#New Visuals and Teaser Trailer | Explore Tumblr posts and blogs

niceonet · 5 months ago

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TRAİLERDB - DEVASA+ (3)

As we eagerly anticipate upcoming releases, the right trailer can set the tone and build our enthusiasm for what’s to come. In this blog post, we will explore the freshest trailers, giving you a sneak peek into the films and TV series that are about to hit screens near you. From highly anticipated films to captivating TV series trailers, we’ve got you covered with all the essentials.

Latest Trailers

When it comes to keeping up with the ever-evolving world of entertainment, latest trailers play a significant role in generating buzz and excitement among fans. Every week, we are treated to a flurry of new previews that showcase the hottest upcoming films and series. Here’s a look at some of the most anticipated releases that you should keep an eye on.

One of the most talked-about latest trailers features the action-packed return of a beloved franchise. With stunning visuals and gripping storytelling, this trailer leaves us eager for the release date. The combination of stellar performances and a captivating soundtrack promises an exhilarating cinematic experience.

In the realm of animation, the latest offerings are equally impressive. The trailers highlight vibrant animation styles and heartwarming narratives that are sure to attract audiences of all ages. From family-friendly adventures to more mature themes, the latest trailers in animation showcase the diversity and creativity in storytelling.

Furthermore, the world of streaming platforms is overflowing with exciting latest trailers. With platforms like Netflix, Hulu, and Amazon Prime constantly releasing fresh content, viewers are treated to an array of genres, from gripping thrillers to heartfelt dramas. These trailers give a sneak peek into the rich storytelling and character development that we can look forward to.

Don’t forget that latest trailers also provide insights into upcoming TV series. Whether it’s a highly-anticipated season continuation or a brand-new concept, these previews are designed to engage fans and keep them coming back for more. Expect to see dramatic cliffhangers and intriguing character arcs that will undoubtedly spark discussions among viewers.

In conclusion, latest trailers serve as a window into the captivating stories that lie ahead. They not only excite fans but also shape our expectations of what’s to come in theaters and on screen. Stay tuned for more updates, as there are always more incredible trailers on the horizon!

Tv Series Trailer

In the world of entertainment, the TV series trailer serves as a pivotal tool for enticing audiences and generating excitement. With the rise of streaming platforms, the competition for viewers' attention has intensified, making trailers more crucial than ever.

One of the primary functions of a TV series trailer is to provide a glimpse into the show's storyline, characters, and overall tone. A well-crafted trailer can evoke emotions, build suspense, and leave viewers eager for more. For instance, trailers for popular series often highlight key moments, thrilling action sequences, and dramatic cliffhangers that captivate audiences.

Moreover, the editing style of a TV series trailer significantly influences its impact. Fast cuts, captivating visuals, and a powerful soundtrack can enhance the excitement and engagement level. As a result, viewers are more likely to share these trailers on social media, amplifying their reach and generating buzz.

In recent years, we've seen a shift in how trailers are released. Many production companies now opt for teaser trailers, followed by full-length versions. This strategy keeps fans engaged over a longer period, as each release builds anticipation for the show's premiere.

As viewers have become more discerning, trailers have evolved to include more diverse storytelling elements. Today’s trailers often reflect the complexity of characters and intertwine various plotlines. This trend allows audiences to connect more deeply with the series before they even watch an episode.

An important aspect to consider is the impact of TV series trailers on the show's marketing strategy. They often serve as a crucial element in the overall promotional mix, alongside posters, interviews, and social media campaigns. A strong trailer can significantly boost a series' visibility and attract a broader audience.

In conclusion, TV series trailers are not just promotional tools; they are artistic creations that encapsulate the essence of a show. As the landscape of television continues to evolve, the role of trailers in shaping viewers' perceptions will undoubtedly remain significant.

Trailer DB

Welcome to the your ultimate source for all things related to movie and TV trailers. In today’s digital age, where visual content reigns supreme, trailers play a crucial role in building excitement and anticipation for upcoming entertainment releases. This is where the Trailer DB comes into play, providing you with a comprehensive database of the latest trailers.

The Trailer DB is designed to cater to the needs of film enthusiasts and TV series fans alike. Here, you can discover latest trailers from various genres, ranging from action-packed blockbusters to heartwarming dramas. Whether you’re on the hunt for the upcoming superhero films or the hottest new TV series, the Trailer DB ensures you stay updated on the most recent releases.

One of the standout features of the Trailer DB is its user-friendly interface, which allows easy navigation to find trailers by categories, release dates, or popularity. With an extensive collection of trailers, you can quickly access both local and international titles, ensuring you never miss out on any cinematic gems or trending shows.

Moreover, the Trailer DB is continuously updated with the latest content, offering sneak peeks of highly anticipated films and series. From thrilling horror releases to delightful romantic comedies, there’s something for everyone. Each trailer is accompanied by essential information including release dates, cast details, and directorial credits, allowing viewers to dive deeper into the projects that catch their eye.

Join the community of film buffs and series aficionados today by exploring the Trailer DB. Embrace the excitement of new releases and share your thoughts on the latest trailers with fellow enthusiasts. With our extensive database at your fingertips, you’ll always be in the know about the best upcoming entertainment!

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yurimother · 1 year ago

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'Puella Magi Madoka Magica -Walpurgisnacht: Rising-' Announces Winter 2024 Debut

On Sunday, at Aniplex Online Fest 2023, Aniplex revealed a new teaser trailer for Puella Magi Madoka Magica The Movie: -Walpurgisnacht Rising- (Mahou Shoujo Madoka★Magica: Walpurgis no Kaiten).

The trailer revealed that the anime film, which continues the Puella Magi Madoka Magica main timeline after the events of the 2013 film Rebellion, will debut theatrically in Japan in Winter 2024.

Aniplex also revealed a new key visual for the film and announced that director Yukihiro Miyamoto, who directed the original 2011 television anime series, its two film adaptation, Rebellion, and spin-off Magia Record is returning for Walpurgisnacht: Rising at SHAFT.

He is joined by the previously revealed staff, including the original creators Magica Quartet, chief director Akiyuki Simbou, writer Gen Urobuchi (Nitroplus), and character designer Aokiume. Additional returning staff includes character animation designer Junichiro Taniguchi, who served as Chief Animation Director on previous projects, parallel world designer Gekidan InuCurry (Doroinu), who created the iconic, unique looks of the Witches Labyrinths, and composer Yuki Kajiura.

All of the original Japanese main voice cast from the series and Rebellion are set to reprise their roles:

Aoi Yuki as Madoka Kaname

Chiwa Saito as Homura Akemi

Kaori Mizuhashi as Mami Tomoe

Eri Kitamura as Sayaka Miki

Ai Nonaka as Kyouko Sakura

Kana Asumi as Nagisa Momoe

Emiri Kato as Kyubey

The anime was originally announced back in 2021, but in 2019 at Anime Expo, Homura's voice actress, Chiwa Saito, foreshadowed the sequel, saying that "the actual series has not ended yet" and that she was looking forward to everyone seeing Devil Homura, a reference to the ending of Rebellion, again.

Puella Magi Madoka Magica aired in 2011 to critical and audience acclaim. It became a cultural phenomenon and spawned two movie adaptations, Beginnings and Eternal, the sequel film Rebellion, and multiple manga and video game spin-offs. It is credited with popularizing mixing dark, postmodern tropes with the magical girl genre.

Source: Aniplex Online Fest 2023, Press Release

#madoka magica #puella magi madoka magica #yuri #anime #news #girls love #lgbt #gay #lgbtq #gl #queer #lesbian #manga #yuri anime #mahou shoujo madoka magica

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justanotherhh · 7 months ago

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some trailer things:

big fight around lust/ozzie's place that involves m&m and loona + we know fizzarolli is going to make another appearance, so i wonder how that'll connect potentially. also, new villain?

obvs the whole section of CHERUB working with DHORKS and this massive thing/portal:

john waters big villain episode???? (ghostfuckers from the looks of things)

also more crossdressing in that same episode + millie vs possessed blitz? both millie and blitz giving some evil dead type vibes?

more on stolas' whole social sphere and potential judgement and hell's class politics related to his dating blitz + p much confirmed that blitz will not take stolas' gift in the spirit it was intended

also, "you fucks think you can do this every time-" feels not just like it's about the wider class issues in hell, but maybe like it's personal (potentially with verosika? although it does seem like it's canon that he had more than a little bit of a hand in ending that relationship, so could just be him echoing everything he's been seeing in the treatment of imps and putting that onto stolas in this moment)

and then "thank you blitz, for making me so happy, even for a little while" is during this moment too. lot of teasers for how this is gonna go down (badly, upsettingly, emotionally)

the whole "do you feel any remorse for what you do" feels like a misdirect -- that is, it's edited to look like it's about blitz, but i feel like it's directed at stella or her brother

generally a lot of fun stolas visuals that i won't get into here, but am excited to see more contexts for

also this isn't new, but im always interested in blitz's heart/broken-heart forehead marking

blitz and tilla moment! generally more flashbacks (in the shape of blitz seeming to be almost at the movies, watching his own "failures") around the time of the fire! i didn't see any barbie stuff, alas, but the rest of it looks !!! also lowkey confirmed it was cash who stopped blitz from seeing fizz in hospital

who's this?

another sin? maybe related to ozzie and/or stolas and that judgement of the kinds of people they love?

blitz protecting stolas - maybe from the above, considering the hand motif of it all... stolas really living the life of blitz as a romantic hero, while blitz is barely holding it together as a person the whole time. different genres, my guys. different genres (that's their real communication issue)

this fuck-you-blitz cake looks like a verosika thing to do, esp considering it's her calling him shitty in the VO -- but yay, maybe giving that verosika catharsis, but also generally just verosika!

also the VO part where he says he doesn't want to be this way, he's wearing the same shroud as during his confrontation with verosika. idk, im just. contexts for things. i am curious

is the below also the same episode? I'd think so. it's set during halloween (?) and blitz is then maybe in the blood-covered shroud (costume? undercover? going undercover as a ghost? post-breakup stalking undercover ghost costume?)

MAMMON! and he looks pleased. oh dear.

this blitz + fizz moment

it kinda looks like blitz is wearing the same tee as when he and stolas have their moment + a horse bag + fizz casual wear. fizz generally in this trailer seems to be having the best time (outside the flashbacks). everything makes me suspicious all the time

(also generally hello all the different outfits coming up!!)

fascinated by this:

is that millie?

things we didn't see:

no barbie, no striker, no crimson, no asmodeus (directly, although his imagery is everywhere + fizz and mammon appear), no paimon -- this not to say none of them will show up, but am enjoying that a lot of this is clearly pulling from s1, with the focus on verosika, DHORKS, and CHERUB -- potentially a lot of the s2 villains need some time to lick their wounds a bit (and paimon was never a Villain, just a terrible parent... if he ever returns though...)

and barbie... i do want to see barbie again soonish ngl, she needs some proper introducing, but this is already giving so much callback and continuation of immediate plot-threads, very excited

#helluva boss #verosika mayday #blitzø #blitz #stolas #blitzo #helluva millie #helluva moxxie #helluva loona #DHORKS #CHERUB #helluva mammon #fizzarolli #stolitz

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byhees · 1 year ago

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you fangirling over them.

