Closing Manga Thoughts
I just deleted a long vent post about every single one of my feelings about the end of the podcast and the manga being over. Except not really over because it looks like there's a lot more interest in a physical edition than I was expecting. Hopefully I'll see y'all in the preorders in a couple weeks once I figure out how expensive this will be to make and from there how much I want to charge.
Anyways. Please humour me for a quick moment while I make a big deal out of my thing because it might look like sixteen goofy little drawings in boxes every other week, but it's been a really big deal for me over the last year and a half. I've decided all I really want to say about the end of the manga is thank you for being a fandom I was comfortable sharing something like this with. When I first got into DnDads I had never shared fanart anywhere and I had been fallen off the creative train for a while. So thank you for being here, for engaging with the manga because without that engagement I wouldn't have bothered to see this through to the end. Thank you for allowing me to foster an interest in making comics.
I feel really peaceful now that it's over. It's hard to explain, but I was always very anxious about if people would still be interested in the next pages, if I was wasting my time, if I had phoned it in and should have tried harder. But now that it's over, now that it's complete, and I'm proud of every single page, even the ones I was kind of lazy with, I'm just very content and grateful that I was able to share this very special project, and I don't care so much about if they'll be looked back on fondly, or laughed at, or ignored anymore. It's done, and I'm happy.
Now that the manga is over, if you're ever wondering what I'm going to be doing next, I'll still be here. I have more DnDads ideas, some comics that will escape the four panel format I've been locked into for so long, and I draw One Piece stuff too sometimes, and that won't be going anywhere for a while still haha. I also have an original fantasy comic about a magic that kills you that just entered it's third chapter and you can check it out starting here on Tumblr, or on it's own website here. And if you ever want to request art from me or just support me financially, I have a ko-fi, I take requests for the low price of literally any money.
Once more, thank you. This project has been so special to me, and I'm so unspeakably grateful that it was this fandom I was able to share it with, I don't think it would have lasted, or even started anywhere else, for anything else.
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My (unofficial) PJO season 2 episode 5 script part 4/4 (part 1 | part 2 | part 3)
The last part! Thank you for reading I just couldn't get the vision for this episode out of my mind and had to write it down.
Images of script and copied text (bc I'm lazy and don't want to write out alt text) under the cut, just in case I didn't tag enough spoiler warning or people aren't interested <3
Annabeth Tries to Swim Home
CUT TO: INT. DARK VICTORIAN HOUSE – NIGHT.
Continuation of first scene/flashback. CYCLOPS is grinning at YOUNG ANNABETH menacingly. Behind him, the fire rages, and LUKE, THALIA, and GROVER are tied up in the corner. Annabeth’s attention is taken up by the large monster speaking to her.
CYCLOPS: (in her father’s voice) Annabeth. How nice of you to join us. Now, Annie, don’t you worry.
Annabeth draws her knife. As he speaks, the Cyclops approaches her.
CYCLOPS (CONT): I love you, Annabeth. You can stay here with me. Don’t worry. You can stay forever.
He reaches out for her. Annabeth stabs him in the foot, keeping hold of her knife as he reaches forward and grabs the door in shock. She runs around him towards her friends.
The Cyclops rips the door of its hinges and throws it across the room with a roar.
Annabeth reaches the older kids.
THALIA: Annabeth! Thank the gods you’re okay.
YOUNG ANNABETH: (determined) Hold still.
Annabeth cuts the ropes around Thalia’s arms and legs. Thalia takes up her sword and stands defensively in front of the others.
THALIA: Cut them free, Annabeth. I’ll hold him off.
Annabeth turns to Luke and Grover as the Cyclops roars behind her. She saws at their ropes as Thalia goads and fights the monster.
THALIA (CONT): Come on, ugly! Can’t you take me?
She slices at him with her sword. Now free, Luke can barely stand, Grover supporting him. They all turn to watch Thalia defending them against the monster.
