#about as much as i liked any average disney movie

[xinganhao]

🥊 older brother!soonyoung vs. boyfriend!jihoon.

@choco-scoups -> "what do we think about brother's best friend jihoon, but your brother is soonyoung"

ⓘ cussing, good-natured sibling bickering, suggestive joke. headcanons under the cut.

🥊 jihoon's notes on surviving the kwon siblings .ᐟ

The Kwon siblings are sulky as hell. Jihoon had thought that Soonyoung was the king of brooding, but then he met you. If he weren't dating you, he might even be impressed. As it is, though, he can only focus on managing the two of you's moods. Sure, Jihoon is a little biased. He thinks you're cute when you get all pouty; it makes him want to pinch your cheeks and hold you until that frown is gone from your face. When it's Soonyoung, though, he's a lot more exasperated. "You're a grown man, Soon. Get over it," he might grouse— right before turning to a sullen you and asking if you want a kiss.

The Kwon siblings bicker. A lot. Jihoon doesn't have any brothers or sisters of his own, so he spent quite a bit of time worrying if the two of you were normal. He quickly learned that most siblings tend to butt heads, though you and Soonyoung tended to be a little more... over the top than the average pair. One too many times, Jihoon has been caught in between the two of you's screaming matches. His three-step plan to coming out unscathed is to 1) not take sides, 2) only step in if/when physical altercation occurs, and 3) try not to insult either of you. Even if he is inclined to believe that you're right, more often than not.

The Kwon siblings can be clingy. Before he was your boyfriend, Jihoon was Soonyoung's best friend. And so Jihoon had grown used to Soonyoung's insistences for meals out, Soonyoung's need to be responded to lest he thinks it's the end of the world. When it turned out that you were more or less similar, Jihoon could only shake his head and sigh to himself. He should have known what he was getting into. Really, Jihoon has the patience of a saint in balancing your overthinking and Soonyoung's peskiness. It's a whole love language, and Jihoon is fluent.

Soonyoung loves you. It's not something he says often. Call it the tendency of brothers to brush off emotion or downplay their own sentiments. But Soonyoung loves you in a ride-or-die kind of way, in an if-anything-happens-to-you-I-don't-know-what-I'd-do kind of way. Jihoon knows this. He knows it well. When you and Jihoon had started dating, Soonyoung had been fully supportive. He made a couple of 'jabs' here and there— "If you break their heart, I'll never forgive you!"— but Jihoon knew from the look in his best friend's eye, the set in Soonyoung's jaw, that it wasn't that much of a joke. Jihoon knows that Soonyoung trusting him with you is no small thing. He makes sure not to take it for granted.

You love Jihoon. You love Soonyoung. You would never— not in a million lifetimes— choose Jihoon over Soonyoung. Even though you've threatened bodily harm on Soonyoung more times than can be counted; even though Jihoon is everything that you could want and more. Blood runs thicker than water. Jihoon knows that, too. That's why he never makes you choose. He's content to share the spot of 'favorite person' with your brother, the same way that there's no one else in the world that he trusts more than you two.

+ When the three of you are able to get it together long enough to go somewhere without gauging each other's eyes out, it's those moments that Jihoon secretly adores the most. He sometimes falls quiet, letting you and Kwon fill the conversation at the table, and he thinks of the time you forced him to watch that one Disney movie. Looks like the princess was right; Jihoon is spoken for. Everyone he's ever loved is here, within these walls, at this table, and he couldn't be more happy about it.

✉︎ jayyy! i know you said i could "keep this for a while," but when the req features two people on my bias line.. well! (ᗒᗨᗕ)

› scroll through all my work ദ്ദി ˉ͈̀꒳ˉ͈́ )✧ ᶻ 𝗓 𐰁 .ᐟ my masterlist | @xinganhao

[astrobiscuits]

Astro observations part 6

🪻Individuals with Sun in Taurus degrees (2,14,26) are always thinking about money - how they can earn more money, what to spend it on. If it's in Scorpio or conjuncts Pluto, they'll often lie about how much money they actually have just to profit off of you. You'll often hear them say "I don't have any money" but secretly have stash of money hidden in their house

🪻Not only do Aquarius Suns have a lot of friends, they also befriend the shy/awkward/forgotten kid (me). I haven't noticed this with other Sun signs

🪻People with Venus in Leo/Leo degrees (5,17,29) often get complimented on their thick hair

🪻Asteroid Fraga (1105) conjuncting any of your planets/angles/nodes indicates your love for strawberries lol

🪻 Check your Moon in Webb (3041) Persona chart. It gives you more insight on the type of content you like to consume on the internet. You can also take into consideration the degree of your Moon

Aries 🌙 - *watches sports matches live*; *laughs at stupid, childish memes *

Taurus 🌙 - the one who always searches for tutorials; "how to bake lava cake", "how to remove a stripped screw"; hmm, maybe i should move *searches houses for sale*;

Gemini 🌙 - *watches memes*, doesn't care what kind of meme it is as long as it's a meme; *scrolls endlessly on r/todayilearned*

Cancer 🌙 - *watches baby videos*; the type that reads family drama posted on reddit, but also regularly checks what their own relatives post on social media

Leo 🌙 - the newest tea on their fav celebrities; they're the first to know what Zendaya ate this morning, where Tom Hanks went on vacation yesterday and if Kylie Jenner is pregnant again; awww a kitty *ends up in an endless loophole of cat videos*

Virgo 🌙 - "declutter with me" videos, "clean with me" videos; *checks their fav blog every day*; *watches workout videos while working out*; *checks e-mails 20 times a day*; ugh, i need to take a break *watches pet videos*

Libra 🌙 - "get ready with me for..." videos, "OOTD" videos, make-up tutorials; their pinterest is full of outfit inspo and aesthetic house decor; "red/green flags in a guy/girl" videos, "first date do's and don'ts" videos

Scorpio 🌙 - *watches every true crime documentary out there*; "Michael Jackson spirit box session"; time to do the deed *watches p8rn*

Sagittarius 🌙 - *saves bible verses all the time*; searches "how to manifest everything you want", obsessed with Neville Goddard content (i'm so sorry, i'm guilty of this); *decides to go on a spontaneous trip, so they end up watching travel videos*

Capricorn 🌙 - the type that doesn't use the internet for entertainment much; actually, you'd be surprised by how little they use their phone compared to the average person; probably has a daily time limit set on their phones, *reads memoirs and biographies*,

Aquarius 🌙 - twitch is their life basically; if they're not watching someone play a video game, then they're playing a video game; *follows LGBTQ+ content during pride month*

Pisces 🌙 - they're listening to music 24/7, has a playlist for every mood they're going through, *watches tangled for the 7th time in a row*; actually, they're always watching a tv series if not for a disney movie

🪻I noticed that most film directors (Hitchcock, Kubrick, Tarantino) have got Neptune in Gemini or Neptune in Gemini degrees (3,15,27). Besides Hitchcock, they also don’t have any aspect between Neptune and Mercury

[raven-at-the-writing-desk]

Ramshackle is such an interesting mystery and it needs to be talked about more.

I know it’s mostly because of narrative/storytelling reasons, but the fact that Ramshackle WASN’T based on a villain even when it was an active dorm and didn’t have a corresponding statue is interesting to me. The Great Seven have always been The Great SEVEN, so it’s safe to say old Ramshackle dorm students never had a cool Disney villain to admire.

Unless Michard M*use is a villain, you know. Ramshackle is the dorm of cap*talism lmao

We know it’s based on the Thru The Mirror short, but in-universe it’s just a bit out of Night Raven College’s standard, it gives an “other” feeling, like Ramshackle was that one dorm that didn’t have enough relevance or just a bit overshadowed by the other dorms from the beginning. Or maybe it was important one day but due to mysterious circumstances nobody remembers it.

Not only that, but it’s the only dorm located on school grounds that doesn’t require access through the mirror chamber. It just feels very… Normal? Like I cannot tell you how Regular Guy this dorm is. Literally just the smallest dorm compared to all the others, too.

Maybe it was Night Raven College’s very first dorm? Maybe the OG Ramshackle students weren’t even magic users, and had other talents? I’ve seen some theories but I hope they expand on Ramshackle lore after episode 7.

Ramshackle is for sure the "odd one out" of the dorms. As this anon has said, there's various anomalies that separate it from the others (aside from having fallen from grace): it's located on-campus rather than in its own pocket dimension, Ramshackle has no key historical figure or known core value associated with it, the scale of the dorm is much smaller comapared to the other dorms, etc, It really adds to the sense of "not belonging", which is what also makes the dorm such a fitting place for misfits like Yuu and Grim, who aren't your average NRC student.

Pomefiore is said to be the oldest dorm at Night Raven College so by that logic, Ramshackle is definitely NOT the first dorm. This is most likely a reference to how Snow White is the oldest of the films that feature the Great 7, having released in 1937. Hercules, the most recent of the films, came out in 1997, so that perhaps explains why it is the most "modern" and high-tech of the dorms (though we don't know if this one was the newest dorm in the TWST-verse yet). Oddly, the Thru the Mirror short came out in 1936, a year before Snow White, but Pomefiore is still credited as the oldest dorm, not Ramshackle. Perhaps the irl movie release dates don't correlate that strongly with the age and the history of each of the dorms after all? I also believe that NRC has always been an academy to train mages, so they wouldn't allow non-mages to attend (with Yuu being a very rare exception); they wouldn't be able to complete any of the coursework required of them in their later years (Yuu is only able to do so because of their mage partner, Grim).

