#HE USES THEIR PORTRAYAL OF HIM TO BE LARGER THAN LIFE

[somerandomdudelmao]

i was writing this all out in the tags of one of your recent updates (part 9 of 'donatello') when i realized i might as well just send it to you directly before i hit tag limit. (i hope you don't mind haha) this recent comic really reminded me of a concept that i've seen in your work that i haven't seen commented on a lot (though i could be wrong.)

casey jr and donatello's relationship as you've portrayed it is interesting in a number of ways. one i've been thinking about recently is the aspect of physical touch, and how you use that to represent the underlying themes/ideas behind their dynamic (and the story as a whole).

in the series, donnie is generally the least physical of his brothers, in that he prefers to be the one to initiate contact. (as a fellow autistic, i relate to this on a visceral level /lighthearted.) however, in your portrayal, this rule bends for casey's sake.

you've been setting up casey to follow in donatello's metaphorical footsteps for a while now, with this coming to fruition (to an extent) in recent storylines.

but going back a bit further. there's this major theme of... i guess i would call it 'responsibility?' that has been weaved through the story from... basically, day one.

in the first comic, his conversation with f!leo following leo's brief foray as a nugget (one of my favorite lines from this series overall is "...and leo-nugget." amazing, genuinely), casey admits to him that it was scary being responsible for someone that could get hurt so easily.

in one of the following chapters, we see the question asked: 'but who is there to save you?' (this chapter being a bit of a microcosm of the theme/story as a whole haha.)

though it was a chapter i had originally assumed was just for funsies and angst opportunities, i now realize i was wrong (though, i don't know exactly how intentional you were being with all of this, so i could be missing the mark here.) it actually sets up his arc rather nicely -- with casey being the one to save donatello when he was injured/knocked unconcious.

now, bringing this all back around to the original intent of this ask: how physical touch is used to represent their narrative dynamic (is that a thing? 'narrative dynamic'? am i just making shit up right now? whatever its fine /rehtorical)

taking everything in account, i want to return to a specific moment that really struck me in the comics leading up to donatello's death. it's the time where the resistance is being attacked, and donnie, despite being sick, goes out and uhhh... extirpates the problem (its always fun to see donnie go apeshit with dangerous weaponry /positive.)

during his dramatic reveal and attack, casey is by his side, clutching onto him not to cling, but to physically support him (at least, that's how i think that moment was supposed to be interpreted? i could be totally wrong here.)

i can't help but feel this is emblematic of the larger themes at play here-- i.e., casey's arc in relation to donatello.

i can't help but find it interesting how donatello, backbone of the resistance--

(despite his soft shell... which is why him no longer wearing his battle shell when he got sick was actually symbolic foreshadowing of-- *sound of gunshots*)

[editors note: i'm gonna stop myself right there, before this goes from ungodly long to "will break your dash and ask box if allowed to continue further"]

-- and certified plot mechanic (oh, so that's why he named it convenient plot-twist serum... finally, the mystery has been solved /joking /lighthearted), who is a very independent/self-sufficient character, allows casey jr to subvert his rules with casual touch. enough so, that when he is so weak that he can barely stand, he trusts casey jr to keep him upright.

out of everyone, he trusts casey.

casey jr, who, at the very beginning of the comic, saved donatello's life, physically carrying him back to the base. and casey jr, the one who, now, has rescued donatello from a fate worse than death, only to once again bring him back to safety.

(...can you tell i'm a little bit obsessed with your comic? lmao)

[also to note those most recent panels: a return to the "norm," with casey clinging to donatello's side, also providing a nice parallel. i know it's because he is very much reunited with his uncle who has been dead for two years, but c'mon. let me have this /joking.)]

anyway, i hope this made sense, and if you did manage to get through my pretentious (and probably somewhat far-fetched) rambles about the "symbolic narrative significance of touch" in a fanwork about the teenage mutant ninja turtles (/lighthearted), may i just say: i am in love with your work, and can only aspire to tell a story as engaging, heartfelt, and clever as the one you have woven.

you are a blessing to this fandom, and i am so excited to see where you go with this story.

I have to say that I didn't specifically do the mental planning for all of this. Most of this theme is simply because I do what I feel will be right. It's more of an intuitive desire than a prescribed plan, so it was pretty surprising to me to see this thought actually being formulated haha

Thank you:>

[whatudowhennooneseesyou]

Hyunjins rising sign is a head crusher but no matter what he is, I genuinely believe he would need a partner that’s heavily influenced by fire signs. Especially because his North Node is in Leo and Mars in Aries. They would simply match his energy. Especially Leo Sun.

His placements indicates that he loves being praised and put on some sort of a pedestal ( also that’s why I think he has a corruption kink) and Leo’s will do exactly that, but at the same time they won’t be that easy with pursuing because they have some kind of visualisation when it comes to their partners. Which would match his Mars sing thats not into easy play. Leo’s are ruled by the Sun and they themselves live in some sort of a spotlight but they will also bring their partner into one too. And they expect the same treatment which also suits Hyunjin, because of his idealistic portrayal of who he wants and that is someone he can, to put it simply, show off in a way.

His Mars sign is also super prideful and he would be satisfied if he could date someone that others want, but they want him only. A Leo, especially Leo woman, would fall perfectly into his obsessions.

But even tho he fits Pieces energy, he still gives off Aries. He’s extremely dominant, larger than life and extremely comfortable in his skin. The biggest indicator would be the way he spoke about the restraints and the whole concept of Red Lights ( he wrote that song ffs). He’s prideful and confident so fucking much, that even speaking about subject that’s taboo in kpop comes easy for him. Pieces would hold back. Aries don’t give a fuck who hears or sees.

Ooooh okay so first of all,

Thank you for entering into my chat box with this analysis because it's very valid and well thought out.

Hyunjin is for me THE only idol where his birth time is extremely significant to know because he's on the balancing scales right now and his rising time will let us know whether he's Pisces or Aries territory.

Your point about the corruption kink has intrigued me because if he does have a corruption kink because he loves the pedestal you would put him on- then that would match Chan's Libra energy and then it seems Hyunjin might be an Aries Sun and a LIbra Moon after all.

Leo's would be a great sign for him regardless because of his north node but also if he is a Leo rising-which he could be if he was born earlier in the day.

The only point I have that's different is 'aries don't give a fuck who hears or sees' because as an aries stellium myself-let me tell you...

We absolutely do give a fuck who sees or hears- we're very sensitive creatures BUT we don't show it unless we think the vulnerability is worth it.

So I think Hyunjin had a lot of anxiety with expressing himself with red lights but I think his ego and chris's support helped him moved past it.

Plus- Hyunjin and his Pisces Venus means (and this is just my opinion as an Aries Sun with his Pisces Venus) he could favour HIS stans over the opinions of Stays in general.

So, I wouldn't be surprised if his thinking was also...

'I'll get judged with Red Lights but that's okay because I know MY personal fans will support me'.

To which they absolutely did- the Hyunjin stans completely had his back and supported him with Red Lights.

#anon ask #answered ask #astrology ask with ruby #stray kids hard hours #skz hard hours #hwang hyunjin #hyunjin smut #hyunjin x reader #aries sun #pisces venus

[justaphan]

POTO Fics by Mertens

More than any other Phantom of the Opera fic writer, I find myself consuming Mertens’ works over and over for the pleasing writing style, the complex emotions, and the raw and realistic portrayals of Christines in particular. Mertens’ writing is how I also got into modern AUs! 

I’ve never done any rec list for this fandom so let’s start with my fav fics from @intothemertensverse! (Hi there! Thank you!) 

Gustave Daae’s Daughter: A disfigured man on the edges of society with a good heart, Erik has been Gustave Daae’s closest friend for years. When Gustave realizes his time is almost up after contracting an incurable disease, he leaves his two most prized possessions to his friend—his violin, and his daughter. In progress as of 01/09/2023. If you’re not reading this then honestly what do you actually do with all the hours of your life? Some big surprises in this one. Featuring Ayesha and also Angst with a capital A. 

A Love There Is No Cure For from Sonnet 86: A fic of epic proportions but it can be read independently of the larger verse it’s in. Major Leroux influences, and follows the SLOW BURNING journey of how Christine’s grumpy old insecure teacher became the happiest man alive (including all the very awkward sex). Mertens’ masterpiece. 

An Old Fashioned Love Song: After an incident results in Christine needing to fulfill community service, she volunteers at the local old folks home where a chance meeting with a resident will change both of their lives forever. Cranky 80-year-old disabled Erik? I love this little goblin so much. You will too.  

Saved From Solitude: Feeling anxious and unable to sleep in his own house, Erik spends the night in Christine’s dressing room to get some much needed rest. He’s certain Christine will never find out—as long as he wakes up on time. Erik may seem tall, dark, and imposing, but he’s actually the sweetest sleepy old man with a cane. I want to tuck him into bed myself. Bonus total BAMF Christine!

Scuffle in Box Five: The Ghost had requested that Box Five be kept empty, but on the night of Mlle Daae's first performance, Box Five is most certainly not empty. There is popcorn in this fic and it just makes it ten times funnier. 

