Short Essay On The Pigman

Thursday, February 3, 2022 8:05:52 PM

Short Essay On The Pigman



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THE PIG-MAN - Psychological Thriller Short Film

Numerous modernist poets have written in non-traditional forms or in what traditionally would have been considered prose, although their writing was generally infused with poetic diction and often with rhythm and tone established by non-metrical means. While there was a substantial formalist reaction within the modernist schools to the breakdown of structure, this reaction focused as much on the development of new formal structures and syntheses as on the revival of older forms and structures. Postmodernism goes beyond modernism's emphasis on the creative role of the poet, to emphasize the role of the reader of a text hermeneutics , and to highlight the complex cultural web within which a poem is read.

The early 21st-century poetic tradition appears to continue to strongly orient itself to earlier precursor poetic traditions such as those initiated by Whitman , Emerson , and Wordsworth. The literary critic Geoffrey Hartman — used the phrase "the anxiety of demand" to describe the contemporary response to older poetic traditions as "being fearful that the fact no longer has a form", [35] building on a trope introduced by Emerson. Emerson had maintained that in the debate concerning poetic structure where either "form" or "fact" could predominate, that one need simply "Ask the fact for the form.

Prosody is the study of the meter, rhythm , and intonation of a poem. Rhythm and meter are different, although closely related. Prosody also may be used more specifically to refer to the scanning of poetic lines to show meter. The methods for creating poetic rhythm vary across languages and between poetic traditions. Languages are often described as having timing set primarily by accents , syllables , or moras , depending on how rhythm is established, though a language can be influenced by multiple approaches. Japanese is a mora -timed language. Stress-timed languages include English , Russian and, generally, German. Languages can rely on either pitch or tone. Some languages with a pitch accent are Vedic Sanskrit or Ancient Greek. Tonal languages include Chinese, Vietnamese and most Subsaharan languages.

Metrical rhythm generally involves precise arrangements of stresses or syllables into repeated patterns called feet within a line. In Modern English verse the pattern of stresses primarily differentiate feet, so rhythm based on meter in Modern English is most often founded on the pattern of stressed and unstressed syllables alone or elided. The chief device of ancient Hebrew Biblical poetry , including many of the psalms , was parallelism , a rhetorical structure in which successive lines reflected each other in grammatical structure, sound structure, notional content, or all three. Parallelism lent itself to antiphonal or call-and-response performance, which could also be reinforced by intonation. Thus, Biblical poetry relies much less on metrical feet to create rhythm, but instead creates rhythm based on much larger sound units of lines, phrases and sentences.

Certain forms of poetry placed constraints on which syllables were required to be level and which oblique. The formal patterns of meter used in Modern English verse to create rhythm no longer dominate contemporary English poetry. In the case of free verse , rhythm is often organized based on looser units of cadence rather than a regular meter. Robinson Jeffers , Marianne Moore , and William Carlos Williams are three notable poets who reject the idea that regular accentual meter is critical to English poetry. In the Western poetic tradition, meters are customarily grouped according to a characteristic metrical foot and the number of feet per line.

This metric system originated in ancient Greek poetry , and was used by poets such as Pindar and Sappho , and by the great tragedians of Athens. Similarly, " dactylic hexameter ", comprises six feet per line, of which the dominant kind of foot is the " dactyl ". Dactylic hexameter was the traditional meter of Greek epic poetry , the earliest extant examples of which are the works of Homer and Hesiod. There are a wide range of names for other types of feet, right up to a choriamb , a four syllable metric foot with a stressed syllable followed by two unstressed syllables and closing with a stressed syllable.

The choriamb is derived from some ancient Greek and Latin poetry. Each of these types of feet has a certain "feel," whether alone or in combination with other feet. The iamb, for example, is the most natural form of rhythm in the English language, and generally produces a subtle but stable verse. There is debate over how useful a multiplicity of different "feet" is in describing meter. For example, Robert Pinsky has argued that while dactyls are important in classical verse, English dactylic verse uses dactyls very irregularly and can be better described based on patterns of iambs and anapests, feet which he considers natural to the language.

Vladimir Nabokov noted that overlaid on top of the regular pattern of stressed and unstressed syllables in a line of verse was a separate pattern of accents resulting from the natural pitch of the spoken words, and suggested that the term "scud" be used to distinguish an unaccented stress from an accented stress. Different traditions and genres of poetry tend to use different meters, ranging from the Shakespearean iambic pentameter and the Homeric dactylic hexameter to the anapestic tetrameter used in many nursery rhymes. However, a number of variations to the established meter are common, both to provide emphasis or attention to a given foot or line and to avoid boring repetition. For example, the stress in a foot may be inverted, a caesura or pause may be added sometimes in place of a foot or stress , or the final foot in a line may be given a feminine ending to soften it or be replaced by a spondee to emphasize it and create a hard stop.

