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c0rps3partybrainr0t · 3 months

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I was So close to killing Satoshi off in this au- so fuckin close because of his hair. As before! Rambling under the cut!

Satoshi Mochida

Design notes

-Gonna be honest, Not alot changed like Yuka's Design. Most notable one being the addition of the uniform Coat. It felt weird that he didn't have it anywhere on him, it's part of the uniform. I would get taking it off and having it around your waist, or having it partially undone like Kishinuma but completely not having it on you? Weird.

-The tie is apart of the new uniform design that I'll make a guide for soon. The one they have on in the game, along with the sailor suit that the girls wear are actually generally a middle school uniform and frankly is really outdated and isn't being normalized as much in turn for the Blazer, or vest combo.

-Hair pins n wrist band, Those where a gift from Naomi and Seiko since he was tired of having his bangs in his face and was being lazy about trimming them. The wrist band is to commemorate their long lasting friendship. Being the original trio in 2-9

Personality notes

-He's cowardly and is really easy to scare when it comes to jumpscares and well planned scary stories. But when it comes to high pressure situations he had a an ungodly level head and is often a pointed leader by himself and or someone else.

- His kind, caring, and sweet demeanor makes him more popular than he wants to be. I guess people like the sensitive type? He is considered the heart of the 2-9ers and it shows since he knows a good amount about each n every one of them!

- Satoshi is actually really Analytical, he has to be since he's the heart of a social group. He can pick up on the tiniest shift in someone's voice and adapt accordingly which is probably why he's so popular in and out of 2-9.

Relationship notes

Yuka: as mentioned in Yuka's profile, General Older n younger sib relationship, Really like to ruffle Yuka's hair just for shits n giggles but for the most part he loves his baby sis.

Naomi: Childhood Freinds and the person he's closest with. It isn't uncommon to see them laying on each other in one way or another just to feel the comfort of each other's presence. Are they Dating? Are they just Freinds? No one's outside of the group knows-

Seiko: Second oldest friend and another pillow for him, she's the one to get Satoshi to act Goofy one way or another. Wether it's chasing her for something she stole or just a tickle fight

Ayumi: Fears her. And it's not irrational. since he screams like a girl, Ayumi often targets him during scary stories or pranks. But outside of that he finds her presence comforting, like the older sister he never had.

Mayu: Often bullies him into modeling some clothes she's sewn up or crotched. Frankly he doesn't mind because he's pretty ambiguous with what he wears and wouldn't mind wearing a dress or skirt.

Morishige: Conspiracy theorists- Mori is the reason Satoshi gets into deep dives in wikipedia and analog horror. If you can't find Satoshi than Mori is to blame 9 times outta 10 you'll find the two in the library with various books on, the paranormal, aliens, the undead, and various supposed "Matrix glitches"

Kishinuma: Bro's- likes the kinda bros that just show up at each other's house randomly and gets invited in because they know each other so well. Like "Dude I brought some Udon get down here n eat, I don't care if you've already ate, Eat more"

Ms,Yui: Older sister/Mother figure, Though he knows that he can't really share much to her considering she was still his teacher. He's happy to help in any way possible and share small moments with her while at school.

#corpse party #gutziedraws #ayumi shinozaki #corpse party fanart #gutzieheadcanons #satoshi mochida #yuka mochida #yoshiki kishinuma #sakutaro morishige #mayu suzumoto #seiko shinohara #naomi nakashima #corpse party restitched au

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asordidbarwere · 4 months

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like i think angel hare tickles both my love of analog horror series feat. rabbits and my redwall roots. francis should be at the abbey making dandelion cordial<3

#angel hare #sorry thats enough angel hare posting for now

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showrunnerihardlyknowher · 9 months

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can you tell us about the horror game that blueballed you?

It's called The Lancaster Leak Episode 2 : Crisis At Call Center! It's a sequel to The Lancaster Leak and has already upped its game since the first episode, so I'm hyped to see where it goes next. Campy analog horror, quick and easy, SCP vibes -- we love it.

BUT...but...my little monsterfucker fearplay addicted brain thought that the (obvious) final interaction between the monster and victim was going end differently than it did. Like I was so sure in the way I was certain Nothing Lives Under The Lighthouse was going to tickle my yandere monsterfucker fantasy.

