- Registrado
- 25 de Dic, 2017
I think it’s safe to say that Nostalgic reviews are all but a dead genre at this point. They were replaced by all out documentary style retrospective videos that include reviews in them
🌟 Internet Famous The Mysterious Mr. Enter / Jonathan Rozanski's "Growing Around" - IndieGoGo Campaign Failed, John going off the deep end, "Turning Red" is ignorant about 9/11 (later retracted)
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🚨 DDoS attack. Tor is stable: https://kiwifarmsaaf4t2h7gc3dfc5ojhmqruw2nit3uejrpiagrxeuxiyxcyd.onion/.
🔎 Please read my article, How to Dox Anyone: A Liz Fong-Jones Story. (Xitter), (Substack). -
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- Registrado
- 6 de Oct, 2014
New episode:
www.deviantart.com
GA - Out of April's Mind (Season 2) by MrEnter on DeviantArt
www.deviantart.com
- Registrado
- 15 de Feb, 2017
New episode:
GA - Out of April's Mind (Season 2) by MrEnter on DeviantArt
going without much of a plot?
- Registrado
- 25 de Dic, 2017
There is literally no plot. Or jokes for that matter. April is depressed, Larry roofies her in a field at twilight, she enters her mind and argues with “Deeper April” which is vary obvious a persona shadow knock off, then she talks to her baby self, then she meets “Another April” and she wakes up and decided to move out of her family home and become a big sister to three kids or some shit. It ends abruptly and the actual conflict is not resolved in any way whatsoever.
It also wants to be very artistic with its imagery and symbolism, but it comes across as lazy. Then there’s the dialog, which can only be described as pseudo-intellectual larping
- Registrado
- 16 de Ene, 2019
Welp, like the old saying goes: Cows go moo, sheep go baw, Mr.Enter whines about bad writing while being a hack himself.
- Registrado
- 5 de Ene, 2019
New episode:
GA - Out of April's Mind (Season 2) by MrEnter on DeviantArt
So now there's timeline jumping in-between events from Season 1? Even though he's barely established much in the way of plot, with this character having little to no connection or interaction with the "main cast", whilst putting a character we (the audience) haven't had much interaction with in his Season 2 "premiere"?
...If this were a kids' TV show, the viewers (fans as well as newcomers alike) would be so goddamn confused.
mooo
kiwifarms.net
- Registrado
- 3 de Ago, 2018
Just finished reading it. You weren't kidding, this episode is totally void of any kind of point. I don't understand why Enter felt the need to write this, to tell this "story" because there's nothing here. It's just filler. It's also kind of odd how April just says "fuck my real family, I'm gonna go move into a property I don't own and adopt some more kids" without any provocation I can make sense of. I don't even know who half the characters are who appear in this episode.
U
UE 558
Guest
kiwifarms.net
Johnny is as Gordon Ramsey would put it a “busy idiot”, he really wants his TV show dream to come true, but has no idea how to make that happen, so he instead opts to bash his head against a wall over and again
mooo
kiwifarms.net
- Registrado
- 3 de Ago, 2018
I'm curious as to how much does Enter put his own feelings and emotions into these scripts? April repeatedly gets asked "When was the last time you were happy?" and I have to wonder if he's asking himself that. The whole theme of the episode (as poorly presented as it is) is that you have to work to become the person you want to be, otherwise you'll slip into becoming your own enemy. Is this just a story or is there more to it? Does Enter feel like he's failed to be the person he wants to be?
- Registrado
- 25 de Dic, 2017
He didn’t fail. His dream in life was to be a showrunner, but he never actually took the steps to become one. His own laziness and sheer unwillingness to take criticism and improve guaranteed that he never had a chance from the beginning.
You can’t fail if you never actually tried
- Registrado
- 30 de Mar, 2017
Thanks for the pep-talk.
- Registrado
- 5 de Ene, 2019
The one thing that's always truly and utterly baffled me about John's scripts isn't the fact that they're so bland, so terrible, and so unabashedly weird in subject matter...I mean they are all three of those things, but even more so than that - it is the fact that these scripts that are just DeviantArt journals and nothing more so consistently make mistakes in storytelling, developmet, and basic formatting that most shows don't even face until their later seasons, or have never faced whatsoever.
- Why are you doing a crossover in your first season?
