#(i love the parallels between him and the phantom. i love that in a lot of ways botw link IS a phantom of the past. a vestige.)

[windsofcourage]

||. 2am link thoughts bc there's something in the idea of a hero whose duty goes unfulfilled . the restlessness of that . the way it sits there , hot and heavy as an undeniable burden . it's how link kept himself silent because he didn't want to burden anyone else with the idea of a hero who had troubles of his own . it's how he bottled it all up and dealt with it all alone and kept his chin held high and let things pass through or around him because faltering isn't an option . it's about how that wasn't enough .

it's about how he's never really lost a battle in all of his incarnations ( save a singular branch of OoT anyways and even then //gestures at training TP!link. ) . it's about how the most ancient parts of link simply can't comprehend that . refuses to accept it . WILL NOT . it's about how he has to anyways . it's about losing . it's about the vengeance of it , at a point . the storming the front gates of the castle because SCREW YOU . it's about the ghosts he constantly interacts with in the king , the champions , the gravesites , the malice , the eventual poes and gloom .

it's about how he fell to the guardians anyways by no fault of his own , or really ANYONE'S fault besides calamity ganon himself , but how link won't ever really see it that way . maybe he will logically . but emotionally ? that's a harder sell .

it's about how they were blindsided and he wasn't ready . it's about the 100 years lost . it's about all of the lives lost . it's about the time zelda spends bridling the calamity in the castle by herself when link knows damn well he's been quite literally born to be at her side during this exact battle . it's about how it goes past that , though . it's personal . that's his best friend and confidante . that's his princess too . it's about how he's lost too much and he's most certainly not losing her . not again . not ever . certainly not after losing everybody else too .

it's about fear holding back instinct and stifling courage when that fear is left unreleased and yet , despite that , fear is exactly the fire to light beneath one's feet to be courageous enough to not repeat the past . it's about how courage isn't being fearless it's about what you do to rise about the fear . it's about how link is oh-so human . he's a teenage boy . it's about the terror and grief and guilt . it's about the courage and love and ( eventual ) acceptance .

[carrotsnake]

Zelda and the Tale of Melusine

I'll be looking at the parallels between Zelda's arc and some Medieval tropes of female metamorphosis, using Melusine: Or the Noble History of Lusignan as an example. Specificially a translated copy of Jean d'Arras's version, since that's the most well known one.

To start, a run down of Melusine:

She's a half human, half fairy woman cursed by her mother for imprisoning her mortal father in a mountain. The curse dictates every Saturday she turns into a serpent from the naval down. She must marry a human man for a long time to slowly undo the curse and become fully human, but he must never see her monstrous form beforehand.

If he does, she'll lose her humanity forever and transform into a dragon.

She meets a knight in the woods, he suspects her otherworldly knowledge comes from "some phantasm or diabolical power", to which she goes don't worry about it kitten. But he likes her so he's like ok! ^_^ yay!

She keeps giving him cool fairy advice, and with it his life magically becomes a whole lot better - he gains wealth, power, and not just him but other people listen to her advice: crops flourish, castles are built. The kingdom is thriving! They love her just as much as he does, so it's no surprise they get married. But there's just one condition, she hides in the bathhouse every Saturday, and he's never to visit or peep at her.

He breaks his promise and discovers her secret. She says he's cursed both of them, and now he's lost her forever: "Be sure that as long as you live I shall always find pleasure in seeing you; but [...] never again shall you see me in female form."

The next passage is as follows:

'Melusine, uttering a very doleful cry and then a heavy sigh, leapt from the window into the void, and as she swept across the orchards she metamorphosed into a massive dragon some fifteen feet in length. [...] In her dragon form she circled the fortress three times, and each time she flew past the window she uttered such an excruciating, desolate cry that everyone wept for pity, knowing that she was leaving under constraint and against her will. Then she disappeared in the direction of Lusignan, letting out such rueful shrieking and strident cries that wherever she passed it seemed as if lightning and thunder were about to split the sky.'

He never sees her again after that. But phantoms of her start appearing in the castle, secretly visiting her children at night and generally just spooking people by standing there menacingly. And that's how the myth is born.

I've already drawn connections through the images above, but what's the point of this?

Like lots of other fans I was irked by the whole 'zelda jesus' thing in totk, yeah it is a little odd that everyone follows her advice without question, and it's never wrong.

I'm curious, if the team was drawing from Western myths, that this was supposed to echo the fae. Especially since most of the quests keep you on your toes on whether this was the real Zelda giving advice, or a fake - a phantom(!) - deliberately sabotaging them. It mirrors how opinions on Melusine were split between a benevolent fae or a demon. Splitting them into two entities though, I can see how that would defang it.

The og text wasn't exactly that nuanced either. I remember my prof joking the message amounted to "always listen to your weird snake wife!" Maybe we SHOULD listen to our weird snake wives.

It's interesting Melusine only interacts with children after the curse - botw+totk imply only young children who are pure of heart can see dragons.

I recommend reading the whole thing if you can find it! Then you can look for more parallels, and read riveting pieces of dialogue such as this:

[phantomrens]

now that i am getting near the end of maruki’s palace and therefore my first playthrough of persona 5 royal i wanted to make a bit of a longer post gathering my thoughts, more specifically about the phantom thieves vs maruki because i think there’s an interesting parallel between them that has honestly made it one of my favourite parts of the game.

first off, i think the phantom thieves resonate a lot because at the end of the day they are just teenagers who have experienced some sort of trauma or abuse.

ryuji’s father was an abusive alcoholic and he lost out on his dream because of kamoshida.

ann’s parents were constantly moving around and she was groomed by one of her own teachers, as well as her watching her best friend try to kill herself because of it.

yusuke was used for years by his own parental figure to make art he could steal for money and is now left on his own with no experience.

makoto’s father died and she is left with her sister and an immense pressure to succeed in their footsteps.

futaba watched her own mother die and it effected her so badly she convinced herself it was her own fault for YEARS and locked herself away.

haru was also groomed by her own father into an arranged marriage she wanted no part of.

akechi (including him simply for the sake of talking about maruki later on) had a deadbeat dad who he wanted approval from and was passed between fosters for years.

sumi watched her own sister die and it traumatised her so badly that she pretended to be her so kasumi wouldn’t be dead.

morgana is a bit of a weird one because he couldn’t remember where he came from and thought he was human for so long only to find out he was created for the purpose of helping the phantom thieves, but he accepts his fate.

and ren obviously was a victim of false accusations of assault that landed him in shibuya with a criminal record.

obviously some of those are more extreme than others but they all share one thing: having an adult who has hurt or abused them in some way, or put pressure on them to succeed. this is what drives them to start/join the phantom thieves because they don’t want other people to suffer the same way they have and it’s a way to get back at their own trauma. they don’t want to change what happened to them, they want to make sure it doesn’t happen again and i think that is the fundamental difference between the phantom thieves and maruki. it’s a way of healing their own trauma for them.

maruki on the other hand wants to create a reality where abuse and trauma never happened and it just doesn’t exist. which on the surface level seems like a good idea, but digging deeper you realise there are so many issues with that, morally and ethically. yes i often wish i wasn’t traumatised and my friends weren’t hurting and want to take away their pain. but for better or for worse that trauma has shaped us and we wouldn’t be the same people without it. learning to cope and learning to heal is an important part of life and having a world where nothing ever goes wrong is so one dimensional and lifeless and strips people away of their individuality.

ren sees all his friends living in this reality and on the surface level it seems like they are happy and it’s what they truly wanted and wished for, but it almost seems too perfect and the happiness is fake.

ryuji is part of the track team again and is working towards his scholarship.

ann is spending time with shiho and is happy with her best friend.

yusuke is still with madarame and he is thriving with his art.

makoto’s father is alive and she is living as a family with him and sae.

futaba’s mother is alive and her, wakaba and sojiro are living as a family.

haru’s father is alive and is actually treating her with love and respect.

morgana is human because he thinks that that is what he was supposed to be.

they all snap out of it and realise that this reality is fake and not what they really wanted because it undoes so much of what has gotten them to that point together. maruki altering reality in such a way that people who were dead are now alive in his reality does such a disservice to the work that the phantom thieves in these situations had done to get over the trauma of their deaths themselves (especially in futaba’s case) and being able to grow and move on after mourning these deaths.

and to an extent i understand what maruki is trying to do. creating an ideal reality where no person suffers seems like a good idea. but as soon as ren enters that reality everything feels off. his friends are not themselves and everything is too ideal. taking away all the bad things in the world does more harm than good and creates a world that is devoid of any depth. i don’t want to hurt, and i don’t want my friends to hurt, but the journey to healing from your struggles on your own is much more satisfying than having someone completely strip away the opportunity to do that. everyone has their own traumas and struggles and should be able to take their own power back, not have someone take away that opportunity entirely. altering reality in such a way is not stripping people of their trauma, its fundamentally changing them as a person instead. maruki does this and thinks its healing his own trauma, but the difference is he is hurting people in the process (maybe without him even realising) rather than making sure abusers don’t abuse again.

sorry this post was incredibly long but i do think the addition of maruki’s palace in royal is such a clever way to put into perspective what the phantom thieves are doing themselves because it makes you question for a moment if what they are doing is really justified, but when you look at maruki and what he is doing you realise the phantom thieves are in it for the right reasons.