But that game also blueballed me and I wrote a 42K fic to end it how I thought it should have SO..............

#sarkavonsy #ask #the plot of this story is much more heavily inspired by the direct sequences of the game #but there's far more liberties taken at the end #and obviously my monster is giant and yandere and fuckable to ME #also!!! friend when did you get an icon i was always so used to seeing you with the little default triangle #its cute (:#if im a good little writer im hoping i get get this finished by tomorrow and then just edit it and post it next day

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tinyozlion · 11 months

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Addressing the Troubles: Part 2 / 3

A Brief History of Gundam in Japan and the USA:

Here is my go-to analogy: The Gundam franchise is to Japan what Star Trek is to America. And Gundam Wing is to the Gundam franchise what Deep Space 9 is to the rest of Star Trek.

Wing was part of an experimental phase in the franchise’s history; when they were intentionally trying to break away from the usual modus operandi. Wing, along with the earlier G Gundam, was intended to boost flagging viewership and sell model kits– like, expressly, openly, just to sell model kits. The plan was to start from a blank slate that would allow new viewers to hop on board, without having to be caught up on the sprawling canon of the UC timeline (Universal Century).

In Japan, audiences were already familiar with the general premise of A Gundam Show; rather than spend any extra time re-establishing details that an already Gundam-savvy audience would know, it skipped right to explaining on how this particular series was departing from the established material. In this case, the noteworthy information was that Wing takes place in the After Colony timeline, and is set wholly in its own universe– we have a different sinister organization with a ‘Z’ in its name, a different mysterious blond man who wears a mask, a different conflict between Earth and Space, and no mention of Newtypes.

Perhaps the most significant difference between Wing and its predecessor was its tonal shift. In the original Mobile Suit Gundam (if seasoned fans will pardon my oversimplification), the good guys are a relatively wholesome bunch or reluctant civilian heroes coming together to survive, a found-family supporting each other and trying their best to protect the vulnerable. It’s just ONE Gundam, and a crew of overworked, under-supplied misfits. It’s still very much a complex narrative about the horrors of war, but like, there’s a goofy side-kick robot! Kids run around White Base causing shenanigans! The more the UC timeline progresses, the more complicated it gets, but the point is, it’s a different style of complicated. There's a relatable and familiar flavor to its protagonists and their struggles.

Pan over to Wing, where we are served right away with the spiciest plate of the spiciest feral murder boys, possibly the LEAST reluctant people ever to get in a mecha and cause harm.

The protagonist pilots are remorseless teenagers who were robbed of their adolescence before the show even began, and thrown into the meatgrinder of revolutionary violence– not the most relatable bunch, and not one audience surrogate amongst them (that honor goes to Relena). None of them work together, everyone is morally ambiguous, and they’re all hyper-competent elite soldiers from the get-go. In MS Gundam, Amuro spends his first fight in the Gundam trying to learn to walk and shoot using a manual.

Some Gundam fans were quite put off by this change, but in the USA, we had no basis for comparison. Gundam Wing was the only Gundam show we had, and furthermore, it was one of the first “serious” “cartoons” introduced to mainstream television. And it blew. Our. Fucking. Minds.

--I cannot stress enough how influential that early 2000’s Toonami programming block was in introducing anime to American audiences, and by extension, American television producers and toy companies. I recommend checking out this IGN article about the history of GW’s debut on Cartoon Network, and the effect it had on the industry at large: How Gundam Wing Found Its Home On Toonami 20 Years Ago Today . For another take on the phenomenon check out: Found in Translation: How Gundam Wing Became A Global Phenomenon (Opinions are those of the article writer, not mine.)

For those of you who are of that Toonami-block generation who never encountered the original series: MS Gundam is truly gripping and powerful, and if you’re not already a Gundam fan but found that Wing tickled your fancy, the original line up of shows will probably be right up your alley too. Be prepared for a very different overall experience from Wing though– for one thing, you may be surprised to discover that the original series, with its earlier animation style and dated anime tropes, is absolutely fucking brutal.

Fundamentally, the original Gundam is a series that is steeped to its core in a very somber, distinctly post-war Japanese melancholy that Wing, for all its lofty philosophizing, lacks. I don’t mean to make that a criticism of Wing– it had a much, much shorter run to make its point, and it was intentionally trying to do something different from its parent series.