Hoping we do get to learn more about Ramshackle in the future, whether that's in the current TWST arc or in the next ^^

[uva124]

HAEDUS, NAOS AND NEMBUS BACKSTORY (MY STARBOYS)

Well these last days I've been thinking about my three beloved stars and I wanted to give them a solid backstory, it's not the final story (I'll probably change some things) but this is what I have planned in mind:

First of all I'm going to explain how the stars work in my world:

POWER CATEGORIES:

Not all stars have the same qualities or powers, some are born being powerful and others are born with a weaker magic, of course they can improve it, but it would take MANY years considering how long a star lives, besides this wouldn't make a big effect you know? So here not all stars are those kind and divine souls like the Pinocchio fairy, or incredibly cheerful and energetic like others, here the more you are born with a great talent the more respected you are going to be:

WISHING STARS: These are the most respected type of star, only they are allowed to come down to earth to help people who wish them because they trust they have the ability to take care of themselves down there without being discovered, because if anyone discovers them, it could bring great danger, they also serve as a guide to the newborn stars who are learning about their world.

AVERAGE STARS: This type of star can help people fulfill their dreams, but they can't come directly down to earth, they would be responsible for those “lucky breaks” that happen in Disney movies lol.

WEAK” STARS: Here belong my two little boys Naos and Nembus, they were not blessed with the greatest power, usually they were to some extent despised by other stars, others simply pitied them, however, they can still see what happens down there in the worlds, and these two little ones have not ceased to be fascinated by what is down there.

I also have to point out that star powers become emotional quite often, the stronger the emotion they feel, the more out of control their magic will be. Now you may be wondering “what category does Haedus belong to?” oh man this guy is special but not in the best sense of the word: CORRUPTED STARS (BLACK HOLES?):

In this world there are also corrupted stars, they are the ones that have already reached the time of their death or on the other hand they have lost their own control and their own magic has consumed them inside, this can be unleashed in several ways: not controlling your emotions, dark magic spells, among other magical things I guess.

That usually happened to wishing stars because of their incredible power, but it was very uncommon so everyone in the star world was pretty calm regarding the topic….huntil a certain star appeared.

STORY OF HAEDUS: My boy my poor boy, believe me I'm going to make they suffer in this rewrite 😊.

He was born as any normal star but with the difference that he had a HUGE power without exaggerating it too much, no doubt he has the potential to be one of the best wishing stars no? Well not really, they power was quite big but also dangerous if not handled carefully because as I said the management of magic is also emotional, and if this child could not contain himself he could unleash the worst and this was known by the other stars that already had some time of life.

Asia that Haedus was very energetic, almost like @rascalentertainments star (who is also doing a wish rewrite if you want to go read it is this profile :D), but he couldn't help noticing how when he approached the stars they looked at him in a strange way, they seemed uncomfortable or even scared, but of what? He commented this to the wishing stars, some simply avoided the subject or in a way to comfort him told him that they looked at him with “respect” (respect? If that means no one wants to get close to me then I don't want it).

In the end Haedus had a real friend, one that actually liked spending time with him and not simply out of fear or “respect”, he was the only star that truly accepted him, but it all fell apart one day that if only Haedus could remember clearly he would make sure he wouldn't make the same mistakes, all he knows is that he hurt him, He doesn't know how or when but just by seeing the look of his friend full of fear and confusion in his direction he knew he could never forgive him, not even he himself could forgive himself, he lost his only companion, and not only that, he also lost the last bit of sympathy that the other stars had for him, now he could only see the anger, fear, pity and disgust in the eyes of the stars.

I also have to add that many times Haedus asked the wishing stars when it would be his turn to come down to earth, however he never received a clear answer, only scoldings and warnings from the people and how dangerous they could be for him (imagine that maybe they manipulated him like mother Gothel did with Rapunzel), however he did not believe them, He really had no one to hang out with, Haedus just stared at the different worlds in front of him (all fairy tales) he was not really impressed by the forests or kingdoms, he liked they home and especially the magic, for that reason his favorite part was to see how the stars helped people to fulfill their dreams, he really had the illusion of being seen as help instead of whatever the stars were telling him.

He spent some time being good alone, he was getting used by this point to the stares he was constantly receiving (and by the way the murmurs of the stars “can't they at least try to hide?" ), everything was normal until he found two quite young stars, by their aura it seemed that these were twins or something like that, he would have given him the same when he noticed how the other stars looked at the little ones…… It was quite similar to his situation, the days passed and he noticed that yes, the two little stars were ignored and despised, he even saw how some older stars were bothering them, that was it, Haedus approached and as usual they ran away from him, then the two little brothers started to thank they, he felt good after years of being rejected but he thought that would be all until they discovered they “reputation”.

It wasn't like that at all, after that day the two stars (who introduced themselves as Naos and Nembus) chased Haedus like little ducklings chasing their mama paw, this was quite strange, Haedus tried to push them away however it didn't work, eventually he grew fond of them and suddenly his world wasn't so bad after all, these children were his only company, he will not let anything happen to them, he will not let anyone hurt or despise them again, he will protect them at all costs (although these little ones still insist on being nice to everyone even after they have been insulted).

One day Haedus simply reaches they limit, he tries to force his smile for they little brothers but he simply can't hold it in any longer, there has to be a way for the three of them to be accepted in their home, without mistreatment, without having to listen to them, without having to run away…… maybe if he tries to prove that he can be of help as the wishing stars?

So yes, Haedus at this point plans to somehow escape to one of the lands to help grant someone's wish, so the other stars will see that he is not dangerous, that he can control himself and not become a monster, and so they will also respect Naos and Nembus. (Besides as much as they have tried to keep the humans out of the way our starboy still has the illusion of being able to help

Unfortunately the plan does not go as planned. Not at all. First it turned out that Nambos and Nembus had snuck in with him like the naughty children he was (even though the overprotective side of Haedus stressed to them that this time he needed to do this just so no one would get hurt, better safe than sorry). Then something VERY WEIRD happened, in short what happened was the scene when Giselle is transported to the real world only much more terrifying and creepy.

literally Haedus is watching how they most precious people are being covered by green glows while Naos and Nembus don't know what is happening while they panic and cry calling for their big brother, only for the three of them to fall forcibly into a world they were NOT supposed to be in, besides is it their illusion or did they hit something before they reached dry land?

this is what happened lmao, I'm reusing the joke about Starboy almost crashing into Asha, only here it really happens and my girl is knocked unconscious for a few minutes (how did she survive? disney magic)

First meeting:

Well …… the first impressions were not very good, I have to emphasize that in my wish Au asha is from the modern world like the one here, also at that time she had just had one of her worst emotional lows (That's Magnifico and Amaya's fault) and Haedus had just suffered a panic attack while trying to process how the hell they got there and where they are and above all who brought them here?

The only thing our two main characters can agree on is that they are confused, scared and frustrated. Haedus is simply debating whether to fly away with his two little brothers or ask the human how the heck she brought them here and what she wants them for?

I'm still debating how to continue this sequence, but Asha and Haedus certainly don't get along very well, but they both come to the conclusion that they should stay together, Asha simply feels guilty that it's probably her fault that they are on earth and also because she wants to return to her normal life. On the other hand Haedus only accompanies her to guide them in this strange world that is nothing like the ones he had seen before from heaven, and also to find a way to return to heaven.

Also I have to say that Naos and Nembus are very kind and try to see the best in people and that each one should have the chance to fulfill their dreams, even if they are too weak stars they want to help in some way, all this results in them entering in trust with Asha very fast and empathize with her, also this new world makes them very curious and they want to explore it all (even though they are giving Haedus a heart attack every time they accidentally put themselves in danger).

In the middle of the movie we see how Haedus finds the appetite for the little things in life even without magic, and above all he manages to make some real connections, here he is not seen as someone unpleasant, eh he even gets to develop certain feelings for Asha that he tries to deny.

In short we see his development from being someone distrustful of people in general who doesn't understand how people can be happy without magic to someone who appreciates ordinary life and how he can still trust people, and that he doesn't always have to keep everything to himself.

I have to emphasize that Haedus has always been taught to keep his emotions to himself because if he explodes at some point even the stars don't know what will happen, that scares him, he doesn't want to hurt anyone, he doesn't want to be what he was always told he was, he doesn't want to be a monster, he just wants to be accepted, so if keeping everyone safe means repressing his emotions with jokes and a confident attitude, he will gladly do it, as long as his little brothers are safe and don't worry about him.

FINAL COMENTS

This post is just me rambling about my main ideas for these three characters, I will gladly accept your opinion if you want to write it! that's all for now bye :D✨✨✨

@oh-shtars @signed-sapphire @annymation @emillyverse @chillwildwave

(I hope you don't mind me tagging you😅 , but I wanted to share with you these ideas I've had for a few weeks now, I hope you enjoy reading them!)

