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Anime reviews

If I don't do these it'll be like I never watched them at all!!!

Usagi Drop episode 3

Still going strong! The trip was just packed with adorable scenes. The stuff at work was very well executed, seemed really realistic, you actually had a good sense of his conflict. Seems like he's sort of stabilizing his life, which is good 'cause even though they do it really well seeing too much of a plot centered around someone being stressed out ends up being actually pretty stressful in itself. I like pretty much all the recurring characters. Good times! Rin being worried about death I think was especially well done in terms of how she worries.

The Idolmaster episode 3

This was shy girl's episode. I guess they need to do stuff with her early 'cause she has the most problematic quirk. Basically they hand out all these moe qualities but a bunch of them are actually huge flaws for someone trying to be an idol and then it gets sorta unrealistic. And then even in them it's subdivided to problems that could motivate plotlines in solving them and then ones where they couldn't. Like, for sleeping blonde girl (Miki?), I doubt they'll have an episode where she learns to be less lazy. I have no idea what they'll do for her episode, actually, but I'm sure it'll be more about her having some new problem, not actually changing her personality. Same with the characters whose quirks aren't actually big problems, like animal girl will have one of her animals go missing or something. Then there's ones where their quirk isn't a problem but the episode will be about her trying to change it, like tomboy will want to be less tomboyish and will end up staying tomboyish. I put like a hundred bucks on those being accurate predictions, by the way. It's really that easy. Anyways so with shy girl, and she's sort of unique in this regard, they really had to address her shyness because that's obviously clashing with being an idol. So yeah she's shy and nervous and has a big breakthrough and then she isn't so shy and nervous. So what is she now? No gag girl? Character B? Not much screentime girl? See in Working! they had this exact same problem but they just decided to spend the whole series resolving it, as a B plot pretty much continually and often as the A plot. It left no gaps and when they finally solved her shyness they didn't really worry about what to do 'cause the series was over well now they're making a second season so I dunno what to expect from that. Anyways yeah uh not sure what they're going to do about shy girl either. Oh well. She had her moment in the spotlight, so to speak, and it went pretty well. A fun episode yeah yeah.

Nichijou Episode 17

Wow! An episode so good they didn't even have time for the OP, which is the best OP! Right off the bat we have some Mai action, and classic action it is! The reference to the coffee scene in the previous episode was brilliant! The scene with crow was just crazy, the way it talked was hysterical in a way I can't quite articulate, as was Sakamoto being back to a regular cat and of course BISCUIT ONE. The house of cards scene was an instant classic. It toes the line of being too gimmicky but the sincerity in its homage to classic cartoons really made it seem authentic. And, of course, the ending was pure Nichijou. Advances to the plotlines of the soccer and go club, the chemistry teacher trying to kidnap Nano and the homeroom teacher's crush on the student adviser were all hilarious and really dang plot. The little sketches of animals' lives continues and I couldn't be happier. And then, bam. Yuuko trying not to deliver any punchlines. This scene was so climatic, such a pinnacle, that I started to wonder if perhaps this was actually the last episode and I had lost count somehow. Amazing. Amazing!!

Curb Your Enthusiasm s08e03

Marty Funkhouser is the most moe character of the season and Sammy is the least. Great episode, though. They seem reluctant to do a season-wide arc, which I'm fine with – the last few seasons have been heavy on the arc, so a return to more sitcomy isolation is refreshing. It also allows them more freedom, as none of the plotlines need to be devoted to developing the arc. This lets them take the ultimate sitcom challenge: can all of your plotlines be tied together both thematically and in terms of storyline progression? I can't think of many sitcom episodes that manage this, and I can't think of any of those that aren't hilarious. It's not like the sort of conscious thing where you need to make a point of making these connections before it gets funny, but it isn't like it's too subtle or anything either. What happens is that these connections allow you to anticipate scenes before they happen on some sort of subconscious way, like, with fighting game combos or good music, the climaxes are always telegraphed even if you don't know exactly what they will be. Here you have all sorts of elements combined and boiling, and each one is the trigger for some other set to finally blow. It doesn't take a chemist to recognize a bomb in the making. Alternatively you can think of this string of analogies that fail to really get the point across in a way that satisfies me and aren't very well connected and aren't increasing in clarity as an example of the opposite. So yeah, great times.

