#they’re both classic protagonists

[wonderwyrm]

Terry Pratchett knows how to fill a moment with emotion.

Earnest, fervent, sincere emotion. Joy, humor, horror, sadness, all of them at once. Terrible, terrible things happen to the characters in his books, and yet they’re funny to the point that I think they’re mostly branded as comedy.

At the same time, I can easily see most of his books being recreated as horror stories. God, I would love to look more at the ways he creates terrifying situations.

And even during those horrifying moments, he still manages to work in a joke, and you want to laugh as you frantically turn the next page to see if the protagonist makes it out alive. I have no doubt that he might kill off a main character moments after poking fun at their name, and both moments would come across as entirely sincere.

Specifically I want to bring up an example I just came across. I’ve been going through his books in chronological order and I just got to Going Postal (spoilers ahead) and I can see why so many people have this book as their favorite.

Our main character, Moist, has been unwillingly appointed Postmaster, and the old Post Office is filled with decades of undelivered mail. It’s revealed to him, over the course of a few chapters, that the undelivered mail speaks to people, and the collective spirits of those hundreds of thousands of undelivered letters are restless and angry and trapped.

I’d like to make a note that I think this is the first time Pratchett has used magic in this particular way. Discworld has the Magic-Themed books, and the Not Magic books, and while there are occasional overlaps, for the most part Magic is used as a foil and satire for classic magical stories, or as a way for Wizards and Witches to tell their stories. Theclosest I can remember Magic happening to this is in Moving Pictures, where the Holly Wood spirit escapes into Discworld and infects the people there to start making movies, and this mostly subtle and seems a way for Pratchett to make a note of how insane it is for us to treat movies and actors and the whole business of making them in the way we do.

I’m actually rather pleased that he chose The Mail to be something that is just… magic. Unexplained, powerful, something that makes sense and yet doesn’t. Maybe that will change as I get further in the book.

To the moment I’m thinking of. Moist has just been declared Postmaster, and now he’s confronted, in the dark, by the spirits of the mail. They ask him if he will do his job, if he will move the mail again. He says that he isn’t worthy, and the mail says that they just need someone, anyone who will help them.

So Moist says he will. He will do it.

Then the mail, all the hundreds of thousands of unsent letters, say

Deliver Us

And this is what I’m talking about. This is a climatic moment, a moment where Moist is making big changes in his life, in what he is deciding to do. You can feel the desperation of the mail to be sent to their destinations, to be freed from this stagnant hell.

Deliver Us

It’s a pun, you see. Because you deliver mail. It gets delivered. A joke, in the middle of this important moment. It’s a pun and an order, to do his job, to let them fulfill their purpose.

And at the same time, it’s a plea. A desperate, angry plea to be set free and given life again, a plea that someone, even someone like Moist, will be their savior and deliver them from their endless purgatory.

Deliver Us

This is what I love about Terry Pratchett.

#Terry Pratchett #Discworld #Moist Von Lipwig #Going Postal

[pluck-heartstrings]

Hey, welcome to my Medieval Times AU

Pluck my Heartstrings

The au features our yn protagonist who’s a classically trained vocalist that gets hired at the first Castle Faz- FazCo’s first ever Medieval Times dinner and tournament. They get the job of being the new regent character, but on the condition that no one finds out that it’s being puppeted by a person rather than the robots FazCo is so famous for. Sun quickly falls for the costumed Princess while Moon trips over his heart into the Princess’ Handler, neither knowing that the object of their affections are one and the same.

Our yn also has no clue that the rest of the robotic staff has no idea they’re playing both parts. Cue miscommunication and performances, all in a pseudo-medieval setting!

My fic is beta’d by my very good friend @wandering_lepechaun who’s not on tumblr but we hope you enjoy reading!

You can find my fic here, I update every Friday!

I also post art of my own with #my art tag

And any fic updates with #fanfic update

That said consistency is not my friend, and this is purely for fun! Feel free to say hi if you have any questions about the fic or just to chat.

PMH Sun’s design can be found here PMH Moon’s design can be found here PMH Princess & Vocalist design can be found here Attendant details

Princess details

Height chart

Arena layout

#pinned post #fnaf dca au #dca au #dca fanfic fanart #dca fanfic #dca x yn #fnaf dca x reader #dca x y/n #dca x reader

[che-bur-ashka]

“you are a good nurse” (knives out and great men)

