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Jerusalem posted:To try and suggest that he was somehow born "special" and destined/"chosen" (ugh, Chosen One stories I don't think that the positive influence of the companions is the case in NuWho, except maybe Rose and the 9th.
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Mar 31, 2015 09:36
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) to be some super-special messiah/hero etc just completely misses the point of what makes the Doctor the person he is, and how important it is that he got that way because of the "good" influence of the "normal" people who traveled with him.
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Jerusalem posted:To try and suggest that he was somehow born "special" and destined/"chosen" (ugh, Chosen One stories For all of it's many many faults one thing I love is how the Marvel Cinematic Universe has managed to get away from this so far. Tony Stark built his superhero identity from whole cloth. Bruce Banner accidentally hosed himself up. Clint Barton and Natasha Romanov are literally paid to do what they do. Steve Rogers had to audition to be Captain America. Thor thought he was someone super-special meant to save the world even if he had to force the issue because of his status as a prince but his entire first movie is about being humbled while his brother Loki showcases how dangerous someone with delusions of grandeur can really be. Peter Quill could be someone special depending on who his dad turns out to be, but at least in terms of the first Guardians of the Galaxy movie he was raised to be relatively ordinary given his location, while all the other heroes in that movie are either unlucky victims making the best of poo poo circumstances or random weirdos in the right place at the right time. Sam Wilson is literally a random dude Steve Rogers met on a morning jog. Not once are any of these people presented as "pre-ordained" or some other meta-textual bullshit that befits their "status" in popular culture like you see so often with Superman, and Spider-Man, and even the motherfucking Nina Turtles. This is partially because a lot of these characters were being more or less re-introduced to popular culture at large, but even so there seems to have been some kind-of conscious differentiation at Marvel Studios to frame their heroes as someone that anyone could be given the right character and circumstances, and that lets me forgive a lot of their glaring weaknesses.
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Mar 31, 2015 09:40
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fatherboxx posted:I don't think that the positive influence of the companions is the case in NuWho, except maybe Rose and the 9th. They laid it on pretty hard with Donna. Remember the end of Fires of Pompeii? Or how batshit Ten went when he didn't have a proper companion for a while?
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Mar 31, 2015 09:52
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MikeJF posted:They laid it on pretty hard with Donna. Remember the end of Fires of Pompeii? Or how batshit Ten went when he didn't have a proper companion for a while? Oh, yeah, Fires of Pompeii, that definetely counts. Obviously the point of Time Lord Victorious was that without a companion Doctor becomes an rear end, but it is hard to rationalize when you know that Doctor has hundreds of years of adventures without a companion off-screen. Suspension of disbelief, i guess, ffffine. Still, I didn't feel that most stories, especially from Moffat era, had the companion significantly change Doctor's views on things. He always knows better and can make a good choice, because he has seen some poo poo! The value of companions is their human pov for the watchers anyway.
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Mar 31, 2015 10:02
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Toxxupation posted:That's the single dumbest loving thing I've ever read I thought the same thing, until I read a post where someone used professional wrestling to describe an episode of doctor who.
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Mar 31, 2015 10:19
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fatherboxx posted:Still, I didn't feel that most stories, especially from Moffat era, had the companion significantly change Doctor's views on things. He always knows better and can make a good choice, because he has seen some poo poo! The value of companions is their human pov for the watchers anyway.
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Mar 31, 2015 10:20
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mind the walrus posted:This is partially because a lot of these characters were being more or less re-introduced to popular culture at large, but even so there seems to have been some kind-of conscious differentiation at Marvel Studios to frame their heroes as someone that anyone could be given the right character and circumstances, and that lets me forgive a lot of their glaring weaknesses. Yes, GotG was particularly charming for this reason. But to bring it back to Who, the TARDIS obviously feels chosen and special to be with the Doc and has a vested interest in his well-being and can thus serve as a hidden meta-being given Her omniscience which is probably quite enough. It's always been tempting to have some meta-being point out to the Doctor just how much the Daleks are his fault, for example, but instead the Who universe has managed to avoid that and to partly reset them both without recourse to some mythical confrontation where someone says enough. One of the things I forgive Moffat for is to have the known baddy universe try to solve the problem themselves.