[picturejasper20]

Danny Phantom needed better arcs (or why The Ghost and Molly Mcgee did it better)

I have been reading some old posts from Monotype on phantom, mainly those that talk about continuity and how Danny Phantom should have had better written arcs, with having plot threads and characters arcs being left open and often with no proper closure. In these posts Danny Phantom gets compared to series like Steven Universe and Gravity Falls in terms of how these shows use pacing and development to tell their stories.

So i was thinking since i usually talk about parallels between Danny Phantom and The Ghost and Molly Mcgee, why not compare the two? And you would think ¨why are you comparing an action superhero show to a more comedy slice of life show?¨ And let me tell you, considering what The Ghost and Molly Mcgee was able to pull off, i think it is more than fair to do this comparison.

I assume that most of my followers know what Danny Phantom is so i won't dive into what the series is about. In The Ghost and Molly Mcgee's case, for those who don't know, it is a series about Molly McGee and her family moving to an old house where a ghost named Scratch lives is in. Molly and Scratch become best friends over the course of the series, something that brings them issues along the way. While the series is more comedy slice of life, it has arcs that get explored through the show and there is a constant change in the characters and the world itself.

Having explained that, lets move to the comparison between these shows: I think it would be good to start with Danny Phantom trio development (Danny, Sam, Tucker) vs The Ghost and Molly Mcgee ¨Comet trio¨ (Molly, Scratch and Libby) development in the first season of each show.

So Danny as main character gets plenty of episodes about him. Some good examples of these are "Attack of the Killer Garage Sale", "What You Want", "Bitter Reunions", "My Brother's Keeper" and "Teacher of the Year". He gets an overall arc in the firsy season and the series as a whole. We can agree that in that way he is a well developed character.

But what about Sam and Tucker? Sam has "Parental Bonding", "Control Freaks" and maybe "Fanning the Flames". Tucker has "What You Want" and some in "Teacher of the Year" They also have some B plots that explore their characters in some episodes too...

However, they don't really feel that well developed? They don't even seem like to have a proper arc in contrast to Danny this season. Just some good scenes here and there.

In contrast The Ghost and Molly Mcgee has the three characters from the Comet Trio developing and changing through the season. -Molly has different episodes about learning to respect other people's boundaries better ("Mazel Tov, Libby!", "Ready, Set, Snow!") or how being positive all the time isn't always a good thing ( "All Systems No") -Libby has a whole arc about learning to overcome some of her anxieties and insecurities until she grows to be more confident of herself ( "Mazel Tov, Libby!" and "Talent Show") and she has episodes that explore other sides of her character. ( "Monumental Disaster", "Festival of Lights") -And Scratch- i could write a lot about him but he has some character growth every other episode and the changes he goes through Season 1 alone are very noticeable. He is a characters who just develops a lot in the series.

Overall, i think it is fair to say that the Comet Trio from The Ghost and Molly Mcgee is more developed and has better arcs when compared to the Phantom trio from Danny Phantom

Another example of this is how Valerie Gray and Ollie Chen character arcs get handled in both respective series. Both start as semi antagonists that are ghosthunters who fall in love with the main teenager character and hate ghosts but gradually change their views about it through the show.

The main difference is how Ollie Chen has more of a complete character arc while Valerie Gray doesn't.

Valerie was going through some good development around Season 1 and Season 2 with her motivations being explored and her relationship with Danny changing over time. She gets some good episodes on Season 1 and a few in the first half of Season 2. The problem is that after the "Flirting with Disaster" the show seemed to forget about Valerie for around half of its run until the penultimate episode of the series "D-Stabilized". And even then she never gets a proper conclusion to her learning about Danny being Phantom nor able to regret her past actions from previous episodes. She doesn't get to have speaking lines in the series finale ¨Phantom Planet¨ neither.

Comparing Valerie to Ollie Chen, it doesn't take too long for Ollie to learn that Molly has been hiding she has a ghost (Scratch) as her best friend. He learns about this near the end of the episode ¨I Wanna Dance with Some-Ollie¨.

This leaves him emotionally crushed and that gets explored in later episodes with him learning that all ghosts aren't evil and he changes his views about them. ("Frightmares on Main Street", "The Unhaunting of Brighton Video") He later has episodes that he confronts his family about these views they have too like "Welcome to NecroComic-Con".

I do have my issues with Ollie as character but one thing i can give him is that he has a completed character arc by the end of Season 2. He learns to overcome his hatred of ghosts and reflect on his past actions, trying to be better over time.

I think one factor is that The Ghost and Molly Mcgee had less issues with changing the status quo than Danny Phantom did. What happens in one episode can have an impact on later episodes and the characters change in these. This is because these shows came during different times but also that Tgamm had its characters arcs and development better planned from the start. Danny Phantom episodes were just written as the production went along and a lot of times the team didn't have a clear plan in mind of where things should go.

That doesn't mean that The Ghost and Molly Mcgee isn't without its flaws. Season 2 is kind of a mess in how it handles its arcs and some things should have been better paced. In spite of that, i think the series in a lot of ways did a better job at using continuity and arcs than what Danny Phantom did. There are more examples i could cite but these ones are the closest that come to mind to do this comparison.

[nitrateglow]

Spooky Season 2024: 6-11

Targets (dir. Peter Bogdanovich, 1968)

Targets follows two parallel stories that eventually intertwine. The first involves elderly horror star Byron Orlock (Boris Karloff), disillusioned with his professsion and the real-world violence around him, and intent on retiring from film. The second involves Bobby (Tim O'Kelly), a disturbed young man obsessed with guns who goes on a murder spree. Both points converge at the drive-in premiere of Orlock's newest film.

Targets caught me offguard. The violence in the story involves a mass shooter and so it has a lot of real-world parallels. The killings are presented in a matter of fact way, without spectacle or blood geysers. It makes all of it feel more real and upsetting, especially since we've seen our share of Bobby-like killers over the decades.

My youngest sister watched this one with me and kept calling Karloff's character "Babygirl" and that isn't wrong. Though crabby and cynical, Byron is really charming and likeable. The arc he undergoes is really powerful, particularly as it pertains to his relationship with his secretary Jenny (Nancy Hsueh).

Though the tensions of the late '60s are a major part of Targets, it also deals with the gulf between the old school horror movies represented by Orlock and the more violent fare of the dawning New Hollywood era. I feel like there are just so many layers here. I really need to rewatch it. It's a fascinating movie and I would highly recommend it.

The Phantom of the Opera (dir. Dwight H. Little, 1989)

Modern singer Christine Day (Jill Schoelen) is sent back in time to a previous life as an aspiring opera singer in 1880s London. Her mentor is Erik Destler (Robert Englund), a disfigured composer who made a deal with the devil that left him immortal and embittered. He also has a habit of skinning people and then stitching the flesh on his ugly ass face. The opera management wants to build up another diva's career at the expense of Christine's. Erik doesn't like this. People start getting killed.

The 1989 The Phantom of the Opera is such a mixed bag, but I enjoy it anyway. The script is a mess. It frames the story with this weird time travel/reincarnation/isekai plot that doesn't add up to anything. It introduces interesting concepts-- like the relationship between Christine and Erik reflecting Erik's own deal with the devil-- without fleshing them out. Also-- and if Letterboxd is anything to go by, I'm in the minority-- I'm not crazy about Jill Schoelen's Christine, though I think that's more due to the way Christine is written than how she plays the role.

