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xxfrankiesteinksxx · 19 days

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small details in the dnpc video no one is mentioning

okay, look, i'm gonna admit it, i'm a game/film theory girly and a whore for lore, so i pick at details i shouldn't be picking at, so here's some things i see in the video that i don't see being mentioned in theories/analyses. also keep in mind my brain consists of a single cell encapsulated in aspic (i know what the actual deeper meaning is this is just a bit of fun for me)

the thing underneath the piano - the camera falls off the piano in one scene and something (i still cant figure out what exactly it might be) is visible, oddly clear-looking for something underneath a broken piano in shoddy lighting (actually looking at it again it might be a corpse, is it possibly phil's old body?)

dan telling phil not to film him drawing the sigils but phil still filming - you might be able to also throw in the part where phil screams "NO" when the camera's on him sitting in the corner; they don't seem to want things to be filmed but it feels like they're obligated to record everything to some extent

phil's very explicit control over dan - this is to the point where he even has to tell dan what and what isn't food, and takes away water privileges for some reason (btw this is your reminder to drink some water) and overall very demanding tone when instructing him

SOFT AND NEAT - there's a lot of reinforcement of this, its clearly a joke but i'm overanalytical and will blatantly ignore this. there's heavy hesitation with any sharp object around them (when dan has to cut his hand, kill phil, take out phil's heart, mentioning razor blades when using the shaving foam)

dan still primarily uses his left hand - people have mentioned how he's been "fixed" but him using his right hand seems to be performative since he pours most things, mixes with his left hand, and even primarily uses his left hand to spread the blood (plus he never sacrificed himself unlike phil who seems to have died in potato stamps and been resurrected with perfect vision) there's also old superstitions that being left-handed means you're somehow cursed by/connected to satan, speaking of which...

dan has a much better connection and the ability to communicate directly with Him - he seems to be a conduit, possibly being used by phil to properly perform anything (which also probably helped with his resurrection and eyesight improvement), he has uncontrollable actions from time to time

the sigils themselves - what do they all mean? what could they mean in a bigger, symbolic context? anyone that understands them pls explain to my aspic brain

the entire place fucking burns down after the ritual is complete and they're embraced by Him - it's clear at least to me that the shed is set on fire at the end of the video, cutting off further possible footage

dan doesn't put blood on phil's forehead during the ritual - might've just been a slipup during filming but we also dont see the blood dan put on his own forehead once he arrives and theyre all standing up in the pentagram

also just a couple fun facts:

the number on the case file when converted to corresponding letters of the alphabet spell out "satan"

what dan says in his reversed clip is just "thanks!", nothing is really said in the reversed clip of phil opening the shed door its juts kinda a random noise someone made

Aaaaand some misc nonsense crackpot theories/ideas/thoughts/brain vomit that my brain keeps me awake at night with (optional reading):

if the demon taking them at the end is actually baphomet and not just some generalized idea of satan, then "mother" could be another way to refer to "him" since baphomet is portrayed as having both female and male characteristics (bobs n pennies)

personally this is scarier/more unnerving than the actual blair witch project for some reason

my bathroom sink is the one sink you cant ship

i want a dapc for those dolls they hung everywhere

is cataloguing all of the ritual setup part of the craft channel's purpose?

what was the reason for summoning him? did they bring him to our plane of existence to just let him absorb these two brink-of-twinks and then use their gay power to torment the straights?

oh that rope is just his belt thing not rope tying dip and pip together

i think this is a good wrap-up idk what they could do in a part 5 to conclude things better

#this is what keeps me up at night #that and the 4 hour long naps i take at 5pm every day #now i wanna start a collector doll brand called brink-of-twink #featuring fun accessories like texts to his sugar daddy and mortgage paperwork #theres more but this is rly fkn long lol #dan and phil #dan and phil crafts #danandphil #daniel howell #dan howell #phil lester #amazingphil #phandom #dnp crafts #dnp

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royboyfanpage · 25 days

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Hi, I love your page! What are your thoughts on Roy and Connor's relationship?