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Mar 31, 2015 10:20
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I'm quite impressed that this 'review' managed to go without really talking much about the episode at all. It's kinda dissolved into a slightly insane rambling entertaining meta-commentary on the series these days.
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Mar 31, 2015 12:47
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thexerox123 posted:Ahahaha. Have you been reading up on the Cartmel Masterplan, or was this a happy accident? Just to be clear, Toxx didn't make up the term Othering, or use it with a capital letter out of whimsy. The Other, in fiction (or in anthropology or sociology), is the one that's different from and incomprehensible to you. The fact that this word happens to be used for a super-dumb piece of non-canon Doctor Who backstory is, indeed, a happy accident.
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Mar 31, 2015 13:46
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Attitude Indicator posted:I thought the same thing, until I read a post where someone used professional wrestling to describe an episode of doctor who. fair point
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Mar 31, 2015 16:55
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Toxxupation posted:That's the single dumbest loving thing I've ever read Once you catch up and start reading the regular Doctor Who thread you'll get to read much dumber things. Don't worry!
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Apr 1, 2015 00:02
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Occ's post inspired me to watch that wrestling thing. He got a few events out of order and wrong. Originally Chyna turned on HHH/DX to join The Corporation and cost him a title match against The Rock, and then a few weeks at WrestleMania 15 he also followed suit, which launched his bad guy run kind of nonsensically but Basically they made him The Boss's Bodyguard and then realized they wanted to make him The Boss's Pest BEFORE making him a bodyguard, so they had the office faction join with the Undertaker's cult of tattooed serial killer freaks and then kick his rear end out. All of this is just nonsense that leads up to a druid being Vince McMahon who then brags about how he arranged for his own daughter's kidnapping and did so many other illogical moves that you couldn't possibly have figured it out, you puny unintelligent viewer If Vince Russo wrote Doctor Who, then the Master would have been the Doctor the entire time and the Valeyard was the Doctor's attempt to stop himself from going evil by, uh, also going evil. Also everyone in the entire show joins either the Time Lords, Daleks, or Cybermen by putting on a specific t-shirt and they have stupid faction wars played against each other that looks like 11th dimensional chess to a middle schooler.
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Apr 1, 2015 00:34
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Wrestling is fuckin' dumb.
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Apr 1, 2015 00:36
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Big Mean Jerk posted:Wrestling is fuckin' dumb. I like the pectorals they make me feel nice in my pants area.
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Apr 1, 2015 00:50
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Craptacular! posted:Occ's post inspired me to watch that wrestling thing. He got a few events out of order and wrong. Originally Chyna turned on HHH/DX to join The Corporation and cost him a title match against The Rock, and then a few weeks at WrestleMania 15 he also followed suit, which launched his bad guy run kind of nonsensically but On the other hand, I love how he literally didn't change a thing about how Undertaker got Triple H to fight him one last time. Like the whole "You're not as good as Shawn!" bit is almost word for word what happened.