Watch the Throne

Last post I talked about Relax. This post I will quickly talk about Relax. So I've really tried not to spoil myself when it comes to content, like, I don't think I'll listen to any leaks or anything. I listened to their remix of “Caffeinated Conciousness” and that was really good. I also gave in and watched a bit of a video of them doing “Power” live and HOLY CRAP. The beat. The beat is just amazing. Like, unfeasibly good. Sometimes I wonder if we're gonna run out of good beats eventually and then you hear one like this that, even over horrible cameraphone compression sounds like nothing else and also like an evolution of everything you've heard before. I've gone back and listened to the opening with that beat an embarrassing amount of times. Oh yeah anyways on the topic of good beats, Watch the Throne is coming out soon and it's looking like it will have like, platinum production. So much money is being thrown at making this sound amazing that it will undoubtedly sound amazing. “HAM”, which was the supposed first single but now I guess isn't appearing on it after all is a perfect microcosm of this idea. Take a Lex Luger beat that you probably paid some absurd sum for it and just throw everything at it. Like yeah Lex Luger is one of the hottest producers out there right now, and what everyone loves is his really hoodrich synth sound. That's why Kanye absolutely had to kick it up as many notches as possible into turbo HAM mode. He has to give fans more of what they want than they thought they wanted. So HAM's a masterpiece, I'm sure we all can agree. There's not many good lines (possibly zero?) and the flow is average throughout. It doesn't matter though, it just goes HAM. It honestly surprises me that there were people who disliked this song, and apparently there was more than a few. What doesn't surprise me so much is how I learned about this: when another song from the album, “Otis”, was released, a lot of people talked about how it was “so much better than 'HAM'” and honestly I can't degree. This song also goes HAM. Classy black forest HAM hold the cheese rap. Extended sample intros are great when they transition into the beat nicely and they really nail it here. And some decent lines, too! Or at least interesting sounding ones. I'm getting mad hyped for this. Maaaad hyped.

Difficulties in Writing

I mentioned my new writing strategy in my last post and I just wanted to elaborate by what I meant by trying not to think about it. It's actually a very difficult thing to do. Common things are like, I'll go to the bathroom and keep thinking about it and when I get back my thoughts and progress will have just enough of a desynch that it gets frustrated. Worse is when I have to do something longer, like a bus ride. I used to think these were really productive 'cause I'd come up with stuff but now I realize that I'm just reducing my chances of actually writing the thing with each mental rewrite. The absolute worst is when I keep thinking about something I'm writing as I fall asleep 'cause I forget half the ideas I come up with in the morning and the ones I do remember are way worse than they seemed when I was sleepy and the whole thing just ends up being a shadow of its predicted self.

So I really have to struggle to not think about these things, I guess. But I have to think about something. This is still an ongoing problem.

Anyways, here's something I was thinking about while brushing my teeth and realized that if I didn't write it now I never would.

What makes a good online community

Oh geez this is such a large topic I don't think I want to cover it all now. Actually I just want to cover like one aspect of this so I can motivate another topic but yeah I've given this a lot of thought, but luckily the vague sort of conceptual thought and not the word by word sort of thought that bogs me down later. Right yeah so I guess thesis-wise, I think online communities have several advantages over real ones. I'm sure you can name a bunch so I won't even bother trying to be comprehensive. The relevant one is that in an online community, people can more easily display only the facets they wish to. More specifically, they can display facets of their life that they would have no opportunity to display offline. If you have an esoteric hobby, a passionate interest, a weird skill, anything like that – odds are you won't be able to let that shine offline. Online, though, these can be your beacon to your kin in a non-intrusive way. And once you have these communities established through interests or personalities, the interpersonal relationships have a different cultural base than those offline, and have a different set of motivation, etc, etc. What this leads to is people who aren't afraid to be interesting, since unlike offline, your unique and quite possibly weird interests/hobbies/skills/knowledge bases can be displayed without being intrusive and free from scorn. More importantly, you can avoid having to display the uninteresting parts of your life. Everyone you meet offline has a lot of the same boring problems and responsibilities as you. If you're one of the lucky ones, you're able to enjoy these sorts of things, and I definitely believe you have the right to. However, since most offline relationships develop through these common responsibilities, they rarely expand to anything else. And they really are usually pretty boring, all things considered. Good friendships bloom when things unique to that relationship develops.