And Ask Me To Open Up The Gate For You: Christine Daae has tried every trick in the book to achieve the clear complexion she so desires, and all without result—every trick, that is, except for one. She can’t do it on her own, but perhaps her beloved Maestro will be able to lend his assistance in the matter. In progress as of 01/09/2023. This one is so innovative and different! POTO London Christine Alternate Holly Anne Hull’s Instagram Story had a callout for long-term acne solutions, and turns out a few people told her to go get pregnant to achieve clear skin :D 

First Impressions: Erik takes Christine to his home and the cape flip goes awry. BLESS YOUR HEART ERIK!!!

Just Us Two: The day after the performance, Christine spends the day with her son, just like she promised. A beautiful, poignant continuation of Love Never Dies focused on mother and son. 

Like Everyone Else: Mr. Y has cracked the code of blending in to society. At least, he thinks he has. LND-inspired crack. Just hysterical. Honestly how could anyone argue against Erik moving to New York, it’s plot-powering gold! 

Mr. Y’s Christmas Surprise: Erik accidentally and inadvertently invents the ugly Christmas sweater. SEE COMMENTS ABOVE

Joyeuses Pâques (sans masque): Erik tries to celebrate Easter with his family on Coney Island—and what better way to celebrate than with a visit from the Easter Bunny? Guys just a reminder that Christine moved across the ocean to live with this guy, so.   

My Three Eriks: Erik doesn’t actually speak in the third person. OR “What do you mean James Gant and James Hume aren’t the same person” Shit gets too real in the lair, and it’s laugh out loud funny. 

The Nanny: College dropout Christine Dee lands what appears to be a dream job in taking care of a reclusive rich man’s seven year old boy. As she settles into her new life, however, she discovers a mysterious secret about her boss’s former wife that threatens to unravel everything. Modern AU. Definitely Gerik. Very relatable and insecure Christine. Very funny too. It’s a thrilling murder mystery and it’s very hard to stop reading once you start. 

Baby Shark: Erik is haunted by a certain song his neighbor is playing. Modern AU. I thought this was going to be a crack!fic but I was profoundly moved by it. Both Erik and Christine are a hot mess. A very refreshing take! 

Honolulu Sun: After two years of relative isolation during the pandemic, Christine is a little chattier than usual with a strange masked man in the grocery store. I’m more than a little bit obsessed with this one. Give me all the Gustave Sr./Erik bonding!!!

Boulevard of Broken Dreams: Wealthy Opera Populaire patron Raoul de Chagny has been kidnapped and the Opera managers have been receiving threatening letters regarding emerging star Christine Daaé. Private Investigators Erik and Antoinette have been called in to get to the bottom of what's going on, which means they'll have to be keeping a close eye on the safety of the young soprano. It really is a shame, then, that Erik seems to hate Christine who in turn seems horrified of Erik - but things aren't always what they seem. Film Noir AU. Big sweeping fic. Angles that haven’t been explored before. And an Erik that deserves to be seen!  

#phantom of the opera #erik x christine #the phantom of the opera #love never dies #christine daae #justaphan's fic recs #mertens

[cometomecosette]

Les Misérables" musical character interpretations: Madame Thénardier

Here are the four main musical characterizations I've seen of a nasty woman we all love to hate.

Whenever I want to shorten her name, I've used "Thénardiess," Charles Wilbour's translation of Hugo's "la Thénardier" ("the Thénardier woman").

The Giantess

            This boisterous, imposing Mme. Thénardier embodies Hugo’s description of the character as a “mastodon,” who “swore splendidly” and could crack nuts with her fist. She’s typically a very large, masculine-looking woman, with a gruff, booming voice, but regardless of what she looks or sounds like, her personality is larger-than-life. She’s loud, coarse, money-grubbing, hard-drinking, and fun-loving, yet with a monstrous temper. Her abuse of Cosette is ferocious: while her bellowing might get laughs just for being so over-the-top, they won’t laugh at the way she grabs, shoves, and threatens to beat the little girl. But apart from this, she tends to be the more comical Thénardier spouse compared to her slimier, more sinister husband, and she gleefully hams up all her comic business: faking sobs at the news of Fantine’s death and over her fake baby in “The Robbery,” slapstick at the wedding, etc. Yet broadly funny though she is, she isn’t stupid. It varies whether she comes across as her husband’s equal partner in crime or a the real “brains of the outfit,” but either way, her brutish exterior hides a scheming mind, and though she bickers nonstop with Thénardier, he couldn’t get by without her. At any rate, he won’t dominate her; this Thénardiess is indominable.

The Witch

         This Mme. Thénardier is less physically imposing than the Giantess, but she’s arguably more sinister. She tends to be thin, angular, and bony, and she likely has big teeth with a gap or two in them. Physically, she’s all sharp edges, more like a stereotypical witch (hence her name) than like Hugo’s “ogress.” Those sharp edges extend into her personality too. Where the Giantess tends to be the more comical of the Thénardiers while her husband has a darker edge, the Witch is the more serious and blatantly ruthless of the two: the embodiment of the villainy her husband hides behind his amiable façade. Her humor is sarcastic and bitter, and while her abuse of Cosette is probably less loud than other Mme. Thénardiers’, it’s more venomous, without playing any lines for laughs. Whether she comes across as her husband’s equal partner in crime or as the one in charge will depend on the portrayal of her husband, but either way, she’s at least just as cunning as he is and likely more so. It’s also likely that within her sharp, sinister demeanor, there’s a hint of mental instability. If the novel’s version of Éponine were to live to middle age, marry a man she didn’t love, and become much less sympathetic, she would probably resemble this version of her mother.

The Oppressed Oppressor

            While still a comic character and still a villain, this Mme. Thénardier is more sympathetic than others. While the Giantess best captures the grotesque and brutal qualities of Hugo’s character, this one captures her pathetic aspects. Like Hugo’s Thénardiess, this one is dominated by her more cunning husband, and he treats her shabbily. Throughout “Master of the House,” he’ll be shown treating her more like a servant than a wife, and when Valjean arrives, Thénardier will direct her every move: when to feign tears, when to stop, when to fish for more money, when to stop so as not to seem greedy, etc. It’s clear that she’s both bitter and utterly exhausted by this life. Yet at the same time, she might convey unrequited love for her husband. (Foreshadowing her daughter’s plight?) During “Master of the House” she might genuinely try to attract him, only for him to repulse her and flirt with younger women. Thus, her string of insults toward him stems from weariness and hurt, and she makes it comical as a coping mechanism. Of course, none of this can excuse her treatment of Cosette (who clearly serves as an outlet for her general frustration), or her willing role in all her husband’s schemes. But whether we like her or not, we understand where she’s coming from.

The Fallen Beauty

            This Mme. Thénardier is very, very different from Hugo’s character, but within the musical, she can be effective. This Thénardiess is neither a brute nor a frump, but a sensual and reasonably attractive woman. Yes, she’s aging, blowsy, and mean, with a gaudy fashion sense, but she was clearly a beauty in her youth, still has charms, and knows it. She specializes in flirting and seducing men to pick their pockets or manipulate her way out of trouble. We’ll see her do this successfully with at least one inn customer during “Master of the House” and later attempt it, not so successfully, with Valjean and Javert too. And the same erotic hold she has over the drunks at the inn she also has over her husband, enhanced by the fact that she’s smarter than he is. While in front of others she lets him talk more and pretend to be in charge, she’s unquestionably the true “master of the house.” Both she and Thénardier enjoy this arrangement. The insults she aims at him are playful: though his blundering exasperates her, she really is happily married. As for the rest of her demeanor, she sometimes shows a temper, but in general she’s an understated schemer, with a distinctly dry, deadpan sense of humor. Hugo’s Thénardiess she’s not, but she’s an interesting comic character in her own right.

#les mis #les miserables #musical #characterization #comparison #mme. thenardier #tw: child abuse

[doggirlbuffysummers]

On Charles Gunn and Community

A large part of why I want to write this meta is that I don’t really see many people talking about Gunn. This is not all my thoughts on Gunn, I am going to write more over time. I have stated before that I personally feel that Gunn is in fact a much more complicated character than many here give him credit for.

I posit that the reason for this lack of credit was a larger trend of people in the fandom accepting the narratives presented by white characters regarding the people of color in the show (this is probably more discussed about at this point regarding Spike and Nikki and Robin Wood). While this essay is not entirely about the racism present in the corpus of Angel the Series, it exists in dialogue with more in depth takes on the racism present in Ats.

Gunn is in many respects unique in the buffyverse. There are no other people of color who achieve the status of main cast member, and certainly not for four consecutive seasons. The lack of discussion regarding him is a huge indignity to his character.

Much more care is taken to fleshing out Gunn in season two than in other seasons. In season two Gunn has a life outside of Angel Investigations. He has roots in the city, a community that he has spent his life dedicated to protecting. In season three, after the events of “That Old Gang of Mine” (3x03), this critical aspect of his character is gone.

