Entry 9: May The Stars Always Shine and the Moon Never Be Devoured

11/15/2024

Folklore and mythology, the traditional mystical and spiritual explanations as to how the world works, is something deeply fascinating to me. It started with reading the Percy Jackson series and exploring Greek mythology throughout it, and then reading a bunch of other Rick Riordan book series that focuses on other mythologies, like Egyptian or Norse mythology. Nowadays, I am *especially* interested in Pilipino mythology. Though, unlike the ones I mentioned previously, Pilipino mythology isn’t nearly as well-preserved—due to the destruction of native beliefs and traditions under Spanish colonial rule.
However, various sources like today’s post’s focus have been preserving Pilipino mythology and culture. Through it, I want to talk about one of my favorite Pilipino myths: the Bakunawa, the sea serpent that rises out of the ocean to devour the moon— and can will only spit it back out when hearing great amounts of loud noise.

I definitely want to do my part in celebrating traditional Pilipino culture by making sure to remember and enthusiastically share Pilipino folklore. The past few years, I’ve been wanting to reconnect with Pilipino culture as I’ve realized my cultural literacy for my heritage could be far better. Also, honestly, mythology is a great way to teach culture to younger audiences. It’s such an interesting element to be utilized in storytelling, as evidenced by the featured speaker and comic writer Budjette Tan. Additionally, it’s also beneficial to see how the Philippines developed culturally through cultural-exchange on more equal terms, such as with China and India, and not through oppression like under the Spanish or the U.S. It asserts our identity as not something to be forgotten or pitied, but as storytellers who can create tales larger than life— like a serpent devouring the entire moon.
Next week, we’re diving into some of my Netflix binge-watching. If you ever watched a live-action anime adaptation, you’re expecting garbage. It’s a given, it’s a repeat of the utter tragedies of the Dragon Ball, Avatar, and Death Note live-action adaptations. You expect sadness and whitewashing and utter disregard for the source material. …Or do you? (I watched the One Piece live-action adaptation and it’s AMAZING)

Entry 8: MIKU MIKU OOOEEEOOO

11/08/2024

I LOVE HATSUNE MIKU.
For context, she's a virtual idol from Japan. However, the true magic of Miku comes from her fandom. Producers (the people who create the songs she sings to and tune her voice for their songs) are the ones who create the timeless bangers that she’s known for. Some of my personal favorite producers include Maretu, wowaka, Pinocchio-P, and Kira, and it’d be impossible to list all of my favorite Vocaloid songs! But something to note is how Miku’s reach is global, not only due to her songs in Japanese being hits across the world, but also due to her versatile voice bank that’s been used to produce popular songs in other languages (like English, Tagalog, Spanish, Chinese, and more)!
But there’s something special happening. *Very* special.
SHE’S GONNA GET A MOVIE!! Specifically, a movie based on the popular mobile rhythm game, Project Sekai, and the premise of a version of her not being able to sing.

SPACECAT /ᐠ-ꞈ-ᐟ\	Description	Evidence + Explanation
Speaker	The writer of the article is Naledi Ramphele, a contributor to Game Rant. Game Rant is the website where the article was published.	Naledi Ramphele, as mentioned in his bio, is particularly knowledgeable in anime (and specifically anime like Dragon Ball or Bleach). This informs his perspective and knowledge on anime and its production as an avid fan. Game Rant is a digital publication said to be “run by gamers with articles written for gamers”.
Purpose	The purpose of the article is to inform readers about the upcoming Project Sekai movie.	The article states that the movie is “based on original work by Sega, Colourful Palette, and Crypton Future Media,” the creators of Vocaloid. The article then lays out the film’s narrative, including Ichika Hoshino’s journey to help a struggling Miku. It also shows Miku’s broader influence by referencing her appearances in other anime and explaining the popularity of the COLORFUL STAGE! game, which encourages both fans and newcomers to watch the upcoming film.
Audience	The audience for this article is anime enthusiasts, Hatsune Miku fans (ME), and players of the Hatsune Miku: COLORFUL STAGE! game.	By naming the voice actors and referencing popular anime like Dropkick on My Devil! X, the article appeals to readers who enjoy diving deep into the details of anime production. Some of the people on the creative team were “art direction by Kurumi Suzuki (background art, Jujutsu Kaisen: 0)” and “sound direction by Jin Aketagawa (Fire Force)." Additionally, the discussion of the gacha system and gameplay mechanics from COLORFUL STAGE! specifically appeals to fans of the game. Some references to the COLORFUL STAGE! were its “five distinct modes of difficulty for players to tap through.”
Context	Miku, as mentioned in the intro, is a globally popular virtual idol form Japan who’s reached fame through her voice being used in a plethora of popular songs. Her fame has led to her being referenced in anime and games, and has now led to her getting her own movie.	As shown in the screenshot, Miku, to this day, still gets plenty of views and influence through the songs she provides her voice for. As producers have and will continue to make music with her, her fame only grows throughout the world.
Exigence	The exigence for this article is to announce the upcoming *Project Sekai* movie, which is a MAJOR development for both Hatsune Miku and her fans.	This need is demonstrated through the focus on production details and plot summary, ensuring that readers have all the relevant information. For instance, the article mentions that the film is “based on original work by Sega, Colourful Palette, and Crypton Future Media.” By celebrating Miku’s influence in media and emphasizing the project’s production, the article the importance of this announcement for anime and gaming fans.
Choices	The article provides detailed production credits, naming key crew members and their previous works to build excitement and credibility. It also offers a concise summary of the plot to give readers a clear understanding of what to expect from the movie. Lastly, it explains Miku’s significance by referencing her appearances in other anime and influence as a virtual idol.	The article states, “Miku has been referenced various times in media, especially in anime, where the character has been parodied or paid homage to in a large variety of genres.” By connecting the upcoming movie to Miku’s appearances in anime, such as her “guest appearances in Dropkick on My Devil! X (2022),” the speaker emphasizes her influence. Referencing the mobile game and its unique features helps bridge the gap between gaming and anime fans, while the plot summary allows readers unfamiliar with COLORFUL STAGE! to understand the story.
Appeals	The article uses of logos, ethos, and pathos to engage its audience. Logos is seen through the breakdown of the production team and their credentials, as well as the explanation of the COLORFUL STAGE! game’s mechanics. Ethos is used through references to well-regarded anime and games. Pathos is used through the nostalgic and emotional description of Hatsune Miku as a beloved cultural icon and the wholesome movie premise.	For instance, the line “Ichika teams up with [Miku] to try to get Miku’s music to touch the hearts of her audience” appeals to readers’ emotions by portraying the story as uplifting. Meanwhile, the detailed production credits and game references support the article’s authority and provide a logical reasoning for the excitement being built up for the film.
Tone	The tone of the article is enthusiastic and informative.	This tone is used to create anticipation for the movie. By describing Miku as a character and her history in media, as well as highlighting the film’s talented production team (referenced in previous evidence rows), the article pushes to show the project’s quality.