Oh shoot this was supposed to be a summary so here's an even quicker one. Most people are pretty normal. That's why normal is normal. However, most people do have quirky interests. I think anyone who doesn't is depriving themselves to feel more normal, which is one of the more tragic things I can think of. For instance, I'm really a pretty normal person in most regards. Really! I'm probably like 75% normal. That other 25% is encyclopedic knowledge of stuff like Pokemon, love for James Joyce and other stuff people sadly don't read much of, strange compulsions to write strange things, deep fascination with playing video games well, etc, etc. In real life, some of these things shine through occasionally, but honestly, in most of my day to day interactions, they don't appear at all, which is sort of a shame, but on the other hand, that sort of stuff has to get done and the normal societal system we've developed is very efficient at getting it done. However, online, guess which 25% I am going to go to every length to nurture and share?

Ah dang okay this is an honestly short summary: good online communities are where people are united by things where they are the global (here meaning cultural more I guess) minority, boring online communities are where people are united by things where they are the mass-cultural(?) majority. For poor examples, look at the major subreddits on reddit. For a good example, look at many of the smaller subreddits or most of 4chan.

I have way way more to say about this but really I just wanted to start something with “/a/ is still one of my favorite online communities” because I have some stories about /a/ and I wanted to explain briefly why /a/ is one of my favorite online communities so here we are I guess that is a good start now I will go to sleep and think about things I don't want to write about, which is a pretty small and essentially guaranteed to be uninteresting subsection. Ddddang!

Eyes Wide Shut

Since this blog post already got a bit strange I figure I may as well go full strange and talk about what strange ideas I have about this strange movie. This was the last of what I'd consider to be the Kubrickian masterpieces, er, worded that poorly, of course it is he died soon after but I also felt like this marked a pretty significant change in how movies were made. And it's not like this movie changed it, I just think it's one of the last great movies of the era before our current era. Basically, in the new millennium, the attitude towards several genres, including “art film” and “erotic thriller” - the two genres you could make a case for this being – changed drastically. This I think was due to action movies completely changing up once FX got as sophisticated as it did and other genres having to react to appear futuristic as well. The Matrix is obviously the essential example of the new action flick, and it also contains the other sort of shift I've noticed in a lot of postmillennial narrative art, that of progress towards a fusion of character studies and plot studies. This is something I keep running into and I sort of half began to explain my thoughts on it back when I wrote about Infinite Jest but I don't think I'll explain it here either 'cause I'd argue that Eyes Wide Shut isn't an example as it is a theme and character study, and hardly a plot study at all. This might seem weird since it clearly has a quite intricate plot but I'll hopefully address that later. Anyways my point is that there were quite a few major changes in cinema around the turn of the century, some driven by technology, some driven by the need for novelty in an increasingly knowledgeable and thus, tragically, cynical age. These changes were significantly major and numerous enough to force many other genres to change somewhat reactionarily as well as they needed to present an image of modernity to compete, like why Firefox started bumping up its version number to seem competitive with Opera and Chrome. Or how about this for a esoteric and sudden analogy: as the tech skill of action movies/Space Animals increased, other traditional genres/characters like thrillers/Marth had to change up too. Like in Smash Bros., I'm not sure I like these changes or not, but that's for another time. All I wanted to get across is that there probably won't be a movie like this for a long time. Ones that do start to follow it are referred to as throwbacks or homages and almost gimmick their way into some new third genre, not classic thrillers or modern thrillers but retro thrillers, and aren't really compared to either. Eyes Wide Shut is one of the last classic thrillers in the mode of Hitchcock and one of the last art films in the pre-post-modernist post-modernist mode of Kubrick.

That's all I wanted to get across in this intro. Sheesh. This was gonna be short at one point I thought.

Kubrick: My Favorite Director

So my history with Kubrick has been pretty long, going back pretty much as long as I can remember. My dad was a big fan, he showed me 2001 and Dr. Strangelove as soon as possible, really trying to explain why these were so well done. I also saw The Shining and A Clockwork Orange fairly early on, albeit in a thankfully home-censored version. Most of the others came later, but now, aside from some of his earlier and more obscure stuff, I've seen them all. Eyes Wide Shut, which I just watched for the first time yesterday, was the final piece of the puzzle, the final step. I had heard mixed things going in, but honestly, I wasn't deterred by such things. I had a lot of confidence that this movie would impress me. I was not disappointed.