But then you have the glorious production design, stagebound but dripping in gothic candlelight and late Victorian grime. Best of all, you get Robert Englund's Erik Destler, one of the best onscreen Phantoms of all time.

I love how Englund's Erik is both an excitable schoolboy, almost squealing with delight while Christine kills it at Faust, and a violent, vengeful monster who doesn't take his will being defied lightly. I like the skin-grafting angle for the mask and that Erik ventures out into the London underworld at night. These are all fresh elements and I wish they could have been combined with a tighter, more focused script.

Still, this is a fun movie.

Murders in the Zoo (dir. A. Edward Sutherland, 1933)

A zoologist (Lionel Atwill) is pathologically jealous of his younger wife (Kathleen Burke), and so starts killing any perceived rival to his possession of her. Very pre-code violence ensues.

I'm going to be blunt: this movie did not live up to the hype. A lot of pre-code fans vouch for it as the nastiest horror film of the era. That is likely true. The first thing we see is a man getting his mouth sewed shut, a bit of nastiness that would shock in a recent film, let alone one from 1933. There are some gruesome killings throughout.

Too bad the story is sluggish and dull. There's a lot of corny comic relief that stops the action dead. The direction is flat. It's definitely not a movie I can see myself revisiting. There's barely anything there to sustain interest beyond the occasional creative murder-- no atmosphere, no anything.

Other than the murders, the only thing that stood out to me was Kathleen Burke as the tragic wife of the crazy zoologist. Burke is best remembered as Lota the Panther Woman in Island of Lost Souls. Her career fizzled out quickly, which is a shame because she has great presence and no shortage of talent.

The Black Room (dir. Roy William Neill, 1935)

In a Tyrolean town, an ancient prophecy swears that the ruling house will be destroyed when twins are born and the younger brother kills the older. So when the baron is presented with twin sons, he does everything he can to prevent the prophecy, such as sealing up the Black Room where the murder is supposed to occur. The boys grow up different as can be: the older brother Gregor (Boris Karloff) is cruel and sensual, abusing the locals and his own power, while the younger Anton (also Karloff) is gentle and kind. Despite his twin's sweet nature, Gregor is still concerned for his life and his continued domination of the town. He hatches a devious plan to cheat fate, but can he?

For some reason, I thought I had seen this movie long ago, but apparently not. What a delightful gothic story this is! It's filled with all the old school tropes played straight: an ancient prophecy, a lecherous nobleman preying on innocent maidens, a torture chamber filed with corpses, a dark and gloomy castle. There is a subtle sense of grim humor throughout, but it never descends into parody when it easily could have.

If you've ever doubted Karloff's capabilities as an actor, this movie should remedy that opinion. He plays two distinct characters, and at one point, gives a performance within a performance. All three performances feature their own unique body language, line delivery, and business. It's astonishing throughout.

Equally impressive is the direction from Roy William Neill. Best known for helming the Basil Rathbone Sherlock Holmes movies, his direction here is so dynamic and impressive, not in the least stagey or inert.

One last thing: for a post-Production Code movie, it has a surprising amount of violence and sexuality. Gregor is clearly using the local women for his sexual gratification before murdering them, and his interest in Marian Marsh's lovely aristocratic girl is 100% carnal. There's a pit full of corpses and we get to look into it rather than have its presence alluded to offscreen. It's all nasty stuff. It really feels like the filmmakers got away with a lot, even if it seems tame by modern standards!

The Bells (dir. James Young, 1926)

Innkeeper Mathias (Lionel Barrymore) hopes to become burgomaster of his village. He hopes endless credit and free drinks will sway the populace to support him, but this comes close to killing his business and destroying his family. Desperate, he murders a wealthy guest, destroys the body, and uses his pilfered gold to pay off all debts and influence his way to power. However, both the crushing guilt and a mesmerist (Boris Karloff) with mind-reading powers threaten to expose him.

This is one of those movies that has a great premise, but the execution is very underwhelming. The filmmakers waste a lot of time on the romantic antics of Mathias' pretty daughter and goofy comedy. It's like they were timid about leaning more into the gothic, distressing elements of this dark story and it makes the film drag.

Still, Barrymore is good, especially once he commits the murder and starts going all Telltale Heart. But the best thing in the movie is definitely Boris Karloff. He had been in movies since 1919 and it wouldn't be until Frankenstein in 1931 that he became a star. But it's safe to say, The Bells gives Karloff his first standout role.

Karloff's character doesn't show up a lot, but he is the biggest threat to Mathias' power. Though his Caligari cosplay is hilarious (for real, the filmmakers didn't even TRY to hide the Caligari influence), he has this creepy shit-eating grin that really leaves an impression.

Is Karloff enough to make this worth watching? Eh, I don't think so. There are far better silent thrillers you could be watching.

The Sorcerers (dir. Michael Reeves, 1967)

Elderly Professor Montserratt (Boris Karloff) and his wife Estelle (Catherine Lacey) use a mind control procedure on young stud Mike Roscoe (Ian Ogilvy). Able to experience everything he feels and to control his behavior if they wish, the two vicariously experience the thrills of Swinging London through their test subject. However, Estelle gets drunk on power and starts using Mike to engage in multiple crimes, including murder.

This movie was hyped to me, so maybe it's partially my fault I was so disappointed by the end result. With the exception of Estelle, the story lacks compelling characters. There's no sense of pathos to Mike's victimization and downfall because he's bland as hell and passive, a deadly combination if you want me to give a damn about your narrative.

Everything about this movie feels drab, both the visuals and the filmmaking itself. Big setpieces like the hypnotism scene or the telepathic motorcycle ride are supposed to be kinetic and exciting, but they just feel like the product of an enthusiastic amateur. I've seen low budget movies that have real personality and verve despite their lack of resources (see Blast of Silence), but The Sorcerers just feels cheap and uninspired in every way. I struggled to finish it even though it wasn't even an hour and a half long.

It's a shame because I like the central premise: two elderly people use this device to vicariously experience the fast life of swinging London. But it's done so poorly. It's hard to believe director Michael Reeves' next film would be the masterful Witchfinder General.

[el-255]

I’m not sure if this has been said before but I find it very interesting how differently the writers of persona handled Junpei’s character in comparison to Ryuji’s. With the role of the mc’s best friend and mostly comic relief, I find the two of them to be the most similar personality wise compared to either of them with Yosuke so this analysis will only be discussing the parallels and differences in the way the story handles Junpei and Ryuji respectively.

To me, Junpei is handled pretty sensitively by the writers (not as much as he could be or should be, but still a lot more than most would expect given his trope); he’s given a lot of character with the introduction of Chidori and we see how he grows to like her as he gets to know her. I’ll admit it’s been a while since I played 3 so take this with a grain of salt but from what I recall, his and Chidori’s relationship gets quite a bit of screen time and development in the main story in a way that gives us a different perspective of how Junpei normally operates around the other members of SEES. With Chidori, he isn’t the class clown or the idiot of SEES, he’s simply a teenage boy who falls for a teenage girl. To me, there’s not much more humanising than that. After her presumed death, Junpei loses it and sinks into a depression, and when he finds out she’s alive, albeit her memory lost, he does his best to help her recover and grapples with the moral implications of her regaining her memory. (I think at least one can’t really remember).

This relationship is important to the story and gives us another, much more sympathetic view of Junpei’s character who, up to this point in the game, had mostly been kept in a box marked “comic relief pervert”. You root for Junpei and Chidori’s relationship because it is clearly shown how much Junpei adores her and not once after he meets her does he stray from this love for her.

It’s not only Chidori’s character that makes Junpei’s character more sensitive either, I find that his general personality and relationships with other characters to be handled better as well.

We have his friendship with Yukari (aka Yuka-tan) which I’ll begin by saying also isn’t perfect, Junpei oftentimes falls into the perverted trope so many of the male characters fall into (such is life with Atlus) and he definitely makes comments towards her that most friends wouldn’t and yeah that isn’t good, but I think Yukari gives it back just as much as Junpei dishes it out and never takes him too seriously. I get the impression that that’s just how their friendship works, it’s a constant push and pull, a give and take between them, they both take every opportunity they get to tease each other mercilessly and it works. It doesn’t feel one sided in the way that Ryuji’s interactions with other members of the phantom thieves tend to feel but I’ll get more into that later. His friendship with Yukari may not be the most noteworthy part of his character, but it’s something I think deserves a bit of credit all things considered.

