Also can we talk about how Ryo cried while trying to tell Aigami it wasn’t him who killed Shadi, it was the ring and Aigami (obv) didn’t believe him bc who would in that situation, witnessing all of that
Because let me tell you, I legitimately cried so bad
Mr. Mxyzptlk: The big problem with being immortal is filling your time. For example, I spent the first two thousand years of my existence doing absolutely nothing. I didn’t move…I didn’t breath. Eventually, simple inertia became tiresome, so I spent the next two thousand years being saintly and benign, doing only good deeds. When that novelty began to fade, I decided to try being mischievous. Now, two thousand years later, I’m bored again. I need a change. Starting with your death, I shall spend the next two millennia being evil! After that, who knows? Perhaps I’ll try being guilty for a while.
Louis Lane: Superman…H-He’s changing!
Mxyzptlk: Did you honestly believe a fifth-dimensional sorcerer would resemble a funny little man in a derby hate? Would you like to see how I really look?”
-Whatever Happened to the Man of Tomorrow: Part 2 by Alan Moore
I wonder why is it that kaiba’s pain and mourning and obvious care for Atem is mischaracterization. is it really that hard to believe that he really is in pain after losing an important person to him? its surprising to me, this is lash out when it comes to pain, atem IS important to him but people rather say it is mischaracterization instead of seen it as a person whos pretty much human and is mourning even if its in a pretty extreme way
I love you.
I love you so much.
(There’s a lot of persons who still think that Kaiba doesn’t care for Atem. I find it rather hard to believe even in the original series, but the care in this movie is undeniable. It’s understandable that people don’t like it because of that, even if I don’t understand why they think that way. Of course, Prideshipping isn’t canon, but they are obviously great friends in their own screwed up ways.)
is a musician from Saturn, who is now known as one of the originators of Afrofuturism. He landed on this planet in 1914 and had dedicated himself to music till he left in 1993. He formed his own big band called the Arkestra and created more than 180 albums with them. His musical style on surface varies from time to time, from doo-wap to avant-garde, but was always his own. Sun Ra himself was an organic culture that changed its styles reacting creatively to situations as African-American music has changed its styles from work song to hip-hop, reflecting people’s lives.
Sun Ra is, however, still underestimated as a speaker of Afrofuturism compared to George Clinton of P-Funk. I understand. It’s maybe because of his sometimes too “out there” way of speaking or his mystique in general. Clinton has got much more lyrics in his music and seems to speak more clearly in public. But I surely feel Sun Ra’s philosophy is consistent and could be stronger than any other Afrofuturist’s. So, one of the themes of this blog is to try to clarify his philosophy as much as possible.
The other theme of this blog is simply digging and introducing Afrofuturistic music, especially ones Sun Ra cannot or might not have known. Since the last year marked the 100th anniversary of Ra’s arrival on the Earth (21st of his departure), it is good time to see how much Afrofuturism has percolated in music, or how Afrofuturism is still alive in our lives. The scenes or artists I have in mind now include: Detroit Techno/House, Flying Lotus and the LA beat scene, Madlib, many funk/soul bands other than P-Funk (such as Earth, Wind and Fire), OutKast, Kool Keith, etc. I also hope I can systematize them to some extent under some shared characteristics.
Since the first theme takes time to discuss, I’d like to begin this blog with introducing music.
Lee “Scratch” Perry
I would like to put him in the first place though Sun Ra probably knew his existence. Lee “Scratch” Perry in Reggae is often counted as the three great figures in Afrofuturistic music, along with Sun Ra in Jazz and George Clinton in Funk. He is known as a pioneer of Dub, a production technique or subgenre in Reggae music, but also known for his use of mythological / cosmological images. As he wore spacesuit-like costumes and called himself the “sky computer”, he made as much cosmic sound with utilizing effects such as delay and reverb, mixing instruments in and out. We find Ra using the similar technique in his records such as Art Forms of Dimensions Tomorrow (1965, recorded in 1961-62), much earlier than the emergence of Dub. Technology is obviously significant in Afrofuturism. By using technologies in the way other people do not, people are able to live in the future and make the future. I think that’s what Afrofuturists have been doing. His studio, “Black Ark”, looks as if it’s his spaceship. I sometimes see Perry fails to be mentioned in the context of Afrofuturism. It is probably because the discussions on Afrofuturism mainly take place in the United States and he is a Jamaican (and very “out there” like Sun Ra, too). That is also why I put him in the first place.
Green Orbs are magical green stones consisting of the crystallized fluids of demons. In each game, they will revitalize some of the player’s vitality as soon as they are picked up, and also count towards their Red Orbs if their health is already full. They can be found by defeating enemies and breaking objects, but are uncommon.