not quite breaking the fourth wall

A Series of Unfortunate Events : the recipe to a good adaptation

This is a short analysis of the recent adaptation A Series of Unfortunate Events by Netflix. I will not mention everything here, it would require much more time and analysis but here is a general appreciation. Careful for spoilers !

Adaptations are quite tricky to accomplish because being true to the original work while bringing novelty to the piece is not so easy. The best adaptations are often the ones that manage to channel the spirit of the original work. A Series of Unfortunate Events is a very successful example of this. It was already visible in the first trailer where Lemony Snicket actually walks on the set of the filming to tell us not to watch this series. Right here, you have three core elements of the original series : our narrator-character, the breaking of the fourth-wall and the plea not to look into this horrific story. That last element actually is a known way to catch the reader/viewer’s attention and make him want to know more.

When it comes to A Series of Unfortunate Events, the character of Lemony Snicket is crucial. Therefore the adaptation needs to be perfectly true to his features. As a child, I really believed Lemony Snicket was this mysterious author hidding from malevolent authorities. The fact that Lemony is actually out of the story ,since he is the author/narrator, and a full part of it builds the whole myth around this series.
When I saw the movie, I did not get that feeling of mystery around Lemony mainly because it is not cleary explicited that he is part of all this : the viewer doesn’t see on-screen any important hint that Lemony is a central character of the story, he is presented above all as the writer.
In the Netflix series, Lemony is the first person the viewer visually encounters, just like in the books. The fact that you can see him entirely makes him a reassuring presence throughout the show : he is your guide. The show stages this aspect very cleverly by blending Lemony in the situations the Baudelaires find themselves in, usually through his costume.

Thanks to this process, the narrator’s role is fully depicted. A narrator that addresses directly to the reader/viewer is usually out of the story and Lemony is indeed “out” since he is telling the events. But Lemony is also “in” as an important character. The show drops hints along the way which keep getting bigger gradually : his investigation, the letters to Beatrice, the fact that he is being chased, among other things, and of course the reveal of the picture with Olaf in the last episode.

All these proofs show that Lemony really is involved in this story. It is very fortunate that they kept the dedications to Beatrice at the beginning of each segment of the story because she is the one who ties Lemony to the story. She actually acts as his muse, she is the main reason why he writes, the name Beatrice being a reference to Dante’s own muse.
Since he is an « in-between » character, literally the bridge between you and the story, Lemony is the one who constantly breaks the fourth-wall. This aspect is so crucial in A Series of Unfortunate Events. It allows Lemony to act as the antic chorus or Prologue : “If you are interested in stories with happy endings, you would be better off reading some other book. In this book, not only is there no happy ending, there is no happy beginning and very few happy things in the middle.” (The Bad Beginning).
With those few lines, the essence of the plot is completely laid before your eyes, just like the ancient tragedies. In the series, apart from those lines, the opening song has the exact same role : “Every single episode is nothing be dismay.”
The breaking of the fourth-wall is also at the core of both series because story-telling mecanisms are explained through it. In the Reptile Room, Lemony explains the dramatic irony which is then again an aspect of the antic tragedies. As I remember it, the book series crossed the fourth-wall to teach something to the reader : a word, writing techniques and less straightforwardly, literary references. All these elements were fortunately brought into the show as well.

Now Lemony is mainly the one to break the wall, as allowed by his narrator status. What is unsettling for the viewer is when Count Olaf breaks it, usually to advertise the TV show and stare at the camera for a couple of seconds. This leads to the other important aspect of an adaptation : the creativity. The writers did not only represent Olaf, they actually add depths according to the new medium : what would Olaf do if he was in a TV series ? Break the fourth-wall and sing its opening sequence !

A short word on the amazing cast, especially Neil Patrick Harris who pulled out a very good Count Olaf. This character is very complex to play, he needs the right amount of villainy, humor and the talent of an actor who can play a character playing other characters. Jim Carrey brought too much of his own eccentricity to the character and you saw more of the actor than of the character. Neil Patrick Harris really understood and nailed all of Olaf’s facets.