He matures so much over the game and generally becomes more serious and methodical as the story progresses but in a way that is still undeniably Junpei. That’s a difficult feat to accomplish when dealing with certain characters and I think Atlus does well to make these changes happen in a pretty organic way.

Junpei isn’t a perfect character, he has his flaws and shortcomings, but out of all the bro characters from 3-5, I think that the writers of 3 deserve more merit for handling Junpei’s character arc in a way that actually feels like he’s grown by the end of the game.

I could not say the same for Ryuji.

I will preface this by saying that I love Ryuji, I think he’s a neat little guy and I think the writers did him so dirty in 5 when they clearly had the capacity to do so much more as we’ve seen already with Junpei.

Ryuji is filled to the brim of wasted potential as a character, his backstory is only barely brushed on with a few throwaway comments about his dad being abusive towards him and his mother, his abuse by Kamoshida who literally breaks his leg is barely brought up after Kamoshida’s arc, and the trauma he suffers from is never the focus of the story compared to how other characters like Yusuke, Futaba, and Ann’s are. Of course, trauma isn’t a competition and all the party members in 5 have dealt with awful shit but the point is that all of them rightfully get the opportunity to be angry about it at some point in the main story or in their social links, Ryuji doesn’t. Ryuji instead gets beat up by pretty much the entire cast of 5, is constantly belittled by the party members, and is basically treated like shit and the butt of the joke throughout the entire game.

I don’t think I even need to bring up that scene because I know everyone feels the same way about it, but I will because it’s a necessary part of this analysis. That scene haunts me, not only is it the unfunniest thing that’s played for jokes I’ve ever seen in a game, but it’s quite possibly the biggest controversy I know of in the persona fandom.

The implications of a teenage boy who was abused by his father and his teacher thinking he’s found a safe haven in the phantom thieves because they all know how shitty adults can be and yeah they insult him but they’d never actually purposefully try and hurt him, right? Only to find that they would hurt him and pretty severely after he risked his life to save theirs because they’re his best friends and he loves them is horrendous and incredibly insensitive to everyone out there who has dealt with similar circumstances. The joke he plays isn’t funny, but I take it as Ryuji trying to lighten the mood the only way he knows how and even if he was insensitive to Ann and the rest of the team who are mourning him, he does not deserve to get beaten to a pulp by the very people he almost killed himself to rescue. They don’t even fucking apologise to him, it’s all just brushed under the rug and never so much as brought up again !!!

The scene didn’t need to make the cut at all, especially with the rerelease in royal, but it did and it’s honestly astonishing that with all the backlash it received, that they didn’t just cut it entirely. And if they really had to keep the scene in the game, let him be angry about it. Let Ryuji go off at the team for beating him up after he saves all of their lives. Let Ryuji tell Joker that he expected more from him as his best friend. Let the team have to jump through hoops to gain Ryuji’s forgiveness because it’s what he deserves.

Not only this, but in comparison to Junpei, Ryuji doesn’t get as much growth in his character arc. Throughout the game, Ryuji largely stays the same which honestly isn’t really an issue, not everyone has to change dramatically and drastically to be a compelling character, but he doesn’t change at all. Honestly, from the start to the end of 5, I could barely tell you a difference between the Ryuji we see. Like I said, I don’t need a drastic change, it doesn’t suit some characters, but Ryuji isn’t given any sort of growth by the writers and any he is given feels forced because he genuinely isn’t given any of the spotlight outside of Kamoshida’s arc unlike with Junpei.

It makes me angry because like I said, the writing was already there with Junpei, they had the capacity to write Ryuji in the same sympathetic way they did with him but they chose not to !! They chose to leave Ryuji as a character who you have no choice but to take at face value because he’s not given any more than that.

In conclusion: the writers dropped the ball with Ryuji and I’m mad about it, Junpei is a good character and I’ll fight anyone who disagrees, and Yosuke is Yosuke and I mourn his cut romance route every day.

[glorious-sunset]

LBFAD Reflections – Index

Like many LBFAD (Love between Fairy and Devil) viewers, I was amazed by the complexity of the plot, just begging for a rewatch! As I began slowly rewatching it, many new things became clear, such as, what were characters actually thinking, now that we knew their backstory? Often their thoughts didn’t match their words. What was happening between scenes, since the fast pace meant that a lot was happening off-screen? Some of the smallest actions and plot developments now had so much deep meaning! And many parallels became clear between events of different episodes and different character arcs.

Rewatching LBFAD, I had so many mental notes in my head on all of these, that I thought I should put them into words. Indulging my love of writing, I wrote my reflections and insights on each episode into a story format and found my favourite set of screenshots from each episode to complement them. I also described my insights on the series overall in separate articles. These may be interesting to others wanting to reminisce on the multidimensional characters and engaging plotlines of this most inspiring series!

This post is a table of contents to each of my LBFAD articles and episode reflections. None of them are spoiler-free. My reflections on ep. 3 onwards are story-like, while eps 1 and 2 are more scene-setting. The links to each post are on their titles.

Location Names in LBFAD – Meaning and Significance

For English viewers, some of the location names in LBFAD are given in Mandarin. However, the meanings of these names have deep significance that are lost in translation! Here are my translations and interpretations of these meanings.

Character Names in LBFAD – Meaning and Significance

What’s in a name? For the characters of LBFAD, a whole lot of hidden meanings! These are not apparent to English viewers. Here are my translations and interpretations of these meanings.

How Immortals age in cdramas - clues from LBFAD

How does ageing work for these lucky immortals in terms of human appearance? LBFAD gives us a few clues about this mysterious process!

LBFAD Artwork Hidden Meanings - Opening Artwork | Closing Artwork Part 1 | Part 2

The created artworks used for LBFAD are unique and have many hidden layers of meaning! Here are my interpretations of these stunning works of art.

Episode 1

Changheng’s destiny leaf has unexpectedly changed – but the destinies of high gods are supposed to be very stable! His destiny changed because of DFQC's actions. In the last episode of the series DFQC changes XLH’s destiny as well. This is great foreshadowing! And it highlights DFQC’s unique tendency to break nature’s laws time and time again!

Episode 2

“Don’t forget, your body is in benzuo’s (this seat of power’s) hands now”.

XLH, mocking his self-address, angrily retorts that “ben gu niang (this girl) is going to make you bald now!” The moment she angrily starts tugging at her hair is when he first notices the effect of the one-heart curse she cast on him, which causes him phantom physical pain even when body-swapped!

Episode 3

How could such a weak and pathetic creature, who can’t even protect herself, have cursed him, the most powerful being in the three realms?! No wonder he would “very very very very much like to kill” her. The fact that he can’t is tremendously frustrating and he is boiling inside.

Episode 4

XLH has now upgraded her nickname for him from the insulting “little celestial criminal” to “Big Qiang” (Da Qiang), the transition from little to big reflecting the growth of her regard for him. She affectionately calls him Da Qiang from now on. His nickname for her, “Xiao Hua Yao”, little flower demon, is his appraising way of calling her a wicked little flower, or a flower with thorns.

Episode 5

DFQC has many enemies who scheme behind his back and want to kill him, is aware of Shiyuntian’s unflattering propaganda around him, and never gave these insults a second thought. But when XLH says that “even the air becomes clearer” without him around, it is like a sharp stab to his gut. When even the thoughts of the mightiest kings don’t bother him, why should the words of an inconsequential little flower?!

Episode 6

Yunzhong carefully eavesdrops on their every exchange. He is not unsympathetic to Changheng’s plight. As a member of the ruling family, Yunzhong himself had to sacrifice the love of his life to fulfil his responsibilities. That is why he allowed CH to keep the handkerchief of his love as a memento, on the strict understanding that his duties must always come first.

Episode 7

As they sit down to tea together in their usual idyllic alcove, XLH reminisces about the joyful memories they have created together over the past ten days or so. Just yesterday, during one of their regular teatime chats, she had happily recounted to him how she had seen snow fall in Haishi for the first time recently. To her delight, he had created snow around Arbiter Hall for her, and a little campfire to warm themselves by as they watched the falling snowdrifts together.