Suddenly, the Cyclops roars, and Thalia’s sword can be seen buried in his eye. As he rears back, she pulls it out, turning to her friends.
THALIA (CONT): Come on. We have to go.
Annabeth leads the way through the house, back the way she came through the servants kitchen into the orangery. They escape through a side door, standing in the storm.
Sirens and howls can be heard, the sounds of the monsters they have been running from closer than before.
THUNDER rumbles as they look around desperately in the dark. Grover sniffs.
GROVER: Come on. This way.
They walk away from the house. The Cyclops roars again from within.
CUT TO: EXT. POLYPHEMUS’ ISLAND – DAY.
SHEEP hooves/underbellies walk across the screen as POLYPHEMUS calls them. Under one of them hangs PERCY.
ANNABETH: (invisible) Just don’t let go!
Polyphemus drags aside the boulder sealing the cave. He addresses each sheep as they pass.
POLYPHEMUS: (patting each sheep) Hasenpfeffer! Einstein! Widget! Widget? Heavier, huh?
WIDGET stops in front of him, Percy clinging to her wool.
POLYPHEMUS (CONT): Soon you will be big enough to eat! Go on, Widget!
WIDGET enters the cave, followed by the rest of the flock.
ANNABETH: (invisible, from outside) Hey, ugly!
POLYPHEMUS: (looking around wildly) Who said that?
ANNABETH: Nobody!
POLYPHEMUS: Nobody! I remember you!
ANNABETH: You’re too stupid to remember. But Nobody remembers you!
Polyphemus throws a boulder, aiming for the invisible Annabeth.
ANNABETH (CONT): Your aim hasn’t improved!
POLYPHEMUS: Come here! Let me kill you!
ANNABETH: You can’t kill Nobody! And you’ll have to come find me!
Polyphemus yells, running down the hill to find Annabeth. Percy drops off Widget, glancing back outside at the island and the Cyclops before moving further into the cave.
CONT: INT. POLYPHEMUS’ CAVE – DAY.
Percy moves through cavernous hallways, turning a corner into a dead-end room of sheep memorabilia. He backs out, going back the other way and turning right instead of left.
He turns corners through a set of “rooms,” something that might be a bedroom, a room full of bones, and another room full of sheep memorabilia. He turns a corner and trips, catching himself against the cave walls with his hands.
Righting himself, Percy looks around, breathing heavily. He looks back and forth, choosing a hallway and running into another room, full of wool and smelling of sheep. He covers his nose as he looks around the room, faced with three separate doorways.
Percy makes a choice, going through the left opening. Down the hallway, he finds a room with a spinning wheel and loom. GROVER and CLARISSE are inside, trying to undo Clarisse’s ropes.
CLARISSE: It’s no good. You’ve been working at it for hours!
They spot Percy.
CLARISSE (CONT): You’re supposed to be blown up!
PERCY: Yeah, good to see you too--
GROVER: (hugging Percy) You came!
PERCY: Yeah, of course, dude. Now, Clarisse, hold still.
Percy takes Riptide out of his pocket and cuts Clarisse’s ropes.
CLARISSE: (rubbing her wrist) Where’s Annabeth?
PERCY: You’re welcome. She’s outside.
CLARISSE: Great, come on.
PERCY: Wait. Was... It was just you in your lifeboat?
CLARISSE: Yeah. Everybody else... I didn’t even know you guys made it.
Percy looks down at his sword.
PERCY: Okay.
GROVER: Come on, guys. We need to go help Annabeth.
They move back through the cave, Grover guiding them. As they come back into the first room Percy ran through, they hear a loud crash.
Annabeth screams.
POLYPHEMUS: I got Nobody!
Percy, Grover, and Clarisse move to the doorway, peeking through to the main room. Polyphemus is standing at the doorway, holding his arm up. He shakes his fist, and ANNABETH’S CAP flutters to the ground, revealing Annabeth, hanging upside down from his hand.
