world of ooo

anonymous asked:

Hmm... I have a bad feeling this will end up like Sword Art Online.

((Do not compare this blog to the trash that is SAO))

  • Sega: In Sonic Forces, you can play as both Modern and Classic Sonic!
  • Me: Ah so it's Generations 2? Not surprising, that game did sell very well.
  • Sega: You can also play as a custom character, bringing you into Sonic's world!
  • Me: Ooo, that'll elevate replay value.
  • Sega: Also, free Shadow dlc.
  • Me: ... I'll pay $10,000 for it.
Ketchup (Adventure Time)

It’s definitely been a while, since we’ve had an episode with both Marceline and BMO interacting with each other, hasn’t it?

Not only is this episode interesting in that we haven’t seen the two characters talk to each other in a while, but this is officially the 2nd episode that features guest-animation by “Alex Butera & Lindsay Small”, who are known for creating the web cartoon series called “Baman Piderman”, in which are a parody of crudely drawn shorts featuring Batman & Spider-Man.

The first episode that Lindsay & Alex guest-animated was the Season 7 episode called “Beyond the Grotto” which featured 7 minutes of their animation, while still being written by the AT crew.

This episode has much more animation by them and is still written by AT veterans, Seo Kim & Somvilay Xayaphone and they managed to deliver another fantastic episode that is funny, adorable and emotional, all at the same time!

The episode begins with BMO dropping by Marceline’s house trying to take down vampires, but Marceline tells them that happened 6 months ago and she tells BMO to look at an old USB drive she found, which BMO says will take a while to load.

While they wait for the USB to download, BMO tells Marcy the story of when Finn, Jake and it travelled through the sea, but says it involved a cat and a blue jay, which was guest voiced by none other than the creator of Regular Show, “J.G. Quintel”, who also voices a certain blue jay in that show!

Marceline then tells the story that happened during the events of the previous miniseries, that involved “Rock Star Girl” and “Lollipop Girl”, in which they tried to save each other from the magic, but couldn’t help each other, in which made Rock Star Girl sad that she couldn’t help Lollipop Girl.

The USB ends up downloading and we get to see photos of young Marceline with her mother.

Marceline gets very sad and asks BMO to tell a story about a child and the moon, which Marcy then thanks BMO for telling her, as it starts to make her remember the times she spent with her mom.

This episode had a great mix of comedy and drama!

The guest-animation by the Baman Piderman creators was very solid, just like how it was in Beyond the Grotto and really suits the style of Adventure Time.

Their squiggly art always reminds of another classic CN series, being Ed, Edd n Eddy, in which that show was all kinds of comedy and expressive animation.

Not to completely ignore all the other guest-animated AT episodes, but all of the other episodes were also written by the guest animator and A Glitch is a Glitch, Food Chain and Bad Jubies are all very enjoyable as their own unique episodes!

The only one I just thought was pretty weak and not really that fun was Water Park Prank and that one just had a style that didn’t suit the world of Ooo or characters of the show.

To get back onto Ketchup, I really loved the humor of how both BMO and Marcy exaggerate their recaps of the previous events of the show and it serves as how you do a flashback episode, done right, without the need of recycling footage, in which a lot of shows would do.

Another great example of a recap / flashback episode would be Avatar’s Ember Island Players, in which the characters see a reenactment of what happened during the course of the show, which I think was one of the best uses of a re-telling of past events.

One of my favourite jokes was how the blue jay in BMO’s story was a direct reference to Regular Show, which was another fantastic series that premiered the same year as Adventure Time, only it has now come to its end.

It even starts to quote Mordecai, which is another great nod to J. G. Quintel’s voice!

It’s great to see more Bubbline shipping come into this episode and how close Marceline feels to Bonnie, even if it meant trying to save her from the elemental magic.

The ending of the episode is what truly stands out and I hope we get to see Marcy’s mother, one last time before the end of the series.