It would be inaccurate to say that this happens suddenly, but the way it is handled is different in season three. During most of season two, Gunn exists in two worlds, never fully belonging to either. Both the early stages of the Pylea arc and especially “That Old Gang of Mine” throw into sharp focus that the story the writers want to tell with him is that he cannot live in this state of dual existence. “That Old Gang of Mine” depicts the members of Gunn’s old community as violent and unenlightened, with Gunn being pulled in two highly racialized directions: “black” wanton violence, and “white” enlightened application of reason regarding the use of violence. The way the episode portrays people of color is just downright awful, and Ats’s larger portrayal of race actively upholds existing, current stereotypes surrounding people of color.

I would say that Gunn is someone who cares highly about community. Episodes like 1x20 “War Zone,” 2x03 “First Impressions,” and 2x14 “The Thin Dead Line” contrast Gunn heavily with the other three members of AI. Gunn doesn’t fight for some greater ideal like others, but because it helps protect the people around him, as highlighted by @titsgirlbuffy and @punksouthie here:

Gunn’s decisions in “That Old Gang of Mine” are heavily informed by the idea posed by writers that AI and his old community are ideologically opposed. He is forced to choose between the two. The reason he comes to the decision that he does is largely decided by the dynamics at play in the situation. It is only once he is put in a situation where those who he has bonded with are at risk – the showdown in Caritas – that Gunn fully reflects and decides to turn against those in his old community. Gunn recontextualizes the scenario as being about an “out of town” person stirring up trouble within his community only once Angel and Lorne are put at risk. While he says in this gifset that it is about the mission, he does not necessarily argue against demons as an “other” to humans but more argues in defense of Angel *specifically*:

Anne reflecting the existentialist themes of the show back at Gunn in “Never Fade Away” recontextualizes everything. It parallels Doyle’s conversation with Angel in “City of” around the need to not be cut off. In these short two lines of dialogue, so much is said.

This post contains a similar parallel:

In the larger context of the show, we can see that Gunn starts off a paragon of Doyle’s explicitly stated message of what the show is about. He is incredibly entrenched in his local community. He knows the people he interacts with in “First Impressions” and “The Thin Dead Line.” He fights not for an ideal but for others. Over time, as he interacts with AI, he gets increasingly cut off from those that he is helping, moving further and further away from the actual mission of AI.

In his first appearance Gunn recognizes this, actually:

The conversation with Anne is not just about AI having lost its way but also about Gunn losing Everything. The people he has spent years trying to fit in with look at him and see the reason Fred is dead. He has no one and has so thoroughly internalized the values of his white co-workers that when he goes back to help Anne, he is separated from his old community by a vast ideological language barrier.

Brief aside that I might go into in more depth in a later post but I would like you to think about Fred’s death with regard to Gunn’s words here. A missed opportunity with Gunn’s character is exploring how he is impacted by hypervigilance and his tendency for blaming himself for events out of his control:

One interesting direction a rewrite (from a writer’s room with black writers in it) could go is having Gunn become the leader post 2x11 “Redefinition,” leading to closer interaction with the people of LA. AI becomes a much more high-profile member of the community and there is more focus on how Wolfram and Hart enables material harm in high poverty areas. I will talk about this more in the future because I think it is an interesting road to go down.

This post barely scratches the surface of my thoughts on Gunn. I haven’t even explained the take on valuing community fully. I think to fully present my take on that I need to write up at least another full post on it. There is also so much more to write about other things, like more alternate roles Gunn could have filled in AI as I talk about here:

#long post #charles gunn #btvs meta #Angel the Series

[hsrlorefreak]

i am. not normal for dan heng. (or dan feng, as i’ve realized)

but ichor of the two dragons. god????? honestly i had ignored a lot of the animations from hoyo before because i just wasn’t that invested.

but i could talk so much about this one animation.

dan feng

(because i say “he” a lot and uh. it is kind of hard to tell)

general story

the animation basically states that dan heng, after the xianzhou luofu trailblaze mission, he visits places of significance to dan feng.

the whole thing, i think, is meant to convey dan heng trying to accept the fact that he was dan feng once, but reaffirming that he is not him. he remembers, feels, maybe, but that was not his life.

maybe it’s trying to put his (negative, complicated) feelings towards his previous incarnation to rest. because he finally had to confront it after constantly running from it, from sins he doesn’t understand.

i think dan heng believes he has put his past behind him. that’s why he goes (other than no longer being exiled)

i find it really interesting that the sky doesn’t turn dark until he starts to walk away. that it comes from behind him, and dan heng doesn’t notice until it overwhelms his world entirely and he can’t run anymore.

then the water comes.

water, cloudhymm, a power that comes specifically the man he doesn’t clearly remember being, a person that was denied the chance to live his full life, a person of a ‘home’ dan heng never had the chance to see and they both were locked away from.

he is drowning in memories of a past he wanted to deny so badly.

dan feng’s (i’m going to have a whole second on him so his dialogue isn’t the point) entrance is from behind dan heng. a constant shadow on his present life, a dark that follows him even as he can be happy, maybe especially because of that (light creates shadows).

the fact that dan heng and dan feng (in any language i checked the credits) do not share the same voice actor despite the fact that blade and yingxing do and that people keep seeing them as the same person. i’m 90% sure that was done on purpose because voice actors are great and i’m sure anyone who voices dan heng could go regal and proper and voice dan feng as well, and yet they chose not to.

the petals that fall down are the mara petals that the soldiers have. the red petals on the statue i can maybe excuse as a drink thing? but out of any color, they chose the gold of those consumed by mara.

and when dan heng ‘sees’ (i don’t think this portrayal is accurate to how he was in life?) dan feng, his immediate reaction, despite having a weapon to his throat, is “I have to leave.” he is frozen and can’t do anything against him (dead)

this establishes the theme: he still isn’t over dan feng’s place as his past. he still doesn’t want to face it.

he doesn’t look him in the eye—he can’t, he shakes and closes his eyes and avoids it—doesn’t turn completely, doesn’t defend himself. his first instinct—as it had been for blade when he had that nightmare right before the xianzhou luofu mission—was avoidance. but like the lightcone—there was “nowhere to run”.

kudos to the voice actors, because dan heng’s voice is shaky and quiet and dan feng is calm and constant. it matches the animation— dan heng is constantly moving his eyes and being taken off guard, but dan feng barely moves at all.

i’ve seen people talk about the next scene. but really. the symbolism? there is nobody but the two of them in that world, both have shadows, and yet there is a larger one vaguely resembling another person casting over the both of them.

and the next! the difference in their fighting styles is really apparent here, i think. dan heng is still in his human form, legs wide. dan feng isn’t using the spear (cloud piercer?) anymore. he’s preparing to use cloudhymm, something dan heng cannot (won’t?) do in his current form. something he never wanted to, because that meant confronting his past as dan feng.

the fight itself is so cool but i’m not very good at that but. dan heng keeps trying to move forward, is actively getting closer, but he does not land a hit on dan feng at all. he misses, is not enough, is pushed back. he cannot change the past, and dan feng is that past.

there’s no reason for dan feng to raise himself up— dan heng wasn’t managing to hit him at all. a symbolism, i think. the luofu does not see dan heng. they see dan feng, put him on a darkened pedestal, because despite if they think he was wrong or right in whatever sin he committed, there was no denying that he was one of (if not the, if i can remember the shade’s words correctly) strongest vidyadhara high elders ever.

okay i’ll say more about it later but dan feng now says “You have nowhere to run.”

—and then dan heng can’t even push back the water at all, unlike when he could at least deflect them earlier in the fight.

and he hasn’t gotten up. he’s not trying to catch up to dan feng and defeat him anymore. he’s just staring, until the very last scene before he’s hit by the water dragon and is dragged into the water, loses his grip on his weapon.

the resulting scenes of the past, of dan feng’s memories (jing yuan, yingxing, jingliu, the preceptors (?) not caring even for dan feng, just the knowledge only he holds)

darkness. for, not that long, but quite a while.

his eyes opening, bubbles, breathe, his life coming back to him.

the astral express. basically insignificant dialogue, but to dan heng, at that moment, they are the words he needed to hear.

himeko’s “you’re one of the express crew” he, dan heng, not dan feng, belonged. dan feng never was and so he cannot taint that. march, calling out his name, doing something simple and mundane with stelle having zero reason to be there but is anyway, just to see him.

pom pom’s doesn’t have much, but the fact that he remembers it means that one time, before stelle/trailblazer came abroad the express, he was in the main train cart with the rest of the crew. that sense of belonging.

his eyes, almost lifeless, blinking, instead of to avoid his last, to clear his head and to wake him up, to continue forward, upwards, to not be dragged down by a shadow of who he cannot be, even if he wanted to (he doesn’t, mostly)

acknowledgement. at last. “You are my past.” him finally understand that it doesn’t define who he is as dan heng. that he “won’t follow [him] into [his] future!”

explosion, breaking away from it all, light, genuine, bright yellow light, for the first time since the sun was out in the beginning of the animation.

aaaa i wanna talk about the line he says, but i’ll save that because it has to do with dan feng.

standing opposite sides of the statue of both of their past life as yubie. facing away, facing downward. mirrors, at last and always, and yet.