[kylesvariouslistsandstuff]

The Subtle British Pop Culture/Timeline In CHICKEN RUN

On occasion, I've pointed out when the original CHICKEN RUN is set.

It's often been written that CHICKEN RUN was "set in the '50s", a sort of vague descriptor of its rather dreary post-war England setting. One could assume that from the technology present in the movie, and the homages to 1950s prisoner-of-war films. The obvious ones being STALAG 17 (the number 17 is on the main hut that the chickens all plot in) and THE GREAT ESCAPE. The character Fowler was of the mascot division of the Royal Air Force during World War II. All that talk about his medals. Chocks away!

The easiest way to pinpoint when CHICKEN RUN is set, at the earliest, is knowing what the songs are.

The chickens, in a hut, dance to a cover of Joe Turner's 'Flip, Flop and Fly', Turner's original was released in 1955, an early example of a rock n' roll song. Britain certainly had rock n' roll in a pre-Beatles era, but it doesn't seem as well-known to the average American as American rockers - you know, Elvis, Little Richard, etc. - are to Brits.

Later in the film, Rocky the rooster is jamming out to 'The Wanderer' by Dion.

The song first appeared in North America in November of 1961 - both as a single and as an album track on RUNAROUND SUE (the title track another big hit for him), and if you look in the opening credits sequence, Mrs. Tweedy works with a calendar that says "November"... However, 'The Wanderer' was first released in the UK in January of 1962. And it doesn't seem like much time has passed since the opening credits and the end of the movie...

'The Wanderer' reached #10 in the UK, which was great for an American rock/pop song over there... If anything, the movie is likely set in November/December 1962, so that was plenty of time for 'The Wanderer' to climb the charts, and then be played on the radio every once in a while. Things took a little while in a pre-streaming age, ya know? *waves cane* *I'm actually not that old, nowhere near lol I just love this kinda pop culture history*

So CHICKEN RUN is still kind of a post-war/pre-Beatles England, and it's set in a secluded location inhabited by a middle-aged couple who likely wouldn't have had any idea what was going in the teen beat scene. The Beatles' 'Love Me Do', the single that really put them on the map in the UK, was released in early October of 1962. Being their first true single (not the 'My Bonnie' recording they did in Germany with Tony Sheridan), it charted at a great #17 in the UK... Which of course was nothing compared to what was to come, the strings of #1s, or at least close to that. 'Please Please Me' was the second single, released in January 1963, it hit #2 in the UK. Beatlemania pretty much becomes a thing in the UK by the middle of 1963... It would take a little while for us yanks to catch the fever...

Anyways, CHICKEN RUN is set in November/December 1962. Or maybe it's 1963, who knows, but I think it's pre-Beatlemania rural England. Yorkshire to be exact.

It's kinda funny how the Disney animated ONE HUNDRED AND ONE DALMATIANS shares some similarities in this regard. That film was released in January 1961, and is set in both London and rural England. Its second half during the late fall/early winter no less. The puppies arrive in October, as stated in the film, and the film ends during Christmastime. Snow everywhere, dreary atmosphere, etc.... And then you have the Tweedys in CHICKEN RUN. Mrs. Tweedy is kind of a combination of Cruella de Vil *and* Jasper. She's got the contempt for animals like Cruella, and is taller and the brains like Jasper. Horace, the shorter, pudgier one in the equation - who is onto what the animals are doing but isn't believed, is totally Mr. Tweedy.

That brings us to the recently-released CHICKEN RUN: DAWN OF THE NUGGET... The sequel swaps prisoner-of-war movies and World War II imagery for James Bond and MISSION: IMPOSSIBLE. Spy movies in general.

One look at Mrs. Tweedy's high-tech new factory shows that in *spades*. But the folks at Aardman Animations did their homework, a lot of the details and background design and such, it legitimately looks like the lair of a supervillain in a '60s spy movie. Much like how Nomanisan Island does in THE INCREDIBLES, another very midcentury modern-inspired movie and franchise. There's also that charming UPA-esque cartoon on how the chickens are processed into nuggets, great stuff there. I also kind of get a bit of a Gerry Anderson vibe here, too. He was known for marionette shows - done in a process called "Supermarionation" - like THUNDERBIRDS and CAPTAIN SCARLET AND THE MYSTERONS. I assume most of the crew behind these movies grew up watching those shows.

And of course, a big indicator... Towards the end of the film, all the chickens - brainwashed by mind-control collars that make them all happy-go-lucky - are being forced up an escalator to a popcorn chicken death. In this pretty creepy sequence, they're all doing this while Cliff Richard's 'Summer Holiday' plays in the background. The bright, pastel-colored set adorned with simplistic countryside-looking hills that these chickens are brainwashed in before they are to be ground into fast food is reminiscent of vintage British and European children's programs. I was thinking of stuff like THE MAGIC ROUNDABOUT and such, which was also a stop-motion production.

Oh yeah, 'Summer Holiday'. That song came out in January 1963, it was the title song for a movie that was *huge* in England when it first came out. Cliff Richard is the prime example of a pre-Beatles British pop/rock star, I feel he's almost synonymous with that period of British pop music before John, Paul, George, and Ringo showed up. So, CHICKEN RUN 2 is set *after* January 1963. Plus, Ginger and Rocky's daughter Molly needed some time to grow up a bit.

Either this was intentional or not, but it strangely adds up. It's pretty chronological, either by accident or they made sure they didn't have too many anachronisms... Other than the cartoonishly high tech of Mrs. Tweedy's Fun-Land Farms, but then again, the pie machine in the original CHICKEN RUN was kind of improbable too. But that's the fun of the CHICKEN RUN movies, so it's a staple.

And even in other Aardman works, there are fun nods to British pop culture and media. For example, in WALLACE & GROMIT: THE CURSE OF THE WERE-RABBIT, Art Garfunkel's 'Bright Eyes' can be heard on the car radio in one scene. Garfunkel is American, yes, but 'Bright Eyes' was composed and recorded for the soundtrack of the British animated classic WATERSHIP DOWN. Just in case you've never seen or even heard of that movie. WATERSHIP DOWN is about rabbits, and in the WALLACE & GROMIT movie, they're dealing with rabbits! Quite clever.

Another favorite of mine is in FARMAGEDDON: A SHAUN THE SHEEP MOVIE. Of course, Shaun the Sheep is spun off from WALLACE & GROMIT, he appeared in the short film A CLOSE SHAVE. The second SHAUN THE SHEEP movie brings in science fiction and aliens, a real 180 from the small-scale first film. At the end of the film, the Farmer accidentally gets onto the UFO and is not on Earth anymore! Before they get him back, a song called 'Forever Autumn' can be heard playing on a radio.

'Forever Autumn' is a rewrite of a Lego commercial jingle composed by Jeff Wayne in 1969, with lyrics by Gary Osborne and Paul Vigrass. The two lyricists recorded the first version of that song in 1972 for an album called QUEUES. A couple years later, Jeff Wayne got the idea to do a musical version of H. G. Wells' THE WAR OF THE WORLDS. A musical album, bringing in several mostly British talents to retell - through story and song - the British sci-fi staple. 'Forever Autumn' was covered for the album, with lead vocals sung by Justin Hayward of The Moody Blues. Of course, another British group... all for the section of the album in which the protagonist - a journalist - fears his wife had been killed in the Martian invasion. "'Cause you're not here." Which is the lyric heard in FARMAGEDDON when they realize that the Farmer went to outer space!

(It takes a special kind of skill to take such a depressing song and make it FUNNY in any context.)

Anyways, those are just a couple examples off the top of my head. Aardman's work is distinctly British, to the core. And the CHICKEN RUN movies give me a fascinating idea of when they are set, a very cartoon British '60s.

[writebackatya]

Do you think there should be justice for Alistair Boorswan?

#ReleaseTheBoorswanCut #ReleaseTheDeweyDuckCut

Oh Boorswan, I do legitimately feel bad for him but at the same time I find his situation hilarious. I loved him as a one-time character but he was someone who I would have loved to see return. Mainly because Edgar Wright (director of some of my favorite action comedies) was casted as him which for another layer of funny, was almost the director of Ant-Man but left the project since Disney didn’t want to make the movie he wanted to make. I always looked at this role and the whole episode as a giant middle finger to Disney for the way they treat their creative people

But back to Boorswan because I find him to be a fascinating character in his own right. Something that didn’t really occur to me till like my second or third time watching the episode is that Boorswan himself, is a Darkwing Duck fan and does have an understanding of the character

Mind you, my first watchthrough of the episode I had not watch a single episode of Darkwing Duck prior, it wasn’t till after I finished DuckTales 2017 I started to watch DT87 and DWD. (So if anyone tells you that people only like the Darkwing Duck episodes cause of nostalgia, tell those dummies they are wrong! Both episodes are phenomenal and don’t rely on nostalgia to carry their episodes)

Anyway, Boorswan’s take on Darkwing Duck as a sorta anti-hero while a bit edgy (he’s definitely a riff on Christopher Nolan but I also love to think there’s a bit of Zack Snyder in him too, he’s so pretentious!) isn’t too far off. In the original show, Darkwing Duck isn’t a beloved superhero at all. He has his fans for sure, but he’s mostly seen as a nuisance by the average St. Canard citizen.