With one episode we know called “Marcy and Hunson”, I’m sure we’ll get to have more episode  or more focusing on Marceline’s parents before the grand finale.

I just really want to hear Rebecca Sugar’s lovely voice, from when she voiced Marcy’s mother in Stakes.

And speaking of Stakes, I’m actually surprised that the events of the Stakes miniseries only occurred just 6 months ago, according to Marceline. 

Even though the episodes aired like two years ago, it just bothers me how Cartoon Network only airs these episodes at such random and extended periods of times, so it feels like time has passed much longer than in the actual timeline of the series.

It just pains me how CN treated this series, that has such a big following and critical praise.

A solid episode, with a heartfelt ending! I hope this isn’t the last we see of Marceline and her mother.

10

Japan World Heroes was fun good time! Hope they get more awesome guest on the next show!

Adventure Time Rewatch: Introduction and History

With Adventure Time Season 8 wrapping up tomorrow night with the broadcast of “Three Buckets,” fans of the series are faced with a scary prospect: one more season before the end. The inevitability of the series eventually coming end doesn’t make things any less sad, but if the forthcoming season follows the progression of those leading up to it, it will be very special indeed. On the air for over seven years, the show is very nearly an institution at this point, and recent highlights like the Elements miniseries make it hard to remember that it wasn’t always so. Poised as we are at the beginning of the end, I decided to take this opportunity to rewatch the show in its entirety, tracing its development from lolz random!!!1 pilot to the work of art it is today. First, a bit of context is in order.

There was never a show quite like Adventure Time. The years leading up to it had seen the Western animation industry in a state of flux: after the long, depressing dark ages of low-budget, low-effort Saturday morning garbage that followed the collapse of theatrical shorts distribution in the early 60s, the animation industry began to show signs of revival in the 90s when a new wave of animators began to produce more challenging material. The Simpsons paved the way for this development, demonstrating that cartoons could capture a prime-time audience by appealing to kids and adults alike – but while The Simpsons was, essentially, an animated sitcom, these new shows looked back further still. Channeling the anarchic humor of 40s shorts by the likes of Tex Avery and Bob Clampett, shows such as Ren & Stimpy, Beavis and Butthead or even South Park presented darkly satirical takes on life, the universe and everything, reveling in a no-holds-barred, anything-goes approach that shocked and offended the prevailing sensibilities of the day. While other networks mostly treated these success stories as one-offs, Nickelodeon – previously a failing children’s channel – accelerated into prominence by following up with a number of lesser-tier but commercially successful shows, now only remembered nostalgically by people roughly my age: Hey Arnold!, CatDog, AAAHH!!! Real Monsters and the like. Nickelodeon scored an occasional hit with titles like SpongeBob SquarePants or The Fairly OddParents, but these broadly followed the same pattern: goofy, ultra-cartoony cartoons, mostly without pretensions to continuity or character development and often reliant on frankly dumb humor.

No one ever accused these shows of being sophisticated.

Cartoon Network entered the scene in 1992, broadcasting titles from the Turner back catalog, producing their first original animated series in 1994: Space Ghost Coast to Coast. Reusing recycled cells from old Hanna-Barbera cartoons, the show wasn’t exactly an artistic achievement, but its postmodern deconstruction of talk radio brought with it a sense of hipster irony that came to be reflected in much of Cartoon Network’s catalog. After a few early successes, which shared Space Ghost’s pop art sensibilities (Dexter’s Lab, and Powerpuff Girls, both created by animation luminary Genndy Tartakovsky) and a later string of not particularly challenging work (Cow and Chicken, I Am Weasel, Courage the Cowardly Dog,) Nickelodeon launched Tartakovsky’s Samurai Jack in 2001. From the time it debuted, this show was clearly something else. Previous animated TV mostly looked to back to the 1930s-50s Golden Age of Animation for inspiration, with a side of 1960s-80s alternative comix; Samurai Jack, in comparison, was at its soul a bushido revenge story, following the adventures of a wandering ronin cast adrift in a fantasy world. It was wildly imaginative, gorgeously animated, and (crucially for our purposes) marked by narrative continuity and featuring developing, maturing characters, even if the picaresque story structure allowed plenty of time to explore the show’s bizarre world.

