Psychedelic Celestial Griefcore, with very complex magic Sci Fi that gets elaborated on at length. Dark. We are In Space for most of the book. God is there. Protag has no idea what’s going on because her brain is fucked and it’s… sad? And extra confusing for the reader.

Book 3 is like Sunshine and Rainbows! Too much sunshine for most people actually! All the surrounding characters are living in a shitty urban sci fi dystopia but the narrator is full of love and joy in her city of riots and poverty and sweltering sun. Protag no idea what’s going on because she’s only been alive for 6 months. Love & Light 🥰

The aro urge to have a friendship where you accidentally start making out if left alone 😔

Everybody's got somebody

Bonus:

stupid, emo, dave

wtf has this world come to

Obviously art does not rest on methods, media, or the amount of effort a person exerted in making it, but I think AI art is yet another way that capitalism is changing the form and function of art (separating artworks from their original meaning on a different and even larger scale) and given that it is made by exploiting workers (the original artists and the people they pay pennies to sort through it to remove disturbing images) it makes people feel yet more powerless in the face of corporations so there is a big negative reaction to it. This negative reaction may not be articulated in the way you want but I think it's very understandable that people have reactionary feelings about large scale corporate exploitation.

just for the record before I respond, I am replying to this ask in good faith just as you are asking in good faith, I’m not angry at you and many of these questions I’m asking are rhetorical, for the purposes of reflection. So please no slapfighting in the notes, thank you!

First: I’m not disputing exploitation. in fact privileging AI as uniquely exploitative handwaves away the massive amount of exploitation that artists already endure and have endured for a very long time, as well as the horrific amounts of labour exploitation involved in mass producing the ‘tools of the trade’ so to speak.

But this is, again, a non-sequitur to my argument, which is that art produced under exploitative, destructive, “lazy” or politically repugnant conditions is still art. MCU films are art regardless of the fact that they are 3-hour long informercials for the American empire and require massive labour exploitation from CGI animators, actors, film set workers, and everything else: advertisements are art: AI art is art. Horrifying, trite, unoriginal, bad, socially destructive, maybe all of those things are true and we can talk about the merits of those claims (I certainly have strong opinions about them), but what is politically gained from saying bad, unoriginal, horrifying, or trite art isn’t art? Whose definitions are we using here, and if those definitions should be universalised, what does it mean for artists who are only unoriginal, only bad, only whatever else?

I return to my original example: are children not qualified to be artists if they only make “bad” art? I used to trace movie stills from Harry Potter photo books as a child because I loved the characters - am I a fraud for doing so? Am I given grace for my incompetence and “theft” on the basis of me “still learning how to do real art”? When does this grace period end? If we argue that only struggle can produce art, what level of struggle? Struggle for whom? Drawing isn’t difficult for me because I was taught how to hold a pencil, read, write, and draw by a western industrial publicly-funded primary school by a teacher paid with public tax dollars, supplemented with help every night from my mother and father, two married cishet middle class people in a mostly stable (if miserable and verbally abusive) marriage - all of which is resting atop stolen indigenous land. Under what historical conditions can arguments for artistic struggle be made? When we argue for struggle(/hard work/whatever) as the basis of art we are pre-supposing a universal subject whose struggle is globally standardized and calculable - which in all of these discussions on here is (implicitly, though sometimes explicitly) a white able-bodied settler living in a western state who benefits from universal primary education that teaches them the foundational skills of how to make art. You can probably add university educated to that too, given how many of these arguments seem to be swarmed by undergraduate students.

Arguing that there needs to be some threshold for method, labour, intent, or message for art to ‘actually be art’ is politically reactionary and is what I am responding to. It requires transcendental claims about the Artist as a unique labourer set apart from and superior to all others, one whose skills are universalised and whose intent is always observable and present in their work. So if people want to talk about exploitation they should talk about exploitation, not the definition of art. It’s not my fault people can’t stay on topic!