Hence adaptations would be rather dull without creativity and novelty.
Sure a lot of dialogues are actually taken word by word from the books because they are good as they are but an adaptation needs to adapt precisely even more when the media is different.

A book and a  TV show are of course very different mainly because of the images. In a book, a description can only be completed by the reader’s imagination. In a show, what you see allows very little space for imagination. This is why a successful adaptation is one that can get the spirit, the ambiance of the world, conveyed by the original words, and transcripts it on screen. From the language of worded images to the language of filming.

The unsettling ambiance, the faded colours and surreal pastel imagery are very fitting for the Baudelaires’ story. The main aspect of the series is its dark humor and stories that you find rarely in children’s book : one death if not more per book, usually a gruesome one. The TV show manages to render the baudelairian world : this very specific atmosphere, the feeling of being oppressed by all the places in which the Baudelaires find themselves.

Finally the most important aspect of an adaptation is that it must appeal to all audiences.What is complicated about making adaptations is that they are received by two different audiences : the one who knows the original material and the one who doesn’t and their first interaction with the original universe is through the adaptation.
That’s why getting the atmosphere right is so important, it shows the specificities of the work in another way which should not “betray” the original story.
An adaptation is full of references that will be immediately recognized only by the ones familiar with the original piece. These references show the adaptors love for the original work and also creates a complicity between them and the well-aware viewer. Which book lover did not scream at the sugar bowl in episode 2 or at those four simple words : the world is quiet here ?The beauty of references is that they are hidden, they could be seen as completely normal by an unaware viewer : the scene of the sugar bowl seems very innocent.

It allows the adaptors to play on what the reader already knows. Take the first appearance of the Quagmire mother and father: most of the book readers thought them to be the Baudelaire mother and father even though they know very well it is impossible. This builds up until the revelation in the first part of the Miserable Mill. Not only this plays with the well-aware reader but also stages already the Quagmire trio and most of their backstory. Being already intertwined since the first episode with the main story, they meet naturally at the end of the season and do not appear previously unmentionned like in the books.

As thrilling as this is, if the adaptation is only met for the experts, it won’t be a total success. An adaptation also needs to speak to new viewers who have no knowledge of the original work. This is why there is a need for balance of references so the newcomer will not spent his time on Wikipedia trying to figure out what happens. How the series introduced right away the Quagmires is actually rather clever : it allows the newcomer not to be lost in all the key characters.

Lastly, this show really catches the core humor of the original work by playing on the fact that it is an adaptation and therefore needs to depart sometimes from the original sequences. At the beginning of the Miserable Mill (episode 8), Mr. Poe freaks out because the Baudelaires are gone and in the middle of his panicked speech, he says : “It’s off-book !’. And indeed it is, because in the books the Baudelaires don’t go to Lucky Smells Lumbermill by themselves but are brought there by Mr Poe. An adaptation makes choices and the show plays on that aspect.

Of course, this show would need a 300 pages-long essay because of all the references and allusions not only to literature but also foreshadowing the main story. This show completely smashes the movie adaptation which did not manage to really transcript well neither the atmosphere nor the characters.

Remember, an adaptation is not a search of perfection because it will never be exactly like the original material. The change of medium requires changes in the story and the story-telling. The intelligence with which the choices are made makes all the difference between a good and a bad adaptation.

kitkqtenderheart  asked:

Who else breaks the fourth wall besides Papyrus and Sans? Why would they be able to and no other monsters (sans Flowey) seems to do it as much, if at all?

(undertale spoilers)

There are quite a few monsters other than Papyrus and Sans that break the fourth wall! Because this list is quite long with images and quotes, please take a look under the cut!

Keep reading

I think the thing I love most about Gaston is that, while Luke Evans gave him a believability (and at times a likeability) that the cartoon was seriously lacking, he also highlights the absurdity of his character. 

