#onstage ivan like a wolf
Text
Offstage actors AU Ivan got so caught up with kissing Till that he forgot to strangle him XD
source for the official art
Translation:-
Left side:
Till : When are you going to strangle my neck?
Right side:
Ivan: I must have been too caught up in the kiss. Sorry.
Till: Let's do it again.
#alien stage#ivantill#ivan is adorable#and till is just tired cat energy all over#the gap between onstage and offstage ivan is so cute#while offstage ivan is like a big puppy#onstage ivan like a wolf#yes this is another excuse for me to post the kissing gif because i am not getting over r6 any sooner
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I posted 3,018 times in 2022
That's 1,024 more posts than 2021!
443 posts created (15%)
2,575 posts reblogged (85%)
Blogs I reblogged the most:
@archivistbot
@generic-internet-name
@ulysses-but-somehow-more-transer
@nureyev-steel-institute
@questbedhead
I tagged 2,543 of my posts in 2022
Only 16% of my posts had no tags
#tma - 413 posts
#ceaseless watcher turn your gaze on this incredible artwork - 393 posts
#the mechanisms - 371 posts
#archivistbot - 145 posts
#abot - 143 posts
#abot ocs - 109 posts
#fic rec - 76 posts
#hello from the hallowoods - 75 posts
#the magnus archives - 73 posts
#taz balance - 72 posts
Longest Tag: 140 characters
#i'm a fan of mutche. what other word captures the action of poking your sleeping sibling in the face and also touching paint before it's dry
My Top Posts in 2022:
#5
Genre and the Transparency of the Fourth Wall
I’ve been thinking about fourth wall breaks in theater and about acknowledgement of medium in podcasts, and I thought I’d type out some of these thoughts.
The fourth wall. That invisible line where the camera becomes screen and the world of the show meets the world of the audience. Everybody loves a good fourth wall break, a reach, an acknowledgment of the other world. Eye contact with the camera, a comment about audience, it’s all very fun.
Theater, live theater at least, has a very thin fourth wall. The actors onstage can hear the audience’s clapping or laughter, gasps or heckling. They can make eye contact with individual audience members or walk amongst them. They can, in the case of Starkid’s Black Friday, take a bite of an apple and hand it off to someone in an aisle seat. You see a lot of acknowledgement of the fourth wall baked into scripts. Shakespeare’s a great example of this with a very obvious one being “all the world’s a stage”, making a double fourth wall break by bringing up theater and referencing the name of the theater itself (the Globe). Another example is in Moliere’s Tartuffe with the line “Must I play your part and say the lines you ought to say?”. Lines like that are sprinkled everywhere in plays. Both Arnold Ridley’s The Ghost Train and Starkid’s The Trail To Oregon have a character yell and point at the audience, referring to it as being surrounded by watching eyes.
And then there’s podcasts. It’s not in-person, there is no physical audience to acknowledge like there is in theater, but there is something very personal about it. One thing I have noticed if how often there has to be a reason for why a podcast is a podcast. An acknowledgement of format. The Magnus Archives is a collection of tapes. The only content we get is what is on the tapes. Wolf 359 starts out as Eiffel's audio log before transitioning into third person like a tv show. Max And Ivan: Fugitives is the two of them recounting what happened and we get to flash forward and see it acted/sound designed like a tv show. King Falls AM and Welcome To Night Vale are radio programs. Unknown 9: Out Of Sight is a podcast in-universe. Something about the audio-only format begs explanation. So why is that?
Well, part of it is that without visual cues, a lot has to be established through explanation and narration, and it feels less awkward to do that if you explain why you’re doing it. Giving an intro to the world and situation direct to audience without it being out of character or heavy handed is also much easier with an in-universe reason. This is why you have shows like Wolf 359 and Woe.Begone start out having in-universe audio format before transitioning to also include a third person seeing-the-action-in-action view.
But there still is that level of intimacy, especially in in-universe audio podcasts. Why are we listening to Jon’s tapes in The Magnus Archives? “Oh Martin,” Annabelle Cane says, “You have no idea who’s listening, do you?” and the audience sucks in a breath because we are listening. Why can we hear Enoch’s broadcast in Be Not Afraid? Well, if we’re hearing it, that means we are Enoch’s chosen prophets.
I have no formal conclusion, no grand web revealed. I simply love a good fourth wall break.
433 notes - Posted February 11, 2022
#4
[ID: The first image is a screenshot of TheVoidSings’ lyric video for “The Mechanisms - Death To The Mechanisms - 19 - Terminus (Lyrics)”. Over a purple space background, it says, “[Jonny D’Ville] “AH HAHAHAHA! YES!”.
The second image is the sickos meme with text saying “Everyone dying horribly”. It shows a man grinning through a window saying “YES ... HA HA HA ... YES!” Instead of being labeled “sickos”, the man is labeled “JONNY D’VILLE”.]
506 notes - Posted November 6, 2022
#3
Any pairing can be read as platonic if you’re not a coward.