엔하이픈 ・ female reader + word count 500 genre fluff established relationship idol au warnings not proof-read skinship light profanity — more

a/n. requested!

heeseung would be so incredibly smiley; he hadn’t expected for you to show this much adoration towards their new concept pictures, let alone squeal this much over their comeback teasers; listens to your rambles on how “insanely attractive he looks whilst doing even the most minimal of things” and on how “flawlessly pretty his skin looks”, with the most tender of smiles…

jay would honestly be a little embarrassed— i mean, you’re actively going on a passionate spiel about how his visuals are breathtaking and simply out-of-this-world, so how can he not? would raise his hands to shield his reddened cheeks from you, not wanting you to spot his obvious fluster; “oh my god, babe… it’s not that—“ and he’s instantly cut-off with a disbelieving “what??”; would genuinely feel so loved, because here you are, complimenting him and whisking his doubts away…

jake would flash the biggest, most charming, smirk; would drape an arm around your shoulders, tugging you close to his side— hums a little “oh really?” in response to your endearing fangirling, a small smile tugging on the corners of his lips; occasionally bites his bottom lip to hold back a little giggle, finding your exaggerated hand gestures and dramatic explanations, extremely adorable…

sunghoon would be flattered beyond the capability of words; would probably be really bashful, the swell of his cheeks tinted a pretty pink shade; has to pull you close, and bury his face in the crook of your neck, for most parts, finding your compliments really, really flustering. “oh my god?? you look so incredible.. and so ethereal… and so beautiful”, and he’d be left blushing, the tips of his ears warming up…

sunoo would probably giggle upon hearing your rambles; honestly gets pretty shy at your use of vocabulary— surreal, handsome, elegant? they all have him melting; would probably tease you for your reactions, finger raising to boop you on the nose; has to hold back a chuckle when he finds out that you’ve set one of his pictures as your lockscreen…

jungwon would be so, so shy; gets all flustered when you bombard him with heaps of compliments, his dimples making a faint appearance in the midst of your fangirling; eyes shifting to land on nearly every object in the room— cheeks dusted with a pretty red hue when you tip his chin up, locking gazes with him; is really touched when you continually rewatch the comeback trailer, eyes twinkling with unwavering admiration and pride…

riki would feel so proud; listens to your rants on how “stunningly pretty he looks”, and about how “superb he is at acting, especially in their recent trailers”, with a little grin; “oh, really?” he’d hum, the widest of smiles etched on his features— and when you send an aggressive nod his way, he only bursts out into a cacophonous guffaw; finds you so adorable— can’t help but to ruffle the top of your head, a sweet smile glued onto his lips…

taglist open! @halcyoni-ki @wondipity @yjjungwon @shysakuno @niktwazny303 @vnsux @minhosify @haechansbbg @yeomha @stepout-09-15 @chansburgah @sona-verse01 @lilly-bubblelops @smouches @mrchweeee @luvistqrzzz @nwjws @ibsysbsfsunsbs @rikisly @amyysfics @mixtape-racha @berry-and-kkami @rikislady @gweoriz networks! @kflixnet @enhanet @k-labels

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lu-is-not-ok · 6 months ago

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Timekilling Time Trailer Frame by Frame

That's right. The second trailer for Timekilling Time is out, and I'm gonna go through it frame by fucking frame. I've always done this for story-related teasers and trailers, just not on Tumblr. So, might as well do it here for once.

First thing after the logo of the event:

We see a view of a T Corp street. The visual effect over some of the silhouettes if very interesting, especially considering it's almost completely unseen on the more working-class looking people, while being very extreme on the one person with color. Some sort of visual cue showing how much 'Time' currency everyone owns perhaps?

Judging by the golden accents and clockwork motifs, seems like a T Corp official dealing with one of the workers. The official does mostly match the outfit one of the T Corp collectors we see in Canto 4, so we might be seeing some more intricacies of whatever their job entails in this Intervallo.

The transition between this and the ID showcase is a glitchy effect, interestingly enough.

Project Moon why the fuck is Ryoshu's dialogue so goddamn blurry here? Whatever, we'll get back to that line later. Let's focus on what we can see.

Ryoshu is getting the 00 Identity, and is an Event Reward, meaning you'll be able to get her through grinding the event itself. Also, in case the pattern on the bandana wasn't already a dead give-away, then the name of the identity will be - we're dealing with the Yurodiviye again.

This has. A lot of lore implications. For one, we know from Canto 2 that the Yurodiviye are no longer confined to just District Y, but the fact that this is a confirmation they exist in District T as well means they are far more widespread than we might think.

Also the role they seem to take on is very interesting as well. In Canto 2 we learn of them as being a Syndicate that has connections with a bunch of other Syndicates in District J, but in here it seems like they're more official than that? We're talking straight up detective stuff, with the previous teaser implying the people we'll be working with are actually officially recognised by T Corp. Just what the fuck has Sonya been doing?

First look at event combat. Unsurprisingly, we're in the streets of T Corp. Interestingly, we're fighting the human T Corp Collectors we got to see in Canto 4 but didn't get to fight. Does that imply some sort of inner conflict in T Corp? Like I said above, the previous teaser implied the detective work we're doing is for T Corp's interests, why are we being impeded by other T Corp officials?

Looking at the Skill animation, Ryoshu's Skill 1 is two coins.

Skill 2 looks like maybe three coins?

Skill 3 is definitely three coins, and that is Very Much a Tremor Burst sound effect on the last coin. We got the Tremor baby!

Finally, some readable dialogue! Doesn't give us much, but "Shake down the loaded pigs..." shows us that even in their new role, Yurodiviye still despise the rich and focus on redistributing wealth.

Also, hi Hong Lu! You're here early! We'll get to you in a moment.

Let's talk about Ryoshu's guard, as the trailer very nicely shows us that's what Ryoshu is using.

"...and share the pilfered time with everyone." Yup, just as I said, redistribution of wealth.

Anyway, Ryoshu's guard seems to have a sort of Assist Attack mechanic to it, causing her to follow up with an attack of hers after Hong Lu's own attack. This Defense Assist Attack appears to be two coins, with a Tremor Burst on the second. Already looking very interesting as an ID.

Good lord Project Moon, what is it with the unreadable Ryoshu dialogue?! At least this one is slightly legible. "Pictures? Hmph, fine-snap away. Just make sure to get all the blood splatters." This combined with the post-uptie art showing an overlay of a camera with a shattered lens gives the idea that the Yurodiviye are somewhat well known I think. Enough to warrant taking pictures of.

Aaaand here's man of the hour! A 000 Identity that will be in the Gacha - District 20 Yurodivy Hong Lu. Same faction as Ryoshu, and the fact that we are definitely dealing with a Detective archetype here, again, it brings Yurodiviye's spot in T Corp into question. Are they going to be the people we help out, or are they the bad guys we'll be catching?

There's a lot to unpack here. First - "Hmm... What an amateurish finish... They must've been really pressed for time." - again with the Hong Lu identities utterly unphased by violence! What is the deal with him! The fact that he comments on the murder scene in terms of 'finish', as if judging a piece of art, is extra suspicious considering we've got Ryoshu as the other Identity here. It also has a weird connection to Sign of Roses's Observation Log, where Hong Lu starts describing it as if it's an art piece. Something is going on here.

Next, probably the least important part - new Hong Lu hairstyle! This is the first time we get to see Hong Lu with a low ponytail, as opposed to his usual high ponytails.

Finally, something I'm sure everyone has been talking about since the first teaser we got of this Identity - the marks under his jade eye. That is very clearly a T, again seemingly marking him as connected to T Corp itself in some way. Add to that the uncanny resemblance those marks have to the barcode mark under Alphonso's eye, and we've got one hell of a mystery. What the fuck is his deal!

Another look at event combat. A different area of T Corp + a return of the more robotic looking T Corp collectors. I repeat, why are we fighting T Corp collectors if we're working with T Corp on this case? What the hell happened?

Anyway, Hong Lu's Skill 1 seems to be a two coin, and I believe this is the same animation as in the Ryoshu Defense Skill showcase, meaning we got a potential early peek at its Sin Affinity - Gloom! Doesn't bode well for this Hong Lu story-wise!

Skill 2 is a three coin skill.

"Okay, let's think. How would I do this, if I was the killer? I just have to slowly think it through, and..." Now, this doesn't have to be that deep, but this line combined with the previous one where Hong Lu judges the murder scene as 'amateurish' feels... just the slightest bit sus.

"...Hehe, I suppose I'll find the truth sooner or later, hm?" He's the worst. I love him. Anyway.

CAN WE TALK ABOUT THAT SKILL 3?

First, the animation start with Hong Lu spitting out the stick he's had in his mouth, which is followed by a flashy either one or two coin skill with a Tremor Burst, which is then followed by that same eye sparkle effect that signifies SP healing in the Liu Identity and Dieci Identity. SP heal on stagger? SP heal on Tremor Burst? Fuck if I know.

That eye is definitely sparkling. Project Moon please give us eye lore.

Also, the background is very interesting. The visual style and slight transparency makes it feel like a sort of replay of events. Is that what his eye allows him to see? Just straight up visualizing the murder?

And let's not forget the dialogue line. "Hm... let's think about what we should target next." This is. Ominous. Again, we know very little about why Yurodiviye are involved, but judging from Ryoshu's dialogue lines their core motivations haven't changed. What does it mean for them to 'target' something? Are they faking being detectives and just framing people to get their 'Time'? It is notable that the title of Hong Lu's Identity never actually refers to him as a detective or anything of the sort. Just what are they scheming?

Another glitchy transition out of the ID showcase section. Glitches seem to be a recurring theme for this Intervallo.

Anyhow, time for the event enemy showcase!

We got another look at the T Corp collector guy from the ID showcase, not much to say here.

Next up we've got... Oh! That's a Yurodivy! Looks like regardless of the faction we'll be actually working with, we'll be making enemies with everyone! That being said, it's exciting to know we're finally seeing the Yurodiviye in combat, even if it's just a very specific branch of them. The chance for a future Sonya fight or Sonya Rodya ID has risen due to the fact we're seeing this faction in action!

T Corp collector guys from Canto 4, yup, we've seen that earlier as well.

And here we are. In a split second frame. That is the character that Hong Lu's Identity is based on! Not much else to say on this because it's such a quick snippit, but it again puts Yurodiviye's role in the Intervallo's story in the question. If we don't start off working with them, why are they appearing as detective types? If we do start off working with them, what happens to make them turn on us?

Fascinating.

Also, another glitchy transition.

Alright, there's a lot to talk about here. First off, the CG in the background - what the fuck is going on.

Dante and Hong Lu (in his detective garbs) are looking at Meursault in... some Zero Time Dilemma looking ass contraption. Meursault has his arms crossed, the contraption connects to his head, and there's a T Corp logo on it. I honestly have no idea what to do with this information.

