#I think I covered a lot of ground there

[grouper]

thinking about the implications of THIS THING

long post, just exploring the question of what changes turbo made to his own code to become king candy.

in this scene, king candy moves the "medal" asset from the trophy pot to his own node. when he does so, it materializes and appears around his neck.

if that implies that every asset within his node acts upon his code in some way, we can quantify the changes he's made. each asset represents a change. over 15 years, he's accumulated this many modifications, integrated this many assets into his own code. since the "medal" asset's symbol associates directly with the physical medal object, it can be assumed that each symbol also accounts for a physical object*.

in this close up, we're offered a glimpse into what assets he's integrated into his node. we see:

assorted candy symbols. visible in the image are jawbreakers, wafer cookies, pastries, candy canes, cookies, ice cream cones, lollipops, chocolate chip cookies, and slices of cake. not going to attempt to count these, as i believe they function as space filler on the part of the animators. attention to detail can only go so far, even in a wonderfully detailed movie like WIR. conversely, we could interpret the assorted candy symbols as Turbo filling his node with random junk. you decide!

NINE cups. they are of course stylized and simplified, but their distinctive shape belongs to glasses used for brandy, sherry, or liqueur. out of all the symbols in the image, they occur most often. their placement close to the action front and center in the frame further highlights their importance. Alcoholic!Turbo is canon!

four symbols (demarcated with a question mark),which look like.... puppies. four visible here. the animators decided he needed 4 puppies.

and 2 race cart symbols (circled). pretty self explanatory, but still a cool and thoughtful addition. it would make sense that he'd want multiple race carts!

*it isn't depicted here, but i'd assume some of the assets would also have to do with his physical appearance, since each node is supposed to be a representation of the raw data of the game. not to mention, the "medal" node was not originally from Sugar Rush, it was from Hero's Duty. that means external assets can be integrated into his node. it's also explained in the movie that things like programmed memories can be affected by modifying nodes. altogether, we are given the sense that pretty much anything can be changed or added via the game's code.

what else did turbo add to his program? what did he change? what did he lose?

[oceanwithouthermoon]

yumehara and kuboyasu both write in a diary but yumeharas is lovingly and carefully decorated with adorable stickers and she writes in beautiful frilly handwriting with glitter pens (her handwriting actually sucks but she spends hours making this diary look pretty) while kuboyasus is filled with messy vent writing, ripped pages, and messy doodles, and the cover is fingerpainted on

[daydreamingmiller]

ELLIE WILLIAMS in SANTA BARBARA

[the last of us part two]

[qoldenskies]

I know it’s normal to his character but there is something so sick and twisted about how in CC we see Leo using white lies to joke. It’s a one-off joke but these lines:

OH THEY DROVE ME INSANE. Leo is so good at acting and manipulating and gaslighting, and he uses his skill with it so gently with Donnie most of the time, especially because Donnie is worse than picking up on subtexts/takes people more at their word than most. Like—Leo is so careful about not leaving Donnie out of the joke, and in turn Donnie trusts Leo to make it so he can always tell when something is a lie. It’s like Leo has a blade and is gently tapping Donnie with the flat end to make him laugh, and Donnie doesn’t even twitch because Leo’s never so much as nicked him.

And then Leo tells him he’s crazy. He’s hysterical. He’s being weird. You’re making things up and losing your tools. Yeah you really were in the wrong “but thanks ilysm.” You were only in the closet for a few hours. God you’re terrible at taking a joke. Leo stabs him over and over again and Donnie doesn’t even realize it because Leo’s never so much as nicked him so Donnie doesn’t realize he was being cut into until it was killing him. Just. Oohhh Donnie trusted him entirely with his little heart and Leo squeezed until it stopped moving.

YES THIS!!!!!!! and then in ME leo chooses to lie to him again, even though it's something he's so guilty about doing because he was the main one responsible for the gaslighting (he was the ringleader of it all, something about how he already fell into a leadership position before it was even put on his shoulders being so apparent here, especially as someone who motivated/hyped the others up,,,,,) because he thinks he's out of options, that its the only thing he can do to make things a little better. he's perpetuating the cycle he's trying to break out of as a self-fulfilling prophecy; does the intent even really matter when its so clear the effect is going to be the same? was there any right answer?