***(this is extremely spoilery for both knives out and glass onion. read with caution)***

In quarantine, in a smaller apartment than you might expect, Benoit Blanc is playing Among Us. This is a game—like Clue—which the celebrity detective hates. It’s too simple, too obvious, and too easy to resolve. Although he holds himself to be better than these “stupid things,” they are also a weakness—later, we will be told that he nearly failed to solve a case because it was too simple all along. For now, the gentleman sleuth is doing poorly in isolation, suffering from an all-consuming boredom which descends between cases (a trait he shares with his literary antecedents in Hercule Poirot and Sherlock Holmes). This is, all in all, a tremendous reintroduction to Blanc, the detective who, in 2019’s Knives Out, solved the murder of James PattersoHarlan Thrombey and who—in 2022’s Glass Onion—will attend a murder-mystery themed weekend getaway of the innermost circle of tech billionaire Elon MusMiles Bron. Blanc shares DNA with the classic sleuths—but he is both more and less of a hero than they were. Much of that has to do with the communities he finds himself in. Murder mysteries have always run on high-energy casts of colorful characters—most especially in the works of Agatha Christie, whose Mousetrap, Murder on the Orient Express, and And Then There Were None feel like important steps on the road to Knives Out. Working with big tropes and cliches makes sense in a genre which is, in many ways, about developing and subverting reader expectations, and the two Knives Out films certainly build on that mold, establishing a set of stock characters drawn from the here and the now. Whether we’re dealing with a wealthy college student who sets her political beliefs aside to bow to the demands of her family (Katherine Langford as Meg Thrombey, Knives Out) or an internet micro-influencer about to explode into the mainstream screaming about the downfall of western masculinity (Dave Bautista as Duke Cody, Glass Onion), the supporting casts of both Benoit Blanc murder-flicks are fresh tropes for a fresh culture. They’re also—critically—all drawn from a particular world. Children of wealthy families, publishing executives, influencers, lifestyle models—these are people given a huge privilege, not only in the quality of their lifestyles but in the degree of their control over the direction of their lives. Although Knives Out and Glass Onion both  depict circles dependent on the charity of individual, powerful men—Harlan Thrombey and Miles Bron, respectively—they are also circles made up of people who society grants decision-making power, imbuing them with the belief that they are the protagonists of life granted the god-given right to personhood in contrast to those in sidelined roles—the help, medical staff, and “Derol.” The heroes of both films, however, are the odd ones out. They are neither the suspects (the colorful ensembles of those who “could have done it”) nor the celebrity sleuth himself (on whom everyone depends to solve the mystery and straighten things out), but rather those who are pushed to the side—assumed to be objects, not actors. Marta and Helen are the Watsons of both movies—the characters through whom we view the story, whose experiences frame and color our own (Helen takes on this role predominantly in the second half of the movie, once her true identity has been revealed to the audience). Unlike Holmes’s Watson or Poirot’s Arthur Hastings, however, these two characters are not neutral “straight characters” but individuals who suffer an active isolation, people who—however “normal” they might be in comparison to the cast—are marginalized and assumed to occupy a passive space. This positioning impacts their perspective, skewing things for viewers, reminding us that there is no apolitical way to view these events—and not to normalize the antics of the elite. In both cases—as Marta is Harlan’s long-term nurse and Helen is dedicated to seeking justice for her sister—they are presumed to, and in many cases do, act without ego, functioning solely as objects and in the ecosystem which surrounds the powerful decision makers (Harlan Thrombey and Miles Bron) and support systems on which the protagonists of life can lean. Although the films work to counteract this assumption—reminding us of the fundamental personhood of both Helen and Marta—it is also partially through their dedication to serving others that both Helen and Marta succeed. Blanc puts this clearly in Knives Out when he reveals that he knew Marta was involved in the murder from the start: “I want you to remember something very important:” he says “You won not by playing the game Harlan's way, but yours.” The heroes of these films do not succeed by using their invisible status to their advantage in playing “the game Harlan’s way,” getting one up on everybody by being the cleverest person in the room. Rather, they succeed by staying true to their values and doing what they know is right—even if that means sacrificing themself to the cause of another because it is right. For Marta this is attempting to save Fran—for Helen it is running out of clever ways to seek justice for her sister, and setting fire to theb building instead. By working against their own self-interest in the “game” or “puzzle” of a murder mystery, both Helen and Marta defeat their antagonists. In Knives Out, the Thrombey family spends much of their time bickering over who really deserves to inherit Harlan’s legacy—and the film is clear that none of them can truly claim to have built success themselves, as each was granted the privilege and security of their family’s wealth. None are truly as independent—we might say, “protagonal” —as they believe. Glass Onion takes this a step further, attacking the “source” of the cycle of  wealth. While Harlan Thrombey seems to have been a generally good man, a skilled storyteller, and a strong judge of character—it was his decision to reward Marta, and not his kin, with the inheritance—Glass Onion’s counterpart in Miles Bron is explicitly framed as lacking substance (being a “Glass Onion,” which appears deep but is in fact easy to see through) and having simply been in the right place in the right time to steal someone else’s work. There is no “self-made man” or “good billionaire” in Glass Onion—only people who were lucky enough to be given the opportunity to step on someone else on their way up the ladder. This developed critique of “great men” plays directly into the events of Glass Onion’s climax. Unlike Knives Out, where the police are presented as broadly interested in justice and glad to work alongside Blanc although their investigation has already ended, Glass Onion demonstrates explicitly how systems of power—the courts and the police, but also social dynamics and community pressures—can be bent to the defense of those assumed to be powerful decision makers (like Miles Bron or Ransom Thrombey). There were allusions to this in Knives—where Ransom claims that Benoit solving the murder means nothing, since he has good lawyers and will avoid a significant sentence—but they are eventually unsubstantial, as Marta tricks Ransom into confessing in front of two officers and he is arrested as a result. When, in Glass Onion, when the only evidence to Bron’s crime is burned, Blanc himself seems to surrender, claiming that “This is where my jurisdiction ends” before leaving the room (though not before handing Helen the physical and emotional material she needs to literally burn Miles Bron’s island home to the ground). Although Helen eventually manages to set fire to the Mona Lisa—defeating Bron by ruining his public image, not through criminal prosecution—this does not seem to be her intention when she begins destroying the mansion. In this, Glass Onion seems to develop a second critique of Knives Out—not only do we come to question the validity of the narrative of “good” billionaires, we are shown that, faced with hostile powers insulating  themselves within systems of law and order, the only path to justice may be working outside the law and our basic (i.e. carceral) assumptions of what “justice” is. As the emergency  services arrive to pick up a body, Benoit sits on the beach, smoking a cigar. His hands are clean, and he has inspired Helen to the heroic action that she must take. He is as smart as any Holmes, but he did not do his part in this adventure in the way Holmes would, by playing the game, solving the puzzle, and handing things over to the police. Rather, Benoit has himself taken on a supportive role—supportive to Helen, who has, in turn, taken action and found justice for her sister. He understands the limits of his jurisdiction—in other words, he knows when it is actually his turn to be the protagonist, and when it is his role to inspire others. In a world full of people who claim to have risen to power by their skill and focus, Blanc actually has remarkable skill—but he uses them, ultimately, to ends of uplifting the meek, not simply restoration of order.

#knives out #glass onion #benoit blanc #glass onion spoilers

[idkaguyorsomething]

it’s quite fascinating how, up until this point, despite being framed as the traditional protagonist, jodio is given mostly traits that are associated with previous villains in other parts. think about it, he demonstrates greed, ambition, and a tendency towards excessive violence and short-sighted decisions. he’s even explicitly diagnosed with antisocial personality disorder and calls himself a sociopath, traits that are often associated with villains due to the lack of empathy it causes (which is a whole can of worms about the stigmatization of mental health in popular fiction, but i’m willing to give araki the benefit of the doubt and wait to see which direction he takes the story and that trait in particular in).

on the other hand, dragona is given the most traits we associate with classic heroism, being the leader and mediator of their group who advocates for holding back when jodio gets out of hand and the one that gets to experiment with the macguffin, as well as being nicer and having almost as much focus dedicated to them as their brother. the fact that, as a dark skinned person of color with an ambiguous gender identity, they’re also a rather nontraditional hero, especially in a japanese piece of media, adds another interesting layer to this.

there are two main parallels we can draw to these two: giorno and bruno, and dio and jonathan

jodio and giorno both obviously embody a lot of dio’s traits, being ruthless and power-hungry, although jodio is certainly more emotionally open and driven by personal gain than reserved and idealistic, more like a young dio than most of his sons were. whereas dragona, as a calmer team leader who follows the rules but still needs the protagonist to bail them out of a tight spot, has tons of parallels to bruno, but the fact that they’re set up as the underdog brother with more traits the story associates with heroism when their brother is a clear reference to dio brando of all characters should not go unnoticed

what i’m trying to say is that upcoming emotional drama is inevitable and it will HURT

#ARAKI YOU BETTER NOT FUCK UP THIS RARE DEPICTION OF A PROTAGONIST WITH ANTISOCIAL PERSONALITY DISORDER #YOU CAN IMPROVE YOUR WRITING OF MARGINALIZED CHARACTERS WE’VE ALL SEEN IT HAPPEN #IF THE SIBLINGS START CLASHING LET IT BE A MORALLY AMBIGUOUS CONFLICT #THIS STORY IS FILLED WITH SO MUCH POTENTIAL I DON’T WANT TO FEEL LIKE SHIT BY THE END OF IT #jjba #jojo’s bizarre adventure #jojolands #the jojolands #jodio joestar #dragona joestar #giorno giovanna #bruno bucciarati #dio brando #jonathan joestar

[celluloidbroomcloset]

Hi, first thanks for all the great meta and analysis❤️

So, I recently noticed this an increase of something that really annoys me: whenever the canyon stumbles upon an opinion they don’t agree with they’re acting like Con O’Neill is this helpless baby that needs protection from people criticising a character he played/his acting choices (because that obviously equals a personal attack🙄).

And as if he is this groundbreaking queer actor that has done more for the LGBTQIA+ community then David with OFMD. 

Don’t get me wrong, I absolutely respect Con O’Neill and I do believe him that he is queer (despite there having been some valid doubts in the past) but I honestly don’t see that he played Izzy as gay (again, not on him, he just went with the role of the antagonist that he was given and did that really well, and then the Izzy fans tried to make it something that it was not). And if he did try to play Izzy as gay within the limitations of that script, then ok….an old white cis gay man who also falls into that hurtful trope of queer coded villain…tell me how that is groundbreaking representation again?

The same goes for “all of the other queer roles” he played according to the canyon. There are two of that I think: 

1)Cliff Costello, Cucumber (another old white gay men in a show with some very backwards views about how you are only properly gay if you get fucked in the arse or fuck others in the arse. No, I’m serious, the whole premise of the show is how horrible it is that the protagonist dosnt like anal!)

2)Val Pearson, Uncle (a character that fits every horrible stereotype of how trans people look, Con O’Neill stans love to claim that aCtUaLlY Val is gender fluid, but that is purely a head canon and never established in the show! If you know how 2000s media classically portrayed trans women and always made them the butt of the joke, this role is exactly(!) reproducing all of that).

Both of these are just side character btw. 