Gundam Wing may at one point had a reputation for being Gundam’s dark, broody, edgy cousin, but Wing is also as chaste as a Victorian romance novel, and obscures most of its violence in clean, bloodless explosions. In the first episode of MS Gundam you will be treated to first-hand mass civilian death. In the movie and at various points of the shows there are scenes deliberately and uncomfortably reminiscent of the atomic bombing of Hiroshima and Nagasaki. In Zeta Gundam, you'll get to explore a wide selection of Horrible Ways To Die In Space that I suspect would have the same effect on a child as accidentally watching Watership Down (1978) thinking it was a Disney movie. (That's right: It makes you a more interesting person with good taste!) There's also like, nudity. And adults, with messy, adult relationship problems.

The U.C. timeline is just a lot more, I want to say, earthy as a rule. The characters are normal people and they have a wide range of interests and relationships to each other. Even when it’s reaching those philosophical high-notes, the focus is closer to the ground level; you see the day to day struggles of the crew, of civilians, of couples, you see their private lives, watch them evolve over the course of many years, how they fall in love, eat burgers, hook up, make friends, and make bad decisions. It’s a rich, diverse world filled with believable, complex people; the world building has more time to fill out, with its roots firmly in the soil of classic science fiction writing and space exploration; and it does what it sets out to do, which is deliver a gut-punch of an anti-war story.

If you take anything away from this, it’s that developing a tolerance for older mediums and long-term relationships with particular stories will give you access to some of the most rewarding experiences possible. And that’s true of many things, but especially of stories that have had lasting cultural impact and serve as time capsules for the struggles of their era. It’s true of The Iliad, it’s true of Lord of the Rings, it’s true of Akira, it’s true of Gundam.

“Just Make Us Five Gundams” – Wing’s Famously Troubled Production & Why You Should Read Episode Zero

Gundam Wing was created flying by the seat of its pants from start to finish.

Hideyuki Tomioka, executive producer on Wing, was still early in his career when he was cut loose on a new Gundam series with minimal oversight.

“Just make us a show with FIVE new Gundams”, Bandai said. “It’ll sell model kits!”, they said. “It’ll be fun!”, they said. And they laughed, and laughed.

But Tomioka agreed, and set out to assemble his creative team– notably, Masashi Ikeda (series director), Katsuyuki Sumisawa (series composition / head scriptwriter), and Shuko Murase (character designer). Many of his chosen production crew had never worked on a Gundam show before, but everyone knew their stuff, and had been selected for their outstanding work or for showing promise in their respective fields.

--Please, pour one out for them now.

The production schedule for Wing was apparently one of the roughest in Sunrise’s history. In a 2017 interview, producer Tomioka explains: “With Wing, we delivered the episodes to the TV network a week early. All of them. I was told by the producers at the network that there would be hell to pay if this next Gundam wasn’t delivered a week early like clockwork, and I said sure. I also told Mr. Ikeda and the company that we would maintain a one-week-before-air delivery schedule, and we delivered every single episode a week before air.”

Head scriptwriter Sumisawa recalls camping in the Sunrise studio and working all night without sleeping in order to turn in scripts on time (something I vividly recall doing with my senior thesis).

Despite the entire staff being burnt out from the continuous workflow, the team apparently met every single deadline, and still consider Gundam Wing to be some of their best work.

However, Wing’s trouble didn’t end with just the frantic schedule.

Significant, under-the-table leadership changes at the studio level made a bad situation worse. Just before the production of Wing, parent company Sunrise had sold the Gundam franchise to Bandai, apparently in secret, leaving their creatives and producers like Tomioka in a lurch. The sudden change in sponsors led to an attitude change that would filter through the company, causing significant friction and splintering within the organization.

In fact, creative control of the series was tossed in the air at multiple levels:

When series director Masashi Ikeda was hired for Wing, he was coming off a few rocky dismissals / resignations from earlier projects due to his disagreements with sponsors. He was new to Gundam, but was known for being a talented, if contentious, storyboard artist / director. Right away he took Wing in an unexpected direction, apparently derailing the series from its original trajectory after only 10 episodes. Signing off on these provocative decisions may have painted a target on his back, but it certainly made Wing stand out from its predecessors! Perhaps predictably, Ikeda either “abruptly resigned” or was fired from the project after Episode 29, and was substituted by Gundam franchise veteran, Shinji Takamatsu. Takamatsu would ultimately finish directing the remaining half of the series, though he was left uncredited.