I’m SUPER excited for this movie. And to be honest, that sneak peek the article gives to the plot only intrigued me more because it’s interesting to think of portraying a Miku, a digital voice, to initially being “imperfect”. I think that’s a sweet way to make her more human for something so inherently not human. And honestly, that’s one of my most favorite things explored with Vocaloid music. Creating something with a voice that isn’t entirely human (as Miku does have a human voice provider), something that can sound robotic, to create some of the most touching (or just plain fun) songs ever. I haven’t played the Project Sekai game in a while, but this article has encouraged me to, even if it’s just to catch up on the game’s story so I can catch references to it in the movie.
Next week, we’re doing a video essay. A video essay on what, you say? Well, it’s gonna be a bit of a tonal shift to something more academic and historic… but still, get HYPED, especially if you like folklore.

Entry 7: Even in my fantasies, make-believe couldn't make you

11/01/2024

You know, after a long and difficult day, you just want a story with feel-good vibes and comfort. Something that really warms the heart. But then you open your preferred streaming service, find a show that’s got some good ratings, and sit back and relax… to watch something full of tropes with fetishization and toxicity, shallow character writing that dips into feeding stereotypes, and tragedy that seems to be there for the sake of sadistic pleasure rather than any real empathy for the characters’ real life counterparts.
Ok, so this may not be a problem in every show, of course. But it *is* a problem in queer media, or any media that happened to have a queer character. Expanding the rights and acceptance for queer people in society is still a relatively recent thing, and it still has deep-rooted issues that show its face in our media. From heteronormativity, to fetishizing queer people for straight audiences, and queer characters’ fates being reserved for tragedy and a footnote in straight characters’ stories.
And so, this week, I wanted to talk about a blog post that my friend, Aseob, wrote about the more harmful tropes in queer media. Me and him have a lot of overlap in our grievances, and I thought it’d be fun to a deep dive into them.

SPACECAT /ᐠ-ꞈ-ᐟ\	Description	Evidence + Explanation
Speaker	Aseob, my friend, wrote this blog post! He enjoys a lot of queer media and we like to talk about it, both to enjoy it or critique it.	Aseob establishes credibility through references to historical figures like Sappho, literature such as The Weight of the Stars, and nuanced discussion of tropes like “gay for you” and “immortal and mortal.” His personal experience also adds to the article, as when they discuss feeling alienated by the overemphasis on sexual content in literature or express frustration with heteronormative dynamics being imposed on queer relationships.
Purpose	The purpose of this blog post is to critique queer media, highlighting both its strengths and its flaws. Aseob brings up underrepresented narratives, such as women-loving-women (wlw) stories and queer romances without sexual content, while also pointing out harmful tropes and trends.	There are mentions of limited representation, as seen in lines like, “Even with expansion in acceptance, we limit ourselves in our literature with race and gender.” Additionally, his critique of the overemphasis on sex in queer romance is meant to push for inclusivity and accessibility for readers who don’t prioritize sexual content (especially given ace and/or aromantic queers exist).
Audience	The audience is queer people, creators of queer media,and mainstream audiences of queer media.	Aseob’s casual and conversational tone, and references to popular works like Red, White, and Royal Blue and Song of Achilles draws in the familiar audience of queer people or those who enjoy queer media. At the same time, their critique appeals to creators looking to improve representation in their work.
Context	Queer people across the world (ex: two-spirit Native Americans, Pilipino baklas, the third gender of the Hijra in India) were seen as normal and sometimes even revered due to their gender non-conforming nature. Queer literature has long been a part of literary history, such as Sappho (as mentioned in the post). However, as various factors (like some religions and colonization) led to queerness being criminalized, persecuted, and/or oppressed across the world, it was harder for queer people to ever be found in media, much less be themselves or alive enough to push for it. Even as time went on, queer people couldn’t be depicted without needing to be seen as “evil” and get their due comeuppance in the end. While attitudes haves begun to change and queerness is becoming more accepted, media depicting queer people still has a long way to before it could ever fully encompass the nuance of queer identity and relationships that cishet relationships receive.	The first screenshot references how many Disney villains were queer-coded (ex: Ursula being based on drag queen Divine), making their flamboyance, “gay” body language, and often being people on the fringes of society being seen as something wicked. The second and third screenshots are some rules from the Hays Code, which served to rigidly enforce what was or wasn’t acceptable for film in the U.S. The code was especially harsh on sexuality or anything seen as “sex perversion” which would always include, you guessed it, queer people.
Exigence	The blog post is meant to critique and highlight the representation of queer people in media. With increasing amounts of LGBTQIA+ stories, there is more demand and need for nuanced storytelling that avoids traditional, overuse, or even harmful tropes.	The article’s urgency is further underscored by the influence of societal norms on queer media. Aseob talks about the ways in which tropes like “gay for you” or heteronormative attitudes reinforce stereotypes, stifling the nuance and realism of queer characters. Through dissecting both problematic and beloved tropes, the need for more empathetic and understanding depictions of queer people is shown.
Choices	Aseob uses historical context, referencing Sappho and the origins of the words “lesbian” and “sapphic” to establish the long history of queer literature	The mention of Sappho provides a historical foundation of queer media, while Aseob’s personal frustration with the dominance of mlm narratives adds authenticity and connection to audiences with the same grievance.
Appeals	Aseob uses logos, pathos, and ethos. Logos is used in the analysis of tropes and trends, such as how common sexual content is in queer romance and the societal influences on gender roles within relationships. Pathos is central to their argument, as they share personal experiences and frustrations, such as feeling alienated as an asexual reader or longing for more wlw representation. Ethos comes from their informed perspective, supported by historical references and engagement with popular and niche works.	For example, the appeal to pathos is clear when they state, “I, as an asexual, feel alienated from the need to associate sex with every piece of literature,” which evokes empathy from readers who may share similar experiences. Logos is used in his critique of the “gay for you” trope, where they analyze its logical inconsistencies and harmful stereotypes.
Tone	The tone of the text is conversational, yet critical.	Aseob’s humor comes through when they express a need for more “doomed/toxic yuri,” but they also critique societal influences like toxic masculinity and gender norms. This balance ensures that the text is both engaging, inviting readers to reflect on their own experiences with queer literature.

