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. 

Monday, April 21, 2025

"Oh, To Return"

Attending Cornish College of the Arts' 2025 Junior Art Showcase
Close-Up Image of Logan Worth's "When My Wandering Meanderings Have Finally Reached Their End"

Wednesday, April 16, 2025

Cinematic Universes Don't Care About You

A critical piece examining the relationship between the commercialization of the "Nerd" and the declining rate of quality in blockbuster cinematic universe films.

Saturday, March 8, 2025

Theatrical Writing Exercise: Eat You Alive

A semi-structured freewrite for an Arts Writing course.

Eat You Alive by Madeleine Beckner. Performance: 1 March 2025, 1 PM.

Friday, February 28, 2025

Arcane’s Treatment of Disability: How Viktor Failed


An exploration of Viktor and cultural depiction of disability, as presented by Arcane’s second season.

Wednesday, February 26, 2025

"You Talking to Me?"

Reflection on “You Talking to Me? On Curating Group Shows that Give you a Chance to Join the Group” by Ralph Rugoff as part of "What Makes A Great Exhibition?"

Monday, February 17, 2025

Ekphrastic Writing Exercise: The Seed by AURORA

A semi-structured freewrite for an Arts Writing course.

 Song: The Seed by AURORA, HAIK Concert Live 2021 

Tuesday, February 11, 2025

Dance Writing Exercise: Ilia Malinin's "I'm Not A Vampire"

A semi-structured freewrite for an Arts Writing course.

 Ilia Malinin, Skate Canada 2024, “I’m Not A Vampire” Men’s Freeskate

Friday, February 7, 2025

Brent Watanabe's "One Tethered Bird"

 A research piece on Brent Watanabe's exhibit at the Benke Gallery in South Lake Union.

Sunday, January 26, 2025

Writing Exercise: howmanybirds.com

 Contextualize: howmanybirds.com

Unfiction is a more recently defined piece of media with various examples throughout time – it is a project that posits itself as real, situating its characters and problems in a world that could be, at first, no different to examine than our own. Works that fit inside this genre in a more recent context claim the label with pride, pushing familiarity and comfort to their limits, but older examples certainly exist. To most, the reference point for unfiction is something like The Blair Witch Project, a movie that exists almost more as a phenomenon than a film, mostly due to how real it feels. “How Many Birds” by Brent Watanabe walks a fascinating line, conforming with pieces of eclectic internet interest from the 2000s and 2010s like “Can Your Pet” and “This House Has People In It,” while also expressing reference to the artist’s previous work, that of futility and anguish. I’d argue that the notes scattered throughout, references to a real, concrete story within the narrative, and the overall tones and references of the piece call out to a very specific piece and genre of storytelling, one that exists in a modern internet context unapologetically.

There isn’t much online about “How Many Birds,” at least from a non-privileged audience standpoint. There is a website (howmanybirds.com), a thirty-minute game, and a reference to the project on Watanabe’s site, reading: “How Many Birds. 2024, website / animation / game. code, animation, micro games.” The game itself is a whirlwind, and best experienced blind and fully immersed, but that is part of why it is so effective. In an absurd, projected way, “How Many Birds” takes the player on a whirlwind of a ride, prompting introspective questions and provoking sympathy for a story that we know is deeper than anything that could be investigated on first viewing. It would take hours, longer even, to nail down the narrative that this story is communicating, but that is alright. It’s importance is in that it feels real, that it provokes empathy and an unknown melancholy, consistent themes in Watanabe’s work. There is so, so much more to be found in this project, and I feel as if playing the game was only the first step in a fascinatingly absurdist rabbit hole.


Sunday, January 12, 2025

Jay Merrick and How To Write A Dumb Protagonist

 The second of my Marble Hornets pieces. Obviously spoilers follow for all three seasons of Marble Hornets.

Sunday, January 5, 2025

On physical media

In a world increasingly more reliant on digital (cloud/drive/whatever you want to call it) storage, ownership is a difficult thing to process. 

After I left for my second year of university, my parents moved houses. Having moved a few times before, I do understand the urge to downsize, and they certainly prioritized it. (My mom boasted passing on hundreds of items through our neighborhood’s “Buy Nothing” Facebook group alone, not to mention the Goodwill trips and yard sales.) One thing I noticed specifically was my family’s DVD collection, which has been slowly shrinking over the years, transforming from a solid small library to a couple shelves on a single bookcase. 

I do understand the appeal of digital storage, especially as someone currently jumping between dorm housing to study abroad and (fingers crossed) finally to an apartment next year. But DVDs, CDs, even books, are finding residence online now more than ever. Apart from the very typical “oh this is dystopian because–” or “but you don’t own it!” or even “what if one day, the internet just breaks and we’re all left with nothing but the ghost of the films and art we love lingering in the back of our minds with no reproductions accessible!!!” the sentiment that resonates with me the most is the absence of flipping through cds, thumbing past titles on a bookshelf for that one that you’ve heard about. Call me a sap, I guess, but maybe hear me out first.

My dad, just around when my brother was born, bought a copy of the Star Wars prequels. He hates those movies, enough that he discouraged me from watching them my entire life, and the first time I finally did was when I was 19. I didn’t find them as charming as some people do, but I admire those that do find substance in them. Either way, he bought this box set, plastic wrapped and all, and never opened them. He saw the films in theaters and haven’t rewatched since. My parents never even use a dvd player anymore. The set, to this day, takes up a significant amount of space on my parents’ tiny dvd shelf. If you asked my dad, he’d probably say something offhandedly about “how much they’d be worth if [he] sold them” but he’s not going to. They mean something, even something small, a piece of character that will never be achieved by buying a set of films online. 

Personally, I can’t help but find his ownership of this little set to be both hysterical and endearing. In my parents’ admittedly minimalist (though decorated) lifestyle, having a somewhat useless and not decorative item on a front-facing shelf is a statement in itself, although they’d never admit it. 

CD sales are rising right now, for the first time in years. Younger individuals are buying disc burners, keeping booklets of DVDs and collecting their hard plastic cases. In some fan spaces online, fanfiction binding is becoming increasingly popular, with media that has been nothing but digital gaining physical form. People are starting to remember why the cloud is not as convenient as it seems — it’s fleeting. Streaming services and online retailers can take away your content on a whim, and movies you know and love can disappear from view. Acts like KOSA in the states threaten online spaces, and the archives that do exist are always at risk of deletion or targeting. Without fear mongering, it is important to acknowledge that the loss of purely digital media is a real threat, especially in the current global social network. Further, the support of artists through book, DVD, and CD sales often contributes much more than a streaming service to both the survivability and demand for individual artistic content. 

All that is to say — I find physical media pretty important, and I’m glad for its resurgence in popularity. I hope it remains prevalent why it is important, without forcing reliance upon it fully. I’m grateful for how connected the world continues to be — that I can watch an indie film from a director who I’ve never heard of posted on Vimeo in 2015 at the click of a button — but it is equally as important to make physical that which isn’t. Maybe you find it lame that the consensus of this ramble was “because it’s fun,” but hey, at least you stayed until the end.



Note: Hey guys! L here. Thinking of trying to post once a week this year. Welcome to the first of many.