#That's what I call character development

[demaparbat-hp]

He's never happy

[unhonestlymirror]

Heiteri gonna heit

[crownspeaksblog]

I think it's kinda funny how i went from being so uncomfortable at the sight of a shirtless woman in a show therefore quitting the show to a few years later reading a multi chapter fanfic where a lesbian from the 1800 is fucking her wife for hours while telling her about past sexual experiences with all of her exs..

[worldsokayestdragon]

Rowena in season 10: honestly Fergus you're the king of hell! you can't be doing favors for those Winchesters all the time! just kill them already!

Rowena in season 15: alright demons as your queen I order you to search every corner of hell to get the Winchesters whatever they need. NOW! do not keep my special boys waiting!

[poorly-drawn-mdzs]

Gaslight, Gatekeep, Girl found dead in a hidden room.

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[xricecakesx]

[ B L E A K ] Zombie miku 2024 redraw!

comparisons between all the mikus over the years ( i forgot about this for like 3 years in a row asjfdkl;g)

[muriels-brainrot]

Y'know what'd be morbidly funny? If another plague hit Vesuvia by the time MC and their chosen RO might have a family and the adults have to stay behind to deal with affairs

But obviously, with all diseases, elderly and children are the most vulnerable

So imagine - almost all the parents are sending their kids away in this scenario. Because Nadia is a great leader who's well-aware of the dangers of this plague

But imagine if your chosen RO is Muriel. Let's say you have kids.

How devastated would this man be if he had to send his kids away for their safety, in the same way that his parents did to him when he was young?

Man, that would be really fun to write

(thank you to that one tumblr post I interacted with a while ago - where OP theorizes about Vesuvia and the red plague. It was rlly fun to read + think about it)

[iamhereinthebg]

๋࣭ ⭑unexplainable sorrow⭑ .

[yuujiheart]

YOU EITHER DIE LIKE A TRUE HATER

OR YOU STILL DIE BUT END UP BECOMING WHAT YOU HATED

No wonder he didn't speak about yuji.. He was embarrassed... 😭😭

[k233-0]

who am i without my powers?

[axolotlclown]

So I finished Moominvalley season 4 and here is my review:

Of course, spoilers ahead! It's long. It's detailed. It's a bit much, and I spent hours writing it.

I greatly disliked this season, not just from one particular angle. When Moominvalley first came out, it was advertised as the first narrative-style adaptation. This would imply one concrete story that ran throughout the show. They said the story would take time and required patience, but there was a larger narrative story. What was that story exactly? In the beginning, each character was established with certain flaws that they needed to grow from.

For Moomintroll, throughout season 1, we see him struggle with his father's expectations. He never quite makes his own decisions—either doing what he's told or what other people in his life would do. In the last episode of the season, Midwinter Ancestor, Moomintroll is told by Too-Tikky to not open the closet door. Going against her wishes, he does so anyway. This is the first instance of Moomintroll making a decision for himself. In the end, it was a bad decision, and he regretted it, but it still was a big moment. We understand the importance of this journey when he changes out the picture by his bedside table. It was a baby photo with his parents; now, it's a photo of Moomintroll fully grown. This was meant to denote a journey of independence.

We see him continue with this struggle in season 2. The Hobgoblin's hat adds to the internalized identity crisis. During the lighthouse arc, Moomintroll is mostly doing his own thing, somewhat. Although, I think that cutting out his glade from the book sort of hurt this theme of independence. I hoped that they would revisit that somehow, but they never did. In season 3, Lonely Mountain, we see a sort of regression with Moomintroll. (Ignore how this affected Snufkin, I'll come back to this later.) When Moomintroll unpacks his things, we see a collection of items that represent Moomintroll's past. One of these items was the old baby picture. Aside from this episode, we don't see any notable growth from Moomintroll this season.