I have many, many thoughts on the topic of queer representation in media. And not even just representation, ‘cause representation implies that whatever queer person included in media needs to be all-encompassing or a role model, but just the mere and empathetic depiction to queer people. And yea, all of Aseob’s observations? I have most definitely also noticed, and had similar grievances with. For one, heteronormativity in queer media. Love and even platonic relationships for most LBGTQIA+ people exist in a different perspective that a straight person may not usually understand. Gender doesn’t define the role you play in your relationships, what decides who’s more “dominant” or “independent” doesn’t have to factor in how you present your gender. Your gender, at least in my perspective, is something more akin to an occupation. To some people, it’s their lifelong career. For others, they may tend to switch things up every now and then. And others work freelance and do whatever the hell they want. It can define you as much or as little as you let it, but heteronormative lenses on queer relationships tend to make it a strict dichotomy between the more masculine, the one in charge, and the feminine, the one who follows, not acknowledging how homophobic and also just sexist this depiction is.
Also, the “gay for you” trope? I hate it, what’s the point of writing a story about queer love while simultaneously making it not accept it’s queer? The character isn’t even gonna deal with internalized homophobia, the story and even their partner just accepts this. My god.
Anyway, I can write about this all day. Honestly, I’d want to do my own research on it. However, to just sum up this blog post: by golly, do I concur.
Next week, we’re writing about something much happier: Hatsune Miku. One of my favorite things ever. She stares at me from bedroom wall (cuz I have a poster of her).

Entry 6: I'M SO SAD, WHYYYYYYYYY ToT

10/27/2024

When I was younger, around late elementary to middle school, there was a Netflix original that completely changed my brain chemistry. It was one of the first pieces of media that got me deeply wrapped up into fandom culture, along with Percy Jackson and the Olympians. I had dreams about this show, vivid ones that sent me into spiraling bouts of longing for when the newest season would be released and if the characters would finally stop getting their personalities assassinated. I legit cried when I watched the final episode. I loved that show, and that show…
…was Voltron: Legendary Defender.
But the media I’m looking into today is not just about VLD (an acronym for the show’s name). It’s about how VLD is GETTING REMOVED FROM NETFLIX. AHHHHHHHHHHHHHHHHHHH ToT

SPACECAT /ᐠ-ꞈ-ᐟ\	Description	Evidence + Explanation
Speaker	Evan Valentine is the writer for this article, and the publisher, ComicBook, is a news outlet part of Savage Ventures that publishes coverage on entertainment news that ranges from gaming, to anime, to movies, and to superhero comics (and much more). In the article itself, there is a claim that VLD is one of Netflix’s biggest anime originals, which the author supports by mentioning how beloved the show was with its fans that they even tried several times to campaign for a ninth season after the show ended with eight seasons.	Through these screenshots, we can see some background information on the article uthor and the publisher. Evan Valentine has prior experience in writing for entertainment outlets, but does not specify which ones. He also graduated from Loyola University but does not state what his major was, which would’ve been a helpful indicator of his experience and credibility as a writer or someone who analyzes entertainment if it was relevant. ComicBook as a publisher has a steady outreach with 44 million unique visitors, and they also directly contact entertainers and industry professionals in their news reports, interviews, and reviews on media.
Purpose	The article's purpose is meant to inform readers on the recent development that VLD may be removed from Netflix soon on December 7th, but to also tell fans what will become of the franchise’s future after the fact. It also expresses an opinion that Netflix would be removing on of its best original anime.	The title itself of the post sums up its purpose pretty well: "Netflix Might Be Seriously Removing Its Best Original Anime in 4 Months." It gives the timeframe for when VLD will be removed and argues that VLD is one of Netflix's best animes. Simple and straightforward.
Audience	The audience is mainly people who enjoyed VLD.	The actual show released its last season in 2018, so the main audience of VLD has dwindled. So, this article mainly concerns children who may have recently started watching VLD and people who are still attached to the show in 2024 despite the fandom and the show itself no longer releasing episodes.
Context	In the article, it mentions that despite Netflix finding great success with its animated originals and technically “owning” VLD (since it is a Netflix Original), it still hasn’t been enough to change their decision to cut VLD from Netflix. There’s also some context as to just how much fans enjoyed VLD, including trying to push for more seasons after the final 8th season was released.	Some examples of successful animated Netflix originals mentioned on the article were Love, Death & Robots and The Dragon Prince . Also, the article mentions that the reason while Netflix does own VLD, it was still a collaboration between Netflix, DreamWorks, and Studio Mir. These circumstances mean that Netflix’s rights over VLD may be expiring this year. Lastly, in the article, it was mentioned that there were several fan campaigns meant to push for a ninth season of VLD, a testament to the fans’ passion for the show.
Exigence	The need for this article to be created was to inform VLD fans what would happen to the show, as well as discuss the future of the Voltron franchise in general.	In the article, it's said that “earlier this summer, Amazon MGM Studios reportedly approved moving forward on the live-action reboot, with creator Rawson Marshall Thurber (*Red Notice, Central Intelligence)* attached to co-write the film with Ellen Shanman”. They also give the potential date of VLD’s removal, on December 7th.
Choices	The article highlights Netflix’s successes in animation and anime by listing popular series such as Arcane, Cyberpunk 2077, and Castlevania Nocturne, as well as award-winning works like Guillermo Del Toro’s Pinocchio. This gives Netflix more authority in the animation industry. Next, they show the importance of animation to Netflix by referencing other successful animated originals like Bojack Horseman and Love, Death & Robots. Finally, the article focuses on VLD, showing its popularity, the fanbase’s dedication, and potential reasons for its removal from Netflix (including speculation about expiring rights).	Mentioning Netflix’s accomplishments shows the significance of VLD’s potential removal. For example, the article states, “Netflix has gone ‘all-in’ when it comes to both the worlds of animation and anime,” followed by examples of hit shows. This choice gives credibility to Netflix’s efforts in animation, making the news of *Voltron’s* removal feel more impactful. Additionally, by mentioning fan campaigns and the show’s eight-season run, the author connects emotionally with fans who would see VLD’s significant loss.
Appeals	The article uses a mix of logos, pathos, and ethos to effectively engage its audience. Logos is seen in including of factual details about Netflix’s animation success, such as its award-winning animated films and its history of popular series. Pathos is used to appeal to readers’ emotions by focusing on the heartbreak fans might feel if VLD leaves the platform, especially given their efforts to campaign for a ninth season. Ethos is present in the use of credible sources, such as What’s On Netflix, and the logical explanation of potential rights issues due to Netflix’s partnership with DreamWorks Animation.	The article’s appeals are effective because they use logic and emotion. For instance, the statement, “Netflix was even able to score an Academy Award for ‘Best Animated Feature’ for Guillermo Del Toro’s Pinocchio,” strengthens the argument that Netflix values animation and has a history of producing quality content. Also, saying “fans might be heartbroken if this news comes to pass,” evokes sympathy for the passionate fanbase.
Tone	The tone of the article is mostly informative, with elements of sympathy for fans of VLD. The author provides background on Netflix’s investment in animation and the potential reasons for the show’s removal, such as expiring rights or partnerships with other studios. However, the tone shift to show empathy for fans, especially due to their campaigns for a ninth season.	The sympathetic tone is seen in lines like, “Those same fans might be heartbroken if this news comes to pass.” This recognizes the personal investment of the audience while still being objective. The informative tone, on the other hand, is clear in the explanation of production partnerships, such as the mention that the series was created in collaboration with DreamWorks Animation and Studio Mir. This makes sure that the article appeals to both casual readers and dedicated fans.