Next up - the dialogue line and character sprite silhouette.

"We observed a large-scale, unauthorized temporal leakage phenomenon... which shot you up the progressive Time Tax bracket due to the immense amount of time leak." Uhhhh, I understand what those word mean on their own I guess. My only guess here is that this is the work of Yurodiviye in some way. Looks like Limbus Company is gonna be dealing with the fallour of this temporal leak, whatever that entails.

The character silhouette itself... doesn't give us much. A secretary of some sort? One of the T Corp officials giving us a job? Hard to tell.

Again, a lot to look through.

First we got a view of the whole room the previous CG is taking place in, including office desks and a shitload of clocks everywhere. We're definitely in some sort of T Corp office space, that's for sure.

"Isn't it absolutely brilliant? The very concept of 'killing time'. They're not slowing down or speeding up time; they're eliminating it completely, just entirely yanking it out of circulation." Hmm... Again, hard to say much about this line with its lack of context, but it certainly does seem interesting. All of T Corp stuff we've seen thus far does rely on things like speeding up or slowing down. The TimeTrack upgrade in LobCorp lets you speed up time. The L Corp time loop and the R Corp hatchery compress time so that what takes a long time inside takes less time outside. The Warp Train collects the time of its extremely long travels to sell to T Corp. Straight up deleting time seems very different from what we've seen thus far.

Also, the matter of the silhouette - whoever it is doesn't seem to be the same person as the Yurodivy we see in the split second frame, so whoever this is likely has no connection to Rodya or Sonya.

...This might sound a little out there, but I feel like this would be the perfect opportunity for Project Moon to pull out their own version of Sherlock Holmes. It almost feels like a waste to not include that reference in a detective themed Intervallo.

And now for the biggest surprise of them all from this Trailer - Faust is getting a WAW E.G.O. The name of the E.G.O itself is Everlasting, and the Abnormality it's based on is the Time Duck from the Mirror Dungeon event, also known as the Abnormality that gives the E.G.O Gift Melted Spring.

Not much is known about the Abnormality, as its MD Event primarily connects it to the Duck-Rabbit Illusion, where you have to tell it whether it's a Duck or a Rabbit in your eyes, with the Abnormality fleeing if the answer isn't confident enough.

"How does it appear, my form in your eyes? Perhaps within the clockwork of time the answer lies?" First of all- nice rhymes. Second of all - this is a direct reference to the MD Event, but also very interesting with regards to Faust herself. There's a lot about Faust that shows she lacks self-awareness, with her describing herself as someone who only speaks when asked and doesn't talk much, when in reality she goes on endless tangents without prompting. Add to that the Council of Fausts theory, and it makes the idea of her seeking the opinion of other people with regards to her identity resonate quite intensely.

Also, I'm pretty sure more than enough people have made comparisons between Everlasting Faust and Eileen the Church of Gears leader, but it has to be stated that there definitely are some parallels here. Again, further adds to the Council of Fausts theory, as it would make Everlasting Faust a mirror to Eileen. Eileen, who controls the gears in her head, and Faust, who is controlled by the gears in her head.

Oh, and the E.G.O is Tremor as well. Because why not. At least Faust has a good Tremor Identity already, so it works well.

Putting this here for the woman likers.

Corrosion time. For one, Faust takes on a distinctly bird-like form here. Not sure what exactly this means in the grand scheme of things for the E.G.O's meaning just yet, but it does feel important to note.

"Thus. You cease to move. Trapped in the stopped time. For eternity." ...Hm. There's a few ways this can be interpreted. If we ignore the time-related references and treat them as something only connected to the Abnormality, it gives us the idea of Faust being trapped. Being unable to move on her own, likely due to her extreme ties with Limbus Company and/or the Council of Fausts.

However, adding the time motif into it makes it more interesting. There's a lot of ways one can be 'stuck in time' and unable to move forward. One is a literal time stop Za Warudo style, and another is being trapped in a Time Loop, being unable to make progress due to always being reset and thus ceasing to move for eternity. Both feel relevant to Faust when it comes to what little we've learned of her 'goal' from her original character PV.

There's something Faust is seeking above all else. Some piece of knowledge that is nigh unobtainable. ...But what comes after she reaches it? I think the Corrosion line alludes to exactly that.

If it's a Time Stop scenario, that means that once Faust reaches the unreachable she will just. Stop. There's nothing left for her. She'll be trapped for eternity knowing everything she wished for but being unable to keep moving forward, because there'll no longer be anything for her to move towards.

If it's a Time Loop scenario, that means that Faust's constant push towards the unreachable is an inescapable loop. Once she learns what she wishes, it won't be enough, and she'll just repeat the process again. Stuck in a cycle of reaching everything, coming back to nothing, and reaching for everything anew ad infinitum. No movement made in the process, because she always comes back to square one.

Either way, it doesn't bode well for her.

On another note, the animation fucks severely, and there's another glitchy transition.

Time Georg. Sorry. Actually not sorry.

Seriously though, we get to see another view of T Corp streets, this time with one of the factories in the background and, funnily enough, the fucking Big Ben. We really are in London.

"An average T Corp. citizen has about 20 to 28 hours in a day, but you might also run into people like him; people with plenty time to spare. Because he has so much surplus time, he can afford to condence 40, 50 hours into a single day." Looks like the 'Time' currency doesn't just act as money - you literally can use it to manipulate your time scale. If you're rich, you can do like L Corp Time Loop and make yourself experience more time than everyone around you. It's also notable that the average T Corp citizen can go as low as having less than 24 hours in a day. Guess that explains why people are so desperate that they try to steal 'Time' from each other - their days literally get shorter than more debt they have.

Also, who is this 'him'? Who is this mysterious man with so much ''Time' he can have double his daily hours? I wonder if it's the fully colored man from the first CG of the trailer?

Hey it's the same factory CG from the previous teaser! Nice to know we're still on the track of visiting one.

"And to people with fewer hours in a day... it'll look as though he's moving two, three times faster than them. Someone with that much time could pick their nose in the blink of an eye before anyone even has the chance to catch them in the act." Yup, this explains the visual effect in the first CG. People with a lot of 'Time', who can have more hours in a day than other people, straight up look like they're moving so fast they leave behind after images.

Also, this very much feels like a commentary on how the rich can get away with things just because they're rich. A man rich with 'Time' can get away with unsightly behaviors just because he moves so fast people can't see him do it, just how real life rich people can get away with crimes because they have enough money to not care about fines.

Another glitch transition.

We get to see the iconic CG from the Roadmap, this time in washed out T Corp colors and in all its glory. God I'm excited for seeing more of these goobers.

After we get the logo again, not only do we see the glitch effect, but the music completely cuts out.

What follows is a constantly glitching out text with a background noise that gets louder and more discordant as it goes on.

"Can't wait for what won't come."

"Now is the time for action."

"All those time-killing bastards..."

"I'll..."

Hmmm. Curious and ominous. The presentation of these words does not bode well for the fate of whoever is speaking them, but the content makes me even more interested.

Because... this is Yurodiviye we're talking about. Sonya's whole thing was that he kept reading and learning about theory instead of actually acting until after Rodya commited murder, and even then his personal actions within the group seems confined to establishing connections with other Syndicates and delegating duties to others.

So to have someone who opposes the idea of sitting back and waiting so vehemently in the same Intervallo as Yurodiviye coming back into the spotlight... It is certainly interesting, don't you think?

Alright, that's all for the Trailer! Holy shit I'm excited for this Intervallo.

#lu speaketh #limbus company #limbus company spoilers #timekilling time #intervallo 6.5 #limbus company teaser analysis #limbus company analysis #ryoshu lcb #hong lu lcb #faust lcb

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balioc · 1 year ago

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Thoughts on the Barbie Movie

Hoo boy. Here we go.

This is long. Spoilers abound.

The movie is not, in any normal sense, a Barbie movie (like this or this or this or whatever). It is not a story of Barbie doing the kinds of things that Barbie does in stories. It is an endlessly postmodern and self-referential movie about Barbie, which is to say, about the Barbie franchise and its role in culture. Which is, at least plausibly, an interesting thing for a movie to be.

You probably knew all that already. But it does give us a baseline of "this movie kind of had to be political and discourse-y, one way or another." Or even, to be more specific: "to some large extent this movie had to be about feminism, explicitly, if it was going to exist at all." How could you talk meaningfully about Barbie's role in culture without touching on that stuff?

The evaluative TLDR:

Barbie is very ambitious, and in many places very fun. It is also deeply confused, and fragmented, about what it's trying to say and do. Often it raises genuinely interested problems/scenarios and then totally fails to address them, or else addresses them in ways that are incoherent. The text knows that it's doing this, and on several occasions kind of apologizes for it; a couple of times it more or less looks into the camera and says "sorry, we're not going to deal with this properly;" but, well, that's not a substitute for dealing with things properly.

There is also a streak of genuine political nastiness running through the film, in a place where the story really cannot afford it. It...doesn't match up, tonally or thematically, with some of the surrounding material. I have no background at all in cinematic stratigraphy, but I would be fascinated to learn about Barbie's editorial history, because I have the vague sense that a more-cogent (and more-interesting) story got hacked apart and then Frankensteined together into something much cheaper and worse.

III

The opening sequence of the movie is wild. You've seen most of it -- or you can, if you haven't, and you want to -- because it is the film's first teaser trailer. Girls are playing listlessly with baby dolls; a giant Barbie appears like the monolith from 2001: A Space Odyssey; and then the girls enter a frenzy of destruction, bashing their baby dolls' heads against the ground.

I don't know whether I would have found it as disturbing as I did, if I didn't actually have a baby of my own. But speaking from the standpoint of a parent...yeah, wow, it's more viscerally horrific than most actual horror I've seen recently. The narration says some stuff about Barbie providing a new and more rewarding set of imagination games to play, but the visuals by themselves tell a message loud and clear, which is: Barbie will turn your daughters into infanticidal maenads. It wouldn't need any editing at all to be part of a shock-you-silly Reefer-Madness-y moral panic film.

Which is really good! And really interesting! It starts us off on an undeniable thematic note: there is something primal and powerful and very dangerous about Barbie.

The very best part of the movie is probably the part that comes right after the opening, when we explore the movie's depiction of "Barbieland" by going through Barbie's Typical Day, before we get into any of the notional plot or metaphysics. It's joyful and charming in a consistent way. The gags are (mostly) great. The movie is in love with its base premise, and that love is palpable.

This sequence makes one thing very clear:

Barbie treats Ken like absolute dogshit. She is a bad girlfriend.

And it's taken seriously. I mean, it's played for laughs, almost everything in this movie is played for laughs, but...it's not mean-spirited, not here. It's not, like, "ha ha, Ken, what a contemptible loser." He's Pierrot, asking for very basic forms of affection and attention and respect, and getting the door slammed in his face over and over. It's honestly kind of heartbreaking.

That colors everything that comes later.

