Frostbyte Freeman will soon explain himself in his own words, but here are ours anyways: he’s a YouTuber who mostly creates analysis of the videos of other Minecraft YouTubers– specifically, Machinima (machine cinema), a medium which uses pre-existing video games for its sets, actors, and filming.

We might be pigeonholing him a bit, however, because he’s been increasing the frequency of videos about other things— traditional films, the Muppets, and literature— and he participated in the Minecraft YouTube Metatext Zine, a series of essays on Minecraft content creators.

The art of Machinima, and the video game gameplay video at large, goes unexamined by most. The creators of these shows and movies don’t often think of it as art, only content, and viewers are likely to feel the same way. This is why it’s so refreshing to see someone putting real work into viewing and critiquing the medium.

We talked with Frostbyte Freeman on the popular gaming-themed app Discord to discuss his work, and his thoughts on the works of countless others, in this surprisingly under-examined sphere of content and art.

Sentenced: How are you? What’s up? 

Frostbyte Freeman: Um, good.

S: Okay. Cool… Who are you?

F: My name is Frostbyte Freeman. That’s like the whole brand, persona, channel. I make videos not about Minecraft, but about other people playing Minecraft, mostly, which is a weird niche of the content creation scene to inhabit. As such, I think a lot of my videos, especially as of late, have sort of taken on a top down perspective on the form that is Minecraft content creation, in general.

S: Fantastic. Yeah, I think it’s very interesting, because content about other content very frequently falls into this trap of just becoming a list or something, and I do feel like your videos manage to go deeper than just like, um, you know. That’s a problem on YouTube in general, but I think… (coughing). Oh, my God. I have something stuck in my throat.

When did you start watching YouTube? Minecraft or not Minecraft, what was your introduction to all of this stuff?

F: When I first started watching YouTube videos, it was the 2010s. I wasn’t allowed a whole lot of internet access until I was just starting to emerge into my teens, and a lot of the stuff that I gravitated to at that time was LEGO stop motion animation. You know, there were a lot of LEGO Ninjago fan films. A lot of the stuff Brotherhood Workshop was making, a guy who actually got hired by LEGO to make stop motions with their newest waves of sets– that was originally what spoke to me on the platform. 

I tried my hand at little stop motion animations, but obviously my budget and my skill was nowhere near comparable to the stuff other people were making, so… I sort of reflexively fell into the habit of orbiting around other creators and other artists, analyzing the stuff that they made, and then patterning my taste after their own. They would suggest films or outside inspirations, alluding to a broader world of cinema that I had had no real basis of reference for, and that was how I started trying to acquaint myself with film and other disciplines of art and literature that I hadn’t encountered before.

The shift to Minecraft came in the the fall of my senior year of high school, you know, sort of fresh off that wave of the pandemic, when Minecraft videos were still getting insane views. I just bought the game for the first time, just playing around with a group of friends that I made who all had similar interests to me at the time. I thought, you know, maybe there’s a market for the type of videos I’m making about LEGOs that don’t perform as well, but in the Minecraft space. I was rewarded algorithmically almost immediately, in a way that I could not fathom, and so ever since that I’ve kind of been sidelined into that niche.

I’ve recently just sort of stopped caring about it as any sort of financial outlet or, you know, possible career. I’m not trying to make this a full-time thing, this is a hobby for me. It’s liberating in that I can talk about whatever I want. So now I mix it up with other stuff too.

S: I love your Muppet stuff.

F: Yeah, I really like that too! Right now, it’s at one out of 10 on the YouTube analytics, which is kind of frying my brain.

S: One out of ten? What does that mean? 

F: When you upload a video, YouTube gives you a little readout on its current performance tracking it against the metrics and graphs of your other best performing videos. So, if you get ten out of ten, you’re lower down on the list, and you can map it against the graphs of every other video.

This [Muppet] one, and the last one I did about Asteroid City, have both performed fairly well for a modest, very small-time channel that has mostly dead or inactive subscribers from a long-ago wave of Minecraft content. So, I’m pleased that they’ve resonated with the people that they have and that, you know, I can just kind of do this for a lark and people seem to gravitate to it for their own reasons.