In season 4, we watch Moomintroll fall right back into his father's shadow. He continues to struggle to carve his own path. The set up for Comet in Moominland was promising, but ultimately did not deliver. When Moomintroll goes against his friends to make a decision for himself, it turns out to be a bad decision that he regrets later, and someone else has to guide him out of the situation.

Moomintroll ends from the same place he started as a character. All growth is erased and ignored. While this is the most egregious example—with him being the protagonist—he is not the only character that this happens with.

Snufkin probably upsets me the most, as he had so much potential to be the most interesting character in the series. In season 1, The Spring Tune, we see where Snufkin is starting as far as his strengths and flaws go. What particularly intrigued me was his relationship to attachment. We see that Snufkin ultimately fears abandonment, and he copes with this in conflicting ways. He wants to be with Moomintroll out of fear of being left behind, but he is afraid that he feels this way. He tries to create distance between him and Moomintroll in an attempt to ease what he experiences as pain. This is demonstrated further in the next episode, The Last Dragon in the World, when he frees the dragon. We see his struggle with responsibility and commitment in Snufkin and the Park Keeper.

In season 2, The Hobgoblin's Hat, Snufkin is explaining to Moomintroll what the King's Ruby is. The ruby functions as a metaphor for love throughout the season. Moomintroll imagines that the Hobgoblin must love this ruby, while Snufkin argues that he only wants to possess it. While both may be correct in their own ways, they fail to understand each other. As a result, Snufkin decides to leave Moomintroll out of fear of being possessed himself under the false pretense that he is helping with the hat (he did not). We never visit this plot point again.

Snufkin has some large developments in season 3. In the Lonely Mountain, we see Snufkin break down his walls and let Moomintroll in. He acknowledges his responsibility to him and his longing to see him. Unfortunately, this aspect of his character is completely abandoned in season 4.

Back to season 1, Snufkin and the Park Keeper, we get a flashback in which Snufkin is enjoying a party with Moomintroll until he is overwhelmed by the presence of others. He winds up abandoning Moomintroll and the valley. He does this again in season 2, The Hobgoblin's Hat, as discussed above. In season 3, Snufkin and the Fairground, Snufkin chooses not to abandon his responsibility to Moomintroll or the valley. When faced with an uncomfortable challenge, he chooses to stay and support Moomintroll.

In season 4, The Great Cold, when faced with a crowded challenge, Snufkin abandons Moomintroll again. While he appears later in the episode, it felt disingenuous to me. The original problem had already been solved. In Comet in Moominvalley, Snufkin does not abandon Moomintroll. In fact, he makes an active effort to stay by his side. But it feels strange, almost undeserved? We saw so little of Snufkin this season, and when we did, he spent his screen time backtracking his progress.

In season 3, Lonely Mountain, Snufkin has a small monologue about listening to the campfire as the sparks dance and fly. Well, the whole episode was about listening. Anyway, that was a call back to the season 1 episode, The Invisible Child, in which Too-Tikky tells Moomintroll that there are many lost souls in Moominvalley that needed to be heard. The screen then cut to Snufkin leaving the valley. It would have been really cool to find out what that meant!

His abandonment issues never really get addressed. Refusing to let Snufkin meet his father was just baiting the audience. It was also just bad writing! What's his deal—where's his lore?? Who made him like this? Why is he so afraid of intimacy? Why are basic fundamental questions about this main character being left unanswered?

It really is disappointing. Every adaptation (and the books, if we're being honest) treat Snufkin like a stoic hero. He doesn't want to be looked up to, yet he's always painted as a character that you should. This is the first adaptation that gave him flaws. He felt like a character that needed growth and time. He was never given either.

I won't spend so much time on Snorkmaiden, even though she was robbed, too. She never grew to be more independent apart from Moomintroll. In the same vein as Moomintroll and Snufkin, her character ends exactly the way she started. All of her character growth vanished in seasons 3 and 4. I love this version of Snorkmaiden. I certainly prefer it to her other portrayals. But the writers screwed her over so bad, it's heartbreaking.

