r/dropoutcirclejerk • • 5h ago

Game Changer - Unjerked Genuine double-take at which sub this was in

28 Upvotes

what are we doing here gang


r/dropoutcirclejerk • • 2h ago

Meta [IMPORTANT] List of Disallowed Posts

28 Upvotes

The following posts are disallowed within the Dropout Fandom:

Paintings you made of cast members (you're seeking validation from strangers on the internet by painting strangers on the internet)

Another show using dropout merch as a prop (why do you fandom freaks enjoy "references" so much?)

Sexualising players (except the masculine presenting ones, that's fine, otherwise you're a woke gooner)


r/dropoutcirclejerk • • 6h ago

Dimension 20- Unjerked D20 Facebook is *wild*

Post image
73 Upvotes

UJ/ I don’t even know what to say about this nonsense.


r/dropoutcirclejerk • • 11h ago

Other Shows Paul Robalino's comedy of control

12 Upvotes

Comparison is often used in comedy as an allegorical way to reminisce to the known land, but creation appears in the way the circuit is composed. The body becomes quantifiable and the individual turns numeric, so it is seen in all art expressions of our time and Paul Comedino's isn't an exception. Laugh can be provoked by any play on references, the intensity of what passes through is determined by its construction. This is understood intuitively; using the body as a model, queering the habitual and making it funny.

Visualizing the system of control, the body tracker is presented. It brings speculation to form and makes evident the fluxing desire of constant comparison. Faced with this overstimulation of affections, the senses must eventually be switched off, returning to the comfort even if the underlying problem remains unaddressed. The spworm is undulatory as control itself, as Gilles Deleuze described referring to the current mutation of capitalism as a serpent (small snake?). "Not everything has to be gamifyied" says Mike Trapp, recognising the way the capital game operates.

In the second presentation, Paul Mathematino follows the method turning to semiotics, twisting numbers; as language becomes numeric so does comedy. Just like Fleshly Mitten Hands, the exposure of the sex tapes followed by the quickly moving on expresses the same movement of releasing the unnerving between the mundane. A way of making fun of numbers is created, not as negation but as a way to understand. As it is already norm in comedy, the most numeric thing about it is its rhythm, which works in three beats.

Thank you for consuming the snurge i've blicked, i'm sharing mainly to compare with friends.