Who can make up these endless refrains like Gaston?

I love this line because it doesn’t quite break the fourth wall, but it serves to remind the viewer of how ridiculous this situation actually is— that this guy is actually singing about himself.

bravo to whoever added those endless refrains. 
for me, this song was the best part of the film.

Jughead breaking the fourth wall to say something important

Hope you don’t mind my cringey edit. But really this whole situation is cringe


PS: Wow, since people are liking this far a lot than my other posts, I thought I might also mention I started a fanfic about Jughead, where he ends up meeting his TV show self. They don’t quite manage to break the fourth wall, but they do talk about his aro-ace-ness from pretty much the second chapter onwards. It’s over here if you want to read it!! —->

anonymous asked:

I'm possibly being really stupid but I don't get it? I've just read one of the fics by Dale Pike (the one called 'People Will' published 01.07.2016 ) and its REALLY GOOD, but other than that...!?!? Is there something to meta in there? Is it because it mentions a line about oysters? I don't have the time to read all of them right now so I read this short one, and that's all I can tell. What are you guys thinking? The answer is probably obvious but I'm genuinely asking.

I’m pretty sure these fics were made by Mofftiss. And if not Mofftiss, then someone involved, because they predict things months in advance, they break the fourth wall constantly and they’re literally meta stacked upon meta. It’s… honestly quite ingenious. 

My mind is blown. I don’t understand anything anymore. John is very relatable to me atm

Write Me! AKA I know too much about y’all for it to even be healthy.

Andy Gray came to San Francisco to bake mandrake cupcakes and to be gay.
The Bay-Area Baking competition was hours away when they decided to add something special to their mix. All good decisions should be made spur of the moment, thought Andy, sampling the batter. As they ducked forward again, eyeing their fondant critically, a shock of dark hair fell into their face.
“Should I cut it?” Andy thought, pushing the stray lock back behind their ear.
“No!” came the collective shout from Tumblr. Funny, Andy hadn’t posted anything concerning a haircut, but it was as if Tumblr and Andy’s brain were becoming one.
“They’re mine,” growled KP, half-asleep on the kitchen island. “But do what you want with your hair, we’re in a secure and trusting relationship where both parties retain personal autonomy.”
This made Sirius Black Andy Gray smile, thin lips pulling back to reveal perfect, shining teeth. They momentarily blinded KP, who squeezed their eyes shut tighter, at once completely asleep.
A peppy melody forced KP’s eyes wide open. It was as if the song were all the sweeter when Katie was calling them.
“KATIEEEE!!!” KP had accepted the call before Andy moved a muscle of their willowy frame.
“Hey!” Katie grinned beatifically. “So, I heard you were cutting your hair?”
“Where—?” Andy began, wondering if it was the raw egg, or the special ingredient, that was prompting this madness.
“You can’t do that! I mean,” Katie chuckled once, “you can, you can do anything, Andy Gray! It’s just that I’m the haircut one now, you’re the smirk one always.”
To illustrate this point, Andy smirked directly into the camera. All of Tumblr descended into madness. It was a weird day.
“What am I?” asked KP, wary, as ever, of being called that horrible B-word.
“You?” Andy turned to their dear DM, reaching up to taking their face gently between their long fingers. “You’re a legume. The legumiest legume. You’re the legume all the other legumes wish they were,” Andy promised Remus Lupin KP.
With a sigh, KP nodded their acceptance. Being a legume was arguably better then being a bean.
“AND WHAT AM I?” bellowed Lunday, swinging the kitchen door wide open to reveal a face we, quite frankly, don’t see enough of anymore.
“You’re Lunday!” each member of the Fab Foursome answered as one. Rays of sunlight bounced off each wide grin; the heat cooked the mandrake cupcakes to perfection.
“They’re of consenting age,” said Andy Gray, holding a cupcake to their mouth. “Time to kill them for the greater good.”
“Isn’t that essentially the plot of Harry Potter?” asked the narrator, breaking down the fourth wall because we’re at the end of this little story.
“Essentially,” replied Andy. “Have a cupcake.”
All was well gay.