But of course Darkwing Duck means well for the most part. He can be very egotistical in pretty much every episode. He has a lot of flaws. And honestly I have an understanding where Boorswan was coming from with his take

Something I would love to see explore if he were to return would be his relationship with Drake Mallard. Clearly Drake was not a fan of Boorswan’s vision and Alistair obviously saw something in Drake to cast him as the titular character in his overbudget movie.

It just makes me wonder how often Drake spoke up about some of Boorswan’s creative decisions as well as how Alistair responded to his star’s criticisms. Creating any form of art with multiple people can be difficult, heads are gonna butt since everyone has their own creative vision

I think it would be funny if Alistair Boorswan does not recognize Drake Mallard when he’s Darkwing Duck in St. Canard because that Darkwing Duck is nothing like the one he imagined for his movie

Also I love to think Alistair Boorswan blames Dewey and solely Dewey for his project getting cancelled. Just because I think it’d be funny if there was yet another adult that has beef with a preteen duck. Honestly, I think Alistair should be a sorta anti-hero to reflect his art. He lives in his own world and has a creative vision he wants to share and will do whatever it takes to make it happen. He’s kinda like Dewey when you think about it.

But the short answer, yes I do think he deserves some sort of justice. In fact, I’m working on a fic that I really need to continue working on right now where basically no one except him (and a few others) wants the Darkwing Duck movie to be made so instead he reworks his script into a Gizmoduck Movie

Someday I will finish it. Someday.

[inamindfarfaraway]

Elena of avalor goes crazy

Esteban’s song something I would never do Is essentially a whole soliloquy in a preschool show

Elena of Avalor goes SO HARD. Sometimes it’s pretty standard Disney Junior fare, but then every now and then, to keep you sharp, it punches you in the jaw with darkness or moral complexity or really profound, emotional storytelling. Esteban’s whole antivillain-antihero ping pong arc is rightfully iconic. But I want to call out Elena herself too. The protagonist of this Disney Junior princess TV show, the one little girls even younger than Disney’s average demographic are meant to look up to and connect with, clearly has PTSD, repeatedly demonstrating symptoms like flashbacks, panic attacks and hypervigilance. Her character growth is so well-done. She has serious flaws and makes meaningful mistakes, and then matures and takes accountability for them. Not all her issues are resolved within a few episodes or even whole seasons. In Season Three she gets a lot worse in some ways due to trauma. But she chooses to do the right thing enough, and receives enough help and support from her loved ones, to remain a good person and become a better one. She’s a genuinely great role model for kids and has so much older people can relate to and appreciate.

Like, Frozen has got a lot of praise for its portrayal of mental illness. And I am so glad that it did what it did, giving symptoms of anxiety and depression sympathetic representation in a mainstream, theatrically released, incredibly popular Disney movie. But Elena does everything Elsa does on Disney freaking JUNIOR and more over more time. Superpowers? Check. Beautiful, evolving relationship with her younger sister? Check. Rules a kingdom? Check. Is mentally ill, uses unhealthy coping mechanisms like emotional repression and learns healthier ones? Check. Sings amazing musical numbers? Check. Never falls in love? Check. None of the main cast have a romantic subplot! The importance is all on family and friendship! It makes this asexual very happy. Nearly kills people? Multiple times! Actually kills someone? Check. Wait, what? Elsa didn’t do that!

Yeah, let’s talk about the murder, shall we? I particularly love how this series handles revenge. Elena really, really wants to kill Shuriki, both to protect her country and to avenge her parents and herself. Her family have a debate about this. Do they argue that killing or acting in hatred and anger is always wrong? That not even the pure evil Shuriki deserves it? That it would be an irrevocable moral stain on her soul to take any life? Nope! They argue that she matters too much as the ruler to run off and attack an extremely powerful, deadly threat and it would be more effective in the bigger picture to let her royal guards do their job. Their disagreement is entirely practical. Nobody suggests that Shuriki should be forgiven or offered a second chance. When Elena later defeats Shuriki in an epic final duel, she does indeed kill her! She incinerates her with a fire spell! The narrative never shames or punishes her for this, only rewards her, and she doesn’t feel any remorse or forget to value life as a result. A Disney Junior princess commits first-degree murder in cold blood and it’s depicted completely positively. She did what she had to do and is happier and safer for it. BUT then in the next season, she really, really wants to kill Esteban because he was directly responsible for Shuriki getting to do everything she did to Avalor and its royal family, even though he initially has no malice toward anyone and just doesn’t want to be imprisoned. Her pursuing him with unnecessary aggression and coldly disowning him when he tries to make amends gradually drives him to seek power and be an actual villain to compensate for his ruined life. She’s disproportionately fixated on catching and hurting him over the greater good and her own wellbeing. This time her thirst for vengeance is negative because it harms herself and others who don’t deserve it. She’s sympathetic and understandable throughout, but not making wise or kind decisions for herself or her loved ones, like not letting Isabel to talk about her feelings on Esteban with her. In the end, she does need to forgive Esteban to save everyone and have peace. But only after he tangibly proves his change of heart by sacrificing himself for her. The NUANCE.

Also, going back to Frozen comparison, I would like to point out that if you’re sick of them, Elena of Avalor has no twist villains. But it does have an array of interesting villains who are fun to watch and can be surprisingly layered and dynamic. Victor and Carla have a natural redemption arc building off their established true love for each other. Ash loses her love for her family to become even more immoral. She essentially kills (petrifies) her husband before their daughter’s eyes. They didn’t need to go that hard, but they did. Shuriki is a sorcerer queen with classic Disney villain confidence and flair, and has the added menace that a) she literally murders Elena’s parents in front of her in her first scene and b) she’s a colonising dictator who we actually see oppressing her conquered people through realistic methods of cultural suppression and police intimidation. They didn’t need to go that hard, but they did!

Thanks for the ask!

[vidreview]

VIDREV: "NO CGI is really just INVISIBLE CGI" by The Movie Rabbit Hole

[originally posted march 19th 2024]

like a lot of folks, i've grown weary of the preponderance of CGI in Hollywood flicks these days. it's all but a cultural tradition at this point to watch John Carpenter's The Thing, sigh wistfully at the goopy silicone animatronics, and say "man, you couldn't make anything like this today." the Marvel/Disney machine has done a lot of heavy lifting to engender this perspective, particularly in the cape department where every aspect of the film is under intense and non-negotiable executive revision until quite literally days before theatrical release (as was the case with Marvel's The Marvels). it doesn't help that this shift has a lot less to do with what's best for any given movie, and a hell of a lot more to do with the lack of unionization in the visual effects industries making them a readily exploitable source of labor. in such an environment, films that nevertheless lean on practical effects are enticing (and, quite often, demonstrably better) enough that we'll sing their praises to the point of hyperbole.

enter Jonas of The Movie Rabbit Hole, here with a genuinely essential series of video essays to slap some sense into that hyperbole and bring us all back down to earth.

one of the more important directors for the development of unobtrusive CGI is David Fincher. i have my fair share of issues with his films, but credit where it's due: they're constantly pushing technology in ways that you absolutely would not expect. there's a crane shot at the start of The Social Network that couldn't be shot with a crane for safety reasons, so instead it was stitched together in post from footage taken on multiple 4K cameras at once. a shocking majority of the blood you'll see in his movies is CGI. the praise i've portioned for his recent films, even as i find him sort of a fundamentally anti-human director, is that he understands that visual effects work best as a supplement to existing footage, rather than a pure replacement.

i share all this to underline my use of the word "essential" in describing this series. i worked in film for a few years, i went to film school, i try to understand the production process as pragmatically as possible. i am under no illusions that Christopher Nolan flicks or the John Wick movies are totally practical. i'm not an anti-CGI evangelist! and yet, even then, i had NO idea just how wrongheaded i still was on the subject until i watched these videos.

Jonas brings 18 years of visual effects experience to bear on a series that feels very much like him trying to settle an argument he's been having for about as long. he has countless examples of films praised for their lack of CGI that relied heavily on their CGI, using the demo reels of effects houses as the smoking gun. Jonas speaks with a plain matter-of-fact-ness that's bolstered just so by an edge of smug frustration, the kind you only get after bearing a cross for years. but it's not just an "i'm right, you're wrong" affair by any stretch. Jonas does a fantastic job communicating a lot of complicated subjects in ways that are friendly to even the most casual of viewers, rarely blaming the audience for their ignorance when studios and market trends are the real culprit. and because he's a veteran of the industry, he's able to interview prominent figures that would otherwise be inaccessible for the average essayist, like Academy Award winning VFX supervisor Paul Franklin.