The movie doesn't forget this, or fail to acknowledge it. At the end, after everything, Barbie does apologize to Ken for her treatment of him. It's a halfhearted and supremely unsatisfying kind of apology, especially in context, but...it's there, in so many words! I'm not making it up! This thematic foundation was laid down, not-very-subtly, right at the beginning!

This movie, which is at least trying to be ambitious, is juggling a million themes. Many of them are dumb at their core, and have no real promise; many of them lack any kind of narrative synergy with the others. But there are at least two which, I believe, (a) are genuinely worthwhile individually and (b) work well together in a story.

One is: What does it mean to be a symbol rather than a person? To exist, not for your own sake, but for the sake of influencing the dreams and culture of entities that you don't know and can't really understand?

The other is: What is the proper ordering of the relationship between Barbie and Ken?

I've seen a number of Takes in which people say, essentially: Couldn't this have ended with the Barbies and the Kens just being decent to each other and treating each other like humans? Couldn't there have been equality and mutual respect, instead of the weird uncomfortable girlboss-supremacist stuff that we got? And I sympathize with that impulse tremendously, but the honest answer has to be: No. We cannot have simple equality and esteem between Barbie and Ken, not in a movie like this. That would be a lie. Because this is a movie about Barbie-as-symbol, and when you're looking at Barbie through that lens, it is true and unavoidable that Ken is an appendage and an afterthought. You can have toys for boys; you can have dolls for boys (even if you call them "action figures" or whatever); for that matter, you can have dolls of boys for girls, so that girls can tell stories centering on male characters; but that's not what Ken is, and never has been. There are no Ken stories, and no one particularly wants them. Ken exists to be Barbie's boyfriend.

(One of the most painful moments of the movie comes during the resolution wrapup. Ken wails to Barbie that he has no identity outside her. She says, basically, "you have to find one, because I'm leaving you." And he...acts like he's had an epiphany, and does a little silly celebration. But his "insight" is just literally "I'm Ken," there's absolutely nothing there, and of course it's the most hollow and awful thing in the world because he really does have no identity outside her.)

The movie's metaphysics are not even slightly consistent. The nature of Barbieland, and the ways that it affects and is affected by the real world, are completely different in every scene. In large part because the film can't ever pass up a gag, whether or not it's funny, no matter how much damage it does to the narrative and the theming overall.

The worst part is that the movie is not capable of saying anything remotely coherent about the real world, because its version of the "real world" is as weird and fake as its Barbieland. Will Ferrell's CEO of Mattel character is more of an absurd cartoon than any of the Barbies or Kens. Mattel HQ is some kind of surreal labyrinth tower out of The Matrix. A random receptionist can handle herself like James Bond in a car chase, for reasons that are [handwaved in a gag].

VII

So. Yes. There is the sequence in the third act where Ken takes over Barbieland with the power of patriarchy. This is pretty much as bad as it can be. And I say this as someone who thinks that the movie probably did actually need a plot thread doing roughly that kind of thing.

Almost as bad as it can be. The wannabe-patriarch Kens are gleefully goofy in a way that you can't help but love, or at least, I couldn't help but love it. Which has something to do with the writing and something to do with the charisma of all the Ken actors. The main Ken, Ryan Gosling's Ken, really seems to believe that being a successful patriarch has a lot to do with riding majestic horses and wearing a giant fur coat without a shirt, and when he takes over Barbie's Dream House he names it Ken's Mojo Dojo Casa House -- that kind of thing.

But. Apart from that, it's real unfortunate. The justification for Ken's ability to conquer Barbieland with patriarchy, instantly and effortlessly, is -- in almost so many words -- they had no defenses against it, it was like the American Indians encountering smallpox. I...don't think I need to spell out the problems with that.

Worse yet, the whole sequence is soaked in, uh, let's call it "2014-era upper-middle-class social-status-oriented feminism." The real bad behavior on the part of the Kens, the stuff they do when they're not being adorably weird, is: mansplaining their extensive opinions about cars and movies, and wanting to show off how helpful and knowledgeable they are to "damsels" who are having trouble using machines or computers. Apparently that's the real problem at hand, the causus belli of the gender wars. The way that you deprogram a patriarchy-brainwashed Barbie is by...ranting to her about the stereotypical social irritations of upper-middle-class women (e.g. "you have to keep yourself thin but not act like you care about being thin," "you have to be a confident leader but also be nurturing and supportive," etc.) [note that the Barbies of Barbieland have never encountered these irritations, at least not at the hands of men]. And the girlboss victory montage consists of having the Barbies put on deceptive manipulative bimbo acts to stroke the Kens' egos, which sure is one way to depict girlboss feminist victory.

But the most unforgivable thing of all is the depiction of the patriarchy-brainwashed Barbies. They're lad-magazine caricatures, endlessly offering their Kens "brewski beers," dressing up as French maids, gazing on in cow-eyed adoration as their Kens mansplain stuff to them.

Barbie does, in fact, have a problematic history with the patriarchy. And it does not look like that.

VIII

@brazenautomaton:

Barbie isn’t someone who had to fight through the patriarchy to be seen as good enough to be an astronaut even though she’s a woman. Barbie’s a fucking astronaut because she’s fucking Barbie of course she’s good enough to be an astronaut.

That is...one aspect of the deep Barbie lore. It is the Barbie-nature that Mattel was trying to push, as far back as my own childhood; it's certainly the Barbie-nature that Mattel is trying to push in this movie. But there is another side to Barbie, even older and even more fundamental than Senator Astronaut Veterinarian Barbie, and you can't make a postmodern movie-about-Barbie without addressing it.

This is Barbie the fashion doll. The Barbie who is an icon of ultra-consumerist teenage girlhood, whose life is defined by her fancy clothes and her fancy car. The Barbie whose most salient traits are her hourglass figure and her long blonde hair and her feet that are always posed to fit into high heels. The Barbie of "math class is tough!" The Barbie who is kinda vapid and shallow and, yes, boy-crazy.

How can you tell a story about Barbie wrestling with the culture of patriarchy, and not talk about that? How can you depict Barbie falling victim to the patriarchy and have it look nothing like that?

...the movie does bring up the specter of Vapid Consumerist Barbie, briefly. When Margot Robbie's Barbie first comes to the real world and meets with the sullen teenage daughter character, she has a litany of That Thing thrown in her face, and it makes her sad. But nothing is ever done with it, and it goes nowhere.

And it could all have fit together so well. That's the hell of it.

You can imagine the version of the story in which Ken conquers Barbieland with patriarchy, because the Barbies are actually vulnerable to patriarchal narratives, because Vapid Consumerist Barbie is the chthonic serpent that gnaws at the foundations of Senator Astronaut Veterinarian Barbie civilization. He successfully makes them all forget that they're senators and astronauts and veterinarians, and turns them into airheaded teenage fashionistas who think that math class is tough.

And this avails him, and the other Kens, nothing. Even within the "patriarchal" version of Barbieland, Ken is still an afterthought and an appendage. He still gets treated like dogshit, just in a different idiom.

Because the thing that has always been true of Barbie, though every age and every phase of her mythos, is: she is the main character of her own story.

This is what the movie was telling us all the way back in the horrific 2001-pastiche prologue, right? Even when Barbie was just a swimsuit model, the point was that she let girls tell stories about themselves (or idealized/aspirational versions of themselves), not about boys or babies. That is a truer, and more powerful, feminist message about the meaning of Barbie than any message the movie actually bothers conveying.

The gag scene practically writes itself: the brainwashed Barbies are sitting around in a giggly slumber-party huddle talking about how dreamy Ken is, and actual Ken cannot get a word in edgewise, he can't even get them to notice he's there, because even Vapid Consumerist Barbie is fundamentally centered in her own life. Her narrative is not about a boy, it's about the experience of being a girl (mostly engaging with other girls) who likes thinking and talking about boys. Which is very much beside the point, if you started out with the complaint that your girlfriend never paid any attention to you.

Patriarchy hurts men too, indeed.

The movie ends, as I've intimated, in a disappointing squidge of thematic confusion. Barbie announces that she never really loved Ken, and leaves him, because...well, because these days the smart-set target audience is allergic to romantic narratives that Produce the Couple, as far as I can tell. Then she goes to the real world and becomes a real girl, a move that means nothing and is nonsensical even by the standards of the Barbie metaphysics, because the storytellers don't know how to end her arc and Becoming a Real Girl is the sort of thing that feels like a meaningful conclusion.

The Kens...sigh...the Kens ask for equal rights in Barbieland, more or less, and get told, "nah, but we'll throw you some bones." And they're happy with this, more or less, because they're dumb and don't really care. The narrator says, approximately, "maybe someday they'll make as much progress as women have in the real world." Haw haw.

It's probably too much to hope for a movie like this to be willing to say something substantive about responsibility and kindness in relationships. It's almost certainly too much to hope for a movie like this to be willing to say something about the nature of love symbols and love narratives. But all the pieces really were there, laid out very conspicuously. The movie could have wrapped up with: Ken doesn't need to be more important than Barbie, he doesn't even need to be as important as Barbie, he just needs to be treated with human decency. And if little girls are going to play with Barbies, and fantasize about having cute guys hanging all over them -- maybe they should have functional models of romance and human connection in which to root their fantasies, and not terrible ones.

#media analysis #barbie

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satoshi-mochida · 1 year ago

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Cupid Parasite: Sweet & Spicy Darling coming west in 2024

Gematsu Source

Idea Factory International will release otome visual novel Cupid Parasite: Sweet & Spicy Darling for Switch in 2024 in the west, the publisher announced.

Cupid Parasite: Sweet & Spicy Darling will launch first in Japan on November 30.

Here is an overview of the game, via Idea Factory International:

About

While working for a major marriage agency named Cupid Corporation, Cupid the goddess of love herself, strived to become the top bridal advisor. She was assigned five hopeless clients known as the Parasite 5! Even after guiding them through mock dates, matchmaking seminars, and the reality show “Parasite House,” all five abruptly canceled their memberships! Yet their departures brought all their personal challenges to the surface. As she confronted these issues with them, they overcame many unexpected obstacles… And she fell in love with “him.” This is the continued love story of the goddess of love, Cupid, experiencing love firsthand. It’s the tale of when she becomes a goddess “only” for him. Marriage wasn’t the end goal, but the start of a new chapter. Whether they began dating or got married, the only thing awaiting them is a series of unexpected challenges! A mysterious new creature has appeared in Los York! Could it be a divine message or evidence of an unknown civilization? A love story so sweet, it’ll make your heart melt! The whirlwind of feelings taking the world by storm is far from over! An endearing, joyful, and chaotic tale that’s richer and more exhilarating than ever! This romance featuring a former goddess is so sweet and spicy, it’ll make your teeth ache and set your soul ablaze! And in Merenice Levin’s route, her days as Cupid are far from over! A romantic and comedic story in the world of matchmaking is set to unfold!

