JANUARY FIC RECS!

fics that i’ve been reading and obsessing with over the month of january

this is extremely important and i take this very seriously out of respect for the community. please do remember to read the rules for the respective blogs before interacting with or reading them.

F: fluff A: angst S: smut

𖥻 - series /multi part

masterlist

BUCKY BARNES

F: how's your head? by @bucky-bucky-bucky-bucky you and bucky didn't exactly have a meet-cute. your first encounter is you bleeding from your head.

F: bucky being shy around a girl he likes + part 2 by @ro-is-struggling

F + A: through his eyes by @sebbytrash 𖥻 ever since bucky came to the compound, he always thought you were familiar. when he slowly regains his memories as the winter soldier, he is horrified.

F: pastel colours by @the-canary 𖥻 mr barnes, the physics teacher, seems to have a thing for stealing pens. you, an avid stationary collector, cannot stand it.

F + A: caught in the fire by @dreamwritesimagines 𖥻 growing up in a bakery right in the middle of a mob neutral zone, it’s no surprise you and bucky barnes become the best of friends. life gets in the way and you facing circumstances. whether you let bucky stand by you through it all is up to you.

A: say it by @sgtjbuccky 𖥻 you love bucky with all that you have. sacrificing yourself to save him included.

F + A: the new recruit by @angstysebfan 𖥻 you and bucky were in a good place. a new recruit to shields threatens to take it all away

F + A: picture perfect by @writingsoftheloser 𖥻 you're steve's fake girlfriend to help make his crush jealous. you meet his best friend and fall in love with him. all while trying to keep up your facade with steve.

F + A: something domestic by @fandoms-writings 𖥻 a majority of bucky's adult life has been dedicated to the military. losing an arm and being discharged leaves bucky to try and rediscover who he is, even if it meant living a hundred miles away from the city in the middle of nowhere.

F + A: heart of glass by @buckybabesonly you and bucky rarely had disagreements, let alone he be angry at you.

F + A: accidentally in love by @creativebeang 𖥻 sargeant barnes was a complete hardass. he always had something to critique you about. a mission gone wrong flips a switch in his head and suddenly he's all over you.

F + A: the ask out by @delaber bucky barnes is no longer the charming boytoy he once was. it's completely evident in his interaction with you.

F: old fashioned by @demxters bucky was traditional, old fashioned, nothing like other men of current times.

F + A: personal ghosts by @fandoms-writings you lose bucky to the snap and he presence looms over you even after he's gone

F + A: they don't know you the way i do by @themorningsunshine bucky overhears a conversation between a few agents, agreeing with what they have to say about him.

A: out of time by @drailyter all good things must come to an end, your relationship included

F + A: the outbreak + part 2 by @stxrvel in your head, a self sacrifice is nothing as compared to a successful mission. bucky thinks differently and it causes your friendship with him to crumble.

F: missed you by @stuckylaufeyson bucky comes home from work missing you more than usual.

F + A: relationship tutor by @samingtonwilson 𖥻 bucky is infatuated with natasha rudolph, who you happen to know from your yoga class. you reluctantly agree to be his wingwoman.

F + A: looking for a heartbeat by @justreadingfics 𖥻 you left without a word 2 years ago to finally pursue what you have been searching for your whole life. you're back in new york now and it seems that bucky's long moved on from you

F + A: vacant mirrors by @whirlybirbs 𖥻 the blip chipped away at everyone. you were no different. dr hart shares an office with fellow therapist dr raynor. this meant that you shared a waiting room with one james buchanan barnes.

F + A: time after time by @justsomebucky 𖥻 at just seven years old, your parents got divorced. you move in next door to the barnes family. it's only right that you became friends with bucky.

F + A: until his last breath by @witchywithwhiskey bucky comforts you after a break up with your long-term boyfriend.

AARON HOTCHNER

F: mess of mine + i'm a mess but by @hotchgirlsummer you are far from SSA hotchner's type. he usually goes for those older, mature. not adorably clueless women who work at a clothes shop.

F + A: 'tis the season by @happiest-hotch 𖥻 hotch needs his family to get off his back when he visits them for the holidays. you come up with the terrible idea of being his fake-date. what's worse? you have feelings for him.

F: the mark of a lover by @wildflowerluver aaron hotchner is not a touchy person. the five times hotch has to adjust to your physical affection and the one time he embraces it

THE BATMAN

F + A: all for us by @the-daydreaming-show 𖥻 jason's death had been tragic for the waynes. you will do whatever it takes for you to be the happy family you once were.

F + A: one bad day... by @a-reader-and-a-writer-for-all 𖥻 bruce refuses to avenge jason's death due to his moral code. you, however, do not share the same morals as him.

S: the billionaire affair by @kaleidoscopewritings19 𖥻 you and bruce rekindle an old flame, despite being married.

I generally don’t write much in the way of serious topics on tumblr because I don’t find it a useful platform for that, but I’ve seen a number of posts/talked with mutuals lately about what we’ve been noticing in the erosion of feminist theory and how it’s discussed.

To me the culprit is the nature of tumblr itself. There’s no one stationary place for a conversation; people reblog a conversation that has branched off in a bunch of directions. They argue a point that could’ve been addressed by the OP except the conversation continued without the OP. They end up in places that were never intended.

Add to that: a) the way a pithy phrase captures attention faster than a thoughtful analysis and b) the number of ppl reblogging to point out that their particular group was not specifically taken into account, and you have an attempt at discussion that’s hobbled from the start.

I wish we could have discussions here like we used to on lj/dw but we can’t. So instead any discussion of feminism has its teeth cracked out one at a time with “but men can be abused too” and “what about transmen” and “eyeliner so sharp it could kill a man” and “WOMEN!! She!! Her!!” and look. All of these things have their place in the discussion. 

But when people generally don’t even know what the core tenets of feminism are, don’t understand the kyriarchy, or multiple axes of oppression, don’t understand second- and third-wave feminism, and just choose to make everything binary all over again? Right now in tumblr discourse, either critique of Men is wrong bc it doesn’t take into account these particular men, or All Women are Right All the Time Actually. And neither of these is useful in dismantling what feminism is intended to dismantle.

Feminism is for everyone, yes. But feminism is also an ideology intended to make people uncomfortable with and outraged at the status quo, the kyriarchical messages we grow up with and live under. It’s all right if your feminism isn’t mine, but if yours doesn’t actually stand for anything and is more concerned with empty virtue signaling or pat catchphrases, then does it actually benefit the cause? Or is it just lip service in between nitpicking? Is it just window dressing for oppressive systems? Is it doing those institutional systems’ work for them?

I don’t have any concrete suggestions about this; like I said, I don’t think tumblr as a platform can provide any repair. But who knows. Maybe a bunch of like-minded feminists talking about it more (and by like-minded, I just mean “invested”; the faces of feminism are legion) will help rejuvenate something that’s been pretty good to a lot of us (or at least offered a helpful framework to build our senses of self on). Maybe I’ll go back to talking about feminist topics myself. Maybe that’s not quite a bridge called our backs but it’s more than being the second sex. Maybe maybe may be.

✖School AU! Khada Jhin✖

✖Jhin Khada as a Student✖

✖ Word Count: 635

✖ Tags: One Sided Pining > Dating

----

- A model student. Has 4 afterschool clubs. He's a painter in Art Club on Mondays. At Archery club on Tuesdays. In Drama Club on Wednesdays. A Pianist and Violinist at the school's string orchestra on Thursdays.

- A quiet and cool guy, people are amazed and afraid of him. (Who handles 4 clubs and still has time to study?) He's an Art Major, enjoying the fine arts in all forms, but anything with the human form draw him in the most (sculptures, portraits).

- A loner that enjoys having his lunch alone and club activities alone. He doesn't have any friends or is part of any clique. Devoted to his clubs and his studies.

- Classy and neat. His uniform is always crisp. His stationary packed away neatly. (He uses a 4b pencil). His skin also surprisingly smooth, he has a four step skincare routine.

- Not really the kind to care much about others and their opinions, he is aloof in the sense of he is here for himself. To enjoy his art to his lofty goals and finish what is needed of him of school.

xxxx

- If you were to confess first, it would have to be in a romantic letter in his locker or four roses on his table with a note. Something artistic and beautiful to catch his attention or he wouldn't even consider.

- As you confess your affections to him after school and after his club activities, he would smile coldly, neither smug nor affectionate. " I will consider this." He exchanges his contact details with you.

- He would put in a little effort, replying as you talk to him. However, privately on his end he would do his own research about you, what clubs were you in, who were your friends, how were your grades, what were you like online. Only if they pique his interest or satisfy his expectations will he finally start putting in effort.

- If he confesses to you first, it is because he noticed you in the audience, you were beautiful and always watching his best work, who were you? An interest into an obsession, he would confess with chocolates and a poem on your desk, inviting you to meet him after school at 4pm on the roof where he waits playing the violin to serenade you with.

xxxx

- When he does fall for you though he falls HARD. Waiting for you after class. Watching over you around school. Buying you gifts, leaving post-it sketches of you in your textbooks. Bringing you out on fancy dates. An interest now Obsession. You were as important to him as his art now.

- If you were to watch him do his club activities after school, his cold heart would melt, if you can appreciate his various forms of art and understand him you would be perfect. All he wants is someone to support his endeavors.