(the rain, washing everything away.)

dan feng, a constant, and yet a small shift. a willingness to let dan heng live, now.

“and don’t look back”

for once, it isn’t fear. it is advice, closes his eyes, and disappears into gold.

and he is at peace. doesn’t deny he was reminiscing at the statue. that (some of) his memories are dan feng, without having to reaffirm that “he still is dan heng” or that “i’m not him”

final shot, the astral express.

dan heng’s present, and his future.

(god i loved this animation.)

———

dan feng + dialogue

his entrance, to dan heng, came out of nowhere. he (it) crept up behind him until he couldn’t ignore it and it was threatening him.

my take on this animation is: it is not set in the real world. maybe, probably, some shenanigans happened with the sedition of imbibitor lunae that means blade is somewhat right in his insistence that dan heng is still dan feng in some ways more than just being his reincarnation.

but even if that’s not the case, i think the fight is all in dan heng’s head/conscious, in an attempt to reconcile his past in front of an area that shouldn’t be significant to him, a statue of his way past life, while he was trying to leave for his present.

note: i don’t think dan feng’s particular ‘punishment’ had ever been used as a punishment before because of the severity of the crime he committed and so there could’ve been unforeseen consequences of that. especially since the molting rebirth was messed with by the preceptors(?) to try to keep the transmutation arcanum alive.

his words, in particular i think, are dan heng’s subconscious listing all of his fears.

“how long will you keep running?” (that’s all he’s been doing since he was banished)

“you’ll find no refuge among the stars.” this line makes it clear to me (i think) that this isn’t dan feng. why would he know of what happened after his death? why would he be bitter(?) when he seemed so calm and at peace in “myriad celestial trailer — “history of the xianzhou: exodus of the five dragons””?

baiheng is confirmed to be the foxian of the high cloud quintet. baiheng was a nameless, someone who goes from world to world, among the stars. “dan heng’s” guilt of bailu’s existence (implied to have been baiheng because of her dreams starting after getting on the astral express + dan heng’s companion mission)

he doesn’t even say “escape, peace” he specifically says refuge.

“the high elder succession is as eternal and unyielding has the ancient sea” (he does not want the title)

“you are my reincarnation. a mirror image. a past life’s sin must be repaid in this one”

this line. dan heng struggles, so much, with his identity. half the reason i think he stayed on the astral express other than genuine fondness is the fact that they had no connection to dan feng (other than being nameless, but that was not dan feng’s title. it was not something exclusive to the luofu, that belonged to people unrelated to him. it belonged to someone dan feng cared for so much that he was willing to commit crimes that it probably subconsciously leaked into dan heng.)

he could protect (while he believes(?) that all dan feng did was destroy (doesn’t have his healing powers)) while not having to face his past because they did not make him.

and the part about past life repaying sins— i don’t think that is something dan feng of the high cloud quintet, when he was alive, would say. we only have one (what i consider) accurate scene of him chained in the prison, and he is calm, unlike dan heng’s light cone “brighter than the sun”. dan feng’s punishment was unique to him— usually, any sins were washed away after being reborn, because the vidyadhara believe that the reincarnation does not equal what came before them.

i think that idea got kind of muddled, after dan feng’s punishment. especially since in dan heng’s companion mission, all they see is dan feng. maybe it’s because of what the preceptors did, that made him so similar looking to dan feng, but that’s just a theory.

anyway.

dan heng responds to that, “I’m not you!”

dan feng is mostly. stationary. he moves his arms a little, dodges, but he is like a wall, that dan heng can’t cross, can’t break, until he does.

“i will blaze a path of my own.” his will, he wants to continue trailblazing with everyone, wants to be his own self, and he’s willing to fight for it instead of running and hoping for his last to never catch up.

“it is futile.” again, these are dan heng’s fears spoken through his greatest one: dan feng.

(well, blade scares him, yes, but because he is trying to murder him, and the fact that his existence screams to him that he is dan feng, that dan heng doesn’t and won’t exist towards others, that he cannot have things of his own because he (both dan feng and blade) will take them from him)

his transformation. he uses everything at his disposal to win.

(also, switch from left to right hand— is that something he consciously did? or is that one difference of dan heng to dan feng?)

#dan feng #dan heng #imbibitor lunae #yinyue jun #ichor of two dragons #honkai star rail #hsr #i don’t want to call this an analysis because it’s not professional in any way #but that’s the closest description to what this is #i really wanna watch the original chinese to see what changes they made for translation in english

[lazerv4]

Thoughts on Invincible Season 2

Just my raw thoughts not a review or anything

After quite possibly the worst way to release a second season of all time, Invincible 2 is finally fully out and my thoughts are as disjointed as the release schedule. I really liked the first season of Invincible, it was a breath of fresh air and reignited a lot of love for the genre in a post-Endgame world. Now after two whole years of waiting and a dumb 2 month break between episodes we are here and again it is still pretty good but a lot of its goodwill has been lost to circumstance.

This season mainly centers around Mark becoming essentially the main guy for Cecil while still not joining the Guardians of the Globe as well as his struggles with having a relationship while being a superhero that sometimes just disappears for a while and the emotional disconnect that causes to both himself and his girlfriend Amber. The execution of both the themes is good as it generally is with Invincible yet it doesn’t feel as special as the first season if that makes sense, I’m not sure if its related to the long hiatuses or just changing in times but while still an incredible show there is no existential necessity to see what comes next unlike with both the first season and the fantastic Atom Eve standalone. The voice acting is as remarkable as always but it still needs to be praised how locked in everyone is in a cast that is mostly celebrity voices, in any other context the cast listing would look questionable but their actually try and it comes out terrific, Steven Yeun bring as humanity to Mark that makes him as endearing as he is while also having the gravitas of a larger than life role in a world already filled with those, while his in the show father Omni Man voiced by the always phenomenal J.K. Simmons brings in some humanity and vulnerability of his own this time around to a characters that left last season feeling like the antithesis to those same themes, lastly I wanna bring up Gillian Jacobs as Atom Eve because while a lot of other performances were good (shoutout to Grey Griffin as Monster Girl too) I feel she brings something special to the cast in a way similar to her role in Community all those years ago, her role this season is mostly inessential yet she comes of as the glue that makes it all come together in the end similar to her iconic portrayal of Britta Perry, I didn’t expect her to turn out to be this good of a VA but hey Yeun was also a massive surprise so the casting director deserves massive props here.

Now here is my attempt to wrap up this train wreck of I wrote, Invincible Season 2 was really good, if you liked the first it’s more of the same while bringing in new themes, it’s not as good looking as the Atom Eve standalone or as interesting in its plot as Season 1 but still it’s worthy of a watch and there is a lot to enjoy by just sitting down week by week to see a new episode, I just wished they allowed us to do as much.

#invincible #atom eve #omni man #tv shows #superhero #prime video #ramblings #rambles

[puppygirlbelly]

The funny thing, is that you know the motivation for Chris Pratt as Mario was wanting star power to "sell the movie" wifh a wider audience.

You know who has more star power than Chris Pratt?

FUCKING MARIO

Like, Nintendo owns a world famous IP with a character in the "Mickey Mouse"-tier of popularity; and Illumination and Universal get the privilege to bring him to screen. Older people will go out of nostalgia, and younger folk love for the character/games. They literally have all the star power they needed.

and

They jeopardize that by changing the fundental identity of the character. Chris Pratt's comfort zone is "schlubby everyman", a guy who gets thrust into new situations and struggles in them as the unaware "new guy". Meanwhile Mario is... well... "Super". He's a cartoon. Who is the first to leap into danger and doesn't think twice about doing anything. Who has an idea of what to in almost any situation. A larger-than-life being that children and adults get the privilege of controlling for many hours within video games; which makes them intimately familiar with the presentation and construction of him as a character and cartoon.

And that results in the severe uncanny valley of "this character looks like Mario, but he doesn't feel like Mario." Which is offputting and alienating to people; and has resulted in the backlash. Because while Charles Martinet is the voice of Mario; I'm sure that if there was a different suitable voice that "felt" like Mario, then people would have accepted it.

For example, everybody loves Jack Black's bowser. Bowser barely "spoke" english (I'm using in the "voice acted" rather than text box sense) and had a number of different portrayals. From Mario 3's invading dictatorship, to Mario Kart's friendly rivalry, to Paper Mario's lovable himbo wannabe villain. There is little cohesive tissue for Bowser besides "a big turtle dinosaur who is a villain (usually)". Yet Illumination managed to breath him life pitch-perfectly, with a great and faithful look; and Jack Black's voice invoking a monsterous and intimidating villain. He did not need to sound like the games, he just needed to look and sound like Bowser.