S: Yeah, I’ve never, ever seen the Muppets, but I like your videos on them, which is a pretty common feature of YouTube in a way, where… like, you said you got into movies through people talking about movies on YouTube, is that, like, fair to say? Like it was cart before horse in some way

F: That’s exactly right. I think that’s sort of a fascinating relationship with digital media, you know, previously… you would watch the stuff that came before you. Nowadays, in the digital landscape, you have people entering into it with no real frame of reference, no context for the stuff that they’re watching, which is a diffusion of something that’s a diffusion of something else. It’s a Xerox of a Xerox all the way down. And it loses definition after a certain point, you know, on those photocopies, the colors get all blocked out and chunky and pixelated. Stumbling into, on accident, film reviewers that do have a semblance of taste and appreciation for older works helps you return to the content creation landscape, I think, with a better grounded perspective.

S: Regarding monetization… you mentioned that at the start of your Minecraft specific content, the algorithm really prioritized you. When was that? Was that around like, 2021?

F: Yeah, around then… if you look at the long-term trajectory of my channel in terms of  YouTube analytics, you see the largest spike around that time when the subject itself was very hot. Yeah. And then there’s like a couple other successive peaks years later as I start getting back into it and making stuff again.

S: You talked in one of your videos how Unstable SMP only got big when they started doing longer content. It was a failure at first.

And also, the readers don’t… they don’t even need to know what we’re talking about. It doesn’t matter.

F: Good, good, yeah. Probably for the best.

S: Screw ’em.

(editors note: Unstable SMP is a scripted, first-person perspective Minecraft series created by Parrot, Wemmbu, Spoke, and FlameFrags. It’s similar in structure to DragonBall Z, featuring a cast of characters who attempt to survive in a Minecraft server which permanently bans you upon your death.)

S: So, Unstable SMP only got big when they started extending the length [of their videos], because that’s just how the algorithm works– it promotes longer content. I was curious if you think that that makes the videos as works of art worse, or if it’s something that they can work around. Like, how baked into the medium is it?

F: It’s not that baked in.

I’m going to take credit for something that I absolutely have no way of taking credit for or way of possibly proving that it is true. In the month immediately following the release of the video I made about Unstable, you saw the length of those videos go down. 

(ed. note: Frostbyte Freeman “would like to once again clarify that this [insinuation] is a joke.”)

F: Once they finished the most recent arc, they shrink from about three hours back down to a much more manageable one [hour]. Which is still a lot of Minecraft to sit through in a single sitting, but it sort of constrained the pacing of the upload.

The three-hour videos, they’re great because, you know, if you’re making a three hour long Minecraft video, people leave it on in the background while they’re eating, or they fall asleep to it and they get stuck in the YouTube autoplay. The algorithm keeps serving it to them, and you just farm passive viewership for the videos while they’re asleep. So it’s very helpful for the algorithm.

Artistically, I always found it a bit infuriating, because there was so much redundancy. There was so much backtracking, the pacing became a slog, and there was only the barest bones of true characterization– you know, if you’re treating the Minecraft characters in these videos as characters. Only the most essential tenets of their characters would survive, because a lot of it would just be lost in random banter to fill airtime. At that point, they stopped taking the narrative of the thing they were trying to make seriously. So, I did think the longer run times were detrimental to treating the videos as some sort of creative storytelling endeavor. I think now that they’ve shrunk back down, it’s easier to achieve that end.

S: You said, incredibly recently, that there’s more in common between Minecraft content and theater than there is between Minecraft content and film. I thought that was so interesting, because I’d been thinking of how games are, in general, more like theater than they are like movies.

There’s an interactive element to a play to some degree, the audience reacts in some way. So, the fact that Minecraft is acknowledged to exist within these scripted Minecraft Machinimas is interesting. In Wemmbu videos, the concept is that they’re playing on a server, which is a little ridiculous…

F: I do think it’s ridiculous, especially because the fiction of them playing on a server is also at war with trying to build stakes as if this is some sort of material, lived reality. There’s no acknowledgment of life offline, there’s no world outside the server.

S: Exactly.

F: And they have to treat it that way in order for there to be like, stakes to all of the potential of death. That’s why it’s a hardcore server. So, it has to carry this internal contradiction between wanting to legitimize the narrative and give you a reason to care, even though it’s scripted.

A lot of younger Minecraft fans are very resistant to that idea. You’re riding the line between treating the reality seriously, but also acknowledging that it’s just a game. And so at every turn, it’s sort of undermining itself in order to maintain that tenuous balance.