- After a while he would affectionally call you his muse, paintings inspired by your beauty, his music and acting more passionate when you're in the audience. You inspire him. Even more so if you were an artist yourself, critique each others work, doing duets or collabs. He loves just how much you spark his creativity.

- He may be obsessive but he is undeniably romantic and loving. A loving touch as his adjusts your hair, making sure you are always perfect. A soft kiss in the empty halls late after club as he sends you home to make sure you're safe. Anniversaries and special dates all celebrated with romantic dates and personal gifts. A reassuring hug to comfort any of your troubles. " I love you y/n" sweet whispers between class.

- When the time comes to graduate he would have already told you his school or work goals, hoping you'd either follow him or support him if you can't.

Trigun Stampede Episode 1: Exceeding Expectations

I had hopes, I had abnormally high hopes. I was banking on Orange delivering, expecting some quality work. But this, this is another level. It's a love letter to the 3d medium in anime, and proof that within it exists the ability to deliver, action, acting, emotion, and far more. It's not just the inferior little brother to 2d animation, not just the stopgap for when there's not enough time or manpower for 2d, and Trigun Stampede proves this all within a single episode.

Art that meshes with the medium impeccably, both as background and focus is a huge proponent of it. It still has that "polished" look to it, but it's not something that sticks out. Everything is done to bring it together. And the aspect that I feel serves to get the most out of this cohesive effort is the visual effects. The overall look of them is absolutely incredible, there's zero room for critique on their quality, and they fit the episode perfectly.

In contrast to this though, the area that I think sees the most prolific improvement is the character acting. It's so ridiculously good, fluid, and expressive that it provides a better showing of creativity and movement than the majority of anime this season. Just look at this movement. It's not sluggish, it's not linear or abrupt. It has so much life in it.

Hell, they even play around with the character models in their expressions. They aren't overly rigid in their looks, and Orange is more than willing to mess with them to get the desired effect and feel.

The expressiveness is really just out of this world, and is still in part owed to the effort of the voice actors. I may be a massive critic of Vash's VA (Matsuoka Yoshitsugu) as they consistently play the harem MC of the season, but they do damn good work and it shows here. He draws out the harmless and comical charisma of Vash and it adds so much to the feel of the character.

My last piece as to what I love so much about this first episode is a bit of a twofer: direction and movement. The two are largely inseparable, but the latter is a component/influence of the former. Movement is an easy thing to forget about, in anime there's definitely a lot of sequences without it. Lots of moments where it's essentially stationary. Trigun Stampede though is a constant assault on the sense of the lowest order. That is, in almost every moment there's something moving. Even just background shuffling of nameless characters, or the wandering eyes of a character, or any order of things. There's hardly a stationary scene in the anime, and it's such a huge influence on how it feels. It makes it feel so full, like there's never a dull moment or a lull in the acting and interactions of the characters.

And with that movement comes the influence of direction. Orange is a predominantly 3D studio, so of course they know how to handle it. But personally, I'd still say it's a cut above what they've done previously. When the characters are acting the camera remains stationary, and helps sell the creativity and effort in their motion, but when they aren't being overly expressive, the camera flys about and makes up for that feeling of motion. It's a perfect understanding, and something that I always complain about with 3D animation. When you have something that isn't incredibly polished, but is 3D, the best course of action is to move. Shake the camera, fly it about and around the characters, give the illusion of more movement and motion than there is.

Studio Orange really went above and beyond to impress with this first episode. Hell, they did such a ridiculously good job with it that I forgot it was an original story. Trigun Stampede is proving within a single episode that 3D animation that well and truly deserves respect in the community outside of the stopgap and mixed media measures that many see it as. It has more than enough capability in emotion, movement, acting, and even animation to stand tall alongside 2D work. I really can't wait to see where Orange takes us with this series, and what else they'll be able to effortlessly show off with.

ask game: 9 & 10

-- feddy-fagbear

Yay thanks for sending an ask :D I'll be doing just the 1986 movie for this because that's what this blog is about and the play is dead to me

9. Don't Feed the Plants, the director's cut is also canon to the movie so this counts. This song is the only reason I prefer the theatrical cut ending over the director's cut ending, the movie shows us a guy who really doesn't have a choice in 'feeding the plant' because if he stopped he and his gf would be doomed to poverty and that makes 'feeding the plant' a good metaphor for the evils of capitalism, like we all have to contribute to/buy from/work for companies that exploit people and the environment and/or depend on those that do to survive in capitalist societies (or at the very least the US, it definitely seems to be the primary focus of Little Shop's critique of capitalism given how much Don't Feed the Plants focuses on America) and you can't simply decide to opt out of that/stop feeding the plants as an individual, the bedrock of society needs to be altered through collective action so that people are no longer forced to 'feed the plants' to live, Seymour's situation with the plant is kind of a dramatization of this where he's directly feeding people to a plant instead of indirectly contributing to exploitation that harms people and the environment and that works well but then Don't Feed the Plants doesn't mesh with... the movie we just watched at all, like cool you've just given the audience completely inactionable and victim-blaming advice great job, I'll be sure to simply not contribute to capitalism next time

Also the plants should've been stationary, that would've been a better use of Little Shop's unique premise and made Don't Feed the Plants more interesting, there could've been a more gradual plantpocalypse where people are desperate to find them before they've grown too large to be able to be taken down and then once one's become established in an alley or something somewhere the surrounding area has to be vacated and there's tons of disruption to society because of this, it would be better than making the plants generic monsters imo

10. I haven't read all of the Little Shop fanfics out there but I've seen Audrey be mischaracterized so much, she's not a delicate emotional wreck who cries every five seconds she's the strongest goddamn character in the movie, she's been through so much horrific abuse and still manages to 1. try to not make Seymour worried about her by getting away from him and 2. crack multiple gallows humory jokes (which also partially ties into that first point, like she's trying to make her situation seem less bad by making jokes about it so he won't be worried about her) while her life is falling apart and she's reeling with guilt, admittedly she cries a few times in my latest fic but to be fair she's dealing with the love of her life being slowly killed by a parasite in that one and I emphasized her strength/take charge attitude so yeah, also portrayals of her being disturbed by the revelation that Seymour killed Orin and Mr. Mushnik are particularly egregious when in the director's cut ending she 1. didn't care and if anything was impressed/grateful and 2. reacted so casually to this 'revelation' that it creates an implication that she had already figured it out, not the part where he fed them to the plant but the part where he killed them

Sociotype Profiles — SLE

Ego

Leading Se

SLEs are strong-willed, independently-minded individuals who are able to recognize levels of willpower and motivation in others. They are almost always collected and ready for action. They are adept at organizing others effectively towards any given objective, and have no problem "getting the job done," even if it requires stepping on a few toes. They will take the initiative and act at the opportune moment. SLEs will often act without complete information, improvising as they go, but are successful nonetheless. Instability energizes them, as they are active people who think clearly on the move and tend to be unsatisfied with a stationary, peaceful lifestyle.

SLEs easily spot power dynamics within any given structure, hierarchy or relationship, and strive for a secure position where they are less subordinate to others. At the same time, SLEs are comfortable with hierarchies, and recognize that they are a necessary part of everyday life. SLEs may sometimes seem dismissive of those of a lower social status, as if they were weak or inferior in some way. Likewise, they see dependence as weakness, and so strive to minimize their dependence on others, especially in their personal relationships.

SLEs' energetic and direct nature tends to make them natural leaders. They are quick to assume this role, even in alien or unfamiliar environments. They usually adopt a direct administrative style and build a bureaucratic structure beneath them over time. They will take full responsibility for their actions, and understand these terms when they take a leadership-based role within a group, company or organization as being part of what leadership is about.

SLEs are highly observant and take note of all the objects present in their surroundings. They are well aware of which objects they have, and which they want, and tend to be possessive of their property. At the same time, they also have a generous streak and can easily bestow gifts and share their property with others to demonstrate acceptance of the other person or people.

Creative Ti

SLEs are inquisitive people. They are generally clear, consistent and systematic in their actions. They value competency and have an appreciation for method, viewing these things as vehicles through which strength, power and influence are demonstrated, values that SLEs consider important.

While SLEs see logical systems and structured views as necessary in life, they will often view said systems and views as changeable or expendable. Their use of Ti is flexible. They tend to gather - either legitimately or illegitimately - and retain information which they deem useful in attaining their goals.

SLEs come to their own conclusions about the world, although they tend towards simple generalizations. Because the SLE's ideas are influenced by their own agenda, they can be more subjective than they claim to be; they are skilled at using objective truths to help them achieve their goals. It can be very difficult to argue with an SLE; rarely will they submit to another's logic, since they believe that their own logic is so well developed. SLEs will often refuse to take others' advice - even to their own detriment - as they can have difficulty seeing viewpoints that differ from their own (though this may also be a matter of pride). They also have the tendency to compare others' plans to their own, and because of their confidence, will often consider them inferior or offer critique from their own point of view.

Super-Ego

Role Ne

SLEs are largely unaware of others' hidden potential and abilities, since they size up people based on visible qualities and behavior. As a result, their judgments of people may appear simplistic or one-dimensional, and they may seriously misjudge or underestimate the capabilities of others, leading to surprises and sometimes rude awakenings. Likewise, SLEs may fail to recognize long-term opportunities in the world around them as they pursue the more readily visible and immediately available routes to success.