I greatly, GREATLY loved Voltron. It was my favorite show from late elementary to middle school, and I got really deep into the fandom. And again, I had DREAMS about that show and alternate endings to the eight season that aCTUALLY WERE SATISFYING FOR THE CHARACTERS- So, yea, learning about what’s gonna happen to Voltron: Legendary Defender disheartens me a lot. It was one of Netflix’s exceedingly popular animated series, and it was something beloved to many fans, especially on a lot of tweens’ lives as they matured. I definitely think a lot of fans would feel a similar sorrow over losing the show and not knowing where we could watch it once it’s removed from Netflix. I just really hope that VLD finds another streaming service where its fans can continue to enjoy it.
Or, at least, that live-action reboot isn’t too horrible.
Next week, we're talking about something that messed with my brain chemistry almost as much as VLD did: queer romance in media (or the lack of it, or worse, the disfiguration of it).

Entry 5: METAL (it's not metal, but it does sound cool)

10/18/2024

An interesting detail about this song I saw in the comments is that despite how artificial some of the sounds were, it was actually an experiment on pushing what kinds of sounds a guitar could produce. So, that’s pretty sick. But to the actual content of the song, it’s pretty straightforward. A lady states the Second Law of Thermodynamics, and then a robot tells you you’re unsustainable. However, the way the guitar has been pushed to its limits give the song that aggressive tone that makes it feel like it’s gonna pick a fight with you and the rest of humanity for what we do to the planet. Again, pretty sick.

This video was my first ever introduction to the laws of thermodynamics, so that was definitely interesting. But through that, I got a deeper understanding on how truly limited our Earth and energy can be. I didn’t know what entropy was prior to this song, so learning about it genuinely frightened me! But that’s all for good reason, as it made me really aware of how important sustainability is. The album itself isn’t necessarily a Go Green and the three Rs campaign, but it does tell a more fantastical story of the consequences of letting our society work the Earth to the bone. It worked on me!
Next week, I’m going down memory lane. Whether it’s good or bad memories, I’m undecided ‘cause this show pains me like any form of love pains a person. However, that’s a bit dramatic to say considering that show is Voltron: Legendary Defender.

Entry 4: Fabulous, Foolproof Fixing of Follicle Fell

09/27/2024

I really like styling my hair. Space buns, half-up dos, spiky high ponytails, braids, and hair clips upon hair clips. You name it, I've tried it (or attempted to and failed, but I argue cosmetology is a difficult art to master) I've always loved experimenting with my hair for a long time, ever since I watched the movie "Tangled" and Rapunzel became my favorite princess when I was a young tot. Hell, I even committed to keeping my hair really long for years afterwards because I wanted to be just like her. However, this dream was unrealized because, one, I'm no longer fully a girl and having really long hair kinda pains me, and two, I just didn't take care of my hair well enough to keep my hair ridiculously long. So, what to do? Well, Aseob (a dearest friend of mine) has wrote a blog post that answers my woes!
Heh, this is a blog post on a blog post. Blog-ception.

SPACECAT /ᐠ-ꞈ-ᐟ\	Description	Evidence + Explanation
Speaker	The speaker is the creator of the blog, Aseob Lim. He's got a lot of knowledge on hair care and styling, especially with maintaining the perm he used to have and the various times he's dyed his hair, and this experience is part of what gave him this stance on keeping up a haircare routine (especially when you undertake processes that are especially damaging).	(Please click on the screenshot to see it in full size. This will be applicable to all the images in this week's posts.) While I know about Aseob's hair styles given I was there to see them, this evidence is him giving a bit of his background in styling and maintaining hair from his own words.
Purpose	This post's purpose is to inform people on various tips and steps you can take to care for your hair, as well as an outlet for Aseob to talk about some of his interests in an educational manner.	This paragraph near the beginning of the post introduces the topic of haircare, and then outlines various problems (ex: dandruff, hair damage, hair thinning, etc) that can be solved by it. While there is no outright call to action, there are steps backed up by research (which we will discuss in the Choices and Appeals row) that is highly recommended (and can be altered depending on your hair's needs).
Audience	People (ME) who need to step up their self-care lest any luscious locks they possess disintegrate, or people who simply hold a love for hair styling and the practices needed to ensure your hair stays healthy when you put it through the wringer.	When Aseob outlines all those various issues you can have with your hair in that previous screenshot, those are reasons that a person would want to read this blog post. Also, Aseob also mentions this: "I talked about hair damage and hair care to fix it this entire time, but I never mentioned one of the biggest parts of hair that I’m interested in. Hair dying!" So, this post is just as much for hair enthusiasts and not just failures people who need to better their haircare routine.
Context	There's a few layers of context around this blog post. One, I was on a call with Aseob while he was cutting his hair (and his hair looks so slay now) and it prompted Aseob's idea to make this blog post to talk about something that interests him, and two, Aseob also details some of the history around maintaining one's beauty (from Roman bathhouses to using perfume during the plague), so that was pretty cool.	This bit of info Aseob got about bathing and the usage of perfume during the Middle Ages was from his first source in his bibliography, at the bottom of the post. The information from that source also talked about how the history of cosmetics were influenced by things like class (bathing was a ritual of the rich) or even religion (where in Christianity, the usage of perfume was seen as a symbol of pagan traditions). Also, to explain what happened during that call with Aseob, Aseob was cutting the bleached tips of his hair that were damaged, and then the conversation went on to haircare, and Ithought his knowledge on it was really cool, which prompted him to write about it!
Exigence	The need for this post ranges from the health concerns it mentions, to the anecdotal reason that Aseob wanted to first start this blog (and write this first blog post) to talk about his interests.	Refer to the screenshot in the Purpose row. The need to inform people who are concerned about the health of their hair (ex: me, when I had that call with Aseob) prompted him to write this blog post in addition to wanting a space to write about things he's interested in.
Choices	There are a few instances where Aseob writes comments about his opinions throghout the blog post, like when highlighting specific aspects of hair styling he likes (see the quote I mentioned in the Audience row about Aseob's fondness for hair dying). Aseob also uses facts on health in order to back the advice he gives about hair care, like common hair health concerns or different routines and treatments (like hair masks or hair vinegar , which I’ve never heard of before) proven to help maintain your hair. Lastly, there is the sources Aseob references throughout his post and cites in his bibliography at the end (seen in the screenshot in the evidence column).	Also, refer to the screenshot in the Purpose row. Aseob’s personal experience gives anecdotal evidence on some of the tips explained in his post, the facts, like "shampoos have a lot of chemicals in them, including sulphate. The sulphur is in shampoos because it serves as a vital component of the job of the shampoo. They help strip the oils from the scalp⁴" (Lim sites.google.com), serve to ensure the routines mentioned are backed up by science, and the sources cited bring credibility to the research mentioned.
Appeals	Pathos is used through bringing up personal experiences that provide info on various practices hair care practices through Aseob’s perspective. Facts and research (logos) support the tips Aseob gives in his blog, which is paired with the ethos of Aseob using credible sources in his bibliography.	Refer to the evidence in the Choices row. Even though this is a personal blog, there still needs to be rhetoric devices in order to support the information being presented. The pathos is used to relate to peoples’ experience, the logos is used to explain how various treatments work, and the ethos is used through the cited sources to make sure the audience knows where the information is coming from (and whether they can trust it).
Tone	The tone of this post was earnest and instructive.	This screenshot of steps for a hair care routine, combined with the previously shown evidence of Aseob giving his comments throughout the post, lend to this approachable tone in the post that still has the feeling of assisting the reader.