Some patterns such as iambic pentameter tend to be fairly regular, while other patterns, such as dactylic hexameter, tend to be highly irregular. In addition, different patterns often develop distinctively in different languages, so that, for example, iambic tetrameter in Russian will generally reflect a regularity in the use of accents to reinforce the meter, which does not occur, or occurs to a much lesser extent, in English. Rhyme, alliteration, assonance and consonance are ways of creating repetitive patterns of sound. They may be used as an independent structural element in a poem, to reinforce rhythmic patterns, or as an ornamental element. For example, Chaucer used heavy alliteration to mock Old English verse and to paint a character as archaic.

Rhyme consists of identical "hard-rhyme" or similar "soft-rhyme" sounds placed at the ends of lines or at predictable locations within lines " internal rhyme ". Languages vary in the richness of their rhyming structures; Italian, for example, has a rich rhyming structure permitting maintenance of a limited set of rhymes throughout a lengthy poem. The richness results from word endings that follow regular forms. English, with its irregular word endings adopted from other languages, is less rich in rhyme.

Alliteration is the repetition of letters or letter-sounds at the beginning of two or more words immediately succeeding each other, or at short intervals; or the recurrence of the same letter in accented parts of words. Alliteration and assonance played a key role in structuring early Germanic, Norse and Old English forms of poetry. The alliterative patterns of early Germanic poetry interweave meter and alliteration as a key part of their structure, so that the metrical pattern determines when the listener expects instances of alliteration to occur. This can be compared to an ornamental use of alliteration in most Modern European poetry, where alliterative patterns are not formal or carried through full stanzas. Alliteration is particularly useful in languages with less rich rhyming structures.

Assonance, where the use of similar vowel sounds within a word rather than similar sounds at the beginning or end of a word, was widely used in skaldic poetry but goes back to the Homeric epic. Consonance provokes a more subtle effect than alliteration and so is less useful as a structural element. In many languages, including modern European languages and Arabic, poets use rhyme in set patterns as a structural element for specific poetic forms, such as ballads , sonnets and rhyming couplets.

However, the use of structural rhyme is not universal even within the European tradition. Much modern poetry avoids traditional rhyme schemes. Classical Greek and Latin poetry did not use rhyme. Some forms of poetry carry a consistent and well-defined rhyming scheme, such as the chant royal or the rubaiyat , while other poetic forms have variable rhyme schemes. Most rhyme schemes are described using letters that correspond to sets of rhymes, so if the first, second and fourth lines of a quatrain rhyme with each other and the third line do not rhyme, the quatrain is said to have an "aa-ba" rhyme scheme.

This rhyme scheme is the one used, for example, in the rubaiyat form. Poetic form is more flexible in modernist and post-modernist poetry and continues to be less structured than in previous literary eras. Many modern poets eschew recognizable structures or forms and write in free verse. Free verse is, however, not "formless" but composed of a series of more subtle, more flexible prosodic elements. Among major structural elements used in poetry are the line, the stanza or verse paragraph , and larger combinations of stanzas or lines such as cantos.

Also sometimes used are broader visual presentations of words and calligraphy. These basic units of poetic form are often combined into larger structures, called poetic forms or poetic modes see the following section , as in the sonnet. Poetry is often separated into lines on a page, in a process known as lineation. These lines may be based on the number of metrical feet or may emphasize a rhyming pattern at the ends of lines.

Lines may serve other functions, particularly where the poem is not written in a formal metrical pattern. Lines can separate, compare or contrast thoughts expressed in different units, or can highlight a change in tone. Lines of poems are often organized into stanzas , which are denominated by the number of lines included. Thus a collection of two lines is a couplet or distich , three lines a triplet or tercet , four lines a quatrain , and so on. These lines may or may not relate to each other by rhyme or rhythm. For example, a couplet may be two lines with identical meters which rhyme or two lines held together by a common meter alone.

Other poems may be organized into verse paragraphs , in which regular rhymes with established rhythms are not used, but the poetic tone is instead established by a collection of rhythms, alliterations, and rhymes established in paragraph form. In many forms of poetry, stanzas are interlocking, so that the rhyming scheme or other structural elements of one stanza determine those of succeeding stanzas. Examples of such interlocking stanzas include, for example, the ghazal and the villanelle , where a refrain or, in the case of the villanelle, refrains is established in the first stanza which then repeats in subsequent stanzas. Related to the use of interlocking stanzas is their use to separate thematic parts of a poem.