- Why are you already starting an overarching plot with side characters we don't know about yet?
- Why are you plotting specific episodes 6 seasosns in advance?
- Where the hell's the story?
- What's with the fucking fetish fuel?
- Why are the characters not acting like themselves,?
- How did you accomplish this when you're the sole writer of these episodes?
- Who writes their scripts this way?
To which he replies to people knowing these problems exist, knowing that the ideas presented need ironing out, and knowing he comes off as hypocritical in his analyses, yet he just never improves. For whatever reason. This complete brick wall to criticism, coming from a guy whom discusses cartoons and "critiques them" for a living, to the point he harassed a veteran show writer for making bad episodes saying they deserve punishment for their misdeeds. He will still berate these shows and their staff, whilst never having any staff of his own for Growing Around, aside from actual autists who don't have a clue as to what the hell's going on when pressed on these issues.
Most showrunners - hell, any creative team or project that's ever been made - has enough trouble pulling this off as a group. But when this is one singular creator's vision with a bunch of artists that are willing to help fund and work on his pipe dream for essentially free and/or through sporadic commissions, it still astound me just how badly these episode scripts deteriorate with each passing day, to the point that an episode (in a format where lack of creativity should never ever be a problem, keep in mind), that he can still release a nothingburger of a script.
I may joke about this now, but I'm hoping to God that at some point, we just get a script that's just a tour of Summerway with no character interactions, message, or hint of a story thread to speak of; only world-building in the most literal and boring sense imaginable. We've already lost the plot, what's one more element removed from this shitty, bent-up, poorly taped together house of cards?
mooo
kiwifarms.net
- Registrado
- 3 de Ago, 2018
I feel like an underrated element of a good story is flow. How parts of a story transition from one scene to another and have an impact on the whole. Out of April's Mind lacks this on a fundamental level because it's one of those "character delves into an abstract environment so the writer gets to put in nonsensical things and claim it's stream of consciousness" episodes. A good writer could still make this work but reading Enter's work it just sounds like he doesn't know what he's doing and is looking for an excuse to put in a whale jumping out of an ocean of stars scene for the spectacle of it. The audience wants to know things like where does evil April come from, what's her significance, and where does she go? Enter doesn't really have any answers and just kinda spits in the audience's face by making evil April say she'll be around forever and then immediately disappear from the story. Then April just walks through a door and we get good April who isn't really special in any way but she gives April a pep talk about how it's good to be good and to take control of your life. But to what end does this go? April immediately wakes up and starts doing things but I don't understand why she's doing the things she's doing or what kind of message I'm supposed to take from this. The general flow of things is April doesn't know what to do with her life, she has a dream that tells her not doing things is bad and doing things is good, then she wakes up and does things. It's so rigid and lacking in complex ideas or structure, it feels like a robot wrote it. Why not start with good April showing April what she can accomplish, have April act skeptical or unwilling, then have good April transform into evil April, showing her what a monster she could become and scaring her into doing something relevant? At least that would be a little more engaging than what we got.
- Registrado
- 15 de Ene, 2019
after all, same nigga that had to get glasses because the Problem Solverz gave him a minor eye seizure
mooo
kiwifarms.net
- Registrado
- 3 de Ago, 2018
He needs to get some problem solvers on his wardrobe.
- Registrado
- 27 de Abr, 2015
The difference between Enter and the shitty cartoon writers he makes fun of is that the shitty writers' stories actually get made into a cartoon and put on TV.
- Registrado
- 25 de Dic, 2017
There’s actually a very simple explanation for why his scripts have gotten to the point they’re at. He never actually developed the show.
He got a base idea and ran with it. He started writing these scripts long before a lot of his ideas were concrete, so he had to retroactively add them in, which has resulted in the wonky scripts he has now.
Usually, when show is at this point in pre-production, the closes thing to a script is usually a treatment for the overall plot, potentially a pilot outline, but very rarely is a full script drafted, let alone an entire season’s worth. When a show is written before the characters are fully considered, you end up with a mess, and he has been using scripts to play catch up rather than scrapping it all and starting from the beginning. The biggest example is the name changes. You can’t just change a name of a primary character and continue writing new scripts. By the time the scripts are being written, names should be set in stone. In truth, his entire cast and world should have been finalized before the first script. It’s very obvious that he’s making this stuff up as he goes along, which is writing like you’re an audience member, and not like an actual creative mind.