And for Mario, Illumination/Universal/Nintendo got insecure. Needed to change Mario to "sell him". Despite the fact that they have succeeded in selling him across 40 years already; across generations, to the ficklest demographic. They didn't need to do jack squat but follow the brand guidelines like they would have forced other game developers and publishers to follow.

[dailykafka]

Like your blog and how you expose the humanity of such a well-known writer. On the other hand, I kinda fear that this focus on the relatability of Kafka’s diaries somewhat takes attention away from his actual literary work, that it contributes to the common trend on social media where people only engage with literature to see themselves and are not interested in empathising with other perspectives or learning about the literary craft or historical context behind the words.

Do you ever think about that?

First, thank you. Second, prepare for a little essay😃.

I completely understand what you mean and I have thought about how my blog shapes people's perception of Franz Kafka (and generally how blogs dedicated to real people could shape other's perception about these people) but at the same time my blog has no educational purpose. What I mean by this is that I don't claim that my blog is here to popularize Franz Kafka (though I recognize my impact), that is not why I created the blog and it should not be taken as such.

There has definitely been an increased interest in Franz Kafka and with that, there have also been more people who misunderstand him, his writing, etc. But I don't think just because I run a blog about a certain individual (who happens to be popular at this time), I somehow have a responsibility to give as precise portrayal of that individual as possible. I think people should understand that the internet is not a place to fully learn something (especially on platforms that don't claim to be educational). If people like Kafka they should also go out of their way and actually read what he writes and not reduce him to "that relatable man".

But at the same time I think we are looking at this a bit more seriously than it needs to be - authors have been popular for their letters/diaries for ages, authors have been misinterpreted and misunderstood for ages (and have been popular as a result of misinterpretation e.g. Camus/Nietzsche) but that does not mean the "core" of the author is lost.

I also feel sad sometimes when I see how people treat Kafka but I realize that this is not something that can harm his image. There have always been people who have engaged with certain things at surface level (this does not mean we should judge them. people engage with some things more deeply and some - less, it's normal) and Kafka is not an exception.

It might seem that Kafka's works are "sidelined" compared to his diaries but I have known Kafka through his works (literally discovered his diaries after I got more interested in him/his life) and people (maybe not gen z yet but older ones) have known him for his works. He is a writer first and "some dude with a diary" second.

I think what is happening now (on tumblr or on tiktok) is a consequence of a larger trend on social media - rising anti-intellectualism and superficial relationships with works of literature. Kafka's "newfound" fame just coincided with this trend and it makes us feel as if Kafka is being "rebranded" to be more relatable. But in all this situation, once again, it is important to realize that while you can be influenced by given information on the internet, you shouldn't base your judgment only on that information and you should learn more with actual books/articles etc.

I try as much as possible to show "authentic" Kafka but still how I (or anyone else) might portray Kafka should not be taken at face value. At the end people should do their own research.

#i hope i conveyed my message clearly #asks

[div-divington]

Burial at Sea did do a lotta things wrong/weird, but I'm actually a big fan of the portrayal of Andrew Ryan in Episode 2.

The way he's introduced when he hijacks Suchong's broadcast in the Silver Fin, projecting himself on this massive screen (in comparison to the much smaller screen Suchong was on). He's got this larger than life energy, like an old-school super-villain.

The way he talks about how he's not sure what Elizabeth is, but he knows she can be useful. The fact he understands the existence of a multiverse and is able to recognise when a multiversal element is unique and valuable, and dangerous.

The line about how "what sharks do for the ocean, these men do for Rapture"? The way his security team talks about him like he's the scariest goddamned man to ever live?

"I'm smart enough to know Ryan's smarter than all of us."

"Mr. Ryan said to kill the girl, or don't bother comin' back to Rapture."

"The man builds a city at the bottom of the ocean, and you still think it's a good idea gettin' in the ring with him?"

Even his ultimate dismissal of Elizabeth is intimidating. Yes, she's possibly the most knowledgeable and powerful person in the city, but she's not smart enough to take his deal. And if somebody is a "rube", he's got no time to deal with them. If you can't serve his interests, then you're irrelevant and your life is forfeit.

I think the writers did a good job of making Ryan scary in Burial at Sea. Sorta like how he is during the penultimate levels of the original game. He's larger than life, he's a genius, he's devoid of compassion or empathy. He's a man willing to crush anybody underfoot to get his way, regardless of whether they deserve it or not. It doesn't matter how "special" you think you are, you're nothing if you're not working for Ryan Industries. He'll literally kill himself and every other person in Rapture rather than admit defeat.

Don't get me wrong, some aspects are poorly written. Ryan definitely had the resources to meet Elizabeth's demands. I doubt she'd have ever actually worked with him, but he could've likely gotten her on his side at least until Atlas was dealt with. And the mere existence of the "Ryan The Lion Preparatory Academy" is so stupid and on-the-nose it feels like parody (like a lotta the other less-subtle things in Burial at Sea), but overall I liked his depiction and I'm glad he got a last moment in the spotlight, even if he was only the DLC's secondary antagonist.

#bioshock infinte burial at sea #bioshock infinite #Bioshock #andrew ryan #atlas #elizabeth comstock #burial at sea episode 2

[pleasereadmeok]

Goode Rewatch -  Week 51 - ‘The Offer’ [2022]

This 10 part tv series is about the making of ‘The Godfather’ movie.  It’s a fascinating, sometimes funny, sometimes unbelievable and absorbing story about the people involved and the trials they had to go through to get the movie made. The action centres around the producer, Al Ruddy, played by Miles Teller.  

Matthew Goode plays the head of Paramount Studios, Robert Evans.   Evans is a bit of a Hollywood legend and so Matthew had a real challenge on his hands to pull off his portrayal of this well known and quirky character.  

Matthew really did his homework and worked hard on getting this character right and it shows.  He nails every nuance of Robert Evan’s larger than life personality and physicality.  Matthew’s accent, vocal quirks and delivery of the fantastic lines were so good even people that knew Bob Evans heaped praise on his performance.  

Bob has an interesting story arc in the series.  He’s flying high with his success at the beginning and then gradually his life unravels in a story parallel to the making of the movie.  Watching Matthew take us through the roller coaster of emotions was an acting masterclass.  He was ROBBED of an Emmy for this role - one of his best so far that stretched him as an actor.  You can just tell that, despite all the filming hardships due to Covid, he loved this role.  

I can’t recommend this enough.  Personally I think the series started a bit slow in the first episode but stick with it coz it really gets going soon after and you will love this show and Matthew in it.  It’s available on Paramount + and DVD/blu ray.  Don’t forget that if you have a Sky Cinema pass in the UK then Paramount + is free. 

📷 The Offer intro edit

#matthew goode #matthewgoode #The Offer #goode rewatch #a discovery of witches #adow #just in case adow fans are interested

[stesierra]

Find the Word tag!

I'm taking an open tag from @serenanymph for the words circle, advance, tune and border!

I'm going to tag @sleepyowlwrites and @elizababie with the words worst, best and mediocre.

Circle

She led them to the small gymnasium at the heart of the palace, which was equipped with padded floors and racks of practice weapons lined up along walls artisans had carved with larger than life portrayals of Tuular. Waves crashed down around the god of disasters and storms, and he stood tall, naked with a thunderbolt clenched in his uplifted hands. His carved eyes disapproved of her, but she'd never let that stop her before, and she wouldn't now. When they reached the middle of the room, standing on the padded floor mats, she squeezed her brothers’ hands and let go.

Ephel said, “This isn't the time for weapon's practice, surely.”

Urveste shook his head. “What better time? The empire wants to storm our walls and rip them down. They'll kill anyone who forgets how to use a sword or spear.”

Their oldest brother frowned at them. “Not Ameryi. For she won't be here.”

Ameryi squeezed her hands into fists. “That's right. I won't be. But you both will stand against the empire. You'll need your swords. So maybe I won't glue them into your sheaths before I leave.”

Urveste snorted. “You're so gracious. Maybe I won't fill your luggage with porridge the way I'd planned.”

Ephel shoved him. “You're so immature. Obviously we’d fill her luggage with kittens, which would be a comfort to her in her loveless marriage.”

“Stay out of my luggage, and I won't tell Silde and Beriis to avenge me once I'm gone,” Ameryi said.

Her brothers both widened their eyes at her. Urveste said, “But without your revenge, we'll just miss you so much.”

“We really will,” Ephel said softly. “The palace won't be the same without you pestering us.”

“I don't pester,” Ameryi said haughtily. “I haven't pestered in years.”

“So you didn't bring us here to bother us into giving you one more fighting lesson?”

She faltered, looking down at the bracelets that weighed down her bare arms. “Not a lesson. You've taught me all you know, haven't you? But we could practice one more time. Just in case.”

“You're not really dressed for it,” Urveste said doubtfully.

She snapped, “And if I need to defend myself in Marban, no one will give me a chance to change into something more appropriate first.”

“You won't need to defend yourself,” Ephel said. “Father will send guards with you. Your new husband will have guards of his own.”

Maybe her new husband was the one she'd need to defend against. Ameryi lifted her chin. “And didn't Father have guards here when Doran sent their minions to steal me away? A fat lot of good it did me then.”

