if more authors asked this very simple question the world of english literature would be in a very different place
the problem is they’re asking the wrong question. the issue is not one of finding the correct vocabulary or phrasing. the question is how to capture what vocabulary and phasing are, by their very nature, unable to touch
i don’t think they’re unaware. i think they’re fully cognizant and it shows in their reliance on trope and pathos. they try to get around the issue by powering quickly through it with a vague directness that hopefully leaves the reader to fill in the gaps. but it is illusory and thin, and once the screen is punctured, one finds an empty room behind
writers be like, hey you know this thing which is notoriously inept at capturing depth of feeling, i think i am going to pin everything on that
@KitRedgrave i've got both
@coriander they're not supposed to win because seattle becomes insufferable whenever its sports teams win
@coriander i love the mariners but they're supposed to be average. they're supposed to have what looks like a pretty good season but not have the depth to sustain it and wind up losing a lot of late games and coming out solidly average or slightly below. that's what the mariners are all about
@SportsGoblin seattle has always been full of baseball fans they're just usually mildly embarrassed by the fact
@aescling oh i meant it the way one might say i don't believe in hell
@aescling i don't believe in ohio
@aescling in theatre it is conventional for people to wear very heavy makeup and make exaggerated expressions and movements and for sets to have lots of large, loud yet crude detail because it is important for the play to still be understandable by people sitting far away in the back of the audience
anyway the mario trailer felt like that
@coriander (NASCAR voice) tires mania
it’s at the end because like, it was already on an EP, everyone has heard it, we all know it by now
but it still vibes so hard
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