As for why he’s hitting the burnout phase by the second season, that’s even easier. He spent 5 years writing the first season. That’s almost unheard of. A standard show season is usually written in 6-8 months. So even though he’s just barely started season 2, it’s as if he just started season 5.
Those writers, regardless of how bad their product may seem, also know exactly what it means to write a television script and do so competently. Writing a bad script properly still takes a level of talent, a level that Enter will never possess
- Registrado
- 17 de Jun, 2018
Funny enough Mr. Enter work ethic would make him undesirable even before this step unable to be ever considered for animation work.
Case and point two animators who used to be youtubers documented their entire journey to get their show on the air (they made Disney's newest show "Space Chickens in Space") and they had to give a pitch and even have a place to work on their project on their own dime because they couldn't travel back and forth to work every day.
Aka just one of many real-life factors I know for a fact Enter never considered that he might have to actually travel for this occupation.
Here is the playlist it is a very good insight for anyone to know what you actually need to do to get your foot in the door even if you know no one in the industry.
A DAY IN DUBLIN – Director Diary #1
Vlogging??? This is the first episode of us trying to document what it's like to be directors on a cartoon TV series. To be clear, this vlog series will NOT ...
www.youtube.com
What you will see from this that Enter definitely will have a dumpster fire on his hands if he doesn't fix, account for, or learn to to do
1. No real pitch bible he can readily talk about (He needs to figure that shit out because that is his pitch to the network and that want they done before anything else)
2. Communication skills he would need to convince the network they will make the investment back, if no return good luck getting the show
3. Ability to travel because this isn't a sit at home job
4. Ability to work in groups because this is not a one-man job and no industry wants another John K
5. Money to pay for food or possible living quarters to do said job.
6. Ability to write and work quickly, these showrunners had to write basically a season in a few weeks, no way in fuck would a network allow 5 years for one season.
7. A consistent and focused idea on what the show is and what the characters are because the network does not want to waste time and spend more money on people than it has too.
8. Be willing to change elements for the network, because if you can't work to them say goodbye to your shit
9. No fucking pilot, if they can't see what the project even is other than concept, then they will ask you to get out the door
The list goes on but these are the very basics you need for a job in this industry because it is one of the most demanding and uncompromising jobs out there and if you can't do this basic shit, you are definitely fucked.
- Registrado
- 25 de Dic, 2017
It’s actually not that difficult to get your foot in the door without knowing people, you just need to be persistent and competent. That’s the case for any industryFunny enough Mr. Enter work ethic would make him undesirable even before this step unable to be ever considered for animation work.
Case and point two animators who used to be youtubers documented their entire journey to get their show on the air (they made Disney's newest show "Space Chickens in Space") and they had to give a pitch and even have a place to work on their project on their own dime because they couldn't travel back and forth to work every day.
Aka just one of many real-life factors I know for a fact Enter never considered that he might have to actually travel for this occupation.
Here is the playlist it is a very good insight for anyone to know what you actually need to do to get your foot in the door even if you know no one in the industry.
A DAY IN DUBLIN – Director Diary #1
Vlogging??? This is the first episode of us trying to document what it's like to be directors on a cartoon TV series. To be clear, this vlog series will NOT ...
What you will see from this that Enter definitely will have a dumpster fire on his hands if he doesn't fix, account for, or learn to to do
1. No real pitch bible he can readily talk about (He needs to figure that shit out because that is his pitch to the network and that want they done before anything else)
2. Communication skills he would need to convince the network they will make the investment back, if no return good luck getting the show
3. Ability to travel because this isn't a sit at home job
4. Ability to work in groups because this is not a one-man job and no industry wants another John K
5. Money to pay for food or possible living quarters to do said job.
6. Ability to write and work quickly, these showrunners had to write basically a season in a few weeks, no way in fuck would a network allow 5 years for one season.
7. A consistent and focused idea on what the show is and what the characters are because the network does not want to waste time and spend more money on people than it has too.
8. Be willing to change elements for the network, because if you can't work to them say goodbye to your shit
9. No fucking pilot, if they can't see what the project even is other than concept, then they will ask you to get out the door
The list goes on but these are the very basics you need for a job in this industry because it is one of the most demanding and uncompromising jobs out there and if you can't do this basic shit, you are definitely fucked.