Key Features

Sweeter and Spicier! – Return to Los York with the original cast of Cupid Parasite, plus an all new-character Merenice Levin. Rendezvous with seven of the sweetest and spiciest bachelors in up to three game modes and unlock over 80 CGs, including some that may be too hot to handle!

All Different Flavors to Choose From – Pick from three different modes that can satiate anyone with a sweet tooth. Select “After Drama” mode to follow-up with the original Parasite 6 and pick up from where you last left off. Go with “New Parasite” mode for a chance to experience Merenice Levin’s perspective of the events that take place after the common route of Cupid Parasite. You can also explore routes you unlocked in “Bonus Episode” mode for six bonus episodes with their own unlockable CGs!

In Sweetness and In Spiciness?! – You must choose the flavor of the next course. Will you go with the sweet? Or will you go with the spicy? When prompted with the choice during gameplay, select between sweet or spicy to impact the ending of your selected route. Manage to balance the flavors for a chance at something really appetizing.

Rich, Decadent Visuals and Savory Scenarios – The original scenario writer and illustrator of Cupid Parasite return! Ririka Yoshimura (scenario writer) and Yuuya (illustrator) join forces once again to bring fans a delectable addition to the Cupid Parasite universe.

Watch a teaser trailer below. View a set of screenshots at the gallery. Visit the official website here.

Teaser Trailer

youtube

#Cupid Parasite: Sweet & Spicy Darling #Cupid Parasite #Idea Factory #Idea Factory International #otome game #visual novel #Gematsu #Youtube

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pookietsunoda · 4 months ago

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I'm trying to withhold judgment on the new F1 movie given that we've only seen a teaser trailer, but I shan't lie I'm going to be a little disappointed if it's just Brad Pitt made a self-insert F1 fanfic, or a live action version of Cars 3. (Former great needs to get over himself to mentor the next generation.)

Not saying Cars 3 is bad! Just that even in the last ten years in REAL LIFE there have been so many movie worthy stories of nearly Shakespearian proportions that could inspire more original works of fiction.

Ex. Brocedes-- two childhood friends who achieve their dreams of racing at the highest level, only to be torn apart by professional rivalry. Includes optional homoerotic subtext. (Though ofc they wouldn't make the movie abt anything close to brocedes because Hamilton is producing it, and that would be awkward lol.)

Or Fernando Alonso's long and eventful career, and how like Forrest Gump he is somehow in proximity to the craziest F1 drama and scandals? (Fernando breaks the fourth wall constantly and is an unreliable narrator.)

Heck, in 20-30 years I'd watch the hell out of a decently made Max Verstappen biopic. What makes a racer great? And how does it feel to have your overbearing F1 stage dad living out his dreams through you?

Even with the same plot, it would be a much more interesting film to focus much more on the human drama of how as an athlete, you either retire in your prime and question what you could have still accomplished, or slowly decline and watch yourself replaced by younger and shinier things. Do you risk your health and legacy by trying to still win glory for yourself, or do you allow yourself to fade into the background? Focusing on the emotional stakes would make for a much better film than just technically impressive visuals.

Also I found out bc of posts about the F1 movie that Brad Pitt allegedly abused Angelina Jolie and their kids so. Yikes.

#f1 #formula 1 #f1 movie #anti brad pitt #anti jos verstappen #brocedes #nico rosberg #lewis hamilton #max verstappen #fernando alonso #tw: dv #mine

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yumeka-sxf · 1 year ago

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New teaser visual for the Spy x Family movie: CODE: White

There are so many clues in this image!

Where to start?! All the stuff in the background - playing cards, groceries, crayons, a key, a sketch book, a train, a pistol, candy, a teddy bear, lipstick, a spoon and fork...the list goes on! Will all these items have significance?! Looks like Anya is grabbing some kind of treasure chest, Bond has a "Dog Pass" around his neck, Yor is brandishing a spatula and whisk, Loid has a travel guide and a monocular...and even with all this, we still don't know what the movie will be about 😅 And this image gives off very different vibes than the first teaser visual. That's really intriguing! Also the text says "Save the world with the exciting family trip!"

But! A trailer is scheduled to be released on June 26th, which should definitely provide more information! Can't wait!

#spy family #spy x family #sxf #spyxfamily #loid forger #yor forger #anya forger #bond forger #sxf anime #sxf movie #sxf code white

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purplealmonds · 6 months ago

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Observations about Mononoke Karakasa characters & relationships based on costuming & color palettes

Let's guess who these girls' parents are and see where this rabbit hole takes us!

Analysis below the cut! This isn't spoilers as much as it is just going over publicly available information with a fine tooth comb but proceed with caution. Buckle in, this is gonna be a long one!

Based on the color palette of their outfits, these two girls featured in the second trailer at the 0:17 timestamp are the twin daughters of Hokuto Mizorogi (溝呂木北斗) as indicated on his bio on the official website.

Given Mizorogi's status as priest of the "Omizu-sama" faith, it's entirely possibly he's given special privileges within the ooku to father a child.

According to Japanese geisha culture, their half-painted lips indicate that they are children. They partially shaved their heads is reminiscent of a nun's makes sense given their religious parentage. Two context clues combined, I believe they are priestesses-in-training - a position which is higher than even that of the most favored concubines.

Supporting this theory, these twins have a very high position of power in the Ooku despite their youth, as seen by them being at the front of the procession featured in the teaser trailer at the 0:07 timestamp. They also have uniquely colored umbrellas:

As an aside – given how most of the spiral-masked women are visually identical, uniquely colored outfits are a visual shorthand for status (or narrative significance) in the ooku.

And I believe they are the gatekeepers for the, uhhhh, how do I put this delicately? The shogun's baby-making room? Take this with a grain of salt though; I could only see a sliver of the room they were opening in the first screenshot. The colors seem fairly similar though!

But also consider: this babymaking room has a lot of eye motifs, which is reflected in the pit seen in the ceremonial area where I presume Mizorogi presumably performs his religious services:

The third trailer introduces the theme of discarding essential parts of yourself. There is a shot of the comb falling into a pool of water in an unknown location:

Paired with the visual of the comb lying amongst discarded valuables in the water in the second trailer, I'm going to hazard a guess this is a common "ritual" of sorts:

I'm willing to bet Mizorogi enforces this "identity discarding" ceremony on behalf of the shogun. It says in his character bio he's a strong believer of "Omizu-sama". Did he discard his role as a father to step into the role as a the priest?

Their mother may be Kitagawa (北川), a high ranking maid within the Ooku.

The twins' hair and eye colors look similar enough, but there's more meat to this theory. Kitagawa seems to be a narratively important character based on how heavily she's featured in the trailers in increasingly angsty/mysterious ways:

Perhaps Kitagawa "gave away" her motherhood to the waters, which has religious baptism connotations. This hypothetical scenario feels rife with mononoke-formation potential.

Furthermore, from costume design standpoint, she also shares the blue and teal colors featured in Mizorogi's outfit.

As for her purple accents, I believe it is a color reserved for the higher-ranking women of the ooku.

I have a theory that the darker a color is, the higher the status is. Consider:

Asa (Left), who is a new maid but has a lot of potential for upwards mobility.

Tokita Fuki (時田フキ) (Center)), a lowly commoner who caught the attention of the shogun. Because she's a commoner, the purple is faded despite her high status, perhaps representing that it will disappear once she loses the shogun's favor. But because the rose pattern is almost a one-to-one match to that of Mizorogi's, perhaps she is strongly favored by this man as well.

Awashima (Right), the subordinate of Utayama, who is falling out of favor as Asa rises in prominence. There are still pops of dark purple, but a washed out lavendar permeates her palette.

Both Tokita and Awashima also have highly saturated yellow/yellow-greens, which could represent potential danger of their power disappearing due to outside influences.

As for the deeper purple...

Otomo Botan (大友ボタン) (Right) - a lady in waiting and daughter of a high-ranking senior councilor. Note that she also has pale purple in her palette because her high status was not earned. Because she borrows power from influences outside of the ooku, the black accents are represent that she has more power than even Utayama, the most powerful woman within the ooku.

Utayama (歌山) (Left) - the woman with the highest position of the Ooku, "Odoshiyoroshi". She is also prominently garbed in red and white, which is a color seen in the shogun and a little bit of Mizorogi's outfit:

Lighter shades of red (i.e. pink) also seem to indicate men of lower status that still have some position of power, like these guards:

Note that Kame (カメ) (Left) and Mugiya (麦谷) (Right) also possess these "masculine" colors which may indicate that they have more forceful personalities compared to other women within the ooku:

Their respective outfits also have analogous shades close to the blues prominent in Mizorogi's outfit. Assuming blue has religious connotations (akin to Virgin Mary), perhaps they are also strongly faithful to whoever this "Omizu-sama" entity is.

Meanwhile, Asa also wears pink, but does not feature any blue in her outfit. I think may represent her lack of faith. She does seem like a more levelheaded individual not easily swept away by more dazzling aspects of mysticism.

This is the look of a woman who not only has a braincell or two, but has it on her person at all times.

Now let's look at our main protagonists!

Kusu features red and purple color accents in his outfit, which makese sense for his gender ambiguous presentation. You could say that the other colors featured in his outfit represent how the influences he collects by interacting with humans. Black is also featured heavily as the canvas for these colors. As mentioned earlier, this represents influences outside of the ooku.

In contrast, Shingi while sports both the masculine red/white and feminine purple colors of power, the latter definitely eclipses the former which matches his masculine presentation. His outfit also has black, but because his influence in the world comes in bursts during exorcisms, it is featured less prominently than Kusu. His disheveled look may represent his discarding of these superficial societal norms. His power - symbolized by red - need not be worn. It is already tattooed onto his skin - literally.

The only other characters that have red tattooed onto their skin are the twins from the beginning of this post. Come to think of it, their partially shaved look may also be a nod to the shogun's power - indicating that their very existence is divinely approved by him. So we come full circle!

So, yeah! Although these twins don't have an official bio, there's a lot to learn about them and others from extrapolation and inference alone!

In summary:

Red/White = Masculine/Divine power

Blue = Religious power

Purple = feminine power

Yellow = danger of power loss

Light colors = weak influence

Dark colors = stronger influence

Thank you for coming with me on this long diatribe!

#mononoke 2024 #mononoke karakasa #mononoke #モノノ怪 #analysis #purplealmonds #2024 #🔕

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plague-karm · 1 year ago

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Right time to analyse this shit because god dammit I have been silently making theories about this show the second I saw the premise I’m about to become the most annoying person on the planet on god so LETS GOOOOOOO-

First things first the animation looks fucking phenomenal (let Kevin Temmer cook, that man can do no wrong). Also Caine the guy ever, he is the silly and I love him wholeheartedly, he’s just a fucked up little guy who’s living his best life fr.

And also NEW CHARACTER HELLO.

They do be circling though.

THE SILLIES ARE HERE LETS FUCKING GOOOOOOOO 🎉🎉🎉

Smiling Gangle spotted ten seconds before disaster, no thoughts head empty indeed.

ALSO I WASN’T EXPECTING STUFF OUTSIDE THE CIRCUS BUT IT’S A WELCOME SURPRISE WHOA

They have come to steal your credit card information.