(I am so sorry, not to Andy, who asked for this, maybe not this exactly, but whatever but for the three of you who literally did not. If it’s of any consolation you didn’t consent, therefore by the laws of this story you cannot be killed! @siriusly-not-over-remus; @whompingwillovv; @girlswillbeboys11; @lundayy)
Fanfare, Fan Fiction, and the Fourth Wall - madgirl - Boston Legal [Archive of Our Own]
An Archive of Our Own, a project of the Organization for Transformative Works
By Organization for Transformative Works

While I was in law school (so yes, a number of years ago), I wrote a very meta fic about fan fiction and copyright infringement. 

Fandom: Boston Legal
Rating: Teen And Up Audiences
Summary: Alan defends a fan fiction writer sued for copyright infringement, and Denny learns about slash.

(It should be noted that this story uses the same sorts of not-quite-law that you see on television, so take it all with a grain of salt.)

“So why is it called slash?” Denny suddenly asked.

“Oh, um… I think it’s because of the way the pairings are usually indicated, with a back slash. You know… Kirk slash Spock, Harry slash Draco…” She smirked. “Denny slash Alan.”

Denny’s eyebrows shot up to his hair line. “Those sleepovers are purely platonic. There is no… slashing. Hey, do these characters know they’re being slashed?”

“They’re fictional characters, Denny,” said Alan. “They don’t know anything.”

“They might suspect.”

“I think that’s called breaking the fourth wall.”

[P.S. I met David E. Kelley shortly after I wrote this (at an awards ceremony, which is also where I met Justice Scalia, story for another day), and I fangirled him a lot. And though he may very well have gotten a kick out of this I did not mention it to him.]

Originally posted by sorrydearie

Let’s face it, I’m bound to write this sooner or later….

BNHA Boys when you’re addicted to Mystic Messengers

Midoriya, the poor boy, at first thinks you’re cheating for real and his insecurity bumps up a few notches as he tries to not complain about it, lest you find him more unreliable and plain compared to the fictional Korean boys you’re seeing. You’ll have to be the one who realizes this (and if not, prepare to be lectured by his loyal friends) and console the poor boy, gives him lots of reassurance and kisses, so he will go back to the normal, precious Izuku.

Bakugou is disinterested at first but when you start to gush about how cute Yoosung is and how attractive Zen’s voice is, he flips out and ‘accidentally’ destroys your phone. He’s made it clear that so long you’re in relationship with him, you’re not allowed to look at anyone else, not even fictional boys. Dork keeps his I-am-calm front when you confront him however, and denies the notion that he was being jealous. He was most definitely not. He was and it’s your fault.

Todoroki thinks it’s an amusing game and just kind of watches you play quietly. This boy even listens to you as you ramble on how cool Jimin is (he does feel this weird constricting feeling whenever you do, but you look so happy and he likes seeing you happy so he says nothing). He doesn’t really mind, afterall those guys are fictional and you had said you’d pick him over them. Shouto trusts you. It’s when you start getting up on 3am to go to chatroom, loses sleeping hours over the game, and starts spending money irresponsibly for hourglasses and calling card to the point that you starve in result, that he decides you need to stop.

Kaminari literally sits down beside you and gives you advice on which replies to choose from. (It’s a personal hc of mine that he’s quite a gamer and he probably plays galge at a point in time.) He’s got the walkthrough of the game and would probably continue to persuade you to choose the amusing replies (like those ones that breaks the fourth wall), just for fun. He does get a little jealous whenever you talk about your favorite boy, and he would probably retaliate by getting into a galge and starts to fanboy about his bae in front of you. Whelp.

Kirishima doesn’t like it and tries to get you out of your fangirling state as soon as Day 1 starts. If it doesn’t work, he continues to point out the fault of the characters and hopes that you open your eyes, drop the game, and focus back on him, the REAL boyfriend. In the end he tells you outright that he doesn’t like the thought of you getting closer with an AI designed to woo you. Either you manage to convince him that you’re playing it just for fun, or you should just delete the app and cut the boy some slack.