even though its definitely a cognitive distortion created from the tragedy of what happened, maybe leo did have somewhat of a point when he said donnie trusted him too much. he laid out the means to his own undoing on a silver platter and refused to take it away even as he bled out on the floor; for such a complicated person, donnie makes his love so simple and unconditional, and that's fine, of course, as long as nobody goes out of their way to hurt him--- that's how the family's always functioned, hasn't it? as terrible as raph was under the effects of the curse, he was correct when he said that things only work in their family when everyone plays their part. its interesting how easy it is to push over one domino and let the rest fall, how fragile peace can be with just one slip-up, one mistake... it almost reminds me of something else that happened =)

[kisaraslover]

the charms of the ygo girls visualized: baby seal, hottest woman youve ever seen, silly teenage girl unleashed, woman youd endure astrology/tarot talk from cuz youre mesmerized by her mysterious rizz

[doing-something-unholy]

Is it geologically probable for swallows rest to have basalt cliffs? Not really. Am i gonna headcanon it anyway? Of course.

Because I can picture Adrian and Victor walking along the beach, spending time waiting for lord vane to arrive. When all of a sudden Adrian comes to a dead stop in the middle of a sentence, staring at something ahead of them. Then he gasps, and gets so excited he forgets where he is, who he's with, and the collar around his neck, as he starts excitedly slapping Victor in the arm going, "Look, look, look, look--" at top speed.

Victor, who was primed for some kind of emergency since Adrian stopped talking is looking around frantically like, "What, what happened???"

Only for Adrian to point ahead and whisper-yell, "Basalt cliffs!!" And start booking it across the beach.

And yeah, maybe it painfully reminds Victor a lot of his younger self, and he's just about ready to remind Adrian of his manners as a priest, but then Adrian turns around to see if hes coming and the smile on his face is the most animated hes seen Adrian since he met him. And when he catches up he gets treated to a long winded ramble about crystal structure and volcanic activity and geologic hotspots and the Implications and how they could easily be the most ancient part of the island and erosion wear patterns and hes always wanted to see these in person cause they have them in northern ireland and and-- Its the most he's ever heard Adrian talk in one sitting.

And he supposes that having an appreciation for the wonders of the world that God made is perfectly acceptable for their profession, and lets him talk as long as likes.

[kyouka-supremacy]

Well.

[wonder-worker]

Margaret of Anjou’s visit to Coventry [in 1456], which was part of her dower and that of her son, Edward of Lancaster, was much more elaborate. It essentially reasserted Lancastrian power. The presence of Henry and the infant Edward was recognised in the pageantry. The ceremonial route between the Bablake gate and the commercial centre was short, skirting the area controlled by the cathedral priory, but it made up for its brevity with no fewer than fourteen pageants. Since Coventry had an established cycle of mystery plays, there were presumably enough local resources and experience to mount an impressive display; but one John Wetherby was summoned from Leicester to compose verses and stage the scenes. As at Margaret’s coronation the iconography was elaborate, though it built upon earlier developments.

Starting at Bablake gate, next to the Trinity Guild church of St. Michael, Bablake, the party was welcomed with a Tree of Jesse, set up on the gate itself, with the prophets Isaiah and Jeremiah explaining the symbolism. Outside St. Michael’s church the party was greeted by Edward the Confessor and St. John the Evangelist; and proceeding to Smithford Street, they found on the conduit the four Cardinal Virtues—Righteousness (Justice?), Prudence, Temperance, and Fortitude. In Cross Cheaping wine flowed freely, as in London, and angels stood on the cross, censing Margaret as she passed. Beyond the cross was pitched a series of pageants, each displaying one of the Nine Worthies, who offered to serve Margaret. Finally, the queen was shown a pageant of her patron saint, Margaret, slaying the dragon [which 'turned out to be strictly an intercessor on the queen's behalf', as Helen Maurer points out].

The meanings here are complex and have been variously interpreted. An initial reading of the programme found a message of messianic kingship: the Jesse tree equating royal genealogy with that of Christ had been used at the welcome for Henry VI on his return from Paris in 1432. A more recent, feminist view is that the symbolism is essentially Marian, and to be associated with Margaret both as queen and mother of the heir rather than Henry himself. The theme is shared sovereignty, with Margaret equal to her husband and son. Ideal kingship was symbolised by the presence of Edward the Confessor, but Margaret was the person to whom the speeches were specifically addressed and she, not Henry, was seen as the saviour of the house of Lancaster. This reading tips the balance too far the other way: the tableau of Edward the Confessor and St. John was a direct reference to the legend of the Ring and the Pilgrim, one of Henry III’s favourite stories, which was illustrated in Westminster Abbey, several of his houses, and in manuscript. It symbolised royal largesse, and its message at Coventry would certainly have encompassed the reigning king. Again, the presence of allegorical figures, first used for Henry, seems to acknowledge his presence. Yet, while the message of the Coventry pageants was directed at contemporary events it emphasised Margaret’s motherhood and duties as queen; and it was expressed as a traditional spiritual journey from the Old Testament, via the incarnation represented by the cross, to the final triumph over evil, with the help of the Virgin, allegory, and the Worthies. The only true thematic innovation was the commentary by the prophets.