The thoughts I had of Ragatha being the lone brain cell keeping everything together were completely correct I CALLED IT- (it has been said by Gooseworx that she has been there the second longest so she’s probably gotten used to the zaniness by now…maybe)

A door that leads to a void?

Maybe it has something to do with this room in the teaser trailer? Possibly.

Tumblr sexyman spotted.

''If there was a way to leave I'm sure we'd have all left by now''

They're ✨suffering✨

This caught me off guard when I first saw it lmao (holy FUCK I love Zooble's design, they're everything to me).

''Welcome to your new home...AND your new body...''

So they're aware that they were human before they entered the circus? That's interesting considering what happens in a few seconds (I'll get to that soon). It's also worth mentioning that Gooseworx has stated that their clothes ARE a part of their bodies.

Case in point...

At the end of the character introduction compilation Gooseworx posted to their YouTube channel Pomni is heard saying something along the lines of

''How do I...take this...headset off?!''

I saw a few people theorizing about her talking about a VR headset and that was how she entered the circus to begin with (I had the same thoughts until very recently). However, considering how much of the visuals and character designs are based on old media (also a teaser image was set up as the menu screen for a retro game), I'm beginning to think that this isn't the case.

So it's incredibly likely that Pomni is actually talking about her jester headpiece since she can't take it off.

This scene is probably the first time Pomni sees her new body, pinwheel eyes and all.

''I'm fine with whatever, as long as I get to see funny things happen to people''

I love him he's so unbothered.

I'm sad that we didn't get to hear any dialogue from them but I can't wait to see them in the pilot! Kinger is love, Kinger is life.

''After a while you start to realise that you really can't leave, and constantly chasing an unattainable goal will start driving you a little crazy''

She's a little fucked up actually wow who saw that coming.

It sounds like Ragatha tried to leave a few times and just resigned to her fate after a while, her description DID say that she was the ''sweetest little optimist in the digital circus'', so maybe she's told the others that escaping is impossible and that they should make the best of their situation instead? (Also the framed picture of the right looks like some kind of void, a lot of void imagery here).

Also, Gooseworx released this image a short while ago and it has the same background that Ragatha had while she was talking so she's DEFINITELY talking to Pomni here.

''OH GOD! WHY CAN'T I REMEMBER MY NAME?!''

EXCUSE ME? Okay time for some more speculation. I knew that their names definitely weren't their real ones but I wasn't expecting them to forget them!

Now, since the premise is said to be centred around Pomni and the others getting messed with by AI and their traumas, maybe instead of forgetting what their names were, they actually REPRESSED their memories from when they were human due to the trauma they went through? (Which would include their names)

I don't buy that they've COMPLETELY forgotten who they were (Zooble is aware that the body they're in isn't the one they used to have so I'm guessing everyone else knows that too.)

I'm guessing that their human lives absolutely SUCKED and they've now repressed their trauma to the point where they can barely remember who they were in the human world, this is just speculation.

''Thank goodness this is all a dream, right Pomni?''

What a sassy little guy (it's so weird hearing Michael Kovach sound so reserved, he's normally feral as hell playing these kinds of characters). The little mannequin symbol on the door is probably there for when new people stumble into the circus.

She's definitely seen some shit, I wonder what it could be though?

OH MY GOD THERE'S MORE OF THEM 😭

Wow this background looks...oddly normal. The only thing I can think of this being is Pomni witnessing a flashback of her human life before she showed up in the circus.

''You completely lose sight of who you are and why you're even alive and when you reach your breaking point something REALLY terrible can happen''

OH? Okay speculation time again. This is the closest hint we've gotten to what exactly one of the gang's traumas could be. Ragatha may have forced herself to stay positive in really shitty situations during her human life which likely lead to a lot of negative thoughts which eventually lead to her doing...something, I'm not sure what though, maybe it lead to her losing an eye? (Maybe her new body represents that?) I'm not sure. Maybe this is why she's been in the circus for as long as she has, instead of dealing with her feelings and existentialism, she instead continues to try to be someone who's more adjusted than they actually are.

Again, this is all just speculation, maybe it's just an Infinity Train type of thing where they can't leave until they learn to accept what they went through and how to work through it healthily idk.

WHAT THE HELL IS THAT? Well, I'll tell you what I think it is.

I think it's this weird tar like tentacle thing from the teaser trailer, I don't see what else it could be.

And I'm 90% sure that whatever it is, it's connected to this room, and I think that THIS is gonna be where we'll be seeing what the gangs traumas are (Ragatha looked TERRIFIED when she was grabbed so if this was the case I wouldn't be surprised). I'd also like to speculate that this could possibly be another AI. There's Caine, Bubble, and whatever the hell those little shape creatures are, so it's very likely that other AI does exist, we just haven't seen them yet.

But who knows? I'm probably looking too much into it.

Woah new background, he is angy.

I would go into another theory I have about how their designs may hint at what trauma they have but I've spent over an hour writing, compiling trailer screenshots, and speculating every individual frame while suffering with chest pains I wanna go to bed

Holy shit that took WAY longer than I thought it would. I cannot WAIT to watch the pilot, this show has become one of my most anticipated projects of the year over the last few months and I can't wait to see what it has in store.

TL;DR: The trailer looks fire 10/10 can't wait for the inevitable Pomni plushes.

#karm rambles #the amazing digital circus #damn this is long #tadc #i'm so normal #glitch productions #gooseworx #i have gone insane

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purplekoop · 1 month ago

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So Subnautica 2 got its first trailer today, after already having some teasers and interviews reveal its existence and main new feature of co-op multiplayer, and of course my excitement is right back at its usual highs when thinking about one of my favorite games ever. My friends I've shared the first game with are already hyped for the eventual multiplayer sessions, one even taking it as a sign to play the original on the spot for the first time. But in this excitement I checked the comments on the trailer, and saw some comments that... baffled me. Obviously looking at youtube comments for just about any game is going to worsen your mental health, but beyond the murmurs bemoaning and making edgy comments about Below Zero were people that are excited for the game, and listing what they hope a new Subnautica could offer. Such as... improved combat? New "enemies" and "bosses"? in... Subnautica??

Now, to some people this is probably just petty word choice that just puts Subnautica in line with almost any other game where things can attack you and you can attack them back. But to me, it conveys a misunderstanding of what Subnautica is, and what makes it so so special as a game, beyond just its worldbuilding and survival mechanics, but with its environment, its tone, its heart as a game made with the intention of doing more than just meet expectations.

So, here's:

A Brief Piece on Subnautica, Online Culture, and What Makes a Game Special

(note: this post will be free of any spoilers for Subnautica 1 or Below Zero, but does contain brief references to real world violence.)

If you took any number of people with a shared favorite game, and asked them why it is, it'd be bafflingly improbable to find they all like it for the exact same reasons. Most mediums of art are like this, but video games especially lend themselves to a greater number of different factors for what makes them enjoyable for different people. Not only can games have audio, visual, and narrative components capable of replicating or outright containing other mediums, but there is the added layer of interactivity and the art of creating a feel of gameplay adds a unique and extremely subjective element to a game as an experience.

Take Sonic the Hedgehog, a series that has a remarkably enduring fanbase for a franchise often panned by outside critics for the gameplay of some entries. While many fans love the series exclusively for the satisfying high-speed flow of some of the games, what draws just as many fans (if not more) is the impeccable soundtracks, or the charming and well-designed characters, or the stories that define those characters, or even the potential for further stories with them that fans realize themselves. A Sonic fan who hasn't even played a single game themselves but still loves the characters, style, music, or whatever other element has just as much reason to be called a "Sonic Fan" as someone who's played every game but never once interacted with the more character and story-oriented side of the fanbase. This dissonance between gameplay-biased fans and fans who enjoy the non-gameplay aspects isn't hard to find, but even within a gameplay focus there's a countless array of potential reasons someone enjoys a game. Minecraft fans for instance consist of speedrunners, minigame server grinders, hardcore challenge runners, people who play on peaceful because they're scared of the monsters, friend groups who goof around on a server playing normal survival badly, absolute mad lads making particle colliders or supercomputers, and your little cousin who just likes building roller coasters. Every single one of these is a valid way to play the game and enjoy it. Even if the core survival mode is the "intended" way to play, it'd be odd to say any of these other options are any less valid.

So... what about Subnautica? More specifically: why my frustration then, if those who see Subnautica's mechanics as a game with enemies and bosses to fight ought to be just as "correct" under this perspective as any other way to perceive the game?

Well, by my own logic, I can't dispute the traditional "fight enemies to win video game" approach as an objectively incorrect way to play the game. If you have Subnautica by whatever means, then you can certainly use the limited tools it offers you to kill any hazardous or non-hazardous creatures you deem fit. You could possibly even use the mods I presume exist that expand the arsenal of conventional weapons you have access to. You're taking an interactive medium and interacting with it how you personally deem fit, in a way that doesn't harm anyone else in any remotely realistic capacity. I can't stop you, or call you an objectively bad person, or even rightly think that much lesser than you.

I can still disagree though, and I'd like to elaborate on why.

Subnautica's lack of conventional weapons or general emphasis on combat is a very deliberate design choice with a very specific point of origin. According to the original game's director Charlie Cleveland, the game was first conceptualized around the time of the Sandy Hook shooting. While recognizing games aren't responsible for these real world atrocities, the idea of making another game that encouraged violent solutions and gun usage wasn't exactly appealing. Instead, Subnautica was made to be a game that encouraged other ways to solve problems. Even the worldbuilding within the game reflects this, as the PDA reveals a terrible massacare led to the banning of fabricating any weapons other than the bare essential survival knife.

This has been the one piece of developer insight on any game that's stuck with me the more than any other. Not to say that I think we should not make games with any kind of guns anymore, that'd be both fruitless and short-sighted. But it's hard for me now to see the world we live in and wonder how we choose to reflect it in the works we create.

For the unfamiliar, I have a few hopeful game projects of my own, one of which is a team-based shooter with the working title "War Bots". It exists as both a love letter to a subgenre I've sunk plenty of hours into enjoying, with the hope to expand and improve on the ideas they present. The violence is intended to be "cartoony", or at least disconnected from realistic violence due to its playable cast being robots and its enemies being hostile plant monsters. Most of their weapons are unrealistically fantastical in some form or function. The overarching story, as pathetically ironic as it may be to try and say, is meant to be a tale warning against mindless violence and mistrust, and that we can only survive by working together to not repeat the mistakes of our past.

I use the tag "war bots" to note my posts showcasing my art and writing about the project. Also using the tag is an entirely unrelated account... using it to discuss developments in drone warfare in the ongoing conflicts in Ukraine and the Middle East. I can't say it feels great knowing I'm sharing terminology and concepts with very real atrocities committed daily on real, innocent people, and using them to talk about a video game I want to make. It doesn't feel right to scrap the project after this much effort, but I don't know how much retroactively applying themes and a story will change the fact that it's. A shooter.