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Apr 1, 2015 01:04
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Jerusalem posted:To try and suggest that he was somehow born "special" and destined/"chosen" (ugh, Chosen One stories This, and also in agreement with the bits about what makes the Doctor's character great is that he's just an ordinary person (relative to his society) who, through sheer force of moral will and determination, does great and amazing things for the betterment of not just people he personally encounters, but for entire peoples and civilizations. But, to touch on the matter of the Doctor being seen as a 'god' or special or whatever, I do think why he's been portrayed as a god-figure, or at least god-ish, in New Who is due to two reasons. First, it's an attempt to inject a sense of enormity and awe into the species of the Time Lords as a whole. I recall it being mentioned in Trial of a Time Lord (DoctorWhat, you're the Colin Baker expert so you'd know more than I would on this, so feel free to correct me if I'm wrong on any of this) that the Time Lords had held mastery over the Vortex for tens of millions of years relative to their own spot in time/history. Also, these are a people who - individually - live for at least a few centuries, and potentially many thousands of years, due to their regenerations. So you have a species that has all these aspects, but in Classic Who, while the Time Lords as an external force were depicted with mystery, the Doctor himself wasn't. Now he's the last one left, and we see through his companions this image of him as, yes, relatable, but also distant, mysterious, unimaginably above and set apart from humanity due to his species and the legacy that species left and the role it filled when Gallifrey still stood and just the sheer facts of their biology (long life span due to regeneration) and their technological/scientific achievements. Secondly, it's - at least I assume in the mind of RTD and maybe Moffat - a natural consequence of the legacy the Doctor had built throughout the entirety of Classic Who. Think about it. He does all these amazing things, kicks the Daleks' rear end all the time, even to the point that when the Daleks first develop a time machine, the first thing they do is try to assassinate the Doctor (in The Chase). He topples empires, foils the plans of dictators and tyrants, and acts - and is! - a larger-than-life hero. So you take that legacy, in its sum, and then in New Who - from a certain perspective - it makes sense for people throughout space and time to have heard of him. It makes sense for bad guys to genuinely get worried at the mere suggestion of his involvement in their business. It makes sense for the Daleks, his most feared yet most consistently defeated enemy, to have him in their legends as this terrible and mighty figure. Now, of course it's annoying to have him be this god-figure in New Who because, at least as I see it, it often serves as a Deus Ex Machina and obscures good storytelling. Basically, when the Doctor wins the day by virtue of his reputation, or when that plays a big role in the plot, we're told that he's amazing and awesome instead of being shown it, the latter having happened consistently in Classic Who. But I'm saying, there's a logical point of view that would lead to the Doctor being written as having that 'status' in New Who. Renzian fucked around with this message at 01:12 on Apr 1, 2015 |
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Apr 1, 2015 01:05
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Wrestling is actually cool, and good. And loving dumb too E: here's a photo of Triple H 2 days ago as proof 
Blasmeister fucked around with this message at 01:26 on Apr 1, 2015 |
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Apr 1, 2015 01:24
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Blasmeister posted:Wrestling is actually cool, and good. Just like Doctor Who We cracked the case
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Apr 1, 2015 01:25
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Big Mean Jerk posted:Wrestling is fuckin' dumb.
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Apr 1, 2015 01:30
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Doctor Who has two characters that are a part of every episode, and one is a box. The companions have consistently been there, but are written to be different characters as they change actors while the Doctor can cheat a casting change. The box rarely needs to change since, uh, it's a box. So if you write the box into the body of a person, of COURSE the Doctor and a TARDISWoman are going to have centuries of banter to talk about. The interesting thing about the Doctor is, when he was introduced he really had two unique things going for him: He could travel in time and space, and he could shapeshift if he died. We're now at the point where not only do threats travel through time, but more mortal races