None of the characters actually learn or change. Everyone sort of becomes a static character, which makes any semblance of a plot impossible to write. For the fun of it, I will try to decode a plot, anyway.

So, you're not crazy. Moomintroll and Snufkin were set up to be endgame. There was a way to make Moomintroll and Snorkmaiden endgame in a satisfying way, but the writers chose against it. It's a very suspicious backtracking that reeks of queerbaiting, but let me explain the narrative romance angles first.

I feel unsatisfied with the ending Moomintroll and Snorkmaiden got. Throughout seasons 1 and 2, they would frequently lie for each other's approval, and jealousy was a common player. They would ignore each other when someone more interesting came along. Ultimately, what led to the break up in season 2, Farwell Snorkmaiden, was the understanding that Snorkmaiden was just more mature than Moomintroll. In her own way, she was ready for a serious committed relationship, and Moomintroll was not.

However, there was never a formal conversation of them getting back together. They just sort of were? And all of the problems in their relationship were never resolved. They still lied to each other and ignored one another for something shinier all the time. It was irritating. These two became no better than Sniff in the end. I'm standing on business with that.

I'm also not convinced that Moomintroll and Snorkmaiden can have a healthy relationship after the finale. They will definitely break up again. They haven't resolved any of the issues that led to their original break.

Okay, so Moomintroll and Snufkin. Let's chat about that for a while. The first three episodes establish Moomintroll, Snufkin, and their relationship together (in that order). We, as viewers, are led to believe that their relationship (either romantic or platonic) is the key to understanding the story. Throughout seasons 1 and 2, every single motif for love (lanterns, fires, the ruby, etc.) that is introduced is done with Moomintroll and Snufkin. Regardless, different expressions of love and intimacy were the focal point of the show. That was almost completely abandoned in seasons 3 and 4. While turning the focus on the greater community could have added depth, it ultimately detracted from the close personal relationships that were driving the narrative.

So, the Groke. She does not just represent fear, she is a reflection of each character's own fears. I loved this! I thought it was a really cool concept, and the ways that she was portrayed in seasons 1 and 2 were excellent. Here's the thing. In her introduction in season 1, Night of the Groke, we are also introduced to lanterns/fires as a motif about love. The Groke is chasing love and craves acceptance. It's not quite something you can catch, and trying to is a failed endeavor. Brilliant episode. We saw what Snufkin's greatest fear was earlier in the season (loving Moomintroll), but we needed to pay more attention to see Moomintroll's fear. I think it was complex. On one hand, with the lanterns, Moomintroll could also be afraid to love Snufkin. However, as we saw at the end of Moomintroll and the Seahorses, he needs to learn independence before he can love someone. This was also reinforced through Snorkmaiden in Farwell Snorkmaiden. The fires and lanterns were constant reoccurring motifs (not just for Moomintroll and Snufkin, though that's where the focus is right now). Rewatch the season 3 episode, Lonely Mountain, and that one monologue that Snufkin gives will start to make sense.

By abandoning these important motifs, the Groke's conclusion feels unfinished. It just felt wrong. In the end, she did just represent fear. This completely erased the layer of depth that she had to start.

For Moomintroll to learn to be more independent and self-reliant, he needed to learn from Snufkin. For Snufkin to learn to accept love and responsibility, he needed to learn from Moomintroll. They were the keys to each other's growth. When they were together, the plot moved. When they weren't, the episodes felt like filler for the most part.

Also, small detail, despite the change in one photo (the baby photo to grown Moomintroll) the photo with Moomintroll and Snufkin never changed. Which narratively makes no sense.