Ephel nodded slowly. “Pick your blade, then. And we'll match you.”

Ameryi hurried up to the weapon racks and pulled out a wooden dagger almost the length of her forearm. Her bracelets rattled against each other as she lunged towards Urveste, trying to tag him with the flat of the blade.

He yelped and grabbed a sword from the rack. With it, he thwacked her blade away.

Ephel frowned at them both. “She can't possibly fight a swordsman with a dagger.”

Urveste tested Ameryi's defenses with a few swipes. “Oh, I'm sure whoever she ends up fighting will be considerate enough to match weapons with her. Why wouldn't they want to give her the best chance to survive? And don’t tell her to pick up a sword. It’s a little late to learn a whole new weapon when she’ll be leaving in a few days.”

Their older brother pressed his lips together. Then he picked up a wooden sword of his own and lunged.

Ameryi danced between her brothers, dodging and fending their attacks off with the flat of her blade. Her dress fluttered around her legs, and her jewelry clinked and clattered. Her brothers were stronger than her, but not by much.

Ephel said, as they circled each other, “In Marban, you won't be able to practice every day. Maybe not at all, if your husband wants his queen ladylike.”

“I'll do it when he's not looking,” Ameryi said, falling back before his blow.

Urveste clattered his sword against her dagger. “How? You really think he'll give you privacy? You'll probably share a room. His guards will watch over you.”

Ephel said, “You promised Father you'd be a perfect princess.”

“And I will,” she snapped. “My husband will never catch me misbehaving.” She fully intended to wear someone else's face when she misbehaved.

Advance and Tune

Ameryi knew the moment that the chair-bearers stepped into Marban’s royal palace. The sun stopped lighting her blood-red curtains, and the street musicians with their poorly tuned instruments disappeared, replaced by bards who sang about the glories of King Julas, accompanied by graceful strumming of a lyre. Their music echoed, suggesting they stood in some great chamber, but Ameryi did not look out until the chair-bearers gently set her sedan chair down.

She shoved the curtain aside, revealing a vast entryway with a towering ceiling decorated with carvings of the crescent moon and familiar constellations of stars. Winged lions lounged upon the walls, their carved feathers clearly delineated. The bards, women in long dresses dyed saffron yellow, bowed their heads to Ameryi and fell silent.

She finished the last of her wine, handed the goblet to the nearest member of her escort, and rose from the sedan chair with as much grace as she could muster. Her golden bells chimed as she stepped out onto a mosaic floor covered with colorful birds and fish. Beriis and Silde, and the rest of the party that had come with her to Marban, were nowhere to be seen. Perhaps they had stayed with the ship to see her belongings brought safely to the palace.

The man who had given her the wine bowed to her and said, “Please follow me, princess, and I will see you to the king.” And he led her through hallways carved with sea serpents and a great fleet of boats. The mosaics underfoot showed the buildings of Marban. Ameryi studied them, looking forward to the day when she got to see them with her own eyes.

The throne room lay at the center of the palace, guarded by six men who made her escort look like the rawest of novice soldiers. They examined her with steely eyes but made no move to stop her from following her escort inside. She offered them her most royal smile and stepped in through the enormous double-doors into a room lined with courtiers and scribes, who watched her advance with smiles and polite murmurs.

Her husband-to-be awaited her upon his throne, dressed in a robe of purple made of so much cloth it could have clothed five. His crown stood taller than her father’s, made of nine plates of gold stamped with designs of Tuular and wired together into a nonagon that must weigh ten pounds.

King Julas narrowed gray eyes at her and rubbed his massive chin as she sashayed towards him. The sight of his pale skin shocked Ameryi. Did he have Asirtinsan blood? What influence would that have upon him when she asked him to ally himself with Teshom against the Asirtinsan Empire? Perhaps she was wrong and his mother came from somewhere else farther afield. Bribyrlt, maybe, if she was lucky.

She came within two yards of the golden and silver throne and dipped him her most graceful curtsy. His red mouth thinned, and he rose from his throne. He tried to tower over her, that much was clear, but it was no use. She matched him inch for inch.

King Julas said, “You are Princess Ameryi, come from Teshom?”

What else could she be, bedecked with gold the way she was? “Yes, my king. I have come to be your wife.”

The king sniffed and folded his arms. “You’re too tall, and you have shoulders like a man. I suppose your face is pleasant enough.”

Border

Her older brothers Ephel and Urveste hurried through the double-doors and into the throne room. Ephel, the eldest, looked like a younger version of their father, but Urveste had a more delicate face, like Ameryi. They both wore their finest saffron-dyed tunics, as if they had planned matching outfits for the day. They bowed to Father and took up positions to the right of the throne.

“You’re late,” Ameryi told them joyfully. “How embarrassing.”

Ephel snorted. “We aren’t late. Mother isn’t even here yet.”

But Mother rushed in just then with a chiming of bells, her purple dress hiked just high enough to reveal the many bangles and bells around her ankles. She joined Ameryi to the left of the throne. Several of the royal scribes and courtiers followed the queen in, although they took up positions along the walls, awaiting the king’s need.

They didn’t have to wait long. A party of foreigners entered the throne room, and Ameryi’s hands curled into fists. The thin-faced man that walked at their head had pale skin and pure black hair worn unfashionably long. He did not wear a man’s tunic or even a robe, but a single piece of blue wool wrapped around his body many times in artful folds and pinned with a golden brooch shaped like the head of an eagle. His narrow-set black eyes regarded the king and his family coolly, and his thin mouth pursed. He said, “Greetings to Teshom from the Asirtinsan Empire. May our borders ever continue to expand.”

Father shifted on his throne. His voice rang out, strong and unimpressed. “You are, of course, welcome in this court. Does your empire come today to arrange for trade? We would be glad to send ships to Riderosia or Dalicica with wood from the prized cedars of Lemmerin, or purple cloth, or the fine metalwork our artists create.”

The Asirtinsan’s upper lip curled. “The Asirtinsan Empire fells its own trees and has no need for yours, King Uluric. As for purple cloth, you sell it for such ruinous prices that it is hardly worth purchasing.”

Father’s lips tightened. “And our metalwork?”

“Is nothing but fancy trinkets. No, I do not come today to arrange for trade.”

“Why, then, have you come?”

“We wish to offer you a governor. A man who can come to this little city and ensure that you are making good and wise decisions. Someone to guide you and ensure friendship between our two peoples.”

Ameryi clenched her jaw. A governor? The Asirtinsan Empire thought they would answer to them, like some sort of vassal state? Did they intend to absorb Teshom completely?

“Teshom is no little city,” Father said, frowning. “Seven hundred thousand live within these walls.”

The Asirtinsan smiled disdainfully. “Then surely you will welcome aid in controlling such a large population.”

Father’s hands tightened on the arms of his throne. “Go to Deflos, to the north, and make them the same offer. The Lemmerin City-States are free and will remain so.”

The Asirtinsan’s smile broadened. “Deflos has joined the empire as of this month. We need make no offers to them. No, this offer is for you and you alone.” He cocked his head. “Think carefully, King Uluric. To refuse would be to make an enemy you cannot defeat.”

Ameryi took a step forward, clenching her hands. “And if we accept, we become your vassal. How long before Teshom becomes part of the empire?” Mother clenched a hand on her shoulder and drew her back, but Ameryi kept her head high, staring down the emissary.

The Asirtinsan sneered at her. “Do you let your children speak for you, king? I see you need a governor indeed.”

Father shot her a chiding glance but said, “My daughter speaks out of turn, but she is correct. Your offer is not a kindness, but an attempt to control these lands. And I will not allow Teshom to be ruled by foreigners who care nothing for the people or our culture.”

The Asirtinsan’s voice grew soft. “Oh, it was a kindness. But one you have refused. Very well, King Uluric. You have chosen poorly, but I will return to the emperor and tell him of your rash decision. In two months, we will return with an army, and I recommend you surrender on that day.” The man turned on his heel and glided out of the throne room. His retinue followed without a glance back at Teshom’s royal family.

Tag list for everything

@anonymousfoz

@moremysteriesthantragedies

@elizababie

@sm-writes-chaos

@bellascarousel

@palebdot

@macabremoons

@the-dragon-chronicler

@teacupsandstarlight

@vorskra

@wrenofthewords

@amostdelectablescribbler

@savvy-minnow

@mysticstarlightduck

@phantommill

@gracewritesbooks

@aziz-reads

@owlsandwich

@symbioticsimplicity

@squarebracket-trick

@fishythewriter

@koala2all

@rmgrey-author

Just chapters and snippets

@da-na-hae

For The Many-faced Princess

@deadlyessencewhispers

#The Many-faced Princess #tag games

[linessareads]

The Boy from Clearwater: Book 1 by Yu Pei-Yun and Zhou Jian-Xin (illustrator) (translated by Lin King)

Review:

The Boy from Clearwater (published by Levine Querido in November 2023) is a YA graphic biography written by historian Yu Pei-Yun and illustrated by Zhou Jian-Xin. It is a poignant Odessey about the life of Tsai Kun-lin, a (real-life) young man arrested during the White Terror for his association with a political book club. Beginning with Kun-lin's childhood, readers experience tender childhood moments of sneaking sugar cane along with the confusion and chaos surrounding the Japanese and Chinese occupations of Taiwan.

