#same story different versions.
this is just an idle thought so i'm not sure i can word this well but there's ... something about supernatural narrative ambiguity (such as in cases like carmilla) that really interests me with V's ultimate fate. i.e. i think in one reading ... she did fall from the cliffs that evening at widows' hill, just like carolyn prophesied she would & roger joked endlessly about, and liz did not save her. and victoria getting her quote "happy ending," miraculously getting sent back to be with her vanished husband into a long gone century, returning to an earlier past, is just the silver telling the story version of it. her Savannah, if you will.
"I had to return him to an earlier state of being." / "I found a way to reach into the past and undo it." / "To the rest of the world, they simply cease to be."
moreover i think it's Compelling who liz is with when she finds victoria in each case: professor stokes as V contemplates suicide on the hill, and barnabas when she vanishes into the past with jeff. stokes, who certainly is more than involved with the supernatural but who comparatively represents rational thought, research, learning, Truth and accepting even difficult truth ( "I'm afraid, my dear Miss Winters, that if he is here, he feels as I do. Your place is here. Your time is now. The only way you can join him is to die." ) and barnabas of rewritten myths, of vampires, false identities, the transmutation of women's very sense of self, who has never accepted anything be it feeling or fact and has made every effort to forcibly change it, even if that is only in the telling.
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my secret confession is i think a lot of current art in comics is pretty but sometimes way too glossy and lifeless... it kinda feels like a sticker sheet where they just swap out generic stock poses that they have on hand for that character rather than the art being reflective of the actual story and moment the character is currently in
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actually I love Tentoo and he is the Doctor and it was the only ending for Rose that worked and it is a huge gift to be able to have the man she loves grow old with her, they were always heading for that, y'all be quiet. I 100% understand the angst but it's okay, they're okay, good ending-
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proper refs for my new r&m ocs :-) more info BELOW
morty v-37 - basically gets used as a human shield and then promptly left for dead by his previous rick(which is why hes got the scar and prosthetics), y-4441 finds him and fixes him up + erases his memories of the whole nearly dying thing. he’s pretty chillaxed and a bit more cynical than an average morty, more “rickish” i guess idk. tends to be skeptical, likes poking holes in rick’s arguments/inventions etc etc but like in a teasing way
rick y-4441 - very peppy, upbeat and emotional. he kind of reeaalllyyy dislikes the cfc and stays away from it as much as possible, especially after finding and unofficially adopting v-37. he’s not as tech savvy as most rick’s, his abilities are more akin to s1 rick’s skill level? as in, he lives off of scraps of materials and creative solutions, less god-like and more “old man in garage who happens to know physics and chemistry”. loves to ramble about basically anything and happily indulges in morty’s hypotheticals/questions whatever. EXCEPT! for why morty doesnt have his fingers he shuts that topic down immediately just does not want to deal with that can of worms at allll
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Halloween Ass Lookin Motherfucker
Alt version of the candycane joke one
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helio thoughts//tw religion, christianity
i know this is likely an unpopular opinion since a lot of this fandom has religious trauma, but i would kill for some redemption for helio or some positive helioic representation. it'd be just good, complex worldbuilding if it were solely fiction, but since it's so referential to christianity that ally literally says jesus instead of helio on several occasions i think they either have to really differentiate it or maybe add some complexity to the current 'all 'helioics' are bigots, your faith is evil' angle. because in fiction you can do that, but real religions aren't that simple. im not religious myself, but there have been times where i've been in really bad situations and the most welcoming, caring people are pastors. there is a good side to christianity, and in freshman year kristen wasn't a bad person. she believed in all the good things those pastors did, she helped victims of human trafficking, she fought against her family's racism even before she met her friends. her family was horrible and she was indoctrinated into a cult with the harvestmen, but her faith wasn't bad. religious trauma is not inherent to religion, it's abuse that people use religion to justify.
since s1 i have desperately wanted a good character to be introduced who worships helio like kristen did in freshman year with love and acceptance because that's who they believe helio is, and i don't want them to be proven wrong. tracker didn't give up on galicaea after kristen told her what she was like in the astral plane and worked to change her worship, and i think it would be really interesting to see someone like buddy go tracker's direction with helio instead of just rehashing kristen's character arc.