Shinsou observes you quietly as you play the game, but he’s actually deeply hurt by how absorbed you are in the game. He doesn’t mind the actual content of the game, actually. He’s even impressed at your dedication to keep coming to the chatroom on time. It’s just that, as your boyfriend, it hurts to see that you’d rather play it than spending your time with him. Seeing how excited you are to receive messages and calls and such, he amplifies the frequency of his texts and goes full mile on 'have you eaten?’ and 'good night’ type of texts.

anonymous asked:

Sorry if you gotten this ask, but what exactly is the appeal of the sonic boom tv show? It just seems very shallow and dull to me.

Well for a start, it’s fairly good at what it does. It’s nothing truly remarkable but what it does do tends to make for a generally entertaining watch.

The humor is often quite good and oftentimes amusing in all of it’s meta references, it’s fourth wall breaks.

The visuals are really quite good for a CGI tv series.

The plots are oftentimes zany and kooky in an appealing way. That plays into why Sonic Boom does it’s specific approach well.

The voice work is excellent.

As I said, there’s nothing that is absolutely remarkable about Boom as a tv series or as a franchise spinoff in general but at the very least the tv series generally makes for a entertaining and amusing watch and has it’s charms.

Generational divide: "Like you're in The Office"

At some point during my lifetime, it became remarked upon and supposedly wrong when someone on TV looks at the camera. And yet when I was growing up, that was not something we ever noticed, and in fact it tended to intensify a scene, drawing the viewer in. Classic Star Trek does it. Some of the best Classic Doctor Who does it (Caves of Androzani, e.g.) I think Babylon 5 was still doing it in the early 90s.

At some point people decided that looking directly at the camera was breaking the fourth wall. But it disappeared from TV only gradually. I know actors were being discouraged from looking at the camera by the early 80s, but some directors still used the effect for emphasis, including quite good directors.

I miss it. It’s breaking the fourth wall when they break out of character enough to acknowledge you as a viewer. So that should be done only in limited circumstances (as in The Office). But many times, it was NOT intended to break the fourth wall, or if it was, it was one way: drawing the viewer into the story, but NOT interrupting the story by acknowledging the real world.

Most often, it was simply a convention when two characters were talking to one another, alternating their points of view so as to see their expressions. It sometimes put the viewer in the head of one character, inviting one to experience the scene or conversation as they did. Other times, it was as if you were present in the room with someone, seeing them discover their environment, experience an intense emotion or fear. It made the moment more intimate and raw. Personally, both POV effects are common in my dreams, so they seem perfectly natural. (How much does TV affect the style in which we dream? That’s a whole other post.)

But what I really want to get at is WHY the convention changed.

1960s television was presented more like a stage play, a variety show, or theatrical performance. Early TV was filmed live or “as live,” with all the blocking for the cameras worked out beforehand. The performance was filmed from start to finish with few or no retakes or even pauses, because they cost money. (Each Doctor Who half hour episode could only stop cameras twice; otherwise everything had to be filmed continuously with actors moving from one set to the next all in the same studio, including most of the effects.)

Special effects weren’t very good, but then stage scenery and props weren’t very realistic either. A large proportion of the audience attended plays or some kind of stage show, so it was easier for people to suspend disbelief and react to the story as if they were immersed in a play, which requires a greater amount of imagination and mental participation from the audience than a movie projected on a screen.

One way to make slightly unrealistic or minimalist stage dressing more vivid and engaging was to draw the audience in by addressing them directly, making them a part of the scene as much as possible. Nowadays, that only happens on shows like Ellen and Stephen Colbert. But that used to be a part of science fiction and other genre TV. Traces of soliloquy survived on TV long after straight up audience asides disappeared.