FADE OUT. THE END
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“What a delightful library you have at Pemberley, Mr Darcy!”
“It ought to be good,” he replied, “it has been the work of many generations.”
“And then you have added so much to it yourself, you are always buying books.”
“I cannot comprehend the neglect of a family library in such days as these.”
This conversation is intriguing because, as is often the case in P&P, there is so little narrative framing or comment that you have to make quite a few assumptions based on how you read the characters. We don’t even hear Elizabeth’s reaction to this interchange and don’t know how she takes it (though when Darcy later tries to talk to her about books, she’s sure that their tastes are so wildly different that they won’t have anything to talk about).
In any case, both fans and critics have come away with a lot of different interpretations of Darcy’s book-buying sprees and, in particular, what he means by “such days as these.”
I just read an article that dismissively characterized it as a stuffy civilization-is-falling-down-around-us-in-these-degenerate-times thing showing the basic conservatism of his mindset, and while that article was particularly hostile, it’s a pretty common reading. And you can read it that way, but frankly, it doesn’t seem the most natural reading in the context of either the scene or his overall characterization.
Darcy is repeatedly associated with books and reading and general intellectualism. The Pemberley library links his family pride and his sense of legacy with his personal inclinations—as an individual, he’s bookish, clever, and fairly cerebral. He reads, he buys new books, he enjoys philosophical debates, his response to Elizabeth’s assertion of their different tastes in books is “cool, then we can argue about them :D”, he encourages his teenage sister’s artistic interests and defends her disciplined approach to them when she’s not even there, he collects fine and apparently borderline-incomprehensible paintings, he’s dismissive about the expected accomplishments of upper-class women in favor of reading (partly bc Elizabeth has been reading, but it’s not surprising that a man responsible from age 23 for the education of a young girl has Thoughts on the ongoing female education debates of the time).
All of this is to say that Darcy is engaged with what was then contemporary culture and discourse. This is especially the case if you go with the time of his creation, 1796, but it doesn’t make a huge difference because these debates were still ongoing in the 1810s, and he rarely refers to specific figures and instead prefers more generally familiar concepts and arguments (or chooses to rely on those in conversation with women), and in any case, the English artistic movements of the 1810s owed a lot to those of the late eighteenth century.
And a big eighteenth-century debate was about the merits of modern art, especially literature, compared to ancient art. Historically, there was a lot of deference in English literature to ancient models and dictates, and controversy over newer forms like the novel (in English) but also in poetry and drama and essays. To some people, it seemed like art was going horribly astray by diverging from the ancients (despite the continuing strong influence of Classicism). Others thought the artistic movements of the time were fucking awesome valuable and important, which is generally Austen’s position (most famously in the defense of the novel in NA).
So when Darcy speaks of “such days as these,” I don’t think this is coming from snooty disengagement from the current literary zeitgeist, but rather, the reverse. He’s seeing all these ideas being hotly debated in various essays and treatises, and the English novel taking modern form, and poetry undergoing changes that will only become more drastic, etc etc, and thinks—this is important. Anybody with a family library should be adding the literature that’s coming out at this time.
TL;DR I think Darcy has an affinity for modern art/literature/culture in any case, but also, is so convinced of the importance of the literary “moment” he’s living in that he thinks he’d basically be shaming his ancestors if he didn’t include it in the collection that he’ll pass down to the next generation as it was passed to him.
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rewatching Cinderella 2015 for the howevermanyth time and THIS TIME the part that made me weepy was when the fairy godmother first showed up in her disguise.
Because in the original Disney version, and honestly in most versions - whether it's a fairy godmother or the birds/her mum/etc - the wish-granting entity coming to her aid in the moment is, I think, generally framed as a reciprocation for her determination to do good deeds in all the moments of her life leading up to this one. Then the animated Disney also film adds a line that makes it explicitly an identity crisis, where she's in danger of losing her faith that there's good in the world and that that matters, so the fairy godmother comes along to help restore her faith right when she's about to lose it. And that's a decent enough upbeat kind of story to tell in itself.