I think if I disagreed with this post, I’d be a bit silly ‘cause I know absolutely nothing about keeping my hair healthy. Also, the way Aseob put so much effort into researching for this blog post? Like, he could have just done what a more typical blog would do and just give his own hair care routine. Instead, he gathered research and information that made all of these steps to hair care and hair dying make both logical and practical sense. Also, it helps that he cited all his sources because now I can also look into the information on my own. So, yea, I’m gonna be implementing this stuff into my own routine!
P.S. I also am adding a song to the audio player that I think fits this week's post and vibes. Have fun!
Next week, we will be looking at a song. It’s pretty metal (it’s not metal, but it’s super cool and sounds really techno, but it’s actually all the sounds of physical instruments).

Entry 3: The Plethora of Struggles When Rosie the Cat Doesn't Call You Ugly

09/20/2024

You see, I didn't get to experience the joy of Animal Crossing: New Horizons when it was at its height during Covid's quarantines, but I did want it so immensely bad that I got it for Christmas a year or two afterwards. I've been lovingly... albeit on and off, playing it ever since. My island is growing, especially that one hideous pile of furniture I have solely to increase the island rating while I'm busy hunting for the stuff I actually want, and my villagers are beautiful and silly (thanks to one of my friends who let me borrow their Sanrio amiibo cards). So, what else could I possibly want?
Well, apparently, you could want the villagers to call you a "dirty rat". According to this article published on ScreenRant (linked above), the Animal Crossing villager's previous meaner and somwehat even darker dialogue brought a lot of unique personality to each of the villagers, rather than the more basic and cookie-cutter dialogue of newest game in the series, New Horizons. There are several reasons as to why the older titles had more charm, more realism and personality, and why Nintendo should bring back the range in the dialogue options (even if it isn't brutal insults) in order to make interacting with the villagers less of a "you've seen it once, you've seen it all" ordeal and into the enjoyable conversations they used to be. Personally, I love how friendly the villagers are in New Horizons, but we shall see if that's just mere weakness.

SPACECAT /ᐠ-ꞈ-ᐟ\	Description	Evidence + Explanation
Speaker	The publishing website is ScreenRant, a prominent entertainment news source who's contributors have varied specialties and/or interests in film, telvision, comics, and video games. The writer of the article is Varnell Harris, who has been a writer for gaming websites since they were 16 and double majored in Journalism and Creative Writing at Miami University. In the article, they bring up the argument that the Animal Crossing characters have become more shallow in order for Nintendo to keep the content of the game firmly family friendly.	The background of the writer shows there is previous years of experience in gaming, which gives context as to the writer's viewpoint in wanting to bring back the old games' charm; they likely grew up playing those games. And with their previous knowledge in gaming and creative writing, they understand what makes both good character writing but also a good gamplay loop.
Purpose	The article intends to inform Animal Crossing players (especiallly new ones) on the differences between the characters' dialogue in New Horizons and previous games in the series, and to also review how Nintendo should create future Animal Crossing games in order to make sure it doesn't lack the charm original games had in the future.	In these two paragraphs, it both clearly shows the stance the writer has, but also how this article inetends to provide feedback that they want Nintendo to take into account for the future.
Audience	The audience for this article are, on a smaller note, people who typically use ScreenRant for entertainment news, but mainly Animal Crossing players (especially new players who have only played New Horizons).	In the previous screenshot of ScreenRant's About Us section (in the Speaker row), it shows that ScreenRant has been serving 1 billion readers in 2023, so the people who consistently use ScreenRant may be included in the audience for this article. However, with the context this screenshot from the article gives: It shows that the influx of new players during Covid was only to New Horizons, where they felt that the friendliness wasn't an issue and even a positive of the game since they lacked the context of the old games.
Context	The changes in how the Entertainment Software Rating Board (ESRB) rates content in video games, combined with the impact of Covid (especially quarantine) are some of the surrounding circumstances that influenced this article.	The earlier screenshot in the Audience row describes how new players of Animal Crossing found the game throuugh the social isolation quarantines from Covid brought, and how New Horizons's cozy gameplay led to people continuing the game long after. However, this screenshot from the article provides more information as to why the villagers' dialogue has grown more friendly and "cookie-cutter": This information on how the ESRB made Nintendo need to tone down their characters' personalities in order to keep that E rating the company tries to uhold in all of its games, but subsequently making older players of the Animal Crossing series feel alienated.
Exigence	As old players of Animal Crossing played New Horizons, they realized just how much the villagers' not only lost their personalities, but also just how repetitive it got to talk to them even though that previously was a major highlight of the series. The characters didn't only become less snarky; they also no longer give the unique and even wholesome advice they used to. This sparked the need for old players (including the writer of this article) to critique this change, in order to make sure Nintendo fixes this in future games so Animal Crossing doesn't lose its appeal.	The screenshot provided in the Purpose row and the writer's opinion that adding back the personality of the characters' dialgue, as well as less repeats across characters would ensure that the liveliness previously in the series would remain and that players would continue to come back to their islands even when tey finish other aspects of the gameplay.
Choices	In the article itself, the writer appeals to nostalgia for the older games by showing screenshots of funny dialogue from the previous games, describing their harsher snark and more realistic dialogue (especially the occasional, but genuinely meaningful advice) as something with “charm” that “tugs at heartstrings”. The article also talks about the reasoning that the more limited dialogue range across characters leads to players not really being interested in talking to the villagers even though that used to be something that players mainly enjoyed.	Writing about the appeal of the older games, how strong the characters were, and how it made the game both entertaining and comforting works to convince readers of the emotional value of the older games. Additionally, talking about how basic dialogue discourages player to engage with an important part of the game also points out the game’s flaws from a technical standpoint.
Appeals	This article appeals to pathos by bringing up how the characters felt more real, unique, and overall fun to interact with in the previous games and how New Horizons lacks this engagement. Additionally, there was also the emotional value of the advice characters would give in the older games, described to cover things like self-worth and confidence, that gives the older games a sense of authentic comfort New Horizons doesn’t capture. The logos of the article comes from how the article breaks down why the set personality types limits the villagers, as well the problem of players continuing to run out of new dialogue with villagers even as Nintendo updated the game. This serves to show the technical problems of the game that could lead to players getting bored of New Horizons and future Animal Crossing games if this pattern continues.	The screenshots from the Choices row show the language used to appeal to pathos (with words like “charm”, “meaningful”, or “thoughtful”) and the logos is seen in the screenshot above, as it talks about the factual impact of how limited the dialogue is.
Tone	The tone of this article is crictical, but in a constructive fashion rather than a harsh one as this article is intended to encourage imporovements in the Animal Crossing series and to not alienate the audience, the new and old players who enjoy the series.	The previous screenshot in the Appeals row (where it shows the problems with the gameplay loop when talking to villagers) and the screenshot in the Purpose row (the final conclusions of the article) show how the article both points out the flaws of New Horizons in comparison to the previous games, but still acknowledges New Horizons is a great game in its own right and these flaws are simply things Nintendo should improve in the future of Animal Crossing to make sure the series keeps its charm.