For example, the strophe , antistrophe and epode of the ode form are often separated into one or more stanzas. In some cases, particularly lengthier formal poetry such as some forms of epic poetry, stanzas themselves are constructed according to strict rules and then combined. In addition to two or three alliterations, the odd-numbered lines had partial rhyme of consonants with dissimilar vowels, not necessarily at the beginning of the word; the even lines contained internal rhyme in set syllables not necessarily at the end of the word. Each half-line had exactly six syllables, and each line ended in a trochee. Even before the advent of printing, the visual appearance of poetry often added meaning or depth. Acrostic poems conveyed meanings in the initial letters of lines or in letters at other specific places in a poem.

With the advent of printing , poets gained greater control over the mass-produced visual presentations of their work. Visual elements have become an important part of the poet's toolbox, and many poets have sought to use visual presentation for a wide range of purposes. Some Modernist poets have made the placement of individual lines or groups of lines on the page an integral part of the poem's composition. At times, this complements the poem's rhythm through visual caesuras of various lengths, or creates juxtapositions so as to accentuate meaning, ambiguity or irony , or simply to create an aesthetically pleasing form. In its most extreme form, this can lead to concrete poetry or asemic writing.

Poetic diction treats the manner in which language is used, and refers not only to the sound but also to the underlying meaning and its interaction with sound and form. Poetic diction can include rhetorical devices such as simile and metaphor , as well as tones of voice, such as irony. Aristotle wrote in the Poetics that "the greatest thing by far is to be a master of metaphor. Allegorical stories are central to the poetic diction of many cultures, and were prominent in the West during classical times, the late Middle Ages and the Renaissance. Aesop's Fables , repeatedly rendered in both verse and prose since first being recorded about BCE, are perhaps the richest single source of allegorical poetry through the ages.

Rather than being fully allegorical, however, a poem may contain symbols or allusions that deepen the meaning or effect of its words without constructing a full allegory. Another element of poetic diction can be the use of vivid imagery for effect. The juxtaposition of unexpected or impossible images is, for example, a particularly strong element in surrealist poetry and haiku. Many poetic dictions use repetitive phrases for effect, either a short phrase such as Homer's "rosy-fingered dawn" or "the wine-dark sea" or a longer refrain.

Such repetition can add a somber tone to a poem, or can be laced with irony as the context of the words changes. Specific poetic forms have been developed by many cultures. In more developed, closed or "received" poetic forms, the rhyming scheme, meter and other elements of a poem are based on sets of rules, ranging from the relatively loose rules that govern the construction of an elegy to the highly formalized structure of the ghazal or villanelle.

Additional forms of poetry may be found in the discussions of the poetry of particular cultures or periods and in the glossary. Among the most common forms of poetry, popular from the Late Middle Ages on, is the sonnet, which by the 13th century had become standardized as fourteen lines following a set rhyme scheme and logical structure. By the 14th century and the Italian Renaissance , the form had further crystallized under the pen of Petrarch , whose sonnets were translated in the 16th century by Sir Thomas Wyatt , who is credited with introducing the sonnet form into English literature. By convention, sonnets in English typically use iambic pentameter , while in the Romance languages , the hendecasyllable and Alexandrine are the most widely used meters.

Sonnets of all types often make use of a volta , or "turn," a point in the poem at which an idea is turned on its head, a question is answered or introduced , or the subject matter is further complicated. This volta can often take the form of a "but" statement contradicting or complicating the content of the earlier lines. In the Petrarchan sonnet, the turn tends to fall around the division between the first two quatrains and the sestet, while English sonnets usually place it at or near the beginning of the closing couplet. Sonnets are particularly associated with high poetic diction, vivid imagery, and romantic love, largely due to the influence of Petrarch as well as of early English practitioners such as Edmund Spenser who gave his name to the Spenserian sonnet , Michael Drayton , and Shakespeare, whose sonnets are among the most famous in English poetry, with twenty being included in the Oxford Book of English Verse.

Further, postmodern authors such as Ted Berrigan and John Berryman have challenged the traditional definitions of the sonnet form, rendering entire sequences of "sonnets" that often lack rhyme, a clear logical progression, or even a consistent count of fourteen lines. In all cases, rhyming is obligatory. The Yuefu is a folk ballad or a poem written in the folk ballad style, and the number of lines and the length of the lines could be irregular. For the other variations of shi poetry, generally either a four line quatrain, or jueju or else an eight-line poem is normal; either way with the even numbered lines rhyming.