Episode 8

DFQC roughly brushes a tear from XLH’s cheek and we see that the greenhouse flowers are in bloom! They are linked to XLH’s mood, so despite Changheng smashing her dreams, DFQC’s efforts to comfort her have had a far greater impact, and she is now happy.

LBFAD is the most inspiring series I have ever watched and here is why…

…Aesthetically, I found the beautiful 4K production quality as enjoyable as high-budget productions such as Lord of the Rings and Game of Thrones. …Every single character of note in the series goes through profound character growth, the only exception being the abstract ultimate villain Taisui….

All of my LBFAD articles can also be viewed with the tag #lbfad reflections (hyperlinked).

More LBFAD articles and episode reviews to follow!

[sscarletvenus]

Lookism JJK au, your thoughts?

HIIII VENVEN😁😁😁

also very disorganized and brief brainrot-esque parallels and thoughts about lookism x jjjk ahead (JUST FOR FUN. these are pixels and it's not that serious 😭) :

. yamazaki, kageroi, cheonliang are like the great clans. the provinces in south korea from where the four crews, allied, ansan public, etc. belong are like the various jujutsu tech schools.

. charles choi is a sorcerer who lives long enough to become a corrupt exploitative higher up.

. the workers orchestrate the culling games.

. gapryong as toji, geniuses, he who must not be named type character, dead in the first act, haunting the fuck out of the narrative, changing the trajectory of people's lives, phantom of the past and apparition of the future.

. gapryong also as toji because he is a broke deadbeat who is despised by his children!

. daniel park as yuuji itadori. little miss sunshine in a world full of horrors. being hunted for sport by those in power. the final piece in dismantling a corrupt system. emo boys estranged from their families are in love with them and would die for them. all they have ever loved keeps turning into stone. important familial ties that are the crux of their stories.

. jay as megumi fushiguro. deep suicidal ideation, has never won an idgaf war in the face of love, daddy ruined their life, sister genuinely cares but is ultimately powerless in reversing their fates, dripped TF out, actually very powerful, hated by their respective creators

. gun as gojo satoru. like the balance in the yakuza shifted after his birth. the power gun inherits is a burden to him but he also loves being the sole one to possess it.

. he and the world around him are separated by an impermeable barrier, the boundary between the weak and the strong. he enjoys enacting violence upon his enemies just for the thrill of fighting, just for the sake of knowing he is the strongest, and also since it is the only time he realises he exists as a real person. the strong existing on the pinnacle of a lonely mountain (throughout heaven and earth, i alone am the honored one)

. he has great, unparalleled power, but can hardly connect with others. he isn't treated as a teenager when he's young, and he's hardly seen as a mortal. he is treated with derision and resentment by almost everyone.

. gun as gojo also because of. eye horror. seeks a warrior's death as freedom and release from their solitude.

. jinyoung would probably be like choso. clear thinker who isn't very emotional until it involves their family. values family and brotherhood a lot. capable of cruelty and profound vengefulness, but also monstrous indifference towards what isn't important to them. is a parental figure toward a younger child whom they care a lot about.

. goo and kinji hakari. a very self-absorbed individual who doesn't confirm to societal morals and traditions. doesn't perceive isolation that comes from being powerful. doesn't suffer from loneliness. has a strong mindset and clear goals. living their best life. very questionable allies.

. also would love to parallel gun and goo with hakari and sukuna, respectively. hakari spares his opponents while sukuna destroys them. gun nurtures talents while goo uproots them.

. gitae is also like sukuna, if you think about it. selfish, cold-hearted, immoral, and exceptionally sadistic. has committed parricide. wants an younger relative dead. eyes with such lunacy, you will only see them in eastern european snuff films.

. james lee and kenjaku, because identity theft is a competition and they are winning. impossible to tell their real age. act as a perfect foil to the main character and their ideals. slay, but traumatizing.

. GETO AND JAKE. HEAR ME OUT. pleasepleaseplease. firstly because MOTHER. secondly, there is a certain darkness and fluidity about the way they're written.

. family-oriented and self-sacrificial. empathetic and charming. entire friend group in love with them. graceful and gentle. REEK OF YIN SYMBOLISM. unhealthy coping mechanisms to their respective situations, and have a tendency to isolate themselves. very insane psychotic mentally disturbed but those details are somehow ALWAYS overlooked and oversimplified. very gnc coded. a reason behind their downfall and unravelling is the existence of a very powerful man, and their damning association with said man. did i mention being irrevocably in love with their best friend?

. jake's big deal and suguru's cult.... hmmm... i feel like the possibility of all those possibilities being possible is just another possibility that can possibly happen!!! influential girlbosses that people folk to!

. samuel is so naoya-esque. obsessed with powerful men who don't know don't gaf about him. my fav delulu.

. mary as yuki!!!!! perhaps stronger than the one considered to be the strongest...

. ELI AS YUUTA-[i get dragged from the podium and thrown in quicksand]

. jichang being very very nanami coded not only because of the aesthetic but also because the impact of their death on the main character...

. VASCO AND TODO. literally the realest people around the main character (not elaborating further)

. vin and maki. their metamorphosis from a bug being trampled upon to venomous insects, catalyzed by the injustice and abuse suffered by the people closest to them, horrible family, physical appearance portrayed as an element of monstrosity,

. LMFAO JAY BEING INUMAKI TYPE OF CURSE USER IS A VERY REAL POSSIBILITY TOO

. johan and kashimo because of the nuclear hazard levels of crumpled receipt wet sock energy

. the shaman(shinmyung cheon) as naobita zenin. the REAL naoya would definitely be taejin!

. so that makes samuel higuruma. impeccable dilf divorced dad of three vibes radiated by these two.

. LUA IS SO VERY NOBARA CODED. YOU WON’T GET IT BUT I DO.

. jiho's presence in this au would be like riko's or junpei's. definitely not comparing him to riko. NEVER. just the way his existence wreaks irreversible damage to the main characters. also the transformation into a monster bit for junpei??? THAT'S juvie jiho. jake takes his darkness as a catalyst for hate and revenge. he toys with jiho and feeds his hatred... he doesn't complete his metamorphosis quite because jiho is weak, and that's his tragedy!!!

. this is so badly written im ctfu but if you read up to this point thank you!!!! much appreciated

[vashtijoy]

when is a rival not a rival?

I want to have a look at the word that’s used for rival here. That’s 好敵手 koutekishu. Also, let’s talk a bit more generally about how Akechi relates to Joker.

First of all, look at those kanji. We’ve got 好, meaning liking, preferred, good, pleasing, or even love. We’ve got 敵, “enemy”. Lastly, we’ve got 手 for arm or hand, but that’s part of the base word 敵手 tekishu—a rival or an enemy, or one of two well-matched enemies.

So what do we get if we make it a “good enemy”, a koutekishu? ejje.weblio tells us it’s an arch-rival, or a worthy opponent. It is distinct from the English word ライバル, “raibaru”, in that it doesn’t mean “a nemesis who is always at odds with you”. raibaru is the word Joker and Akechi typically use—a semi-friendly “let’s get each other”—but at these two intense moments very near the end, it gives way to a statement of something very much more. 

koutekishu is an old word. It gives the statement a formality; it gives it weight; it gives it a literary quality. Note that this isn’t Akechi saying this, with all his formality; it’s Joker. And the more common equivalent usage today is いいライバル ii raibaru—literally, “good rival”, with the 好 of koutekishu substituted for ii, meaning “good”. Does that more modern usage appear anywhere in P5? Well, yeah, since you ask.

Akechi こんな立場じゃなきゃ、いいライバル同士になれたのかもね⋯ konna tachiba ja nakya, ii raibaru doushi ni nareta no kamo ne... Under different circumstances, we could have been great rivals... or perhaps even friends. [lit. If we weren’t in this situation, maybe we could have come to share a worthy adversary relationship.] Imagine if things had been different. The fun we could have had, fighting each other. We might even have been friends.

ii raibaru doushi ni nareta means “we could have become each other’s worthy adversaries”. and it is so stunningly hard to put into sensible English that I’m just going to take liberties out the wazoo with my own translation, which is the bit in bold.