To make up for their weakness in assessment of possibilities, SLEs may hesitate to act, believing that they are increasing the amount of opportunities they will have. Instead, they end up using none, thus failing to attain the results they were aiming for. In this sense, the SLE would have been much better off following his instincts in the first place. Many SLEs are aware of this, and simply prefer not to search for hidden opportunities and avoid this weakness altogether.

When it comes to future planning, SLEs speak with confidence and apparent optimism, although in actuality, they rarely feel confident in positive outcomes and further possibilities. They may also consider advanced planning unnecessary for trivial circumstances, as they prefer to act impulsively.

Despite their highly observant nature, SLEs are careful to avoid appearing too eager for knowledge. They become suspicious when others are overly curious about them and ask too many searching questions. SLEs are more comfortable asking and responding to specific questions that are relevant to the context rather than general ones whose purpose is unknown. When the information being exchanged is too broad and general, SLEs may wonder what the point is or whether someone is planning to use that information to take advantage of them. Concerns about revealing too much information about themselves and their activities sometimes makes SLEs appear paranoid and secretive.

Vulnerable Fi

SLEs have trouble evaluating the internal emotional state of others unless it is accompanied by a visible emotional expression. When unable to do so, they become uneasy. When an individual expresses negative emotions, SLEs feel that they are unable to offer the support needed; they get uncomfortable and confused, and as a result, will not respond appropriately to the situation or will react in a way which is unhelpful to the individual. SLEs themselves constantly seem emotionally guarded, and so very rarely will anyone actually have the chance to "comfort" the SLE in the everyday use of the word. The best way to do so is to let the emotion run its course.

SLEs often tread carefully when it comes to interpersonal relationships because they recognize their inherent weakness in this function. They feel the need to not only be respected, but also to be held dear by others, precisely because they feel inept when it comes to relationships. Often their behavior will have the opposite effect of what they were hoping for; if they are trying to protect someone, that someone may view their "protection" as pure jealousy, and thus will attempt to break away. The SLE will respond with further limitations in order to counter what they believe is irrational rebelliousness, perhaps causing a breakdown of said relationship. Despite this, SLEs can without extra effort manage to maintain a superficial - purely physical or formal - relationship. Their IEI duals, however, have an understanding of SLEs; they know how to react with Fe in accordance with the SLE's mood, and thereby tactfully avoid incurring any misunderstanding.

To ease their doubts about their relationships with others, SLEs are sincere when it comes to establishing new bonds with others; they feel it is important to inform others of their true nature so that they will not be taken by surprise when the SLE acts in a certain way. Likewise, the SLE will often prefer to take the initiative in establishing new friendships and relationships. This is partly due to the fact that SLEs fear psychological distance; taking a more upfront and aggressive approach would allow him to more accurately observe those around him, while removing the possibility of one's gradual avoidance of the SLE.

SLEs are under the impression that they might gain respect or admiration from others, but can never be truly loved by anyone. Sometimes, SLEs can become paranoid about their relationships with others; they often mistrust declarations of affection, and so can appear insecure.

Super-Id

Suggestive Ni

Since SLEs are such active, action-oriented individuals, they are often far more confident about their present situation than its broader implications. SLEs are attracted to people who can unearth connections between ideas and occurrences, thus collecting the "snapshots" of the present offered by SLEs and fitting them into a broader understanding of reality. SLEs long for a sense of some greater meaning in their lives beyond the immediately physical or material. They admire people who feel part of something greater than themselves and are not so dependent on the material world around them.

SLEs often develop their suggestive function through an interest in that which is hidden, mysterious, or eccentric. Learning about and discussing these things helps them overcome their habit of making quick assumptions, and gives them a more profound understanding of the world around them.

The SLE is impulsive, but at the same time quite conscious of the need to keep his impulsivity in check. He thus appreciates people who are confident in their ability to predict where present trends are leading and to pinpoint when to initiate action and when to refrain from it.

Mobilizing Fe

SLEs find themselves unable to adequately raise an emotionally dull atmosphere, which is why they greatly appreciate another individual proficient in this function. SLEs naturally gravitate towards warm, cheerful atmospheres. If an SLE makes a social move that doesn't get the emotional response he expects, he will feel uneasy or offended e.g. if no one laughs at a joke he tells.

In large groups or groups of new acquaintances, SLEs sometimes inadvertently estrange themselves from everyone else, which may give off a negative impression. The SLE may assume this contrary attitude in order to seek Fe while preserving the atmosphere of the group. If another individual shows acceptance of the SLE, he will immediately brighten and join the now warmer emotional mood. Alternatively, if the SLE fails to receive the desired emotional cues, he will further distance himself from the situation, highly averse to "being a drag" to the group dynamic.

There seems to be an "emotional contradiction" with the SLE; there is a constant internal struggle to both reveal to others their true feelings and a desire to guard themselves from adverse people or situations. He finds it extremely difficult - almost unnatural - to express his deepest feelings about an experience he's had. SLEs try to avoid looking vulnerable, weak or dependent, which is why they appear to be such closely guarded individuals. SLEs will, like any other logical type, attempt to keep their feelings under control and subordinate to their reasoning. They refuse to let their emotions complicate professional relationships, and make a conscious effort to maintain the same emotionality with all.

SLEs are unable to suppress the manifestations of their moods, and thus greatly appreciate individuals who can deal with their sudden, uncontrollable outbursts of emotions. For many SLEs, expressive activities such as acting, musical performance or even religion serve as ideal "ethical vents", helping to give them the emotional release they struggle to find in other areas of society.

Id

Ignoring Si

SLEs are aware of how something makes them feel, but give little concern to it. (They will not, however, refrain from expressing their physical attraction or desire towards another individual.)

SLEs effortlessly manage to create an environment of comfort for themselves, but this comfort extends to very little, as they see no need to occupy themselves with creating excessively cozy atmospheres. As long as SLEs are not overly unhealthy or malnourished, they're unconcerned with what they eat and drink. SLEs are quite capable of living with the bare minimum and not feeling disturbed or unsettled by their circumstances. This gives the SLE the ability to ignore discomfort and tedium, powering through such obstacles in order to accomplish their goals.

Demonstrative Te

SLEs have the ability to pick out information which will help them achieve a goal; they will often refer to well-known facts, statistics and historical examples to back up their claims. Often their own viewpoint will remain standing in the face of a majority opinion, as they know how to formulate a strong argument. SLEs will often question the authenticity or reliability of informational sources, preferring not to use those which are doubtful or which have been proven wrong in the past. They enjoy learning about a wide variety of things, and are motivated by the prospect of rewards and status; they like to prove their authority and skills e.g. through a large amount of academic awards or extra curricular certificates.

SLEs are very practical, hard-working individuals. They know how to utilize their time effectively in order to reach any given goal, and have no problem discerning efficiency and utility from incompetence and uselessness. Nonetheless, they retain a kind of "don't care" attitude when it comes to productivity and effectiveness. They feel that it is a waste of time to sit around and discuss efficiency, and would rather act effectively. SLEs may playfully mock those who they believe are "obsessed" with productivity, efficiency or effective action.

SLEs often assume the role of someone who is always ready to assist people in their practical affairs, even to the point of others' annoyance or offense to the SLE's obtrusiveness (which is simply enthusiasm to the SLE). They enjoy receiving thanks for their services, and take full responsibility for their actions. Their intentions towards others in this area are generally always good.

Source: Wikisocion

Ultrakill Layer 7 thoughts (spoilers obvi)

7-1 /// The Garden of Forking Paths: Great level. Super creepy and off putting, even with having watched the trailers for the level. The first time the mannequins activated for real scared me so bad that my soul fully left my body. The Minotaur showing up the first time also scared the crap out of me. Overall, the level captured the whole "labyrinth" vibe really, really well and the leadup to the Minotaur part of the level was great. Speaking of the boss, its visual design was really great and worked with the lore to make a surprisingly tragic story. The fight itself was a bit finnicky with the trams, but surprisingly easy once I got the hang of it, and the second phase was even easier (a bit too easy, imo).

7-2 /// Light Up the Night: I have mixed feelings about this level. The sound design and visual feel of the level are great, and some of the segments were really cool, particularly the clocktower and the library-looking part. I wasn't a fan of the fact that you could just go anywhere in the level at any time, that felt weird to me. I would have appreciated something akin to the sand in the Greed layer; as it is now, just being able to walk on relatively flat ground feels kinda boring. I have... thoughts on the Guttertanks, but those aren't about the level itself. The ambush when you return to the train station with the bomb was really well done imo. Probably my favorite section of the level was the library section, since the room design allowed for a lot of shenanigans with the sharpshooter pistol and the electric rail, so that wasn't as annoying as the first Guttertank fight.

7-3 /// No Sound, No Memory: Absolutely stellar level. The atmosphere throughout the entire level is excellently moody and eerie, and the lack of jumpscares (except for one) really contribute to the sorrow that pervades the level. The first three blood trees were fun fights I love the gardeny design of the first section. The friendly fire chaos of the last room was a ton of fun the first couple times, although there was a lot of stuttering. I do wish that any kills throughout the room contributed to the blood for the tree, since I died multiple times to the stupid blood puppets. That was really anticlimactic and kinda ruined the mood. Otherwise, a really good level.