eventually figured it out. Jack was supposed to be from some organization of "time agents". Even modern day humans figured out how to do some really weird transreality poo poo: Torchwood 1.0 was making contact with places outside the universe, presumably with little more resources than the UK budget and a collection of artifacts the crown picked up from the Doctor's adventures over centuries. So really, his time travel isn't so spectacularly unique as it was when the series launched, and his shapeshifting is usually a non-factor since he only dies every now and then. There's a lot of people across history who could take it on themselves to take on many of the fights he does, but they leave it up to him because, well, it's who he is. Gaz-L posted:the whole "You're not as good as Shawn!" bit is almost word for word what happened. WM22 was the time he took on Cena and the internet was forced to pick between a guy who has ruined so many other people's chances to shine, or a guy who is basically invincible, and was the first time Cena hate really took over a major event with that lovely mafia-themed entrance. I saw #31 a few days ago and the crowd was cheering on the Vladimir Putin proxy character, so apparently the company has been ignoring and resisting how much everyone but children hates Cena for nine years. That is an eternity in wrestling. Some of the kids who couldn't understand in 2005 why their hero is hated by everyone are now driving themselves to the arena and yelling at him to go gently caress himself. Craptacular! fucked around with this message at 01:43 on Apr 1, 2015 |
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Apr 1, 2015 01:36
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Doctor Who "The Doctor's Wife" Series 6, Episode 4 "The Doctor's Wife" is a tiny miracle. Written by nerd darling Neil Gaiman (and re-written, and re-written, to the point where he eventually handed it off to Moffat for finishing touches and then locked himself in a cupboard so he wouldn't be compelled to make another draft), it deals with lending characterization and rationale to the Doctor's longest-standing, if not necessarily anthropomorphic, companion, and in doing so lends explicit explanations to various tropes and conceits throughout the show's history that, at the time, had only been guessed at by fans. Yes, says this episode, the TARDIS is alive. Yes, it has personality. Yes, the Doctor's atrocious piloting skills are in part due to chicanery on the TARDIS' part. All of this delivered in a scrapyard Victorian madhouse with a script critically overloaded with fast-paced, quippy dialogue - Moffat scribbled in several lines on his final pass over Gaiman's script - with the TARDIS herself, played by Suranne Jones, looking like Helena Bonham Carter caught in a wind tunnel. The miraculous thing about "The Doctor's Wife," really, is that it wasn't a total loving disaster. Like "Blink," it could have gone wrong in a hundred different ways, and instead turned out to be one of the most beloved episodes in the series canon, often begrudgingly acclaimed even by people who hate Series 6 with a toxic passion. Gaiman's presence alone could have been some cause for alarm. I've never been a fan of the man's prose; his concepts are strong, but his narration is often fairly boilerplate and his character dialogue (at least going by American Gods) gets aggravating fast, since his characters are often painted in big, broad strokes and rarely shut the hell up. In Good Omens, Gaiman's collaboration with Terry Pratchett, it's easy to pick out Gaiman's bits just by how clumsy or reliant on gross-out they tend to be in comparison to Pratchett's. But the man works in a number of mediums, and often does best in those with a strong visual component to buffer his scene-setting and relatively straightforward characters to carry his dialogue, such as his graphic novel series and, yes, Doctor Who. Gaiman's right at home writing for a world that subsists entirely on witty banter and fast-paced nonsense explanations of alien stuff, and was delighted to finally wade into a Who script himself. Even then, "The Doctor's Wife" went through so many rewrites it probably came out looking like the spooky Frankenstein couple Auntie and Uncle by the end. One early draft was meant to be filmed during Rory's little vacation into the universe-eating cracks; you can imagine how much reworking that one took. Even the title got knocked about - the original title was "The House of Nothing" (ehh), then "Bigger on the Inside" (bleehhh), before settling on "The Doctor's Wife," which was itself a dummy title for acclaimed Fifth Doctor serial "The Caves of Androzani." Unlike "Blink," which succeeded in spite of a critically brief production period, "The Doctor's Wife" was in serious danger of being revised to death; anyone who's written anything can agree that, while edits are vitally necessary, if you pore over a story for too long then what's left will probably