Seriously, this show was just the coolest.

Following Samurai Jack, a change gradually crept over the TV animation industry. Nickelodeon, though continuing to produce more of the same sort of fundamentally unimaginative work that had marked its catalog from the mid-90s onward (Jimmy Neutron: Boy Genius, ChalkZone, etc.) also debuted 2005’s Avatar: The Last Airbender, an epic animesque Bildungsroman, while Cartoon Network experimented with style (Foster’s Home for Imaginary Friends) and narrative continuity (Tartakovsky’s Star Wars: Clone Wars, which succeeded at the titanic task of making the Star Wars prequel universe compelling.) Cartoon Network’s late-night [adult swim] block, which continued in the vein of Space Ghost by specializing in hipsterish shows for teens and young adults, scored a string of cult (almost-)hits such as Aqua Teen Hunger Force, The Boondocks, Harvey Birdman: Attorney at Law and The Venture Brothers.

At this point an improbably-named animator, Pendleton Ward, entered the scene. Having attended CalArts along with J.G. Quintel and Alex Hirsch (creators of Regular Show and Gravity Falls, respectively,) Ward attracted the attention of a Frederator Studios exec directly out of school, who encouraged him to produce a short for Frederator’s Random! Cartoons anthology series. The result was the Adventure Time pilot, a whacky exercise in randomness that, while falling far below the standards of worldbuilding and narrative that characterized the later show, nonetheless captured something of the Internet-meets-pop-culture Zeitgeist of the late 2000s. This approach payed dividends when the short leaked online, going viral in short order. Building on his success, Ward pitched the show to Nickelodeon, who rejected it twice, before approaching Cartoon Network. After Ward storyboarded an episode (Season 1’s “The Enchiridion!”) to demonstrate that the short’s success could be built off, Cartoon Network approved the show, which entered into production in September 2008.

The rest, as they say, is history. Eight seasons of Adventure Time have been produced to date, following Jake the Dog and Finn the Human’s adventures – beautiful, silly, scary, heartbreaking – through the world of Ooo. The show grew into Cartoon Network’s flagship property, paving the way for the latter-day TV animation renaissance we currently find ourselves in, launching careers and enabling the production of beautiful, even profound series like Gravity Falls, Steven Universe, and Rick and Morty.

Over the next few months, I’ll be tracing the show’s development, episode by episode. So c’mon, grab your friends…

We’re going to very distant lands,
With Jake the Dog and Finn the Human,
The fun will never end,
it’s…

Finn The Human: A Journey of Growth (Redux)

     Finn the Human needs no introduction as a character on the hit Cartoon Network series Adventure Time.

     He can be considered the main character that the series revolves around and focuses most of its attention on. In a show with hundreds upon hundreds of colorful, strange, and outright weird characters, it’s important to have a character to connect to within the show: another human. And that’s where Finn comes in. He represents a human identity of growth and emotions while living in the magical world of Ooo. How Finn has grown and changed as a character is the most interesting and dynamic aspect of the show- in my opinion. This piece has less to do with the overall plot of the show in general, and more so with Finn as a character and how he has evolved within the world he lives in. For this analysis, its important understand Finn’s initial intentions as a character, what he was and where he has gone through years of adventures.

    Okay, I have a lot of ground to cover so bear with me for what you might already understand as I attempt to cover nearly 7 years of fighting demons and saving princesses in one contained thought.

