>>20762226That does complicate things, yeah, but having a long stretch of time between songs (and releasing the first two as singles) doesn't prevent her from having some kind of broader purpose behind how they're arranged, or how the later ones were made. As far as we know Graveyard Shift was the first by far, and it might even have been finished a long time before its first release. That's why I've centered my reading of the entire album on it, under the assumption that "UnAlive" was pulled from her, that the relatively late DOA was meant to be a prequel to it, that she had only partially where she was taking things at the time of streaming Scuffed Up Age, and that she built the album around Graveyard Shift with the Elliot pieces as bookends to tie it all together.
I'm curious to hear from her what the order of those later songs actually was; hopefully she mentions it tomorrow.
>>20761301So at this point, the progression we've seen from [Masked Mori, the Mortal Enemy of Hololive], with her edgy electroswing posturing, to [Cute J-Rock Idol Calli], who finally fulfills the sonic expectations set by UnAlive's weeb OP preview vibes by giving us a song that wouldn't sound out-of-place on the HoloFes stage. And if this were an EP that stopped here, I don't think a single anon would complain. It would've been about on par with Your Mori as far as stylistic variety, albeit with a lot more producers, starting and ending in really comfortable territory. And its narrative arc would be close enough to /vt/'s consensus about Mori's story so far:
>Season 0: Oldsoul, running around the city, is bad because she's a jealous ho who hates idols>Season 1: Mori, doing cringey RP shit and working too many jobs, is cute but bad at streaming and does too much wigger shit instead of hanging out with the cute girls doing cute things>Season 2: Calli, the true angelic idol, is good because she coos over Pokemon and dotes on kouhais and sings cute shit that makes me cry and any minute now she's going to give up on AO and rapping and move on to-->6. HUGE W>What the fuck? What is this? Mori's overworking herself HARDER than ever, she's leaning in even harder on the whole "fuck the fans" shit, and she's making me cringe MORE, not less?! This isn't what you promised us at all, you whore!Okay, not really, but HUGE W, much like the midpoint of a TRIGGER show, is designed to intentionally shatter the status quo, bring previously ignored plot threads to the forefront, and disorient the audience with as big and bombastic of a tonal, technical, and stylistic shift as possible. This is Satsuki
impaling her mom and learning about her sister. This is Simon
ending up on death row while his fiancee declares she's gonna destroy the earth. It's the second half where shit gets way less iconic, but much more intense, and WAY more inscrutable.
Sound-wise, HUGE W is blatantly a sequel to GUH, and Mori herself called it something like "a shitpost that goes way too hard". Story-wise, it's a shocking regression back to the edgy villain shit we had supposedly overcome in GS & LLD, but also an escalation.
She's no longer talking like an anime villain, nor a sleazy casino mistress, but like chaos incarnate, an unhinged monster who's abandoned both her past convictions and her present demands for propriety.
>No order, yes havoc, no borders, on doom>No manners, yes rudeness, no smiles, just doomThe support of her genmates, and opening her mind to the beauty of idols, has done nothing to temper her awkwardness or stubbornness; rather, it's only made her that much more committed to destroying the "borders" and spitting on any expectations of "manners". She is free...but also, she is cringe.
>Hametsu wa koko desu death (Teiku thisu!!)>Your life hinges on death desu (Sugoi)>Hametsu wa koko desu death (Teiku thisu!!)>You’ll cringe upon your death desuShe's become the worst-case scenario of Q: Someone who's obsessed with devouring her audience's souls but also someone who doesn't give a shit what they think about it. And I think the over-produced manic dubstep track Camellia put behind it all perfectly illustrates that.
But there's one major difference between it and its prior incarnations like Guh (which pretends to be about dunking on haters but is actually about how her own self-hate is so bad they seem like a joke in comparison) or Dead Beats (Where she talks up being an unstoppable badass who will never sell out but still succeed, but it's all undercut by her own amateurism, immature thoughts, and self-depreciation).
>Sorry boss man, all my skin burned off from the size of that dubski and now>I’m a Dead Beat hahahahahahaha>Cringe is Like… My brandHUGE W is, above all, shameless. This time, she has no problem with being cringe, and no longer sees herself as an anti...but as a Dead Beat.