“great rivals” looks like a misreading of ii raibaru. But I like the localisation’s “rivals or perhaps friends”; it sums up the nature of a “worthy adversary”. You like them, you respect them, or you find them fascinating; you wish they could fight alongside you, but because of irreconcilable differences, you oppose them forever. Don’t forget Akechi’s repeated “you truly are interesting”, 君は面白い kimi wa omoshiroi and variants: “you’re interesting, you’re fun!”. Akechi thinks Joker is fascinating. “You’re so interesting” is something I’m sure he says to a lot of people he needs around, of course—but over the course of the year, it becomes true.

So Akechi takes a moment here to think about what might have been, before he puts it behind him—forever, as he intends it to be.

akechi and his reluctant worthy adversary

[oh so many screencaps below the cut]

Akechi’s language repeatedly hammers home this idea of the “worthy adversary”.

Here’s confidant stage 7. This is the first of the four end stages, where everything goes to shit: Akechi has his kill order, we’re into Sae’s palace, and the plan is in motion. Yet in this confidant stage, he seems to give Joker not one but two chances to back out—that is, of course, to prove unworthy of him. Because, as long as Joker is worthy, this fight only ends when one of them is dead—and if Joker is unworthy, then he isn’t deserving of Akechi’s attention or interest.

First, he tells Joker things are in motion that he cannot control—or perhaps, that neither of them can control. Maybe it’s yet another of the parallels he sees between the two of them; Akechi’s path, after all, has struck quite a few obstacles he likely never intended, of which Joker is only the most recent—because back in July, he was still telling the SIU director that the Phantom Thieves would inevitably self-destruct, without his direct involvement. Things are far more complicated now (don’t forget confidant stage 8 is next), but this is still not where Akechi intended this to go, earlier in the year.

Note the sad sprite. I come and go on these; I used to think the very emotional sprites were always performative, but I think I’ve changed my mind. This seems like a point that’s genuinely bothering him, that he has to manage away.

Then there’s the next one, at the end: Akechi offers Joker the chance to dump his friends, do a heel turn, and join him. You can’t actually do this; he seems kind of shocked that he’s misread you, if you agree to think about it. But he wants to see if you would do it:

Of course, Akechi can’t accept, even if he really wants to; even if Joker turns out to be kind of a slimy turncoat there being room for only one of those per game But (and this is to do with quite another facet of Akechi) by giving Joker two chances to back out, Akechi has done something else: he’s shifted the responsibility for Joker’s death onto Joker. Joker’s had every chance to walk away, and he hasn’t done it. You can’t say Akechi didn’t try—and now their fight is going to go all the way....

Here’s the “worthy adversary” chat, from the same scene. Akechi gives Joker the “we are so similar and yet we are on opposing sides” speech. They are, of course, and some of it IMO really is because Akechi is playing detective:

Lastly, here’s confidant stage 8, with Akechi adopting his fucking side-on "I will shoot you now” pose to throw the glove, lol:

Like, seriously: 

SERIOUSLY:

anyway I do love all of this. From the end of confidant stage 2 onwards, this is the softer side of what’s going on in Akechi’s head. This is how, until he’s stripped of his masks in the engine room, he is interpreting their whole relationship: Joker is Akechi’s nemesis, his equal and opposite, the only one who can match him—but who he can never allow to match him. Joker is Moriarty to his Holmes—because it’s all part of his detective fantasy, one of the fantasies that inflates him.

And as long as all that is there, he can’t properly see anything else he may feel. Everything that happens goes into that framework for him, where he’s caught up in a great rivalry with one of the very few people he truly notices. While Joker, of course, is down for the rival thing, but can’t approach the intensity Akechi affords it, because... well... I think we all know why.

[silkopera]

••HXH 405 Commentary••

This is a very rough and short commentary because I mainly just want to get my feeling and thoughts out because wow this chapter was something. The situation with the Phantom Troupe and Hisoka is finally picking up and getting the ball rolling. I'm eager but also terrified as to what will happen in future chapters.

To start off, Hisoka's in the casino just chilling and playing cards. wow😭. This man is not afraid that the troupe is out for blood. His vest + dress shirt combo+ bolo-tie is very snazzy though. Reminds me of Lestat from interview with the vampire 1994.

Bonolevnov?? I did not expect him to be the star of this chapter but he is living up to his name! I am quite concerned for him though as he's weak to Hisoka's bungee gum and that's literally all Hisoka uses but he's also tailing Hisoka ALONE dressed as HISOKA? The rate of him dying is exponential I fear unless the troupe has another plan or he has an ace up his sleeve.

CHROLLO !! He has finally returned. Very happy to see him again but also my heart does feel for him. He looks so tired. We know how much he cares about his friends and seeing him slowly crumble and succumb to his feelings that he's tried to keep hidden all these years? If we see him break down and bawl, I fear I will cry myself.

This was the most memorable panel from the chapter for me. Chrollo really did love Pakunoda who was 09. Whether as a sibling, friend, partner or something more, he really does love her and miss her. Now that I think about it, he was close and comfortable with all the girls like Sheila, Sarasa and Pakunoda and they often protected him from his bullies aka Phinks, Feitan and Uvo. Then Sheila and Sarasa were gone and Paku was the only one he had. They were together for so long and they had such a sentimental connection even before all that dubbing business so this makes Paku's death hurt even more.

This also basically confirms that the phantom troupe will disband and they are finally realizing that if they continue to go on like this , more of their beloved friends will die. Karma and catastrophe are finally catching up to them for their misdeeds. However the Troupe does look out for Chrollo like how Gon and Killua looked out for Kurapika. I enjoy seeing the parallels between Kurapika and Chrollo along with their friends. They're both so similar but destined for tragedy with the path they chose.

It's satisfying to know what Sarasa's murderer and torturer got what he earned (by the troupe's hand I assume). Ironically he was the chairman of a foundation to help children?? What a joke. The way she ,a small girl, spent her final moments in agony , all alone, surrounded by horrible people, ultimately to end up in a trash bag. She deserved and got the justice she needed. I hope we get to unravel more of the story behind everything soon.

A little extra but Feitan's concerned face and eyebrows actually has me cracking up because we know nothing phases the man🤣.

Finishing this off, there was a LOT more to this chapter but I needed to get my feelings off my chest for these specific parts. Reading and analyzing this manga is a CHORE but Togashi is so good at what he does and It's amazing he can come up with such complex storytelling and make it interesting to read at the same time. Forever grateful for his work and excited to see what lies ahead for 406.

-silkopera.

[henghost]

Twig Liveblog for Arc 15

great arc!!!! it all felt so french, somehow, very may '68, with feckless anarchists and student rebellions. sy even starts smoking!!!!!! that was probably my favorite part, sy nervously smoking more and more. i'm beginning to understand how everyone around him finds him so irresistibly attractive...

speaking of: jessie and sy are literally TOO CUTE!! jessie explaining how she likes trains, sy and jessie sleeping with their heads on each other, and then a little peck on the cheek 🥺 they are so perfect for each other! the interlude is probably one of my favorites so far. god that line about how she didn't know jealousy until that episode with lillian killed me. the discussion of "anchors" is so fascinating--and heartbreaking when we realize that the central anchor for all her memories is sylvester. she is cursed/blessed to recount in perfect painstaking detail every encounter, every little instance of neglect. she reroutes every new experience through the complex web of memory, and it feels so agonizing to have even this small exposure to that. every new happiness is tinged with the pain of nostalgia.

there's some kind of parallel between jessie/sy and fray/avis, i think. people who can, by virtue of being victims of fucked up biotechnology, only find solace in one another. the phantom amalgam-fray joining evette was another standout moment--the not-quite-sisters.

fray continues to be enigmatic. her motivations, plans, and pathology are all so murky. does she really have a scheme lurking in the background that she doesn't need to be there for? how will this circumvent the sore-loserdom she describes? (very excited to learn, by the way, that the infante is one of the people who gets to personally condemn whole cities.) sy's long discussion with fray wherein he details how he felt like a dog for the academy was so good.

fray is so fucking cool!! it's crazy that she gives mauer a run for his money in terms of being a badass rebel leader. dolores the octopus 😍😍😍

sad to narrowly miss the lambs :( i hope they can still meet up sometime soon! i want to know what's going on with them too, like for instance if mary and lillian have kissed yet.

final predictions!!!!! (or embarrassing myself for your amusement):

fray is probably right to be more cautious than sy wrt fighting the crown, and sy's recklessness will lead to some unspeakable catastrophe

this catastrophe will probably involve some plan to disseminate the nobles' big secret that backfires horrifically

the plague will be what ultimately does the crown in--too thematically appropriate to have eruptive, spontaneous life triumph over the crown and academy's regime of biocontrol

the duke and the lambs will unite to try and defeat the infante, but will lose

the king will be larger than the infante

sy and jessie will kiss a lot and make love and get married and find some way to have children and name them all sylvester junior or jessie junior and live happily ever after forever :)

[maniacwatchestheworld]

Man... I just LOVE watching the DPxDC community do their thing. I like them and just want to examine you all under a microscope because I find you all so very interesting! It's just absolutely TRAGIC that I have yet to find any storyline or AU that tickles my specific fancy, personally...

