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  • dew✿
    Originally Written by RabbitSnore on December 7, 2007.
    All instances of "Poop" replaced with "YTP" where appropriate.
     
    This edition of RabbitSnore’s YTP Tennis Review series is dedicated to exploring YTP Tennis history and what techniques are successful in the game. This article recaps some of the key lessons learnt from the previously reviewed games in this series.

    YTP Tennis is a game unique to the YTP Community. Its precursor was Photoshop Tennis, a game played on several other sites, in which images are passed between players and edited. But unlike design or digital art, video has never learnt itself well to either collaborative or competitive communities because the limitations of software (and the cost), bandwidth and of of course fears about copyright violation. Were the game to be played in the past (for example by professional video editor) then it would have been limited to whatever footage was available to them on their hard drives rather than having the entirety of youtube to draw from. Even now, the YTP Forum is the only place where such a game is played.
    At the moment, a single game of Tennis is required to become featured and listed in the directory. When I asked site curator Conrad Slater about this decision he explained that the requirements for being featured change according to what the YTP Community needs at the time. “At the time there was a big wave of lazyness,” Conrad explained to me, “both in how YTPs were being made but also how people in [the forum] were communicating… and how they were thinking. Lazy humour - and YTP at its best isn’t about that, it’s a lot cleverer than that. And tennis does force you to think because it take collaboration to play but is creatively competitive.” Seasoned player UncleChuckTH added “…they should play a featured YTPer, as it really sparks the creative process. I would know, as about the time I played Conrad I was still noobish, and it inspired me tons.”
    What Makes an Effective Tennis Match: Constructive and Destructive Adaptation
    To have a successful game of YTP Tennis, a YTPer must adapt to the material provided in the previous round, while often incorporating more material from his or her own arsenal. In the matches I’ve reviewed, it seems to me that there have consistently been two ways to adapt to a previous round’s material which I would call Constructive and destructive.
    Constructive

    Using constructive adaptation, a YTPer would add more to or subtract from particular YTPism technique, taking the editing (or non-editing) further in the direction it seemed to be headed. Examples of this are clear in the match between MilkR0und and Y2Zero, who built constantly on each other’s sentence edits, removing and adding words to evolve the comic effect. This can also be seen in other matches, such as UncleChuckTH vs. Wikiwow or Stegblob vs. TyrannosaurusReich, where the loops became increasingly faster, slower, shorter, or longer.
    A particularly effective constructively adaptive YTP Tennis phenomenon is the establishment of a match meme: a particular sequence is edited again and again across several rounds. UncleChuckTH had this to say about tennis memes: “…If there are any fads of the match I follow them and add spice. Sometimes what I add catches on throughout the match.” The pinnacle of this, within the matches I previously reviewed, occurred in between UncleChuckTH and Wikiwow, where images viewed through Robotnik’s binoculars changed each round.
    Destructive

    With destructive adaptation, a YTPer edits a sequence of YTPism technique, applying a different technique to it, taking in a direction other than to what it originally directed. Examples of this can be seen in the match between Conrad Slater and Misselaineous10, especially from the first round to the second, as the relatively unedited material of the first round, became trimmed, stutter-looped, and visually warped.
    Destructive adaptation is effective when applied to sparsely edited material, though it can be excellently used on heavily edited sequences, such as in my match with Thereisnospork303, where we repeatedly visually warped scenes, altered opacities, and used picture-picture effects.
    Even though visual warping, such as distortion and blurring, seems destructive, for the purposes of this terminology, when a sequence undergoes increasing visual corruption, it is constructive adaptation rather than destructive, since the scene moves towards the direction it was intended - visual corruption.
    The degree to which constructive and destructive adaptation are employed, and when to employ them, is a matter of style and taste more than an idea that can be strictly guided. It can be said, though, that constructive adaptation across several rounds, used on the same material, is difficult, but when done correctly, it is impressive. UncleChuckTH vs. Wikiwow is a prime example of constructive adaptation performed consistently well, as can be seen in the picture-in-picture collage of Scratch clips they created across their match.
    Destructive adaptation is often easier than constructive, since it is less particular. Its ease is no excuse for laziness, though, and the best destruction is mindful of the material being destroyed. An example of this is in the final round of my match with Thereisnospork303, where he created a rape rave with picture-in-picture effects of varied clips, mixing destructive and constructive adaptation to create a strangely juxtaposed collage.
    Similarly, the addition of new material can be constructive, destructive, or neutral. New material can be used to edit a previous YTPism, taking it further in the same direction or deviating from it. The clean addition of edited clips would be essentially neutral, as it establishes new territory of sorts for the next round to build on or destroy. The placement of new neutral material will affect the pacing and rhythm of the YTP, so no addition is completely neutral in its effects: it will always seem to complement or deviate from the surrounding material, to varying degrees.
    What Can Destroy a Tennis Match: Laziness
    The simplest way to explain what can ruin a tennis match is to say that laziness is the bane of all editing. This is true of all YTP as much as it is for Tennis. In general, it is prudent to keep away from overused material such as CDi or Mama Luigi, unless you are highly confident of your skills, as such material will mar your YTP with unoriginality and reek of laziness. Falling back on established memes is dangerous, though it has been done successfully, as occasionally in MilkR0und vs. Y2Zero. In any case, if you used material that has been widely edited, you must use it in a novel way. Otherwise, you are merely a thief of ideas instead of an innovator.
    The trouble with employing overused material is that YTP Tennis is implicitly about evolution, so to retreat to something that has been done already is like a human tearing off its opposable thumbs and growing a vestigial tail. There is no need to beat this guideline to death: don’t be lazy; it will be your undoing.
    Tennis as Evolution
    In much the same way that YTP has evolved from when it first began, Tennis is a microcosm of evolution.YTP is ultimately about the response and dynamic adaptation of ideas and media, and Tennis mirrors that. Each successful Tennis match is YTP history in a nutshell: a person makes a video, someone else responds to it based on a mix of old and new ideas, and the process continues. It’s evolution, and Darwin would be proud.
    ---------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------
    The Legacy Article series is a regular column dedicated to the re-publishing of key older articles from the previous site that either serve as some insightful history or education in the present, or are otherwise just plain amusing and speak volumes about how far the community as come or even, ways in how the community has always stayed a certain way. All articles compiled and saved by dew.