Overall, this is a solid graphic novel with a lot of educational value. The years of Kun-lin's life are intersected with notes regarding the many political shifts and thought movements occurring during his childhood and early adulthood.

I loved how the translators differentiated the different languages being used through the color of the text--it added a deeper emotional element to the whole thing, especially in chapters where the characters who grew up in a Japan-occupied Taiwan struggled to communicate with their older peers. I was particularly touched by how this element related to Kun-lin's father and the difficulties he endures in the "background" of the novel. Throughout, Kun-lin's once-rebel father expresses subdued sadness about the desecration of Hoklo Taiwanese and its connections to traditional Taiwanese culture (there is a particularly thoughtful scene in which he checks in on Kun-lin's studying, speaking Hoklo, before shifting to Chinese after Kun-lin expresses the need to meet Chinese standards). I reread the book just to take notes to see how the different languages weaved in and out of each other and the larger meaning in that tapestry.

It would be impossible not to highlight the work of Zhou Jian-Xin, the graphic novel's illustrator. The hand-penciled artwork was both refreshing and gut-wrenching in its unflinching portrayal of Kun-Lin's struggles and the beauty of Taiwan. I appreciated the combination of hand-drawn and print techniques the artist utilized, especially in the application of heavy, dark linocut prints to depict Green Island. Zhou Jian-Xin's portfolio can be found here: Jian-Xin Zhou – Literarische Agentur (mertinwitt-litag.de)

I did find myself wishing that the novel contained more insight into Tsai Kun-lin and the people around him. While we get hints of who they were as people and their struggles, the biography invests more time in summarizing events than investing in personal portrayals of its figures. The real Tsai Kun-lin became a human rights activist after his imprisonment and was very vocal about his political opinions. It seemed like a loss to not explore the development of his passion for human rights and politics during such a politically tumultuous time in Taiwan's history--particularly when The Boy from Clearwater explores his time in prison after he was wrongly arrested for his supposed political affiliations. Tsai Kun-Lin was largely portrayed as apolitical, which doesn't necessarily seem accurate to his real-life pursuits. However, this may have been influenced by the current stress on the Taiwanese people.

This would be an excellent graphic novel to introduce teenagers to the complex history of Taiwan and the suffering native Taiwanese people endured during the rotating occupations of the 19th and 20th centuries. With the continued turmoil in Taiwan, this novel couldn't have come out at a better time.

The second tome of The Boy from Clearwater is set to release in May 2024.

More information: Tsai Kun-lin:

Human rights activist Tsai Kun-lin dies at the age of 93 - Taipei Times

Encrypted apps and false names: new Taiwan book club takes no chances | Taiwan | The Guardian

Tsai exonerates White Terror victims - Taipei Times (the translation of this article appears to contain some errors)

For those interested in more media concerned with the White Terror/its impacts:

ELEGY OF SWEET POTATOES by Tehpen Tsai: A heavily-reality-based novel focused on the story of Tehpen Tsai, a young man detained by the Kuomintang regime during the White Terror. This novel explores the idea of "thought crimes", punishment, and trauma.

TRANSITIONS IN TAIWAN: STORIES OF THE WHITE TERROR edited by Ian Rowen: A collection of non-fiction and fiction works by many of Taiwan's most celebrated authors focusing on the events of the White Terror and their impact on Taiwanese culture and life.

THE MAN WHO COULDN'T LEAVE: A VR short film directed by Singing Chen that depicts the life of a political prisoner on Green Island during the White Terror. (Trailer can be found here: The Man Who Couldn’t Leave (2022) | IDFA Archive)

DETENTION: A Taiwanese psychological horror game created by Red Candle Games. This story explores the White Terror, Taiwanese religion, and the multi-generational impact of colonization and violence.

#bookreview #bookish #book reccs #book recommendations #graphic novel #linessareads #theboyfromclearwater

[cloismami]

*sigh* no one dislikes Lana more than me but that doesn’t stop my ability to realize that she was, at many times, a victim. Yes, she treated Clark like the anti-christ. Believing others before she believed him, running back to him when other relationships didn’t pan out, lying to him when they supposedly came to a point in their relationship where honesty should’ve been a priority. There are so many other issues. But people often forget that Clark lied to her as well (understandably so bc his secret is quite literally larger than life). It’s not going to be easy for her to believe him when he’s like that and it’s not going to be easy for Clark to trust and really love her when she acts the way she does. That’s why his relationship with Lois is more special and deep bc DESPITE his secret, she understood him, she TRUSTED him, and CHOSE to love him knowing he was keeping a secret from her. Clark does the same thing in return. But this post isn’t about clois so let’s move on. Yes, Lana is annoying, repetitive, and can be so wrong that you just want to physically remove her from the show at some point. She can be considered a “villain” under the notion that she held Clark back for so many years, becoming literal poison, therefore demonstrating how useless and detrimental that relationship was. This, I agree with. But that also isn’t her fault bc Clark chose not to see beyond his nose for so many years, he chose to stay comfortable, even in a situation that he wasn’t completely happy in. But for anyone to say that she is worse than Lex, simply bc he is a better written character, to me, is dumb. Because at times, I believe the writers were very much intentional with their portrayal of her. Yes, they ran out of ways to make her actually relevant to the story that stays loyal to the comics post s3, but that doesn’t mean that the way they portrayed her was unintentional. They time and time again showed us who she was, her flaws, her questionable character which proved why she and Clark were never a good fit and also showed that their love never went deeper than the surface, because they never truly knew each other. So chalking Lanas character and characteristics to bad writing all the time diminishes her satisfying s8 arc where she literally becomes the poison that she is to Clark ( I hope that makes sense lol). I’m not saying that she was perfectly written bc again, there were times where it was so obvious that the writers/producers were trying to fit her in at all costs even when she doesn’t need to be there. An example of this is her s4 storyline. Her most popular I believe bc aesthetically, it looks amazing. Who doesn’t love witches??? But logically, what does a 16th century witch have to do with scientific artifacts that were planted by Jor-el or whatever kryptonian. That’s right, nothing. It’s one of those plots where you’re scratching your head asking what does that really have to do with anything. BUT, the plot gave room to explore her flaws and once again showcase not only why her and Clark are incompatible but also why they don’t really love/trust each other. I always found it very telling that she told Lex that she “killed” Jason’s mom and not Clark, because although Clark would’ve been put off, he would’ve understood bc she was possessed. But instead, she never told him and ran to Lex. As she always does. Which shows that as much as Clark never trusted Lana, she most importantly, which people tend to forget until s6, never trusted him. It’s always been like that with her, right from s1 which brings me back to my point that she believes others before believing him. So, no Lana is not an all around bad written character. Was she squeezed into every single plot line? Yes. Was it meaningless? No. I do agree that if the character were written today, she wouldn’t come across so helpless and relying on men all the time, but I do think that she would still be portrayed as someone who doesn’t trust and really know/love Clark, which to me is the whole point.

Her flaws and unfortunate characteristics would still be portrayed at some point but the grooming and pregnancy storyline were completely out of pocket and unnecessary, although it did show the kind of monster that Lex is, leading up to the fact that he is worse than his father. So because of this, it unfortunately serves a purpose even though it’s disgusting on the writers part. (I hate this subplot btw, she deserved better).

The writers did a terrible job writing her to be a strong woman who doesn’t need to rely on men. She wasn’t really independent or an independent thinker (she had her moments, like when she was actually genuine about the Isis foundation). They also did a terrible job trying to paint her as some saint bc she was not (but I also think it was intentional bc it showed how everyone else viewed her, as some innocent butterfly who needs to be protected and can do no wrong). But they did a good job showing her flaws and characteristics and how that affected her relationships, especially with Clark. A comment was made that it’s bc KK is a woc, I can agree with that bc if Lana was played by a white woman, they would’ve taken more care to make her independent (like Chloe, she never really relied on a man to make her way in the world. And also, post s4 her story didn’t revolve around Clark the way that Lana’s did. She was able to help him and still be independent) BUT that would not have stopped them from showing the audience and Clark eventually what kind of person she is. It didn’t stop them with Lex and Chloe so why would that be the case if Lana was played by a white woman? Also, that does not defeat the fact that she was very much a writers/producers pet (yuck). Someone on that set was obsessed with the character which is probably why, aside from contract issues, she wasn’t written out earlier.