Television didn’t just switch to color at the end of the 1960s and early 70s. It gradually shifted from a theatrical style to cinematic. I think this is something we should keep in mind when watching not only classic Doctor Who, but classic Star Trek and many other old TV shows. And there are holdovers from that earlier, more theatrical style that hang on right into the 90s, thanks to directors who grew up with that kind of TV or who, indeed, were still the first generation of TV directors.

Card Board Game

James Id here.  I’m the programmer, modeler and animator for The Legend of Bum-bo, and I want to talk about cardboard.

Why Cardboard?

Edmund and I grew up in households where cardboard and office materials were more plentiful than toys and games.  After playing a video game for the 500th time sparked our imaginations, we would take to making our own fun using paper, glue, tape and cardboard.

Instead of creating the vehicles and weapons from the video games I’d play, I tended to work on making my own games and toys.  For example, instead of making a race car modeled off of the ones I’d play as in Pole Position, I would create a race car arcade game.  The track, complete with racers, was drawn on a coffee can.   A dollar store toy car would glide over the track, suspended by a Popsicle stick.

Besides mimicking video games, I would often make my own board games.  They were usually modeled off of something from my brother’s Advanced Dungeons & Dragons books, or the incredibly expensive and involved board games I’d see on television such a Volcano Island and the Grape Escape.

How Cardboard…?

I’m unsure of exactly how we decided on using these kinds of memories to inform the design of Bum-bo.  I do know that, once we had decided on using Bum-bo as our central character, Edmund and I would talk at great lengths about our childhoods; the lack of hesitation we had in regards to building our imaginary worlds, and ever present drama of our home lives serving as this ever-present backdrop to our childish art.  This seemed to fit without the world of Bum-bo and Isaac, and we agreed unanimously to create the game entirely of Popsicle sticks, tape, paper and cardboard.

When the aesthetic was chosen, it just seemed natural that it would take place in various cardboard boxes.  While the scope and quality of all the elements in the game are more exaggerated than what one child would be able to do, we still wanted to limit it within the realm of possibility.  Would an eight year old James be able to craft an intricately detailed sewer?  Not exactly, but I’d compromise by painting a box to have the details of a sewer, and add additional cardboard shapes where it felt lacking.

We had decided that all the pieces would then resemble the board game pieces I used to make.  Enemies would be flat, but stand up on their own, like doorways in Hero’s Quest. Items and puzzle pieces would resemble tokens from something like Dungeon!. Essential environment pieces like platforms and NPCs would be arranged and animated like the house in 1313 Dead End Drive.

A design like this establishes clear rules for creating the 3D models.  First, all models would have to appear to have been created from sheets of cardboard.  All 3D details would have to be created by either layering cardboard, bending it, wrapping it, or crushing it. Second, animation would have some real world explanation.  Cardboard elements with large frames of animation would make the characters seem to have a life of their own, making the real-world aesthetic redundant.  Fewer frames of animation, each a new cardboard object, more closely resembles how I would “animate” characters I created as a child.  My dopey barbarian got injured?  I’ll just switch his bad-ass paper figurine with one of his guts dripping out.

Edmund designs all the characters, items and the HUD using Adobe Animate, and I then use those illustrations to model a cardboard cut out.  Depending on the character’s size, I will create extra layers of cardboard or build it out more like a paper craft model.  I then create textures to put the illustrations on to appear like the character was drawn on cardboard, instead of the cardboard being made for the drawing.

To truly sell the aesthetic, I’ve relied heavily on scanning real elements, and creating textures for physically-based rendering. Using real scans and software like Allegorithmic’s Substance Designer, I can create cardboard that has the subtle wear and ribbing, along with illustrations that don’t quite cover the surface, as permanent markers tended to not do.

It is my hope that the focus we’ve had on the aesthetics of the game does more than break the fourth wall: We hope to capture the feeling of playing as a child who is playing with characters he has created.

tehbluepumpkin  asked:

The statement on John's blog mentioning the BBC, John and Sherlock looking directly into the camera, the camera that can be seen in the Morocco scene in TST - what if it was a show within the show? As in Sherlock and John are filming something to be broadcast on tv in-universe (for whatever reason)?

