This is a series of random screenshots (up through where I've read so far, ch. 70-something) that specifically show us certain characters' ages.
There is also a panel where Liz declares she's "two or three years older than [Black Star, Kilik, and Patty] but that's not so much what I'm focused on here.
So this is all mostly for me... But just clarifying things that are obvious in canon.
Spirit was 18 when Maka was born. Maka was born the same day the academy took in Black Star. Black Star is 13 at the start of the manga basically.
This means Maka is 13 when everything starts and Spirit is 31. Also Sid was 12(!?) when he took in Black Star.
I'd love to have more character ages, but this is what we know.
He has many, but the one he has most often is of coming out of stage 3 and finding he's killed his new family too alone again. Or maybe worse, that he'll never quite be without someone from his past.
Luckily, it is just a nightmare, and he has a different Nightmare he can see to help him calm down.
can’t stop thinking about the fact that phoenix, as a female character, is not once used as a emotional wayfinder for rooster or the audience. i’m not yet over how damn COMPELLING it is as a facet of her character.
so phoenix is presented from the off as someone with an obvious close connection with rooster, and through her perspective we see bits of their history - deadpanning him when she nails him with the pool cue because he didn’t tell her he was stateside (and she’s not angry or disappointed, she clearly didn’t expect him to); how she gets out of the way for rooster and hangman to face off (she’s knows what’s coming but also that it’s not her fight); the way her face lights up when rooster sits at the piano (because she knows him well enough to know what makes him happy and how he expresses it).
these moments all tell us things about phoenix and rooster’s friendship, but none of it serves to solve rooster’s problems or help him work through his emotions. phoenix never steps into that role. you could argue she gets close when rooster admits to her that mav pulled his papers, but even then phoenix doesn’t sympathise or validate rooster’s anger. she pauses, considers, and only asks “why would he do that?” - the one question rooster should be asking but doesn’t, the one his anger’s been pushing him away from for years.
and i just love that. phoenix isn’t there as a character to serve others, she isn’t a woman that exists to push forward the arc of a male protagonist. she’s there as the architect of the web that pulls all of these pilots and their shared histories together. she’s there to show how friendships can be deep and sustained and caring without being emotionally crippling. she’s there to show that knowing a person isn’t the same as understanding them. she doesn’t know rooster fully, but kneeling on the tarmac she understands him better than anyone in the world.
to illustrate my point by comparison, think about penny. to mav she’s a reminder of the past (one he’s constantly wrestling with because he can’t forgive himself for what’s happened, whether he’s earned the blame or not.) she steers him back towards what’s important and inspires his action when he has a crisis of confidence after cyclone pulls him out of the programme. the grand goodbye before mav goes on the mission in his dress whites with the cavernous black sea behind them is the cinematic equivalent of holding up a sign to the audience that says ‘you should be sad and worried! this little man’s in danger! hope you left room for catharsis after dinner.’
now i’m not saying one is better than the other (i stan penny and will hear nothing bad about her.) both characters serve purposes in the narrative that progress the plot. all i am saying is that it would have been so easy for the writers to write phoenix as that feminine emotional touchpoint for rooster and the audience. they could have inserted a scene after rooster and hangman’s fight where rooster starts to sift through his complex emotions about mav and his dad with her. they could have had a shot of her flying back looking distraught after rooster goes back for mav. what they did instead; in making her the connective glue of the group, using her to colour in their unseen past relationships and dynamics; is force rooster’s arc to come from within. and i’m telling you, the entire freaking movie is stronger for it.
Do you ever think of how somewhere in the TARDIS is a room full of River's footprints or portraits of River in various states or (secret) souvenirs from digs River has been on or all of River's outfits or a list of basically everything and everyone River has saved or -
Listen LISTEN! I know I'm like sooo sooo late to the party but sense8 is making me physically unwell. WHERE HAVE YOU BEEN HIDING ALL MY LIFE YOU GLORIOUS QUEER MASTERPIECE!?!! !? WHY DID NO ONE TELL ME ABOUT THIS?!,?! HAVE I BEEN LIVING UNDER A ROCK FOR THE LAST 10ISH YEARS?!??
So anyway... Go watch sense8 if you haven't
It's very spicy and queer and just AHARAGAGAGGAGA!
Rewatching Martyn's Third Life movie I'm going insane at the unintentional foreshadowing here like omggg when Ren and Martyn meet for the first time and they're huddling under Renchanting's floor Ren had given Martyn a regular old stone axe and we all know later down in the series Ren gives Martyn the Red Winter Axe
Like honestly it was first a sign of like hesitant trust with the stone axe and then when Martyn is given the Red Winter Axe it was with Ren's whole heart of his trust on Martyn that they were gonna do this together
A hesitant, held at arms length boss and employee to king and loyal hand
A birthday gift for a friend: a reformatted, fully illustrated quarto casebound edition of Where In The World Is Frank Sparrow? by Angela Betzien - a play were both in some years back. All illustrations are original, and it includes some sheet music for the play's score that I wrote during that performance, just for fun.
Typeset in Alegreya, with SeeingDoubleDoingTriple used for emphasis on certain words. The full book contains 58 total illustrations, and lots of fun formatting tricks and quirks. I used a slightly thicker paper than I usually would to give the volume some heft.
The cover is bound in Polar Duo, with holographic HTV for the details! It doesn't show especially well in the photos taken, but it appears more or less black under normal light, and flashes rainbow when exposed to bright light in a dark room. The slipcase (because of course I did a slipcase) is bound with my other Duo fabric, Eister, with city, rat/hare/goat, and sparrow motifs, to tie in with various plot elements of the script.
Speedran this project in two weeks. Now I can rest.