I acknowledge that this is purely a me problem and not a community problem 120%! The stuff that I just enjoy about Batman and Danny Phantom are just not things that the community are interested in as a whole and that's perfectly fine! But it does make me feel like a pure outsider when I wish that I could actually more earnestly engage with the community itself from within. Just... Siiiiiigh! And I just have not been able to think up anything to make the two verses blend together in a way that would be personally satisfying to me specifically!

Have some of my personal winging under the cut! No hate. Just explaining my tastes and yearning.

Absolutely no shade! All the more power to you for writing stories with these tropes and features! But I personally am not particularly interested in batfamily drama, and I see the kids in the batfamily as the children that they used to be in many ways. So stories about the batfamily don't interest me a whole lot, and I'm just not invested in shipping them with anyone (I'm also ace, so I really don't get pretty much anything out of batfamily romance) as a whole. What I like about Batman is that his stories are largely mysteries. I like the atmosphere and I absolutely ADORE the rogues! I like seeing the crimes and Batman clashing with his rogues, and most of all I LOVE the heart-wrenching DRAMA between Bruce and Harvey as Bruce DESPERATELY does everything he possibly can to save his best friend, while Harvey slips further and further into a hell that he wishes that he could climb out of but is just unable to alone! Harvey is just my absolute favorite and the sheer tragedy of his character has a tight grip around my heart that will not let go! Meanwhile with Danny Phantom, what I like about it... Well... I just think that Vlad is neat! There is also a certain tragedy to him as well, but he's also just a pathetic loser which is hilarious to me! Like, so often he comes off as so slick and cool and threatening... But also he's a loser and a goober. I also just love seeing how much of a simp Jack is for him. And I just like how redemption is always just barely in sight for Vlad... He just has to honestly reach out and grab it, but he just isn't willing to right now. Also ghost powers are neat and unique and I enjoy the unique possibilities and aesthetics of it. But sadly for me, these just aren't things that the DPxDC community is interested in. And that's perfectly fine, but it does make me yearn. Like there are interesting parallels to explore between Harvey and Vlad for sure! But I have no idea how to explore them in any interesting ways at all! Also I am just the kind of person who very much dislikes stories about destiny and stuff like that. So AUs like the twin demons or Ghost King!Danny just have absolutely no appeal to me. I'm just not interested in the inevitability that a lot of storytellers in this space have that Danny WILL join the batfamily. Also it feels disappointing to me whenever a writer just doesn't give the DC the credit that they deserve. It feels like people just want Danny to be super ultra overpowered, even more so than the super ultra overpowered characters that DC already has without exploring how these different things interact. Feels like people are more interested in erasing DC canon to make way for their Danny Phantom fanon instead of letting both things be true as is the usual DC way. Again, there's nothing wrong with doing that, but it just leaves me wanting. Also I really don't particularly like nor care about Ra's or Talia as far a rogues go, so only seeing them getting included in these things is just disappointing.

Lays down. Like, I don't want to sound like I'm hating on the community. I honestly am not. I'm just bellyaching because I am in this enclosure and am not receiving good enough stimulation in this space. It just feels like... It's a hot day, and I am REALLY craving some ice cream right now! But this ice cream shop only has 4 flavors and I quite dislike them all. I'm not angry at people for liking these 4 flavors. And this place is just SO CLOSE to being something I like! I enjoy the decor, the location is really nice and convenient for me. But alls I can do in just stare in the window and watch everyone else enjoying themselves while I bake in the sun. I admit that this is purely a me problem and not a community problem but it's just a bummer, y'know? Flops.

[charmwasjess]

Yooooo! What if George had the plans for the Prequels down back in the 90s and Joruus C'Baoth was secretly a Count Dooku clone?

GEODE MY MAN! What's up??! I love this ask so much because it made me do the thing I like best: run down a rabbit hole that ends with me dragging out Lord of Misrule and re-reading Christopher Lee’s delightful, if vaguely bemused chapter on filming AotC.

So, Dooku’s origins: while I think Lucas had profound, interesting thoughts on Dooku’s character outside of his obvious tropism, I always thought he created the character predominantly FOR Christopher Lee and classic film villain homage. You know: Count Dooku/Count Dracula, the cape, the tastiness of having Sir Alec Guinness and Peter Cushing in his original trilogy and needing a fitting cultural icon from that same golden generation for his new one... 

But in the memoir, Christopher Lee’s own account of getting the role kind of contradicts that? His agent - unsolicited by Lucas - suggested a meeting with the Star Wars casting director might be a good career move. Christopher Lee, agent, and casting person all had a very nice lunch and didn’t talk about Star Wars or Dooku at all. (AotC was already entirely scripted at this point.) That was it. A couple weeks later, Christopher Lee got a call saying he was Dooku, if he wanted to be. 

This is very, very funny to me because it implies that Christopher Lee’s Dooku audition was “having a nice lunch” and he nailed it so hard he got the job with absolutely no other follow up. It also seems to imply that Dooku was already written well before any association with Christopher Lee and any references were belatedly tacked on.

—This rambling is all probably missing the INTERESTING point you’re actually making: that Joruus C'Baoth predates Dooku’s invention and that he and Dooku share significant parallels. Star Wars is all too happy to cannibalize EU storylines, reiterate, and repeat. I’m sorry to say that I don’t know Joruus C'Baoth well enough to talk very articulately on the minute differences, aside from the wiki-level obvious similarities of them both being disillusioned white haired older human Jedi of similar generations and interests, who both were personal friends of Palpatine prior to their fall. Sidious seems to have been very interested in the flower of that Jedi generation and badly wanted one. Dooku’s Jedi friendgroup and peers seemed very attractive to him as a potential influences/points of attack in both Legends and Canon - Joruus C'Baoth, Dooku, Jocasta, Sifo-Dyas, and now even Rael all seemed to have some levels of exposure to him and potential influence, unwitting or not.

Is Joruus C'Baoth a proto-Dooku? To return to meta for a minute, this is something that came up a lot in the fandom between Phantom Menace and Attack of the Clones because when Dooku was premiered ahead of Attack of the Clones, everyone was pretty pissed off about the character, for a number of reasons including

Great, after all the athletic glamor of the duel of the fates we’re going back to old man battles??!

Asajj Ventress’s concept art was floating around and people theorized the new Sith/villain would be a badass woman

We all thought Yoda was Qui-Gon’s Master for some reason that I can’t remember and we were mad about it being this new guy with a stupid name

But most importantly, because the central narrative thing in Dooku’s story is a Jedi who is corrupted and becomes a Sith, and we’re already doing that with Anakin. And, apparently, Joruus C'Baoth.

I'm not sure that accurately answers your question, but I sure did blow off an hour of boring work on it, so truly, thank you, friend. :D <3

[elvenbeard]

I finally sat down and played Reed's path in Phantom Liberty and HOLY shit. Spoilers below the cut just in case köahsdföahdsf

MAN. I was like, 95% unspoilered for everything, the only things I knew was: you gotta fight against Kurt, there is a scene in So Mi's apartment, some Cynosure fuckery, and I had seen gifs of So Mi in the core at the end (and deducted HM. she isn't looking to good, I feel like this is an ending where she dies).