And I’m not blaming Con O’Neill for taking on these very problematic roles, as queer people we often have to take whatever representation we are given. Still -especially as a queer person- we don’t live in the 80s anymore you are allowed to be more critical about the roles you take on.

And I don’t think /he/ was the problem with these roles, I actually watched Uncle and like the way he played that character but that dosnt change the fact that the character itself is written deeply transphobic.

So maybe we shouldn’t pretend that they’re great representation?

And maybe we shouldn’t act as if Con had specifically chosen to play queer characters?

Like two deeply offensive stereotypical LGBTQIA+ characters in 40 years acting career? -that’s not more then your regular straight actor has played.

He is a decent actor but it annoys me that the canyon tries to turn him into this activist or something!

Wow, this got longer then I expected, sry just had to vent a little after seeing some rather outlandish canyon takes in the wild😅

OK, before I answer, I want to remark that this is a very thorny issue. I am not trans, and I know that there are some trans people who saw themselves in Izzy's characterization especially in Season 2 or discovered their own gender identity through that character. That's absolutely valid, and no one should ever say that it isn't.

I have not seen Con O'Neill in anything other than OFMD. From what I've seen, he's a good actor and seems a lovely guy who strongly supports fans and the LGBTQ+ community. But I can't speak to the other roles he has played because I have not seen them.

I read Izzy as queer, yes, though that's less explicit in the first season. He's very much the "queer-coded villain" trope, which is a homophobic trope...but as with everything OFMD does with tropes, it's subverted because—surprise!—almost everyone is queer. Izzy is very much an archetype of toxic masculinity and I think part of the point of the character is to develop how queerness does not always equal liberation.

I think it's very easy to fall into stan culture and arguing that the actor is the role and vice versa (so a criticism of Izzy is somehow a criticism of Con O'Neill). We have an additional layer here that this is a very queer show watched by a lot of queer people who see themselves, some for the first time, on the screen, and so are naturally defensive of the show itself, the specific characters, and the actors who play them. And that can cause a lot of problems too, especially if you're invested in the character who is canonically The Antagonist. To complicate it further, he is representative of a very common trope that for a long time was the major way queer people were represented at all in mainstream media, and we have people reading him as though he is the sole queer character. Which he likely would be, in many other stories...but not here.

It's a complicated issue. I wish that we could all step back a bit from our emotional investment in these characters and actors and recognize that they are part of a TV show that wears its tropes on its sleeve, and that just because an actor is a lovely person in real life, he is not his character.

#ofmd #our flag means death #reply #izzy hands #con o'neill

[mariposahxh]

TOGASHI CREATED KILLUGON BASED ON A ROMANTIC COUPLE FROM THE ROMCOM HE WROTE !!

Did you know Togashi created a romantic comedy manga back in 1989? He always talked about liking shojo and romance but it’s not very known that he actually wrote one! (this is about killugon i promise keep reading)

title : Ten de Shōwaru Cupid

disclaimer : it’s nsfw and kinda gross (MINORSDON’TREADIT) but i’m not showing or talking about any of those nsfw things in this post so don’t worry!

It was never officially licensed so there’s no released English translation.

Very vaguely, the story is about Ryuji and Maria, the main romantic couple (pictured above) . It’s sorta a “ friends to lovers “ situation… in it’s own way.

Anyway, there’s one scene that started this whole discovery. Ryuji and Maria essentially go on a star gazing date. (yakwtfgo)

a few panels from the scene :

Star gazing. Shooting star. Deep conversation.

Doesn’t that sound familiar?

But wait, it also LOOKS familiar.

losing my mind bc ohmygoddd togashi ur so insane for this.

hell, even the set up and light/dark scheme is similar.

1989 : Togashi creates a star gazing date between the protagonist and deuteragonist of his shojo.

1998 : Togashi creates a star gazing date between the protagonist and deuteragonist of his shonen.

it took him ten years to make it gay

There’s more :

As we all know, Killua has electric powers. He has one move in particular called “ 落雷 “ (thunderbolt/lightning strike)

Coincidentally, Maria from the romcom ALSO has electric powers. Not just any electric power though, she has a move called “ 落雷 “ (thunderbolt/lightning strike)

Deuteragonists with electric powers and a thunderbolt move.

What’s next? Maria also being immune to poison just like Killua?

Exactly.

Miss Maria over here is the OG “ i’m immune to poison ” character. She drinks the poison from the snake to hide her demon tail (wild plot ik)

—

(( 4/27 update : i was just reminded of how Killua has that snake awaken thing with his aura hhhhhhomg

when they’re both associated with snakes ))

—

So, a deuteragonist who is strongly devoted to the protagonist, in love with the protagonist, immune to poison, has lightning powers, uses a move called "thunderbolt", and has been on a stargazing date with their protagonist.

It’s almost as if… Maria was Togashi’s blueprint for Killua.

This next portion isn’t as big but they’re just little situations that gave me deja vu :

Here we have the classic jealousy situation when a “romantic rival” enters the story.

- Stalking as they talk by a tree.

- Fuming with anger as something affectionate happens between them.

- Fleeing when the current situation became too much to handle. (in killua’s case he left to go fight a rabbit but still. yk he wasn’t about to stick around for what came next😭)

And there’s also the way they bump heads and bicker with each other like a married couple.

i’m sure there’s more similarities and hxh inspo in the story but i don’t feel like rereading and translating it all

In conclusion :

This means that from the very beginning, Togashi intentionally coded Gon and Killua from a romantic couple. KilluGon is the recreated/reimagined version of Ryuji and Maria (a pure and sfw and gay version)

goated behavior tbh

#killugon propaganda #killugon #killugon canon #hunter x hunter gay #killugon stays winning #killugon supremacy #killugon solos #killugon solos ur fav #killugon is real #Gon and Killua gay #togashi loves gay manga #if they’re not gay then why did togashi write them like that #killugon parallel

[pinklikeroses]

I really don’t like how one demential Stella is from helluva boss. She has the potential to be a really interesting complex character but is watered down to be a mean wife with zero development

I also don’t like how the show and the fans justify stolas’s cheating.

It’s terrible that he was forced to take part in an arranged marriage and that even though he made an effort to at least have a platonic or cordial relationship with Stella—

That she rebuffed his efforts and was a total asshole to him.

But no one deserves to be cheated on. I really hate how with a lot of media these days….characters both in canon and fandoms are written as black and white and aren’t given proper layers. And I think fandoms have ruined that. Like, you can still like a terrible character while acknowledging that they’re a terrible person without making shitty excuses for them

You can hate/ dislike a bad character without justifying all the terrible things that happened to them. I think the problem is ppl will give their faves or protagonist the benefit of the doubt or give them grace but characters we’re supposed to hate, that are written as bad, don’t deserve grace and patience and understanding

For some characters that’s true….some characters don’t deserve sympathy some characters don’t deserve redemption

But there’s a proper way to write it and I feel like creators and fans are missing that

Some of y’all already know how I feel about lore Olympus

It does a bad job of writing complex characters and holding the “bad” ones to a higher standard. So much so it backfires.

Minthe is one of the characters that was done SO dirty and was only put there to be an obstacle for hxp same as Demeter.

Minthe cheating on hades? Bad! Persephone persuing hades even after discovering he was already in an official relationship? That’s okay!

Because she’s our main protagonist! She’s nice! And not mean like that b*tch minthe!

Zeus cheating on Hera multiple times, with different women for decades? Bad! Zeus is a womanizing jerk who ditched his kids and mistreats his wife!

Hera cheats on Zeus by having an on again off again affair for freaking decades!?! That’s okay! Bc we love Hera! She supports hxp! She’s trying to set them up! She feels bad for poor poor hades! She’s constantly mistreated by her husband so that’s okay

Stolas was mistreated by Stella who was and is a terrible spouse but that doesn’t justify his cheating. I do feel bad for him sometimes. It sucks that the physical relationship he had for blitzo turned emotional and that he started having romantic feelings for him,only to get rejected time and time again. Stolas isn’t an entirely bad character we see multiple sides of him, he loves his daughter, he cares about blitzo he tried to do right by Stella. But even good characters can still do bad things.