sharing some of my disorganized jojo musical thoughts now that ive had a week to sit on it and ive rewatched it several times over. i intended to wait to publish something like this until a subtitled version was available, but im not seeing any indication that thats happening any time soon so for now youll have to deal with my loose interpretations from my extremely rudimentary and rusty japanese… so take what i have to say about the finer points of characterization with a grain of salt. gratuitous spoilers below obviously, both for the original source material and the changes made in the stage production

my feelings are OVERWHELMINGLY positive. of course there are things i can criticize or that i would have personally done differently but oh man… i have literally not thought about anything besides this fucking show for a week. im 100% confident in saying this is a better adaptation of the source material than the tv anime. sorry to the davidpro staff, i respect their hard work and their love for jojo and their dedication to what is by any metric a pretty difficult property to adapt off of the page, but i dont know if i can ever forgive them for leaving half of the first episode’s storyboard on the cutting room floor in order to fit a standard half-hour tv slot, especially considering that what they cut is some of the really crucial character-building stuff. happily those scenes are not only reproduced in the stage version, some of them are expanded upon!

with the quick disclaimer that i’ve only managed to get my hands on the final 4/14 performance with shotaro arisawa and yoshihisa higashiyama, from what i’ve seen the casting is perfect. i’m sure there’s a rip of the 4/13 performance somewhere (i’ve seen clips) but i haven’t been able to find one… every single performer knocks it out of the fucking park, the cast chemistry is incredible and even the minor characters are loaded with charisma. and mamoru miyano… my god… mamoru miyano i owe you an apology. i was not familiar with your game. of course hes been killing it for decades at this point but i had soured on him a little bit recently because i felt like he was overcast in everything and i just didnt connect with his dnt reinhard at all, so when the casting was initially announced back in august i was underwhelmed, and of course my standards for the dio role in particular were astronomically high… i’ll go more into detail later in the post because i have so so many things to say about dio’s characterization here but mamoru miyano’s performance is like, life-changing. i had impossible expectations and he exceeded them.

sorry if im gushing. i am a hater by nature. its unusual for me to be so thoroughly pleased with something. im not even a musical theater guy. these are strange new feelings for me.

just to balance things out i’ll talk about a couple of the things that didn’t really work for me: first of all, the music is just ok. my initial draft of this post called the music “bad” but three additional viewings later i have warmed up to some of the songs. i don’t know if this is a shortcoming by dove attia as the composer or if it’s just me, as i said i’m not a musical guy and a lot of the genre conventions of musical theatre are not really the things i look for in music that i enjoy, but like… even at their worst they are serviceable. nothing here is sonically unpleasant to me. high points are “resolve of the ripple” (zeppeli’s hamon training song, a jazzy swing number - it’s simply catchy and fun to listen to) and the closer “phantom blood” (a sweeping ballad that reprises the earlier “light and darkness”/”golden spirit” leitmotifs into an epic duet between jonathan and dio as they join hands and walk off into the darkness together… made me cry! i wont lie! on every single one of my numerous viewings this one got me misty eyed!)

wait i forgot this is supposed to be the part where i’m being critical. ok my most loathed song in the musical is “dio’s world”. sorry dio nation. it doesn’t really work for me. i think this might be a case of my standards/expectations being too impossibly high because it’s not even really the worst song in the whole thing. and of course miyano eats it up so it’s not really his fault. i just find it kind of underwhelming… i find the melody a little grating, it’s kind of just a generic rock number, it’s just missing a particular je ne sais quoi…. the essence of dio isn’t there… lyrically though i am obsessed with the premise of dio recruiting his minions by selling himself as a kind of social revolutionary who is upending and inverting the brutal hierarchy of post-industrial victorian society with zombie blood magic. you win some you lose some.

the second sticking point for me is the costumes. they’re perfectly serviceable… adequate… but i mean when it comes to jojo “serviceable” and “adequate” costume design obviously falls well below what’s expected, right? a lot of the outfits have kind of a boxy, almost flat-looking kind of unflattering fit on the actors, which if i wanted to be generous i could attribute to the challenge of bridging the gap between these frail slender musical theater twinks and the two-meter-tall 250lb roided-out beefcakes theyre meant to be embodying. (bearing this discrepancy in mind a lot of the insane martial arts stuff in the second act doesn’t really land with the oomph that it should, but i also understand logistically why this kind of casting is not practical, and all things considered i think shotaro arisawa does a really incredible job of embodying jonathan joestar even though he kind of looks like i could snap him in half over my knee like a twig. he’s very cute. so i’m not mad about it.) of course, again, logistically, i understand that in a stage musical production, where actors only have minutes to complete costume changes, some sacrifices have to be made to the creative vision in the name of practicality. nevertheless this is jojos bizarre adventure!! i want to see some fucking baubles!!!!!!