The line length is scanned by an according number of characters according to the convention that one character equals one syllable , and are predominantly either five or seven characters long, with a caesura before the final three syllables. The lines are generally end-stopped, considered as a series of couplets, and exhibit verbal parallelism as a key poetic device.

Among its other rules, the jintishi rules regulate the tonal variations within a poem, including the use of set patterns of the four tones of Middle Chinese. The basic form of jintishi sushi has eight lines in four couplets, with parallelism between the lines in the second and third couplets. The couplets with parallel lines contain contrasting content but an identical grammatical relationship between words. Jintishi often have a rich poetic diction, full of allusion , and can have a wide range of subject, including history and politics. The villanelle is a nineteen-line poem made up of five triplets with a closing quatrain; the poem is characterized by having two refrains, initially used in the first and third lines of the first stanza, and then alternately used at the close of each subsequent stanza until the final quatrain, which is concluded by the two refrains.

The remaining lines of the poem have an a-b alternating rhyme. Auden , [] and Elizabeth Bishop. A limerick is a poem that consists of five lines and is often humorous. Rhythm is very important in limericks for the first, second and fifth lines must have seven to ten syllables. However, the third and fourth lines only need five to seven. All of the lines must rhyme and have the same rhythm. Tanka is a form of unrhymed Japanese poetry , with five sections totalling 31 on phonological units identical to morae , structured in a pattern.

Tanka were written as early as the Asuka period by such poets as Kakinomoto no Hitomaro fl. By the tenth century, tanka had become the dominant form of Japanese poetry, to the point where the originally general term waka "Japanese poetry" came to be used exclusively for tanka. Tanka are still widely written today. Haiku is a popular form of unrhymed Japanese poetry, which evolved in the 17th century from the hokku , or opening verse of a renku. Traditionally, haiku contain a kireji , or cutting word, usually placed at the end of one of the poem's three sections, and a kigo , or season-word.

An example of his writing: []. This was likely derived from when the Thai language had three tones as opposed to today's five, a split which occurred during the Ayutthaya Kingdom period , two of which corresponded directly to the aforementioned marks. It is usually regarded as an advanced and sophisticated poetic form. The two differ in the number of syllables in the second wak of the final bat and inter-stanza rhyming rules.

It has four bat per stanza si translates as four. The first wak of each bat has five syllables. The second wak has two or four syllables in the first and third bat , two syllables in the second, and four syllables in the fourth. Mai ek is required for seven syllables and Mai tho is required for four, as shown below. Odes were first developed by poets writing in ancient Greek, such as Pindar , and Latin, such as Horace. Forms of odes appear in many of the cultures that were influenced by the Greeks and Latins.

The antistrophes of the ode possess similar metrical structures and, depending on the tradition, similar rhyme structures. In contrast, the epode is written with a different scheme and structure. Odes have a formal poetic diction and generally deal with a serious subject. The strophe and antistrophe look at the subject from different, often conflicting, perspectives, with the epode moving to a higher level to either view or resolve the underlying issues. Odes are often intended to be recited or sung by two choruses or individuals , with the first reciting the strophe, the second the antistrophe, and both together the epode. One non-Western form which resembles the ode is the qasida in Persian poetry. The ghazal also ghazel , gazel , gazal , or gozol is a form of poetry common in Arabic , Bengali , Persian and Urdu.

In classic form, the ghazal has from five to fifteen rhyming couplets that share a refrain at the end of the second line. This refrain may be of one or several syllables and is preceded by a rhyme. Each line has an identical meter. The ghazal often reflects on a theme of unattainable love or divinity. As with other forms with a long history in many languages, many variations have been developed, including forms with a quasi-musical poetic diction in Urdu. The relatively steady meter and the use of the refrain produce an incantatory effect, which complements Sufi mystical themes well.

His life and poems have been the subject of much analysis, commentary and interpretation, influencing post-fourteenth century Persian writing more than any other author. In addition to specific forms of poems, poetry is often thought of in terms of different genres and subgenres. A poetic genre is generally a tradition or classification of poetry based on the subject matter, style, or other broader literary characteristics.

