Finale.
[ID: An inkbrush style digital art of Sun and Moon. The art is drawn in the biblical style, swinging from an aerial lyra. Virus!moon holds Sun by the neck in a parody of an elegant lift, his eyes glowing red. The overall tone of the image is menacing and disorientating. The colours are saturated purple, cyan and yellow. /End ID]
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I want to make a longer post about this someday but: I think Arya's TWOW arc is going to include her coming to terms with her identity as a Lady. This has been an ongoing conflict with her since her first chapter and I think her flowering in winds is going to mark a turning point. The theory of her having an apprenticeship with the courtesans holds a lot of weight and the idea of Arya going through puberty among a group of unconventional women she's fostered a positive relationship with is just too perfect. It would really have an impact on Arya reconciling her personal idea of what a Lady should be. There's also a lot that she could learn from them in terms of courtesies, communication, appearances, body-language, etc. that would elevate her current skill-set and ways her relationship with them could push the plot.
Not to mention she will undoubtedly reclaim her identity as Arya Stark, and her being a Lady is inseparable from that. Arya Stark is a Lady Stark and being a Lady is a social position, not a measure of how well someone preforms feminine tasks. She shouldn't have to relinquish her position because she doesn't fit patriarchal standards. That's not to say that she's ever going to be the perfect example of a traditional Lady but what I think will happen is that she becomes capable of playing the part. She plays several identities throughout the series but she's always been Arya underneath, so I think it's appropriate that she learns to adopt a "persona" that's part of her. Her remembering Ned putting on his "Lord's face" (+ the various examples of other characters being separate from their ruling persona) makes me think that Arya will be donning her "Lady's face" when she makes a return to Westeros.
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since it's birdhouse release day, I'm gonna make an excuse to talk about a song that's already been talked to death bc it's allowed.
something I appreciate about tmbg is their commitment to always being slightly sinister, even when meaning to come across as nice.
like aw, a lovely song about a child's bird-shaped nightlight who wants them to know that they care about them and protect them while singing about being a bluebird of friendliness. what imagery have they chosen to represent this gentle narrator :)?
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I see people using Zuko as an example of a redemption arc beautifully done every other morning and while I do agree with that I don't see a lot of people touching what is really interesting for me about it : The progression of his character is different from the progression of his acts
Like Zuko's character act is very much not linear. He learns, he make mistakes, he goes back to his old ways when he is offered his initial goal, honor and redemption, his path is like climbing a hill, rolling down the path on the other side and climbing a second hill again this time successfully
But when he does go back to the fire nation he's already a changed man and that is not a turn back in any way. What he saw in the Earth Kingdom is still there. What Aang told him about being friends in another life is still there. He's not the thirteen year-old that left obsessed with chasing the Avatar, or even the sixteen year-old with the same, three-year-old obsession. And he's aware of that.
Even though he returned back to his old ways and did so against everyone's advice, causing a bump in his arc, his character progressed linearly. He needed that comeback at his old home to realise it was anything but the safe place he remembered. The troubled teen that left didn't come back, a man did. And he didn't fit.
Hos relationship to Maï didn't fit, and the awkwardness is probably due to Zuko having a whole new bagage and seeing his childhood crush grow up without him : The fact that they do come back together at the end of the show is a proof that this time, they entered the relationship not as the teens that remembered what the other was like, but as adults that are aware of who the other is. His relationship to Azula didn't fit, even though still with the same tension ; it is less build on sibling rivalry and more on the awareness of both of their abuse (the beach scene is probably a catalyst for Zuko's pained expression at the end of their final battle. Like he knows she's as broken as he is, in different ways). His relationship to his father didn't fit as it is not one of admiration, but one of distrust and fear.
Even his relationship to his uncle didn't fit. Because now Iroh is a traitor and he's a prince and they created a rift from the core of their very values.
And realizing that he didn't fit the old life he came back to is exactly what prompted him to follow his own path.
Zuko did not just go backwards just to find his own redemption. Zuko went back to an old environment with knowledge of the outside world, relationships and doubts and realised he already grew past his childhood and dreams and had to find new ones, ones that align more with the views he gained and upheld. And he needed to see that his home was not what he remembered to realise that.
The acts seem to make him go backward, but the character himself evolved in a very forward way, looking back only to see how much he changed.
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Marisa Coulter + Antigone, Sophocles: Antigone faces Creon // Marisa faces Hugh McPhail
Antigone: So for me, at least, to meet this doom of yours is precious little pain. But if I had allowed my own mother's son to rot, an unburied corpse— that would have been an agony! This is nothing. And if my present actions strike you as foolish, let's just say I've been accused of folly by a fool. (Antigone, Sophocles)
Marisa Coulter: There's probably a great deal that's mysterious to you, my Lord President, starting with the relations between a mother and her child. If you thought for one moment that I would release my daughter into the care--the care! --of a body of men with a feverish obsession with sexuality, men with dirty fingernails, reeking of ancient sweat, men whose furtive imaginations would crawl over her body like cockroaches--if you thought I would expose my child to that, my Lord President, you are more stupid than you take me for." (The Amber Spyglass, Phillip Pullman)
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Underrated Kazuya detail is that he's actually a good boss. Like I don't think we've seen him ever mistreat his underlings (which is something very atypical for a villain) and he also does stuff like tell them to not bother fighting Akuma as they're no match for him, when most wouldn't show any level of care for their lives. And there's even Jack's t7 ending where Kazuya gives him a paycheck and carte blanche on expenses beyond even the approved ones - which, while this ending is played for laughs, it's still kind of incredible that in any scenario Kaz is willing to pay his robots.
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lets go with 4. what was the last straw that made you finally block that annoying person? for the violence ask game - your choice on if you name them or not
Absolutely not naming anyone but there used to be this person reblogging some of my Obi-Wan art. All the drawings they reblogged were on the horny side of things so ofc their tags were horny too (which is great, go hog wild etc) but they also ALWAYS involved fantasies featuring Anakin which. is definitely something to maybe keep to another post but go off I guess? They were clearly enjoying my work and they were just one person so who cares, right?
Anyway. Flash forward to them reblogging a drawing of TPM-era Obi-Wan and thirsting in the tags as is their God-given right to do except I wish it wasn't because the thirsting involved TPM-era Anakin this time. I have seen enough. And I think that person had also seen enough of my art lmao. Blockeéd 🗿
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jonathan/eddie makes me so sick (POSITIVE!) because in the magical fantastical self indulgent world i have created in my brain in which they were in each others periphery since childhood and only really got close in the background while things were getting tense in jonathan's life is something that can be SO personal. eddie has to move in with wayne after middle school? jonathan finds his way to his new trailer whenever he can, it's muscle memory by the time he comes back to hawkins. lonnie fucks off from the byers? jonathan and eddie spend the night near castle byers writing a list of all the bands they're gonna see when they gain more independence. eddie loiters around the photography club (never participates or engages, just lurks) when jonathan moves to california. that kinda stuff
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