But in the live action film!! The fairy godmother doesn't even reveal who she is until after she's tested Cinderella one more time, right in the depths of her crisis of faith. I've always loved that moment cause obviously it alludes to traditional fairy folklore in a way that adds a smidge more depth and mystery to the way the magic works than you typically get in a Disney movie, so for me it's one of the little details that makes this like. just a really good fantasy/fairytale movie that's less of a Disney Movie™️.
And then on this rewatch, it's hit me that it isn't only about like... proving to Ella that she's not alone in the world, that kindred spirits who share her values do exist, with a dash of fairy folklore sprinkled on top. I never caught it before because I don't think Ella catches it herself at the time (she talks about magic not existing after the godmother pointedly mentions kindness, and those two concepts are pretty much fused together for the purposes of this film) - but the request for a cup of milk, made whilst Ella is still crying, is made in order to prove to her that kindness doesn't just exist in other people who also value it and will support her when she struggles to believe that's true. That part would be proved by the godmother just revealing herself immediately.
The request proves that kindness still exists in Ella. That even when she's in the absolute depths of despair, she has the capacity to practice kindness, and doing so comes so naturally even in her worst moments that she needs someone else to point out what it actively signifies. That even when she doesn't consciously believe in it, she does it regardless, so she really has no need to fear losing her faith. The existence of kindness isn't dependent on her faith in it, because it exists in her no matter what. And that's as much of a reward for her as the dress and the carriage and the shoes and it's one that goes deeper than building up enough Good Person Points to afford fairy gifts, because it's one which engages with who she is in the moments outside of her kindness, and which shows her that she's allowed those moments too, without it meaning that her capacity for kindness is in any way diminished.
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Random au because I can't stop thinking about this:
On the doc Mike and Pac found in the prison said that if Walter Bob completed that specific task he would be free from the jail/no longer a prisoner, right? (MY memory isn't the best so maybe this is a bit wrong but that is what we have for today folks augstwfwywfrqcw)
So
What if one day he finishes the task and Cucorucho with a smile brings him to another federation building and asks him to get into a room
So
Days later Fit is asked to clean a room, no big deal, another day of honest work where he starts lurking around looking for anything that could be useful for him and his mission
And then, in another place that he isn't suppose to be, but that he got into anyway is a... something. In the corner. It's small, it's scared, maybe even trembling a little bit and tired, very tired.
It's an egg.
When he enters, it turns around to face him and Fit freezes for a second because now he can clearly read the name on top of the kid.
"Walter Bob"
Well, he isn't coming out of that building alone.
Also! For fluff purposes! Imagine he bringing him to show Pac and Mike, like, Walter Bob doesn't have the memories of Before but he can't help but feel at ease around those "strangers" and their vibrant, lively energy, especially because they seem to like be around him as well, always full of hugs and itens and new places to show around.
Ramon being a good older brother! Showing him how to explode things and being perfect to bring his more quiet and chaotic side.
The fact that before he couldn’t remember ever having a bed just the cold metal of the cell and the guards shouting and pain and experiments and cold cold cold
But now it's different! Now he has a family, people from everywhere smiling and talking to him and helping and saying strange, kind things like that their house is his as well and that if he ever ever need he could call
And then Forever reforms the NINHO to have another room and Bad calls him to chat while making his buildings and Baghera gives him a bunch of invisible potions so they can hang around listening to gossips and Philza is always chill in letting him visit and Foolish laugh and goof around like nothing could ever go wrong everytime he gets too anxious and Mike and Pac are there and...
And Richas gives him beautiful paintings to put in his room and Dapper show him all his cool animal collection and Leo take him to a train ride and Tallulah helps him to decorate his room and...
And and and
(And the hope is there, it hurts too much to bare sometimes, like it's a knife that already cut him before.
But little by little, with time, the wounds begins to heal)
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