Hi! Thank you so much, I'm glad you like my posts :) and thank you sososo much for this ask, I love Roy and Connor's relationship and I'm glad I have an opportunity to talk about them. Sorry it's taken me all day to answer, but here you go :)

Short answer? That's his little brother.

Long answer?

I know that "fanon Batfam is canon Arrowfam" is tired and overused, but I really do think that, especially with Roy and Connor, there is some truth to it. While they haven't had too many interactions in canon, there's still a clear arc their relationship takes which I really like.

I don't like Chuck Dixon's Green Arrow run, obviously he's a shitty person but also his writing just isn't for me, but one of the few parts of it I did enjoy was Connor's first meeting with Roy in Green Arrow (1988) #97, prior to Ollie's death. It first establishes one of the most present themes in their relationship, which is the differences in relation to Ollie, and the contrasting experiences of being their father's sons. Roy's the son who grew up with Ollie, he knows him personally, the good and the bad, but his status as Ollie's son is still constantly in question, you can see it back in Longbow Hunters, Ollie calls Roy his son but still denies that that word has meaning ("Roy's a hell of a kid, but he's not mine. Not really.") Whereas Connor, there's never been any doubt that he's Ollie's son, he's his flesh and blood, but he never knew Ollie until he was already in adulthood. He knows Oliver Queen through magazines, but not personally. That's why when Ollie storms off after finding out he's Connor's dad Connor's shocked, but Roy isn't surprised when he hears that from Connor. He knows Ollie, and he knows how his fears of commitment would make him act. While this is only a minor theme of those specific issues where they first met, Roy helping Connor understand what it means to be Oliver Queen's son is one of my favourite parts of their later interaction.

After Ollie's death, there is some tension between Roy and Connor, particularly around Connor joining the JLA in Ollie's place and becoming the new Green Arrow, first mentioned in Teen Titans (1996) #12-

-which is later expanded on in Arsenal #2.

This is really the first time we see Roy and Connor have a heart to heart, and it shows Roy's inferiority complex. Due to tumblr photo limit I can't show more pages for this, but I think the one I chose is the most poignant because, at least in my eyes, it shows the insecurities both of them have in terms of their relation to Ollie, and how each of them address that. Roy's loud, he'll openly speak his mind and say what he feels, and that's why it's primarily about him (that and that it's his mini and Connor's a guest). Roy openly admits feeling inferior to Connor in his position as Ollie's son, even after Ollie's death. Connor, he's quieter about it, and gets spoken over by Roy before he can actually talk about his feelings (which is a pretty consistent problem Connor faces where people expect him to listen but not talk). But you can still see it in his body language, the shadow over his face looking downwards, and while he isn't allowed to finish his sentence you can still tell what he's about to say, that Roy's more of Ollie's son than he is. They both know that the other hasn't actually done anything, but they're not to blame for each feeling their own individual emotions.

They also address the topic of legacy in relation to Ollie in #3, and how there's this unspoken standard to live up to that neither of them ever really can. Roy's Ollie's mentee, his protege, he should be Ollie's legacy, and yet he's not Green Arrow, he's not in the JLA, and he's still coming in second place. Whereas Connor, he is Green Arrow, he's Ollie's legacy, he's in the JLA, but he's a better martial artist than archer.

I wish they'd gotten more opportunities to interact while Ollie was dead because there was SO much potential for them during that period, but alas.

And now, I get to talk about one of my top five comics ever: Boys' Night Out, Green Arrow (2001) #32. Yeah, sure, the whole issue only happened because Ollie wanted Connor out of the house, but it's also the first comic to really explore the brotherly relationship between them, particularly in terms of Roy being older. Roy takes Connor bookshopping despite his own boredom-

-And then takes him to a strip club, where they have another heart to heart.