The writers originally set this up for them to be romantically involved. Which, given the context of their dynamic in the books and comics, makes sense. It's not as much of a stretch as people are trying to gaslight themselves into believing. These characters were originally heavily queer coded. However, the original text is sort of a tragedy. No matter what happened, Moomintroll and Snufkin could never truly be together—no matter how much they tried. This mirrored Tove Jansson's relationship to her first fiance Atos Wirtanen as well as her relationship to her own queerness. However, it looked like Moominvalley wanted something different. Queer people had enough tragic stories told already. This one would tell queer kids that it was going to be okay, and that they were going to find love. Tove Jansson's original message about love and freedom was finally going to be understood.

Instead, not only was this potentially beautiful story abandoned, it was mocked. In the season 4 episode, Midsummer Meddling, there was a scene I found quite shocking. Sniff had convinced himself that he was to fall in love with somebody. One of his "love interests" was a male scarecrow. This is the only openly queer semblance of romance that we got and it was played off as a joke. In the final season. They didn't even backtrack Moomintroll and Snufkin, they just completely ignored everything that was set up.

In the final episode, Comet in Moominland, there was an incredibly brief exchange between Moomintroll and Snufkin about who looked up to who. This would have been a fantastic place to give these characters some sort of conclusion, but we don't get that. In all of the 45 minute special, the characters are never prioritized. In the whole season, even. Really, not a single character got a satisfying conclusion, but Moomintroll and Snufkin were the most important.

This is a powerful and historic piece of queer media. Tove Jansson's queer legacy was so iconic that she was directly cited as an influence in the legalization of same sex marriage in Finland. Her work proved to further the queer community. Despite sodomy laws and fear of incarceration, Jansson continued to do what she could to tell her own queer story. That is what Moomin is. That is its legacy.

I was prepared to defend Gutsy if Snufmin didn't go canon. At the end of the day, it's usually TV execs threatening to pull the whole show off the air. The show was too costly to risk any interesting writing. However, the writers didn't recover, and some of the writing just felt downright melicious at times.

Anyway, if you love slice-of-life content, you probably loved this season and the show's conclusion. It is such a shame that the creators promised something completely different from what the show turned out to be. It's no surprise that viewers are disappointed.

I do have one more thing to say ☝️😀. This is going to hurt Moomin's mission to expand to the US. It's been very obvious that they have been trying to expand to North America. Brave and bold writing would have caught the attention of new viewers. Instead, few Americans are going to recommend this show to others. Aside from that, the next logical move is to make an American adaptation. Good luck trying to find a competent YA cartoon creator that won't threaten to walk off the project if they can't have Snufmin. That being said, they'll have better luck making that canon here anyway. (Everybody say, "thank you Rebecca Sugar and Pendleton Ward.")

Well, in the end, I don't think the fight to make Snufmin a real, transparent queer story ends with Moominvalley. I can say, though, that the prioritization of profit over respect and love for others is not at all what Tove Jansson would have wanted.

Seasons 1 and 2 were peak, and season 3, episode 8, was batshit insane. That is all.

[waterlinkedgirl]

Musical Touken Ranbu: Michinooku ~ Hitotsu Hachisu (Michinooku ~ A Single Lotus)

Here we go! Only a few days after the archive release and toumyu's ninth anniversary (congratulations!)

Michioku, or Michihasu, is a myu I have many conflicting feelings about, both positive and negative. However, I do believe that with the right amount of care in the next Mika-related story myu, the negative can still be cleared. Plus, I'm glad about a lot of things being re-established. The writer does need to step up her game a little on the plot-writing side of things, as well as the understanding-and-respecting-past-myu side of things, but as long as she does, this can still be given a proper place within what was already established.

Keep in mind that these are only the subtitle files, timed and tled to the DMM senshuuraku and the bluray respectively. The archive version will have a talk at the start, so the starting times of the subs will have to be delayed accordingly.

You can find the subtitles and my TL notes document here!