Sumisawa too withdrew as a the lead scenario writer. He reports having to cope with curve balls thrown in the script by different writers who hadn’t run their decisions by him first, leaving him to struggle with reworking episodes at the last minute in order to accommodate the unsupervised changes.

All the crunch and chaos, the impossibly tight schedules, the directorial and creative control changing hands mid-series, led to many of the important plot points and connective tissue that had been slated for reveal at the midpoint of the series being severely truncated, or scrapped entirely.

--And this, friends, is why there are so many instances in the early episodes of Wing where characters make reference to events and concepts that simply never show up in the series– the material got cut for time, and the unexplained anecdotes were left to dangle.

This includes by far the most unfortunate omission in the series: the pilot backstories. In the postscript of “Gundam Wing: Episode Zero”, the manga prequel released seven years after the series first aired– scriptwriter Sumisawa makes this plea:

“[...] I would like to make a request of those who have read this book. I would like you to watch the entire TV series and Endless Waltz again. By so doing, I think you will be able to fully appreciate the work, Gundam Wing. This series of stories of the past was requested of me by Director Ikeda, and it was supposed to appear in the to the p20the TV series after episode 27. However, it was pigeonholed roduction schedule being the worst ever, and the fact that I withdrew ws scenarist. When I returned to the show, there was no chance to fit in the past, and we had no choice but to table it indefinitely (though we did try in episode 31, The Glass Kingdom). It was able to become a graphic novel through the kindness of the editors at Anime V Magazine and Mr. Kanbe's (artist) cooperation. As one of the co-creators, I am extremely grateful, and this has become a very emotional work.”

In one interview, Sumisawa laments: “Nobody wants to write recap episodes. Episodes 27 and 28 were recap episodes.” Producer Tomioka notes that “Everybody worked some serious miracles for part two. We never would have been able to do part two [of the series] if we hadn’t put in those recap episodes. It really was rough.”

--This Is why I recommend that people read Episode Zero around the time they get to the mid-series point in the anime, where the backstories were always meant to go. Many, MANY questions and frustrations that I hear from first-time watchers will be cleared up.

It’s a damn good collection of stories, too! As you can see, my own copy is nearing a level of decrepitude that ought to make it Nursery Real at this point. I took it everywhere with me in my school bag as a comfort item.

–A link to the manga can be found in the Bookshelf section!

#Gundam Wing Meta #Gundam Wing #Gundam Meta #Addressing the Troubles #Parsing Post #TinyOzLion PGW

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uncontrol-freak · 4 months

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People I wanna know better tag meme

I was tagged by @sigilmint in this thing so long ago so I almost forgot it. sorry! and thank you for tag <3

Last song?

youtube

(I like this song in an unironic way and listen to it a lot...)

Favorite color?

it's black (obviously!)

Currently watching?

stuff like "disturbing things from the internet", analog horror, video essays on games or media itself, technical stuff and tutorials. whatever tickles my fancy.

Last movie?

it's been a while! I think it was either Spirited away or that FNAF movie I watched solely for lolz.

Sweet/Spicy/Savory?

spicy!

Relationship status?

i'm in a relationship.

Current obsessions?

(tries to think of anything but Dishonored) House of leaves. I think of this book non-stop, even though I barely have time to read. for every other interest I'd avoid the word 'obsession' because sometimes I forget these things exist but I still think a lot about ships and seafaring, Redfall, particular horrors I like and start to think of BG3 quite a lot.

Last thing you googled?

I looked for references to draw :)

Selfie or another pic you took?

(jumpscare under cut)

(hood because I need a haircut. like, badly)

I tag @there-is-purpose-after-all, @kg-clark-inthedark, @karnaca78, @don1t1red, @onkazhaba, @lordsovorn (no pressure ofc, feel free to ignore)

#tag games #entity sighting

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soft--dragon · 1 year

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Have you ever thought of writing a fic for genloss? There's a lot of potential for tickle fics if you wanted to :D

I have seen Generation Loss and I am so proud of Ranboo for such an incredible project! Whether or not I'll make content for it is very up in the air - I enjoyed it as a subtle analog horror and I'm not sure how to work a fic into the timeline. However, when I open prompts again and you guys can think of some ideas, I'd be willing to try my hand at it! :D

#dragons asks

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olaineerz · 2 months

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Sooooo basically…

Just found out abt the Boisvert series and I am in love with theses 2 goobers!! They’re so silly!!!