Others view the study of genres as the study of how different works relate and refer to other works. Narrative poetry is a genre of poetry that tells a story. Broadly it subsumes epic poetry , but the term "narrative poetry" is often reserved for smaller works, generally with more appeal to human interest. Narrative poetry may be the oldest type of poetry. Many scholars of Homer have concluded that his Iliad and Odyssey were composed of compilations of shorter narrative poems that related individual episodes. Much narrative poetry—such as Scottish and English ballads , and Baltic and Slavic heroic poems—is performance poetry with roots in a preliterate oral tradition. A Truce While We Gawk : When an ad suddenly pops up while YouTube is in the midst of walloping the stick figures using different video clips, all of the combatants react with exasperation instead of using it to their advantage.

Unusually Uninteresting Sight : While the other stick figures show clear concern at seeing Green and The Second Coming lying exhausted on the ground, it's dispelled as soon as Green gives an I'm Okay! AVM Shorts - Season 1. The Rediscovery Aesop Amnesia : Downplayed ; the Second Coming seems a little too eager to be able to play around with Minecraft again, considering the problems it caused last time. However, the stick figures make sure to set up all the necessary precautions before handing the cube to Red, in case he gets possessed again. Continuity Nod : Picks up after the events of "vs. Minecraft", and includes several flashbacks to it. The stick figures are also shown to maintain the same interests in the game they did before, judging by the items they obtain from the creative inventory when they first get the icon back—The Second Coming prefers crafting, Green prefers building structures, Yellow prefers building redstone contraptions, Blue prefers growing plants, and Red is implied to prefer spawning mobs.

Dope Slap : After Red fakes everyone out into thinking he was possessed again before spawning harmless rabbits and appearing a little too pleased with himself for that , Blue takes off his diamond helmet and smacks Red upside the head with it. Dude, Not Funny! No Kill Like Overkill : Before letting Red try out Minecraft again, the others deck themselves out in diamond armor and set up several deathtraps—jungle saplings ready to be grown, TNT ready to fall, and arrow dispensers ready to fire — so they can neutralize him quickly should he go Brainwashed and Crazy again.

Troll : Red is shown to be a bit of one. After spazzing out and getting in the same posture to scroll through the creative inventory that he did when he was brainwashed the latter almost freaks Yellow out into firing at him before The Second Coming stops him , he pulls out a spawn egg, causing everyone to duck for cover The Building Contest Foregone Conclusion : Green built a windmill as soon as he knew the Minecraft "inventory block" was a thing. Of course he won the titular contest. Incredibly Lame Pun : When it comes time to judge the creations, the others ask Red why there's a cat sitting on his. It's because the excavator they used for a reference has the label of "CAT" on the arm. Sore Loser : Blue and Yellow decide to blow up Green's creation because he won.

Suddenly Voiced : SC apparently snores. Panicking, he replaces it with black wool and tries to walk away. He then comes back curious. Egopolis : Downplayed, but Yellow has two giant statues of himself along the path of the roller coaster and a third at the end. Surprisingly Realistic Outcome : For a given value of "reality", anyways. At the end of the roller coaster, the minecarts suddenly obey Minecraft physics and drop straight down from a ramp instead of arcing like the stick figures expected. Potions Brought Down to Normal : The pig, after the effects of all the potions it's consumed expire.

Too bad for it that Gravity Is a Harsh Mistress. Drunk on Milk : Blue ends up experimenting with potions a little too much. When Red finds him, he's passed out on the floor with a ton of empty bottles lying around. Gravity Is a Harsh Mistress : The pig's potion effects expire when it is high above the "ground" the bottom of the monitor screen. As a result, it hovers briefly before Minecraft physics kicks in, causing it to turn into bacon from the fall. One Beat later, and it spits onto his chest. Took a Level in Badass : Red's pig, after it drinks up all the potions Blue left lying around. It proves to be more than a match for all five stick-figures even after they themselves have taken potions of their own - until the effects wear off.

Note Blocks "Eureka! While trying to decide what block would serve best as a beak, they discover what note blocks do, and the chicken gets dropped. Insomnia Episode : The punchline to the entire animation is Second Coming not being able to sleep while all the other stick figures are playing their music. After he dials their noise down to zero via the volume slider, they double its original value; Second Coming gets startled right out of bed for their ending riff. YouTube showed that refreshing a web page undoes any damage that the stick figures might have done to it.

While the desktop is being corrupted by the glitching command block, Second Coming sees the Start button floating by and applies the same logic to the PC by clicking Restart. Sure enough, the desktop comes back up with all five stick figures right as rain. A second lightning strike causes them to corrupt the entire desktop. Mundane Utility : Red's magician act is based entirely on the presence of command blocks behind-the-scenes. Troll : What does Yellow do when he learns about command blocks? He trolls Red with an unobtainable cake. If you pay attention to the code that was onscreen right after a dispenser gave Red a bunch of cakes, Yellow was about to turn the cakes in his inventory into rotten flesh before Red caught on.