S: I think it’s interesting too, because it’s there in the Lifesteal stuff to some degree. You get these live streams of these people torturing themselves for 18 hours a day playing Minecraft. So it’s like, you want to believe that this is really their life because they’re playing it too much.

Do you like the Lifesteal stuff? Did you watch Dream SMP, also?

(ed. note: LifestealSMP is a semi-scripted Minecraft series in which a variety of big-name Minecraft content creators play on a server where you can only die ten times. If you kill another player, however, you get an extra life. This means the characters are constantly in situations in which they are incentivized to kill and trick each other. DreamSMP was an almost completely scripted series, which became incredibly popular during COVID. It significantly changed the landscape of Minecraft content in a myriad of ways that I’m unequipped to speak on.)

F: Uh, yeah, I watched a lot of the early Dream SMP stuff. That was where I sort of made my foothold originally, was on an analysis of the Dream SMP. The first video I made that really took off… I made a video where I predicted that WilburSoot (again, your readers probably don’t have any context for this) was going to leave the Dream SMP, because I thought it seemed like the most narratively opportune moment for his story to conclude and for him to pass it over. It sort of felt like everything he was doing was building up to this big final climactic cathartic termination of the self.

When that turned out to be right, people were like, oh my God, this guy’s dialed in or whatever. After that, some of the videos I made before that ended up blowing up. But I was tapped in on the earlier Dream SMP stuff. I definitely dropped off around 2022, when I think a lot of people did. I have seen a bit of Lifesteal too, but I’m not as dialed in on that.

S: …You’re very elaborate. Is that the right word?

(ed. note: “eloquent.”)

F: This is the first… yeah I think that, yeah, that’s a fine word. This is the first, like, live interview I’ve done. I did an interview for the Metatext Zine, but at the time I was kind of scheduled for a surgical procedure and so I couldn’t be on a call to talk with somebody. They just sent me the questions and I recorded my answers to them in advance.

S: I actually thought that you might have been reading off of something, but then I realized that doesn’t really make sense. I don’t know, maybe you are.

F: I did have…

S: If you are, you’re a genius right now for predicting my questions.

F: Right now I’m not reading off of anything. I did have some notes for the previous interview I did, so you can kind of hear me reading off those at times.

S: This is blurring the lines, just like some of my favorite content creators…

Okay, speaking of, I guess we should talk about Whitepine, and also Solving Whitepine. Basically, uh… Whitepine is uh… No, I’m not going to bother explaining it to you, you know what it is.

(ed. note: Whitepine is an incredibly popular on-going episodic scripted Minecraft Machinima made by a creator named IvoryCello. Set in the early 20th century, it follows Ivory, a new maid at a manor called Whitepine, who must deal with the fallout of a murder committed in the antechamber. It looks and feels very different from almost all Machinima, with a very slow pace and focus on long, uninterrupted static shots. FrostbiteFreeman has released several videos abut Whitepine.

Solving Whitepine is a significantly less popular but equally interesting on-going episodic scripted Minecraft Machinima by a creator named shadowlord782. Set in an alternate world with rules that are kind of hard to follow, it’s focused on a journalist named Ben Morro, whose job is to write columns about people’s attempts to analyze Whitepine. As it has continued, the narrative has strayed from this original intention.)

S: So, most Minecraft content is filmed in first person, right? And very, very rarely do they ever hide the fact that they’re playing a game, which we talked about. Whitepine attempts to buck all of that. It attempts to, like, set up all these camera angles, do these long shots… You say at the end of one of your videos that you think that there should be more stuff like this, essentially, and that more people should be involved in creating these things. Like, do you know Red Vs. Blue or like, Rooster Teeth or whatever? Were you around for that?

(ed. note: The RoosterTeeth produced “Red Vs. Blue”, which started in 2003, was one of the first scripted Machinima. It was filmed in Halo. It is probably the most well known Machinima, as it popularized the medium. For my money, the best Halo Machinima is One Life Remaining, but that’s not overly relevant.)

F: Yeah, yeah, I definitely am familiar with that stuff. That’s foundational, I think, to Machinima. The uniqueness of Whitepine more so comes from, at least in my mind, its space within the form of Minecraft content creation specifically… I think a lot of games other than Minecraft have much richer traditions of Machinima and attempts to film-make within game as medium, which I find fascinating, because as a sandbox game, you would think that Minecraft, with all of its myriad creative potentialities, would allow itself to other modes of artistic development. But a lot of that feels like it’s been more sluggish to evolve.