(and here we come up against a question countenanced more than once on this blog-- where is the line between video essay and documentary? i think this readily qualifies as the former given the first-person direct address shot-in-his-living-room style, yet somehow i feel a bit uneasy with the classification. oh well, a topic for another day)

the most eye-opening section for me is also one of the first, where Jonas confronts the public image of Top Gun: Maverick. i haven't seen this film yet, but i have seen the endless and unqualified buzz about its practical effects. and to be sure, these deserve quite a lot of praise-- they put real actors in real fighter jets for crying out loud! yet in all that crowing, a very important fact totally fell by the wayside: nary a single shot in the film is without digital manipulation. and not just in the basic touch-up sense, removing safety anachronisms and the like. the jets, the cockpits, and the actors themselves were all extensively replaced with digital doubles! i felt like an utter fool when he pointed out that quite often films praised for their lack of CGI will have more VFX artists credited than any other department in production. like, holy shit, it's all right there on the screen? what job were those hundreds of people doing if it was "all practical effects"?

which is the crux of the series' title: "NO CGI is really just INVISIBLE CGI." we have --or perhaps it'd be more honest to say i have-- a tendency to address CGI in binaristic terms. either it's there, or it's not there, right? Fincher's team can put digital blood running down Daniel Craig's face in the shower after he gets shot in The Girl With The Dragon Tattoo, but it's Craig's physical presence that sells it. a film like Top Gun: Maverick makes its bones marketing the spectacle, and because there's such fatigue with CGI-heavy blockbusters any mention of intermediary visual effects carries with it a stain on the authenticity. but really, it does nothing to diminish the practical nature of the photography to also acknowledge how much of what makes it to cinemas is, essentially, an extremely realistic cartoon.

and this is what Jonas's series really exposes for me. a lot of what we're looking at here is rotoscoping, the longstanding tradition of animating over top of live footage a la Disney's Snow White in 1937, though the technique was truly mastered by Max Fleischer in the 1910s. is there some gradeschool nag whispering in the back of our head that a rotoscope is just elaborate tracing? that it's a cheat, because "real" animation is done without reference? (for anyone who has actually worked in animation, this is your cue to laugh derisively)

but the truth is that you do not get one without the other. it takes a lot of planning to film a scene with an eye towards being reanimated, just as it takes tremendous skill to make that animation look good. if Top Gun: Maverick feels viscerally real, it is because the visual effects artists had a real reference to work from. one is not inherently better than the other, more pure or authentic. this isn't the 80s anymore, man. i mean, to get real fucking technical, the instant we stopped shooting on film was the death of "true practicality" in cinema, because a digital sensor must by its nature interpret visual information as raw data and then translate it to something we'd recognize as an image. celluloid film is purely optical, but a digital sensor requires someone (or a team of someones) to write an algorithm to do that interpreting-- which is, inherently, subjective. different cameras have different image processing algorithms, different bitrates and dynamic ranges, to say nothing of custom LUTs and the extensive post-processing required to make RAW footage not look like complete ass. and even now, celluloid cannot be said to be truly pure, because any film shot on celluloid is then digitally scanned, subjected to the exact same post production processing as any other digital film, the final product re-scanned to celluloid to give it a true filmic look, and then yet again digitized for wide distribution (because most cinemas today only have digital projectors).

this is not A Bad Thing! it is simply the material reality of film production in the 21st century. it has many upstream and downstream effects, of course, many of which have negatively impacted the quality of films and television in various ways-- but these are not qualities inherent to digital technology! rather, they are the result of a profit-seeking industry eager to cut corners wherever possible. the existence of CGI is not to blame for the bad CGI in Marvel movies, it's the greedy executives exploiting non unionized labor, forcing crunch at every level with no regard for the human cost, endlessly meddling in the production with their indecisive market-analysis driven brand alterations. ah, the age of the executive auteur, when at last the soulless corporate mindset once commonly decried by artists and audiences alike has been fully naturalized and even embraced by people who call themselves fans, who would sooner throw a director under the bus than say a bad word about Kevin fucking Feige.

it's a pathetic state of affairs, and it can only be called a brilliant act of marketing that CGI burnout in the public has been leveraged to only further erase the essential labor of visual effects artists. Jonas here even points out, much to my slack-jawed amazement, that promotional behind the scenes footage today frequently removes green screens and other indicators of a digital-forward production as a way of unduly acquiring practical effects credibility. as someone who watches a lot of these BTS features, i feel lied to and manipulated, and ashamed of myself for not realizing that making-ofs are just as much marketing as they are educational, often moreso by a lot. it's all just an illusion! and it cannot be repeated often enough that this is an erasure of a historically under-unionized industry, one whose exploitation has been thoroughly documented for years. that this erasure is occurring at a moment when finally, finally, finally corners of the visual effects world have begun to shed the libertarian values inherited from the tech industry and actually unionize is pretty fucking conspicuous to say the least.

i call these videos essential because they reveal a tremendous blind spot in our media literacy, even among those like myself who've studied media extensively. we are, generally, pretty good at identifying the weaknesses in a finished film, but our lack of experience and our credulity towards marketing that doesn't feel like marketing leads us to utterly fail when we attempt to diagnose their cause. when our analysis lacks an understanding of the material conditions of production, as informed by firsthand accounts of those who actually do the work, we cannot help but embarrass ourselves and in so doing blatantly misinform our audiences.

it didn't used to be like this. i remember the late 90s and early aughts, when joints like ILM were praised for their innovations. how often do you hear about VFX houses today? probably only when they go bankrupt. it's such a shame, because what Jonas does in these videos most of all is reveal just how astonishing the work of visual effects artists actually is. these are the perils of an industry whose job is to be invisible, which is why it's so important that their labor be made visible after the fact, celebrated rather than papered over, analyzed extensively rather than mentioned offhand. the truth is that quite a lot of us have been boldly, profoundly wrong about CGI in movies for a long time, and we're well past due for a correction of the record.

all of which is to say that these are some really great videos and you should absolutely go watch them right now

NOTE FROM THE FUTURE: episode 4 came out and it's also great.

[littlealeta]

Spellbound (2024) Review [Spoilers]

Long post! Scroll down for a TL;DR and Aleta Rewrites Version!

I, at first, didn't want to watch this movie. But after hearing some surprisingly decent reviews, I decided to give it a chance. Coming out of it, I can understand why it resonated with some people, even if the writing is ultimately a mess. I think if this came out earlier, in the mid 2010s, without all the controversy John Lasseter has got into as well, I think this could've done a bit better among other simplistic films such as Home and Secret Life of Pets. And I probably would've liked it better myself back then, but alas, I am not a slightly mindless 17 year old anymore, and we live in different times where cute, heartfelt stories are not the only things a movie needs to be good. So, I must view this film objectively as it is.

I will have to say, though, the trailers hid way too much. It's not as horrible as they made it out to be, but still mediocre.

Story

So much to say here...

The story is a real mess. It literally pops off with the parents being monsters. We know nothing of their life beforehand at this point.

There are some good ideas here, like the dark emotions tornado. the parents being monsters concept and having the child be the one to parent their own parents sounds like it could be ridiculously funny, but the problem is, it doesn't do much to set it apart from other stories that have done this before, Brave and Spirited Away with the parents being creatures concept, Wonder Park with the dark emotions symbolism, and It Takes Two with two fighting parents going on an adventure. The monsters at the start could just be Eileen's annoying pets and there would be no difference.

I also like that the main conflict revolves around divorce, a theme that is rarely touched upon in media, especially for children. It's unfortunate that this doesn't come into play until halfway through the story. The message is very heartfelt and a good lesson for children going through this same situation.

There are some good scenes here. Like there's some creative and beautiful segments like the echo or the Look for the Light scene. Most of the humor is actually well-written, although, I probably could've done without the freaky friday thing as it doesn't really contribute to the story. There are a couple times where I felt the humor is tacked on, but other than that, most of them felt natural.

One thing that doesn't make sense about the story, though, is the parents gradually getting their humanity back after it was said that they would get it back at the lake. This was never explained. I believe I could subtly see the reason why that may be the case. The parents and Elliaan are starting to accept the reality of the marriage. But, there's not enough implication to connect that reasoning to the story, and it just feels contrived.

The way conflict gets resolved is often anticlimatic. Like, in the echo scene, the parents suddenly saying "Girl" for no reason and getting their humanity back felt rushed and contrived as well as Bolinar being able to somehow call in the other flinks during the big climatic moment.

Characters

The characters either don't really have much personality or feel one-note.

Princess Elliaan is just your typical Disney protagonist. She's cheerful, optimistic, good-natured, and a bit clumsy. She lacks any flaws, quirks, or depth to help her stand out.

The parents only show their personalities when they're fighting. They, too, have nothing to make them stand out.

The only characters who kinda have a personality are Bolinar and the Oracles, but even they feel a bit one-note. Bolinar's only characteristic is that he's perpetually negative, and he really doesn't contribute anything to the story. The Oracles, being minor characters, aren't very memorable.

Flink is just your average trouble-making Disney sidekick.

Animation/Music/Voice Acting

I love Princess Eileen's design, I think she's very cute. However, that is all the positives I have in regards to the animation. There are some different artistic styles used in some of the musical segments, but most of the animation is just your average 2010s 3D animation.

Music is alright. Most of it is not memorable. There are a couple of weird moments where it seems like the characters were talking more than singing. My personal favorite would be The Way it Was Before. It's catchy, and the sweetest and most heartfelt song out of them all.

The voice actors do well with both funny and serious moments. I have to give props especially to Rachel Zegler, for both her singing and her ability to convey emotions. I really felt her character there.

Overall/TL;DR

I give Spellbound 5.4 bells out of 10

The story takes too long to reveal itself and get interesting. There is barely a concrete arc there, it could easily be seen as a movie where "things happen". A lot of the conflict is resolved anticlimatically, too. There are inklings of a deep, emotional, and creative movie in there, but it needed some more drafting to get there. The comedic timing is mostly well-written, though, besides a few tacked on moments.

