#Reading Subtext

[bixels]

It's crazy how Dungeon Meshi's manga can feel more cinematic and emotional than the anime to me, even when they're practically the same. Compared to the anime, this moment is such a heartbreaking gut-drop. The way Kui uses negative space and flat compositions to create a sense of horrific stillness is so key.

The way the text (Senshi's monologue) is sequestered to an empty corner of a panel or huddled away from the edge of its text box is not only a great way of showing Senshi's headspace (fearful, isolated, dissociating), but creates a visual representation of pause, as if you hold your breathe after each line. The first panel puts us directly in Senshi's perspective too (compared to in the anime, which puts us as an outside observer over Senshi's shoulder). The detail of the door and bricks so effectively implies that he stared at it for so long, waiting and hoping, that its image is burned in his memory. The wood grain, the brick arch, the number of rivets. The lack of dialogue in the second panel shows a moment of realization too –– "he's dead" (also a great example of the Kuleshov effect). And it's that pause that creates a beat and sets a great rhythm to his headspace, like a music rest: "He never came back." (oh god.) "I'm all alone." Finally, the third panel's negative space, cropping Senshi, shows how truly alone he feels. Without his family, the world ceases to exists. Under shock, he traps himself in a 1-foot radius, too scared to even perceive a world outside its boundaries; a world that can hurt him, kill him, make him disappear with it. There is only his body, the stone beneath his feet and against his back, his thoughts, and that awful bowl of soup.

Even though they're a series of flat images, there's an implicit reading of silence in Senshi's realization and horror. Kui influences your experience to slow down and take your time.

Compare this to the anime, which fills every shot with dialogue. The pacing is fast; we never get to sit in silence like we do with the manga. The horizontal frame allowed the boarders to add Senshi, turning the composition into an over-the-shoulder shot, which takes us out of Senshi's POV. They also added a zoom-out in shot one, which adds unnecessary energy to a very somber scene. The tightening on Senshi as a close-up reaction shot also dulls the moment. In the original panel, Senshi stares ahead at the empty space to his left as a shadow surrounds his mind. It not only shows how Senshi's senses are dulling and his world is shrinking (setting up panel three), but shows how terrified Senshi is of what's in front of him, how the air itself becomes pitch black and opaque, how Senshi is surrendering himself to fear. The pacing is understandable and necessary; this episode packed a lot of story content together. It's just a shame because it really (imo) deflated one of the most nauseating moments in Dungeon Meshi.

[puppyeared]

act 4 :(

@chipper-smol and i came to a realization

[gas-station-trackphone]

ftm trans Eddie Munson gets turned into a chew toy for hell bats and rescued in the 11th hour by his friends who don't know he's trans, who have to run some triage first aid and can hardly make sense of the blood and gore that used to be his body as they cut off his shirt and pants to get access to the worst of the wounds, who definitely aren't in their right minds well enough anyway to think of anything other than stopping the bleeding and getting him to a hospital, which they do, and miraculously Eddie finds himself blinking awake in a bright, fluorescent room feeling exactly like he imagines a chew toy for hell bats would feel in the aftermath which is to say: like shit. Even more miraculously, he finds hometown hero Steve Harrington posted up at his bedside with greasy hair (!!! Eddie never thought he'd see the day) and bags under his eyes.

The overwhelming relief on Steve's face when he sees Eddie is awake is touching, the misty eyes and cracking voice when he says god, i thought you were toast, man are downright flattering and, let's face it, giving Eddie all the wrong ideas that he figures he has an I-almost-died pass for at the moment so he rocks with it, let's himself indulge in the fantasy for a moment. Then, gradually, Steve's relief becomes more and more obviously some brand of deeply felt pity (or sympathy, but Eddie's never been good at distinguishing the two), which bursts his bubble enough to call him out.

"I know I look like what comes out the business end of a meat grinder, but I swear I'm good, dude. They definitely have me on the good shit, I hardly feel it. I'll be good as new in no time." Big fat fucking lie, by the way, but he'll say whatever if it gets that wounded puppy look out of Harrington's eyes.

"I...yeah, Eddie, I'm glad." And whatever it is he doesn't want to say, whatever is putting that you poor motherfucker look on his face, he's absolutely the opposite of subtle about it.

Eddie can hear the manifestation of his panic on the heart monitor.

"What? What is it? Is everyone- is Dustin-?" He can't say it, can't even think it, would rather be slowly torn to shreds all over again than know he failed at his one fucking task to keep the kid safe.

"No! I mean, yes, he's fine, they're all fine. Henderson's got a broken ankle and both of Max's arms are broken but the docs say they'll be fine in a few months with physical therapy."

The release of tension in Eddie's body hurts almost as much as the relief soothes him. "Okay then, what the fuck are you not telling me? It's fine, I'm a big boy, Harrington, I can take it."

He sighs, looking sick with it. "Eds...I don't know how to tell you this."