7-4 /// ...Like Antennas to Heaven: An interesting boss battle, to say the least. The reveal of the Earthmover at the very beginning was *amazing* and I'm always a sucker for "climbing up a gigantic boss" sequence. The defense system was a fun stationary boss but it was pretty easy. The boss itself was really easy too, once I realized that I was just shooting towards the middle of a circle. Personally, I would have preferred slower moving lasers, more health, and an additional obstacle to fight/dodge. My main critique of the level is that it doesn't feel like a layer climax, at all. The hardest fights of the level were, by far, the ones against the Guttertanks and other normal enemies and not the intense, 1v1 duel that I like so much about the other boss fights. The Metroid Prime-esque countdown escape was really, really cool, though. I just wish the sequence was less about fighting random enemies and more about tough platforming. Also, I know that the golden arm is obviously the eponymous "Godfist" but I'm still not a fan of not getting an arm at the end of the first layer of an act.

Lore: Love how Hakita captured the feeling of a self-perpetuating cycle in the Final War. Reading about the individual stages of escalation was really, really interesting and marched the visual design of each enemy well. Can't wait to see which six-lettered King built the Minotaur for Minos (more than likely the next prime soul).

Mannequins: A fun and surprisingly challenging mix of Filth and Strays with an extra layer of horror. Incredible visual design and animation. I do wish they were a bit less bullet spongey because it doesn't really fit their aesthetic as is, but adding a few extra enemies to compensate.

Guttermen: Great visual design and lore. They're not too hard to deal with on their own, and I'm glad to have another use of the Knuckleblaster (Hakita, please, PLEASE let us map seperate buttons for each arm). When they have a hunch of other fodder around them, they make interesting counterparts to Mindflayers as high-priority targets.

Guttertanks: Ooooh boy. I really like some of the things about them, but I have a lot of issues as well. Having an enemy that forces players to either stay far away or risk a well timed dash to get some blood is an interesting shakeup, but I do think the punch should at least be parryable. As is, the punch feels way too fast to react to, way too high-damage to recover from, and knocks you back like a million miles. For enemies that are supposed to be long-ranged artillery type things, their ranged attacks are surprisingly easy to deal with (especially with the freezeframe rocket launcher) but their melee attacks are way more of a threat and they have way too much health. I would prefer it if they had either significantly less health (or some kind of massive vulnerability, akin to the streetcleaners) or if their melee attack was nerfed and their ranged attacks buffed slightly.

Other thoughts: The new puzzles with the golden orbs is interesting, but I would like if the Whiplash had slightly more of an autoaim. Thank Gabriel that the voids on the puzzle sections don't damage you. Also, my computer isn't the best, but I was having a ton of performance issues during the third and fourth levels. Nothing too crazy or fatal, just some annoying lag and stuttering.

Overall, Violence was a really great layer, one of my favorites. I do think it needs some minor changes and tuning, but I'm excited for the psecret level and the new alternate gun, plus everything else yet to come from Hakita.

I'm halfway through Gamera vs Zigra and there has been shockingly little Gamera, but it looks like he's finally about to matter.

Shockingly little Zigra too unless you count the spaceship, bikini wearing pilot and Zigra's stationary cobweb covered body. Apparently there were a lot of production issues with the film so I can't really critique it too harshly, but godDAMN this is slow.

Buffalo '66 - Stockholm Syndrome in Film

Abstract

The road film, like Dennis Hopper’s Easy Rider (1969) and Arthur Penn’s Bonnie and Clyde (1967), was brought to existence during the commercialization of the motor vehicle, the birth of a generation of a restless youth, and the countercultural movements of the 60s and 70s. It is a genre centered around recklessness and self-discovery hinged on a journey taken with a motor vehicle. Buffalo ‘66 resembles the road film genre’s themes of self discovery, personal growth, and cultural critique, but reshapes it to tell a story about survival and true love. This essay explores how Buffalo ‘66 uses the road film genre and psychological theories like Stockholm Syndrome to understand personal relationships, trauma, and survival. 

Synopsis

 Buffalo ‘66, a 1998 Independent comedy-drama film written and directed by Vincent Gallo, is a romance story like no other. The film stars Christina Ricci, Angelica Huston, and Ben Gazzara. The partially autobiographical story follows newly freed Billy Brown, who was imprisoned as blackmail for losing a $10k Superbowl Bet. In a depressed and angered rampage, Billy kidnaps a young woman named Layla at her dance studio and forces her to pretend to be his wife. He brings her back to his childhood home for dinner with his sports-obsessed parents, who couldn’t care less about his existence. Layla begins to care for Billy as she discovers more about his loveless childhood, seeing him as quite harmless and all bark, no bite. He is merely an immature child raised without proper love and support, which has affected his ability to treat others with the same. Despite her continuous opportunities of escape from her captivity, she accompanies him on a journey around his hometown. Billy has a plan to enact his revenge on the kicker who caused him to lose the Superbowl Bet and end his own life, but his time spent with Layla serves as his reason to live, ultimately choosing to “span time” with her instead. 

Part 1: The Road Film

Buffalo ‘66 is an artistically creative film that takes many risks, categorizing it as non-traditional. On the surface, it fails to fit into any distinct genres. However, it does follow many traditional tropes and thematic associations with popular genres. Layla and Billy’s time spent together throughout the film, which occurs in various locations around Buffalo, NY via the use of the motor vehicle, resembles the typical Road Film. This genre pertains to films where the main character changes or grows throughout the course of the story on some sort of road trip, which alters what they thought they knew about themselves and the world itself. Upon initially forcing Layla into her 1984 Toyota Corolla, Billy was adamant on carrying out his strategically planned revenge on the man who he thinks ruined his life, and would have never guessed he’d end up rewriting his fate. During the film’s release in June 1998, “a generation raised on television and the open ended road-like format of the weekly serial" sees the road film as an "ideogram of human desire and last-ditch search for self," where "the journey's the thing" (Laderman 41). On his aimless journey with Layla, Billy unexpectedly discovers love and a sense of purpose in his life. The journey serves as his “last ditch search for self”, or his self defined last day of life. Being on the road allows Billy to work through and eventually satisfy his human desire, gaining the love and attention he has always craved. Where the unlikely pair are headed is irrelevant, since their time spent together on the road is the defining piece. The motor vehicle in Buffalo 66 and road films alike serve a purpose other than transportation, but as a metaphor for the character’s emotional and moral development. In reference to Bonnie and Clyde of the typical Road Film, there is a thematic association of motion with liberation, explaining how whenever the characters are stationary like in a motel room they are vulnerable. But, on the road, they’re happy and free. The most intimate parts of the film are when Billy is able to untangle his erratic mind and be stationary with Layla and rethink how he wants his future to pan out. Also similar to Bonnie and Clyde is how Bonnie has a vision of a possible future beyond the crime they engage in, and Clyde is too blinded and obsessed with their rebellious life. Billy is similar in this respect. He started off blinded by the obsession with his planned murder-suicide, but Layla changes him to choose a life with her over his demise. Bonnie unfortunately couldn’t save the two of them from their deaths, but Layla could.

The personal growth that Billy undergoes as the film progresses is not experienced by just the character alone. One of the defining parts of the road film is its capability to connect with the audience's desire for meaning in life, and causing them to relate to the character’s aimless search for self. Colin McGinn writes in Dreams On Film that “What we see on the screen is intended to engage our emotions directly. This is the sensory manipulation of emotion” (McGinn 104). As the film reveals more and more of Billy’s empty, loveless, and unfortunate situation, audiences are able to project their personal experiences onto the character through emotional sympathy. The pain Billy feels is expressed through intricate visual images, allowing audiences to imagine and feel the same pain. McGinn constantly compares films to dreams, and how people often resonate with films so much because they are used to doing the same with their dreams. The story being told on the screen is similar to the story a person’s mind tells in a dream, both in efforts to work through a person’s deepest emotions and desires. Audiences may see themselves in Billy in terms of his desire for love and meaning, or recognize what it looks like when someone has nothing and nobody to lose. Or, they may identify with Layla, in striving to be the special person in someone’s life that gives it meaning. Scott Tobias of the AV Club states that “Layla is used for the audience to recognize what we see in Billy—that behind this bullying, erratic stray dog of a man is a disarmingly innocent child who never grew up” (Tobias 2010). In that sense then the characters are not just people imagined on the screen. They become real and their conflicts—and obsessions—reach into the recesses of each one of us.

Part 2: What is Stockholm Syndrome?

Not only was Layla kidnapped, but she also experienced a wide range of abuse. Billy used physical acts of violence like suffocating, dragging, grabbing, pulling hair, and pushing. He also uses verbal threats and verbal abuse like blaming, belittling, degrading, and intimidating. Despite her abuse, Layla is seen sticking by Billy’s side, while having multiple outlets of escape. She falls for him and initiates an intimate connection, which Billy continuously proves himself as undeserving of. Her behavior can be explained by Dee L.R. Graham’s Stockholm Syndrome Theory. The term “Stockholm Syndrome” was named after the 6 day hostage of 4 Sveriges Kreditbank employees during a bank robbery in 1973 in Stockholm, Sweden. The hostages ultimately sympathized with their captors, having stronger fear towards the police than towards their captors. Stockholm Syndrome as a phenomenon is characterized by a bonding between captor and captive, which is argued to increase the captive’s chance of survival. The term Syndrome in Stockholm Syndrome serves specific importance, as it “suggests that the victim is overcome by something like an illness, that the identification process is not voluntary and the victim not morally responsible for her choices” (Card 512). The Stockholm Syndrome is meant to be thought of as a subconscious survival tactic for personal protection, which means the victim shouldn’t be held responsible for their actions as their actions are not conscious. It also infers that experiencing Stockholm Syndrome is not a voluntary choice, and a person is unable to feel that way towards their captor on purpose. Stockholm Syndrome is also considered a neurobiological response, as it is used by victims to de-escalate threatening situations and their physiological reactions to it. 