Things I was disappointed in

(Probably spoilers from here on out)

Okay so I think my biggest beef with this movie is shared with a lot of people and it's that the acting is just too act-y. Maybe I just have a biased perspective and a poor understanding of 70s and 80s pop culture, but this seems like the first time Kubrick went with “celebrities” instead of just “actors”. Like yeah I know Jack Nicholson was hugely famous at the time, and before him Peter Sellers, but as far as I know they weren't megacelebrities in that every aspect of their personal lives made the news. Maybe I'm wrong. There's something different with Cruise and Kidman, though. They just have too much of an ego, and they really seem to be trying to demonstrate that they can act. Nicholson and Sellers played their characters so well you weren't sure there was an actor there at all. With Sellers especially it seemed like there was just a lot of characters that sort of looked like him. Don't even get me started on the complete ego death that is required of someone playing the literally monotone 2001 astronauts. With Eyes Wide Shut, there's too much of a sense that these people are performing, that these characters are emoting for our sake and not just emoting. It's not awful, but it does detract from it. And don't get me wrong, I think the casting was great. Both of their performances were brutally enthralling. Kubrick managed to get Cruise in that sweet spot he can get into sometimes where he seems genuinely scared and confused because he probably is actually scared and confused in real life. I wish I could know what Kubrick thought of him, how he brought that out of him in a lot of scenes. I also wish that he was about twenty years younger so he could have whipped it out of him in a few scenes where his voice gets way too pausey and dramatic and you can see an Academy Award gleaming in his eyes. Most of Cruise's major breakdowns happened well after this movie, but you can see them in here, in him, as you can in Magnolia and probably other movies I don't know of. But, just like he would outside the movie, his ability to wall off the parts of him that are actually human – a strange, fragile, confused but intriguing, captivating and interesting human – brings down a few scenes.

But that's pretty much all I'm disappointed in. Here's what I liked:

Cinematography that leaves you in awe

Most of this movie was shot in London, apparently. I surmised that from the credits, at least. I dunno if it was some new-age CGI mumbo jumbo or good sets or what but they still managed to nail New York in this movie like few others have. The aesthetics run a wide, wide gambit but each setting seems both realistic, alive and livable while still capturing this dreamlike unreal mystique. Christmas was a brilliant time setting, the lights everywhere were such that you never thought twice of them but each scene was able to be lit in such amazing ways without seeming unnatural due to them. Soundtrack excellent of course, if I eventually try to cover this idea I have about reactionary modernism around the year 2000 I think I have an excellent example in avant garde music. Kubrick, again, is one of the last to use the classics, er, modern classics too. Oh, and simple stuff like the way they move from scene to scene – fade cuts run a bit gimmicky but they contrast quite nicely with a lot of the faster switches. Oh and obviously the blocking, especially on the really intimate close face scenes. Obviously these have become iconic, hitting the cover and all, but it isn't a gimmick. Shots of one face looking half into the camera while the other looks off in the distance – they can really be haunting if done right. Oh and speaking of faces and haunting, I haven't touched on what is clearly the absolute craziest scene in terms of cinematography of all, that of the party. Very few scenes in any movie have ever nailed the idea of hypnotic suspension like that. The music – perfect. The actors – perfect. The aesthetics – perfect. Even things like the masks, the moves of the rituals, the blindfolded pianist – everything reflects this massive amount of thought. Move over ODDSAC, then go and get me a snack and come back down and no don't get upset it's a good effort but THE PUNK KIDS OF THIS (MY) GENERATION JUST CAN'T MAKE A RITUAL SCENE LIKE THIS, not yet at least.

What dream movies should be like

Friggin' Inception. Okay okay I've swung my opinion about this back and forth between hate and mild dislike and grudging acceptance so many times but I don't think I can abandon this beef: they made a movie about and almost entirely set in dreams, and they made it so boring and so plain and so by the book that I don't think they could have made it less dreamlike if they tried. I mean the best they could offer was zero G, stuff exploding, slow motion, a few perspective tricks and then combinations of those. What about that seems like a dream? Maybe a wet dream for movie execs har har har oh my that was sort of a rude joke for this typically family friendly blog but oh well this isn't a family friendly movie. What did Eyes Wide Shut have? Well, a few weird scenes with weird music and lighting and all that, but that doesn't really matter. You can't build a dream aesthetic – or any aesthetic, really – by going down a checklist of things you figure have to do with that thing. Especially not if they're gimmicky special effects plot points. This movie definitely nails the dream aesthetics, and it goes about it in the right way – things left unsaid but somehow known, transitions that don't quite seem to add up on reflection (and not that BS “haha how did you get here? Omg it's a dream!” blatant slap-in-the-face junk Inception pulled), characters, ideas and settings drifting in and out... it manages to seem so much more like a dream even though it (probably) isn't.