#my art <3 #sfw tickling community #analog horror tickle #Boisvert tickle #Lee!Ouriel #Ler!Room #DJECBEHCGEGS PROB THE FIRST EVER TKL ART OF BOISVERT IDK??/? MAYBE?

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sweetgardener · 10 months

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I'm Alive!

Open for tickle related asks for the following fandoms (Strictly SFW) Hazbin Hotel Helluva Boss Creepypasta Identity V Poppy Playtime Tattletail RPG Maker Horror Games Analog Horror (Mandela Catalogue, Walten Files etc) Five Night's at Freddy's Villainous Godzilla Journey to the West Steven Universe Digimon

#tickling #tickles #sfw tickling #fandom tickling #ask #asks #open asks

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stuckontrickstermode · 2 years

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Helluva Boss S2E2 Spoilers!

I wanted to just make a whole post discussing little details I noticed that I don’t think have been talked about yet! All under the cut!

Do we have any backstory outside of the episodes on why Blitzo has a collection of those bloody and ripped playing cards, specifically the Aces of each suit? (And wondering if there is an intentional mistake with the Ace of Spades in the frame with 3 cards. It's not supposed to be a red card and it appears as a black card in the other frame where it is by itself so...) Just curious because it's a weird thing to have framed in your office, I guess.

The calendar has a lot going on and anyone can pause and read that but I wanted to point out the date of the full moon with Stolas written on it with the ?? I guess because Blitzo doesn’t actually know if stuff between them is still happening maybe they haven’t even talked up until this episode. It’s hard to know. Then the day after was a “fuck day” don’t know what that means but it was scribbled out and the only things scribbled out are things that did not happen. Maybe Stolas related maybe not.

I am realizing the small detail of everyone thinking that they are wearing "Demon costumes". Then at 8:13 in the episode you can see that the costume in the shop is very much meant to resemble Stolas. Wondering if the video of all of them from S1 went public and also viral. But instead of it being taken as real and serious it's mostly being looked at like an analog horror game of some sort. Then we see the protestors and I think maybe instead of just funny general protest statements the specific "demons walk among us" may come from the few who are willing to believe this stuff is real and are very against those who "dress up" and probably think people who do could be real demons. Hence, the hate directed at Via? (We later see Blitzo’s shadow in a newspaper clip referred to as possibly being an alien lol)

9:06 not hard to miss but tiny human Verosika keychain is cute.

Stolas genuinely being tickled by Blitzo’s specific brand of comedy (an acquired taste) is perfect and even more perfect because it came after the reveal that Stolas has always been the only one to genuinely laugh at Blitzo’s jokes in episode 1. Cue Stolas not being able to contain his crush and it hurting me a little because the genuine fondness he has for Blitzo is so apparent they act like a married couple the whole damn episode lol I wont point out too much more of it because people have already covered it pretty well. (15:46 though this poor man didn’t stand a chance after all that.)

13:08 must be a reference to the Ars Goetia?? There are a lot of them so I really don’t know which one is specifically being mentioned here. Via does not look happy, but I can’t make out the hashtag so if someone wants to point out what it says, please do!

Again this isn’t hard to miss or anything, but I love Loona and Octavia having a good sister moment. And then them with their dads. Wholesome, I needed it.

#Helluva boss #helluva blitzo #helluva stolas #helluva octavia #helluva loona #helluva boss spoilers #helluva theory

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schnellonline · 2 years

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If there is nothing I hate more in our modern era is the absolute misconstruing of certain retro things. But more so 80s and 90s aesthetic stuff in general, I guess. I think we've all seen some form of media in the past decade or so that tries to emulate that aesthetic and its just become more and more saturated as time moves on. I get SO fucking tired of seeing synthwave shit or people being like "wow the 80s were SO corny and radical everything was so bright and ugly haha" and everything has to be showered in ugly neon and every person has to wearing stereotypical 80s clothes or whatever. Like, it is so tiresome.