    Creative Name
    I suppose that those of you invested enough in YouTube Poop to currently be reading this article are well-aware of the art-forms’ origins and intricacies; everyone knows the story of SuperYoshi’s “I’D SAY HE'S HOT ON OUR TAIL” and the snowballing that occured from there. Indeed, the origins of YouTube Poop have been largely documented thanks to community efforts such as YouChew, where you can find hundreds of directory entries chronicling the efforts of the genre’s forebears, and AwesomeGuy117’s YouTube Poop Review, a podcast which delivers a retrospective glance upon the works of YouTube Poop’s originators.
    However, what ISN’T as widely documented (not in English, anyways) are the origins of YouTube Poop’s foreign offshoots. Thanks to the transcontinental nature of the Internet, people everywhere observed the strange videos being made by their English and American brethren, and followed suit by creating poops in their own languages. Eventually, these efforts spawned their own communities, which took on a life on their own and broke away from standard YouTube Poop tradition. This article was created for the purposes of exploring one of these foreign forms of YouTube Poop, SinäTuubaPaska - originating from the country of Finland, SinäTuubaPaska (commonly abbreviated to STP) is a treasure-trove of content made by all kinds of talented creators, with most projects being surprisingly accessible to viewers with no Finnish knowledge whatsoever. Let's dive right in, shall we?
    ORIGINS
    SinäTuubaPaska was pioneered by MammaSomari, who released the first ever SinäTuubaPaska video on December 17th, 2007. Titled Mahtava Purje (Awesome Sail in English), the Poop was created using the original Finnish dub of the 1990s Moomin anime. Ignoring the language barrier, the video is quite in line with its contemporaries, making extensive use of Spadinner, scrambling, and even crude masking techniques. Although the original upload is now lost, a remade version was uploaded six years later and can be found directly below.

    The remade Mahtava Purje. SOURCES
    Moomin
    An extended cut of the original Finnish opening.
    Massively popular around the world and especially in its home country of Finland, the Moomin franchise certainly needs no introduction (unless one lives in the United States, but that’s neither here nor there). It has been the subject of more than a dozen animated adaptations from across the world, with the 1990 anime series being perhaps the most popular both in the general cultural lexicon and the context of SinäTuubaPaska. As previously stated, the very first SinäTuubaPaska work, Mahtava Purje, used footage from the series extensively, establishing a precedent that would ensure the presence of the 90s Moomin series in STP for years to come. Perhaps the series’ ubiquity within Finland draws people to the source as well - the notion certainly holds true for English-speaking YouTube Poops, which got its start through bastardizing the exploits of world-famous video game characters like the Super Mario Bros. and Sonic the Hedgehog.
    However, despite its immense popularity within the medium, Moomin is infamous within the STP community thanks to the litigious nature of the franchises’ rights holders, Moomin Characters Oy Ltd. Much like Viacom and their tendency to copy-strike Spingebill content, Moomin poops have often been attributed to various channel deletions over the years. However, there may be hope for Moomin in YTP, as just last year the famously copyright-lax Wildbrain announced that they had been appointed to, in their press releases’ words, “develop a global YouTube strategy” for the brand. In layman’s terms, the company is now in charge of the franchise’s presence on YouTube and has been uploading the entirety of the 90s anime’s English dub to the platform. At this point in time, Wildbrain’s policy on Moomin poops is uncertain, but given their previous history, it may be assumed that their involvement is, at the very least, a step in the right direction for Moomin’s presence in SinäTuubaPaska.
    Alfred J. Kwak
    The original Dutch intro to the series.
    Originating from a Dutch stage play of the same name, Alfred J. Kwak is something of a spiritual predecessor to the 1990s Moomin anime - indeed, the two shows share the same executive producer (Dennis Livson), the same production company (Telecable Benelux B.V.), and much of the same staff (Akira Miyazaki and Hiroshi Saitō wrote and directed for both, for example).
    The series is largely remembered nowadays thanks to three factors: its aforementioned connection to the Moomin anime, its amazing soundtrack courtesy of series creator and famed folk musician Herman Van Veen, and, most importantly to the series' presence in SinäTuubaPaska, its tendency to tackle surprisingly mature topics throughout its 52 episode run.
    How mature, you might ask?
    Enter Dolf.