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We all love Peter Cullen's iconic voice as Optimus, but LET'S BE HONEST.
David Kaye's TFA OP voice is basically just his younger voice.
ORION PAX'S VOICE FR FR- 😩👌✨
I love all Optimus voices equally... But tfa Optimus to me is Orion in all ways but name and tfa Optimus has a special place in my heart and yeah I have a favorite
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-Happy Easter..💛
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There is so much nuance to the ep 6 scene between KJ and Lauren, I can’t get over it.
the motion older!KJ makes as they walk out, reaching for Lauren, realizing just in time that they are, in fact, in her hometown in Ohio and cutting short before she can land what was probably going to be an instinctive kiss
KJ coming in hot with the world’s most polite “hello!” and managing to make what must feel lightly like small talk for thirty seconds before dropping her voice to this shy, slightly-terrified question
the inability to hold eye contact. the faltering, wordless noises. the way she blinks like she’s seconds from just passing out in the middle of this theater--that is exactly how it feels to come out to someone for the first time. the edges of your vision go a little fuzzy, your heart is in your throat, you genuinely feel shaky, and all of that is so present in this performance
the sense of mild defeat in how she just lands on “movies” instead of “girls”, like she’s embarrassed she can’t just say it
the gentle ah hah expression on Lauren’s face as she realizes what this petrified kid is trying to ask her, and how smoothly she doesn’t correct her--just rolls with this safe code word
KJ’s nod and very tiny “uh-huh” without moving like any part of her face. like she’s reverting to standing as still as possible, protective coloring coming up in every inch of her frame
Lauren actually taking a minute to think about it before answering. and and then not giving the answer KJ asked for--”how did YOU know”--but what KJ actually needs to hear. what any kid in her position would: not everyone will get it, but everyone’s journey is their own, and there is no rush
(again, this is why I’m so delighted they wrote it the way they did--KJ and Lauren, not KJ and older!KJ, because older!KJ would have a definitive answer to give. it might be “I always knew, in the back of my mind” or it might be “when I was eighteen and kissed a girl for the first time”, but whatever the answer, it would cement KJ back into a box. this is your future, immutable, and there is no journey you could take that I haven’t already gone on. I’m so fucking glad they didn’t do this, that they let her have the reassurance that any timeline is the right one if it’s hers.)
again, that flutter-blink/quick breath combo that looks like she’s gonna pass out--but this time, there’s relief in it. it’s less “how do I say this Huge Thing” and more “oh thank god, she knows what I’m asking, she knows without me saying, and she’s being kind”
It is beautifully put together, such a gentle way of saying to this baby gay, “Nobody can tell you who you are except you, but whoever that winds up being is so okay. Listen to yourself. Trust yourself. You will be happy, I promise you.” It is a critical bit of advice so many queer people just don’t get, and to write it into KJ’s story is one of the show’s biggest kindnesses.
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never getting over how. melancholy im here sounds
the chords in the chorus sound a little more triumphant at first but it kinda just sounds like a half victory. the pain of the journey is still there, even at the end of it all. but its alright. i will be with you. im here
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There's something about subverting the inherent imbalanced power dynamic in g/t. Technically speaking, Phoenix always has control* over any physical situation. But Miles has discovered that he has more to say over Phoenix than he thought he could. One sneaky kiss and his "giant" boyfriend is completely paralyzed.
*Everything they do in this AU is within reason and with consent
Full sketch is under the cut!
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I don't know if anyone else feels this way but I think a big reason why I'm so chill about the changes made to the PJO show from the books is because I kind of look at each other as their own seperate canon.
Like, I read a lot of anime and manga, and anime adaptations have a huge habit for changing plot points for various reasons, and as a fan of said anime and manga, I've found that I can enjoy both versions of the same story even with the differences when I look at them as their own universe or canon. That's not to say I don't want them to be faithful or true to the source material, but if a scene or situation plays out differently for a logical or entertaining reason, than I can still appreciate that deviation from the manga even if I still like the other original version of that part more. And I can even like the reversal way if I feel an anime does something better than even the manga. But if I want to, I can look at certain moments as more canon than others because I got 2 different versions of that same scene or moment.