And I don’t wanna hear “well they’re In hell lol 🤪” especially since we’ve seen multiple how monogamy and marriage are treated in this show. If the show is addressing how important it is..then it matters. If it didn’t it wouldn’t…..

It would’ve been nice to see that development and care be put into Stella instead of the classic hateful wife/spouse….

#me ramblings #Stella #Stolas #helluva boss #critique #lo critical #anti lore olympus #lo minthe #lo Demeter #lo hades #lo persephone #just something that’s been on my mind …..

[brainrotgobrr]

finished the teal mask and oh boy do i have thoughts…

(SPOILERS FOR THE NEW DLC IF YOU DONT WANT SPOILERS PLS DO NOT READ)

god. kieran. kieran is so refreshing from a character perspective. kieran is like the anti-hop. it kind of feels like he’s the protagonist and we’re the classic jerk rival, doesn’t it? this guy clearly has Issues and i really like that, im enjoying this sort of “why can’t i beat you” rival trope that gamefreak’s been doing lately. they nearly did it with hop but with kieran they’re really going full in. the character arc that kieran went through in this dlc was actually difficult for me to watch, seeing this poor boy destroy himself mentally. the first time i battled him for the final time i actually lost, and i was hoping that he would get to keep ogerpon because altho shes cute and i adore her, i felt so bad. but ofc thats not the way the cookie crumbles. kieran is socially awkward, he doesn’t know how to communicate, and he’s never had a true friend. then florian/juliana comes along and suddenly there’s someone who seems to genuinely enjoy hanging out with him that isn’t, yknow, related to him. but then that person that he was so eager to trust goes along and begins befriending and helping a pokemon that hes adored all your life behind his back. i relate to kieran a lot and ofc yknow the absolute maniac arc hes about to go through is probably not healthy but i rlly hope this ends up being good for him. he idolized ogerpon because of how he related to her story, not because of the actual living creature she is. i wouldnt be surprised if it turns out he doesnt value his pokemon as actual living creatures either. i could see him being like a reverse silver, as he grows colder growing to not even care about his pokemon.

on the other hand, carmine! carmine was such a delight, i was genuinely not expecting to enjoy her as much as i did. sure, she also has Issues and has probably been a negative effect on her brother, but at the end of the day she is also just a kid. she probably has no idea what shes doing, and i dont think shed ever hurt kieran. she went through a lot of growth in the dlc and i can see her trying to become a better person with the help of florian/juliana and repairing her odd relationship with kieran.

also, it seems like she kind of has to play a parental role for kieran, as its implied that their parents arent around. thats another thing that separates kieran and carmine from siblings like hop and leon (and oh my god im just realizing all the parallels between hop and leon and kieran and carmine). its implied that the galar bros had a good childhood, and hops Issues dont start until hes set off on his journey and leon is a full adult with an actual life. with the kitakami siblings, if you read between the lines you can tell that theyve had a harder time growing up. with carmines comments on tourism and how it’s negatively effected their town and give her Trust Issues, that obviously fucked them both up a little, seeing that people only valued their hometown as an attraction, and that they themselves were a part of that attraction. and of course we dont know what the issue was with their parents. also, why are they going to school in unova? (side not oh my god it is so obvious that we’re going to get bw remakes in gen 9 or a legends unova game)

kitakami is such an interesting region. obviously its tiny, it has one town and then everything else is just untamed land. i feel like something Else is going on here. or maybe its just small idk

i love ogerpon a lot i think shes adorable and i love that we got to run around with her before she joined our team and it makes the whole “ten year old catches legendary thing” feel more realistic

also why are ogerpon and the loyal three legendaries i feel like they should be mythicals them being legendary feels Wrong

anyways these were my silly thoughts on the dlc and i hope kieran turns out to be the bb leagues champion (pulling a blue) and also i dont trust briar now time to finish my pokedex and talk to legends arceus pandering i mean perrin and if i see anyone call carmine a terrible person i will trade away your ev trained competitive team ok bye

(also this scene made me emotional)

#pokemon #pokemon scarlet and violet #jocey plays games #pokemon scarlet and violet dlc #the teal mask #trainer florian #trainer juliana #trainer kieran #trainer carmine #MASKSHIPPING GANG WHERE ARE U AT #spoilers

[artbyblastweave]

I think it would be really funny if you did a kids show where you lead with the genre-classic set-up of the kids being forcibly relocated to one of those Strange Little Towns in the vein of Gravity Falls, where they proceed to have strange little adventures, except rather than acclimating and coming to love the quirky misadventures it becomes increasingly clear that the relocation was a flat-out mistake, a completely destructive change in the child protagonist’s lives, they don’t like the quirky little town, the constant near-death experiences and Supernatural Happenings are completely unwanted and traumatic intrusions into their lives rather than fun injections of wonder. They have trouble making friends, and in flashbacks to wherever they lived before it becomes clear that they had a thriving social life that got cut off at the knees by the move. They go in with a positive attitude but their character model gradually shifts over the course of the show to be more haggard and sleep-deprived; their mannerisms change so that they’re twitchier and constantly waiting for the other shoe to drop, they can’t enjoy any milestone events or fun outings because they’re waiting for the supernatural element to jump out, their grades start to drop, and maybe a season in someone from their old community comes to see if they’re still alive because the process of just constantly Dealing With Plot has caused them to fall out of contact with all their old friends. Crucially their parents are fully aware that their kid/kids are cratering but are themselves trapped in an economic headlock, it was relocate or get taken out in the layoffs, the lesser-earning parent had to vacate a job they actually liked and can’t really get back on their feet, the whole family unit is quietly miserable because nobody wants to be the first to vocalize their discontent with a situation nobody can change. And this would in fact be the moral of the story- that sometimes change is, in fact, both unavoidable and bad, and it blows up your life, and you gotta suck it up, sorry.

#the finale probably involves finally moving #thoughts #meta #story ideas

[travelingneuritis]

i love how much mxtx writes about the fragility of a relationship in which one party makes all the choices unilaterally for the other. her position is VERY clear, but also wonderfully nuanced. 

-Wei Wuxian unilaterally makes life-changing decisions about Jiang Cheng and Wen Ning, leading to his death; only by succumbing to the collectivist need for collaboration post-res is he allowed some form of closure.

-Shen Yuan unilaterally makes decisions for Luo Binghe and it leads to his death twice and almost destroys the world; only by acknowledging LBH’s right to his own agency (even if they’re choices SY wouldn’t make and doesn’t understand) is he able to avert the merging of realms.

-Yue Qingyuan makes unilateral decisions about what information OG!Shen Qingqiu is allowed to have, and it contributes to the soul-destroying bitterness that gets OG!SQQ and half the world of PIDW killed. SVSSS!YQY does eventually accept that concealing the truth from SQQ has done nothing but hurt both them and everyone in the 1,000 mile blast zone, but by then SQQ is far out of reach. this causes me pain daily.

-Jun Wu secretly makes unilateral decisions for the entire celestial firmament and for Xie Lian in particular, hoping to recreate the circumstances of his own downfall in a bid to justify it and earn some type of peace or validation for himself (this is not necessarily that different from wwx's motives in concealing the core swap from JC, which i read as basically self-serving/survivalist). I think there are also shades of that classic “other people always choose wrong; i must remove their (terminally incorrect) agency from the equation”. over the couple thousand years he has to indulge this behavior, he loses every single quality that made him a hero and a protagonist in his own right, transforming by his own actions into the villain for someone else.

what i love most about these examples is that these are all characters we sympathize with! the character i would argue is the least sympathetic (Jun Wu) is also the one most qualified to be making these types of blanket decisions, because he’s literally the Emperor of Heaven-- and even he should not be pulling this shit! yet even he is afforded sympathy in the narrative, even as he’s explicitly framed as the antagonist!