    Familiar, ain't he?
    Dolf is the main antagonist of the show and is at the center of the infamous Emperor Dolf arc, in which he overtakes the main setting of Great Watterton and turns it into a Fascist dictatorship. The Nazi imagery is piled-on hard in this arc and while some might find the extent of the Nazi parallels laughable, one can’t help but be impressed that the showrunners were able to present the dangers of a Fascist dictatorship in a children’s program in the first place.
    Overall, the arc, and the series as a whole, does a MUCH better job at enlightening its target audience to socially-conscious issues than the likes of Sonic Sez and other YTP fodder, but perhaps the novelty of seeing such in-your-face Nazi imagery in a children’s cartoon drew Finnish poopers to the source. Whatever the reason, Alfred J. Kwak, and the Dolf episodes in particular, became EXTREMELY popular in SinäTuubaPaska - their popularity reached such an extent, in fact, that the Emperor Dolf arc has since become derided as an overused source. As for the series as a whole, it, like its sister series, still experiences a healthy amount of activity within the STP scene, only now simply with a greater range than the four episodes that comprised the Emperor Dolf arc.
    Digimon
    While Moomin's popularity within the STP scene can be attributed to its ubiquity within Finland and Alfred J. Kwak's popularity within the scene can be attributed to the novelty of its mature subject matter, Digimon's popularity within SinäTuubaPaska can be attributed to its sheer awfulness - or rather, the sheer awfulness of its Finnish dub.
    Dubbed by the studio Agapio Racing Team, the poor performances on display caused the studio's dissolution shortly after being replaced on the show with the much more competent Tuotantotalo Werne. Of course, it was this poor quality which led to the source's popularity in SinäTuubaPaska, where it has maintained a small but active presence.
    Other Popular Sources
    These sources don't have the context available to necessitate a whole section dedicated to them, but they are still commonly used within the STP scene.
    The Adventures of Blinky Bill Arashi no Yoru ni (Stormy Night) A Goofy Movie Hotel Mario The New Adventures of WInnie the Pooh Salatut elämät (Hidden Lives) Pokémon HALL OF FAME
    This 2012 video is one of the most popular STPs ever created, with its view count nearing 5 million. Released at the height of its source's popularity, the video skillfully molds effects-spam with contextual humor together in a vein not dissimilar to English-speaking poopers like Geibuchan or PaperKing99. Seeing as much of the Poop's humor comes from the absurdity of its visuals (and the fact that the original source was in Korean anyways), English speakers should be able to watch the Poop relatively comfortably with next to no knowledge of the Finnish language.
    A great example of an Alfred J. Kwak poop in a post-Emporer Dolf era. Although the effects used within the video are rather basic (baring the notable example of the ending), the quick sense of timing present throughout more than makes up for it. The focus on quick timing and minimal but effective edits makes this poop another enjoyable romp that requires next to no knowledge of Finnish to enjoy.
    Another poop from Urpoliitikko (the creator of the previously mentioned Korealainen stylisti keksii gang bangin), this Digimon poop is a little more intensive on Finnish wordplay than other poops mentioned here, but the sheer amount of effects on display more than balance it out. Rampant effect usage combined with highlights of the Finnish dub's most egregious moments of incompetency make this video another winner from Urpoliitikko.
    Perhaps the strangest video on this list, Kramatorskin pippurit is a multi-source poop more akin to a fever dream than the comedic stylings of most poops. Filled with bizarre imagery, effects spam, and cartoon nudity (relax, it's hardly sexual), Kramatorskin pippurit is an avant-garde masterpiece enhanced by the English/Finnish language barrier. 
    Final Thoughts
    During my time doing research and watching STPs for this article, I've come to truly appreciate how talented some of the poopers in the SinäTuubaPaska scene truly are. The videos listed in the Hall of Fame are just scratching the surface of what SinäTuubaPaska has to offer. For those who wish to look more into the genre, I highly suggest checking out the other works of the Hall of Fame poopers: Urpoliitikko (channel is up but has been inactive since 2012), Jubduk (a fallen channel that lives on through reuploads), and p3ntavus (a channel which is still up and active to this very day). Something I've learned from my time exploring SinäTuubaPaska is that poops don't have to be restricted by language barriers - these Hall of Famers show that YTPs and STPs can cross cultural boundaries simply by taking the piss out of their respective pieces of media, and I think that's wonderful. So whatever acronym you use for it and whatever part of the world you make it in, keep fighting the good fight and keep making what you love.

    Paperking99
    The monthly tradition from OldChew, is now here on NewChew. As of right now, CreativeName and I will be the only ones contributing to this series. With that said, let's get started!
    Paperking99's Pick #1: "[YTP] Spingebill SuperSpinge: Rise of Reflecto" by WideEyedWiseGuy
    A few months ago, I was working on a video called "YTP Rewind 2019" with fellow YTPer, ShootingFilms, which was a compilation of great YTP moments of 2019. Before the video was finished, Shooting asked me if we could include a video from a pooper named "WideEyedWiseGuy", and after watching the video of theirs that Shooting sent me, I just had to say yes. 
    WideEyedWiseGuy is somewhat new to the YTP community, despite uploading their first poop in 2018. They started to get some attention in 2019, and that's when I decided to follow them. Recently, WEWG decided to take part in the never ending line of Spongebob poops, and they were able to add their own twist to their source. Seeing story based Spongebob poops is a rare sight, and up until recently,  AwfulFawful was the only pooper I knew who combined Spongebob with story telling. In this video, WEWG was able to create a unique and original story, similar to what AwfulFawful makes. The poop is a darker take on the episode "Mermaid Man and Barnacle Boy". It's all about Spongebob getting revenge on Squidward, just because Squidward didn't want to play with him. After an unsuccessful atempt, Spongebob and Patrick decide to visit Mermaid Man and Barnacle Boy for help, only for things to not turn out so well. This is how I interpret the story, though you may interpret it as something different, and that's what I like about YTPs, they make you think about what's going on, and they make people come up with their own hypothesis.

    The second half is where WEWG really shines. WEWG decided to add a surreal atmosphere to the poop that makes the video intriguing to watch. The decision of making Mermaid Man silent, and his eyes blank, made me wonder what was going on with him. Usually slow, quiet scenes like this can make viewers bored, but WEWG was able to keep my interest by including the scene from "SB-129" where Squidward is in the land of nothing. This scene takes place inside of Mermaid Man's mind, and it makes you wonder whether Squidward is trapped inside of Mermaid Man's mind, or if it's just Mermaid Man's imagination. The ending make a clever reference to an event that happens earlier in the video, but I'm not gonna spoil it for you. I suggest watching the video for yourself to find out what happens.
    Overall, WEWG was able to deliver his own take on Spongebob, that will leave the viewers wondering what will happen, and leave them wanting more. It makes viewers like me wondering what WEWG's next video is gonna offer Therefore, this is one of my picks recommended poop of the month.