Oh god, what the fuck. Eddie's right back to freaking out because Steve looks inexplicably guilty, pained in the face like he's about to deliver the worst news he could imagine but if everyone's fine then-

"It's your dick, man. It's- it's gone. The bats-"

And Eddie laughs so hard he tears about a dozen stitches, immediately stops laughing, and throws up over the side of the bed and thankfully not all over his freshly reopened wounds as Steve shouts for help.

Eventually, when he's all stitched up again and barely hanging on to his hard earned lesson to not literally bust his gut laughing about the look on Steve's face (he has to force himself not to tell Wayne the specifics of how he ended up back in the OR, because he's absolutely gonna crack up and Eddie will definitely be unable to help himself from laughing with him), he realizes he's going to come out to all his friends in the very near future because holy shit, he has to tell everyone about Steve's utterly devastated expression at the news of Eddie's Ken doll-ification by way of demobat.

[sexy-sapphic-sorcerer]

(Rogozhin tries to persuade Holmes to marry Madame Petrova)

The Private Life of Sherlock Holmes (1970) dir. Billy Wilder

[t3acupz]

The 100 Greatest TV Shows of All Time by Variety

[clarebear-0925]

BEAU DEMAYO JUST CONFIRMED MORPH IS IN LOVE WITH LOGAN ON TWITTTERRRR!??

THIS IS NOT A DRILL

[body-patrol]

[13eyond13]

The thing I respect most about Griffith Berserk is actually how ridiculously unsubtle with his hitting on Guts he is. Just IMMEDIATELY going up to him and literally grabs his face like "I realized I WANT you, now let me tell you exactly why." Like this isn't your typical suggestive homoerotic innuendo, this is just what he actually says. To the point Guts is just like, oh you mean like, in a gay way? And Griffith's just like... "*gay silence*" like idk you certainly can't blame the frustrating star-crossed lovers mutual piningness of their relationship on him being a bit too ambiguous about things or too cowardly to shoot his shot lol

[epiphainie]

i've just finished my s7 rewatch and it's kinda so funny to me how much discourse people created over every bucktommy interaction when their whole arc boils down to tommy being patient and vulnerable with buck and showing up for him. like when you are not wearing shipper goggles under the name of "analysis" and don't try to reverse-engineer every word and look and shot with utmost bad faith, that's what it is. a simple and sweet story of a new exciting relationship with a guy who's understanding and willing to show up. literally the two things buck needs from a relationship but never had with his previous love interests. they are kinda sickeningly sweet and well-communicating actually lol

[sapphoismymuse]

I SEE WHAT THEY MEANT ABOUT KEEPING THE HAND SCENE IN THE MOVIE OH MY GOD

[dungeonmessy]

still re reading dungeon meshi rn. this page filled me with immense dread

[damage-ko]

Subtext so textual that even my mom notices the old man yaoi

[the-bar-sinister]

There's lots of gay subtext in Ace Attorney. 

But when looking specifically at subtext that might be intentionally put in the narrative by the creators with the intention that the character in question is actually gay, I think the main character with the most evidence behind this is actually Apollo Justice.

Our other main characters, Phoenix Wright and Athena Cykes both have obvious subtextually heteronormative romantic partners. To an adult, straight, culturally normative audience, Phoenix Wright and Maya Fey read normatively as an obvious romantic pairing. This is also the case for Athena Cykes and Simon Blackquill. In Great Ace Attorney the same can be said for Ryuunosuke and Susato. 

I repeat– to an adult, straight culturally normative audience, the romantic subtext between these characters is clear. If you showed these games to an American movie going public, that would be the obvious read by the audience.

Yes, each of these characters, Phoenix, Athena, and Ryuunosuke also have strong queer romantic subtext with another character. (Miles, Juniper, and Kazuma respectively).

However, that's not my point. It's not significant that each of the other three characters has homosexual relationship subtext.

It is significant that Apollo Justice does not have a character with whom he has heteronormative romantic subtext.

The closest thing Apollo Justice has to a "heteronormative romantic subtext" is Trucy Wright– whom we, the audience know is his sister.

And yes, you can make the argument that there is deliberate incestuous subtext between them– a kind of Luke/Leia style relationship with which the audience is teased by the narrative. Dhurke brings it up directly in Spirit of Justice.

However, this is still not a heterenormative subtext, because of its taboo nature. More taboo, culturally at this point, than homosexuality.

On top of the lack of heteronormative romantic subtext, Apollo also is on the receiving end some of the strongest and most overt of the homosexual subtext in the series.

There is of course the famous "meet cute" introduction between Apollo and Klavier– 

“I must say, I'm used to being inspected by the ladies... but this is the first time I've felt this way with another man.”

This is without question overt homosexual subtext.

However, there is another, even more subtextually clearly defined moment in Dual Destinies. Honestly, the subtext is all over Dual Destinies in the way Apollo reacts to Clay Terran's death (basically completely losing it) but there's one particular moment that deliberately draws your attention to the relationship in a queer way.

In one of the last cases of the game, everyone is delicately trying to explain to the judge that Aura Blackquill was in love with Metis Cykes (who was murdered) in a queer way. It's a big “they’re lesbians, harold” moment.