Stranger Things has been such a massive contributor to this whole notion where everything is super faux and drowned in nostalgic symbols and theres no thought or reason put into any of it. I simply refuse to watch Stranger Things because all I know about it is its utter reliance on tickling the nostalgia gland of braindead Millenials who put on rose-tinted glasses whenever they consume a piece of media.

The thing that prompted me to write this schizo rant tumblr post was the increasing amount of "analog horror" shit that flooded YouTube for awhile that was all produced by indie movie dropouts and consumed entirely by young zoomers. That whole culture and the stuff around it is an entire big ass clusterfuck of a subject that raises my blood pressure whenever I think about it. It's all just lame and lazy. People made shitty creepypastas back in the early 2010s and now its back, but with a faux VHS filter slapped over it. Its all just so soulless.

This is just 7 am me rambling on about shit I despise, but if you wanna extrapolate a point from this rant, I feel like subtley and genuineness is just way better than going all out on the bombastic and more popular parts of an era. This goes for all eras in the 20th century. If you can do it really well and actually capture the look and feel of that era it feels so much better. It just FEELS more genuine and whatever twist or spooky horror thing you wanna throw in there will actually feel better.

I know I am GROSSLY over-simplifying and putting shit into arbitrary categories, but I'm not the only one who sees this.

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blinkpanicrun · 5 months

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Info Tag

A sideblog geared at my spookier interests. Really into analog horror atm, especially Local 58, The Mandela Catalogue, Greylock, and The Walten Files. But I'll post/rb any creepy thing that tickles my fancy tbh.

25+/agender (they/them)

minors, do not follow please

Main: @bedknees

Sideblog for Levi/AOT: @awkward-yet-kind

#about

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athenathegrace · 8 months

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Becoming Filipino: Reflections

"Becoming Filipino is frustrating and tiring sometimes, so why not, make it Analog Horror?"

This is literally what I had in mind when my group mates were planning our big project for the digital storytelling class. We're on the same ground and foot as the others - They are also tired of the atrocities and injustices manifested from the system, so why make it into an actual horror project right? My group mates are also interested in exploring the depths of the Filipino class and working sectors, gender norms, and analyzing and exploring different socio-cultural issues surrounding the landscape today. The usage of three prompts, mainly the scientific, the social commentary, and the personal, all of this fuel and ignite the spark of actually constructing this project. This gives us the closer edge to connect all of them in one story - how this could also potentially highlight important themes in our project.

That's the big-brain moment that we shared. The horror genre is booming these days, let alone Analog Horror. As a person who has been chronically online since God knows when, it has been a privilege for me to scour and explore the internet, even if it's as weird as normal people would think it to be. What made the Analog Horror boom so much is that it generates discomfort, where dozens of analog horror games have yet to be widely accepted by the public. Many horror game mechanics were introduced, significantly that deal with the focalization of fighting the horror, and getting through it.

Story design is also heavily influenced in gaming, where dozens of plotlines were introduced to denote heavy emotions, conversations, and experiences brought by the characters themselves, or the symbolic manifestations of their upbringing.

Due to it being diverse and interactive, many creators would cater to odd, weirdly deranged game designs to lure the audience – especially if it’s not conventionally horrifying in the first place. Over the last two decades, the field of digital storytelling has expanded considerably, pushing the frontiers of creativity and immersion. Analog horror is by far the most interesting subgenre that has arisen within this landscape.

One of analog horror’s primary qualities as a digital storyteller is its ability to delve into basic fears that are profoundly established in human psychology. Analog technology from the past, such as VHS tapes, audio cassettes, and CRT monitors, evokes nostalgia and a strange sense of familiarity. When these antiques from a bygone age are combined with scary or disturbing content, they inspire sentiments of nostalgia and comfort.

The utilization of analog technology in a digital format heightens the dissonance between the known and the unknown. Watching a low-quality VHS-style film or video with distorted graphics and audio, for example, can elicit an uncanny experience that corresponds to our feat of the unknown. This distinct blend of the familiar and the uncanny is what makes analog horror so powerful at instilling fear and unease in the audience, allowing writers and even creators to tap into primordial concerns that transcend cultural boundaries. While presenting examples and existing analog horror series in the web, I overheard some of my classmates saying that the content is absurd. Not to think of it negatively, but it is definitely true! It is and should be absurd! Just think of how this concept can tickle your senses and not intentionally scare you for the giggles and the shock factor, instead, try to think of it as if you're having a lucid dream - a sleep paralysis for horror fanatics and interested audiences.