    So in Finn’s eyes he started off as your everyday hero in the world of Ooo. In the first season, Finn can be seen as almost a “generic hero.” He has simple goals: adventure with his bro Jake and save princesses, but more specifically get the attention of Princess Bubblegum of the Candy Kingdom- the girl of his dreams. He sees nothing further than his current goals or what is going on in the “now.” It’s like Finn is the middle school kid trying to win the heart of the hot older girl from across the street. This marks the first stage of Finn’s character and where he will grow from here. The first major turning points of Finn’s character comes from the midst of literally crying over a piece of Bubblegum’s hair. He’s “all gummed up inside” after finally coming to the realization the PB is not interested in him at the end of season 3. 

You can feel the pain. It hurts. The only thing Finn wants is gone. He’s confronted with the fact that PB and him might be on two completely different levels. But in the wake of this grief, Finn would meet his match when the Princess of the Flame Kingdom came into his life.

     Wrapping up season 3 and starting season 4, the episodes “Incendium” and “Hot to the Touch” are the first encounters Finn has with Flame Princess. Little does he know how this relationship will begin to change Finn and shape the way he thinks about things. After time, a relationship begins to develop between Finn and FP and there’s another shift in Finn’s personality as a character. He’s growing up. It’s the same kid who couldn’t date the older girl but now, someone new who likes him enters his life.  

     Finn’s growth at this point is shown in the episode “Burning Low.” He’s worried about how he smells, about smoochin’, WHILE AVOIDING TIER 15. Never has Finn worried about stuff like this before. He’s growing into a teen trying to impress his first girlfriend. This rang true with my 16 year old self more than any episode of adventure time had before. He was dealing with older, more mature emotions as he was growing up. And with this new sense of maturity, come new thoughts and feelings. Feelings experienced before, feelings that would soon turn into a source of conflict.

     Again, fast-forwarding a bit, the relationship between Finn and FP lasts until their break-up in episode 30 of season 5, “Frost and Fire.” This is where Finn’s character once again begins to shift in a new and different way. Finn starts to have weird cosmic, emotional dreams about Flame Princess after seeing her beat up Ice King. In an attempt to recreate those emotions, he manipulates Flame Princess into fighting Ice King again. This moment forever marks a radical change in Finn’s character. Finn has always done the “right thing” and puts others before him, but now, in this moment, he gave into his own temptations and desires and did what HE wanted to with no regard for FP’s feelings or thought. One of the hardest results of this break-up is that Finn does not understand FP’s feelings and doesn’t fully understand WHY she is upset. For a time he foolishly thinks they will make up and everything will be alright, but its not.

Now, you can interpret Finn’s cosmic dreams however you’d like, but the main idea is what he did. Finn knew that wasn’t the right thing to do. But he did it anyway. After FP dumps him, as she RIGHTFULLY should, this is where Finn again begins to change in a drastic and depressing way.

     After his break-up Finn’s character’s growth, or what can be considered a lack thereof, is shown. Finn does what alot of people do after a long, nasty break-up: makes dumb decisions, contemplates life, and tries to rebound. A LOT. Like, immediately after in the episode “Too Old” where he gives one ditch effort with PB only to realize that they are STILL on completely different levels when it comes to maturity. It’s at this point Finn learns that it’s time for him to move on. He understand her emotions and knows it might be time understand his own feelings. Little does he know how much rougher his journey is about to become.

     Jumping forward, the two part season 6 opener is where Finn begins to hit a rough patch when his real dad, Martin, coming into his world. When he finally meets Martin, his expectations are immediately crushed with what a HORRIBLE guy Martin is. He clearly has no thought or care for any other character except himself. Martin can be seen as Finn at his worst, or even deeper, what Finn could become. This encounter literally tears Finn apart by his arm at the end of the episode. 

At this moment he was treated exactly as he treated Flame Princess in a way, and although he may not realize it, he knows it hurts. And so Finn begins season 6 lonely, devastated by the lack of love from his father, and armless. A traumatizing way to start a season. 

Following this, the episode, “The Tower” portrays a distant, lonely, and hurt Finn we haven’t seen before. He was torn apart by his dad, and his flower arm is a constant reminder of this. Again, he literally and emotionally lost a piece of himself. Finn had been through one of the roughest experiences in his entire life and with so much grief falling on him all at one time and he had to learn to deal with these emotions. 