And, I don't know, I kind of apply that reasoning to the PJO series as well, mainly with the books, the show, and even the musical (not the movies put that right back where it came from). So far I'm loving the TV show, and while I miss some of the things they changed (like the pink poodle), this adaptation really is doing a great job with staying true to the heart and spirit of the original book that I personally am not even really bothered by the changes, especially when I remember that the books will always still be there with it's own version, or canon, of events.
Like, I will say 1 thing I adore in the books that isn't really in the show is the fact that a lot of Percy and Annabeth's "rivalry" during TLT has more to do with the rivalry between Poseidon and Athena. I just really like on how this adds a level of "forbidden friendship/love" to their relationship 'cause I personally eat the forbidden relationship trope up, especially when it's done well like with Percabeth.
Yet, even if this isn't really the reason percabeth have beef with each other in the show, I can still appreciate and enjoy that according to the show's canon, they have issues because they genuinely have problems with each other as actual people rather than their parents' rivalry, because at the end of the day, that's the PJO TV show canon, and I can always turn to the books for that version of Percabeth's "rivalry", as that is the PJO book canon.
Same goes for the characters too. I will always have and love my dark haired Percy and blond haired Annabeth in the books, but I can also welcome and love Walker's Percy and Leah's Annabeth from the show. And so far, they along with Aryan are KILLING IT as those characters.
I can love both versions of the characters.
I can love both versions of the same story.
I can look at both versions as they own seperate canon or mix them together if I so wish too (especially since both versions of PJO are written by the same guy)
And that's ok. The adaptation doesn't have to be a complete copy of the books. It doesn't have to have things play out eactly the same way. The characters don't have to look exactly the way they are described as in the books. And that's ok. I will still always have the books to love and appreciate, but I can also start to love and appreciate the new adaptation for it's new spin and twists to the same story that sets it apart as it's own canon while still staying true to the spirit of its predecessor.
Anyway, sorry if I'm not making a lot of sense. I just think the people complaining about the changes in the show are looking at it all the wrong way. The show has it's own canon just as the books have their own canon, or even the musical. At the end of the day, isn't that kind of cool to have different versions of the same story and characters? Doesn't it give you so many more options to look at the story in different ways that you can prefer or choose from? Doesn't it give you new versions of canon that you choose from? And really, as long as the PJO adaptation, or any adaptation for that matter, stays true to the heart and spirit of the original story and characters, do the changes made really matter?
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pib and pinocchio being best friends and pib ALSO being the cat from pinocchio's story (ie. he tries to rob pinocchio, gets his paw bitten off by pinocchio and subsequently attempts to hang him) is wild and has potential that i can't hammer down but. there's definitely something there
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you know how Dazai makes references to the princesses? he should now make one about Chuuya and the Little Mermaid:
her natural habitat is water
she's ginger
she lost her voice (and Chuuya is under sb's control now)
she became a different species at one point in her life
she was used for her voice (and Chuuya for his ability)
also Dazai'd laugh his ass off if he called Chuuya 'little'
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Fun fact: Philip K. Dick in the original "Do androids dream of electric sheep" used androids as a metaphor for nazis. This vision, however didn't get to the film adaptation (1982) where the narrative got changed (which is not a bad or good thing. Just curious how androids are used to refer to different things in fiction)
Some Philip's quotes from this interview:
For me the word ‘android’ is a metaphor for people who are physiologically human but psychologically behaving in a non-human way.
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I got interested in this when I was doing research for "the man in a high castle" and I was studying Nazi mentality, and I discovered although these people were highly intelligent they were definitely deficient in some manner <...> and as I studied the Nazi mentality <...> I became conscious of a very highly intelligent human being who is emotionally so defective that the word "human" could not properly be applied to him, and I used this in my writing in such terms as "Android" and "Robot" but I'm really referring to an actually psychologically defective or malfunctioning or pathological human being
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By the time I got to sheep I was revolutionary enough and existential enough to believe that these defective personalities were so lethal, so dangerous to human beings that it might be necessary ultimately to fight them. In other words that they could not be cured they cannot be changed and that it might literally wind up as a contest to see whether the humans won or "Androids" won. Now, the problem then would be that would we become like the androids in our really effort to wipe them out?
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If you kill a person because he is inhuman do you not become inhuman in the act of killing him?
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