Crafting the Project's Discourse

As a gift to feast my fascination with horror, making an analog horror was our task to effectively visualize our message of grief, frustration, and anger, of what we experienced in this godforsaken country for two decades (as I have and only a little age gap with my group mates). The discourse of the project includes the exploration of the elements of becoming Filipino - what we do, what we have, and what we "wasted", metaphorically. This is also a good thing because we're actually utilizing a website fit for the plot of the story! (Augmented Reality-esque cough cough), an inspiration of Hotel 626 (Good times!)

Analog horror frequently plays with the audience's assumptions and perceptions by subverting typical storytelling conventions. The concept can challenge portrayals of socio-cultural identity by incorporating narrative subversion techniques, prompting the audience to question preconceived notions.

The process was initially hard to grasp because we had to connect everything for a unified message. Hence, we had to construct a proper storyline to connect and fit the intended images and messages for the theme. It's a communicative situation where, the viewer, as the product and object of enunciation, is desperately trying to generate and register for his/her/their national ID, which ultimately leads him/her/them to a mental crisis (Hopefully not in a bad way). This gives us a glimpse of also generating the said ID - there are numerous issues surrounding this registration, for almost a year, some of the registered individuals still haven't got their physical IDs, and instead we're given a digital version of their IDs (Which is a laughing stock).

What could've been a better way to actually craft PSAs (Public Service Announcements) to briefly prompt the viewer about the Philippines! Inspired by different PSAs in the past, this also solidifies anachronism within the country's status, and how horrifyingly still exists and the same in the current timeline. Let's say these PSAs were made in the 80s, because of Analog Horror, this gives a feeling of uneasiness and nostalgia. This approach would be made easier without actually using fancy graphics and only utilizing symbols and good structural flow.

Analog horror’s distinct look and storytelling technique allows the project to produce a gripping narrative experience that stays with the audience long after they’ve finished viewing or interacting with the story. The intentional use of analog technology, frequently combined with a lo-fi and vintage style, sets the atmosphere for an extraordinary adventure into the unknown.

Storytellers like us can create narratives that are both original and deeply atmospheric by making use of the limitations of analog technology. The limitations of analog formats promote ingenuity in expressing horror components, such as audio and video modification to generate unpleasant sights and spooky soundscapes. This method opens up a world of storytelling options that both attract and challenge the audience’s imagination.

Somatic Simulation, Paracosm, and the Pharmakon

The sensory and physiological sensations that elicit emotional responses and generate a sense of immersion in the audience are referred to as somatic simulations. In the context of our project, the somatic simulation could be accomplished through the use of various sensory elements such as audio cues, tactile props, and ambiance techniques. The project is heavily involved in incorporating certain sounds and visual aspects that could elicit a strong sense of unease or discomfort, therefore this could improve the audience's immersive horror experience and social awareness.

A comprehensive imagined universe, typically created by individuals, with its own set of rules, geography, and population is referred to as a a paracosm. In the context of the project, the use of paracosm could imply the creation of a fictional but credible and believable realm that ultimately represents the Philippines' social and cultural landscape. This may be fictional and thus not account for a real experience suffered by many Filipinos, but rather an amalgamation of different things that make the Philippines a horrifying place to live in. This type of paracosm could depict the Filipino's concerns and sufferings, which would result in an immersive narrative that compels the audience to address social and cultural issues in a heightened, metaphorical manner!

Lastly, the Pharmakon, which is an ancient Greek philosophical phrase, refers to a material that can operate as both a poison and a cure. In Becoming Filipino, the pharmakon could signify the complexities of the socio-cultural identity being explored. It represents how exploring these challenging and realistic themes can both expose the harsh reality that the Filipino people face and function as a remedy by generating awareness in the targeted audience and constructing praxis to these concerns and issues.

Hopefully, this would turn out beautiful and good once executed. I'm dying to work on this and consider my passion project, in lieu of my group mates' skills and talents, since I worked with most of them in the past!

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