Theories

I have three, I guess:

1. Bill's nights on the town were Bill's dreams

Easy. Where/when/how was he sleeping? Not that relevant. What about the mask? Also irrelevant. Once you accept that you are watching the dreams of a character without being told you're watching the dreams of a character, the question shouldn't become what parts were real/what weren't/what are the logistics/etc, because like, whatever detective work you can do to stitch together answers to these won't result in as interesting of an answer as “why?”. And not “why are we seeing his dreams?” either, though that one's okay and I think ties in with what is always a good question to ask about art, “why was this made in the first place?”, but “why did they make the choices they made, since they have absolute freedom?”. Once you're working in a dream narrative, nothing has to be done for plot or continuity or even physics. With freedom like that, all the easy answers for any choice fail to suffice. Sure I guess some things had to be maintained so that it would still be possible to “trick” the audiences into thinking that it was “real”, but this still offers a lot of freedom. Anyways yeah, if you think of each day as a dream that he has on consecutive nights, with the conversation about his wife's dreams and fidelity in between, it becomes pretty interesting. I'd say more but GEEZ this is longer than I wanted it to be and I don't know who's still reading. I guess that is “left as an exercise to the reader” and honestly I'd want to watch it again before I really settled into the idea. Plus I'm not sure if I buy the theory at all.

2. They were Alice's dreams

Again, the desire to set everything as a dream is appealing due to the significance it gives a lot of other choices. Like in Inception when they littered every environment with slight alterations from typical settings of that style and subverted your expectations for all the action scenes just because they knew they could get away with making it really artistic without sacrificing realism 'cause hey it's a dream there's no realism OH WAIT no they didn't do ANY of that because Inception is LAME and I really should forget about it while I'm talking about something else. Whew. If it's Alice's dream instead of Bill's, we could possibly think of Alice's supposed dreams as Bill's. This returns them into the more traditional “nightmares” of a partner's infidelity, and becomes somewhat revealing as Alice's dream has Bill almost succumbing but never actually cheating through each temptation, and then almost paying dearly for doing so, while Bill dreams that Alice fully succumbs. This would say a lot about their relationship, about the emasculation of Bill and about gender traditions re: spousal loyalty. But honestly it wouldn't say much more than theory 1 or 3 would and those are more Occamy. One thing that I do like about this one is that it makes the disclosure scenes make a bit more sense in that like, I feel like it makes more sense for the characters to talk about what they fear the other will do – like almost an accusation – than it would for them to divulge what they're scared they'll do themselves. I might be wrong on that.

3. Everything literal

I like this one. It's kinda dull and it explains a bunch of stuff in the boringest way possible but oh well, at least the explanations are satisfying. Also is nice to have the contrast between Bill's reality and Alice's dreams, I think there's a lot to think on there. Plus I mean it's not like this discounts any of the more thematic theories, like, ones built around the stages of temptation, or maybe some theory about the true role of the orgy cult or Odyssian parallels or closeted homosexuality. In fact, it almost motivates them more. Not that I have any theories like this yet, maybe on a rewatch or something. I know there's something there, though, but I'm not sure what's a stretch yet. I guess there's also a subdivision here depending on whether you think the cult killed people or not. I don't know what I think about that and I also think it's sort of beside the point.

