Shen Qingqiu: Do you ever feel jealous of women?
Shang Qinghua: What? Where is this coming from??
Shen Qingqiu: You know, like have you ever seen a woman in the arms of a big, handsome man and just wish it was you?
Shang Qinghua: Bro, you don't need to be a woman to do that
Shen Qingqiu: What do you mean?
Shang Qinghua: It's called being gay
System: ShenYuan.exe has stopped working
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Yknow the shitty marvel movie type trope of diffusing all of your emotional scenes with humor? Homestuck does the same thing but with a RADICALLY different vibe. Like exactly the opposite.
Most modern media that does this is trying to distance the author from the text, by inviting the audience to laugh with the author. Oh, isn't this story silly, we're self aware, no need to immerse yourself. It's got this smug yet self depreciating tone, because it feels like the author wants you to like them more than their story.
Whereas when Homestuck does this it is self aggrandising, because it's meant as an explicit ATTACK on the audience. It is a purposeful attempt to draw the reader in and then pull out the rug from under them. It's not meant to break the tension, it's to give you mood whiplash. It shows a certain amount of confidence in the text, because the author truly believes in the text's ability to emotionally affect the audience so that this trick works.
I can definitely empathize with someone who finds this aggravating (that's sort of the point), but to me it's legitimately preferable to the self-aware jokey jokey thing because I don't think it diminishes the impact of the story itself. The narrative still exists as is, with all of its devastating events, and the jokes are a way of twisting that knife in a little bit further.
I would honestly go as far as to say that many of these style of jokes don't lighten the mood at all, but just add an extra element of poignancy or horror to a scene. Something ridiculous happening to the body of a recently deceased character isn't exactly light material, for one example. For another, more specific one, consider Dave's "acrobatic fucking pirouette off the handle".
As a quick refresher, Dave says early on in the story that, rather than flying off the handle, he will do an "acrobatic fucking pirouette". This wording becomes a frequent callback joke from that point on. And then, much later, Dave finds the impaled corpse of the older brother who raised him, and decides on a symbolic gesture he'd like to make. He can't pull the sword out of his brother's chest, because he doesn't feel like he's worthy. He has to make a "clean break", by breaking off the end of the sword to take with him. But it doesn't work, and in the attempt he's flung backwards. And then he's just laying there, on the ground, while his friend points out that he has finally, literally performed his acrobatic pirouette off the handle.
And yeah, that's funny, but to me it's also absolutely devastating? This is a character who's recently been dealing with extreme self worth issues and a crisis of free will, who's clumsily trying to grieve for the very person who caused a lot of those issues in the first place. It makes the entire thing feel weirdly inevitable and that much more horrible for it, like, of course this would happen, his whole LIFE has been a joke to begin with. It doesn't detract from the moment. It invites you, the audience, to sit in that moment with the character and just kind of let it wash over you.
At least that's how I feel about it!
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THE EX-MORNING SERIES CONCEPT
By now I think many people have heard that KristSingto’s upcoming series is an original script that was written for them. What we also have confirmed is that it was written about them.
[source]
KRIST: This series was written by P'Backaof and directed by P'Lit where they created this script from the start deliberately for the two of us and they got information for the characters etc. from KristSingto directly. In the series, the name for P'Sing is Tamtawan, and my name is Phatapi. And Tamtawan Tamtawan and Phatapi are KristSingto themselves.
INTERVIEWER: Does that mean you play yourself?
KRIST: [laughing] Yes, we act as ourselves, so it's not difficult at all.
Today, Aof elaborated on his part on Twitter:
[source: @backaof]
[translation: @_beinglistener]
And Jojo added:
[source: @jojotichakorn]
[translation: @_beinglistener]
So, two gay men are the leading creative minds behind KristSingto’s comeback series. Time to study up on your KristSingto history, kids. \:D/
Long live sanctioned RPF. 🎉
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You always talk about Leo’s relationship with Donnie and Raph since there his big brothers and he has baby brother privileges but what’s his relationship with Mikey like since he’s older than Mikey
Yeah, I would say I'm more focused on the dynamics between Raph, Donnie, and Leo, so Mikey takes a hard backseat in my lore. Oops. 💀
I would say they have a very strong bond. They tend to lean on each other a lot, especially since they both know the feeling of being smothered and constantly treated like a child. It's especially hard for Leo since the huge gap in maturity between him, Raph, and Donnie came out of nowhere. Raph leaves for two years and when he comes back, he's an entirely different person on an entirely different level than Leo.
He looks up to Raph and wants to make him proud, but he feels like nothing he does could ever impress the person Raph is now. But not only is he dealing with that, he now has to come to terms with the growth of Donnie.
He's no longer Donnie's twin; he's Donnie's younger brother. He feels like he has stayed stagnant in his growth and feels left behind when dealing with his older brothers. But when it comes to Mikey, they can see eye to eye, speak to each other without the fear of being talked over, and not have the constant annoyance of being coddled. Mikey doesn't trust Usagi, but he also doesn't completely disregard Leo's opinion on the rabbit.
Umm, to cut the ramblings short, Leo feels like he lives in the shadows of his big brothers now. The constant fear of letting them down by failing as a leader is a drain on him, and he finds comfort in his younger brother. Blah blah.
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This is a very very unfinished thought but I've been thinking a lot as I reread the books about how the women of House of the Dragon don't really get catharsis and how that'll likely be worse in S2. Say what you want about asoiaf but a number of named women there experience catharsis.
They kill their abusers (Lysa, Cersei, Dany). They regain some agency after a violation (Lysa, Cersei, Lady Stoneheart, Dany), and they refuse to forgive the people complicit in their subjugation (Lysa, Cersei, Dany, Lady Stoneheart, Jeyne Westerling).
Obviously, three or four isn't enough in such an expansive cast of characters but the point remains that they claw back their autonomy however they have to. They're allowed to be angry, bitter, unforgiving and cruel to their abusers in a way women in House of the Dragon just aren't allowed. They're allowed grief, grief that is violent and destructive.
The women of House of the Dragon don't get angry. They stand around and stare plaintively at the camera, they cry prettily, and they plead for peace and non-violence. They suffer and suffer and suffer and there's no relief.
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