[sainamoonshine]

My unpopular opinion is that in languages with grammatical gender like french, it does make sense for Murderbot to be referred to by whatever pronoun is usually used for robots or constructs. (In french, therefore, grammatical masculine.) Because there are no traditional « it » pronouns in these languages for objects, and while there are neo-pronouns, they are things one must choose for themselves. Do you honestly think MB actually spent time thinking about its pronouns?! No it didn’t. On forms it picks « non-applicable ». When people ask it what pronouns they should use, its honest opinion is « why do you even need to talk about me. Just don’t fucking do that. Don’t think about me either. Just fucking stop perceiving me altogether! »

Thinking about what pronouns to use probably makes it way more uncomfortable than letting people call it what they’ve already been calling it. Making a conscious choice about its identity? And telling other people about it??? No thanks bye, it’s just gonna walk into the ocean now, see you never.

Lbr it probably thinks the only bots that get fancy pronouns are comfort units, and the pronouns are probably shoved into them by humans same as everything else. MB would meet a bot using a neopronoun and it would wish it could barf. Because in a language like french, he/him and she/her, when applied to objects, ARE fulfilling the function of the english « it ». Nobody is saying the table is a woman or related to feminity in any way outside of stand-up comedy; when it comes to objects grammatical gender really has fuckall to do with human gender even if we use the same words. Even animal species names have grammatical gender and everyone gets that there are male and female turtles even if the word « turtle » is a female word, it’s not that confusing.

(I know this is strange when your language has different pronouns for people and for objects, but understand that english uses the same word to indicate if I’m addressing one or many people, and that is confusing to me.)

TL;DR; stop harassing international fans for not getting the correct MB pronoun in english right off the bat. Yes in english calling it « he » or « her » or « them » is upsetting because it’s projecting an identity unto it. But same goes for trying to get a foreign language translation to use a pronoun intended to express or showcase an identity (or even a lack of one!). Murderbot has not thought about it this hard, refuses to think about it this hard -> and that is its only canon accurate gender identity.

[denkisauce]

literally when has another ship given as much as bakudeku has. when has another ship encompassed so many tropes all at once while also having the relationship develop the way it has???? sometimes i’m just like dumbfounding by the depth that exists between them like they’re not just childhood friends, they’re not just rivals to lovers they’re not just starcrossed they’re not just punk x nerd or jock x jock or nerd x nerd or whatever the fuck they’ve gone from best friends to broken to fixed to i would die for you x i would kill for you like????? the nicknames???? the fact that katsuki has never told deku to stop calling him kacchan even when their relationship was at their lowest???? the fact that he was carrying his all might card with him the whole time???????????? the fact that izuku is so defensive he unlocked new powers multiple times because of kacchan and katsuki is so defensive he was willing to die TWICE for izuku?????? even the smaller things, all might rooting for them, aizawa saying his whole thing about how the two of them push their entire class to go above and beyond,, house arrest boys???? ohhh my goddddd like i know we all know but i can’t stop thinking about all of this all the time 😩😩😩

[trans-temporial]

I love this

[anistarrose]

[Image description: screenshot from The Owl House of King saying: "No one wants to think they've wasted their life following the wrong person." End description.]

The thing about rewatching Hollow Mind, after the finale, is realizing this sentiment isn't just about Belos's followers, or about Luz initially looking up to Philip. In fact, it's just as much about Belos himself.

No one wants to admit you spent years chasing a brother who didn't want to go home. Who wasn't the witch hunter he once claimed to be. Who, in every reincarnation, still won't become the person you wanted him to be.

No one wants to admit that — for the centuries you saw yourself as following your God, doing what He required of you to save humanity's souls, and wipe out the Devil's witchcraft — that you were the only one doing evil. That your devout faith and countless sacrifices were misplaced, and that your former home has moved on from witch hunts anyway.

No one would want to admit any of that, and in combination with Belos's personal obsession with being a hero, it becomes clear he was never going to admit it. Not even on his deathbed. Because that would be nearly four hundred wasted years on his conscience, four hundred years of following the wrong people, and how could he possibly let himself believe that?