Many different victims across various kinds of hostage situations have experienced the subconscious reaction of Stockholm Syndrome, but Dee L.R. Graham in A Scale for Identifying "Stockholm Syndrome" Reactions in Young Dating Women: Factor Structure, Reliability, and Validity has used research on these situations to conclude that “Some of the cognitive distortions emerging as helping to define the Core Stockholm Syndrome subscale were: denial and rationalization of abuse, self-blame, splitting, taking the abuser's perspective, viewing the abuser as a victim, and the belief that, with sufficient love, the abuser will stop being so angry.” (Graham 17). Layla’s rationalization of her abuse is evident in her willingness to comfort and defend Billy in front of others, despite how horribly he has treated her. She is seen constantly attempting to give Billy love to heal his pessimism and abusive behaviors, in a perplexingly calm and nonchalant manner. She absolves him of all responsibility after learning the misery of his childhood, and sees him as a victim of cruel and neglectful parenting. Victims of abuse, like Layla, often believe that their love is the only way to “fix” or to stop their abuser’s anger. To her, Billy only needs to be shown real love and affection to change his ways, and she feels she can be the one to do it. She thinks his volatile behavior would only get worse if she wasn’t around, and her affection is the only thing that will save him from himself. However, this behavior comes at the expense of her safety, health, and any chance at a promising future. For this reason, a close study of the Stockholm Syndrome provides the clearest scope for understanding Layla’s psychology, considering she is merely a supporting character with no internal monologue. In order to make sense of her decisions it is important to understand the syndrome’s symptoms. The “four necessary precursors of the syndrome are: (a) the victim perceiving a threat to his or her survival; (b) the victim perceiving some kindness, however small, from the abuser/captor; (c) the victim being isolated from others who might offer an alternative perspective from that of the abuser; and (d) the victim perceiving no way to escape except by winning over the abuser.” Layla’s survival is initially threatened by Billy when she is aggressively suffocated and dragged out of her dance studio. He forces her to clean her car, put her hands on the dash, not speak unless he says to, and to pretend to be his wife by threatening violence and even her life. However, to the audience and Layla’s surprise, Billy adamantly apologizes, and on more than one occasion. Once Billy has calmed from his rageful outburst while kidnapping Layla, he kindly says to her “First thing, right off the bat. I’d like to apologize. Alright? I’m gonna apologize……I swear to God I didn’t mean to scare you. And I’m sorry if I pulled your hair. Alright? You okay?” (Gallo 1998). At this moment, Layla’s demeanor changes. Her face relaxes at the thought that Billy is capable of such an apology, as she modifies her assumptions about Billy and the fate of her situation. I argue that this moment is the catalyst for Layla’s curiosity towards Billy, where she decides that she is going to figure Billy out at her own amusement. 

Billy’s multiple unexpected apologies following his abusive behavior contribute to Layla’s Stockholm Syndrome, because “Consistent with this theory, and even more poignant, the "misattribution view of romantic attraction" (Kenrick & Cialdini, 1977; see also Walster, 1971) posits that strong states of arousal such as anxiety or fear are likely to be misinterpreted as indicating attraction, even sexual attraction” (Graham 18). This misattribution is also known as cognitive distortion, when physiological arousal caused by fear is interpreted as attraction. The love that a woman may feel may have been cognitive distortions that work to both reduce feelings of fear and develop a mutual bond between victim and abuser. Layla’s slight fear of Billy and anxiety about being in a captive situation causes her to find his states of vulnerability that much more attractive, because it serves as a time when he is unlikely to cause her harm. She doesn’t expect him to act that way, or even apologize for his actions, which she finds confusing, intriguing, and ultimately attractive.

Reacting with affection and even humor to Billy’s volatile outbursts was used by Layla as a tactic to calm both herself and Billy, but is very challenging to do in high stress situations. Dr. Rebecca Bailey in Appeasement: replacing Stockholm syndrome as a definition of a survival strategy states that “The ability to appease when in an activated state requires sufficient regulation to appear to the perpetrator as being calm. This form of regulation is not easily accessed or universally available but requires innate abilities to resources to inhibit the sympathetic arousal that would trigger the perpetrator’s defense” (Bailey, 2023). Appearing calm to Billy during his volatility towards her requires sufficient regulation and specific innate abilities, which helps audiences understand Layla a little more. The only background knowledge on Layla that we have is by inference, which could be that she has had practice in her past with remaining calm in personally threatening situations. Her humorous remarks, like “Are your parents vegetarians? I hope not, because I don’t eat meat. Ever” (Gallo 1998), proves that she has endured far more dangerous scenarios, possibly with a parental figure or significant other. Additionally, each time Billy raises her voice at her to the point where Billy is likely to cause her physical harm, Layla doesn’t flinch. Strangely, she doesn’t even react at all. 

A consistent behavior that Layla demonstrates that differs from audience’s expectations is how she constantly soothes Billy, instead of condemning him for insulting her in one of his angry rages. In reaction to Billy’s ruthlessness, she tries to relate to him and make him feel as if he is not alone in how he feels. These decisions might not be by poor choice alone, but rather a way for Layla to keep herself safe. Claudia Card writes in Women, Evil, and Gray Zones about Patricia Hearst, a nineteen-year-old girl who in San Francisco in 1974 was kidnapped, tied up, handcuffed, raped, and held for ransom by the Symbionese Liberation Army (SLA). In captivity, she joined the SLA, was involved in their most infamous bank robbery, and pretended to believe in the SLA’s values as a purposeful survival strategy. In extremely abusive situations, “Still, the victims may identify strongly with the abuser or dominator. As with Patricia Hearst, doing so can enhance their chances of survival, making them useful to abusers and encouraging a reciprocal identification that makes it psychologically more difficult for abusers to depersonalize and destroy their victims” (Card 510). In abusive or hostage situations, victims often empathize with their abuser, to make them believe they are one in the same. Victims may do this consciously or subconsciously as a survival tactic. Ultimately, the victim makes it so that the abuser sees themselves in their victim and is less likely to cause them harm. Layla identifies with Billy’s loneliness, and projects it, so Billy will keep her alive and safe. It is unclear whether she truly believes in what she says, but nevertheless, it ensures her safety. 

Because of Billy’s emotionally abusive and dismissive parents, Layla comes to understand that Billy has an Anxious-Avoidant Attachment Style. This attachment style is characterized by the belief that one’s needs will never be met, so they are emotionally distant and act out when triggered. Billy teeters between craving closeness and demanding space, but fears abandonment the most. Layla mimics this behavior by tapping into Billy’s overarching fear of abandonment. Ironically in the diner and in the hotel room, she tearfully begs Billy not to leave her and to promise to come back, despite initially being the hostage. Although Billy sometimes reacted with verbal and emotional abuse, he always returned and apologized with intimate affection. This verbal and emotional abuse is consistently rationalized by Layla as well, since she recognizes the pattern of the Learned Theory of Violence. Social Learning Theory of Violence is the theory that children exposed to violence are more likely to imitate that same violence. They model the behavior they observe, sometimes inadvertently, quite like Billy does with his father’s explosive and aggressive behavior. Layla understands the pipeline of Billy’s father’s abuse and uses that understanding to diffuse responsibility.  

Layla’s rationalization of abuse and attempts to comfort Billy within the Stockholm Syndrome could be because she is functioning in a dissociative state. Martha Stout writes in When I Woke Up Tuesday Morning, It Was Friday that victims of abuse often depart from themselves in the dissociative state of “fugue”, which means “flight”. Stout explains that “In fugue, the person, or the mind of the person, can be subdivided in a manner that allows certain intellectually driven functions to continue-rising at a certain time, conversing with others, following a schedule, even carrying out complex tasks-while the part of consciousness that we usually experience as the "self'-the self-aware center that wishes, dreams, plans, emotes, and remembers-has taken flight, or has perhaps just darkened like a room at night when someone is sleeping” (Stout 426). Layla seems to express no attempts to protect herself. She never stands up for herself after being berated by Billy in one of his hostile blowups, even after it had been proven that he wasn’t capable of killing or physically harming her anymore. Her self awareness could have taken flight, putting her in a dissociative state where her actions are not in her best interest. 

Part 3: Is it all Stockholm Syndrome?

According to the symptoms of the Stockholm Syndrome, Layla can be described as fitting into a few gray areas. A key factor in defining the Stockholm Syndrome is the isolation from others who may have alternate perspectives. She not only lacks isolation from those with alternate perspectives of Billy, but uses those negative perspectives to fuel her love for him. The visit to Billy’s childhood home gives Layla clarity into why Billy behaves as horribly as he does, which she feels personally inclined to change. Although not initially, Layla differs with the last symptom of Stockholm Syndrome of no perceived chance of escape, by having countless means of escape and even moments where Billy purposefully deserts her at a diner. However, her unwavering desire to win Billy over persisted, as she continuously followed him wherever he chose to go. 