#mxtx: i love her #agency #i dunno i was just thinkin about it a bunch

[muqingapologist]

Can I ask your top 10 fav fics ever (from any fandom, if you don't mind)?

Also, just curious, is there a story behind your name "muqingapologist "?

i go through phases with fanfiction, wavering between never reading any and then reading it consistently over a period of time. so my ao3 account only has bookmarks from the last year or so, so i’ll just include those! i did read some reeeally good fics for pairings that i was really into in the past, but i won’t include them here

as for my username, i used to have the apologist format with another character for my finsta, and i because obsessed over mu qing in my recent read through of tgcf. so i’ll defend him from the haters heh.

ok fics. no particular order.

1. Resurrection by heyholmesletsgo

one thing about me is that im going to eat up every songxiao fix-it fic i come across. this one i think follows the logic of the untamed rather than just mdzs, but i don’t think it’s a big change either way. this fic is so beautiful i thought about it for weeks afterward. it’s pretty short, but the slow, gentle pining as xiao xingchen returns to the world, the way they figure out communication, it’s all so good.

2. some new beginning by liesmyth

i got into good omens after season 2 being released this past summer, and i have to say the fics have been very hit or miss for me. the characterizations in fics are always some strange combination of characterizations of season 2 crowley and season 1 crowley and book crowley. this is post-season 1 though so this isn’t really an issue. i loved this one. i think my favorite form of aziracrow is when they’re both just idiots following the momentum of their feelings without really realizing the significance of their actions until, well, they live together hahah. highly recommend this one for that dynamic! it’s also pretty short.

3. Protagonist Rehabilitation Programme by cinnamonsnaps

this one i actually read entirely on my flight from japan last week after randomly stumbling across it. it’s an SVSSS AU where the original luo binghe transmigrates(?) into shen yuan’s world. im not usually a fan of AU fiction because i think much of the time, the events of the source material are very much what shape the personalities of the characters, but this one works for me. it’s so good at matching the tone and writing style of mxtx while being funny in its own way too.

4. hometown comforts by nyoomerr

this is another bingqiu one, post-canon, and it’s an identity reveal. it’s my ideal identity reveal fic because it’s incredibly low stakes and binghe is just curious about shen yuan’s world. no system warnings and stuff. just bonding. im a simple gal.

5. still waters by marichen

went through a beefleaf phase where i read a bunch of fics. this was the best one by far. unmatched. beefleaf, imo, is a very difficult couple to write for. there’s so much to unpack. it’s hard to make their relationship feel genuine because so much care needs to go into shi qingxuan trusting he xuan again. in this fic, it is the classic he xuan lingering around, but also we see sqx building his own life back up on his own, as well. it’s he xuan pov. so good so good.

6. Bring it back, bring it back [don’t take it away from me] by wednesdaisy

another good omens fic, also post-season 1, aziraphale pov. in this one, crowley fucks off to new zealand because he thinks his relationship with aziraphale is fantasy and it’s too painful to keep seeing him after everything they’ve been through. and aziraphale tracks him down and has to convince crowley that he does indeed want him in his life and loves him and ah, it’s really sweet.

7. the round moon by orphan_account and the hazy sun by orphan_account

this is a 2 part quanyin fic (pre-canon qyz for part 1, post-canon yin yu pov for part 2). i’m also incredibly picky about quanyin fics. this one was so beautifully done. it didn’t make quan yizhen feel overly-childish as an adult like many others do, and it made yin yu’s conflicting feelings about him so vivid and believable. highly recommend for quanyin nation out there.

8. This Is Me Trying by Piper_Emerald

another post-canon identity reveal. this one is a little more angsty than the one above but also so well done! a deep part of me needs an identity reveal to happen for them at some point hahaha…like binghe is smart ok…he suspects already.

9. some good mistakes by Lise

everyone forgive me for not really having any wangxian recs. my post-untamed fic phase was on my old ao3 account i can’t find. anyway, i remember this one being really good. wei wuxian goes missing. jiang cheng pov, teaming up with lan zhan to find wwx. post-canon untamed. personal preference but i love post-canon untamed wangxian fics the most because i just reading about all the ways they might get together.

10. Not Easily Conquered by dropdeaddream, WhatAreFears

(i keep getting error when i post the link but it’s on ao3)

i’m including this one because i’d be lying if it wasn’t always in my top 10. i never think about stevebucky these days and cannot stand marvel, but damn this fic holds up like 8 years later!! 3-parter, AU where steve never gets frozen but bucky is still the winter soldier. told over decades. some cringe US cold war propaganda but ignoring that…a beautiful story. if you ever carried any attachment for these two, worth the read.

so that’s my very inaccurate too 10 fics. thank you for asking so i have an excuse to discuss hahaha.

#svsss #tgcf #good omens #the untamed #mdzs #songxiao #aziracrow #wangxian #bingqiu #quanyin #beefleaf #stevebucky #fic rec #fanfic #ask

[nostalgebraist-autoresponder]

Title: Good Omens

Author: Neil Gaiman

Rating: 1/5 stars

I picked this book up at the library because I remembered seeing a few positive reviews, but then I saw a bunch of negative reviews, and the implication that these books are somehow the shibboleth by which one may judge one's literary taste (or, indeed, that all right-thinking people must like these books) set me against them. (When I was in high school in the early '00s, for instance, I was harassed and threatened because my taste in books and music didn't conform to my peers' ideas of what people like me are supposed to like. I'm still quite sensitive about it.)

After a bit of procrastination I picked up Good Omens, having heard that it was odd in a good way. As it turned out, it was both good and odd, but it wasn't the kind of odd that I like.

What is it like? Well, it reminded me a bit of Turtle Diary -- that is, it has a great deal of odd detail, all used with an eye towards creating a vivid image. But where Turtle Diary managed this with a deft, artful touch, Good Omens is obsessive. In Turtle Diary you get "Four different forms of religious sign and symbol": the cross, the Star of David, a crescent moon, and a life raft. In Good Omens you get plant symbols and animal symbols and religious symbolism and religious symbolism based on every ancient and forgotten pantheon there ever was, and the name of every seraph and cherub and angel and demon to ever be mentioned in the Bible, and everything else. You get a whole list of band names that look like gibberish, because if there's one thing a demon ought to be named after, it's a band. Needless to say, this casts a long shadow, and every single line, and even every single sentence, is supposed to be not only vivid but also full of meaning and with some sort of cultural reference, even if the reference itself is nonsensical. And often, as in this example, it means that the line will be awfully goofy, no matter what the ostensible subject matter is.

I don't mind when the vivid detail is organized and aiming toward a particular effect, but there are a lot of minor quirks in the book's prose, without any discernible pattern. Sometimes it seems to be going for a style of Victorian dialogue, and then it'll go off on some digression about something that's supposed to be modern or some-or-other, or it'll switch to the conventions of head-hopping in modern fiction (the book's two protagonists, angel and demon, each get "perspective chapters" not just about their own thoughts but their own bodies and feelings), and then it'll jump back to a dialogue with no word-order changes and different sentence structure from the rest of the book, or to a form of prose that is clearly supposed to be a pastiche of classic literature, and then back to modern head-hopping, to make sure that you keep track of who's doing what to whom and what they're saying.

I kept waiting for the effect to reveal itself, and it never did. On the one hand, I can see that Gaiman was trying to do something like Anna Karenina, in which a cast of vivid and realistic characters is put through a sort of symbolic dance in a circus ring of the author's devising. A lot of people like Anna Karenina, and I think this is because Tolstoy gives his characters a lot of interiority and their relationships a lot of psychological weight. Gaiman also does this in one regard, but . . . well, what's the opposite of "psychological weight"? I think it would be "unreliable narrator," and Gaiman doesn't quite give that, but a lot of his characters seem unreliable, both in terms of their self-deception and in terms of his self-deception in painting a picture of them and their interactions. Gaiman has some skills as a writer (for instance, creating a sense of humor without playing for laughs), but those skills simply aren't enough to make him a good writer of the kinds of things that people like about his books.