PvP Disproportionate Retribution : Second Coming starts removing Green's build because he's also trying to build and there's not enough room for both. Green retaliates with a PvP fight. Escalating War : It starts with Second Coming deciding to build over Green's construction because there's not enough space for both. Green draws his weapon. Blue fails to calm him down, the other stick figures take sides, and everything escalates from there. Blue and the Second Coming accidentally kill him again in response. Blue, Red, and Green, when their builds end up encroaching upon each other.

As a result, all the Pigmen and later, just about everything else in the Nether attack them. Rule of Drama : In Minecraft proper, Nether portals within blocks of each other are a shared destination for a portal in the corresponding Overworld coordinates. The portal to the Mac that Purple comes from is within that range of the portal to Alan's PC, to say nothing of the massive network of portals two blocks away from each other revealed after The End , the nearest of which is within that range of the Mac portal. They decide to go through that one instead. Villagers Bait-and-Switch : When Blue and Green offer their resources to the villagers, it seems as though they will revolt against Purple.

Then the villagers build a better castle for Purple, giving him a new respect for the two of them. The End Friend or Idol Decision : Purple is forced to choose between saving Blue and Green from falling into the void or retrieving the Enderdragon's egg. He chooses the latter. Monster Is a Mommy : The Enderdragon, which leaves as soon as it reunites with its baby. SkyBlock Cliffhanger : The portal the stick figures used to enter the SkyBlock round goes out when a Ghast deactivates it from the other side, and the Second Coming enters a different portal with no knowledge of its destination. Epic Fail : The adventure begins with the stick figures losing the bonus chest and a sapling.

Thankfully , Bag of Spilling didn't apply to them as they still had a ridiculous amount of resources amassed from their previous adventures. A single Creeper explosion at the mob grinder brings the entire base down as well as the house being set on fire by a bolt of lightning. With This Herring : Subverted : The SkyBlock round starts as normal with a solitary tree, a small patch of land and a bonus chest. After losing the bonus chest and a sapling , the stick figures realise that they still have a lot of their own resources. Ooh, Shiny! Blowing a Raspberry : Alan does this in the end of the whole video. Killer Rabbit : The rabbit turns out to be a carnivorous killer who's proficient with weapons and loaded its house with death traps. Naturally, she's not having any of it.

Freeze-Frame Bonus : After the Elder Guardian is stranded in his now water-free chamber following the Dolphin Queen's rescue, a blink-and-you'll-miss-it moment shows a water droplet coming from his eye, akin to a Single Tear. Perhaps he's genuinely saddened that he's lost whom he considers his true love? Deus ex Machina : Once it looks like the Spider King is about to defeat the Second Coming and his friends, a Wither comes out of a portal with no explanation to attack the Spider King, allowing the Second Coming and his friends to escape.

Insect Queen : The Spider King serves as the antagonist. Tantrum Throwing : The monarch of the spider army throws its crown on the ground in annoyance upon being told the army failed to defeat the stick figures. Of course, after it sets out to do the job itself, it webs the crown back. We Are Not Going Through That Again : The stick figures just barely manage to escape the grasp of the monarch spider and a whole lot of Nether creatures. Shortly after returning to the Animator's desktop, they sigh deeply, turn back to the Nether portal they just exited from, and hurriedly destroy it with diamond pickaxes before stopping to catch their breaths, clearly done with portals for the time being.

AVM Shorts - Season 2. Redstone Academy Amusing Injuries : During the redstone class at the beginning, Yellow takes everyone by surprise by having the floor fall out below them to take them to different classrooms. During the lesson on "Outputs", everyone gets smacked by their respective output; Red gets hit with a door , Blue gets tossed upward on a piston, the Second Coming gets hit by a dispensed snowball, and Green gets tripped by a minecart. When Yellow is waiting for everyone to finish building, he's idly tossing his redstone torch. At one point, he catches the lit end of it, burning his hand. Brick Joke : The Second Comings's first redstone creation is a game of whack-a-mole, with some wool on a stick serving as the hammer.

After both he and Green lose, he hands Green a consolation trophy, rigged to hit him with that same hammer. The winner ends up being Red's pet washer. Hidden Depths : Yellow might be the team redstone expert, but Green and the Second Coming prove proficent enough at it to make functioning versions of several classic games. Green sees this and tears down his game to make Tetris. When it comes time for Yellow to judge everyone, we see that the Second Coming made Terraria while Green actually made Minecraft. Note Block Battle Awesomeness Is Volatile : When SC intervenes, it's with an electric guitar solo so amazing that it summons lightning and destroys the rest of the note block setups.