    Paperking99's Pick #2: "[YTP] Link Gets Quarantined" by jefflindblom
    Back when I wrote recommended poop articles for YTPMania, I always focused on poops that were longer than 1 minute long, cause they had more to offer than poops that were shorter than 1 minute. That rule still applies here, though if I find a poop that has a lot to offer in less than a minute, I'll be featuring it here. With that said, there's one pooper who was able to fit a lot in a video in just 30 seconds, and they go by the name of jefflindblom.
    jefflindblom is the maker of the famous poop, "What is Spaghetti?", which to me is the perfect example of an all time classic poop. Besides that video, I had not seen any other video from them, until one day I saw their video "Link Gets Quarantined" in my recommendations. Despite being only 30 seconds long, it's able to sum up the events of the epidemic we're currently in, while being funny at the same time. It's a simple, but effective premise that involves Ganon releasing the Coronavirus throughout the kingdom, Link grabbing his toilet paper, and Harkinian touching his face, despite Gwonam telling him not to do so. Link's quarantine is the mirror that trapped him in Zelda: The Wand of Gamelon, which I thought was really clever.
    While this poop is short, it's still worth watching for it's simplistic, yet enjoyable story, and it's proof that there's still endless ideas for Zelda CD-i poops, despite the sources being used an endless amount of times.

    CreativeName's Pick #1: "Poops Over 45" by OfaceStudios
    I've always had an affinity for extra long YTPs that one can really sink their teeth into. The blending of multiple sources into one cohesive mix really opens the door for a laundry list of creative opportunities that would otherwise be impossible to achieve in the average YTPs sub-five minute running time.
    This specific brand of video anarchy is masterfully captured by Oface Studios in her Poops over 45 video, released on March 11th 2020. The poop tackles a variety of seldom-seen sources, bouncing from Pokémon to The Adventures of Tintin to the arguable highlight of the video, Wild Woody. With the addition of channel staples like Doraemon and Thomas the Tank Engine, Poops Over 45 is a stunning example of the kind of creativity extra-long YTPs can bring out in Poopers.
    CreativeName's Pick #2: "YTP- The Grifsons Odyssey" by Clorox Corner
    Over the last few years, Clorox Corner and their anarchic editing style have made waves throughout the YTP community. Their latest Family Guy poop, The Grifsons Odyssey, is no exception.
    Making liberal use of channel hallmarks such as ear rape and vomiting Peter, this poop is a mayhem-laced treat from top to bottom.

    william_
    One day last year, I sat down to watch a LinkOnDrugs YTP and realised I didn't find him funny anymore. In disbelief, I went back to all the other flashy, arthouse SpongeBob YTPers I used to idolise, and realised I found none of them funny anymore either. For a while I didn't know what caused this—a third-act change of heart? a sudden genetic mutation? a forgotten dream in which I was chased by numerous grey SpongeBobs with sunken black eyes?—but really I was just reflecting on them in a new context: as a slightly painful reminder of how bleak and edgy YouTube Poop had become when I first gazed into it. Really, ‘SpingeBill Experiences a Horrifying NDE’ was as much of a curse upon YouTube Poop as it was a spectacular reimagining of it; at once, you were getting all of those Fawfuls and LODs and Sinnedtragedy98s—and william_s—trying to out-impress each other, but also trying to out-edge each other. Maybe it was to be expected—the early-mid 2010s were a time when everybody else on YouTube was trying to be an asshole too, and maybe the fledgling SpingeBill scene was just sucked in. But as devoutly as I've defended it over the last five years—and though there are still plenty of beautiful, hilarious exceptions—I can no longer ignore its poisonous spirit, and I think it's about time we started making SpongeBob YTPs fun again.
    Last March I mentioned to Dani Lee Pearce that I wanted to start a crusade against SpingeBill poops. She wryly answered, “Oh I've been on this crusade since 2014, my friend.”

    Dani's honestly the best fucking person to talk to about YouTube Poop. I learn a hundred new things from each conversation. One thing that really surprised me is that she never pursued the style of early YTP until around 2013—and is now the generally-accepted pioneer of the retro renaissance that's occurred since. You'd figure she had grown up practicing it, given her intimate understanding of Our Founders' mentality—and her expert evolution of it into her own unshakable brand of madness. Put simply, she Gets It like nobody else, and her video work as Dew is a masterclass of the pooping spirit; a spirit that was once shunned and abandoned.
    The decision among many new YouTube Poopers to get ‘serious’ and ‘professional’ at the dawn of the 2010s came about in an era when most of YouTube's higher-level figures were making the same shift. Multi-channel networks and analytics had been around long before, but with them now came investors and book deals and TV movies. YouTube was becoming just another extension of the media industry, and swapped its homegrown cultures and gangly teenisms for the fancy cyberlimbs of Cinematics and Filmic Structure. (A smarter soul than I could go on about how this exemplifies capitalism's usual hijacking and reshaping of new media to resemble older, traditionally profitable ones.) And this mentality naturally trickled down, through all the levels of YouTube's wannabe bigshots, to reach the decade's new wave of YTPers. Flashpoopers dropped the uncool animation tool of their namesake, and picked up After Effects. ‘Having a story’ found a seat among the time-honoured ‘Being funny’ and ‘Not using spadinner’ inside the comments section's YTP style guide. The longer the list of effects plugins you used with your video editor, the more impressive you were. For myself and so many of my peers, this is what YouTube Poop had been leading up to—and what it could've always been, if it weren't for those weird kids and their unfunny memes. If only they had known what we now knew!
    But what those weird kids did know about the artform they invented was now lost to us. And what we saw in the relics of their craft—a blazing scattershot excitement of anarchy, blissfully unaware of any fucks to give—now confused and tormented us instead. I can only imagine the reaction of somebody stumbling upon the God Luigi Saga with no context. It's like Xenophon stumbling upon the ruins of Nineveh. How did we even make things like this? How could we hope to replicate it?

