Wednesday, February 11, 2026

The DreamSMP, a Moment in Time

A man stands in a small, dank, stone room. His shoulders hunched, demeanor defeated and aching despite the celebratory sounds of fireworks heard through thick layers of earth outside. His fingers rest on a crude button set shallowly into the rock face in front of him. Across the walls are tacked crumpled pieces of paper and signs, poetic words made illegible by frantic, scrambled handwriting. He mutters to himself, conflicted, then screams into the silence.

“What are you doing?” A cool voice sounds from behind him. Warmth bitten with anticipatory restraint. A father, admired and as such distant, is there when the man turns. He stammers, tries to explain his antics but it is plain to see how affected he is. The madness in his eyes.

The father attempts to console him, but it is no use. 

“There was a saying, by a traitor… It was never meant to be.” The man’s movements are swift and sure for the first time in years, his hand deftly pressing the button into a depress, then coming to rest in a salute as he turns back to look at his father. The sizzle of a building fuse, followed by scrambling and popping is heard as all at once, dozens of pounds of explosives ignite. The father runs toward his son, but watches as the walls crumble around them, letting cracks of sunlight and sprays of disrupted water fill the air.1

Wednesday, November 5, 2025

The Sound of EverymanHYBRID: Diegeticism, Metatext, and Dramatic Irony

 

canyouseethewords.tumblr.com


“Diegetic: (of sound in a movie, television program, etc.) occurring 

within the context of the story and able to be heard by the characters."

Oxford Languages


Music, in a film, typically serves a few purposes. Most of the time, it seeks to expand a soundscape, to add into the growing narrative presented to a viewer. Cinematic media as we currently view it has the standard of privileged viewing: we see each necessary element of the known story from the point of view of a character or cast who grant us the privilege of watching events as they occur. Lights and music are–for the most part–not diegetic, and we as viewers are so used to this Hollywood standard of creation that it isn’t defamiliarizing. So what happens when a piece of media doesn’t have that manufactured element? When everything the audience sees is barely enough for the full picture? When the world is too big to capture? EverymanHYBRID, a found-footage ARG that took place between 2010-2018, challenges these assumptions and more with its innovative use of diegetic music for storytelling, puzzle-crafting, and, at times, intense foreshadowing.

Wednesday, October 29, 2025

Film Response: McCabe and Mrs. Miller

 Mini response for UW's CMS 270: New Hollywood class regarding the 1971 film "McCabe and Mrs. Miller" and its sound design.

Tuesday, October 28, 2025

Dan Howell's WE'RE ALL DOOMED

 
 
An unnecessarily lengthy commentary after watching Dan Howell's 2024 stageshow.

Tuesday, October 21, 2025

Film Response: 2001: A Space Odyssey

A brief response for UW's CMS 270: New Hollywood class regarding the 1968 film "2001: A Space Odyssey" and how it relates to modern day technology usage.

Monday, October 13, 2025

Film Response: Easy Rider

 A brief response for UW's CMS 270: New Hollywood class regarding the 1969 film "Easy Rider," focusing on the central characters' search for America.

Monday, September 29, 2025

Film Response: Bonnie and Clyde

 A brief response for UW's CMS 270: New Hollywood class regarding the 1967 film "Bonnie and Clyde," focusing on its genre and Hollywood standards of the time.