Brick Joke : Note Blocks started with a chicken and soon turned to note blocks. Note Block Battle starts with note blocks and soon turns to a chicken. Insomnia Episode : Once again, SC is kept awake by the other sticks' note block shenanigans. Purple's scepter in "Villagers". Using lightning strikes on them to create electric guitars , on the other hand, is definitely this trope. Rule of Funny : Using a note block as the reagent in a brewing stand produced a Potion of Musicality, which when applied to a person gives them exceptional skill with note blocks.

Does this make sense? But it's absolutely hilarious. Sequel Escalation : Compared to the original Note Block episode, the sticks are much more experienced with note blocks and, by extension, Minecraft as a whole , allowing them to escalate things well beyond what they did the first time. Build Battle Bystander Syndrome : Green is left to fight The Wither on his own while the other stick figures carry on with the build battle. His build is blown up, and when the others get to it while voting, it has been reduced to a flaming mess. Funny Background Event : Green accidentally summons the Wither while building. While SC is judging everyone's builds, Green is battling the Wither in the background.

SC trying and failing to stay awake while waiting for the timer to go down. Heck, when part of Blue's build is damaged by an explosion, he just repairs it like nothing happened. Slap Yourself Awake : SC tries this. It fails. Sleepyhead : SC is this. Every time he waits for the timer to go down, he fails to keep himself awake, at least until the timer goes off. Sore Loser : Everyone is so irritated with Green's win streak that they keep trying to blow up his builds. Suddenly Voiced : Whenever SC falls asleep, he snores.

Unsportsmanlike Gloating : Upon winning the first round, Green does a Fortnite dance. In the second round, he goes full-on Large Ham when showing off his robot. Texture Pack Oh, Crap! World of Chaos : Rather than trying to fix the textures, the other sticks decide to simply learn what everything looks like now and carry on with it, resulting in TNT-textured cake and carrots that look like swords, among others. Green just looks up the crafting recipe on his phone. World of Chaos : The Lucky Blocks dimension is full of random objects and entities spawned by a glowing orb in a temple, which are picked up by Block drones and projected into Lucky Blocks onto the playfield. Wrong Genre Savvy : Blue recognizes the texture on the first Lucky Block and asks for it to be put above him so he can hit it from below.

This doesn't work and hurts him. AVM Shorts - Season 3. Does This Remind You of Anything? Forgot About His Powers : Blue didn't think to grab the master Minecraft block and use Creative Mode to grab a ton of Nether Wart with no hassle, instead deciding that sneaking back to the Nether is his best course of action. History Repeats : Once again the group is split and has to find each other through the Nether portals. Rule of Funny : The Piglins switch from aggressive towards Blue to docile and cooperative based solely on whether he is wearing any gold armor, within a split-second of each other. In Minecraft proper, they would need to be distracted by being handed a gold item, or else have Blue escape their aggro range, in order for his equipping the helmet to pacify them.

Losing the helmet would have an instantaneous effect, though. The next shot shows Second Coming still looking for Blue with the others, which means Second Coming Blue met is a lookalike with unknown intentions. The Witch Call-Back : Red's Pig once again drinks a ton of potions to gain power, only this time the pig does it to save the stick figures from the Witch. During the pig's beatdown to the Witch, at one point it uses the same combination of attacks the pig in Potions did to The Second Coming when they first fought. Character Development : When the Fighting Stick Figures decide to follow Purple through another Nether Portal, Second Coming decides to stay with them this time, in contrast to when he let them go alone in Season 1.

Curb-Stomp Battle : Once the pig gets super-powered up by potions, he utterly destroys the Witch despite her best efforts. It almost works, until the others see Purple depressed against his portal and decide to go with him anyways. Morphic Resonance : When the sticks all get turned into dyes, each's color of dye reflects their original color. Near-Villain Victory : Near the end, the Witch has turned all of the stick figures into harmless dyes, has them trapped between flame blocks, and almost succeeds in burning them to death until Red's Pig saves them.

Shapeshifter Showdown : The brief duel between Blue and the Witch has the two of them rapidly transform themselves into monsters and animals as they fight. Something Only They Would Say : Although Red's pig is able to identify the transformed sticks, Second Coming gets verification with a non-verbal version of this trope after confirming which stick is which creature with colored wool. Yellow is given a pile of redstone supplies and creates a convoluted machine, while Salmon! Red affectionately leaps on the pig. Getting careless with a seemingly non-violent zombie costs them the pig, but Sugarcane! Green is offered a note block and begins to play Jazzy Note Blocks from Season 1. And Piston! Blue makes a Big Damn Heroes entrance by brewing potions to unmake everyone else's transformations, and his own.