    YouTube Poop began, fundamentally, as children's art—and it's paradoxically harder for modern YTPers like myself to make something faithfully childlike than something professional and shiny. Even harder is the challenge of taking the childlike, with all its openness and unpredictability that not even our younger selves could comfortably harness, and refining it: making spontaneity into a deadly technique, dumb attempts at comedy into gutbusting miracles of circumstance. And, finally, pushing this philosophy to all-new capital-letter Directions In Poop that could never have come about otherwise.
    Dew started her YTP career in the middle of this turbulent atmosphere, and “attempted to play that game the first couple of years” with both her main YTPs and her prolific contributions to the similarly evolving Tennis scene, but her eventual fascination with YouTube Poop's ancient works prompted a drastic change in approach. This was when I found her; through her first SpongeBob YTP of 2015, SQUIDWARD MAKES A DEAD MAN COME. It seemed fucking insane to me. Why was she repeating that clip all the time? What were these songs she kept playing? What structure or intent was there to any of this? And... why couldn't I stop laughing?
    It's insanity, but controlled and directed through untold mental processing to extract Pure Laughs. Dew takes traditional rules of comedic timing and turns them inside-out; stretching them beyond reason and exploring the new paths before her. Her edits are sharp, brutal, like virtual slapstick performed on your brain; but so are the edits she doesn't make, which linger in expectation 'til you realise you're watching one clip of Patrick sitting on a bench repeated for an Entire Minute. Don't even think you can predict what's coming next—not even Dew knows, and that feeling of dual exploration through Source World is so entirely part of classic YTP, a giddy collaborative stumbling into a new form of expression: just fuck around and see what happens. It is magic to witness.
    But Dew also sets herself apart from the crowd with her love of conceptual art—and the best showcase of this is probably her ‘live pooping’ experiments of 2014–15. I could spend ages talking about how cool live pooping is in general. This technique involves the YTPer scrubbing and skipping across the video editor timeline using playback shortcuts, while recording the preview window; slowdowns and reversals forming automatically, timing and impact improvised like a theremin. She immediately took this to extremes with a couple of amazing Winnie the Pooh YTPs (1, 2). Completely blown-out audio, raucous spur-of-moment keymashing, and tireless 10+ minute stamina; they were as monolithic and unapproachable as YTP gets. But Dew has always been the type to take a concept as far as it can go—and this is how we get to the sound of the combined power of the emergency brakes of 30,000 steam english locomotives.

    It starts out unassumingly; or at least like your typical Dew video. Quick edits carving a hot knife through the source material, audio just slightly saturated and distorted to bring an edge of madness. Squidward and SpongeBob pause in their actions just long enough to make you wonder what's going on. It's unwieldy, but as expected. Then you realise, a couple of minutes in, that this video is twelve minutes long. Just in time for all hell to break loose.
    What follows is indescribable. (Yeah I know sorry, that's why I put the video up there.) But I'll try and paint a picture of what I see through all the noise. It's ultimate chaos conjured from the simplest of events; really just a single unbroken SpongeBob clip played on loop. But the endless warping and stretching of the footage to overwhelming degrees, coupled with that constant distortion crunching into your ears—merely this is enough to transform it all into a beast of the senses. Pacing and dynamics have ceased to exist. It's even more minimal than her previous experiments; at least those had some reversing, which lends some traditional funny scenarios... here, the train is only going one way: GOTTA HEL.
    Lost? Frightened? Confused? Rest assured that Dew is loving every second of this. She's spoken about how the making of this YTP was some of the most consuming fun she's ever had; that the only reason why it's 12 minutes long was because she was too busy going “completely insane with laughter” to notice time passing by. Focus in on these edits (as much as you're able to) and you can SEE it. Ideas flash in an instant, are acted upon and developed like a whirlwind gathering strength. She gains familiarity with the controls; learns how to rapidly vibrate the playback speed to head-melting effect (“LlIiSsTtEeNn TtOo SsPpOoNnGgEe...”); remembers what word comes next and prepares to distort it in JUST the right way. And once pre-prepared micro-stutters enter the video soup, things reach a whole new level of crazy.

    The first time I saw Patrick gearing up to yell “THE PELVIC WH—” only to suddenly freeze, cast in the most ridiculous pose I'd ever seen, his static voice stuttering “—OOOOOOOOOOOOOOººººººººº” like a leaky balloon—I lost my absolute shit. I howled with such force. This was the funniest fucking thing ever made. It comes out of nowhere; it strikes like a shockwave; it's contoured to perfection; it leaves in an instant, pushing you back into chaos—it's the defining moment of this YTP. But as usual, Dew knows there's a long way to go with it. There's still seven minutes left for this spark of genius to be explored, extended, and finally mastered. By the end you're wondering why nobody else is doing this—why nobody else is seeing in the way this sees.
    I've played this video to many friends, and in the process they are transformed. They expose themselves to the abyss for long enough, and what first seems like bullshit slowly coalesces into a terrifying logic; a method to the madness that's hard to place, but soon impossible to ignore. They find themselves adjusting, the impossible rhythm and consuming soundscape settling in after a time. They start to find it... funny. They send me messages asking why they're laughing this much—as if they're in denial, or in terror. And I usually try to comfort them, laughing it off: “Sure, it's only a YTP.” They almost don't want to believe it. They've never known a YTP like this.