be clunky, inoffensive mush. Instead, we wound up with a plot that mixed Gaiman's macabre tendencies with the Eleven era's frantic pace and jokey dialogue, which somehow never becomes tonally dissonant. "The Doctor's Wife" is one of the most visually unfriendly episodes of the revival, all murky greens, blues, and greys whether the characters are mucking through the asteroid-sized trash heap of House or the endless corridors in the TARDIS. Auntie and Uncle have a slick, greasy look to their skin that makes you a bit queasy even before you realize how misshapen they are, and the way they keep cooing those ominous phrases in their indistinguishable accents doesn't help matters. Then there's House himself, because a disembodied voice that's as basso as whalesong and casually says things like, "Feed, if you will" or, "I repair them when they break" is just ever so trustworthy. Eleven's blithe, perky disregard for the blatant danger of existing anywhere near House illustrates how desperate he is to reconnect with his own kind even before Amy and Rory start muttering about it behind his back. "You want to be forgiven," Amy says, cutting right to the heart of things, and Eleven's voice finally cracks when he says, "Don't we all?" If "The Doctor's Wife" were merely a well-acted depiction of a humanoid TARDIS, it'd be good enough, but including the subplot of Eleven's need to reconnect with some fragment of the world he lost elevates it to one of the greats. And the TARDIS is well-acted, Bonham-Carter comparisons or not. Suranne Jones isn't just a bagful of empty quirks; she gives the TARDIS a full character arc over the course of the episode that revolves more satisfyingly than some several-season Companions we've endured. The TARDIS is a non-linear consciousness shoved into a body that has to deal with tedious things like "nerve endings" and "organs" and "a brain that has to do things in order," and takes this situation with a mix of terror and delight. She's a sizzling ball of sensory overload in her introduction, chomping down on Eleven just to see what it's like ("I love biting! It's like kissing, only there's a winner" - almost definitely a Moffat line given he used something similar in Jekyll, he's nothing if not true to himself), and later, when locked away in the depths of the junkyard, she randomly blurts out lines backwards or from conversations minutes ahead, visibly unnerving herself. Gaiman almost definitely took this idea from a minor character in one of Pratchett's "Witches" books in the Discworld series, a senile sibyl who was said to "have a detached retina in her second sight," but the TARDIS' non-linearity isn't a one-off joke; it highlights how pathetically unsuitable a human body is for this entity, and emphasizes that this situation can't possibly last. As her body starts to burn out and she gets a better grip on the world around her, the TARDIS' quirkiness burns down to the point where she's able to act as a grounding force for the Doctor, possibly the only entity in the universe weirder than herself. Their relationship is shown to be mutual from end to end - they both stole each other, they both need each other, and neither of them are in any hurry to let the Doctor go, even if the TARDIS is a bit peeved that the Doctor always opens her doors the wrong way. "You're the Doctor," she says curtly, when Eleven learns she's dying. "Focus." And the Doctor does. Can't argue with the wife. This episode also gives Smith an opportunity to do something with Eleven that we haven't yet quite seen, namely, to depict him when he's absolutely furious. Eleven put up with a lot of poo poo in Series 5, but never had the opportunity to get really pissed at someone besides the requisite Dalek - and even then, his behavior was shaky, a holdover from Ten more than an extension of his own, unique personality. But his discovery of the distress-signal collection shows us a fury that's all his own, and way more in keeping with his character. He keeps the dialogue jaunty, but his voice drops to a hoarse mutter that turns into a snarl or a shout without warning ("This is what the translator picked up, cries for help from the looong dead"..."HOUSE REPAIRS YOU WHEN YOU BREAK! YES! I! KNOW!"). Eleven's all about lies and filters, disguising how he really feels behind a permanent daffy facade, and even when he clearly wants to he has trouble turning it off; he does a brief soft-shoe to mock Uncle's misshapen feet whereas Ten would have at this point been screaming loud enough to rattle the ceiling. As he says to them, "You gave me hope and then took it away. That would make anyone dangerous, God knows what it will do to me." And he means it, too - Smith plays Eleven as someone so good at keeping his feelings locked down he really doesn't know how to cope with rage, which makes him come off as way more menacing than Ten at his shoutiest. Not Nine, though. Eccleston could glare a hole through a steel wall. It's fitting that