which is all to say that… after carefully considering it for some weeks… i still have extremely mixed feelings about dio’s grink ass feather bathrobe look. it’s not that i dont think its something he could wear (the concept of dio lounging around in his gothic vampire palace doing re-animator style body horror experiments on the local wildlife in this “officer i have no idea what happened to my husband”-ass nightgown is nothing short of hysterical to me) but then he wears it into combat and i felt a little disappointed… it has the same unflattering fit issue as the other outfits in the show, and it is just such an un-araki-like design… where are the gaudy color combinations? the bizarre geometric patterns? the tease of an exposed boob/thigh/midriff? erina gets a stage-original dress design that i have fewer issues with because the excessive pleats and ruffles have more of an araki-esque sensibility, but every time i look at dio’s robe it feels like there’s something missing.  i’m going to choose to be nice about it because it’s not at all a deal breaker and, again, mamoru miyano devours the look. it’s fine. it’s always fun to have a new dio outfit. if anything, the fact that the blu-rays are being marketed as “2024 cast version” gives me hope for the possibility of a future production with a new vision for the costume design. (although the fact that this was such a difficult production - with stunts and pyrotechnics and moving setpieces - that its entire first week was cancelled indicates to me that the prospects for a future production from a different company are impossibly slim. i guess there’s always hope?)

in terms of the writing and the changes that were made from the original narrative, honestly i don’t really have an issue with anything that was cut. sorry if there are any diehard stans of Poco’s Unnamed Sister out there who are steamed that their favorite minor late phantom blood character got the axe, i kind of understand how you feel because i’ve been malding over david pro cutting the Danny Lore for eleven years, but i think it was the right choice and the story flows so much better. the real juicy meat at the core of phantom blood as a narrative and the thing that brings it head and shoulders above so much of the rest of jjba is the character-driven drama - that deliciously pulpy victorian gothic family tragedy - and the relationship between jonathan and dio. the musical beefs up the character drama and slims down the action-driven second half by trimming out the extraneous battles. the only real downside i see to this is that the absence of tompetty and his prophecy makes zeppeli’s arc and death feel INSANELY abrupt, but tbf that’s not a deal breaker for me. sorry zeppeli. you were born to die.

okay. okay. i think 1500 words into the post is enough fucking around so let’s talk about the real reason why you and i both know we’re here

musical dio is SO fucking sad. he’s positively wretched, you guys. he was born in a wet cardboard box all alone and forced to eat cement when he was six. he cries even more than he does in the source material and even when he’s not crying he frequently delivers his lines as though he is moments away from bursting into tears. back when the musical first opened i was snooping on the reactions on jpn twitter and one commenter said they could see miyano’s tears and snot from the nosebleeds even without opera glasses, a remark i initially assumed was hyperbole but that i now think probably was not. araki’s dio is certainly tortured and a deeply pathetic crybaby beneath all the cruelty and posturing, but changes in the musical and miyano’s embodiment of the character bring this pathos to the fore. he is literally haunted: dario’s ghost lingers, a manifestation of all of dio’s traumas and insecurities that emerges from the recesses of his memory to taunt him with the reminder that he will always be his father’s son, all the way up until the very minute that jonathan breaks down the door to his vampire lair. i am OBSESSED with this - not only for the obvious reason that i delight in dio’s suffering personally but also because kong kuwata is a delight and he fucking kills it every time. also lends itself to a category 10 leitmotif moment at the top of the second act when dio emerges from the charred ruins of the joestar estate singing dario’s theme and calling out to jonathan - if i had to pinpoint this is probably the moment when this musical stuck for me as the Real Deal. they Get It.