    But the truth is, there's a whole opposite reaction you can have to this video—which Dew and I both share. You can have FUN with it. Consume it like a YouTube Poop of old; like just another manic, adventurous, childlike spectacle. It makes sense, then, doesn't it? Attune your senses to listen to every deafening burst and non-sequitur stutter, and hear from it a comedy so pure it chokes your muscles to react. Don't think of that humour as primal or base; recognise its potential, the limitless possibilities that just can't be copied with even a great sentence-mix. Like everything else Dew makes, think of it as music—the clamouring of harmony from a million chance coincidences and juxtapositions. Feel the sheer catharsis of the ending: a sudden silence, a fade from black to Squidward preparing to blow his biggest bubble, a chorus rising and screaming as he screams, the video exploding with intensity and colour—and then it pops, it all drops out, and Squidward goes home and dicks around on his clarinet for a while. It's anticlimactic—a cheap rise! And it's also very, very funny. They were doing this in '08—you didn't know?
    This ancient pooping spirit is more alive and well now than it ever was in the 2010s, and I credit this to Dew. Not just this video, but every other twisted visionary blast-from-the-past she's cooked up—it all feels like one long, laboured love letter to how it was done, passed on for the younger generations to decipher with awe and inquisition. It was a needed force to counteract the edgy downward spiral we'd painted ourselves into, reminding us of all the more wholesome ways we could go apeshit. the sound of the combined power of the emergency brakes of 30,000 steam english locomotives might not have had much impact in this way, but once you've dug it up, once you've seen it... it never leaves you. It's a monument to merry madness, made by chance one afternoon. It's one of the greatest YouTube Poops ever made—and it's something you could make too.

    (Watch more of Dew's YTPs here.)
     