     All of these different emotions come to a jarring climax in the episode “Breezy.” By this time, Finn’s emotional state is symbolized by his new flower arm that is beginning to die. He goes through the episode smooching random princesses at parties in attempt to fill his emotional void. The saddest thing Finn’s ever said was in this episode when he says he “doesn’t feel anything…” At this point, he’s officially “lost in the darkness.” He is lost and distant from the character he once was. This is a Finn who has truly hit rock bottom. This episode shows that Finn doesn’t know what he needs to make him feel better, but he knows he needs something.

     Again, you can take the actual meaning of this episode as whatever you want, it’s hard not to with the strongly hinted rape implications from two separate characters. But that’s for another discussion. Right now Finn is in a rut, and has tried doing anything it takes to feel better. At this point, Finn makes one of his last major changes to this point.  

      At the end of “Breezy”, Finn’s arm is returned with the help of Breezy’s love. In my opinion, this is how he gets his arm back. Breezy gave Finn the love he so desperately needed. In that selfless act he was able to feel again, he was able to feel- something. This is what restored his arm and “made him whole” in a way. Feeling this love is what Finn needed to be able to bounce back. Its that genuine love and care that gave Finn the push you need to get out of that rut and begin to laugh and feel again. He can begin to move forward. And so he does.

           Throughout the rest of season 6 Finn’s ready to change. Ready to grow. “The Mountain” is a great episodes that shows this. Finn is given a test of three choices: Flame Princess, Jake’s Finn Cakes, or a butterfly transport that clearly takes him further to his current goal. Finn chose the door he needed to go down instead of the one containing all his wants and desires. The door that literally leads forward. The episode “The Visitor” closes his emotional hang ups with his dad when he is subconsciously driven to Martin, who had crash landed on Ooo. This time, Finn does not give his father the power he did before. This is a Finn whose grown from his past experiences and learned how to deal with them in a a productive way. 

This encounter with Martin shows Finn that has to be the man that his father isn’t. He sees how Martin doesn’t care about anyone but himself, and he sees the path that leads someone down. He sees himself in Martin like he hadn’t before, his perspective has grown. Finn learns that he has to be the better person. And again, Finn moves forward.

     The end of season 6 and now in the midst of season 7, we see a Finn who has grown over the years from a generic hero to a young man with real emotions and thoughts. A real hero who has confronted his fears and doubts, and continues on past them to a better life. By this point he’s learned that life is full of temptation, pain, and heart-ache, but he also its full of friendship, happiness, and love. He is content with a life where he has to struggle for what he wants and he is willing to receive pain if it means he will also receive happiness. 

The season 6 finale, “The Comet” show Finns new perspective he’s got on life. The all-powerful comet gives Finn the choice of leaving this reality full of both negative and positive experiences; to leave them all behind, to be in a “new mode of existence” But Finn denies this opportunity. He has done so much growing and changing he is not so willing to throw that all away just for the offer of no more suffering.


    Finn has grown because he has earned his happiness. He has earned his title as a hero. He has not only seen what it means to be “the bad guy” but understands that life is not black and white. Its full of grays, blues, and magic. He lives in a world where he has to live with himself and make the tough choices. Not just for himself, but for everyone else. Season 7 now shows an older Finn. Take “The Hall of Egress” for example. 

At this point Finn is around 17 years old. He is not the same 12 year old boy who was gawking over Princess Bubblegum. One willing to adapt and learn in ways he never had before- to see the world through a different perspective. Finn lives on as a symbol: even if life gets you down, you keep moving forward and you stay open to new experiences, because you will always find the light within the darkness.


In the words of Jake,

A Lafayette version of "What'd I Miss" for the musical version of "it feels more like a memory"

Original fic and fake musical by @savrenim, who also co-wrote this with me!