Card also writes about Kathleen Barry who experienced Female Sexual Slavery, where young girls were tortured and forced into prostitution by a pimp that they came to identify with and began to determine what he wanted before he even knew himself. They slowly changed from adopting his thoughts as their own, to genuinely personally believing those thoughts and no longer seeing them as immoral. This concept is unique to Layla because she quickly understands and sympathizes with Billy. She understands the psychological effects of his upbringing and gives him exactly what he wants, when he doesn’t even know himself.  She arguably gives him what he needs, which is someone to show him genuine care and save him from ruin. She can sense that he has never felt true compassion or love from anyone, and hadn’t found anything or anyone that made his life worth living. She is able to see through him to decipher what it is he wants even if he is saying the opposite. For example, Billy constantly demands that the two of them never touch, reacting uncomfortably and angrily to Layla each time she gets physically close to him. Layla persists, allowing her to have him on an emotional leash. Her intelligence allows her to decipher when, where, and how to show Billy affection, in a way that will make him fall for her. Towards the end of the film in the hotel room, her actions thus far led Billy to feel he could open up to her about his traumatic school experiences and failed relationship attempt with Wendy Balsam, the girl who’s name he forced Layla to assume for his family dinner. Up until this point, Billy has lied, yelled at, and bullied Layla about most everything. But while sitting with her on the bed, he drops his guard without uttering a single lie, no matter how bad he might look to her. 

Layla’s choices and lack of an attempt to escape, along with Billy’s undeserving reward of a perfect girlfriend is one of the major reasons the film receives backlash, since it does not portray a strong moral message about hostage/abuse situations. Layla may have saved Billy’s life, but it was at the disadvantage of her own. She is guilty of her own destruction by choosing a life with Billy, but I infer that Layla hasn’t had much luck with making the ‘right’ decision in her past. Claudia Card states that in terms of those who exist in morally gray zones, like Layla, “Skeptics may find them confused, perhaps emotionally akratic, in failing to recognize limits within which moral concepts apply” (Card 519). She does not act in a way that’s best for her, or as a role model on making the right decision where it might seem obvious. Many would also argue that the film markets a “misogynistic romanticism”, which supports the notion that a woman’s purpose is to be a punching bag for a man with a wounded soul. Included in the idea of a character’s purpose being to assist a man’s journey is the popular culture term of a Manic Pixie Dream Girl, who "exists solely in the fevered imaginations of sensitive writer directors to teach broodingly soulful young men to embrace life and its infinite mysteries and adventures” (Rabin 2007). These characters are usually eccentrically dressed, like Layla in her baby blue dress, silver sparkly heels, and vibrantly pastel 60’s eyeshadow. Unfortunately, believing this character type holds true in real life poses real dangers. Men like Billy are not uncommon, and the belief that there is a Layla out there for each of them to mend their problems is highly imaginative. Her character is underdeveloped and mysterious, like most Manic Pixie Dream Girls, as her character revolves around the male protagonist entirely. Meredith Metcalf in Manic Pixie Dream Girls describes these characters as having “male fantasy wish fulfillment elements”, and whose “function within the plot is to aid in the male protagonist’s development, with her own growth and back story largely removed from the plot” (Metcalf 3). Although the story tells of future aspirations and personal growth, it is done through a lens of the male gaze. The story would not be the same if Billy were a woman, or if Layla were a man. Billy has to be a man, for the Stockholm Syndrome and Learned Theory of Violence to hold true.

Although a lot of Layla’s Stockholm Syndrome created unconscious decisions, there are points throughout the film where she is visibly autonomous. In abusive situations, Card also writes that “To function effectively, auxiliary functionaries must have some power and some discretion regarding its use. This discretion presents the seductive thought that one may be able to use such a position for sabotage” (Card 518). Once Layla comes to understand how little of a threat Billy poses, she uses her victimization to assume the dominant power. She recognizes his suicidal ideations and lack of meaning in his life, and uses it to become his only reason to live, and make him do whatever she wants. She believes, though possibly true, that Billy would end up dead without her, either by being killed by someone else or by killing himself. She is the life she thinks he deserves, and that he has never had a chance to have. Although relating to the abuser can be a survival tactic of the Stockholm Syndrome, Layla could have also mimicked Billy’s weaknesses to become his psychological hostage. In the hotel room as Billy is about to act out his murder-suicide, she says to him “I really like you. I’m gonna be really sad if you don’t come back. Unless you tell me. If you’re not gonna come back just tell me don’t lie to me….If you want a coffee get a coffee. Just come back” (Gallo 1998). Layla’s final effort of vulnerability, which had made Billy run back to her in the diner, may have ended up saving Billy’s life, but also locked Billy into an emotional dependence. How Layla acts towards Billy is fueled by his desirable responses, meaning that when she treats him a certain way, although at the detriment of her own welfare, she witnesses his walls breaking down, and his violence slowly burning out. This dependency that grows in both Billy and Layla may be a disposition, since Graham’s data in A Scale for Identifying "Stockholm Syndrome" Reactions in Young Dating Women: Factor Structure, Reliability, and Validity proves that violent relationships were experienced as more intimate than nonviolent ones (Graham 6). The intimacy and passion the two feel for each other are stronger because of the nature of their situation. 

Conclusion

Buffalo ’66 contains a variety of themes and genres, hinged on a risky portrayal of true love that makes it what Gavin Smith from Film Comment describes as “Destined for love-it-or-hate-it cult status, it’s a genuinely idiosyncratic study in American miserabilism and the redemption of a beautiful loser” ((Sundance 1998 | The Hard Way, 2017). Hannah Prendergast of MONROWE Magazine describes it as “a tale of personal growth hinged on a romance that is equal parts Stockholm Syndrome and true love” (Prendergast 2018). Gallo, the writer and director, is quite a self-obsessed and strongly opinionated man, especially in the media. Buffalo ‘66, as opposed to a lot of Gallo’s other work, is described by Smith as “Autobiographical to the extent that it posits a road not taken, the film can be read as a confessional acknowledgment of the insecurity driving Gallo’s own reckless, f-you persona” ((Sundance 1998 | The Hard Way, 2017). The film is rich in psychological themes including the Stockholm Syndrome, Attachment styles, the Learned Theory of Violence, and the socioemotional impact the trauma of your past can have on your present. Seen in these multiple frames of reference, Buffalo 66 is a moving and disturbing critique on what risks individuals will take when engaging in emotional attachments. 

Citations:

Vincent Gallo & Vincent Gallo. (1997) BUFFALO '66. Canada/USA.

Tobias, S. (2010, August 19). Buffalo ’66. The A.V. Club; The A.V. Club.

 1998 | The Hard Way. (2017, January 10). Film Comment. 

Anderson, charlotte. (2018, November 14). Buffalo ‘66: You’re NobodyUntil Somebody Loves You. MONROWE Magazine; MONROWE Magazine. https://monrowemagazine.com/2018/11/14/buffalo-66-youre-nobody-until-somebody-loves-you/

Graham, D. L. R., Rawlings, E. I., Ihms, K., Latimer, D., Foliano, J., Thompson, A., Suttman, 

K., Farrington, M., & Hacker, R. (1995). A Scale for Identifying "Stockholm Syndrome" Reactions in Young Dating Women: Factor Structure, Reliability, and Validity. Violence and Victims, 10(1), https://login.proxy.libraries.rutgers.edu/login?qurl=https%3A%2F%2Fwww.proquest.com%2Fscholarly-journals%2Fscale-identifying-stockholm-syndrome-reactions%2Fdocview%2F208554145%2Fse-2%3Faccountid%3D13626

Bailey, R., Dugard, J., Smith, S. F., & Porges, S. W. (2023). Appeasement: replacing Stockholm  syndrome as a definition of a survival strategy. European Journal of Psychotraumatology, 14(1). https://doi.org/10.1080/20008066.2022.2161038

CARD, C. (2000). WOMEN, EVIL, AND GRAY ZONES. Metaphilosophy, 31(5), 509–528. 

LADERMAN, D. (1996). WHAT A TRIP: THE ROAD FILM AND AMERICAN CULTURE. 

Journal of Film and Video, 48(1/2), 41–57. http://www.jstor.org/stable/20688093

McGinn, C. (2005). Dreams in Film. The Power of Movies: How Screen and Mind Interact

Buffalo ’66 (1998): The Radical Conventionality of an Indie Happy Ending from US Independent Film After 1989: Possible Films on JSTOR. (2018). Jstor.org. https://www.jstor.org/stable/10.3366/j.ctt14brwdj.7

Stout, Martha. (2002) When I Woke up On Tuesday, It Was Friday. The Myth of Sanity: Divided Consciousness and the Promise of Awareness

Helldivers 2 ""wishlist"" ramble for fun :)

Just a load of thoughts from my time in the game, my observations on some of the "bugs", and my assumptions on what could be a positive addition/change purely for the sake of rambling about a game I really really really enjoy rather than pointlessly critique because "I know best" lmao

Address the ps5 crossplay damage thing (It's just weird and the inconsistency is causes is not fun to play around)

Remove crits because it's currently making armor as a whole meaningless- why slow yourself down if the game crits like half the time and makes the armor not matter? Probably the same for "headshots" on players because it's not something you can MEANINGFULLY play around so it doesn't positively add to the gameplay in my dumb opinion

Fire granting a CC effect- "scaring" small enemies (similar to how mechs seem to effect scavengers) and "stunning" all enemies caught in the flame (the shock of being caught on fire, for bots it would be a comical ineffective "pat down" on themselves to (fail to) put out the fire) Fire atm is kind of pointless, even the buffed flamethrower is mostly benefiting from the direct damage and not the 'fire'. Since it's "limited" in range / application (napalm strikes, incen grenades, flamethrower) it applying a hard CC on application sounds like a 10/10 adjustment/buff, having some unique interactions like Chargers / Hulks going FRENZY on fire could be nice as well!