    dew✿
    I've followed Geibuchan longer than most people who know and praise him now. I can remember a time when he still had under a thousand subscribers, when he had yet to show his true prowess as a creator with Adobe Premiere, when "The King's Epic Adventure" was only two parts long. That was in fact around the time I discovered him, somewhere in July of 2009; long before I had a YouTube account of my own, long before I had any inkling I wanted to make these silly videos myself. I was still becoming introduced to the world of YTP and had yet to really know of the depth that the community behind these videos went. I was barely scratching the surface. The fact that Geibuchan was one of the first people I uncovered in doing so should probably stand as a miracle of some kind. His videos, more than anyone else, changed my life during a time when I was still 14 years old, terribly isolated from the reality of the world, with a beady-eyed optimism for everything it contained.
    I would check Geibuchan's channel manually just about every week, waiting for the next video to appear around this time. Some periods would be a painfully long wait for whatever came next. I can remember clearly when his odyssey stepped into the early Adobe Premiere era with the upload of a video called "Bowser Gets an Ideear", followed by "Sunday Wars: The Movie" and "Tomo Leaps Over a Duck". These came to me as a slow transitional process wherin Geibuchan spent two and a half videos in the realm of Super Mario World, creating some absolutely brilliant moments(PIPE DOWN THE STEREO from "Sunday Wars" used to be positively, ear-splittingly, screen-shatteringly loud. It unfortunately is not as much anymore)before starting to move into uncharted territory with big strides. Azumanga Daioh! has of course always been a staple of his work, introducing many people including myself to the show by its own merits(its supremely delightful, calming, positive and very funny. Perfect material to help process current times), but with Premiere now in Geibuchan's arsenal, the possibilities of what he could do with the show began to rapidly expand.
    oooooooohhh thhhhaaaaaaattt.......DOESIT. DOESIT. DOOOOESSSITTTT And then there was The Jungle Book. Many strange legends have TOOOOOOOOOOOOOOOOOOOOOOOOOOLLLLLLLD of these JUNGles of India. But none so strange as the tale of small boy named MAMA LUIGI. With this video, and especially its following sequel, "Bagheera's Cognitive Development is in Question", Geibuchan proceeded to go from a curious fascination to a bona-fide hero of mine. Never, before or since, can I recall laughing as gut-wrenchingly, falling-out-of-my-chair-writhing-on-the-floor hard as I did when Baloo said "I'M TALKIN ABOUT LIKE A BIIIG BEAR" and proceeded to blast a giant laser from his mouth. From that point until the end of the video I was in absolute stitches, and I was a solid follower from that point onward no question. I didn't think that it was possible for him to outdo something as brilliant as those two videos. And the brilliant thing about Geibuchan, as a testament to the quality of work he has put out for over a decade and counting, is that when you think that Gei cannot possibly outdo himself, he always proves you wrong.
    "Tomo Leaps Over a Duck" and "Bagheera" was mid December 2009. Cut now to about two weeks later; the only video that Geibuchan has uploaded since then was an attempted entry to Stuart K. Reilly's Bugs Bunny collab, an entry that, to my retrospective astonishment, was not accepted. Stu himself would go on to wholeheartedly embrace Geibuchan's work as I have, but I will always find that little peice of history regarding that early intersection of the two of them to be utterly fascinating.
    January 2010, I'm still dedicatedly checking Geibuchan's channel for new material. Still no youtube account of my own, now with the seeds of my future venture into YTP planted however. On January 9th, I go to his channel, and I miraculously find that he has indeed uploaded a new video, his first of the decade, and that I manage to find it not 20 minutes after it had just been uploaded to Youtube. The thumbnail for the video hasn't even processed yet, so I have absolutely no clue what to expect. All I have is the title: "Lumiere's Gang-Afflicted Dinner Flambe of Tomfoolery".
    The video that lay within absolutely, utterly and completely changed my life. It was the best video I had ever seen Geibuchan make; better than "Bagheera", better than "Tomo Leaps", and for me at the time, even better than "The King's Epic Adventure". It became, and remains for me, my absolute most favorite Youtube Poop of all time. Today that video turns 10 years old.
    The two Kirby segments of the video are entertaining placeholders for the real crown jewel portions that make the video what it is for me. Firstly, and most notably, that fucking Beauty and the Beast segment. While everyone at this time was focusing on Gaston, Geibuchan opted to use a scene that no one else was thinking of, the "Be Our Guest" scene. Lumiere invites you to relax, suggests that you "LET US BEAT YOUR NECK WITH AN AXE", pull up a CHER, and presents Your FACE for DINNER. The segment is a slow build, but has so many segments that still make me drop dead with how funny they are. Things like A-AND IT'S ALL MY FAAULLLT, the WARNING: AIRLOCK OPENED, and the absolutely on-point sentence mixing, made funnier with the giant generated text.
    A notable exploited moment is Cogsworth's utterly baffling "CHKOTKDA" noise. Geibuchan and me think very alike on how much that singular noise was embedded in both our heads when we grew up repeatedly watching this movie, and it gave me supreme delight to discover that as I was watching this for the first time. Then the fucking machine gun sounds, the distorted close up, the GELATIN MONSTER bit, and more CHKOTKDAs. Mrs. Potts' following sentence-mixed dialogue remains for me some of the funniest sentence mixing I've ever heard. The endlessly expanding dancing silverware is an obvious masterstroke move. Lumiere blowing the fucking speakers out by posing dramatically, only to return to the dying whisper of the original audio volume. The fucking Street Fighter scene with Cogsworth using his Mega-CHKOTKDA move. A flawless, flawless segment.
    Compactor? NO! Finally, we eventually get to the Azumanga Daioh! segment; to me, the best one that Geibuchan ever did for all the hundreds of times he's done so. It took me a couple times to understand why he included WE AIN'T AFRAID OF NO KOOPA, but once I saw it I thought it was fucking brilliant. The transition to the beach house scene. The IIIIIIIIIIII. The uses of "Let The Heartaches Begin" and then, the pouring alcohol segment, complete with Fun and Fancy Free.
    This is the point in the video where the real positive emotions lay for me. When I first experienced that scene, its impossible to state the sheer EUPHORIA that it generated for me and still continues to to this day. The same can be said for that singular, incredible hallucinatory ending. William once commented that there was probably not anything like it in all of YTP, and he would probably be absolutely right about that. I still get goosebumps every time I watch that ending. It's so Intense, vibrant, and full of everything that 2010 was in only a matter of seconds. Insane donald duck, Ocarina of Time, Robotnikclaus, a wayward FALCON PUNCH being heard, and red channel blended Osaka going QUIET AND PAY ATTENTION, YOU UNDERSTAND? in a dark, demonic voice. A dramatic but nonetheless genius ending to an otherwise joyous video. An ending that left you positively speechless, as it left me upon first watch.
    GO TO ME, YOU SNIVELING TURKEY ROBOT! ROBOT.....ROBOT........ROOOBOTTTTTT The video itself is not one of Geibuchan's best known. He has since made several, several masterpieces that have absolutely dwarfed it in popularity several times over. But its one I keep coming back to, and one I keep having positive experiences with. I.m hoping that with this Front Page Attention I'm giving to it, that readers can hopefully see and understand something of what I see in it.
    It's utterly undescribable the feelings that I get when I watch this video. More than any other YTP that I've seen multiple times, this video has a unique quality that far surpasses all of them. That quality is that this video gives me genuine, immense JOY. I feel calm, happy, many things that are hard for me to feel normally, every time I watch this. It takes me back to a Simpler Time, With Simpler Pleasures.
    Geibuchan when he reads this article for himself, probably 2009 and 2010 were, or at least felt like to a young teenage mind such as myself in that period, early watershed years for the original generations of Youtube Poop. During this time, the medium had its first peak in its community activity; amazing and groundbreaking videos were coming out almost every week from dozens upon dozens of talented makers, and the form was being advanced incredibly on all fronts. It was a genuinely exciting time to be a fan of YouTube Poop and to be a YouTube Pooper itself. Incredible private collaborations and tennis matches, the 2010 Youchew Festival, the 2010 Three-Way Tennis Tournament, Wikiwow's Mario Collab, the I STILL LOVE YOUCHEW Collab, the YouTube Poop NEWS episodes of that time, everything was bustling and lively and wonderful. Geibuchan's "Lumiere's Gang-Afflicted Dinner Flambe of Tomfoolery" arrived right in the crux of that moment in YTP History, and to me, it perfectly embodies and signifies that. The energy and feeling of that time just flows out of that video.
    This was the video that made me fully decide and commit to entering into YTP and making these videos myself. I began to meticulously plan out the videos I was going to make, and on April 30, 2010, I finally created MountainDewMaNN, my first ever youtube account. It would be another 7 months before I finally ventered into make videos of my own, but I spent that entire time trying to find usable software in order to definitively get started. I was not computer savvy enough to know how to crack just yet. I tried buying Adobe Premiere Elements 8.0 with physical money gained from summer work, only to find it would not open in my Windows XP. I finally discovered Videopad, a free basic almost-WMM software in December 2010, and began to finally put out my first videos, hoping to get a taste of the incredible momentum I had witnessed across the previous year and a half. By that time though, I began to feel like it had passed me by; the winds of YTP began to change, and 2011 and 2012 didn't nearly at all feel like the years that 2009 and 2010 were. The community had also gone through some major shifts and events during this era. I genuinely began to wonder if I was ever going to see YTP have golden years again. In all that time however, Geibuchan still kept uploading amazing and brilliant work, and perhaps even more great, we became best friends and mutual fans of each other. I think I can cut my losses pretty easily when I think about gains like that; he remains one of my closest friends in this community, and this is an article I've been waiting to write for quite some time. This is my tribute to him for over a decade of him being awesome, and a decade of this video in particular enriching my life as a YTPer and beyond.
     