[MARIA]
1803 –
How does the nation, new, innovative,
Just got out'a war, yet,
Confront a new, even greater threat?
Fight its very founding sense of justice, or forfeit
Everything that made ‘em free,
You ready for more yet?

Aaron Burr is six feet deep, Jefferson’s the President,
Hamilton has spent a year attempting to find evidence.
Then at last– someone came along to assist him!
Testified to jeopardize Jefferson’s whole position.

You might'a met him, yet, but he’s been off in France!
Kicked ass in our Revolution, thank him in advance!
Well, someone’s got to keep the American Promise, you simply meet–
Marie-Joseph!

[ENSEMBLE]
Lafayette is coming home!
Lafayette is coming home!
Lafayette is coming home!
Lafayette is coming home!
Lafayette is coming home, Lord, and the
Trial’s going on!

[LAFAYETTE]
France has followed you to revolution
There is no more status quo.
But the sun comes up
And the world still spins.

[ENSEMBLE]
Aaa-ooo!

[LAFAYETTE]
Against my good old friend came an accusation,
And I could not let that go!
I gotta see this through even so.
Now the work out here begins…

[ENSEMBLE]
Aaa-ooo!

[LAFAYETTE]
So it’s come to this?
Guess it’s come to this.


Jefferson, my once-friend, how did you lose all your wits?
I’ve been in Paris, oh, and I was in a dungeon,
And then I hear the levels to which you have sunken
I traveled across the sea and came back to this…

[ENSEMBLE]
Aaa-ooo!

[LAFAYETTE]
From the old Paris guard, I find a deponent
Haven’t even packed up my bags yet.
Adrienne, my dear love, I must leave today,
If everything we fought for’s been betrayed–
Then I must see the President repent,
Or if the Senate is in on it too!
I will miss home but I must head over to the States.


[ENSEMBLE]
Headin’ to the states!
Headin’ to the states!

[LAFAYETTE]
Looking at the rolling waves
I can’t believe that I am here.
Ready to see a country
I haven’t faced in years.
And who’s waitin’ for me when I step in the place.
My friend, Alexander, red in the face,
He grabs my arm and
I respond, “What’s going on?”

[ENSEMBLE]
Aaa-ooo!

[HAMILTON]
Laf, we are fighting for our nation’s very soul,
Can you get us out of the mess we’re in?

[ENSEMBLE]
Aaa-ooo!

[HAMILTON]
Jefferson’s new presidency is nothing less
Than government control
I’ve been fighting for the truth alone
Could you help me win?

[ENSEMBLE]
Aaa-ooo!

[LAFAYETTE]
Uh…sure.

[HAMILTON]
The trial’s in ten!

[LAFAYETTE]
So it’s come to this?
Guess It’s come to this?
Headfirst into a political abyss!
The ship arrived in DC today,
I guess I better think of something to say
I’m already on my way
Let’s get to the bottom of this…


[ENSEMBLE]
It’s come to this!

[JUSTICE MARSHALL]
Mr. Motier, welcome home

[HAMILTON]
Lafayette! Glad to finally see you here!

[JUSTICE MARSHALL AND ENSEMBLE]
Mr. Motier, welcome home

[COMPANY]
Mr. Motier, welcome home
Sir, there’s a trial going on!

[Lafayette]
Guess it’s come to this!

Speculation about Jake’s “new” appearance.

Just finished watching Elements awhile ago and *Mind Blown*. Just going to throw this thought out there. But the Blue form is Jake’s original form. If some of you guys can remember the episode “Joshua and Margaret Investigations”, There we saw how Jake came into the world of Ooo. This was after the Shape-shifting beast bit Joshua on his head and grew to Jake. 

The cells of that shape-shifting beast took Joshua’s form and became Jake. And im guessing after LSP commanded everything to go back to normal, so did the shape-shifting cells of Jake. That’s why he looks like what he does now. He still has some dog-like appearance to him though, probably because he picked up of some of Joshua’s genes. 