Maybe a bit dramatic, but all that is to say I very thoroughly respect and appreciate Subnautica's active design against violence as an intended solution. Beyond the external reasoning and in-universe backstory, the game also has a very palpable friction against using the tools of violence it does offer you. If you do decide to kill a creature much bigger than a Peeper, which is a tedious process that gets exponentially worse with large creatures, then all you're left with is a corpse. No meat, no materials, even if it's something like a Stalker that has some other means of reaping resources from it. It doesn't poof into a convenient cloud of dust, or dissolve into darkness that gives the deed an excuse as part of a grand war of objective "good" and "evil". It simply remains a limp, static body slowly floating down as a reminder of something that did not need to be done, and brought nothing of value from being done anyways. You could scan it more easily than ever, since it can't run away or fight back. What a reward, huh?

So then... why? If nothing is gained, then why is violence still such a popular and desired approach to play the game? And why does it only seem capable of escalating, with it becoming a contest to see what's the biggest creature you can take down, even if the process is just using a Stasis Rifle to stun it indefinitely while you hack away at it with a pocket knife, a grueling tedium that can't possibly bring any joy? Why did those comments reduce this game's unique approach to dealing with innocent animals to simply be a matter of "enemies" and "combat" in the same way that thousands of other games already offer? When the game down to its very heart and soul wants you to get by in any other way, why is there such a pull to take the path of most resistance anyways?

Well, I think one reason is kind of a natural trajectory that comes out of games as a medium, especially those that interact so heavily with online culture, to pressure players into exhausting every possibility a game can provide and then pushing them further. It feels presumptuous to call it "just human nature", as I think the drive to play games as exhaustively as possible doesn't seem to be a universal experience. Instead, I think it's more often prompted by circumstance. An obvious instance is that someone who doesn't play many different games (either by limitations or by choice) and thus would naturally try to get everything possible out of each one. But I think a more common example, especially for a game with a specific history like Subnautica's, is that it comes as a result of online culture. I recall at the end of playthroughs by the big youtubers that skyrocketed the game's popularity, like Markiplier or Jacksepticeye, one of the last things they did before ending their series was to take down the biggest Leviathans they could. Because after all, they did everything else, right? They reached the ending, had plenty of laughs and screams along the way, what's left to do that's worth doing? But viewers liked the video series, why end it if there's anything left to keep it going? And this isn't to say a big youtuber was the first to try and kill a leviathan, it was probably someone who wanted to got bored and/or wanted something to brag about on a subreddit or steam forum. And then with that community aspect, the cycle perpetuates: "if someone else did it, am I really done with the game until I do it too? Am I too much of a coward for not wanting to sink my time into this like other people already have?". And then after the greatest obstacle has been cleared with tedium but relative ease, the pursuit then becomes to go further. Bigger, badder monsters. better weapons. More rules to make it harder. More challenge. More bragging rights. More because More is all there is left to do.

And then so what we're left with is not only the modding scene of the game being so heavily biased towards these sorts of hyper-aggressive additions, but now the desires of many fans for the actual next game are simply just "More To Kill". Not because it's interesting in of itself, but because that's the expectation.

But is it wrong then for people to want this? Well, no, for reasons I already outlined. But I think it is tone deaf to the artistic intent behind the game, and also to what I think makes the game special.

To me, what makes Subnautica such a special game is how beautifully it surrounds you in a believable world that feels both so warmly familiar and yet so alien, without trying to push into an uncanny valley. The flora and fauna of this world look and move so organically similar to life in our own oceans, yet look distinct in a way that feels oddly more charming than offputting in most cases. I think there is some personal bias though, as I could only sleep most nights as a kid with Finding Nemo on my little bedroom TV, and as a result fell in love with marine life and the lovingly rendered ocean environments that Subnautica captures the feeling of so wonderfully. The way the light dances on the sandy sea floors, the vibrant fish and coral. And looking up from this ocean to see a window of light: which in the game is your guiding target as a lifeline to air in your most dire moments, but was just as much a sign of comfort in hardship and the endurance in life in the film. The very nature of light ties the game into some of my fondest memories in such a profound way.

Of course, for as many people who like me are endeared by the ocean environments the game lovingly recreates, just as many are deeply terrified of the endless, unknowable abyss of the ocean, let alone one with even more deliberately horrifying creatures. I think that sort of dichotomy between comfort and fear is something so unique about Subnautica in particular, where its genre is up for debate as a cozy and uniquely nostalgic survival game or a gut-turning horror game just based on your perspective.

I do think Subnautica's breadth of optional mechanics, while technically being what enables turning its creatures into mere "enemies", are another part of what cements it as one of my favorite games ever. The base building mechanics are so needlessly, gloriously in-depth, to where the inevitable bulk of any playthrough for me is working towards creating a comprehensive mega-aquarium of every species I can put in a tank or growbed. There's also the variety of tools that aren't useful enough to keep your precious inventory space open for at all times, but are so fun to play around with needlessly. Not to be a hypocrite, but it's so funny to breed Crashfish and then use the propulsion cannon on them to make an extremely inefficient rocket launcher that takes too much space to reasonably do any useful damage. Alternatively, you could accidentally hit a big angry fish with your car 47 times to where it's so pissed off it dies by its own fault. Highlight of my streaming career. Regardless, the expansive variety of ways the game lets you interact with it is endlessly endearing, both in spite of and because of the fact you're not required to utilize most of them.

But I think one more big reason Subnautica is special is because it defies a conventional game structure of seeing every living thing that opposes you as an "enemy" that's most efficiently dealt with by getting rid of it. Subnautica hopes you see its world as alive, filled with creatures living their lives in the same way you are. Some of them are meant to be food, for you and for other creatures, but that's part of life too. Every simulated ray of light, bed of sand, patch of coral, and motion of creature is delicately crafted to make this planet feel as believable as possible while still making a satisfying play experience. And by doing so, with just these subtle details, the game offers a question of how do you see this planet, and burdens you to consider the consequences of your presence.

I could absolutely go on further about Subnautica, going more broadly into just what I like about it, but I wanted to keep things ""brief"" just to focus on this more specific topic. I might have lost some nuance or couldn't quite elaborate on every little detail, but I didn't want to leave this tumblr post in production for too long. I was tempted to make an extensive Undertale comparison, as another chronically misunderstood game with the appeal of "these aren't just enemies" that gets boiled down by edgy teenage boys to "how much can I stroke my ego by styling and fixating on the hardest arbitrary challenges it can offer" while completely ignoring any kind of nuance or themes aside from maybe digging into Lore (tm) for the sake of Lore (tm), but it felt like too much of a tangent distracting from the actual subject. I do have a more specific post about Undertale/Deltarune's community and poorly aimed focus that I need to rewrite at some point, but that's for another time.

If you read this far, thank you so much for your time, and hopefully you got something out of my rambling here. I don't often do these long "essay" style posts unless I'm particularly inspired, and hoo boy were those trailer comments inspiring. But this took a bit to write out, so hopefully it was coherent enough to read.

All that said though SUBNAUTICA 2 WOOOOOOOO

#a brief piece on:#subnautica #long post

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butterflydm · 1 year ago

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wot rewatch (book spoilers edition): 2x5

Not only is this one going to have spoilers for all the aired episodes plus any teasers (including the trailer for episode 6), it will also have book spoilers through book 14: A Memory of Light.

An interesting change from the books is Suroth calling Loial a slave -- in the books, the Ogier of the elite guard are very specifically not enslaved (I wonder if they got as badly jacked up by the Longing as the ones in the Westlands but their 'solution' ended up involving the Empress and the Crystal Throne somehow?). Since this exception is never explained in the books, I don't have any issue with it being changed.

2. I also think we are getting some really good set-up here for a potential fracture in the Seanchan once we get deeper into the series -- a fulfillment of the narrative promise that Jordan set up in books 2-9 but then backed away from once we hit Crossroads of Twilight & Knife of Dreams. I'm hopeful that we're actually going to get the Seanchan civil war that the books never gave us but that they desperately needed in order for Mat's characterization to make any damn sense in CoT & KoD.

3. The idea that Ishamael is being something akin to Suroth's Truthspeaker makes a lot of sense (I think only the Imperial family has Truthspeakers in the books? but it makes sense to expand them outward).

4. That Fain plays the game so well with Turak here can serve as a hint that he's playing the subservience game with Ishamael as well (who killed the Fade? in other words).

5. The saa in Lanfear's eyes! I love that we're getting a super-charged look at the True Power this early on. I definitely approve of the change of the Forsaken getting brought back with the True Power rather than being put in new bodies -- that can work in a book, but in a show, you want to keep your actors. Especially when they're so good!

6. The Elyas scene does feel like Elyas is essentially doing triple-duty this season: he's himself (Wolfbrother lore dump); he's Hurin (sniffer who leads them after Fain); he's Noam (completely detached from his previous human life).

7. I do like how Elyas feels... somewhat amoral (not immoral!) -- he cares about his fellow wolves (including Perrin) and only his fellow wolves. Obviously, part of the reason that's there is so that viewers will wonder if Ishamael (the Father of Lies) was telling the truth about Perrin becoming closer to the Shadow the closer he gets to the wolves but that's... a good thing, I think, for Perrin's narrative arc. It gives him a grounded reason to try to avoid embracing the wolves. The show has done a really good job in giving characters believable motivations for their behavior.

Show: has Elyas diss every human that Perrin cares about because he's trying to tell Perrin that he belongs with the wolves and not the humans.

Some Book Readers: Ah-ha! Laila wasn't his pack? Darkfriend!

It was just so clear to me, in watching the episode, that Elyas mentioning Perrin's wife was the last straw that made Perrin push him away. It was not meant as a Darkfriend hint of any kind! Elyas did not know Laila as a person! He does not care about Laila as a person! It's pretty clear that he only cares about Perrin (because he's a fellow Wolfbrother). That's why he only saved Perrin from the caravan; that's why he led Perrin eastward instead of west. He has zero interest in putting himself in danger to help humans; he does not identity with humans.

8. Ooo, I wonder if we're going to see Perrin's wolf name visualized at some point by the wolves -- Young Bull with his axe that is also his horns, strong and protective. Again, the show has done such a good job in showing us the Perrin that I think Jordan wanted us to see but that he didn't quite manage -- pretty much every show-only reactor sees Perrin as genuinely considerate and empathetic and believes that he has a good heart and wouldn't leave people to suffer.

9. Brilliant choice to have Aviendha introduced here and be part of Perrin's storyline. I do really like how Elayne, Aviendha, and Min have all been part of another main character's plotline before anything implied romantic between them and Rand happens. Hopefully, the show does the same thing with Tuon in the season when she gets introduced. I'm going to guess that (rather than going along with Perrin because of Faile) Bain and Chiad are going to help Aviendha meet her toh towards Perrin once she's told that she needs to become a Wise One apprentice and Bain and Chiad will travel with him to the Two Rivers. I suspect that Gaul will be introduced next season as well.

