They've got split second in my notifications, that's for sure.

That sounds like a really bad pick up line.

Even though this has nothing to do with sex... it sounds like a sex thing

that sounds… odd

Kinky

Ayy you’re here too? Love your content man

Nice

The objective fact of Innistrad stated so boldly, I respect that.

It’s a great one, for sure

Same

I think I counted thirteen planks of wood on the ceiling

Thirteen stones on the rim of the fireplace, thirteen rivets in the barrel, thirteen shards of glass, thirteen planks in the ceiling. they missed nothing in the insane attention to detail given to this card

And Wayne Reynolds' art is absolutely fantastic. One of my favorite works from the set!

@Mr Catastr0phe: Well, not quite nothing physically changes. They go from 3/3 to 4/4, but that could just be down to getting better weaponry.

@@sdfkjgh Yeah, it's clear from the art, they go from robes and censers to armor and maces, easy way to explain the Stat change. But what I mean when I say nothing physically changes is that they don't undergo a metamorphosis in the same way as other creatures in the sets.

@@Mr_Catastr0phe: I know, I was just joshing you.

Absurd radiation-nuclear myths and the most typical historical revisionism on the crusades in the Middle Ages. We checked it all with this video.

The concept of the Eldrazi was very interesting, it's just that the way it was handled left a lot to be desired, especially by the people who really liked what Innistrad was already doing.

@@BigBoi237 Yeah Emrakul should intervened in Battle for Zendikar, but that would have meant the Gatewatch lost, and they cant have their heros lose. They'd sell less cards.

@@AFailedTuringTest Except most of the gatewatch arc was mostly defeats or hollow victories? BfZ was their only "clean" victory. SOI/EMN technically was a victory, but one that leaves an ominous sense of dread and mystery. KLD/AER was an intentional sacrifice to cover up the theft of the planar bridge and lure the gatewatch to Amonkhet. AKH/HOU was an unmitigated disaster. XLN/RIX resulted in Bolas acquiring the immortal sun and a social/romantic manipulation point against Jace. DOM led to death of Belzenlok and Liliana's contract defaulting to Bolas, giving him a general for his undead horde. The GRN/RNA/WAR psuedo-block was a victory in the end, but one that came at the death of Gideon, Dack, and many other potential allies for the gatewatch, plus widespread destruction on Ravnica and the limiting of Ugin's ability to be involved with future crises as he is now occupied with being Bolas' jailer.

@@mrrodgers0 When you put it that way, the Gatewatch seems to really have had a tough go of it, huh.

The only real problem with Shadows was that it really should have come before Battle for Zendikar. As it was, the twist of Emrakul was incredibly poorly telegraphed. But if it had been before? Holy heck would that have been a twist!

YEAH

Agreed.

it's tepid at best. long-winded parallels, pretentious and blathering.

they're a bit silly tbh.

@@gordonlekfors2708 Why is it silly? Also why is it considered a gimmick, seems pretty cool.

It's more that Gothic Horror is something that scares you within the world, while Cosmic horror is something that scares you about the universe. Gothic Horror is the werewolf trying to kill you. Cosmic Horror is a revelation that leaves your entire perception of reality shattered. There's no monster trying to kill you, the monster just needs to exist and that's enough.

@@Tacklepig the best part is the monster neither knows nor cares you even exist. We are bacteria to these entities. Not even ants. You go back in time 100 years, humans didn't even know bacteria exists. That's the level of irrelevance we are to them.

@@MerlinTheCommenter This is not an attack on your broader point, which I think nails the essence of cosmic horror, but just a pedantic correction- we've had microscopes powerful enough to observe bacteria since at least the 1670's, and the germ theory of disease has been around since the 1020's. (Though it didn't really gain mainstream acceptance until the late 19th century) You might be thinking of viruses, as those weren't discovered until the 1890's, putting the final nail in the coffin of the miasma theory.

One of my favorites is the Malevolent Hermit, who after death becomes the Benevolent Geist- he eschews the Blessed Sleep to give, to laugh, and perhaps, to live- ironic that it required his death to show him how to live.