This page specifically is so important to me, because it's one of the few instances where Connor's actually being heard. Particularly in the 2000s but also in the 90s, a lot of Connor's character was defined by him being the voice of reason, the one who'll talk people down and listen to their problems, which ignores the fact that he's actually a pretty young guy, usually younger than the people he's helping (I suck with ages, I'm pretty sure he was 18 when he was first introduced which, by rough estimate using the Lian Method, would make him around 20-22 in the 2000s). I'm not saying that diminishes his emotional intelligence, he's clearly very emotionally intelligent, but it is a lot of pressure to put on someone that young to constantly be the one holding his family together. That's why I think this whole issue is so important for Connor, it's his chance to actually just be, and Roy's the best person for that. Despite what some fanon and canon characterisations suggest, Roy is absolutely not emotionally immature. Hell, you could make a pretty solid argument that part of the reason he took Connor to a strip club in the first place was to bring up the issue of Connor's sexuality. While asexuality wasn't as popularised as a term back then as it is today, the idea of Connor being queer was very present during Green Arrow (2001), albeit often used as a punchline, and while they're there Connor even gets referred to as a "friend of Madonna" by one of the workers. And while in Roy's head Connor was either gay or just had a low libido at that time, his "you're you and Ollie loves you" speech could very easily be interpreted as acceptance of his sexuality, even before Connor himself had figured it out. It acknowledges that, while Connor's good at helping other people work through their own problems, he's still a young person struggling with his identity, not understanding why he's so different to those around him, even his father. And Roy picks up on that, and tells him that it doesn't matter who or what he is, that what matters most is he's Connor, and him being Connor is enough to warrant love and support.

But Roy also doesn't treat Connor any differently to how he'd treat anyone else. When Connor says something Roy disagrees with, he calls him out

And I think Roy's treatment of Connor as an equal is very important. He doesn't depend on him or treat him like he's this pinnacle of wisdom, but he also doesn't coddle him and treat him like a baby. He calls his ass out, when he needs to! Roy's still a very loud and outspoken person, and he's not gonna change that because he and Connor had a heart to heart. I feel like a big problem with a lot of characters who enter into a family dynamic is that sometimes their writers change who they are at their core in order to have them fit into a specific role in the nuclear family, and while yeah, Roy's absolutely playing the role of an older brother in this issue, he's still Roy Harper, which I think is crucial. And conversely, Connor also calls Roy out when he does something he doesn't like!

I'm running low on the photo limit so apologies for the quality of this collage, and I couldn't fit it in frame but for context Roy just knocked out a robber who Connor was trying to talk down. Connor explains to Roy his reasonings, and Roy apologises! I think this also highlights the differences in terms of their characters. They're both very protective of their families, but Roy tends to act first whereas Connor thinks things through. Roy saw Connor with a gun pointed at him and immediately took action, which contrasts Connor's reaction when Roy gets shot in Outsiders #6

Connor's more of a rational thinker in times of crisis, and he tends to try and think things through and avoid rash decisions, whereas Roy's very much an immediate responder if his family's at stake.

And then it ends with them actually acknowledging each other as brothers!

The ending of Boys' Night Out is so important to me, honestly, and it demonstrates one of the most important features of their relationship- trying to figure out what brotherhood means. There's not a big hug at the end, there doesn't need to be. Just an acknowledgement that they're in each others lives, that they're brothers, and it doesn't matter what that means. It's cool. I adore this issue so much, I had to make like half the post about it because it's so good and it's such a good example of why filler issues are needed. Sure, Williamson's run has it's sweet moments, but an issue like this where two characters just get to interact in a low stake scenario will always be so much more impactful than one hug in a big event.

So, yeah, I think my short answer sums it up pretty well. They're the brothers ever.

#sorry this took me all day to answer i had a lil bit too much to drink last night and had a hangover until like 5pm #pro tip don't have your first shot at midnight #roy harper #speedy #arsenal #red arrow #connor hawke #green arrow

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