this would be the episode where Eleven finally cracks, as its tone is so dark that it's a shock it never turned into dirge. Eleven's an unhelpful, deceitful dick to Amy and Rory for the entire first half as he chases the voice of his dead kin. Auntie and Uncle are unctuous and creepy in the extreme, though they become a ready source of hilarious gallows humor right up to their abrupt deaths. House, chocolatey baritone aside, is both completely unsympathetic and not even all that imposing, an easily duped sadist who gets by with the phenomenal cosmic power he stole from the TARDIS, the cosmic equivalent to a kid pulling wings off moths. Rory pseudo-dies again in a scene that wouldn't be out of place in a Kubrick film (it's never made clear whether his insanity and decay is real or a product of House's influence, though I'd place all my money on the latter because whatever kills Rory Williams only makes him stronger). Even the brief snatches of banter between the Doctor and the TARDIS are tempered by the knowledge that the TARDIS' lifespan is down to minutes. It's a testament to the strength of the performances, and the brief, isolated moments of light (like how Amy conjures up her wedding with the word "delight") that the whole episode didn't just sink into a big depressing swamp. As always, I have nitpicks. House felt like a waste of a villain - a disembodied planet-sized intelligence who was at heart just a petty sadist despite its urbane turn of speech could have been a blast, but the plot requires him to be such an utter sucker that he spends the last fifteen minutes essentially stupiding himself to death. Nephew was even more of a non-entity, one more easily brainwashed Ood who went as easily and left as little impression as a sheet of copy paper. After spending so much time with the TARDIS' infinite depths merely hinted at, I'd have liked to see more of it beyond just corridors, even though they likely didn't have the time or budget. And while the final goodbye between the TARDIS and the Doctor was sweet and all (remember - lump of coal where m'heart should be), that final, whispered "I love you" was pushing things way too bloody far and almost spoiled the whole moment. The whole "hello, Doctor" bit was great! It was subtle and powerful and spoke volumes of the characters involved! Why cap it with a line that wouldn't be out of place in a drat Chicken Soup book? I don't know who to blame for that line, but I'm going with Gaiman, since Moffat seems to believe relationships are mostly a product of mutually destructive obligation and love is just an occasional happy by-product. Fie on whoever it was, in any case. But yes, here we at last have incontrovertible canon-enshrined proof that the TARDIS is alive, sapient, and willful to the point where it'll often shanghai the Doctor's travel plans because it thinks it knows better, and it turned out well enough so that Gaiman's take on the matter is difficult to argue. By the end of the episode it's clear that the title is deserved - that the TARDIS really does deserve to be called the Doctor's longest-running Companion, an intelligence that's every bit his equal and reliant on him as he is on it. If the Doctor had a wife, it would be the TARDIS. And also River Song. Oxxidation fucked around with this message at 04:59 on Apr 1, 2015 |
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Apr 1, 2015 02:15
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mind the walrus posted:Again, any series that runs too long runs into this problem, and even the original creators are as prone to loving things up as anyone. That's the reason why DC and now Marvel reset their superhero universes to keep things in check and why scholars can make lifetime careers sorting out "official" mythology of the Greeks, Norse, Hindu, and yes Judeo-Christians. There really is a value to knowing when to tie a bow on things and say "the end." Doctor Who cheats this far far better than most fiction, but it's far from immune. Wasn't Gene Rodenberry loving TNG up worse than anyone, due to a mix of senility and dogmatism?
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Apr 1, 2015 03:09
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Is it possible for you guys to go one episode review without using "tonal," "tonally," or a variation of the word tone? You could almost make a drinking game of it. (And players would be drunk.) As for the episode itself, I find Gaiman's other stories far better than this. I absolutely hated this "The Doctor's Wife" when I first saw it, and while a recent rewatch saw a more favorable response, it still not Top Ten. It's the one where Rory and Amy run around in some tunnels for 20 minutes. Neat.
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Apr 1, 2015 04:36
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Transmodiar posted:Is it possible for you guys to go one episode review without using "tonal," "tonally," or a variation of the word tone? No.