If this is right that supposedly means that Jake has  probably some new powers similar to that of the Blue shapeshifter from “Joshua and Margaret Investigations” . Jake the Shape-shifter :o! .

Cont. 8

@jackspacespecter

Erik wished he felt cocky now. But instead he was rubbing the seam of his jacket nervously. Shifting his weight foot to half foot. A small group of mostly Jacks friends with the addition of Christine, Darius, and the Giry’s.

Nadir gave a small chuckle at his friends nervousness. He remembered how much of a wreck hed been on his wedding day.

i love how predebut minghao had so much swag and was basically too cool for school wearing all those swaggy outfits with those jeans and the beanie and dat hair and those cool v-signs and poses that he does and that one piercing with his dance squad but now he’s all really adorable and delicate and shy and quiet and precious cinnamon roll too good for this world .. too pure i love minghao how much u gonna bet in a few years he’s goin to show his full on swag and just b-boys everywhere like yOOOOO

For my own reference I attempted to compile the most complete list of published books on speculative realism, object-oriented ontology, new materialisms, and associated work and I figured I would share it. I also include in this list works from feminist materialisms, because they are important for providing a fuller genealogy for contemporary research, and those authors that are harder to classify together but generally write on nihilism, pessimism, and eliminationism. For the moment I’ve left off Francois Laruelle, who is still very confusing to me, and accelerationist authors like Nick Land and McKenzie Wark. The tags are my own and don’t necessarily reflect how the authors self-identify.

Graham Harman – Object-Oriented Ontology

Tool Being: Heidegger and the Metaphysics of Objects (1993/2011)

Guerilla Metaphysics: Phenomenology and the Carpentry of Things (2011)

Prince of Networks: Bruno Latour and Metaphysics (2009)

Towards Speculative Realism: Essays and Lectures (2010)

Circus Philosophicus (2010)

The Prince and the Wolf: Harman and Latour at the LSE (2011)

Quentin Meillasoux: Philosophy in the Making (2011)

The Quadruple Object (2011)

Weird Realism: Lovecraft and Philosophy (2012)

Bells and Whistles: More Speculative Realism (2013)

Levi Bryant – Onticology/Machine-Oriented Ontology

The Speculative Turn: Continental Materialism and Realism, Edited with Nick Snricek and Graham Harman (2011)

The Democracy of Objects (2011)

Onto-Cartography: An Ontology of Machines and Media (2014)

Timothy Morton – OOO, Ecology

Ecology Without Nature: Rethinking Environmental Aesthetics (2009)

The Ecological Thought (2012)

Realist Magic: Objects, Ontology, Causality (2013)

Hyperobjects: Philosophy and Ecology After the End of the World (2013)

Ian Bogost – OOO, Game Studies

Alien Phenomenology, or What It’s Like to Be a Thing (2012)

Quentin Meillassoux – Speculative Materialism

After Finitude: An Essay on the Necessity of Contingency (2009)

The Number and The Siren: A Decipherment of Mallarme’s Coup De Des (2012)

Ray Brassier – Eliminative Materialism

Nihil Unbound: Enlightenment and Extinction (2010)

Iain Hamilton Grant – Naturphilosophie

Philosophies of Nature After Schelling (2008)

Jane Bennett – Political Theory, Vitalism

Vibrant Matter: A Political Ecology of Things (2009)

Reza Negarestani – Eliminative Materialism, Theory-Novel

Cyclonopedia: Complicity with Anonymous Materials (2008)

Ben Woodard – Naturphilosphie, Nihilism, Pessimism

Slime Dynamics (2012)

On an Ungrounded Earth: Towards a New Geophilosophy (2013)

Steven Shaviro – Film Studies, Process Thought

Without Criteria: Kant, Deleuze, Whitehead, and Aesthetics (2009)

William Connolly – Political Theory, Pluralism

A World of Becoming (2012)