It first had to shirk the label of a lot of the earlier, more gamified stuff. The form of content creation for people to start using it in different ways, you know, not just for filmmaking, but for painting and architecture and all sorts of other different disciplines that are now treated more seriously than, you know, just cobblestone roofs and oak log pillars.

So, I think Whitepine obviously benefits from the fact that other games have much richer and more vibrant traditions of Machinima projects. You know, just like off the top of your head, you have Red Vs Blue and Halo, you have GTA, they’re recreating, I believe I think it’s Hamlet, and they filmed… 

(ed. note: Grand Theft Hamlet was released in small theaters such as “Nighthawk Cinema”, and follows an attempt by celebrated English theater actors to stage Hamlet in a public GTA Online server during a COVID lockdown. The players not in on the performance are hostile to it, troubling the production.)

F: …the whole production of, which again, has interesting implications on game as theater. But, what makes Whitepine unique is that it’s one of the Minecraft Machinimas that not only takes the filmmaking aspect of its creation seriously, but it takes it seriously and it executes it at a technically proficient level. That’s what makes it such an anomaly.

S: What I think is interesting regarding a traditional Machinima is you get into this place where you are obviously watching something that is a game, right? And there’s no way as a viewer to really fully forget that that’s what you’re watching. And so, I guess there’s two ways of going about it, right, where you can, like, fully lean into the fact that you’re in a game. address that fact, like Wemmbu-type videos. Or you can go the entire other way, like Whitepine.

But then, with something like what we’re getting already with, so soon after Whitepine with this Solving Whitepine series, where it’s this… Well, you’re involved in that, right? You voiced someone.

F: Yes, I voice a version of myself loosely inspired by the analyses I made about Whitepine. I don’t have any control over the direction of the story, but I do get to punch up my own dialogue. So, yeah, I suppose it’s interesting being like, loosely affiliated with this thing that is commentating on this other thing that I’ve waxed philosophical at length about.

S: Yeah. Well… you have these three layers here, where you have all this content about Minecraft, you have all this content using Minecraft, and then you have all this content about Minecraft YouTubers. And then, you have [Solving Whitepine], which is about Minecraft YouTubers analyzing the content of Minecraft YouTubers, right? I think for a lot of people, these layers get a little bit confusing where like, you know, there’s, there’s, there’s an emphasis on verisimilitude…

(ed. note: there was about a full ninety seconds of silence and self-effacing comments while I read my notes and repeatedly apologized.)

S: If you’re in this first-person perspective for, like, a let’s play, or anything scripted where you can see all of the things that are just in the game.. you know, the HUD, the UI, all that stuff. When you’re filming in a third person perspective, you’re immediately… losing some verisimilitude, I think… by virtue of it not being Minecraft. Does that make sense? And I wonder what you think about the… Hold on…

(ed. note: another thirty or so seconds of apologies.)

F: Are you sort of wondering if you think there’s something lost in the transition from first to third person? Does that, like…

S: I think, basically.

F: Like they’re losing the earnestness, or transparency, or honesty of like, first person derived Minecraft contact.

S: Yeah, yeah, basically.

F: Yeah. Um.. I think you do still get the verisimilitude you put such an important role on in Minecraft content creation, just in a very different way. You’re not identifying with the player directly in the scene anymore, you’re doing what you do in any normal filmmaker cinematic experience, which is, you’re identifying with the camera, or more specifically the camera operator. What that does is it puts you in the shoes of Ivory, the character within the show or the world of Whitepine, the televised experience of Whitepine. You don’t associate with her like you would as Wembu, the point of view character of Wembu’s own little unstable universe, you identify with the Ivory behind the camera, the one who’s sort of guiding its hand, selecting the composition of the shots. And I think that does run the risk of alienating a good deal of the conventional Minecraft audience. But for those that are willing to stick around, I think it’s an invaluable primer to discussions that are had about actual cinema because it sort of awakens you to ideas like, auteur theory. Just by virtue of witnessing the thing, you’re forced to ask, well, what did this mean?

There’s a shed in episode 7, and everybody takes the shed literally, and then the comments have to relitigate. They have to push back and say, no, maybe this is a symbolic representation of something that’s been left unresolved since the start of the series coming back to haunt our characters.