And then the conversation immediately turns to Apollo Justice and how he’s just had someone who was “important to him” murdered, too.

The narrative specifically draws you attention to the relationship that Aura and Metis had, and compares it to the relationship between Apollo and Clay.

You are specifically invited to speculate about what kind of important relationship Clay and Apollo had, and why Apollo has been affected so incredibly deeply.

So yeah. Between Clay, Klavier, and the lack of anything resembling a heteronormative romantic relationship for Apollo in the games, I think he has the strongest narrative evidence that he's actually being written deliberately as gay.

[headless-horsegirl]

my boyfriend, who has never watched a tv show in his life (he likes to touch grass and "do productive things"), watched season 1 of the bear all by himself without knowing anything about it and the first thing he asked me after was when carmy and syd are gonna get together

[project-sekai-facts]

Wait An/Kohane have outright stated romantic interest?

poor wording on my end bc they never actually say "an and kohane like each other romantically" but the evidence it very much there and it is clearly depicted and phrased in other ways. for example: the shoujo sparkle effect that is used for An from Kohane's POV.

This effect is often used on Haruka in Minori's imagination, which, well, let's just say it doesn't disprove that Kohane is attracted to An. While the effect is also used to show a character being cute or having a strong "idol" aura without any attraction attached, it's prettly clear the intent was to show Kohane's attraction. Also she was blushing.

Bonus points to the fact the wedding event has a underlying message (they say it on screen) about how marriage should be equal regardless of the genders of the couple [because gay marriage currently isn't legal in Japan].

There's also literally everything in Buddy Funny Spend Time. While almost all of the interactions in that event can be read as platonic if you really want to, they're written so you can interpret it as romantic if you choose to. And considering the featured pairs in this event were Minori/Haruka, An/Kohane, and (briefly) Shizuku/Airi, it's not like that reading isn't supported by the writers lol. There's one part where Minori and Kohane get jealous of how close Haruka and An are as childhood friends and aren't sure if they can amount to that, but they want to try. Doesn't necessarily have to be romantic but can be if you choose to read it as such.

When Kohane is visibly attracted to Haruka, An gets slightly jealous and says that her singing should be the only thing that makes Kohane react that way.

Haruka also points out that although An has always been super friendly she's never been like this with anyone until Kohane came into her life, and still keeps this behaviour Kohane-exclusive. An says it's because they're partners, which, kinda friendzones them, but kinda doesn't.

The word for partner used in the story - "aibou" - means, to put it in incredibly basic terms, coworkers. It's like the cowboy or detective word for partner, though I believe it comes up in shounen every so often (the genre vbs story is based on). In itself, aibou has no romantic connotation. But 3 of the partnerships we see in VBS' story have lots of interactions that easily read as having romantic undertones, so basically in the context of VBS story the nature of said partnerships becomes a little more ambiguous. The word is still platonic and that doesn't change, but you get the idea. Oh and VBS has recurring romantic soulmate imagery more on that later.

continuing on BFST, yeah they went on a date. which is strongly suggested to be a romantic date unlike how it's sometimes used platonically. like the other characters say An is "seeing someone", at least in the English translation, which is very much associated with romantic interest. Also the original Japanese for the "do you know who she's going out with" line uses the phrase デートの相手 which is the Japanese equivalent for the word "date" (as in a person/your date), so it's not really any different. they go on another one in Kick it up a notch and An's card story for the event. their relationship is never labelled or anything (probably bc this genre avoids that sorta thing for fan-related reasons) but this very much was a thing that happened.

(also when ken says partner he says aibou. so not partner /r but anyway it does clarify that this date is to do with their relationship on a different level to partners /p. ie: an's going on a date with kohane because she's cute not because she's her partner. language is fun)

Lastly back on that thing I said I'd come back to. The Walk on and on costumes have romantic soulmate symbolism included on them. The wings on the backs of the outfits are based on the mythical hiyoku bird, a one-winged bird that could only fly after meeting its other half. Kohane's costume has pink accents, one of the variants has accents in An's image color and the wings on the backs of those variants match up to each other. The card illstrations themselves also feature crows, which mate for life. While the symbolism is mostly associated with Toya, the Whip the Wimp Girl! cards take place in the same location as the woao cards which is pretty neat, and makes sense given the themes of both events. I've put both their gacha logos above as well. Oh and An's card for wtwg was. Something.

And Kohane got the valentine event this year and it was about her entering a contest to win limited edition chocolates for An I forgot about that until just now.

Have fun with that.

[undercover-grisha]

Inej: “I don’t want to talk about it.”

Kaz, incredibly amused: “You got arrested-“

Inej: “I don’t want to talk about it.”

Kaz: “For driving a carriage on the wrong side of the road.”

Inej, steaming:

Kaz:

Inej: “Are you just going to smugly smile or…”

Kaz, internally: “I think I love you.”

Kaz, out loud: “I’ll drive the carriage next time. Sit next to me and maybe observe something, Wraith.”