Hey Lovely!

This is hilarious, because I came to the same conclusion post T6T after the fuckiness was discovered (I can’t find the post I commented this exact thing on, but I had the same idea back at pre-TLD). Then I got to thinking why? For me, it’s proof of an altered narrative. I’m not quite sure what the point of all the fourth wall breaks is yet, other than to clue us into Something Fucky™

the signs + my personal experience
  • aries: honest and upfront people. willing to take a bullet for someone. dedicated and understanding. will go the extra mile without complaint and wants to help as much as they can.
  • taurus: reserved and self-restricting. will only open up to close friends/family and will be a short lived confession of emotions. cry maybe four times a year but secretly have the weight of the world on their shoulders.
  • gemini: won't stop talking until you tell them bluntly. has a charm that cannot be put into words and can make you feel alive. loves to talk shit but means well. needs a filter on their mouths.
  • cancer: the one to bring everyone together and the observer. watches out for those they care for but doesn't ask for it in return. can be the most verbally random and is good at keeping tabs on everyone.
  • leo: loves to laugh and smile more than anyone but can cry and frown in a hot second. have a heart of gold with more love than one can take and often feels like they're walking the road alone. needs a hug.
  • virgo: the most meticulous sign and they know their facts. their argument is an analytical one and though maybe not as frightening, can have one of the most finalizing last words. tend to always be right and like to make sure everything is in order.
  • libra: the fashion/style expert of the zodiac. always have neat things to say and things to for show and tell. worried they aren't giving enough attention or love to those they care for but truly give more than what is expected.
  • scorpio: emotional and sensitive to a fault. can build a wall higher than the sky but can love more than anyone on the planet. the observer, the committed, the grudge-holder, the "kill-in-one-blow" of the group.
  • sagittarius: inspires you to look at the stars and love the life you're given. can make the heaviest of emotions light. they worry too much but never admit it because they're afraid of being a burden to others. smile to hide the fear and/or sadness.
  • capricorn: likes peace and quite as much as company and good times. will finish what they set out to do. can come home with sore bones and tired bodies, complain/whine about it, but still continues to endure it. needs approval for lots of things.
  • aquarius: the smartest of the zodiac but also the most heedless. or so we think. can care more than anyone but choose not to express that. has a hard time spreading love/attention among friends or family, the one to ask questions, hates to be wrong or told they're wrong, and the one to break the fourth wall.
  • pisces: the one to turn a simple dream into a magical world of fantasy. while we may see black and white, they see colors. emotional to a point of no return and can be overwhelming with their romanticism. they have heavy hearts as well as voices and hands meant for music and art.

“Not quite what you were expecting, right?”

The Oracle’s turn to the camera breaks the fourth wall and pokes fun at the expectations of both Neo and the audience. Her unassuming racialized and gendered presence underscores that a Black woman -like her - is omniscient, important, and present in a science fiction film.The intended effect of her statement to the spectators of the film, reveals a racist blemish on the multicultural, progressive, post-human, post-race narrative of United States culture- that due to the many preconceived notions about Africana people, there is very little expectation for a person of African descent to appear in science fiction worlds or to exist in position of reverence for white characters, and by extension a white audience. The representation of an Africana woman in a futuristic environment instills a feeling of discomfort and ironically, disbelief, to the mainstream science fiction viewer.

I’ve been wondering recently how strange it must be to be the fourth-wall breaking character. The hyper-meta-awareness type. Like Deadpool.

Imagine you’re Deadpool (forgive me here, I don’t entirely know his history). You’re a run-of-the mill guy with cancer and you join Weapon X to fix it. What do you get in return? Not only do you get a healing factor that won’t quit and horribly mangled skin, but you get the worst realization of your life:

You’re not real. 

Even worse, you’re a joke. 