    Geibuchan's Directory Entry

    Dopply
    The thumbnail alone is enough to have it in your head, isn't it? Widely considered one of the greatest YTPMVs of all time, Big Beat Mario has been stuck in our collective heads for a full ten years now. Sort of insane how time flies, huh? In honor of its anniversary, I've sat down with its creator, Triple_sSs (henceforth referred to as "Triple"), to briefly discuss the now-classic video.
    What were some of the inspirations to make BBM?
    Triple: Well first and foremost, my biggest inspiration for it was the music of Fatboy Slim. I'd say Fatboy Slim is up there among my fave artists, to be honest. He was one of the pioneers of the Big Beat electronic genre that was popular in the 90s. It usually had heavy compressed breakbeats, loud acid synths, and the use of samples from old funk & rock songs. The kind of thing you'd expect from the 90s basically. For example, his song "Build It Up, Tear It Down" shares some similarities with Big Beat Mario if you ask me.
    Also I had made some sample-based electronic tracks around that time as a side hobby, and I wanted to try putting those skills to use to make a YTPMV. While some of my other YTPs from the time may have had YTPMV sections, I felt like this was my chance at making a legit, full-fledged YTPMV.
    The idea for BMM started out when I had the Hotel Mario cutscenes in Sony Vegas, and I came upon that part where Mario unplugs the toasters, and the music which plays over the image of the lights flickering in the hotel caught my ear. Hearing the one part that has those trumpets playing, combined with the loud distorted audio that the Quebec Gamers cutscenes are known for, made me think "Hey, this kinda sounds like something I'd hear in a Big Beat track. Maybe I could build a cool YTPMV around this!" So I started looping that part over and over, and that's how everything started.
    How long did it take to make?
    Triple: My memory is a bit fuzzy on this, but I believe the idea started sometime in the fall of '08, which was over a year prior, and I was working on the project in my spare time over the next year, then it really started coming together in the latter half of '09. And during this time, I was also sharing my progress with a friend of mine, NS2. Though he's not involved in the YTP community anymore, he was a very close friend at the time and I wanted to let him know about what I was working on. He was very encouraging the whole time and he could tell I was making something special.
    The part in the middle where it cuts to the "Toast" segment and switches to a more House music sound, I thought that would be a nice second-act kind of thing to change things up and keep the video interesting. Towards the end of the video, it was actually a little bit difficult to work with, because I had so many channels and sounds going on in Vegas, and it was hard for my computer at the time to process it all and it slowed things down a lot! But in the end, I was able to finish it regardless.
    Did the original vision for the video look like something different than the finished product?
    Triple: Not really. What you see in the video is pretty much all the ideas I had for it, as far as I recall. Which, honestly, is a bit surprising for me because when I make videos like this, there's usually all sorts of ideas that I'll be kicking around and don't always get used. I will say however, I didn't come up with the actual title until a little later on. (The project file was just titled "Hotel Mario YTPMV") One of the titles I had kicking around in my head was "The YTPMV To End All". That was mostly a joke of course, but eventually, I came up with Big Beat Mario. Big beat was the music genre I was going for, so it made sense to have a name like that, and my bud NS2 agreed.
    Did you have any idea that the video would become so insanely popular?
    Triple: When I finally finished the video and uploaded it to YouTube in December 2009, I did have good expectations for it. What I didn't totally expect was just how overwhelming the praise for it would be! Suddenly I'm hearing this is not just one of the best YTPMVs of the year, but of all time. That's when I realized I'd really made an impact here. Then not soon afterward, I started seeing a few other YTPMVs popping up that were titled "Big Beat X" and so on. While they were usually not bad, they didn't really have the actual big beat sound like my video had. However, there was one YTPMV among these made by thapoint09 called "Sonic Is Talking Balls". It actually has lots of inspiration from big beat music (perhaps more so than Big Beat Mario, in my honest opinion) and it sounds awesome! To this day it's still my favorite YTPMV inspired by Big Beat Mario.
    Another thing I should add: The popular YTPer, MrSimon/TheElectricCheese, actually approached me at one point and asked if I might be interested in joining his now-defunct netlabel Breakbit Music (then called ROFLTrax) since he was so impressed with Big Beat Mario! Though I never took up the offer, I thought it was a really nice gesture nonetheless.
    What was your reaction to the finished product? Do you love it as much as everyone else?
    Triple: Well once it was done, I stood back and thought "Wow, I actually made this." Even now I still think that! It's the kind of flash-in-the-pan creativity that you don't see often. And going beyond myself, it looks like Big Beat Mario was also a big inspiration for other YTPers and YTPMV makers, and really inspired them to try making more original compositions with YTPMVs, instead of just synching & pitch-shifting random clips to the notes of a Mega Man song or whatever, as was popular at the time. So it definitely left a noticeable impact afterward. And hell yeah I love it! Sometimes I'll bring up the video and jam out to it and amaze myself for the millionth time. Also, since Big Beat Mario came out, I've actually had 1 or 2 other YTPMVs in the works for a while, but I've been sitting on them since unforunately I just haven't had the time or motivation to finish them. But hey, never say never, they might get finished someday!
    I'd like to once again thank Triple for his time and generosity in opening up, and also for making a video that continues to entertain and delights us. Check out his directory page here to view all of his videos.

    Dopply
    Art courtesy of the talented Matt Dean The intro for Episode 1 of Pyramid Adventures. You thought that Animation Magic didn't make anything besides the (in)famous Zelda CD-i, Mutant Rmpage, and I.M. Meen games? Well, you're in for a treat. Animation Magic developed a game called Pyramid Adventures, released in 1996 in very short quantities as part of an educational system (the game is about eating healthy and the food groups...hence, you know, the food pyramid).
    Up until three days ago, no footage for this game existed on the internet...when suddenly, a user on Twitter named RecD posted a cam of the intro cutscene. Users LuigiBlood (known for his previous CD-i rips) and Dopply (known for being a goof) posted high quality rips of the source soon after, with Doppply's being a high-quality capture from a real CD-i and LuigiBlood's being a direct rip from the game.
    A promising YTP source, the voice actor for DASH DANIELS, pictured above, is Jeffrey Rath, who you may know better as the voice of Link from the CD-i games. This opens a world of possibilities. There is a full audio rip of Dash's lines available courtesy of user Mundy; Dopply and others will be doing a full playthrough and someone will eventually have the complete gameplay and other possible cutscenes uploaded as well.
    YTPs have already started appearing! So far we have two...
    Created by piezopie Created by WalrusGuy That's right, even the legendary WalrusGuy is getting in on the action! We might be seeing the start of a YTP renaissance, folks. Stay tuned to this site for more YTP goodness, as I'm sure there's a lot to come!

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