Eldritch moon is also like.. the coolest name ever. Expansions set on innistrad always have the best names. Avacyn restored is great too.

Except Bloodborne is good.

@@maximonamitzhian9064 lol different time.

god

YES

This guy blood artists

Bloodborne is set in Gothic horror, it just also throws in cosmic horror but imo does it the best out of any media I've seen.

@@anthonyrodriguez9232 IMO it's more accurate to say that Bloodborne is set in cosmic horror with Gothic horror painted over it. The core story of Bloodborne is a twist of typical cosmic horror: an evil cult (the Healing Church) calls up eldritch horrors from another dimension in search of power, then abuse that power to destroy both themselves and the eldritch horrors they called up. The Gothic horror elements are just a cover for the eldritch; the people of Yharnam are paranoid and xenophobic and transform into werewolves, but the reason they do so is because they are unknowing science experiments being transformed by the Healing Church's Old Blood. The great trick of Bloodborne is that the Gothic horror elements are everpresent but also not particularly important to the underlying story, making it a good cover for the true reveal. You could take away all of the Gothic horror elements of Bloodborne and the story underneath would barely need to change, but not only does the Gothic horror work perfectly alongside the eldritch it also masks its presence. While still easy to perceive (the words "Eldritch Truth" are used in the Madman's Knowledge description, words that basically belong only to the cosmic horror genre) the cosmic horror is not played up at all outside of snippets of lore until close to the midgame twist. All of the tropes that fit Bloodborne's cosmic horror (the evil religion that focuses on eldritch horrors, blood magic, a paranoid and xenophobic city, people transforming into abominations, etc.) fit just as well as Gothic horror tropes, so without reading a lot into the lore you don't think to question those tropes. Then, when the twist is played, you look back at all those tropes and realize there was a hidden side to them, one that was always there and always at least somewhat visible, that you simply lacked the Insight to recognize. IMO the big thing that Bloodborne highlights for me, at least in terms of its relation to Rhystic Studies and this Innistrad video, is that cosmic horror is not as distinct from Gothic horror as Rhystic Studies believes. At their cores the ideologies that drive both genres is divergent: he is correct in saying that Gothic horror is Anthropocentric while cosmic horror is anti-Anthropocentric. However, a lot of the tropes that stem from those ideologies are fundamentally the same, just different interpretations of the same core ideas. The Healing Church is a heroic community center with a dark underbelly in a Gothic story and an insane research facility in a cosmic horror story, but they both serve the same function in each story. Blood magic is a dark path to power in both types of stories. The paranoid and xenophobic villagers are right to fear those outside their communities in both stories: the Gothic villagers are tormented by werewolves and vampires while the cosmic horror villagers are preyed on by invisible aliens. Extreme negative transformations are endemic in both stories, just in Gothic stories it's a parable of human failure while in cosmic horror stories transformation is forced upon human victims through contact with the otherworldly. The depictions of these tropes can vary wildly between the two subgenres of horror but the actual tropes themselves are more or less the same. For this reason I have to disagree with Rhystic Studies that the eldritch horrors of Shadows Over Innistrad and Eldritch Moon constituted a genre shift for their respective blocks. Innistrad is fundamentally the plane of Gothic horror tropes and none of the tropes within either set, with the obvious exception of those that literally pertained to Emrakul, changed dramatically. Their focus simply shifted from their Gothic horror versions to their eldritch horror counterparts. Just another side of those tropes that was always present, simply buried, brought to the forefront visually and in game design by an alien intrusion (in this case by Nahiri as much as by Emrakul).

@@quintonhoffert6526 I think the tonal whiplash Rhystic Studies talked about regarding the attempted merging of gothic and cosmic horrors is easily exemplified with what you've said and Bloodborne. The marriage works so well in Bloodborne because ultimately, all the cosmic horror the world was subjected to was the result of man's hubris/ambition/folly. Meanwhile in Shadows over Innistrad, the fault lied in the presence of Emrakul over the plane, leaving no room for the gothic 'monster within the man' theme to breathe. I do entirely agree with you though, that gothic and comsic horrors do not run against one another.