Like, Deadpool gets that he doesn’t have an immortal, perfect being who put his life together. It’s just a bunch of writers, flawed people with varying degrees of talent and interest in his well-being. And they’re writing him as the biggest goddamn fool of the Marvel Universe. He knows he’s not even a marquee character. The people his universe essentially revolves around are Spider-Man, Wolverine, varying X-Men and Avengers, and anyone connected to Reed Richards. He gets to discover that his place in their world is as their weird, kooky, undying counterpart who is more or less not welcome. 

That would crush just about anyone. Why even bother going on at that point? 

But here’s the thing: he puts the tights on, and he runs with it.

Okay, he reasons, I’m not a lead character. But my life matters to me, and if nothing else matters I’m gonna have fun with it. 

Which he does. He goes on zany adventures, kills a lot of people and knows he’s making the funniest lines in any given story. Sure, he’s not Peter freaking Parker but he does what he’s good at and even in his stranger moments (like having zombie clones or being in a relationship with Death incarnate), his life more or less matters to him. 

Then he starts getting popular. 

Like, first he’s a cult sensation. Then he gets a little on the meme side. He has to be aware that people are dressing up as him in the “real” world. The quality of his life gets way more interesting because he’s drawing in better writers. He starts getting more hang time with the big leads, which must mean that he matters to someone upstairs. He starts appearing in multiple adaptations, all which have some degree of awareness and he tends to reference them on a regular basis. 

Then, holy shit, he must know one day. Maybe while he’s killing HYDRA agents or making the moves on Peter again, but it has to hit him.

The story of his life is one of the biggest superhero movies ever.

It outgrossed the X-Men. It did better than Wolverine. It outgrossed FUCKING BATMAN. And even better, it was helmed by and starred someone who made a decade long effort into telling his story right. His life is the most profitable R-rated movie of all time, and other films are changing their tune to be more like his.

Deadpool made himself one of the most important people in the universe. And now he knows it.

What the hell must that feel like?

more info on crushcrush, i really want yall to play this game

you meet every girl under… bad circumstances (some are genuinely bad, others are silly — for example, you meet one girl because you run into her on your bike and she winds up in the hospital, but you meet a different girl because you’re browsing a nsfw website and she breaks the fourth wall and comes out of the website to romance you) so getting them to warm up to you takes some time. although some are quite nice to you from the get-go, others are cold, reserved, or even openly hostile

there’s an info page on each girl; some of the information is useful for figuring out how to win them over (each girl likes a certain trait you might possess and you can gain/level up traits by doing different hobbies, so if a girl likes ‘em smart you can go study, for instance — they also have preferences regarding jobs you could work at or gifts you could give them) and other info is just for fun (like blood type, favorite food, cup size lol)

there is a “premium” currency in the game (diamonds) that can be bought with real money, but it’s also unnecessary to advance the game and can be earned through regular gameplay anyway. i suggest using your diamonds to buff hobbies so that you level up faster, it speeds up the game a lot

all characters refer to you using gender-neutral language; you can set your gender but it’s purely cosmetic and can be changed at any time

you can be (and, in fact, ultimately should be) dating multiple girls at the same time; the girls are aware of this arrangement and are fine with it; there are occasionally suggestions that they are also involved with (or want to be involved with) each other. like i said, polyam lesbian simulator

lots of achievements to earn! each achievement gives you an in-game bonus!

if you like fourth wall breaking, meta humor, and references to other games/media, this game has got it in spades

some idle games have bad prestige systems, but this is not one of them. prestiging allows you to keep anything you bought with gems (like the hobby buffs i said you should buy), all time slots (used to work jobs/go on dates/do hobbies), and all achievements, while resetting your money, hobby/job levels, and unlocks. also it makes everything go way faster. i currently have a 35x reset boost. so if you get stuck or feel the game slowing down, prestige! it’s very much worth it, and you’ll earn back your progress very quickly

tl;dr cute funny game, it’s free, you can be gay, works on mac and windows, go download it