Now the reason why I brought this up is the recent debate on whether or not she is the real villain, compared to the likes of Lex, Lionel and even Chloe. (yes Chloe so definitely the real villain of the show, she’s an underdog in the situation if you will but I will reserve my comments for another post). Under no circumstance is Lana a bigger or more real villain that Lex when she was literally abused and groomed by him. The only thing Lana is a villain of is stealing screen time and plot lines (she should’ve had less episodes than Lois s5 onwards). People have argued that she is the real villain bc she was badly written, which i’ve already contradicted. People also think that she’s the real villain because of how she treats Clark and being with Lex and trying to get back a Clark. Now, I completely understand that perspective. But one thing I will always stand on is that Lana is a victim. Yes, she decided to be with Lex and I don’t care for her reason bc at the end of the day, she’s not dumb. She saw how Clark and Lex’s friendship diminished into thin air, she saw the problems they had, how they fought. Let’s not forget the episode where her and Clark sleep together for the first time (another huge sigh) he came to her apartment, straight from the mansion, injured. He was bloody. A baby would be able to put two and two together that “hey, maybe this Lex guy is shifty if he had that bad of a falling out with Clark after years of friendship). Lana even had her reservations about Lex herself. But because of her issues with Clark, she still CHOSE to run to Lex, despite the warnings from all sides. Maybe she feels safe with him bc they’re both fighting the same thing, Clark’s secret idk. I will never defend her in that right. But let’s not act like Lex hasn’t had his eye on her for a very very long time. We also cannot move on from the fact that he made her think she was pregnant just to trap her. Which is funny bc at that point of their relationship, she wasn’t going to leave him. She literally chose him over Clark, but Lex had to manipulate her to stay. I also think he manipulated her in the earlier seasons by always helping her, whether it was teaching her self defense or taking on the Talon. Making her feel comfortable with always running to him, and not looking for any other solutions. Because what does a 15 year old have to do with that old man?? Almost everyone knows that nothing comes from the Luthors for free. You will end up paying a price. She unfortunately payed that price. With her sanity, her time. She literally went through depression bc of the miscarriage. What happened to her is cruel and inhumane whether you like her or not. She is in fact a victim, and therefore can never and will never be a bigger villain that Lex. Lana made mistakes. And when she did things intentionally, they were misguided, out of anger, or simply immature. But after everything she’s been through with Lex, I simply cannot say she was worse.

Also, calling lana a slut isn’t the flex that you think it is. She isn’t and it’s weird when people say that. I don’t like her but you don’t have to lie please 😭.

#smallville #clark kent #lana lang #lex luthor #it’s super long but i just had to get this rant out 😭 #i hope it makes sense #my thoughts

[windflowerofskellige]

On the list of unhinged rants I have about Radovid the Fifth of Redania I will begin with why I don't think he's actually insane and the argument that he is along with the madness plotline in the Witcher 3 is actually playing into demonising people who experience psychosis and not an actual conscious choice to make a character actively going through a psychotic break.

First we need to establish that Radovid is seventeen in the Witcher 3. He's born in 1255, he's been abused by Philippa Eilhart most of his life. That's canon. I WILL pull up the flavour text book screenshots from the Witcher 3 if you ask.

Now, I am not saying severe PTSD cannot trigger psychotic episodes, but I don't think that's what Radovid is experiencing. He's a severely abused child in a position of power who likely killed his mother to get that (as Hedwig was the Queen and who got control when Vizimir passed.) This sparking the Philippa fled conversation in the Witcher 2 torture scene (remember he's 16 there.) Radovid says "you fled so fast I didn't have time to give you a proper goodbye." He knows she killed his father. How? Likely the Redanian Intelligence network which is larger and better than the Nilfgaardian intelligence sector, nothing to scoff at. We came to this conclusion based on the reasoning Dijkstra flees Redania and runs off to zerrikania and gets himself an elf boyfriend.

Radovid is completely grounded to reality in these moments. He knows what he's doing to Philippa he knows why, he does not seem to be hallucinating, he's strategizing, he's acting logically, his speech is not slurred, it is coherent in a normal cadence and speed, he's fine.

No the Witcher 3 madness plotline is likely there to play into stereotypes about psychosis and to make you more sympathetic to killing Radovid should you choose to go through Reasons of State (though I don't know why you would the only person acting in character in that questline is Philippa who absolutely would kill the child she abused for gouging her eyes out because you know, that's normal and healthy). From a narrative purpose it has a function, it's just a bad function.

Radovid's portrayal, especially in the Witcher 3, by CDPR seems to narratively be used to push you towards the Empress Ciri ending should you choose to sell her to Emhyr (again, don't know why you would but okay.) It is done to make Philippa more sympathetic and to make everything about Radovid less icky. If he is not an abused teenager, it's not as uncomfortable to kill him, and it makes going for the Empress Ciri ending more palatable. I have. Feelings about this and I could elaborate but it's midnight so I will not.

#meda rambles #radovid #witcher meta

[kapildevil]

Bramhastra

This post is quite delayed, I wasn't really sure if I am ever going to post it but what the heck, here I am.

It was really disappointing to see the 2 most interesting plots that could have been a turning point for the Indian Hindi cinema to show case the Ancient Indian Culture in a larger than life manner only if the the direction, dialogue & story writing were given more thought and bit more sincere efforts were put into them.

No that the efforts were not there but could have been way better considering that if I can see it lacking then these experienced directors, script writers must certainly know it well. Here is my take on one of the 2 plots I mentioned earlier

Bramhastra, the very first movie in fantasy genre that relates to Indian mythology/ancient history; the plot was interesting but the presentation, direction, play writing, dialogues & special effects could have been so much better. I am tempted to say about the choice of actors as well but the production house has its lucky charms to follow or is it that they are scared of experimenting with the other talent?

I liked the idea, the way the plot was built up but there were a lot of loopholes else the movie would have been certainly bewitching. Just sharing my thoughts as a audience with common sense, with the expectations that the movies and web series must have some logic despite being the stories to entertain people.

I would like to start with the positive, there indeed were some pleasant special effects but that is all that’s pleasant about it.

I was excited about Mr Bachchan's role in this story; I am sure he must have had researched thoroughly for this character but it seems that probably this was not entirely up to him to decide Guruji’s character portrayal on screen. The mystic, the dominance and the charisma that must have been around him(Guruji) was lacking hugely. Too many words, no foreplay, no build up unlike those similar world famous character of Dumbledore or Gandalf. Of course, I expected too much the director & screenplay for Guruji to be dominating the screen.

Dialogues and play writing were another sore spot, the small budget web series are way more realistic and presentable. Did the writer, directors forgot the normal language they themselves speak or did they not notice their surroundings? If the story is set in the current times, it must have the feel of the current times. On the contrary, it was a disappointing mix of the tone and the words that sounded phoney, made up and unnatural to the environment. The tone in Mumbai must have the local Mumbai feel and the language of the learned and those of the critical characters must relate to their identities. Guruji and the intrinsic characters of Bramhansha must be familiar with the old ways and the use of Sanskrit; the hint of some ancient mannerisms & belonging is expected. An Indian mythical characters with ancient connections using urdu words like Shukriya & Qurbani instead of Dhanyawad, Aabhar or Tyaag or other Sanskrit words was such a disappointment. It would have benefitted the dialogue writer(s) to have visited the people living in Haridwar, Rishikesh and many such parts of India where there are ancient temples or places connected to religious and mythological stories of India; they could have taken a hint from the likes of Osho, Satya Sai and the very much alive and famous founder of Isha foundation Sadhguru.

The scientist and the artist who were the guards of the Bramhastra, must be formidable else they wouldn’t be only ones from the secret group Bramhansha to be responsible for guarding something so precious. Their presence felt belittled, the character Junoon too could be louder and vicious to have overcome such formidable opponents.

The flow and connectivity of the story unfolding is uneven, the dialogues between Isha and Shiva lacks logic and connectivity. There is a failed attempt to display the awakening and unnecessary dialogues between them indicating of growing romance. I would have preferred if the character felt more drawn towards each other by not just attraction but something more spiritual and sort of destined. It would be so much better in expressions, only if the screen play was more intended to present the logical flow of the hints, deductions, explorations and discoveries. A nobody, with a happy go lucky attitude must be crazy to have discovered something unbelievable; the disdain reactions of discovery of his visions being the fact was such a disappointment. The excitement, the fury or the disbelief were not as eminent as they would in such a state. This chemistry and the build-up were lacking in the dialogues rather than screen play.

Everyone must have worked hard and it feels really disappointing if the ones related to such a big project were lacking in sincerity. For how long are we going to watch international movies and praise them while the people in industry can themselves make the stories they could be proud of watching themselves.

There is no dearth of the actors to play the desired characters, or the directors who can visualize the story and the scene they want to display. I remember the onscreen magic of the religious mythological stories from the iconic Arvind Trivedi and soft spoken, ever smiling Arun Govil who owned the characters of Ravan and Ram in BR Chopra’s Ramayan; not to forget the humble Hanuman who could only have been play by the beloved Dara Singh. Long story short (not that short considering the length of this blog) , the outcome is not as pleasant as I had expected but I do hope that this will improve with the sequels and if this could become or inspire India’s first ever parallel to the Marvel & DC universe

#indian cinema #srbachchan #bollywood #bollywoodirect #indian movies #imdb.com