- Joined
- Jun 4, 2015
the trailer is literally the guy saying "GUYS I NEED TO SOLVE THE PUZZLE AND FINSD OUT WHAT THIS ALL MEANS GUYS I CAN SOLVE IT GUYS"
The Amazing Digital Circus - Western Isekai that probably will become Hazbin Hotel killer
- Thread starter ChuckSneeder
- Start date
-
Want to keep track of this thread?
Accounts can bookmark posts, watch threads for updates, and jump back to where you stopped reading.
Create account
- Joined
- Mar 16, 2025
And when people call it out for the cheap shot it is, Gooseworx will complain about nobody understanding their vision.
- Joined
- Feb 16, 2024
You already know that the fucks are going to be barely there anymore besides the sycophants
Something similar already happened with Last Jedi and Rise of Skywalker.
- Joined
- Sep 26, 2023
Utah teapot yippee
- Joined
- Dec 6, 2021
Silly me. I thought we were all briefed on that.
- Joined
- Oct 6, 2020
Brandon did a thing
- Joined
- Aug 9, 2022
I would imagine Glitch is the collective of marginally saner people keeping Goose inline. When the show ends and it’s just him with a pile of money, unless a miracle happens, he’s going to go sicko mode
Mystery Spy
kiwifarms.net
- Joined
- May 25, 2024
This is something I will never get. He clearly is capable of dark humor, and being edgy, he picked a dark premise with massive horror potential. And all he delivered is a show that‘s, unofficially, for kids.
Now to be fair I am enjoying TADC, and I would be lying if I didn’t say I got entertained by it, so I will stick till the end.
But I would also be lying if I didn’t say I wasn’t disappointed this wasn’t the horror show I was expecting. Even if they go full on SOMA theory for the finale won’t change the fact most of the show was mostly goofy fun, with some therapy sessions, and dark jokes here and there.
That fan made Kaufmo prequel really showcases how much the horror premise was wasted.
Last edited:
- Joined
- Oct 22, 2020
- Joined
- Jun 4, 2015
it's caine wigging the fuck out going by the arms and the eyeball
- Joined
- Aug 9, 2022
I don’t believe for a second TADC is going to end completely. Glitch’s literally who IP’s aren’t going to suddenly become gems because the channel has attention now. More likely this will be an “arc” of content and something TADC adjacent will be announced - hopefully with based Kinger
Last edited:
- Joined
- Dec 23, 2020
I've had the impression everything was scripted and the VO recorded from the start so I don't think the creator spazzing out matters one fuck.
Gondolindrim
kiwifarms.net
- Joined
- Nov 5, 2020
Gaslight is DOA because of a few different things. First of all, 90% of the viewers are only tuning in for Mel. It's good that she's the main character but the bigger problem is that she's the only marketable design out of the whole bunch. Which is just not sustainable. Secondly, the whole "Zombies/Hell vs Angels/Heaven" shtick is so played out already, you have Hazbin the thank for that. Finally, as you say it's just way too schizophrenic in tone. It's trying to be a comedy, a "badass" action show, and a lore heavy muh feelings cartoon all at once. Ask Steven Universe how that panned out
- Joined
- Sep 11, 2024
Are trannies even capable of effectively writing horror?
A rhetorical question, and I have also reason to believe they can't write period, but this is ostensibly supposed to be a horror show. That's the last thing I would describe it as. It builds little tension, and the tension it does build is interpersonal, more like that of a thriller or a drama. There are no stakes that aren't discarded past the first episode, what with all characters being essentially immortal apart from the ill-defined, mechanistically unknown "abstraction" occasionally rearing its head. There is nothing to lose, nothing to gain. The premise itself isn't particularly compatible with horror: it's a confinement scenario, a digital prison. Prisons, by definition, don't leave much space for spooky monsters hiding in the darkness when you're surrounded by sturdy steel bars. Even the gamey "adventures" they go on are so gamey that they build up no stakes; they're purely side-missions to a main questline that hasn't been explored at all. It really is like a bad open-world video game where the protagonist fucks off to do shitty sidequests instead of getting on with the hand-tailored main story. The viewers even get badgered with the occasional "there's a main quest you know" reminder in the form of office photos. Not to mention the fact that making both a kid-friendly (death of the author, it is what it is) and a horror show, while not impossible, takes quite the eye for subtlety and nuance, at which Goose simply fails.
I would like to contrast it with Mouthwashing, a horror game.
Here is an oft-quoted scene from the game. It's short and dramatic and a spoiler. It contrasts the approach of two characters, much like TADC attempts to do with its episodely therapy sessions:
Note the profile view, contrasting man against man. The silhouette rendering of both against the ambiguous backdrop of animated imagery, allowing their words to speak. The slow degradation of sound as the scene comes to a climax, and the slight deliberation before an unseen but certain conclusion. Immediately after it, the player moves Swansea's corpse to join two other crewmembers that have died prior. It manages to accomplish both character development and horror at the same time. And, although it has been embraced by many twitter-types, it has not been written by trannies.
I picked Mouthwashing because it is not a game – it is essentially a kinetic visual novel, you could adapt it to film without losing much – and it is not particularly long – again, a short movie would hit all its plot points – yet it manages to be, you know, a horror 'game'. It also hearkens back to an earlier era of graphics with its crude textures, simple models, dither and scanline transitions and crunchy sound effects – pulling off a consistent retro artistic style far, far better than The Amazing Digital Circus does with its whole animation team – all while utilizing the lack of fidelity and resolution to enhance the horror rather than take away from it. Unlike with TADC, you get what you see on the box. It is all entirely achievable, not particularly deep or groundbreaking, it is short and to the point. It is more minimalistic than TADC, and different in scope, but it also differs in one major way: subtlety.