Spoiler Title : The Reveal of the Doppelaganger's identity could've been more shocking if the title was different. Spot the Impostor : During the battle, Yellow gets turned into a Witch and gets mixed up with the other Witch, causing the fight to pause as everyone tries to figure out who's Yellow. The situation is resolved when the stick figures try to get Red's Pig so he can sniff out who Yellow is, prompting the Witch to use a portal to stop them. Bait-and-Switch : Purple invites the sticks to a first-to-three-wins Parkour Warriors bout.

After ten courses of the sticks interfering with each other lands them all two wins, Purple insists they stagger themselves on the last course. Which starts editing itself to split them up to different courses. Call-Back The events of the original Animation vs. Minecraft are used to illustrate Orange's plan. Specifically, the power Red had when he had the Master Block. Yellow ends up interacting with Command Blocks again. Having learned his lesson, he just leaves the command field blank this time. Chekhov's Gun : Purple demonstrates early on that falling in the Parkour world just warps them back to the last checkpoint.

Second Coming exploits this to bypass the Piglin trying to trap him. Death Is Cheap : When everyone first enters the Parkour map, Yellow fails to make a jump and falls into the void. Cue Mass "Oh, Crap! Purple falls on the ground laughing at this for a few seconds before throwing himself into the void to establish that yes, this is how it works. Technically subverted by Minecraft rules, as it's not death-and-respawn; Command Blocks are positioned to teleport falling players to their last checkpoint. Evil All Along : Purple was never a good guy, and instead working for another stick figure. Evil Plan : Orange's plan is to get the Master Block to gain ultimate power.

Large and in Charge : Orange dwarfs the rest of the stick figures and is the king of a group of Piglins. Le Parkour : Duh. The short is about the stick figures competing in parkour courses not unlike those seen in Minecraft Championship. If they hadn't been interfering with each other on all ten courses beforehand, they might have been suspicious of Purple's decision; before the course starts editing itself, the choice looks downright reasonable because of the sheer amount of conflict that preceded it.

If the Second Coming hadn't gotten the bright idea to break reality by touching beacons together, Yellow would've found him and Red during his escape in addition to Blue, and the four would've all escaped together. Instead, Second Coming ended up bringing Red with him to a desert in the middle of nowhere Reality Warper : The Second Coming soon realizes he can affect the dimension he's in by touching a teleporter to another teleporter, causing the area he's in to glitch out and warp everything randomly. This gets taken Up to Eleven when he and Red touch three teleporters together, causing them both to eventually warp in a completely new world entirely.

Weaponized Teleportation : The Second Coming utilizes the teleporters between the parkour levels as defense against the Piglin chasing him by picking it up and forcing the Piglin to touch it whenever it tries to attack, warping the Piglin back to its spawn point every time. The Piglin eventually meets its final fate when Second Coming and Red force it to touch two teleporters at once. Wham Shot : Purple kneels down before an orange stick figure. The Titan Ravager is at least ten blocks tall. This just encourages it to bring a couple of friends with the promise of easy food. Out of the Frying Pan : It looks like the day is saved when the Titan Ravager has its hunger satisfied and leaves.

Then it brings two more Titan Ravagers. When only one of them is able to be fed, the other tries to eat the Villagers. Picky Eater : Inverted. Hatchet Gary Paulson. Heart of Darkness Joseph Conrad. A House for Mr. Biswas V. Johnny Tremain Esther Forbes. Julie of the Wolves Jean Craighead George. The Metamorphosis Franz Kafka. Missing May Cynthia Rylant. Nectar in a Sieve Kamala Markandaya. Night Elie Wiesel. Number the Stars Lois Lowry. Picture Bride Yoshiko Uchida. The Pigman Paul Zindel. Pride and Prejudice Jane Austen. The Scarlet Letter Nathaniel Hawthorne. The Secret Sharer Joseph Conrad. A Separate Peace John Knowles. Shiloh Phyllis Reynolds Naylor.

I get Back to top. Sore Loser Importance Of Written Communication Blue and Yellow decide to blow up Green's How Did The Us Constitution Reflected The Magna Carta because he Massage Therapy Research Paper. We have a large talent pool of professionals holding Masters and Doctoral degrees in Importance Of Written Communication lord of the flies online of disciplines.