Characters feel pretty one-note and Elliaan is just your average Disney princess.

Besides a few artistic musical segments, the animation is mostly generic. Although, I think Princess Elliaan is very cute.

Music is ok, quite forgettable. The only catchy one being the heartfelt The Way It Was Before.

Voice actors did their jobs well, especially Rachel Zegler in terms of both her singing and emotional range.

It's passable enough for kids and those who want to Netflix and chill. It's a simple movie with a good heart and there's nothing wrong with that, but in terms of story and characterization, it's pretty bland with nothing much to make it stand out from other animated kids fare.

In an Aleta Rewrites story, I would of course start off with the parents being humans. Elli is harboring resentment for them due to their constant fighting and planned divorce and just wants everything to be peaceful again. Due to Elli's resentment, the parents themselves are having trouble going through with the divorce because they want to "stay together for the kid". Their fighting causes the parents to turn into monsters because this is how Elliaan sees them. At the start, I would try to do something a little more creative with the parents being monsters concept to set it apart from other movies that have done this before. Like, maybe instead of just having them be rambunctious creatures, show more facets of their personalities. Like, maybe the parents' personalities are still somewhere in there and they're trying to talk to Eileen or trying to help Eileen, but their monster sides just keep coming out and it just all ends in the wrong way. Also, show more of the parents fighting as monster forms instead of just acting like pets causing trouble around the castle.

Let Elliaan's growth happen more naturally instead of at the last minute. And her growth (her acceptance of the changes the parents want to make to their marriage) is the reason her parents slowly gain back humanity. Their adventure is a representation of Elliaan and her parents' journey to accept the truth that the marriage is not going to work out well. Show more symbolic elements of Elliaan's resentment and her growth similar to how you showed symbolic scenes of the parents fighting with the quicksand and the echo.

I would also have Bolinar be more of the foil who often ditches and kinda gets in the way of Elliaan and her parents' adventure. His selfish attempts at trying to get back his body hurt their plans (more scenes like the acorn trail scene), until he grows to be more helpful in the adventure and realize his selfish ways.

[tamamatango]

Unplanned character analysis I should’ve saved for 6/23 but I need instant gratification whenever I have a thought or I explode

Sup nerds, thanks for reading my master’s thesis completely overanalyzing what literal scraps we have in relation to the new anime. Unfortunately no updates yet on that front but I’m starting to go a little Cuckoo For Cocoa Puffs in anticipation so fingers crossed they drop something soonish. I have a couple of longer form posts in my back pocket that may or may not happen in a nearish timeframe, we’ll see what I get around to.

I was going to not do any more posts until one of those materializes but I’m detouring from that for a bit because I had an epiphany about Saburo now that I’ve spent a lot of time thinking about this series again. Those if you who know me and/or were around for when I was most active here know he is my favorite character behind Kururu and that’s still true. So here’s like. A reading of him that I think completely changes the way you will look at this character. If you don’t see him like this already.

Saburo(/Mutsumi since this goes equally for the manga side) is not actually cool. Like this kid is totally cringe and a weirdo right. Literally thinks of the most unnecessarily extra solutions to things, wardrobe that gets increasingly bizarre over time, writes poetry that is usually either obnoxiously cheesy or just doesn’t make any sense. Spends his free time doing stuff like talking to cats and collecting shitty kids’ meal toys. His drawings aren’t even that good most of the time. Unironically Momoka has more swag than Saburo does (granted Momoka has more swag than most characters but that’s besides the point). Yes he is a super genius and athletically gifted and conventionally attractive to other people his age, and (for manga Mutsumi only) it’s later implied he was modified by the N326 in some way. But here’s the thing—a lot of his peers either think he’s a smarmy ass show-off little shit (manga) or just completely inaccessible to the average person so why bother (anime).

The reason why he’s such a celebrity is because the only people who think he is really cool are children and preteen girls (and secretly Giroro but the whole reason that’s a funny joke is because Saburo is totally not appealing to adults at all let alone hardened super serious soldiers). But this is a very profitable and exploitable audience so he is really successful. He is the equivalent of a Disney Channel teen star. He’s like what Justin Bieber was in 2010 or whenever. In the manga Mutsumi gladly eats up this attention, but the anime pretty heavily implies especially toward the (until this year tee hee) end of the series that Saburo kinda dislikes being under the celebrity microscope and having producers who want to milk their child star as much as possible; he just wants to create and entertain and express himself freely which is why he does everything anonymously.

I think the anime tried a little too hard to make him unironically cool and my guess is that this is for a couple reasons. One, he has Akira Ishida’s voice coming out of him which yes was obviously chosen primarily because lol Kaworu but also his voice is just inherently associated with “we want you to think this character is a mysterious ikemen” most of the time. Two, compared to the manga there’s a lot more fillery stuff revolving around Natsumi idolizing him and because so much of the show is from Natsumi’s perspective, that’s the perspective the viewers (who were also intended to be children then, though I think now that it’s a 20 year old series they’re going more for the nostalgic adult audience) get as well. Don’t get me wrong though the VERY few serious moments he had were fantastic, 229 best episode movie 3 best movie etc etc.

You could also argue Kururu thinks Saburo is “cool” but I think he respects him more in the way that he’s kinda like him but younger so they understand each other intrinsically and that makes Saburo more reliable in fulfilling Kururu’s specific needs than most other characters. Saburo’s a lot kinder ostensibly but unlike the rest of the cast, who recoils at Kururu’s mannerisms and psychological torment of everyone, Saburo usually just thinks it’s funny. Kururu is much of a freak as he is but is very particular about his image and actively micromanages almost every aspect of his personality to get people to see him a certain way and avoid showing too many of his vulnerabilities (it’s all but confirmed in the anime that his entire cadence and vocal tics are an elaborate act and his normal voice is totally different). We don’t see it much on screen but it seems he can kinda relax a bit around Saburo who himself is totally out there but in a more genuine and unabashed way, like even in the anime where the radio persona is a secret it’s not like he acts that much differently on the air than he does in his personal life. Besides maybe the early manga Kururu is not really a romantic and probably thinks Saburo’s sappy wappy poetry is cringe too, but he likes Saburo enough that he supports him being himself no matter what bullshit that entails (besides getting himself killed of course). Sorry had to shoehorn best partners talk for a bit longtime Kirb readers know how it is.

So there is actually a specific thing that made me decide let’s do a fucking character analysis for the first time in like 5 years or something, and that’s that I was browsing through raws of the one 4koma book I don’t physically own (shoutout to @kagender for those scans along with some other cool stuff like Keroro Land issues, storyboards and ref sheets!), and it was these strips:

This is a 4koma series in which Meru and Maru from Movie 2 hang around with the main cast for funny shenanigans. Not super relevant because these two strips don’t have them pictured but anyways. They’re having a beach day and Natsumi runs into Saburo who is there to “surf” but actually there are no real waves and he is just pretending. Because he’s copying the 1978 film Big Wednesday (it is Sunday in the comic). In other words teenager larps because he saw it in an old movie once. I know this is not really a pertinent example because the Keroro Land 4komas are all very silly and non-canon (a lot of the artists are actually former doujin artists) but look. This is peak, okay. This is my ideal Saburo outside of serious scenarios. I’ve seen the vision.

I swore I was gonna make this a short post but it’s not I guess. Can’t resist turning these into goddamn essays. So to wrap it up: Saburo is some dorky kid who thinks he’s way more of a hotshot than he really is and totally owns it with no shame. This is adorable. I will defend him with my life. I need Anikero The New to agree with me here. In like 85% of cases I prefer the anime’s takes on everything but Yoshizaki cooked with the ideas behind this guy so listen to word of god. Give us more Silly Saburo. The TikTok teenagers of today deserve this representation.

[pinkrangersarah]

OKAY SO, I just watched Red Shows and the Seven Dwarfs again, and I gotta say, while it's not PERFECT, it's still a damn shame it's not being talked about more. That marketing crew DAMNED this movie and not even the assurances of the cast themselves could undo the damage, but I'm here with the hopes that maybe, just maybe, this movie can get the attention it deserves.

CRITIQUES

Unremarkable villains. Regina is well designed and acted, but she's given very little to do until the end. She also has virtually no relationship with Snow White, despite being her step mother. We also have Prince Average, who is delightfully pathetic, but also doesn't provide much. Not horrible antagonists, but not super fleshed out, either.

The first few minutes are pretty rushed. Snow White getting the shoes and fleeing her step mother, who doesn't recognize her, is almost blink-and-you-miss it. The writing in general is a tad clunky in spots, cheesy even. Nothing horrible, though, it won't ruin the viewing experience.

We're not given too much insight on the characters themselves, particularly the dwarves, the Fearless Seven. I feel like I can let Snow White slide a bit as we all know who Snow White is at her core, but these dwarves are VERY different from any interpretation I've seen. Outside of Merlin, who gets the bulk of the screentime between the seven of them and character development, we know basically nothing about them outside their character traits (i.e., Arthur is strong, Hans loves food and is a good chef, Jack is a priss, and the triplets are geniuses). I'm not saying we need backstory or anything on all of them, but a little bit more substance would be neat.