Mouthwashing is more than capable of leaving things unstated and implied. Its characters do not say what they mean outright. Mouthwashing is hardly the most subtle game there is, but it is capable of it. This is all basic storytelling and character writing 101. TADC... doesn't do that. It's probably why many assume it's kid-friendly, because there is no subtext whatsoever. The only thing you might call subtext is the lorebaiting. Even with the latest episode, everyone falls for the most obvious fake out that they, in-character, should be able to see coming. But they don't, they say they don't, and you are told they don't. It's asinine.
All this to say, Goose is a shit writer and he should've stuck to writing shitty fanfiction and funny little animation projects. He has the makings of a prototypical storyboard artist or character artist; great at goofy, wacky concepts and fitting scenes together, not overarching storylines. He failed upwards past his level of incompetence, and now everyone is going to reap the rewards.
I do question how GLiTCH came to him in the first place, and I do wonder if they couldn't have gotten anyone competent at writing to at least help with the project, but given the "authorial freedom" described prior, that may be the entire issue. Authorial freedom is great when you have a true auteur and not when you have an inexperienced go-getter that you rope into a huge project well beyond his own ken. Goose is no auteur. Goose, like a woman, will never be one, especially now.
A rhetorical question, and I have also reason to believe they can't write period, but this is ostensibly supposed to be a horror show. That's the last thing I would describe it as. It builds little tension, and the tension it does build is interpersonal, more like that of a thriller or a drama. There are no stakes that aren't discarded past the first episode, what with all characters being essentially immortal apart from the ill-defined, mechanistically unknown "abstraction" occasionally rearing its head. There is nothing to lose, nothing to gain. The premise itself isn't particularly compatible with horror: it's a confinement scenario, a digital prison. Prisons, by definition, don't leave much space for spooky monsters hiding in the darkness when you're surrounded by sturdy steel bars. Even the gamey "adventures" they go on are so gamey that they build up no stakes; they're purely side-missions to a main questline that hasn't been explored at all. It really is like a bad open-world video game where the protagonist fucks off to do shitty sidequests instead of getting on with the hand-tailored main story. The viewers even get badgered with the occasional "there's a main quest you know" reminder in the form of office photos. Not to mention the fact that making both a kid-friendly (death of the author, it is what it is) and a horror show, while not impossible, takes quite the eye for subtlety and nuance, at which Goose simply fails.
I would like to contrast it with Mouthwashing, a horror game.
Here is an oft-quoted scene from the game. It's short and dramatic and a spoiler. It contrasts the approach of two characters, much like TADC attempts to do with its episodely therapy sessions:
I picked Mouthwashing because it is not a game – it is essentially a kinetic visual novel, you could adapt it to film without losing much – and it is not particularly long – again, a short movie would hit all its plot points – yet it manages to be, you know, a horror 'game'. It also hearkens back to an earlier era of graphics with its crude textures, simple models, dither and scanline transitions and crunchy sound effects – pulling off a consistent retro artistic style far, far better than The Amazing Digital Circus does with its whole animation team – all while utilizing the lack of fidelity and resolution to enhance the horror rather than take away from it. Unlike with TADC, you get what you see on the box. It is all entirely achievable, not particularly deep or groundbreaking, it is short and to the point. It is more minimalistic than TADC, and different in scope, but it also differs in one major way: subtlety.
Mouthwashing is more than capable of leaving things unstated and implied. Its characters do not say what they mean outright. Mouthwashing is hardly the most subtle game there is, but it is capable of it. This is all basic storytelling and character writing 101. TADC... doesn't do that. It's probably why many assume it's kid-friendly, because there is no subtext whatsoever. The only thing you might call subtext is the lorebaiting. Even with the latest episode, everyone falls for the most obvious fake out that they, in-character, should be able to see coming. But they don't, they say they don't, and you are told they don't. It's asinine.
All this to say, Goose is a shit writer and he should've stuck to writing shitty fanfiction and funny little animation projects. He has the makings of a prototypical storyboard artist or character artist; great at goofy, wacky concepts and fitting scenes together, not overarching storylines. He failed upwards past his level of incompetence, and now everyone is going to reap the rewards.
I do question how GLiTCH came to him in the first place, and I do wonder if they couldn't have gotten anyone competent at writing to at least help with the project, but given the "authorial freedom" described prior, that may be the entire issue. Authorial freedom is great when you have a true auteur and not when you have an inexperienced go-getter that you rope into a huge project well beyond his own ken. Goose is no auteur. Goose, like a woman, will never be one, especially now.
Lone Star
kiwifarms.net
- Joined
- Nov 10, 2021
I've said it before and I'll say it again but even this doesn't matter much because it's so very clear that Goose doesn't have the guts to actually abstract any of the characters. At most, one may abstract within the last few minutes of the finale, but it gets undone somehow.
wtfNeedSignUp
kiwifarms.net
- Joined
- Dec 17, 2019
A more apt question is whether millennials can write anything that isn't just a ripoff or subversion of an existing IP.
And with horror it's important to remember that people like Goose's idea of horror is toxic relationships rather than a physical threat. Due to years of brainwashing from modern animated shows being mainly people complaining about their love life rather than telling stories.
Having therapy session for Goose is more of a fear than being chased around by a monster.