the first solo number in the show is dio’s disney princess I Want song (amazingly, simply titled “dio”) where he weeps for his late mother and his wretched lot in life, and then - in a creative decision that made me clap my hands and hoot and holler at my screen in real life - there is a reprise of this number (delivered, naturally, through tears) when dio is almost arrested for murder and decides to become a vampire instead. so there’s this amazing hopeful uplifting inspirational orchestral music accompanying the onstage action of dio ruthlessly slaying jonathan’s dad and then getting pumped full of lead by a bunch of cops. it is brilliant. 10/10 no notes. it’s moments like this that i think really sell the “softening” of dio in the stage version for me, even though i am historically Not A Fan of fanworks that take a similar angle - like, yes, he is sad, but specifically he is narcissistically obsessed with the spectacle of his own suffering, he is boiling over with bitterness and rage for everyone around him who (by his own estimation) could never hope to have suffered as much as he has. this sensitivity and self-pity he wallows in are not expressions of a guilty conscience or a desire to change - they’re entirely the opposite - every cruel and monstrous deed dio commits is always justified to himself because he is simply the saddest little boy who has ever existed. he has been done wrong by the world and so there is no limit to the depravity he may reasonably respond with. i’ve seen several commenters describe this as a drastically different interpretation of the character from araki’s dio (and someone told me on twitter that mamoru miyano himself has also said this, but i cba to go digging for an actual source so take it with a grain of salt?), but i… dont think thats the case! dio’s obsession with his own weakness and his self-perception as the eternal underdog (as compared to jonathan) are certainly more exaggerated in miyano’s performance, but i don’t think this is an angle to the character that’s been manufactured out of whole cloth. the genre conventions of the stage musical force the melodrama up to eleven and dio’s incredibly repressed angst is the most rich vein to mine for that. hair-trigger sadist dio is still here, it’s the same guy, he’s still killing people mercilessly, you’re just getting to see him sing a big ballad about his feelings instead of confining those to an internal monologue.

if anything, the exaggeration of dio’s pathetic/cowardly/crybaby traits combined with his megalomaniacal aspirations and bottomless well of cruelty is just right. it’s perfect. fucking around, finding out, and then trying to weasel his way out of the consequences with crocodile tears just so you don’t see him drawing his knife to cut you clean open… yeah. thats the stuff. thats my one true blorbo. sad to say i will love him for ten thousand years.

i think that might be all i have to say… or at least all i feel like saying here… most likely ill come back and edit this post later. i certainly have some additional thoughts and some more esoteric/controversial takes but they’re not suited for a public blog. real ones will understand. im keeping my eyes peeled for somebody to translate this thing but to be frank i am kind of enjoying this little corner of fandom as it is right now: just the asians and the true hardcore phantom blood phreaks. i have not had this much fun in jojo fandom in almost a fucking decade. as soon as somebody publishes an english version my timelines going to get flooded with all the most deeply annoying “kono dio da” “speedwagon waifu” reddit guys and 15 year olds and my suffering will proceed. unfortunately this is my lot in life and i am doomed to be here forever because dio put a worm in my brain

LEVII'S JEANS - Beyoncé // Sugar, We’re Goin’ Down - Fall Out Boy

i adore your fem harry. i do have one question. she do got a beer gut right

of course, why would i take that away from her!!!!!! (and hehe thank you im so glad u do <3)

one of the reasons i didn't accept being trans sooner is because i'd look at the cishet men i know and at how they treat women in their lives, at how fucking vile they can get and how casual they are about being blatantly misogynistic, how there are usually absolutely no repercussions for any of it, and i'd think to myself "if this is what being a man is about then i don't want to be one". eventually i'd figure out that no, this isn't what being a man is about, it's just something a lot of them perpetuate, it's not inherent, you don't have to be That. so seeing other trans men who, generally speaking, should've had somewhat similar experiences, come out of it on the opposite end where they gleefully grab onto transmisogyny and have fun with it and feel justified and righteous perpetuating it is fucking baffling

Jason Todd is so much more narratively interesting to me when he's in his fucked up evil era actually.

He is the ghost of a dead boy haunting everyone who ever loved him and tried to move on from his death. He will never let Bruce forget all the ways his version of justice killed Jason. He'll never let anyone forget that he was never avenged. Gotham is evil and he alone is the hand of justice. All the evils of the world are his to purge. Anyone who stands in his way is an enemy.

He's everything he was never meant to be. It's like the devil himself crawled out of the grave wearing Jason's face. Can you imagine a world where your son becomes exactly what you feared you could be? What you feared he could be? Do you think that Bruce sometimes wishes Jason had stayed dead?

How do you mourn someone who came back to you, just in the wrong shape? Jason Todd as a villain is the ghost of the narrative.

more harlow