POSITIVES

SNOW WHITE IS A QUEEN AND I LOVE HER. I love her design. I love that she's happy with herself. SHE'S SO STRONG. SHE CAN BENCH 250. SHE GETS TO SHOW OFF THAT STRENGTH HERE AND THERE. I also love that she's not necessarily a pushover. She's sweet, she's nice, but can bite back sometimes. All in all one of my favorite Snow White interpretations.

THE ANIMATION IS FANTASTIC! It's not DISNEY quality or anything, but it still looks great! The textures are nice; you can see the embroidery on Snow's blouse, Jack's clothes, there's all kinds of nice details like that.

A LOT of thought went into this movie, especially the dwarves even if their characters ended up not being the most fleshed out. Somebody pointed out that the triplets--Pino, Noki, and Kio--sound an awful lot like "Pinocchio". They pilot a giant, wooden puppet that they use to fight, and that puppet has a long nose. They even have Italian accents (which might be slightly over the top, but they don't get a lot of screentime so it's hard for me to say), and Pinocchio is an Italian fairy tale. All of the dwarves have little details like that. They're based off fairytales, obviously (hell the movie takes place on "Fairytale Island"), and a lot of love went into them. Arthur's so Scottish, it's hard to understand him, sometimes. It's pretty funny.

I know you've seen this on other posts talking up this movie and everything, but I'm here to say it again: THIS MOVIE IS NOT BODY SHAMING. IT IS EVERYTHING BUT! As I mentioned above, Snow White loves herself just the way she is; she keeps the shoes on, but it is NOT because she wants to be beautiful. If anything, MERLIN is the one that has to go on the "love yourself" journey.

NITPICKS (not important, just stuff I pick at)

GOD I wish there was more lore. I know, it's fairytales, I don't really need it, but I am a slut for worldbuilding and lore.

The pop songs are lowkey annoying. Not enough to ruin the viewing experience, but enough for me to remember: oh yeah, this movie was meant for a younger audience.

Not all the jokes land. I can forgive it because the rest of it is enjoyable, but most of the jokes that do land are Arthur being incomprehensible at times and Prince Average being his delightfully pathetic self.

To sum it all up, go check this movie out! It's a fun time with good characters, great animation, and a fantastic message. It's available on Peacock, but if you don't want to pay for a subscription then it's available for free (according to Google) on Tubi, Amazon Prime Video, and the Roku Channel.

[superbrieflightstudentlove]

The destruction and disrespect of Luke in the Disney "Canon"

Hello, any Original EU/"Legends" Star Wars fans here? I wanted to share some of my opinions about the current Disney Canon not only in terms of the movies, but also their comics and novels too. So let's start with my biggest gripe - the handling of Luke Skywalker, once the main hero of the beloved franchise.

We already know that Disney hates Luke Skywalker for the crime of being a "white, heterosexual guy" aka not diverse enough for modern woke politics. We all know how they handled him in the "Sequel Trilogy", the less said about that, the better. Their novels also try very hard to throw as much shade (and many times outright hate and contemp) at him as they could and portray his twin sister Leia as the superior one in every way, whether it's Force potential, mental resilience, emotional control or even moral compass.

Their comics from what I heard tend to be somewhat kinder to him, to a point, but even then some writers are just itching to portray him as lame and as much of a failure as possible. One such instance that pissed me off was when I heard that in one of the comics taking place after "Empire Strikes Back", Luke encounters another Force sensitive, a young woman who is also an aspiring Jedi, who somehow manages to get into Luke's mind deep enough to see the nemory of Darth Vader telling him that he is Luke's father. Immediately afterwards, she manages to trap Luke inside a nearby hole and use her Force Powers to fill it with water. Luke somehow forgot how to use his own Force Powers (even after being trained by Yoda himself for months and enough to impress even his father Darth Vader during their battle at Bespin, even though it was clear that Luke was still no match for him by that point, Luke's progress was still big enough to leave an impression on Vader), and literally drowns there. Yes, you read that correctly. Luke doesn't just almost die, he actually temporarily dies for real, before Artoo zips the Force Sensitive gal unconscious and resustitiates Luke back to life. Now I don't know who this Force Sensitive girl was, it's possible that she might have been at least partially trained Padawan during the Clone Wars, who somewhow avoided being slaughtered during Order 66 like Reva, but it seems quite unlikely. From what I heard, I got the impression that she was still young around the timeline of the "Original Trilogy", around Luke's age, so if she was raised in the Temple of the Old Order, she must have been still youngling, just like Reva was. So how come Luke, at this point in his training, was completely unable to defend himself against someone who is in most likelihood just a beginner, while he should be just as advanced if not more so considering by whom he was trained and that not that long from now, he is going to go toe to toe with Vader himself?

Now we know that Disney tried to portray Luke as average, or even below average, so no Jedi Prodigy here, despite being the son of the literal Chosen One and according to George Lucas inheriting the same Force Potential as his father, but they still have to fit this somehow with the original movies, yet I find it hard to believe that if Luke was this much of a weakling, he would be able to stand against Vader in the "Return of the Jedi". Even if you say that Vader was just that emotionally conflicted and torned apart by having to fight his own son, so he held massively back, it still doesn't explain why would Emperor Palpatine even agree to Vader's proposition to turn Luke to the Dark Side and make him one of his apprentices. What would be the point? He needs a strong replacement for Vader, considering he is paranoid that his "old friend" is getting some rebellious ideas into overthrowing him, and if Luke can't provide a reasonable alternative, why just not destroy the young man outright and be done with it? It's honestly strange. I know that Disney stated that Vader never lost his potential even after Mustafar unlike in the original EU and Lucas' vision for the OT and PT movies, so it might make perfect sense for Vader to be naturally much stronger than Luke and that he was always just going easy on him and that's why Luke managed to get the upper hand on the Death Star, if they didn't want to keep the fact that Luke inherited his father's full potential from the old EU, but they also made their version of Vader not caring about Luke nowhere near as much as the old one did. He even actively attempts to kill Luke after Bespin in one of his comics. This is after he knows this is his son, the only thing of his beloved wife left in the world. In fact they made Vader's redemption almost entirely about Padmé, rather than Luke in his own right. It's after Darth Vader investigates his wife's death and sees a video of her saying on her deathbed that there is still good in him, that brings his old self to the surface, not the fact he finally found out he has a son that he presumed was dead for two decades because of his actions. And after the Emperor whoops Vader's ass again, he forgets even about his wife's words on her deathbed, and actively tries to murder their child. Lovely. But of course when it comes to Padme's identical Handmaidens, especially Sabé who looks most like her, he stops his hand. Even when he was still Anakin, they made him even more obsessed with her than he already was in the PT or anywhere in the old EU material and that says a lot. In one of their books he even thinks about how for Padmé he would burn the whole galaxy down, sacrifice everything and everyone else dear to him, including their own unborn child. And I swear that I saw some people on Tumblr sharing excerpts of this, swooning how romantic this is.

On one of their next encounters, he gets turned on on Luke's fear of him and says something along the lines of only sparing him because his Master ordered him to. Heck even Palpatine seems to bizarelly care about Luke more than Vader does, when he is shown worrying that Vader might kill Luke despite the fact that it was originally Vader who convinced Palpatine in "Empire Strikes Back" to spare him, declaring him as "just a boy". So why the sudden going easy on my clearly incompetent weakling of a son in the final movie? Siths despise weakness! What is the point of luring Luke to the Dark Side if he is always going to be just a slightly above average Force user, even with proper training? Remember Vader believed in the second movie that Luke's potential in the Force is big enough to finally make a difference in his fight against Palpatine in order to overthrow him! This is after Vader beats the absolute shit out of Luke on Bespin, yet still believes his son has enough of a potential to be a serious threat against the Emperor once fully trained. This might be just a wishful thinking on Vader's part, but the fact that Palpatine agreed to his proposal to turn Luke speaks volumes about his talent and potential in the Force. It's clearly not just a father's sentimentality or nostalgic feelings involved.

What is even more insulting is, they made Luke to be beaten up pretty badly by a random Imperial Guard when he surrendered to Vader on Endor. This is shortly before their meeting, yet in the movie, Luke appears perfectly healthy and without any bruises or injuries when he faced his father for a private little chit chat before he is brought to Palpatine. Why did Luke, at this point a very skilled Force User, let himself be beaten without any resistance? Alright, I understand he was trying to lay low for his plan to work and not get himself killed when he is unarmed and outnumbered, but why is there no physical evidence of it in the movie itself? What is the point of even including it in the first place then?

And don't get me started on making Sabé try to kill Luke too after she finds out whose son he is. She was one of the closest, if not the closest companions and dear friends of his mother. It is even implied that she was in love with Padmé, however unreciprocated it was. Now the weirdness of being sexually and romantically attracted to someone almost identical to you aside, she has sworn a solem vow to protect her Queen with everything she has got, even laying down her life for her if need be, which she stated she is perfectly happy to do directly to Padmé's face no less. After her death, she, alongside every other Handmaiden, vowed to get revenge for their Queen's death and Anakin's death too (they saw both of them as heroes and didn't know that Anakin became Vader. To them Vader was the one who killed them). They even created an organisation within the Rebel Forces called Amidalans for this purpose.