Other things

For all the cohesiveness they gave the plot, I was disappointed that the two girls Bill met and the guy Alice met at the first party never played any later role. I guess their anonymous and fleeting nature was supposed to suggest that this sort of thing happened all the time, but their argument later didn't seem like a typical thing. They played their role, yeah, but they both seemed pretty dang intriguing and I wish something had been done. Especially the girls inviting him to “where the rainbow ends”. And then the costume shop is named “rainbow clothing” and yeah like, fantasies, I guess. Oh and I also think a few scenes went just a few lines of dialogue too far. The scene where the cult is somewhat explained to Bill made the whole thing seem a bit too cheesy because he explained it just a bit too explicitly, especially the double password dealie, but I guess that's realistic. Same with the tailor's offer, Nick's hinting at the party, the prostitute's roommate, just like, a few lines or even words less and it would have been just that much more engaging, that much more haunting. Ah well. I'm just nitpicking at this point. Overall I'd say it's major problem is the Hollywood influence. Fitting then I guess that the two things I liked best about it – the interesting things it had to say about the jealousy of the subconscious mind and the entirety of the orgy party scene – were the two things least Hollywoodish. Honestly I cannot get over how bananas that orgy scene was. Wow that doesn't sound right to say, does it? Seriously though that is some next level cinema right there, that's the sort of thing that even other geniuses wouldn't imagine imagining. I really want to watch it again even if just for the music but it also sincerely freaked me out and if I want to sleep in the next few days it's probably a bad idea. So yeah. Great. A slow burner, yeah, and not for everyone. Not a whole lot of laughs. The drive of a Hitchcock thriller with none of the resolution. Great parallel with Bill's own drive only being fulfilled in the same old way after hinting at so many new. Keeps you in suspense for something you're unable to imagine. Haunts on many senses. Climaxes are sudden buildups of tension instead of release of tension. Stanley Kubrick, greatest director I have ever heard of, finished himself off with this one. I'd like to believe he was proud of it, but even that is wrapped in controversy. He certainly was given the freedom he deserved to make it the masterpiece his swan song deserved to be. Whether it measures up to his previous work isn't something I feel I can weigh in on now, but I don't think it falls short by much if at all.

Yuruyuri episode 4

Episode 4 marks the beginning of the shift from introduction to true episodic content, the end of the first movement in the graceful 12 episode waltz. The characters are established and the patterns of interaction have been drawn. If there are series-wide plot arcs (not a total impossibility in this genre, look at Working!! for an easy example), they best speak now or forever dwindle in impact. Now we can also start using episode archetypes with no ulterior motive. Suitably, episode 4 resolves the exam score plotline – used mainly to introduce student council president character, which it succeeded at – and takes us to the beach. In true KyoAnian fashion, plotlines like the exam score are not so much ended or abandoned as they are humoured, the characters resolving an issue with only the goal of satisfying viewers. However, since this near pointless resolution does not even pretend to carry weight – the president of the pmc er student council admits she challenged blonde girl with no plan for either outcome – it seems like it is the viewer who is being humoured. Luckily, this is not a new sensation for a seasoned viewer, and might even seem warm and nostalgic to them. Aside from this charade, this episode further abandons simple plot cohesiveness to the point of dreamlogic. The device of the wish tree thing I saw in Haruhi makes an effort to tie things together, but it can only interfere as the most overt and superficial of motivators. This does nothing to actually move the episode as a whole. There I can say with confidence that there is no driver at the wheel. They go to the beach for no reason and most of the things that happen on the beach happen for no reason. Yes you can say that they were each motivated by established character traits, but when most of the events are just highlighting the characters' traits (or maybe traits hur hur seriously does anyone besides that guy I watch on Youtube watch this for the fanservice? Wait don't answer that I don't want to know. I mean yes it's all fanservice but you know what I mean. I mean:) Also the amount they ran with uh, vice president's fantasies joke is pretty crazy. Most sane people would realize that after a point you could make the joke without actually showing the scene but these people are crazy. Crazy for money. But yes, her fantasies. Not only do they become more and more outrageous as the episode progresses, they also converge closer and closer with the actual events. Could this coincidence actually be caused by the whole episode being part of her dreams? It would explain the sudden beach teleport, and the president winning at the test. So in her dreams she also has fantasies. A dream within a dream, if you will. What a mindblowing concept that is! I can't imagine what a talented and well funded team of writers would do with that sort of freedom and philosophical depth!! Argh!!! But yeah loved this episode, this show is mad fun.

Post script note

Some of that, well, all of that except for where I forgot, was supposed to be like, a parody of my writing on Eyes Wide Shut  directly above. I point this out because I imagine a lot of people didn't read that because it is long or maybe they didn't want to get spoiled or something. And a lot of people probably don't read my anime summaries which is fine because a lot of people don't care about that either. And hey the vast, vast majority of people don't read my blog at all so hey hello to all you people not reading this! Anyways if you only read the second thing and not the first thing this is a "fyi". Or for people who read both and didn't "pick up on it" because "I suck at writing".

I guess that is about it for now

I was going to write some stuff about /a/ but eh some other time. It was just some thread I saw that was funny but it's like, the funny part of it doesn't like up to how much explaining I'd want to do about why it was funny and why I think that sort of humour is only possible on /a/ etc these days. Anyways most of this I wrote when I had stayed up for way too long so maybe it's crazy but oh well.