568 notes - Posted March 15, 2022
#2
sir fitzroy maplecourt, knight in absentia of the realm of goodcastle, would have loved the crab infestation of tumblr’s april fool’s day thing
665 notes - Posted July 27, 2022
My #1 post of 2022
Why You Should Watch Headless
Headless is a free webseries from Shipwrecked set in Sleepy Hollow and following the new middle school science teacher Ichabod Crane. Ichabod’s rent gets raised, and he finds an unlikely roommate in none other than the headless horseman, on the condition he help the horseman find their head. What follows is a great comedy as Ichabod, Headless, local witch Matilda (who runs the not-a-drugstore), the mayor’s daughter Kat, absolute joy and middle school PE teacher Brom Bones, and the Babes (Brom’s three (3) weed smoking boyfriends who can and will do anything. Not well. But they will do anything.).
Every time they find and try out a new head, the owner of the head takes the episode -- a pirate, a local weed guy and history nerd, a youtuber, an infamous James Bond-esque thief, etc.
Now, some Headless things in no particular order:
- All the characters are great. Even character who seem like they should be side characters, like the Babes, get their time in the limelight and are absolute delights.
- THE BABES. Not only are they multi-talented icons, they also start their own show following up on the different heads called “Unsolved Babesteries”.
- Brom Bones. Brom could have been a nothing character, a dick and a rival for Kat’s affections. BUT NOT THIS TIME. Brom is a delight, and I adore him.
- There is a heist episode.
- Verla is a horror that may or may not have crawled out of a TV. She is also functionally Matilda’s adopted teenage daughter.
- M.K. Wiles wears a fake mustache one time.
- There are a lot of interconnected webs which unfold so nicely.
I highly recommend it!
675 notes - Posted November 1, 2022
Get your Tumblr 2022 Year in Review →
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Genre and the Transparency of the Fourth Wall
I’ve been thinking about fourth wall breaks in theater and about acknowledgement of medium in podcasts, and I thought I’d type out some of these thoughts.
The fourth wall. That invisible line where the camera becomes screen and the world of the show meets the world of the audience. Everybody loves a good fourth wall break, a reach, an acknowledgment of the other world. Eye contact with the camera, a comment about audience, it’s all very fun.
Theater, live theater at least, has a very thin fourth wall. The actors onstage can hear the audience’s clapping or laughter, gasps or heckling. They can make eye contact with individual audience members or walk amongst them. They can, in the case of Starkid’s Black Friday, take a bite of an apple and hand it off to someone in an aisle seat. You see a lot of acknowledgement of the fourth wall baked into scripts. Shakespeare’s a great example of this with a very obvious one being “all the world’s a stage”, making a double fourth wall break by bringing up theater and referencing the name of the theater itself (the Globe). Another example is in Moliere’s Tartuffe with the line “Must I play your part and say the lines you ought to say?”. Lines like that are sprinkled everywhere in plays. Both Arnold Ridley’s The Ghost Train and Starkid’s The Trail To Oregon have a character yell and point at the audience, referring to it as being surrounded by watching eyes.
And then there’s podcasts. It’s not in-person, there is no physical audience to acknowledge like there is in theater, but there is something very personal about it. One thing I have noticed if how often there has to be a reason for why a podcast is a podcast. An acknowledgement of format. The Magnus Archives is a collection of tapes. The only content we get is what is on the tapes. Wolf 359 starts out as Eiffel's audio log before transitioning into third person like a tv show. Max And Ivan: Fugitives is the two of them recounting what happened and we get to flash forward and see it acted/sound designed like a tv show. King Falls AM and Welcome To Night Vale are radio programs. Unknown 9: Out Of Sight is a podcast in-universe. Something about the audio-only format begs explanation. So why is that?
Well, part of it is that without visual cues, a lot has to be established through explanation and narration, and it feels less awkward to do that if you explain why you’re doing it. Giving an intro to the world and situation direct to audience without it being out of character or heavy handed is also much easier with an in-universe reason. This is why you have shows like Wolf 359 and Woe.Begone start out having in-universe audio format before transitioning to also include a third person seeing-the-action-in-action view.
But there still is that level of intimacy, especially in in-universe audio podcasts. Why are we listening to Jon’s tapes in The Magnus Archives? “Oh Martin,” Annabelle Cane says, “You have no idea who’s listening, do you?” and the audience sucks in a breath because we are listening. Why can we hear Enoch’s broadcast in Be Not Afraid? Well, if we’re hearing it, that means we are Enoch’s chosen prophets.
I have no formal conclusion, no grand web revealed. I simply love a good fourth wall break.
#analysis#thoughts#theater#podcasts#shakespeare#tartuffe#starkid#the magnus archives#tma#max and ivan: fugitives#unknown 9: out of sight#king falls am#welcome to night vale#wolf 359#the ghost train#be not afraid#woe.begone#the fourth wall
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