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Apr 1, 2015 04:39
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Since when was Nathan-Turner in NuWho
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Apr 1, 2015 04:55
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Whoops, misread the article. Correcting.
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Apr 1, 2015 04:59
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Jurgan posted:Wasn't Gene Rodenberry loving TNG up worse than anyone, due to a mix of senility and dogmatism? Yeah, he was totally off the wall and loving things up. Although to be fair he also was responsible for establishing a lot about its tone that was unique after it transitioned into more practical and sane showrunners.
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Apr 1, 2015 05:17
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Very few people should try to resurrect a formula for success decades later with a lot of tyrannical control, and Roddenberry definitely was not one of them. That way was the fog machines, purple backdrops and weirdly insensitive antisemitic aliens.
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Apr 1, 2015 05:29
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Transmodiar posted:Is it possible for you guys to go one episode review without using "tonal," "tonally," or a variation of the word tone? Possible? Yes. Ever gonna happen? Considering it's an essential word to describe the emotional texture of a given creative work (see, look how tortured I had to get linguistically just to write a synonym for the word "tone"), I'm going to say "no" ed: and I just did a ctrl-f, I never used the root word "tone" in my most recent review and Oxx used the words "tone" and "tonally" both exactly once, it's not some scourge NieR Occomata fucked around with this message at 05:47 on Apr 1, 2015 |
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Apr 1, 2015 05:44
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I think the way Transmodiar phrased that was obnoxious but uh... You can absolutely write reviews without using "tone," and if you're leaning on the word, it's bad, and that pre-edit post was super-defensive.  I know they were being an rear end in a top hat (and they were even wrong about it), but if your knee-jerk instinct is to become defensive about word choice, then you might want to look at how you respond to criticism, particularly if you are interested in careers in writing 
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Apr 1, 2015 05:58
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Yeah that was a dumb post, I shouldn't have posted it
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Apr 1, 2015 08:00
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Oxxidation posted:And while the final goodbye between the TARDIS and the Doctor was sweet and all (remember - lump of coal where m'heart should be), that final, whispered "I love you" was pushing things way too bloody far and almost spoiled the whole moment. The first time I watched it I was so relieved that the big complicated word was "alive" rather than "love" that I barely registered the "I love you". It could have been so much worse.
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Apr 1, 2015 14:45
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Personally, I'm not liking the tone of this thread right now. 
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Apr 1, 2015 15:24
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An Ounce of Gold posted:Personally, I'm not liking the tone of this thread right now. That's the best part, if you don't like the current thread, it'll regenerate into another one someday!
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Apr 1, 2015 15:38
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Thread's current tone matches series 6. My immersion is complete.
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Apr 1, 2015 16:33
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Toxxupation posted:Yeah that was a dumb post, I shouldn't have posted it Occupation's epitaph.
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Apr 1, 2015 16:56
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Oxxidation posted:Occupation's epitaph. It'll be etched into all our tombstones, really.
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Apr 1, 2015 17:01
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Toxxupation posted:Yeah that was a dumb post, I shouldn't have posted it That goes for all the words you typed about pro wrestling too.
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Apr 1, 2015 19:01
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Due to Oxx being busy irl, we will be skipping one review this week (expect the next one over the weekend)
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Apr 2, 2015 03:40
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| # ? Apr 24, 2024 09:49 |
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Bicyclops posted:I think the way Transmodiar phrased that was obnoxious but uh... You can absolutely write reviews without using "tone," and if you're leaning on the word, it's bad, and that pre-edit post was super-defensive. Now you're making so jealous I never got to see the pre-edit post! And I wasn't being an rear end in a top hat, I was legitimately curious. Because it is absolutely a staple of the reviews (which I enjoy) and it makes me laugh when every loving review dips into some discussion of how it's tonally this or that. I can't be the only one who sees it. (And now you'll never UNSEE it  )
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Apr 2, 2015 04:41
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