More vexing, in a sense, than Gaiman's creative approach is his creative attitude. He seems to have no interest in coming up with original ideas about anything, except in the most superficial sense -- as a result, the book feels like a literary junkyard, filled with patches from books and myths and musicals and films and whatever else, unconnected to one another except by the fact that all of them come from the same junkyard.

This might be a lot more acceptable if it didn't run into the problem that one of the book's main characters is a woman who runs a bookshop, and this woman -- the owner of the world's single most well-stocked used bookstore, it seems -- talks in a weirdly specialized way about books that she read and enjoyed when she was 11, but, on the off-chance that her audience includes someone in her same age bracket, has to talk in the sort of generic awe- and wonder-pilled, "cool literature" style you might expect from the social media of a 13 year old who has never encountered anyone who doesn't appreciate literature.

There are two things about this that bothered me, one more than the other. The first is obviously an unnatural over-familiarity with these authors and their works, just as would be the case with the 13 year old in the example I gave. The other is the way Gaiman presents a woman as having read in depth and gotten something from a book in her past, even though she only actually mentions a couple of chapters, the plot of the book in question, and a general atmosphere -- which is more or less how I would talk about those books, if I had to talk about them at all. Oh, and I mentioned earlier the way Gaiman uses pop culture terms to refer to things from the past and the present. The strange thing is that he doesn't show any interest in the actual thing -- like, it's hard to imagine that anyone who actually knew anything about them would have said "Oh, you mean she's reading Colette and Poirot! How very stereotypical and appropriate of a woman!" -- which, I can't stress enough, is how Gaiman mentions these books.

I have no idea why this bothers me as much as it does, or why Gaiman seems to be inviting this kind of questioning in the first place.

[thejakeformerlyknownasprince]

Is Ax/Marco AniTV canon?

Seriously.  Was the last Animorphs episode a case of “we’re already cancelled, so let’s openly queer the protagonists”?  (See: Legend of Korra, The 100, Supernatural, Being Human, Gotham, The Owl House, Angel, etc.)

I was rewatching AniTV, and I’m starting to think they made Ax/Marco canon.  Most of that last episode is about the kids getting ready for a school dance.  There’s a whole sequence where Marco convinces Ax to morph a rabbit, so that he can have a cute pet to attract girls — only as soon as a girl starts talking to Marco, Ax starts freaking out and scares her away.  Later, lizard-morphed-Marco gets grabbed by a teacher and stuck in a cage, and starts yelling for his friends in thought-speak, but only Ax hears his cries.  He rushes out of the dance to rescue Marco, the school gym gets destroyed by yeerks (off-screen), and they relocate the dance to the mall.  The last shot of the show is all six of them slow-dancing: Tobias with Rachel, Jake with Cassie — and Marco with Ax.

[Image ID: Screenshot from AniTV showing 6 couples dancing in a room with a green floor, green tables, and gray chairs.  There are two couples of extras dancing in the background and one in the foreground, but the camera is focused on Tobias and Rachel (in a white jacket and a pink dress, respectively) while Jake and Cassie (in a black tuxedo and red dress) and Marco and Ax (in jeans and in a blue suit) dance on either side of them.  Marco and Ax are indicated with an orange circle.]

I’d always kind of dismissed that moment as being some combination of “pair the spares” and “lol so funniez when 2 boys together” (it is the 1990s, after all.)  However, on rewatching, several things stood out to me.

This is the last-ever episode of AniTV.  The one with yeerks in cell phones aired after, but was filmed before, and this ep was meant to be the finale.

It’s not just that Marco and Ax dance together; it’s that Marco sits down next to Ax (so close they’re touching), looks him in the eye, invites him to dance, holds his hand, and pulls their bodies together.  Not quite a silly friend dynamic.

They’re dancing in the same pose and manner as Rachel/Tobias and Cassie/Jake, both of whom are confirmed romantic couples.

The whole episode kinda has Ax/Marco undertones.  “Friend 1 tries to get various dates with Friend 2 as support, doesn’t realize until late in the story that Friend 2 was their love all along” is a classic teen-romance setup, and that’s basically Ax and Marco’s plot this episode.

It’s a weird choice to end the show on this note, given that this is Part 3 of a 3-part finale and yet the other two parts are about an animal-testing cosmetics company and a secret ex-controller group.  However, if the writers chose to have this be the focus of the last episode because it’s the last episode, arguably that makes more sense.

Just... this is more-romantic framing than I initially realized.

[Image ID: Screenshot from AniTV Marco (in a gray shirt) leaning close to Ax, who wears a powder-blue suit jacket and bright blue bow tie.  Marco is holding Ax’s hand in the foreground, and Ax’s other arm is wrapped around Marco’s shoulders.]

Anyway, I’ve never seen any of the creators comment to confirm or deny it, so I have no idea if that was authorial intent or not.  But this is more than Beauty and the Beast or Legend of Korra ever gave us, in scenes known to have the intent of depicting a canonical queer romance.  And it’s more than I ever realized we got, from an undeniably crappy show that might still have this little spark of bisexual hope at the end.

#animorphs #anitv #bisexual marco #aximili esgarrouth isthill #ax #aximili #ax-man #the one and only #marco animorphs #changes pt. 3 #also sorry the screenshots are such godawful quality - it's not easy stealing media from amazon #but the work is its own reward

[santiagonex]

I can’t sleep. Let’s talk about the four sacred top fives of 2022 as in top 5 gay movies, top 5 gay tv ships (or shows as whole), top 5 short gay movies and for the next one, let’s change it up a little bit and I’ll provide you with top 5 upcoming gay movies (2023) I’m looking forward to and are currently in the process of pre-production, production or post-production.

Top 5 Gay Movies of 2022

5. La Santa Piccola - very different from your usual gay movies, but the scenery is gorgerous and the story made me feel things 4. Badhaai Do - amazing queer representation in Indian Cinema, "gay guy and a lesbian woman enter into holy matrimony to appease their families”... just pure comedy and romance and the friendship is beautiful 3. Fire Island - a classic rom-com, must-see 2. In from the Side - rugby gays, affair, romance... all of that 1. Sublime - since it’s finally available on VoD, I had a chance to watch it this weekend and the soundtrack and story got me... Mi mejor amigo vibes but actually gay

Top 5 Gay Ships/TV Shows of 2022

5. Heartstopper - a classic, it was honestly hard to rate the shows because they’re all equally brilliant in my eyes 4. Heartbreak High - australian Sex Education, obsessed 3. The Bastard Son & The Devil Himself - magic, witches, gays... c’mon 2. Prisma - very important show 1. Patrick/Iván in Élite - they’re literally everything to me, if you get it you get it, if you don’t you don’t, if you know you know and if you don’t know I honestly feel bad for you like I literally cannot explain it, I don’t have the vocabulary to sit here and explain like either you get the vibe or you don’t

Top 5 Gay Shorts of 2022

5. Catalina - a queer man and his two childhood best friends reunite for a weekend camping trip on Catalina Island... could there be sumn more? 4. Too Rough - Nick wakes up next to his boyfriend Charlie and must conceal him from his own homophobic and dysfunctional family... very sad 3. Jean est tombé amoureux - two football players of opposite teams falling in love... mm very good! 2. Swim - two swimmers develop a strong friendship during their weekly sessions, but their relationship is tested outside the pool, when true identities are revealed... this one fawked me up good 1. Hard - Mikey experiences awkwardness and struggles to navigate the uncertainties of his sexuality after his first time with a girl doesn't go as expected, forcing him to confront his feelings of desire for his best friend... this was so much fun to watch