10. I also really like the way they set up Dain and Perrin's future dynamic here as well -- Dain realizes that Perrin is from the Two Rivers, so that gives him a reason to go there after he (mistakenly?) thinks that Perrin has killed his father. I do wonder whether or not Fain will go to the Two Rivers at all. It's kinda... crowded over there, since we know that Slayer was cast (I think). There isn't, imo, any real need for Fain to corrupt the Whitecloaks in the show -- I feel like they can corrupt themselves just fine. (I kinda feel that way about Elaida too) -- and it might be good to tie Fain back into Rand and/or Mat's plotlines.

11. The Seanchan and the Whitecloaks both have a 'evil but not the evil of the Dark One' situation going on, and we kinda get that here, with the (new) innkeeper being even more unhappy with being occupied by Whitecloaks than by the Seanchan. I actually like that they have the new innkeeper here selfishly being okay with the Seanchan -- the issue that I had with various plotlines in CoT & KoD wasn't "it's unrealistic for anyone to be collaborators with the slavers", of course some/many people are selfish enough that it doesn't matter to them that some people get enslaved as long as it isn't them; it was an issue with specific characters turning collaborator without there being anywhere near enough work in the characterization or narrative to justify it. That was the issue that I had.

Especially since this same conversation does illustrate how selfish this man's PoV is, if you pay attention to the dialogue. The old innkeeper's granddaughter was kidnapped by the Seanchan -- SHE would not agree with him that they're totally chill if you only just swear the oaths.

12. Seeing Lady Suroth like this, 'dressed down', as it were, gave me quite a start. She looks almost naked without the super-long nails and the helmet and with me being able to see that she has no eyebrows. Like, it gives her a big 'pathetic and vulnerable' vibe even though she's been just as awful as she was in her introduction.

And it makes me wonder... are people who are sympathetic to Tuon in Crossroads of Twilight and Knife of Dreams also more likely to be good at visualization when they read? Because, personally, I don't see pictures in my head when I read books. I think it's part of the reason why I can so easily accept adaptations in the first place -- there's no prior image that I need to override. I had no firm mental image of how 'Rand' or 'Nynaeve' or anyone looked in the books, so the actors can easily become that person for me. It's all just... words in my head for me. The most that I ever visualize is something akin to black and white abstract sketches.

How this relates to Tuon: one of the deeply frustrating things about CoT+ Mat to me is how he behaves like Tuon is 'not like the other Seanchan' even though her behavior on the page is just as rancid and terrible as any other Blood. But, in her descriptions in CoT & KoD, she doesn't visually resemble other Seanchan anymore -- her hair is growing out, she's in Westlands clothing instead of Seanchan High Blood clothing. But as someone who doesn't visualize characters and scenes when I'm reading a book, the clothes that a character is wearing has little to no impact on my perception of them as a character.

Is it different if you do/can visualize how differently Tuon looks when she's traveling with Mat vs how she looked when she was embedded in the Seanchan power structure? Because it really does genuinely confuse me when I see people repeat what Mat says about her being different from the other Seanchan because her behavior is just... identical to all the other Seanchan Blood from what I've seen in the books -- intensely political and manipulative; firmly supports and believes in slavery; gets off on torture and abuses her slaves even while believing that she's the bestest and kindest slave owner in the world; thinks of herself as inherently better because she's Of The Blood, etc. I remember when Mat places her in the same 'better than other nobles' category as Talmanes in KoD, my brain just bluescreened because he's consistently been shown on the page that she's still just as awful as the others (the chapter where she literally collars and tortures three of his allies is certainly never anything I'm forgetting, even if Mat 'goldfish' Cauthon forgot about it five minutes after it happened). But, yeah, if you visualize characters and scenes when reading books, do those visuals have an impact on how you think of the characters?

(on a character level, I understand why Mat would lie to himself about Tuon if he genuinely believes himself to be trapped in a marriage with her -- the issue with that is two-fold though: a. with Mat's other lies to himself, we are given outside context with other PoVs and behavior from other characters to see that he's lying while in CoT and KoD, we're pretty firmly locked into Mat's warped perspective, and b. Jordan did a shit job of showing why Mat gave up so quickly and just believed that he's doomed to be married to Tuon without him making ANY attempts at fighting the prophecy)

13. Looking forward to the future... I do suspect that we'll still get Semirhage trying to shape and mold Tuon (unless we don't get enough seasons), but I think in the end (exploring @sixth-light's idea about having a split Seanchan Empire instead of having the Sharans), we may end up with Suroth in charge of one half of the Seanchan (who will fight for the Shadow) and one half led by Tuon (who will fight for the Light) and that we will, hopefully, be getting a Tuon who actually has to confront what being a sul'dam means and that the Seanchan will fracture on the issue of slavery (which would make their American accents even more apt) instead of the Westlands characters becoming friends and lovers with gleefully cruel slavers. Having Tuon's 'stubbornness' and pushback against Semirhage actually lead to her questioning the established order would be so much more powerful than her stubbornness being used as an excuse for her dodging and avoiding any character growth for the entire time that she hangs around.

14. I hope that Aviendha's amusement here over Perrin's protectiveness is perhaps going to be more of the vibe we get with Rand & the Maidens once that relationship gets going. Rand really doesn't have the same reasons (so far) to be as unreasoningly overprotective of them as he is in the books, since the Two Rivers in the show aren't Weird about women in danger the way that the books are. It's very much a Perrin hangup because of his wife and we've seen it develop over time. And if Rand feels some protectiveness, I'd like it to be tied more towards him feeling like he doesn't want to lose any of his newfound family.

15. It feels clear that Moiraine is absolutely still bound by the Three Oaths. She obviously WANTS to lie in the scene where she's introducing Rand to Anvaere and Barthanes, but she isn't able to. It's played very much the same way as when she was caught in the Oath last season (one of the funniest moments in S1 is when she wants to tell the Two Rivers' kids that she trusts them now but she absolutely doesn't trust them and can't say the words).

16. So, who in this scene is a Darkfriend. I suspect that Barthanes is and I suspect that Anvaere is not. Anvaere's information session with Moiraine last episode completely destroyed the Shadow's plans for Rand -- it could be the Shadow tripping over itself but I suspect it's just that Anvaere is what she seems to be -- a very political but non-Shadow-aligned person.

17. I wonder if the end of the next episode is going to timeskip us the few weeks to the wedding (thus making it so that Egwene spends several weeks in 'training') -- or maybe we'll timeskip between episodes 6&7. From the preview, it looks like we're going to spend some serious time showing how horrible and dehumanizing the damane 'training' is. What they might do is show us the initial beginning of it -- and then we jump forward and see how things are after several weeks? The mention of the wedding just feels... potentially significant, since it's not from the books. This would give Perrin time to travel to Falme with Aviendha; Mat and Min would have time to get to Cairhien; Elayne and Nynaeve would have time to bond; and Siuan would also have time to get to Cairhien, since we know she goes there at some point. And it might mean that, along with Egwene getting her 'training' from Renna, we might also get Rand getting some training from Logain and potentially Lan as well.

18. I love Verin kickstarting the Black Ajah Hunt so much. I already talked about this a lot in my earlier post about Darkfriends, so I won't get into it here but: fantastic choice. It does imply to me that we don't really need the Wondergirls to go back to the Tower next season to get their Black Ajah Hunting instructions, since there's already a Hunt started by full Sisters. Which I would be fine with -- they literally spend less than a week in the White Tower in book 3. They dip in for Egwene & Elayne's tests, to get more instructions from Siuan, and then dip out again. I feel like the show could easily have them decide to hunt the Black Ajah of their own accord (Nynaeve in particular has a reason to want to go after Liandrin).

19. I do not think that Sheriam knows that Verin is 'Black Ajah' or that Liandrin is (more genuinely) Black Ajah. She and Liandrin were at odds too much earlier in the season over Nynaeve imo. Joiya, otoh, I think might know that Liandrin is also Black Ajah, because she immediately backed Liandrin up in the big group discussion.

20. "We respect the One Power so much that we don't believe that anyone should wield it by accident of birth". I've seen other people (reactors on youtube) wondering if this conversation means that the Seanchan already know that sul'dam are learners, since they talk about training the sul'dam for years and them earning the right to use the One Power, but this line in particular makes me feel like they don't know. Because sul'dam are only sul'dam because of an 'accident of birth' as well. I'm sure that we'll find out, because the realization of the sul'dam secret was a pretty huge moment with Egwene in the books (even if Min & Nynaeve appeared to have completely forgotten the information when they were spending time with Rand later in the series) so it will definitely stand out if it gets played differently and Renna doesn't get that horror of realizing that she, too, is marath'damane.

21. I've also seen people wonder why the damane & sul'dam didn't catch on that Liandrin was channeling to wake the girls and free Nynaeve, but she was channeling that entire time (to hold open the Waygate) so her tiny weave would have been masked by the larger one.

22. Aviendha's attitude towards obligation and honor is going to be such an interesting contrast to how weighed down Rand is by his obligations. Looking forward to them getting some good scenes together in s3.

23. I hope Egwene gets to hit Renna over the head in this version too. And collar her to the wall. I can already tell that this is going to be painful and intense. I did notice that a lot of show-only reactors have NOT picked up on how terrifying and awful the damane slavery is yet, but I feel like the show is going to make it very clear in the next episode. (I don't know how you can look at Egwene in pain here and not already understand but... next week should make things crystal clear).

The preview did show us how... earnest (ugh) Renna is going to be in her 'training' of Egwene. The way she called the damane kennels "your new home" and the (horrifying) sincerity in her voice.

I'm actually wondering if Egwene is going to be freed in episode 7, before Rand gets to Falme, since Perrin and Aviendha are headed in the direction of Falme and it's Perrin who is attached to the Ingtar and Horn storylines and not Rand (who didn't even find out that the Horn is a thing that exists until 2x3). Because Rand isn't actually involved in her rescue in the books iirc -- that was Elayne and Egwene (with Min tagging along). He spots her and seeing her is why he refuses to leave, but since he's going there for his own purposes unrelated to the Horn in this version (I assume), then he doesn't need that extra push to stay. From the preview for episode 6, it kinda sounds like Loial & co are going to try to help her be freed but I'm not sure if it'll work that soon.

Expecting next episode to be extremely rough, emotionally.

Additional spoilers/speculation based on imdb listings (which may not be entirely accurate):

The actress who played Maigan in S1 is listed as being in the next three episodes (6, 7, 8). She was planning to go west to investigate the rumors. She has not been seen in the White Tower this season. The actress who is playing Ryma is only listed for episodes 5 & 6. Renna is listed for all the remaining episodes; Seta is listed for the final two episodes. That just all seems like interesting information to me, though again, imdb.

Complete side note, episode 7 is the episode that Hayley Mills is listed for. I wonder if she's the Queen of Cairhien that Barthanes is marrying.

#butterfly watches wot #wot #wheel of time #wot on prime #wot show spoilers #wot prime spoilers #wot s2 spoilers #wheel of time s2 spoilers #wot book spoilers #a memory of light #wot 2x5 spoilers

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