Because the situation you’re put in is in the role of the camera operator, you’re sort of slotted into the role of not re-actant to experiencing the drama of the first person, but experiencing the dream-like mode of cinema through the third person. You’re sort of slotted into the role of critic. That’s the function of film that [Walter] Benjamin derides as perfect for propaganda and [Susanne] Langer thinks is the most fascinating thing about the art form.

I tend to agree more with the latter than the former, but, again, your mileage with that will vary, and I do agree that it does risk losing the general audience for conventional scripted Minecraft stuff.

S: Thank you for asking my question to yourself.

F: (laughs)

S: When it comes to a difference between art and content, do you think that this third person use of Minecraft is inherently more artful? I think I already know your answer to that, but, you know, I have to ask it for the… (coughing.) Oh my God. I have something in my throat again… This is horrible. I’m actually embarrassed.

Do you think there are things that a first person narrative can do that a third person narrative can’t?

F: I sort of shudder at “inherently”, because I think both of them have interesting artistic potentials. It’s only because the third person perspective forces you to confront a level of intentionality, aboutness to form, on behalf of the Machinima filmmaker. You have to reckon with things like composition, the sequence of the edit, the way they’re choosing to frame or portray certain ideas and write certain characters. 

So, in a fully scripted third person Machinima, where the camera’s not bound to the first person perspective, you sort of have a deeper experience critically simply because you’re reactively pulled out to that critical position by the very nature of the thing being what it is.

First person however, does, I think, a better job of capturing drama, [and] also internal melodrama. You get to see a character’s sort of foibles and foils and Achilles’ heels up close and in, literally, first person, because you’re viewing the world through their eyes and from their perception.

Another non-scripted series that I think I can speak to better than Lifesteal would be the Life Series. It’s a similar sort of conceit in that it’s players all competing to be the last people alive. Because their videos are still shot in first person, when they’re cut down you get radically different portrayals of the same scene in different tones.

(ed. note: meaning, different peoples’ videos of the same events have different tones.)

F: So, I think first person Minecraft content does possess artistic advantages. Its disadvantage is that it’s always going to be bound up in the language of the game. You can’t really escape the fact that you’re playing the video game when you’re stuck in first person, whereas in third person, you have the advantage of the end to end artistic intentionality. I guess to somebody who’s less receptive to those like higher aspirations that I profess, the downside of third person is you lose some of that verisimilitude. You lose the authenticity of the spontaneous.

S: Okay. Fantastic. I’ve never heard of Life Series. Is this something you’ve made a video about, have you mentioned this ever?

F: I haven’t mentioned this in a video. It’s very popular. Have you heard of HermitCraft?

S: Yeah, I see some familiar faces here.

F: It’s Grian Minecraft’s Hardcore series, basically.

S: I was into MindCrack. That was my jam.

(ed. note: MindCrack was an unscripted series, circa 2011-2013, of YouTube videos about a number of different YouTubers playing on the same server. They weren’t typically hostile to each other, and were mostly just having fun.)

F: Ahh…

S: And then when Etho made the swap, I didn’t follow him, unfortunately. I continued to watch Mindrack, which I think seems to be… I mean, that was, I think, a bad choice. It seemed like Hermitcraft ended up being way cooler. But, you know, we all make choices. 

Parkour Civ… and especially PVP Civ… plays with this exact thing, like where, you know, there’s this first person part and this third person part. Actually, I don’t know if there’s a question. I think actually we’ve completely answered it…

(ed. note: Parkour Civilization is a very popular series/movie by Evbo, envisioning a dystopic world in which all things revolve around parkour– class, money, warfare, and the rules of reality are all oriented around how well someone can jump. The storytelling is defined by narration which summarizes the things you have just seen, constantly restating the rules of the society and the ways in which he navigates it.

The sequel series, PvP Civilization, creates a different kind of dystopia– each person’s life is limited by how many times they can swing their sword before they die. In order for someone to repair their sword, they must kill others. The mechanics of this simple premise evolve in ways you really, really wouldn’t expect. The narration is similar to Parkour Civilization, but with the addition of a “video journal machine” that allows Evbo to record vlogs about his experiences, adding a third layer of perspective on the same events. This shit is seriously worth watching.)