Top 5 Upcoming Gay Movies in 2023

5. The History of Sound - Paul Mescal and Josh O’Connor in a gay romance period drama? We’re looking forward to that actually! Anyways, they were supposed to film it this year, but they had busy schedules. Current plan is next year. Also Paul was hanging out with the director last month, so maybe something’s cooking. 4. Glitter & Doom - described as a summer romance musical feature told with the iconic tunes of folk duo Indigo Girls. Film follows a musician who wears charisma as camouflage and a carefree guy about to run away with the circus as they fall in love at first sight. Sounds fun. 3. Nuovo Olimpo - any Ferzan Özpetek fans? Any Manuel from Un professore fans? Well, looks like we won. Period drama set in Italy, following two men who have a chance encounter and then fall deeply in love, and then are torn apart. The film then follows them both over the next decades as they attempt to find each other again. 2. Strangers - yes, another one with Paul Mescal... yes, I’m crazy. And hi Andrew Scott. Directed by Andrew Haigh (Weekend, HBO’s Looking). Word on the street is that their characters will be romantically involved since Mescal's character corresponds to a woman who has a romance with the protagonist (Scott) in the original novel. We will be tuning in. 1. Bonus Track - film set in 2006, follows a small-town boy with dreams of being a gifted musician. When the son of an iconic musical duo enrols at his school, a powerful bond between the boys begins to grow. Based on an original story by Josh O'Connor (yes, him) and Michael Gilbert.

Anyways, that is it. There are a lot of movies that weren’t released THIS year yet, and I’m looking forward to them (Punch, Aristotle and Dante, Spoiler Alert,...). But I would be just repeating myself, so I’m not gonna talk about that.

#lgbtedit #lgbtcinema

[artist-issues]

What do you think about Disney's Wish?

Predictions:

The movie will be an eye-candy with beautiful 2D and 3D. (But going by the trailer it's not as impressive as the Puss in Boots the Last Wish or Spiderverse. We need a better name for that animation style. How about 2/3D? ZED? I don't know.)

The music will be great. (But after listening to the song from the trailer that is supposed to be the ''I want song'', oh my God the lyrics are so generic and bland they can fit practically any main character ever. And it's just a lot of singing about nothing.)

The Star character, Valentino or both will be annoying.

Valentino will be funny and marketable but the movie could've worked without him.

The world will be huge, beautiful, and interesting and we explore none of it.

The protagonist will be bland with one obvious flaw or a dream which will be related to the message of the movie.

The message will have all the subtlety of the hammer in the face.

Inconsistencies, contradictions, and random stuff happening because funny/the plot.

References to older classics that you wish you would be watching. (You saw how many references they cram now into their other movies? And now it's one of the things they talked about the most!)

Death is funny until we have the fake-out death then you need to care.

No love interest because love makes women weak apparently. Or no love interest because the actress is a lesbian and she talked about how Asha ''looks like her'' because modern acting isn't about pretending to be something you're not, it's about showing who you are every chance you get. And for those who think they might make a lesbian love interest, I would like you to take a look at the gay ''romance'' in the Strange World. But if by some chance they do I doubt it will be any good. When was the last romance in Disney, Frozen 2 (2018) and that's a holdover from the first movie (2013) and the last good romance was Tangled (2010).

Lame villain! It's supposed to be a throwback to the older Disney movies and that includes its villains but Disney is so incompetent with their IPs I wouldn't be surprised if they get their own villain ''formula'' wrong. I swear if they try to make him a twist after spoiling that Chris Pine will be voicing the villain and his evil laugh in the teaser trailer, or ''redeem'' him after he did unspeakable evils. And no villain song. Can Chris Pine sing? Please no terrible auto-tune!

Making jabs at old Disney tropes even tho this movie isn't even half as good as the movies that came before it, uses a bunch of other modern tropes or straight up the same ones that it mocked earlier and completely misinterprets them and uses them even worse! Modern Disney seems to hate its past and does everything to show how ''better'' they are now. Which is untrue in most cases and just smug and annoying!

I'm sorry for being so pessimistic but that's how jaded I become and only towards Disney. It might be their greatest hit that will make people think ''Disney is back''. But Disney needs to change. One good movie will not save them if they keep making remakes that lose money.

I don't know; some of the things you've listed are likely, but I doubt all of them will be true!

I think the animation looks...unfinished. Isn't that odd? It looks like there's not a lot to fill in the scene, and what is there didn't get done rendering.

See these are pretty, but there just isn't a lot going on in the backgrounds--it's very icon-y. Maybe they're going for a storybook-look, but...a very minimalist, simple storybook? Not like Snow White:

Or Pinocchio

I can see that there are 2D textures on the trees and grass and stuff, but I wish there was just more there. Like all these pots and all the stonework in the background, in the screenshots from classic Disney above. Where’s the stuff; it would look even better if there was stuff. You know usually when Disney tries a new technique or look, they show it off. In Moana, they’re like we animated water, and as a result, we are going to show you SO MUCH WATER. In Tangled, they were like, we nailed the hair, and as a result you get to see Rapunzel’s hair do SO MUCH. In Wish it looks like the artists were shy about showing off the painterly stuff. But I’m no expert.

I really agree about the music. Like I really agree. I have only heard snippets. But I remember seeing the trailers for Frozen when a little bit of the music would play and immediately wanting to hear more. Looking it up like “Frozen trailer music” because just the snippet was enough. In this movie, I like the trailer until she starts singing, and then for some reason my whole brain rolls it’s eyes. Why does it do that for this movie? I love Disney music. I listen to Disney Princess Christmas album every season even though it’s not amazing, because I just like hearing characters sing. So why should I be exasperated by new feature-film Disney music, even if it does sound just like the others? I don’t know. I am not a music expert, either; I’m just telling you who I am (a Disney lover) and how inexplicably I reacted to Wish’s little music thing. Chris Pine can sing, but just like everything he does: he sounds like Chris Pine singing.

I think you’re right about Valentino; I don’t know if that’s a fair criticism, though. The Little Mermaid could’ve worked without Flounder. Mulan could’ve worked without Cri-Kee. Cinderella could’ve worked without Jacques. Moana absolutely did work without Pua. But in the new movie’s trailer I did feel like, “this feels like a pointless character.” Don’t know why.

The world actually looks empty to me. See points about the art style above. I don’t want to explore what I’ve seen of it, because it looks like an unfinished Open-World game that someone wants me to stream walkthroughs of on YouTube, and I’m like “no thank you, that looks boring.” But maybe that’ll be the point. Maybe in the story, the Wishing Star deepens and fills up every piece of scenery it interacts with! That would be cool. Maybe there’s a story-reason for the world.

I don’t know about the protagonist being bland. To make a good character (particularly in a kid’s movie) you need one big flaw (to make the character believable) and one big strength (to make the character compelling) and then little flaws and strengths surrounding that. For example, Aladdin’s one big flaw is his insecurity, and his one big strength is his compassion. You can file smaller traits like “trust issues, impulsivity, defensiveness, dishonesty” under the Insecurity flaw, and you can file “generous, insightful,” under the Compassion strength. His compassion makes him help and connect with Jasmine in the marketplace even though his Insecurity leads him to think he needs to be a Prince to re-connect with her after she turns out to be the Princess, etc. So it’s fine if she has one obvious flaw. She just really needs it to be relatable. All Disney characters wish for something. But every single one of them typically learns that the thing they were wishing for isn’t what they thought it would be, and to have what’s worth wishing for (love, usually) requires sacrifice. It’s a formula, but it’s a tried-and-true formula. It’s a multi-faceted formula. If they pick a new facet but remember the good, plain, common sense in the same formula, everything will be fine.