But so so so many things came unexpected and got me so damn good!! I had fun fighting against Kurt, his little knife-throwing sequences (though I still wouldve loved a peaceful solution more than this XD a third path where you side with him or sth like that). I did not expect that we'd be fucking with MaxTac alsködhfasf that little bit was so fun, from setting up to having to fight them (though I also really struggled with that at first, rightfully so xDD).

The level design of the Cynosure was amaaaazing, the creepy horror vibes, the voices the jumpscares aödshfasf I loved that so much. I was not at all prepared for the Cerberus mech, that was mean af xD But so fun, gameplay-wise, so creepy, too. I ate up the lore of the place (and how insane that something like this exists under NC - and how much more similar shit must exist as well for other corporations??).

How the apartment sequence was done blew my whole mind, the transition between the bunker and the apartment, the little flashbacks, and how everything slowly crumbled and fell apart. I love that you can hug So Mi ;___; and man, I was crying so much at the end, the pain... but the only thing that felt right in that moment was killing her and giving her her freedom, and it was so raw and gentle and horrible all at the same time (also V's reaction was ;____; aaaahhh my boy).

I loved that we got a chance to shit-talk Myers XD And that, after all that in the end, Reed may finally find his freedom too and get away from the FIA for good!! I was adskhföasf so feral about his and Vince's parallels again, losing everything and being forced to start over. I loved his line that went like "thanks to you I have a choice now, something I haven't had in a long time". And man, I hope he uses his chance to get as far away from Myers and Washington and all that crap as he can, while he still can (just how that whole experience has deterred Vince from wanting to go back to Arasaka for good xD).

Overall though, I gotta say. I felt like the villain the whole time xD From betraying So Mi (still so obsessed that the options are called "Betray XYZ", not "Side with XYZ" which I've seen much more commonly in games with choices - It's a small detail but it makes such a difference in tone!!), to chasing her down all along it always felt wrong xD I'm glad at least towards the end there were some dialogue options that went away from the patronizing "we just wanna safe you" and "this is all for your best", and felt more human again.

So, for Vince's canon, if he goes through with PL from start to finish, he would rather betray Reed - and in return be betrayed by So Mi in the end aöshdajshf but yeah. Immersion and story-wise, her path felt more true to what he would do, even though I liked the outcome for Reed a lot in this. (and I guess that's really where the main difference lies in the end in all the choices, who gets to live and have their freedom in the end, and how much V is willing to sacrifice).

Also, since I went down the path of not handing So Mi over this time and not unlocking the new ending, instead I got new Mr. Blue-Eyes headcanons material O.O aksdfahsöf highly recommend looting the Cerberus mech and crafting the Cyberdeck in the "Unknown Number" related quest after the credits, in case you always wanted two more or less creepy talking constructs in your head xD

[chubbydino]

In honor of the completion of HLS, the most hopeful and heart wrenching piarles and maxiel narratives ever, what inspired you bring phantoms and la madrague together and continue their stories?

How long did you imagine the events of HSL before you began writing it?

originally i was going to publish a different maxiel fic but the story just wasn't working and it wasn't sad enough imo. i started daydreaming about PAPM but i didn't want to be entirely in pierre's POV again and i felt like going into charles's would be cheating, since a lot of what i love about PAPM is that we're never in charles's head.

the original arc of HLS had a much darker ending, and the fic was going to be very piarles focused. more under the cut (+ spoilers)

i don't remember exactly what spurred me to bring the two stories together, but once i started thinking about it, it really worked. of course, PAPM has a chapter where max is married to a woman with a daughter, but that was the only retcon i really needed, and it wasn't the important part of that story. i didn't want to develop a whole new maxiel, and then the parallels between max and pierre started showing and i dove in.

originally, pierre was going to regain his memories like he did, but then the side effects would get so bad (essentially his brain never turned completely off so even while sleeping he would be burning his brain and exhausting himself) that eventually he would have to choose between being bedridden but with memories, or choose to forget himself every few months and start over each time. it was going to end with pierre waking up after making that decision, once again not knowing who charles was.

but every time i thought about max and what he was going through, it hurt so much more. pierre's memory loss isn't painful for him, just confusing and frustrating. max was just surrounded by pain and grief and his worldview is so fucked up, and his family is so fucked up, there was just so much to explore. so, i gravitated toward that story. max took center stage and i decided not to add more angst with pierre's original arc--it just didn't work the way i planned, and max's role took on a new life.

i said it in the discord, but max was also supposed to go through with the suicide attempt on the houseboat. i planned for him to wrap the anchor chain around his neck, slip on the deck, then get up and jump in and go to "heaven"... only for us to figure out that when he slipped on the deck, he hit his head and went into a coma and never actually jumped in the water. but one night while i was playing the story out (i "watch" the next chapter before i go to sleep lolol) i thought about mack truck and the accident took shape. that fit a lot better with the story, especially for daniel, who would never have forgiven himself if he found out max actually tried to kill himself (daniel still doesn't know max was planning to, the same way max doesn't know his family went after his money).

the museum scene with daniel was heavily inspired by What Is And What Should Never Be aka S2 Ep30 of Supernatural aka the Djinn episode, when Dean realizes his perfect world is fake and he's actually dying in real life. That episode hit me so hard and every time i watch it, it still hits. I wanted the same type of scene with Daniel finally appearing in Max's world and making him realize what was really going on.

the supernatural elements of HLS aren't particularly supernatural to me. many people i know have seen or experienced something they can't explain. there are plenty of weird happenings in my own extended family that aren't scary, just strange and maybe unsettling. kids also see the world differently and i feel like theo seeing marshmallow or the kids seeing squalo goes along with that. maybe max only sees it because of his grief, or maybe that's the part of the boys that's always with him.

overall, i wanted to end HLS with the understanding that there is no way to completely heal from what max went through. he'll always, always grieve for his babies, but he doesn't have to hold space for that grief anymore. it will always be there, but he's living life despite that. he's carefully choosing daniel, over and over, and now he knows it's okay to do that. his love for daniel doesn't have to detract from his love for his boys. i don't think he ever would have learned that without the supernatural element at play.

camp bluefin is the purest form of max's love for his daniel, not only because he's allowing children back into their lives, but because he's allowing himself to enjoy having a "family" again. <3

[eggdrawsthings]

Hi! I found your account through The Acolyte and just wanted to say I love your art and hope you don’t mind this long message (it got too big for a response).

Part of my reaction to the newest episode might be rose tinted glasses for Sol (because I was worried about his character going in) but my first thought to the whole conflict between Indara and him read to me as “old school” vs “new school” Jedi thinking.

In The High Republic we’ve met and made reference to many Jedi Wayseekers, who are still Jedi but follow the force’s guidance vs the direct council. At the time of this show we seem closer to the Phantom Menace mentality than anything, where I don’t know if that was really still a thing without someone just straight up leaving the order.

So to me it felt - albeit clunky like everyone else discussed - like Sol wanted to just follow the Force because he sensed this connection and had to keep coming up with excuses to justify it to Indara. But because the council said “no” she felt that was (understandably, and respectfully) the right choice.

It also felt parallel to Qui-Gon Jin - which the whole “Anakin was too old”, and the revelation of the twins birth are also harkening back to throughout the series.

“Choice” was a great (heartbreaking) name for this episode because there really are so many moments where if one person had just chosen differently, the outcome would have ranged so much and maybe not ended in such a tragedy.

Hey! First of all thank you sm! dw about the long msg haha you're good my friend ^^

I've not read THR book to get that reference tbh (im only a few pages into Light of the Jedi). And frankly, from a visual storytelling standpoint, if that was the intention of the writer to link back to that old school THR Jedi thinking, then they should've made it clear or at least hinted in the show so ppl who are not THR readers know oh there's sth up w this too and then go find out more for themselves. Again, clunky writing and short running time make everything worse.

Not related but there's a theory that Indara didn't call the Council cuz there was no data saying that Osha has a twin. Interesting detail if that is true haha. And again hammering that even if it was w good intentions, they all made questionable choices that led to tragedy and forever harmed the children's future.

I dislike the execution, but I like the idea and that it gave the characters more depth. This made Sol even more interesting to me, way more than Qimir now even. Even tho he's written so ooc here imo, he's still so intriguing and makes me actually think and analyze his character. The worst thing you can do to a character is make them so boring and 1 dimensional that the viewers just forget about them after the show is over lol (which, frankly, a lot of these characters are).