Armor effects! I LOVE the armor passives system and am looking forward to more! Armor that lowers energy weapon drain for longer periods of fire! Heavy armor with a radio on the back (visual signifier not a gameplay mechanic in itself) that grants EITHER (as in 2 armor sets) faster orbital cooldown or +1 to each equipped eagle strike! Fire proof armor for the firebugs! Rubber armor for the electric inclined (or rather, their teammates 😬)! Heavy armor should grant an innate passive against staggers! A heavy armor that also grants a passive against slows (MAYBE EVEN EMS MEANING YOU CAN SPAM IT A LOT!)

Apparently Helldivers 1 had healing equipment, I'd love a heal/fix gun! Maybe I'm biased more towards fix though- I'd love a restock nanite gun SUPPORT WEAPON that can fix/reload sentries for that "engineer" playstyle lol

Normal Guard dog could be more lenient on its ammo- restocking from normal ammo pickups rather than just supplies, to grant it more usability to better compete against the infinite ammo laser dog

Some of the "weak" strikes should have less cooldowns + more "call ins per rearm"! Like the eagle strafe.

Some more stats for support weapons at the strategem table would be nice. I'm partial to "full transparency" on stats, I really am, but I respect the dedication to lesser info and the purpose they are aiming for with that- but- I think support weapons should AT LEAST share the same amount of info as the main loadout weapons. Things like the Stalwart being light armor at best, and the MG being medium- these should be directly shown on the strategem screen rather than "Support Weapon / Hellpod" <- this means nothing.

I have nearly no idea what they could do, but I want assist weapons to be buffed significantly so that duos do a LOT more and solo struggles a bit more (in some cases). As is, some duo weapons like the autocannon literally don't ever need to be duo'd- you reload just fine solo so who cares. But then other duo weapons like the recoilless are REALLY slow solo but don't exactly reach "good enough" when duo'd. Being stationary sucks- wasting a backpack on ammo instead of shields sucks- being tied together for the pack sucks, and then the payoff is JUST a reload buff which some (autocannon) don't need. Maybe having like a "safety feature" attached to the payloads that is enacted in solo reload (so they don't blow themselves up grabbing it and twisting their body) but DEACTIVATES on duo loading so all shots loaded by a partner do more damage or bigger aoe? SOMETHING to make duo firing these beasts impactful and worth the plethora of "costs".

Bug nests should count as targets for "aimed" strikes like the laser, just like fabricators. Fabricators should NOT count as targets for sentries/drones.

Either non-AP sentries need an ingame-upgrade/armor perk/overall game update to not target armor and waste all their ammo, or Chargers need to be "dumbed/selfished" down a bit so they ignore non-AP sentries unless the non-AP hurts them or is the only viable target. I think there's a lot to be said on properly using sentries, but there's also a lot to be said on the plethora of armored targets on higher difficulties making most sentries (almost all) unusable garbage. I'm aware a mention of "adjusting the amount of armored targets" has been said- that might fix it indirectly tbh.

Orbital Precision strike (and other call ins but I'm singling this one out) needs buffed. Just full on. It's slow to fire, takes too long to reload when better alternatives reload faster and do more, and it's the first thing players have- it should be "reasonably good" not "call it in and it misses the target and then you wait nearly 2 minutes to try again". I'm a big fan of how many early options are actually cracked if you use them well and learn their quirks, but this isn't one of them in comparison.

Buff the HMG emplacement (and future manned emplacements), why does the HMG do less work than the machine gun? It's a STATIONARY emplacement and it seems to have the same impact? I feel like as a stationary emplacement it could get away with even heavy armor pen tbh

Charger ass should be a weakspot. There's just no realistic reason it shouldn't be in my opinion- it's the one unarmored bit and the best it does is "normal damage", it should be flagged for explosive damages 100% bonus dam and it should get the normal 10% from everything else- meaningfully hurting them with normal weapons through proper gameplay makes more sense than practically needing to blow off their armor every time.

Shield generator relay could use a gameplay-centric buff. Something like tossing a screen on it that a player can do strategem combos into to reinvigorate the shield at will. This could make calling it down and having 1 person "overcharging it" a viable strategy to counter being overwhelmed by bots :)

Ballistic shield could go for blocking melee attacks tbh- it's literally "what if the energy shield took skill" but it's worse anyway- aiming at enemies should let you block em! Maybe in the future we could "plant" the shield to brace ourselves to block even chargers if properly positioned (unrealistic, that's a lot of heft, but maybe a future shield design that drills into the ground for a sturdy stance)

Super samples being difficulty tied, rather than difficulty "influenced" kinda sucks. Wish they were possible as rare spawns in points of interest elsewhere, with increased chances per difficulty. Also weird that they spawn in a specific poi so often like why not spread around like the others? Even just tossing supers on daily order reward tables would be nice- I just think I dislike the difficulty gate for them when higher difficulties are already rewarding in and of themselves.

Week 5 Blog Post

Chapter 4 - The Typographic Grid: The typographic grid is a fundamental tool in graphic design, providing structure and harmony to layouts. Consisting of intersecting horizontal and vertical lines, it divides space into columns and rows, guiding the placement of text and imagery. This grid system ensures consistency and readability across various design elements, allowing for easy navigation and comprehension. By adhering to the typographic grid, designers can create visually appealing compositions with balanced proportions and rhythm. Whether used for print or digital media, the typographic grid serves as a foundation for organizing content effectively, enhancing communication, and fostering cohesive visual identities.

Assignment 3 - Logo Development Cont: The continuation of the logo development project is still in progress. We have had many critiques since the last blog post with our actual logo development. I have had multiple trials and errors with my logo but I have found the perfect one. As I had said before, I wanted to use a thought bubble as the main part of the logo, hence the name of my app. I started off strong with two logos and got feedback from my peers on which was best. I took out the "Thought Thread" within the logo that I originally wanted to do and decided to use that as a secondary logo for my stationary products; I figured that would work best. Although color does not matter within the logo, I currently have it in multiple colors of purple. I believe my change with that is changing it to a gender-neutral color so my app could be used by everyone and it's not just centered on one specific group. The next stop is the stationery products! Until next time...

Movie Reviews

SOCIAL DILEMMA

The Social Dilemma" is like a really interesting movie that talks about how social media and technology affect our lives.

In the movie, they look at how computer programs and smart machines can change how we act, what we like, and even the choices we make in politics. It's like they're showing us a possible future if we don't pay attention to how much technology is controlling our lives. They even talk about something called "dark patterns," which is like tricky ways technology can make us do things we might not want to do.

The movie also talks a lot about something called "Predictive Algorithms," which are like smart computer programs that can predict what we might do next based on what we've done before. It's a bit like magic, but with computers! They also talk about how our information, the stuff we share freely, can be used in ways that we might not like.

The big message from the movie is that we all need to think about how technology is changing our lives. It asks important questions about privacy, how we can be tricked by false information, and what it really costs us to use things for free online. It wants us to be smart about how we use technology and not let it control us too much. BLACK MIRROR

"The National Anthem" (Episode 1):

Premise: The Prime Minister is faced with a moral dilemma when a princess is kidnapped, and the only demand for her release is a shocking and degrading act.

What's Interesting: This episode explores the impact of social media, public opinion, and the lengths people are willing to go for entertainment. It sets the tone for the series by diving into uncomfortable and thought-provoking scenarios.

"Fifteen Million Merits" (Episode 2):

Premise: In a dystopian future where people pedal stationary bikes for energy, one man tries to break free from the monotony and participate in a talent show.

What's Interesting: The episode critiques a society obsessed with superficial entertainment and the consequences of seeking validation in a world driven by reality shows. It's visually striking and offers a reflection on the cost of fame.

"The Entire History of You" (Episode 3):

Premise: In a world where people have implants allowing them to record and playback their memories, a man becomes obsessed with his suspicions about his wife's fidelity.

What's Interesting: This episode explores the impact of technology on trust and relationships. It delves into the consequences of having access to every moment of one's past and the toll it takes on personal connections.

How to determine on a ship cover?

Choosing the proper boat cowl is important to ensure correct protection on your boat. Here are some key factors to contemplate when selecting a boat cover: Boat Size and Style: The cowl should suit your boat correctly. Measure the size, width, and top of your boat, including any added equipment like swim platforms, towers, or antennas. Consider the boat's fashion, whether it is a bowrider, center console, pontoon, or another type, as covers are designed to fit particular styles. Fabric Material: Boat covers are available various supplies, every with its personal characteristics. Common materials embrace polyester, canvas, vinyl, and specialty fabrics like Sunbrella. Choose a fabric that suits your climate, finances, and preferences. Look for a fabric that gives UV protection, water resistance, and durability. Custom vs. Universal Fit: Custom-fit covers are designed for specific boat models, providing a snug match and optimal protection. Universal-fit covers are more versatile but could not fit as snugly. Consider Shop Canopies Leeds customized fit if obtainable on your boat mannequin. Trailerable vs. Mooring/Storage Cover: Determine whether or not you want a canopy for trailering or simply for mooring and storage. Trailerable covers are designed to withstand wind and road journey, whereas mooring/storage covers prioritize protection when the boat is stationary. Ventilation: Proper ventilation is essential to forestall mould and mildew growth. Look for covers with vents or choose a canopy that can be geared up with a boat vent or assist system to permit air circulation. Straps and Tie-Downs: Ensure the duvet comes with secure straps and tie-downs to carry it in place, particularly throughout windy conditions or while trailering. Adjustable straps are preferable for a safe fit. Fastening Mechanism: Consider how the cover fastens to the boat. Some covers use snaps, zippers, or buckles, whereas others rely on an elastic hem or drawstring. Choose a fastening mechanism that is safe and easy to make use of. Support System: If you are utilizing the cover for trailering, contemplate a support system that forestalls water from pooling on the cover. Support poles or a framework can help keep the duvet's shape.