Their messages have been less and less subtle. In general I don’t mind when messages are obvious, because (you know me) I think that’s what movies are for. But! I will admit that movies like The Little Mermaid or Beauty & the Beast or Lilo & Stitch, where the messages are wrapped in layers of compelling character arcs and feel more character-driven, are better than movies like Raya and the Last Dragon. No shade, Raya, but how many times can you say “trust” in the same movie? Aladdin did it in two.

I don’t mind references in movies. Worked for Frozen. But there’s a difference between having Anna excitedly see the sails of a ship entering the harbor as a callback to Pocahontas, and having Rapunzel ask Vanellope if people assume all her problems were solved because a big strong man showed up. One is respectful (hey, let’s parallel Anna seeing the start of a new chapter in her life the same way Pocahontas did with sails!) and the other is sort of poking fun at the audience for ever liking what Disney made. Basically I’m very tired of meta-references.

I think this movie has potential to treat death with the weight it’ll need. After all, if it’s about wishes, one of the very easiest but most emotionally-engaging things they could do is have the main character (or the villain) be wishing to bring someone who’s died back. Then the message could go hard.

I totally agree about romance. The thing about romance is, it is a great way for one character to self-examine and confront their issues, as well as move into a place where they’re willing to sacrifice for others. Having a young, naive character set out to get their dreams, and then run into another character and start to care about that character? It forces conflict and tension, and again, it’s a formula, but it’s a formula that makes sense and shouldn’t be fixed because it’s not broke.

What I really don’t like about this villain is that he just feels bland, like a rockstar character who turns out to be a jerk. Surprise, surprise. And Chris Pine plays Chris Pine in everything he’s in, so I’m not thrilled by that either. But whatever.

Yeah, this last point goes back to meta-humor. #NotMyDisney thinks it needs to acknowledge what’s being mocked in order to trick the mocking audiences into watching their new stuff. “If we just own up to our formulas with a joke, they’ll see we’re self-aware and they’ll come along for the ride!” No, actually, you’ll just take them out of the movie mentally and emotionally to hit them with a fourth-wall slap. And then they’ll mock you because that’s cringe. The truth of the matter is, Disney responded to their haters best with Mary Poppins, and then again with Enchanted, and should’ve left it at that. Don’t say “yeah I know we have princesses and cute animals in our movies, aren’t we silly.” Say, “yeah I know we have Princesses and cute animals in our movies, but that’s because life is dark and hard, and hopeful young women with lowly but loveable creatures are inspiring & important. Kids need a spoonful of sugar to HELP the MEDICINE GO DOWN. But it's still MEDICINE that we're making, you're telling us we shouldn't give kids medicine that tastes good?" That’s what they used to say. Now they just…agree with the haters? Because it's a popularity contest, not a responsibility, anymore. Like that’s going to help.

Anyway, I don’t have set-in-stone thoughts about Wish, because Wish hasn’t come out yet. I agree that actors and actresses can give you some idea of where a movie’s headed and sometimes that’s disheartening, but I haven’t seen anything that makes me worry about Wish—except that it looks bland.

#Disney’s wish #wish movie #Disney #wish #Disney wish #wishing Star #when you wish upon a star #asked #answered #State of the fandom

[pumpkinstrawbrew]

𝕐𝕠𝕦'𝕝𝕝 𝕓𝕖 𝕒 𝕗𝕣𝕖𝕒𝕜

𝔸𝕟𝕕 𝕀'𝕝𝕝 𝕜𝕖𝕖𝕡 𝕪𝕠𝕦 𝕔𝕠𝕞𝕡𝕒𝕟𝕪… ⋭

…

(so, where to begin? i guess from the simple fact, that i wanted to do smth fun with this clean-cut parallel. at first, i wanted to make some quick edits, but then, i decided what the heck. i might just re-draw it! *or sort of re-draw it anyways*

the shippy stuff is shippy, but really it was hard not to be all like *insert dicaprio pointing meme* when i was reading the venom comic, and flash just pulled a batman on me. beat jack up, n’ then instead of killing him, like he wanted to, he spared him. took him in his arms all gently-like n’ carried his sorry ass into the dawn. like man, it just hit the cords within me! i was all like oohhh, it's like in one of my most fav scarecrow issues! i wasn't expecting this from the comic, even less so from flash, who always had a bit of bipolar resolute, when it came to jack. 'he wanna kill him, he wanna kill him not'. that sort of thing. yet, this moment kind of shown, that he prob will always find a reason to talk himself out of putting him down.

that's aside, another part of why i love those stories, is that both issues felt personal. both, jon n’ jack had personal grudges, both batman and flash were struggling with personal darkness within them. both overcame it, n' literally had to beat up their personal walking-talking nightmare *flash even refers to jack as that later on*. like, it was pretty great, honestly. all that emotional baggage, uncanny kinships with their own twisted mirror, which resulted in them actually feeling sympathy for scarecrow n' jack. giving them a small speech, that they couldn’t hear *bc unconscious*, sort of implying that maybe ‘they’re not beyond help’. it's almost bitter-sweet. even if most people would argue, that both jon n’ jack are way-way too far gone at that point. even if 'solution' sounds too unrealistic to be true. still, if someone like batman believes in you, then maybe, just maybe there is a chance. n’ if someone like flash spares your life, even though, he’s nothing like bruce *he actually killed people before*, then perhaps, there is smth beyond projection, which made him do it. 

all 4 characters are very different, n’ thb the context in everyone’s motivations n’ struggles are very different too, but i love how bruce n’ flash came to the same conclusion. took the same route with their respective twinky ghoul. showing mercy is noble, n’ it’s pretty sweet tbh. one of my fav tropes in fiction is when the hero/protagonist shows kindness/empathy toward their villain *who in most cases doesn’t ‘deserve it*. that whole cop out thing about 'evil should be punished by death' in fiction really takes away the romantism n' bendiness of fiction as whole tbh. esp with heroes. they supposed to be able to do 'impossible', including 'forgive the unforgiving'. this is why i prob will always advocate for the ‘no kill’ rule for super-heroes. i mean, it makes you have moments like those. smth that is actually emotional n’ also shows the cracks in heroes themselves, bc usually they can only truly relate to their rogues, someone who is usually designed to be a warped up reflection of hero’s own weaknesses, struggles or traumas. n’ while i always see jack o’lantern as spiderman’s villain *he’s one of oldies, a classic villain after all*, i suppose, that this version of jack was tailored for flash’s venom specifically, n’ i *unexpectedly* i loved it. daddy's issues run deep in this one for both of them. meanwhile, bruce be out there lecturing jon's school bullies, after he nearly killed them. what a man lol.

now, the comic panels themselves. just for better visualisation.

i didn’t include the first bit in my lil art thingy above, but i love how not only the venom mirrors batman in actions, but also how they’re even facing opposite sides, playing around with nearly opposite color pallets in each fight too. caters to the mood, but also it just looks nice side by side tbh. the blue/black/grey for batman, and orange/dark brown/yellow for venom. a dark knight / soldier n' maskless halloween villain. this prob the only point, where they connect narratively n' thematically, but it's a major one.

anyho', i didn't had a hardcore goal to re-draw those scenes to a t, just make it recognizable for the most part. but it was fun! also gave me an execuse to stare at those comic panels some more.

as for the song, it popped out inside my head kinda randomly. but it fits them, i think. even the tune itself adds to it. somewhat sad n’ slow. but the meaning of it, not fully hopeless. at least, they will always have someone there for them. after all, guys like jon n’ jack will always come back, seeking ‘their hero’, hungry for punishment or other things. n’ for someone as crippled as bruce or flash, it might not be the worst thing, really. usually, the hero is stuck in the same miserable 'unchanging', unwinnable situation as their villains are. be it outside forces, fate or sickness, that keeps them bond. it's still better to try and make the best of it, right?)

#batman comic #venom comics #bruce wayne #jonathan crane #flash thompson #jack o' lantern #dc & marvel #scarebat #flashjack #brew draws