Nick | 24 | He/They | White | Jewish | Aquarius | so very gay | Animal Crossing, Pokémon, The Mountain Goats, Earthbound, The Adventure Zone, tma, Random Stuff I Think Looks Neat or Funny, etc | if you want me to tag something pls let me know
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I commissioned some dnd character art from @rabdoidal and excuse me while I go get this framed.
(Love that my intense camp counselor energy permeates throughout everything I create, even when other people are creating it, lmao)
what do you like so much about Inside? Always hears it was just the Covid Lockdown Comedy Special so never gave it a watch, its actually something good?
i’ve seen this take a lot and honestly i find it pretty confusing. i guess you can read the film as being About Covid (and i agree a lot of the marketing and press material pushes that) but i think that’s a boring viewpoint to take that kind of ignores all the stuff that’s actually interesting about it.
like, what i like about inside is its deep concern with ‘authenticity’ vs. deception and specifically the inherent deception/distortions of mediation, whether through the internet or through the medium of the film itself. stuff like the “candid, authetnic” 30th birthday sequence allegedly during midnight with sunlight visibly streaming through the blinds–it explores a theme that’s been latent throughout all of burnham’s earlier (less good and interesting) work and really came to the forefront of 'make happy’, right, which is like the overt problematization of the creative-audience relationship.
inside is a film about–i guess a lot of people read it as, like, a 100% sincere and biographical film about how being famous makes bo burnham sad. and if that’s your read i understand how people came away thinking its a bunch of kind of vacuous masturbatory white guilt. but i just don’t think the film is that sincere, i don’t think bo burnham wants us to see inside and be like “wow, this is about the personal individual stuggles of human being robert burnham.” it is about the relationshpi between creative and audience, how art changes upon being observed and interpreted.
and to this end there’s this constant edge of hostility and trickery to burnham in the film, right, he’s an illustionist and at times (“get the fuck up”, the extremely insincere and bored “don’t kill yourself” monologue) an active antagonist to the audience. the subversion and rugpulls are mean-spirited and pointed. and the audience in turn is an antagonistic, almost alien force, staring through that perfectly black camera lens. and that’s the level on which inside really works for me, right, it’s this deep and meticulous examination into the tense and duplicitous relationship between art, artists, and audience. COVID and indeed burnham himself as a person both serve more like framing devices for the film than the fodder for its substantive thematic content imo
john darnielle has this uncanny ability to take a topic and split it into facets like light through a prism that makes mountain goats thematic concept albums so so special. they tell a story about pro wrestlers or action movies or the grief of aging out of a specific hardcore scene or loneliness or pagan persecution in the post-christianization roman empire not by constructing any particular coherent narrative but by pulling out these component parts in turn and putting them side by side in a mosaic of music
I’ve read Deleuze & Guattari, of course i feel something when she sucks on my strap
true heads know that all sex organs, whether considered in terms of mundane perception to be either “biological” or “synthetic” (to say nothing of the fact that both kinds, sharing in the quality of requiring assemblage in order to be vested with any kind of erotic potential, can be said to be synthetically produced), are nothing in-themselves more than a semiotic representation of the line of flight connecting the erotic subject with the eroticized object – after all, no phallus, regardless of the means by which it was produced, is itself a sense or sensing organ, as the realization of pleasure is generated solely as a product the mind. it is only by discarding the phallus as a localized, self-fulfilled site of erogenous production that one can delimit, not only the sexual encounter, but the body itself; and not only the body itself, but the very bounds between erotic subject and object, giver and receiver of pleasure. when both the recipient of strap-sucking as well as the giver of strap-sucking feel the sucking of the strap, the sexual encounter develops the potential to surpass its own immanence and enter the transcendental plane, motivated all the more in its flight by the nondual bliss we may only begin to describe as jouissance.
to fight my artblock i decided to redraw some gerard p donelan comics as ds9. but once i started i could not stop….
so heres all deep space 9 of them. lol. again the poses and captions are lifted straight from his comics all i did was put space guys on there! please enjoy
“For decades, the governing cry of our cities has been ‘Never speak to strangers.’ I propose that in a democratic city it is imperative that we speak to strangers, live next to them, and learn how to relate to them on many levels, from the political to the sexual. City venues must be designed to allow these multiple interactions to occur easily, with a minimum of danger, comfortably and conveniently. This is what politics–the way of living in the polis–is about.”
-Samuel R. Delany, Times Square Red, Times Square Blue, 1993
Happy Paper Mario TTYD remake day!! The first and last time I played this game I had to speedrun it in a week before I graduated college, so I’m looking forward to taking my time with the remake.
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