F: I think you’re right. I think we did get around… the dual nature of Parkour Civilization, where Evbo tries to balance the best of both worlds. You know, [there’s] an external perspective on combat or some of the more dramatic events, and then first person immerses you in the immediacy of him trying to ascend through these extremely stratified and, ironically, gamified different subsects of the civilizations he’s exploring. I think that’s a fun way to like involve the gaminess of Minecraft in a way that people find palatable and creatively toothstone.

S: I think he’s a genius, lowkey. I think Evbo might be a genius. But then, every video I see of him like, talking out of character, he doesn’t seem very smart. That’s kind of rude. But, I think he’s locked in on his work.

F: I think that’s the best way of describing it. You know, when a content creator is very much attuned to the same wavelength as their audience, they’re able to produce stuff that’s resonant with them. So, maybe genius isn’t the word you want to throw out there, but I think locked in, in lockstep with what people find the most interesting about scripted Minecraft content. Finding that middle road is the thing that he does well.

S: I do wonder if he thinks about it as if he’s making art, or like… I don’t know.

F: I don’t either. I think a lot of scripted Minecraft content creators, the ones that are dabbling in Machinima, might consider themselves storytellers, but I don’t know how deeply invested they are in the artistry of it or if they extrapolate the artistic implications of what they’re doing out to the same hyper-cerebral extent that I do.

It makes for an interesting situation to talk about stuff like this, in what we’re attempting to do here, in like some sort of analytical detail… because the discipline itself doesn’t really regard itself in the same way. You are still beholden to the expectations of the form and life of content creation— you want the video to pop off, you want the one out of ten, you want the confetti. Those are all underlying motivations that are hard to shake, and makes engaging with this sort of stuff very tacky and metatextually difficult.

S: Great! I guess… anything to plug? 

F: I don’t even plug my stuff in my videos. I don’t do a whole like and subscribe spiel, I just go: “I’m Frostbyte Freeman, and until next time, say Frosty.” And then the video just sort of ends. You know, if people click on the channel and they see something that they find interesting or they see the medley and they’re like, “this guy’s up to something absolutely bonkers. I want to stick around and see what has to say about other random stuff,” then they do that. I don’t want to pay patronize the intelligence on my viewers.

But, I am FrostByte Freeman. Until next time, you can stay Frosty. I am on YouTube at Frostbyte Freeman, Twitter, and pretty much everywhere else. Tumblr. Bluesky, though I don’t really use that because, you know, Bluesky is Bluesky. So, that’s about as much of a plug as you’re going to get out of me.

Read the Minecraft Metatext Zine! That is something I’ll plug, because I have other friends who wrote essays in there that involve the same sort of stuff. If you like more of the first person side of scripted Minecraft content, my friend Solar[Arc] has a great essay called “Beyond the Seventh Wall”. It’s about the weird situation you get into when there’s a difference between the content creator’s in-character persona from the first person in the gameplay, and then them taking a step back and performing a character within the edit, you know, because the editor character has situational awareness and foresight that the player doesn’t have. You’re sort of moving through the world as their avatar does not. So, I thought that was a really interesting piece. There’s other stuff in there too. That’s what I’m going to plug.

“Because of this immediate retroactive commentary, the Librarian occupies a unique place within narrative layers; the “character” that reacts to the initial appearance of the spirit is at once the Librarian as a deposed tyrant, the Librarian as a player of Minecraft, and also the Librarian as a video maker and storyteller.”

– Analysis of From the Fog: Mystery House #5 – The Others, excerpt from The Construction of the Eighth Wall by SolarArc, in the Minecraft YouTube Metatext Zine

S: Well, I actually, I loved that essay too. I was kind of blown away by the idea that you could use something Scott the Woz said as like a theoretical framework. That is like, exactly what I want to see in something, anything written. So… I second your plug.

Okay. Well, I think that’s it. Thank you for, thank you for allowing yourself to be… 

F: Hold on. I have one more thing that just occurred to me, if you want an optimistic note to end on. I do know that there are actual first person Minecraft content creators of the form that we’ve been discussing that have read that essay, and have referenced it obliquely in some of their videos. I know Legundo has, for instance. So, I do think there is some thought, and that this thought movement is starting to expand… If that’s sort of an optimistic takeaway from the zine, then I think that’s a good thing.

S: I love that. I really do love that. I truly think that if Mr. Beast thought of what he was doing as some sort of Dadaist expression of, I don’t know, excess and you know, sacrifice or something, then the world would be a better place.

F: I think so too.

Thank you to Frostbyte Freeman! Find his work here.