The Fragility of Things: Self-Organizing Processes, Neoliberal Fantasies, and Democratic Activism (2013)

Paul J. Ennis

Post-Continental Voices: Selected Interviews (2010)

Continental Realism (2011)

Adrian Johnston – Transcendental Materialism

Prolegomena to Any Future Materialism: The Outcome of Contemporary French Philosophy (2013)

Adventures in Transcendental Materialism: Dialogues with Contemporary Thinkers (2014)

John Protevi – Deleuze, Science Studies

Political Affect: Connecting the Social and the Somatic (2009)

Life, War, Earth: Deleuze and the Sciences (2013)

Eugene Thacker – Media Studies, Horror, Dark Vitalism

After Life (2010)

In the Dust of This Planet: Horror of Philosophy Vol. 1 (2011)

Thomas Ligotti – Horror, Nihilism, Anti-Natalism

The Conspiracy Against the Human Race: A Contrivance of Horror (2012)

Diana Coole and Samantha Frost – Political Theory, New Feminist Materialisms

New Materialisms: Ontology, Agency, and Politics (2012)

Stacy Alaimo – New Feminist Materialisms

Ed. Material Feminisms (2013)

Bodily Natures: Science, Environment, and the Material Self (2010)

Bruno Latour – Actor Network Theory

We Have Never Been Modern (2012)

Reassembling the Social: An Introduction to Actor-Network-Theory (2007)

An Inquiry into Modes of Existence: An Anthropology of the Moderns (2013)

Adam S. Miller - Theology

Speculative Grace: Bruno Latour and Object-Oriented Theology

Dylan Trigg – Phenomenology, Horror

The Aesthetics of Decay: Nothingness, Nostalgia, and the Absence of Reason (2006)

The Memory of Place: A Phenomenology of the Uncanny (2013)

The Thing: A Phenomenology of Horror (2014)

Tom Sparrow – Phenomenology, Horror

Levinas Unhinged (2013)

The End of Phenomenology: Metaphysics and the New Realism (2014)

Peter Gratton

Speculative Realism: Problems and Prospects (2014)

w/ Paul J. Ennis, The Meillassoux Dictionary (2014)

Tristan Garcia

Form and Object: A Treatise on Things (2014)

Elizabeth Grosz – New Material Feminisms, Deleuze

Volatile Bodies: Toward a Corporeal Feminism (1994)

The Nick of Time: Politics, Evolution, and The Untimely (2004)

Becoming Undone: Darwinian Reflections on Life, Politics, and Art (2011)

Chaos, Territory, Art: Deleuze and the Framing of the Earth (2012)

Donna Haraway – Cyborg Theory, New Feminist Materialisms

Simians, Cyborgs, and Women: The Reinvention of Nature

The Companion Species Manifesto: Dogs, People, and Significant Otherness (2003)

When Species Meet (2013)

Rosi Braidotti – Nomad Theory, Deleuze, New Feminist Materialisms

Transpositions: On Nomadic Ethics (2006)

Nomadic Subjects: Embodiment and Sexual Difference in Contemporary Feminist Theory (2011)

Metamorphoses: Towards a Materialist Theory of Becoming (2013)

The Posthuman (2013)

Karen Barad – Agential Realism, New Feminist Materialisms

Meeting the Universe Halfway: Quantum Physics and the Entanglement of Matter and Meaning (2013)

Manuel DeLanda – Deleuze, Realism, Science Studies

A Thousand Years of Nonlinear History (2000)

A New Philosophy of Society: Assemblage Theory and Social Complexity (2006)

Philosophy and Simulation: The Emergence of Synthetic Reason (2011)

Intensive Science and Virtual Philosophy (2013)

Isabelle Stengers – Process Thought

Thinking with Whitehead: A Free and Wild Creation of Concepts (2011)

Cosmopolitics I (2010)

Cosmopolitics II (2011)

Rick Dolphijn and Iris van der Tuin

New Materialism: Interviews & Cartographies (2012)