[...] The messages of the pageants firmly reminded the royal women of their place as mothers and mediators, honoured but subordinate. Yet, if passive, these young women were not without significance. It is clear from the pageantry of 1392 and 1426 in London and 1456 in Coventry that when a crisis needed to be resolved, the queen (or regent’s wife) was accorded extra recognition. Her duty as mediator—or the good aspect of a misdirected man—suddenly became more than a pious wish. At Coventry, Margaret of Anjou was even presented as the rock upon which the monarchy rested. [However,] a crisis had to be sensed in order to provoke such emphasis [...]."

-Nicola Coldstream, "Roles of Women in Late Medieval Civic Pageantry," "Reassessing the Roles of Women as 'Makers' of Medieval Art and Culture"

[kerosene-in-a-blender]

Considering recent events have made this relevant again, I've been thinking for a while about the warlock/patron relationship that Laudna and Delilah have, because while it seems to be pretty antagonistic from Laudna's side, because Delilah, you know, had her murdered, Delilah seems to treat Laudna like she's her daughter.

For example, this is the conversation that Delilah and Laudna have during the Gnarlrock Incident:

Delilah: "Child, this... this is far too dangerous in your hands. I'll handle this"

Laudna: "Tell me what it is"

Delilah: "Shhhhh"

Laudna: "Tell me what it is"

Delilah: "I've taken care of it for you"

And then afterwards:

Laudna: "What did you do?!"

Delilah: "Ahhhhhh, don't worry, I've taken care of it"

Laudna: "How?"

Delilah: "And thank you"

Laudna: "Noooooo!"

While Laudna is pretty clearly demanding of Delilah to tell her what the gnarlrock is and then later, what she did with it, Delilah is treating Laudna almost like a young child that's gotten ahold of something they shouldn't. She lets her know the object is dangerous, and then takes it away promising to take care of it, all the while refusing to explain anything and only providing shallow comfort that the situation is handled when Laudna presses her.

The way Delilah treats Laudna is also quite reminiscent of the way she treated Cassandra de Rolo, a woman Delilah said "could have been [her] daughter". There's manipulation, there's control, and both of these women where victims of Delilah's reign in Whitestone, but Delilah seemed to consider how she treated Cassandra to be motherly.

Finally, there's the conversation Delilah has with the Hells while they're trying to separate the two during the period Laudna was dead. In the middle of the conversation Delilah says: "If you truly do love your friend than trust that I carry the same care for her that you do." While part of why she said this was almost certainly to manipulate the Hells into bringing her back alongside Laudna, I think she was also being sincere on some level. I think Delilah really does thinks she care for Laudna in the way the Hells do. She doesn't treat her well by any means, when she's not manipulating Laudna she's treating her like a child instead of an adult, but I think in Delilah's mind she's caring for Laudna the way any mother would care for her child.

[cerbreus]

Finally going on morning walks again means seeing all the beautiful spring flowers popping up :-) 💞

[fromtheseventhhell]

The more I think about it, the more I believe that Arya has to have one of the highest chapter counts in TWOW

[hellogoodbyeitsme]

DCU fandom is so funny because everyone is always mad. Feels like living with my parents again 🥰 home sweet home 🥰

[alternautxyz]

guys guyg uys the monkie kid soundtrack would have such a stranglehold of me if they actually released it i need the soundtrack out now

like the score is an essential part of so many of the most iconic parts of the show it adds so much emotion and gravity to the scenes

and i would honestly listen to it on its own on repeat is so good sounding with the melding of different genres of music

i know nothing about how music works but i’d really like to analyze all the the leitmotifs and sounds associated with all the characters and it would be a whole lot easier if they officially released it

anyways look at this please

tldr muisc goob pls giv eitt o us aaaaaaaaaaaaaa

[binders-and-beanies]

Pondering bottom surgery in the tags I mf guess

[copadjacent]

Patrick Jane 🤝🏻 The Doctor an aversion to firearms

[calypsolemon]

consistently torn between "nanami and saionji should just never speak to touga again" and "touga finally recognizing he wants genuine connections and putting in the effort to fix what he's broken and the three of them reaching some sort of catharsis with each other Despite It All"