Color and Style: Boat covers are available in numerous colours and types. While aesthetics may not be the first concern, it's your decision a canopy that enhances your boat's appearance. Warranty: Check the producer's guarantee to ensure that you're protected in case of defects or premature put on. Additional Accessories: Some covers include equipment like storage baggage or tie-down kits. Consider whether or not these extras are useful to you. Reviews and Recommendations: Read critiques from different boat homeowners and seek suggestions from skilled boaters or your boat manufacturer to find a reputable model and mannequin. Budget: Set a finances for your boat cowl and look for choices that offer one of the best steadiness between affordability and the features you need. Climate and Location: Consider your native climate and the place you plan to retailer or moor your boat. If your area experiences extreme weather situations, prioritize a high-quality cowl with enhanced weather resistance. Ease of Installation and Removal: Choose a boat cowl that you can easily install and take away on your own or with minimal help. Remember that investing in a high quality boat cowl is a clever choice to protect your boat from the weather and delay its life. It's important to choose a canopy that meets your specific needs and presents the level of protection required for your boating lifestyle..

Long Jetty, the Playground Rocket & the Space Age: Inspiring Future Coastie-Nauts

Coastal Incidental by Art.

31 March 2023

Credit: Coastal Incidental

After many decades’ stationary on the launch pad, the iconic red, blue and yellow playground rocket of Long Jetty on Darkingjung country finally had its T-minus 3, 2, 1, LIFT OFF.

While not exactly heading for the blanket of stars we are familiar with on the coast, the rocket more humbly made its way along The Entrance Road, where it will be taken for what Central Coast Council (CCC) calls a ‘planned refreshment’.

Not so much a nip and tuck, more a paint job and bringing the rocket up to twenty-first century safety standards.

You can vote on the future look and design of the rocket until 5 April. The revamped rocket will return in June.

Before talking about design options and how to vote, let's take 'one giant leap' back and chat about how Long Jetty's rocket arose from the 1960s quest to land on the Moon – and how the rocket's return is an opportunity to inspire the next generation on the coast to reach for the stars.

Credit: Central Coast Council

Playground rockets – symbolic of the first space age

When Apollo 11 astronaut, Neil Armstrong, disembarked from the lunar module to take 'one small step' onto the Moon's surface in 1969, children were also disembarking from rocket ships onto the grass, dirt and even concrete of playgrounds worldwide.

Rocket ships – like the one in Long Jetty – were increasingly constructed in playgrounds from the US to the then USSR, symbolic of the space race between these countries to reach the Moon and capture the imagination of the next gen.

The first playground rocket was built in Blackheath in the early 1960s after John Yeaman, a town engineer from the area, visited the US and was inspired to recreate the iconic playground equipment, with the help of metal manufacturer, Dick West.

Space archaeologist, Associate Professor Alice Gorman (also known as Dr Space Junk), has been researching the significance of and maintains a database of these unique playground structures. Nearly 40 rocket ships were constructed here.

Credit: Rotary Club of Blackheath

This period also saw the start of futuristic, space-inspired buildings and signage, known as Googie architecture. In the US, roadside diners in a hyper-modern style – think of the steel, neon and glass architecture from the cartoon, The Jetsons – sprung up to capture the attention (and dollars) of a new market: the car traveller.

Closer to home, the UFO-like The Shine Dome (or the 'Martian Embassy' as it is also known) was built in Canberra on Ngunnawal country. Home to the Australian Academy of Science, the design by architect, Roy Grounds, speaks to a technologically modern future.

Indeed, on Wiradjuri country, the Parkes radio telescope – now known as Murriyang, a name chosen by Wiradjuri Elders representing ‘Skyworld’ – was integral to televising the grainy footage of the Moon landing to over half a billion people worldwide.

Credit: Unknown. Original newspaper clipping from a scrapbook belonging to this blog's author.

Against this backdrop, countries from around the world were meeting at the United Nations to decide on the legal rules for the exploration and use of outer space. Lofty ideals on the exploration and use of outer space for the benefit of all, and to be used only for peaceful purposes infuse these laws.

Yet, the focus on outer space was subject to important critiques, considering the ongoing inequality and discrimination on Earth. The historical context of the Moon landing era cannot be overlooked. Civil rights movements during this era were pushing for the intersecting aims of racial equality, land rights for Indigenous peoples, gender equality and socioeconomic justice. Some of these sentiments in relation to the Moon landing were powerfully captured at the time by spoken poet Gil Scott-Heron.

The return of the rocket ship: an opportunity to inspire?

Along with the rocket refresh, CCC is looking to install an information board to ‘highlight the rocket’s life throughout the years’.

Let’s use this information board to not only talk about the local history of the rocket and how its symbolic of the first space age and the quest to reach the Moon, but importantly the return of the rocket ship can inspire the imaginations of the next generation.

A new space age is now underway. NASA is again working in cooperation with countries and companies across the world to return to the Moon and onto Mars. This 'Space 2.0' needs not only tech-minded people with science, technology, engineering and maths (STEM) skills, but poets, artists and philosophers to ask the big questions.

What does a future in outer space look like? How do we imagine and make real an outer space for all? How do we envision new ways of being and avoid exporting terrestrial inequalities?

The Earth rising behind the Moon, captured in 2022.

Credit: NASA

If you are asking: ‘Why care about outer space?’ One reason is that space technology helps us here on Earth. Satellites provide us with everything from images to help with weather monitoring and bushfire management to allowing us to speak instantly with loved ones next door or overseas.

So many technologies that we take for granted today had their origins in what scientists and engineers invented for outer space – from solar cell technology to freeze-dry food techniques to emergency thermal space blankets.

Let’s vote: the future design of the rocket

Fast forward five decades and very few of these playground rockets remain.

A council attempt to remove a rocket from a Hawthorn playground in Naarm, Victoria led to a petition garnering thousands of signatures. The rocket was saved and brought up to meet safety standards, and a series of jumpable boulders representing planets from the solar system were added. The rocket was re-opened in late 2022.

Hawthorn revamp (left), Enmore Park upgrade (right)

Credit: The Glenferrie Times

Fortunately, CCC is keeping the local icon and asking for resident views on the future design by April 5. The options:

(1) Keep it classic with only the necessary safety repairs; or

(2) Upsize the rocket with an extra slide and make changes to enable the top portion of the equipment to re-open.

Get voting here.

While partial to retaining the ‘classic look’ (option 1), this blog encourages CCC to look at other refreshed rockets such as the one in Hawthorn or Enmore Park to inform any revamped design for option 2, if not already done so.

Let’s hope the return of the rocket can inspire and fuel space enthusiasts – and potentially even a future local astronaut (or ‘coastie-naut’) towards a real life T-minus 3, 2, 1 LIFT OFF.

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Established in 2015, Coastal Incidental is an arts project to engage locals and tourists alike on the NSW Central Coast on Darkinjung country with the area’s changing built environment. Initially a photography project, the project has grown to include walking tours, talks, exhibitions and zines, with involvement in local community events such as the Long Jetty Street Fest, Blank Canvas pop-ups and the Neighbourhoods art trails.

To say hello: [email protected]

With special thanks to Linda Coy for encouraging this blog post.

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Copyright © 2023 Coastal Incidental.

ISTD: Critical Reflection

Personal Reflection and Feedback from Final Critique

I presented my digital vector maps during Final Critique and overall received positive feedback from my tutors and peers. I was encouraged to explore the diagrams used in the scientific study further, as the Indigo Buntings relation to celestial cartography was an interesting touchpoint. Here is a reevaluation of my work so far: 

Layouts:

There is too much text on the map: As I took ISTD as an open brief, I should focus more on the illustrative elements of the map rather than providing lengthy factual information. 

On a similar note, the map is a reflection of these unique insights into migratory patterns: It should explore the subject without having to rely on theoretical context.

Illustration:

The bird illustration may be more effective if positioned so that it appears to be flying rather than stationary. 

The stars on the bird are too on the nose.

While the simplicity of the illustration works with the text, it may be better to consider mediums that would allow me to hand draw the illustrations onto the map. 

Structure:

The map might be more effective if held at an angle so that the light projects in front and outwards. This would simulate the flight path Indigo Buntings take.

How can the map be viewed without having to hold both the source of light over the map?

Materials:

I was pushed to consider the use of my materials: I’m using the laser cutters to be able to cut the star holes out of the map, but what material will my project be made of?

To answer this, I think Laser Birch Plywood would be an interesting medium to use as it would be relevant to the natural theme of the content. It would also allow me to hand illustrate using tools such as pyrography pens rather than laser engraving, which may match the organic feel of the project and my illustrative style better.