I play Animal Crossing, albeit I’ve only played New Horizons, so I fall under the newer audience that didn’t get to grow up with the villagers’ old snark. However, after reading this article and seeing the previous, more colorful interactions of the villagers… hm, I have mixed feelings on the argument of the article. I do agree that the dialogue gets repetitive and that it should be expanded in a way that’s special to each villager, instead of just based on their personality types. Also, I would love to see the villagers’ give wholesome and thoughtful advice like they did in the old games, because I feel like the generally younger audience of Animal Crossing (including myself) would greatly benefit getting to hear that from the villagers we’re attached to. However, I don’t think that means making all the characters meaner or anything. I think the characters with sassy or grumpy personality types should definitely get to say things more amusingly out of pocket, but for the peppy characters or the sisterly ones, that would be a really odd interaction if a character known for being sweet randomly calls you ugly and weird. I’d say the main thing Nintendo should focus on is just making sure each character has more unique things to say, even compared to other characters of their same personality type, but they don’t all need to insult you.
Next week, we’re gonna be looking at the art of cosmetology… specifically, a blog post on hair care and hair dying! Hair care is something I’ve been looking to get into, ‘cause I want to see if it makes styling my hair easier (and also, the obvious benefits to having healthy hair). And hair dying? A dream I’ve yet to fulfill, but I will live vicariously through that blog.
P.S. The audio player will have some tunes courtesy of your favorite Animal Crossing music icon, K.K. Slider :3

Entry 2: For With Such Sacrifices, We Are Well Pleased

09/13/2024

Content Warning: This video contains flahing lights/images, human experimentation, themes of pseudo-religion, and death. By extension, this post itself will be discussing those topics.

Happy Friday the 13th! I didn't even realize what the date would be when I decided this week's media. What a happy coincidence.
Anyway, what exactly are we looking at this time? Well, to expand on my preview from last week, this video is not a review; it's some direct artwork from Vivinos! Very creepy at that! While the video is very metaphorical and ambiguous, here's what I (and a few others in the comments) have interpreted: This video depicts two rats at the beginning whom are being used for experimenting make-up products on (as revealed in the end of the video). After the beginning, the rats are then depicted as two young human girls alongside warped religious imagery, to show how the girls (the rats) are glorified sacrifices for our own needs until the day we discard them, leaving them and their suffering forgotten. And of course, paired with the artwork of the video, the sound of the Russian lullaby scaring children to go sleep haunts the story. So, what exactly this (very unsettling) work is trying to say?

P.S. The song "Tili Tili Bom" will be on the audio player for your listening perusal :] Also, apologies for this being another video, but I'd argue it's very different from the previous week's media given it is specifically an artistic piece rather than a review or video essay. However, next week, the media will be in a different medium!

SPACECAT /ᐠ-ꞈ-ᐟ\	Description	Evidence + Explanation
Speaker	The speaker is the creator of the video and the channel owner, Vivinos. Vivinos is a Korean animator and artist who has created works involving cute aesthetics, romance, and horror. In this video, there is an argument being made against any "necessary evil" or sacrifice for our benefit through animal cruelty in products, specifically make-up products.	This video is part of the ⚠️ series Vivinos has, where they explore more solemn/disturbing topics through their unqique art. In the video itself, personified depictions of the experimentation rats go through for make-up testing is shown in a horrorfic light (around 1:27-1:40) to establish the argument of this video.
Purpose	This video is meant to unsettle and disturb viewers with the realities of animal cruelty in using them to test products. There isn't an outright call to action, but the horror of the video is something that would invoke a sense of justice/morality in many.	The rats appearing at the beginning and the end of the video, with one dead at the end and her suffering as she was being experimented on being personified, are clear messages to the audience about the horrors of animal testing. Additionally, the song "Tili Tili Bom" adds to that disturbing mood.
Audience	Viewers of Vivinos's channel and also people who gravitate towards horror content in general.	Vivinos's subscribers are an obvious audience, but her horror series (as displayed earlier in the Speaker section) attracts people who enjoy horror content in general.
Context	Make-up products in Korea are highly popular, being one of its biggest industries. The style of the video itself was, as said by Vivinos herself, inspired by the movie Midsommar (2019). Also, Korea has a large Christian population.	The Official Website of the International Trade Administration says that "South Korean-branded cosmetics labels (K-beauty) continue to grow in popularity, particularly within Asia. As one of the top 10 beauty markets in the world in terms of global market share, South Korea, in 2022, had a market size estimated at $3.9 billion". Combined with the high demand for make-up products, the Humane Society International, providing this alarming statistic that "South Korea’s annual statistics on scientific use of animals reveal a record-high 4,995,680 in 2022, continuing an alarming upward trend" and "Nearly half of animals used in 2022 were subjected to the most severe category of experiment in which they are denied anesthetic or tranquilizing drugs while being exposed to massive doses of chemicals or used for cancer or infectious disease studies that will result in their deaths", it paints a concerning picture on how common animal testing is in the K-beauty industry. The intense demand for K-beauty products, combined with the data of how pervasive animal-testing is in Korea, lends to the disregard of animal testing being criticized in the video. The style of the video, as well as a reference when the girls are being paraded around, refernces the film Midsommar (known for its story featuring a surface-level idyllic town and eventual disturbing events). Lastly, the PEW Research Center shows that 32% of Koreans identify as Christian, which is greater than the other countries' individual Christian populations shown in the graph. The religious imagery that focuses on themes of Christianity (especially with the death of Jesus) is likely due to Christianity's presence in Korea, in turn affecting Vivinos.
Exigence	The need to spread awareness about animal testing in K-beauty, especially how pervasive and extreme it is, is likely what invoked the creation of this video. There's also the artistic side of inspiration, as Vivinos cited Midsommar for influencing the visuals. This video fulfills the need to not only spread awareness on animal testing, but to also create a sense of empathy and horror so the audience feels more strongly about the issue.	The earlier evidence from the Context of this video also explains the Exigence for it. The high demand for K-beauty products leads to high use of animal testing, in order to keep up with the demands of the industry at the suffering of the animals used to make those products. The influence from Midsommar enhances the emotion of the video, making the artwork resonate more with viewers so the message is stronger.
Choices	This video has stylization galore! The personification of the mice in the form of young girls works to spark empathy and horror in the audience, especially when the experimentation is depicted. The gruesome visuals creates strong feelings of tension, along with the music that builds up tension throughout the story of the video. Lastly, the warped religious imagery creates a comparison between religious martyrs and the girls, or more accurately, the lab rats. The rats are being sacrificed for peoples' needs, but their suffering is for far more superficial reasons.	The song "Tili Tili Bom" is a haunting Russian children's lullaby that scores the video. From around 0:33 to 1:29, the girls are shown to be chosen to help save people from this unknown illness alongside warped religious imagery and symbols of Christianity to present them as holy martyrs. It creates a sense of unease to see what they put the girls through after they parade them around and celebrate them. From 1:27 to 1:50, the suffering the girls go through echoes the testing the lab rats go through (especially as specified as being denied anesthetics while they intake massive doses of chemicals that will result in their deaths from the earlier information from the Humane Society International).
Appeals	This video strongly, strongly appeals to pathos. The unease, horror, and sadness this video sparks through its visuals and music is meant to get the audience to feel the injustice of what lab animals go through in order to produce K-beauty products.	The song creates unease and tension given how its original lyrics are already horrifying (as it's describing a story to scare children into sleeping or else some man will break into the house), the warped religious imagery draws eerie parallels between the rats and martyrs who die for others' needs, and the torture and death depicted encourage a visceral reaction from the viewer as they watch what the girls (aka, the rats) go through. All of this is to ensure the audience feels strongly for the realities of animal testing. The specific time stamps can be found in the Choices section.
Tone	Well, given everything that was just discussed, this video is creepy! It's horrorifying! And it's being used to show the realities of animal testing in a way that induces horror in the audience.	To reiterate: the music, the warped religious imagery, the personification of the rats as young girls to scare the viewer even more as they suffer, and the depictions of experimentation lead to the disturbing atmosphere of the video.

This video's conclusion is haunting, and after I initially watched it, it disturbed me greatly (which was the point after all). I love Vivinos's art and storytelling. She doesn't shy away from tragic topics (given her other videos go over everything from obsession to the bullying young queer people often go through), and she balances her cuter art style with the gravity those topics deserve. And the music she chooses for her videos? They're always such great (if not eerie) listens, and my playlists are overflowing with them. And honestly, after doing this rhetorical analysis, I'm even more inclined to agree with the message of the video after learning the statistics of animal testing in K-beauty. Thinking about it, I think this video could have greatly benefitted from having some sort of logos included. Maybe in the end of the video, or in the description, as nothing could be more haunting than the facts. However, the video itself was powerful with the visuals and music it already had. It made the viewer uncomfortable. And when being confronted with the wrongs of reality, discomfort to the comfortable is needed to do justice to those who are suffering.
Next week, we'll be going into something that's a big tonal shift from this. Have you ever played Animal Crossing: New Horizons? Do you enjoy interacting with the goofy little characters? Don't you like how friendly and sweet they are? Well, apparently some of the older players don't exactly enjoy that. Why? Well, the characters were way meaner before! And an article on Screen Rant is giving, well, a rant on this misfortunate development in the series. (Personally, I love how goofy and sweet the characters in New Horizons are, but that might just be because of my enjoyment of bullying the ones I don't like cuz the worse they'll do is glare at me and stomp their feet rather than verbeally beat me up).

Entry 1: Their Last Performance

09/06/2024

If you recall my little bio on the homepage, you may remember me mentioning an interest I have in a piece of media known as Alien Stage. To go into more detail, Alien Stage is a webseries directed by a YouTuber known as Vivinos, a Korean animator and artist who's previously made webseries involving themes of horror, queer romance, and cute aesthetics that serve to compliment the romance and contrast with the horror. This series in particular features the premise of a singing competetion between humans in the far reaches of space, in a universe where Earth no longer exists. A universe where humans are no longer at the top of the food chain but are now mere pets and puppets for aliens to find entertianment through their "crying noises" or singing. The catch about this singing competition, however, is that if you don't succeed in entertainin the alien audience, you die. However, the media I will be discussing is actually a video review of this series that explains the appeal of it and why people should consider watching. The YouTuber analyzing the series, known as Miss Fimbleton, goes over reasons this series and similar series succeed to explain why the themes of Alien Stage resonated with people so much.

SPACECAT /ᐠ-ꞈ-ᐟ\	Description	Evidence + Explanation
Speaker	The speaker is a YouTuber who's channel name is Miss Fimbleton, who mainly focuses on reviewing pop culture (specifically animated media and K-pop). As she speaks about the plot of Alien Stage, she expresses she views it in a very positive light and considers the art, storytelling, and music as something that can easily spark empathy despite the episodes' relatively short length. She also draws similarities between Alien Stage and other popular shows (The Hunger Games, Survivor, and Squid Game) to further elevate Alien Stage.	2:04 to 2:14 (reasons), 2:15 to 3:06 (similarities to other shows), and 4:13 to 5:14 (encouraging empathy). There's no transcript available, so that's why I've provided specific time stamps. The reasoning the speaker gives to justify the show's appeal (beautiful artwork, usage of music to inspire empathy in a short amount of time, and a unqiue twist to a premise of similar survival game stories) demonstrates her perspective on why she thinks Alien Stage is a successful piece of media people should watch.
Purpose	This video is meant to encourage viewers to watch Alien Stage and there is a call to action at the end of the video.	7:16 to 7:21. This is pretty straight up. Alien Stage is amazing! And you should watch it!
Audience	The audience is mainly for those who fall under Vivinos's and Miss Fimbleton's audience: those who enjoy animated media and pop culture. However, it also includes people who have never heard of Alien Stage (hence encouraging people to watch it and using other shows people may have heard of/enjoyed in order to encourage them to watch it)	Please click on the image screenshot to view it in its original size. Miss Fimbleton's bio shows her interest in fandom culture, and her viewers have similar interests.
Context	Alien Stage had gone up in popularity, which Miss Fimbleton discussed, due to the release of the Round 6 episode on April 5th and YouTube's algorithim, for whatever reason, deciding to promote it. This subsequently resulted in Alien Stage's presence expanding across social media (especially Twitter/X) and drawing in even more people. There has been a surge of fan art, theory discussions, and even other analyses on the series, like this video. Hell, it's even prompted this blog post because Alien Stage makes me both foam at the mouth and sob on the floor. She also touches on the political message Alien Stage has. In Alien Stage, humans have become a lower-class, mere pets to their alien overlords. There were similar themes of the upper class treating people "below" them as disposable in the movie "Parasite", direted by Bong Joon-ho. Alien Stage's director also has a Korean background and Korean society is known for having a more rigid class structure due to low social mobility.	In the video, from 3:06 to 3:42, she talks about how Alien Stage had a relatively small fanbase until after Round 6 was released, where interest in the series skyrocketed shown via Google Trends in the screenshot and shows the reason on why more people are becoming fans. From 6:25 to 6:57, she discusses the political context behind Alien Stage's story and how it influenced Alien Stage and another popular piece of Korean media.
Exigence	The video's creation was sparked by the rising popularity of Alien Stage across socical media leading to Miss Fimbleton discovering the show on April 6. From there, she made the video to fulfill the need of analyzing the why behind the success of a series she and many others are enjoying and using that to promote the series.	3:46 to 4:13. Miss Fimbleton talks about how she discovered Alien Stage and her resulting love for the series (not even an hour after discovering it) prompting her to consider buying $80 merch. It's definitely not the msot expensive merch in the world, yes, but I personally see that as a pretty expensive purchase for only knowing about a series for less than an hour. Anyway, that's besides the point. There was an urgency to understand the series and share it with others in this channel, just like the many other fans who have been makking content for Alien Stage.
Choices	As previously mentioned earlier, Miss Fimbleton uses examples of other popular survival competitions that turn suffering into spectacle to demonstrate the similar appeal Alien Stage has to them. She also talks about how the music quickly encourages viewers to feel empathy for the characters in a way that normal words can't, as well as the heart of the story (that personally makes me cry every time) of how the human thing we do is put all our faith and love into each other in order to survive another day on this Earth (or in the characters' case, in the cold, unfeeling stars). Another merit of the series was its popularity boost due to the YouTube algortithim and how it managed to get all of those new fans hooked, which was shown through both an anecdote from Miss Fimbleton and a graph via Google Trends. Lastly, the political messaging Alien Stage was examined which further enhances the weight of the storytelling in order to translate the social hierarchy in South Korea to something that feels out of this world (all puns intended).	2:04 to 2:14 (reasons of the show's appeal), 2:15 to 3:06 (similarities to other shows), 4:13 to 5:14 (encouraging empathy through music), 6:08 to 6:24 (the heart of the story), 3:06 to 4:13 (popularity boost and getting hooked on the show) and 6:25 to 6:57 (political themes). We'll further dissect the usage of rhetoric in all of these examples in Appeal, but I can say all forms of rhetoric were utilized throughout the argument in order to encourage people to watch Alien Stage. The variety of media used in the video (clips from the show, clips from other shows, graphs and screenshots of other fan interactions) are all choices that serve to further the argument.
Appeals	Miss Fimbleton uses ethos by bringing up other media (the Hunger Games, Squid Game, and Parasite) to draw comparisons between the successful premises and themes between Alien Stage and them. Logos is present through the facts of Korea's society and class conflict, as well as showing the numbers of Alien Stage's popularity boost. She uses the pathos through the music of the show, directly bringing up the idea of empathy in order to immerse ourselves in the joy, anger, and sadness of the characters as they are forced to outperform each other and potentially even be the reason their loved ones die. The core of the story, the thing that makes it unqiue to other survival competition shows, is the fact the characters don't get to directly speak to each other off-stage, so the music and deep devotion characters have for each other is what makes us celebrate, rage, and cry with them.	Previously brought up in the Choices row. By talking about other similar shows with great success, Miss Fimbleton uses their reputations and themes to appeal to viewers who've never heard of Alien Stage. This helps viewers to better understand the show and entice them to watch it if they enjoyed those other similar media. Using the data from Google Trends and explaining Alien Stage's popularity due to YouTube's algorithim gives a factual representation of Alien Stage's appeal if it's amassed and kept such a following in such a short amount of time. Also, describing the political reasoning behind Alien Stage's premise gives it more value, as it shows Alien Stage is also rooted in issues that deserve recognition. Lastly, discussing the music's abstract nature and emotionally charged composition shows the emotional appeal of Alien Stage, along with the moral complexities and tragedy that awaits the characters.
Tone	Overall, the tone of the video is conversationally informative while being lighthearted.	The beginning of the video to 0:29 and 7:16 to the end are notably comedic (including the language, sound effects, visuals, and music), while the other parts of the video that delve into the content and merits of the series (ex: 2:02 to 3:06 as it discusses why the show works) are informative while still being presented in approachable, everyday langauge. This tone is used because it is, after all, discussing pop culture and entertainment as well as enticing people to partake in watching Alien Stage. It's supposed to be infomrative enough to help people understand what the deal is with the series, but also amusing enough that it doesn't feel weirdly formal, pretentious, or distant to the audience.

Now, do I agree with this review? ABSOLUTELY. I chose this review in order to examine what others find to be Alien Stage's appeal because I was one of the earlier fans of Alien Stage, having been a fan of Vivinos prior to Alien Stage even being made. The plot and character relationships of this series make me scream, cry, keel over and faint from the sheer tragedy of the series and how the songs are absolute BANGERS. It wasn't discussed in this video, but there are religious themes/references aplenty in this series to explore the idea of what happens to humanity when we have no home, no reason to have faith, no reason to believe in any God or higher beings besides the aliens that have conquered us. And the series answers that question by saying the thing that makes humanity human, even when there is no solid Earth beneath our feet, is when we find selfless, all-encompassing love and faith in each other, a god in each other. To love and feel without restriction is what makes the contestants still human when there's no pride or home left to define them. However, this video brought up details about the show I wasn't even aware of, like the groundedness the show has with its political messaging (though, I probably should have figured given it's literally about humanity being reduced to mere livestock and entertainment). Though, to expand on how the show touches on real-life issues, it can be argued its a hyperbolic critique of the idol industry in South Korea, what with fans (or in the show's case, cruel aliens) dehumanizing their idols while also greedily relishing their performances despite the exploitation happening behind the scenes. Alien Stage finds success alongside other survival competition shows due to the idea of hyper-entertainment Miss Fimbleton brings up, the morbid amuseent of pushing entertainment to its limits. Yet the thing that makes Alien Stage stand out is the fact of how so much emotion is delivered through the music in such brief packages, and without any spoken dialogue between characters like in traditional shows. If the video's insight along with my own doesn't at least paint a positive picture of the show to you, I have no idea what will. So, yes, if you appreciate good music, morbid competitions, interesting commentary on real-life issues through outlandish circumstances, and love and tragedy, Alien Stage is a wonderful show to live not only rent free in your head, but actively ruin whatever is going on in there. Next week, expect a direct dissection of one of Vivinos's other videos. If you thought Alien Stage was a morbid story, this next one will make it seem like a mere fairytale. More accurately, the Disney kind, as opposed to next week's tone that feels more reminiscent of the Brothers Grimm.
Oh, and one more thing: I have provided an audio player so you can take a listen to the song in the prequel video to Alien Stage. However, I would suggest watching Round 1 on YouTube first to get a true sense of what the show will be about. Here is also a link to the full series in order of release: 🌠 ALIEN STAGE