Now, it's true that at first Sabé was forced to work with Vader against her will and wanted to kill him, but after she discovered his true identity as Anakin Skywalker, she began to view him in a different light and started to cooperate willingly. She agreed to help him overthrow the Emperor and to crown him instead. She starts to think how ineffective the Republic was and how the Empire in the right hands would be a much better system of governance. How she came to the conclusion that exchanging one genocidical maniac for yet another one is a good thing, is anyone's guess but here we go. Funnily enough, she even thinks that she (Sabé) is the one who can redeem him and bring him back to the light based on Padmé's words that there is still good in Vader.

After Vader grows tired of her and kicks her out of his servises, she develops an ingenious plan to test Luke on whether he is susceptible into following his father's footsteps, prepared to kill him if he shows any signs of anger, by literally ambushing him, shooting at him relentlessly and threatening one of his allies at gunpoint. Unbelievable. This absolutely hypocritical ass even dares to call him a Sith to his face when he is just defending himself after he crushes her sniper, which you know, she was just using to shoot at him. Why she thinks she has any moral highround here to play a judge, jury and executioner over a life of someone who did nothing to warrant it, just because he happenes to share DNA with someone is beyond me, especially since not so long ago, she was happily serving Vader herself and even considered him a viable option for a galactic ruler. What's funny, is that the other Handmaidens even pointed out how by joining Vader and the Empire, she is going against everything Padmé stood for and if she was still alive, she wouldn't approve of Sabé's actions in the slightest. She even chose Vader over the rest of the Handmaidens at some point, yet she has the gall to play a morally superior being and judging her Queen's child's character while she herself is morally compromised and far from being a saint, by playing sick, twisted mind games with Luke with the intention to hurt him and potentionally kill him for the crime of being related to the same man she was fine working for not so long ago.

Yes, Luke might be Vader's son, but he is also Padmé's son, and as far as Sabé knows, her only child (she doesn't know about Leia). Does that mean nothing to her? Why be willing to sympathize with your Queen's genocidical, mass murdering, child killing hubby (she knows that he was the one who marched on the Jedi Temple and killed everyone inside, including the younglings) and wanting to make him the absolute ruler of the known universe based on nothing but the words of a dying woman you once served when he has shown absolutely no indication that he deserves it, just the opposite in fact, but not be willing to extent the same courtesy to your Queen's innocent child that has yet to do anything bad. In fact, she knows that Luke is a War Hero who works for the Rebellion and destroyed the first Death Star, so you would assume that he is far more deserving of her loyalty and protection than Vader ever was.

What is happening here? How could Disney lost the plot so much? This is such an inconsistent, illogical mess. All the characters are massacred beyond reason.

But what do you think? Let me know in the comments.

[naoko-world]

My opinion on the Percy Jackson tv show season 1!

So I watched season one of the Percy Jackson tv show as it was released and now here is time for a quick review!

Sorry I wanted to finish this drawing before, hope you like it! (To be honest i didn't draw the drawing on the shirts, I just used what was used on the Disney store, but I draw the rest.) You can see it on my Instagram too, without the review

SPOILER WARNING

I'll start my review of season one by talking about...

The characters

Well, first I wanna say I like how the three main characters are being portrayed here ! Percy is a very loving and kind character while Annabeth is a smart girl desperately looking for recognition from her mother. As for Grover, he's a kind and clumsy satyr who really likes Percy and it shows. Basically these three characters love and trust each other and it's incredibly obvious ! Even Annabeth and Percy, who start their relationship by not being that much trusting in each other. I really like how their quest improve their relationship !

What I love too is how the adults are shown, especially Sally and Poseidon. Sally, who was shown as a perfect mother in the book, became a woman who is doing her best to raise her son in the series and I find it so interesting ! The book is in Percy's point of view so it's obvious that he would see her that way, but the tv series isn't exclusively from his point of view so it can show her turning desperate because she don't know how to effectively protect her son. I can say I really like her scene with Poseidon too, that was so touching!

Just a word about Gabe, who is way less clearly abusive. A lot of people thought it was a problem, that he was too nice, but I thought it made him even more scary because if he's not physically violent against Sally, he's still clearly psychologically abusive. Though it seems like Sally is able to manage him a bit.

Just remember that abuse isn't always physical, that you can be abusive without hitting anyone.

The gods

I can say I like how the gods that appears in this first season are portrayed!

Dionysus is so manipulative and bitter, I love it! Even if we never say it in the series (from memory), it's obvious that he doesn't want to take care of the demigods, and I love it!

Ares is wonderfully portrayed as a being who has a real passion for the war ! For example, we see him having fun on Twitter and, later, Grover succeed to convince him to talk to him by talking about less-known wars. He also has that wonderful vibe of "don't mess with me or I'm going to beat you to death".

We don't see Hephaestus a lot but again you feel it's someone confident who is a very skilled blacksmith.

I love that as soon as we meet Hades he's very welcoming and behaving in a very "I don't care about what's happening with my brothers" way. He just want to protect the underworld and, again, it's obvious.

Zeus is incredibly intimidating which, again, I love so strongly ! I can understand why no one would stand to him.

Finally, Poseidon is a very loving dad who can't do much for his son but is trying when he can try. I also love how, at the end, he ends up standing to Zeus to protect Percy. Then the very awkward interaction he has with him because the didn't talk much, Poseidon was mostly absent, but he still love him.

The adaptation

Now, of course I'll talk about the adaptation. And I'll start this part by a very personal story: how I discovered Percy Jackson.

I started my discovery with the movies. Actually with the first one only, I didn't want to watch the second one because I didn't understand why it would have a sequel. I thought it was enjoyable, though very cliche, but far from the best movies. As I didn't know the original story I thought it must have been an adaptation of a very average book series who must have gotten a bit of success and has been adapted because Hollywood didn't have any idea anymore.

Then I finally read the books because a friend insisted it was good, and Internet was talking about how it was full of representations... And now I hate the movies ! Because I considered we could have gotten incredible movies out of the books ! But we didn't...

Honestly I'm not angry that the tv series made so many changes. Because it wasn't exactly my problem with the movies. My problem was it made changes that didn't make any sense, transformed the story into something very cliche and sexist, and wasn't respectful of the mythology when the book was.

I'll only give one example that angers me a lot: Grover's case.

In the book Grover is a very sweet, kind, brave and goofy character who love his friends and even more his girlfriend Juniper! He's very likeable, and a good protector for the demigods he's in charge of.

In the movie he's not likeable at all. He's a goofy character and likes Percy but he isn't sweet and only think about girls... Like you have a scene where he decides to stay with Persephone because she's hot... He clearly isn't sacrificing himself at all. Overall I don't think he's likeable, I thought he was kinda useless and annoying.

In the tv series... He's kinda goofy but not too much, and he's sweet, kind and brave. More than that, he's considerate and I actually like that he's clearly intelligent in this show because he lived longer than Percy and Annabeth. He's not entirely faithful to his book counterpart but the changes make sense and he's still very likeable and I want to hug him so hard !

For now, I'll conclude there. I'll probably rewatch it and make a new review later but I don't want to say I'll surely do it so I won't have pressure. That first season wasn't perfect but it was pretty enjoyable and I can't wait seeing what they're doing next. To be fair, The lightning thief wasn't the best book of the series so I understand it wasn't as fun as the last books.

[apas-95]

can i ask about your thoughts on whether ai art models should only use art from people who have opted in as their training data? sorry to bother you about this, you're the main person i've seen defending ai art on tumblr and i agree with a lot of what you've said, but i feel a little uneasy about the models using art from people who haven't given permission.

The main thing to understand is that AI training isn't like... packaging up a zip file in the AI model, full of a billion images from deviantart, which it then cuts up for pieces, or anything.

When neural networks are trained on data, they're learning from it, in as much as that term can be applied - the data leaves an impression on them, rather than a copy. In simple terms, the neural network is made up of a bunch of different nodes, connected with each other, with different sensitivities to them and their connections - just like neurons in a brain! When going through training, what happens is that the sensitivities on these nodes and connections are slightly adjusted, by looking at the average difference between thousands of actual and intended outputs. If, simplifiying here, over thousands of images made, the output neuron responsible for drawing straight lines keeps underperforming, then the training process would identify the most active neurons inside the network that connect to that output neuron, and increase the sensitivity of their connections to that output neuron. This is, functionally, the exact same process as a well-used model for understanding the learning process in our own animal brains, Hebbian theory. It's a long, evolutionary process, where connections are slowly built by repeated 'firing of neurons'. Again, this is simplified, and, in reality, there wouldn't be an individual output responsible for drawing straight lines, but many many outputs which are responsible for very unpredictable and wide-reaching aspects.

So, the neural network doesn't just have a copy of a given image stored, it has been - very minorly, considering it takes the average of thousands and thousands of samples - influenced and impressioned by it. For any individual image, the amount of data it actually gave to the network would be equivalent to slightly multiplying the sensitivity of a neuron by one number. The problem here comes when this process is accused of being 'theft'. Of 'using artists assets without their permission', or, more bluntly, of copyright infringement. The idea that, firstly, copying data is itself theft is already a dicey one - we have all laughed at the 'you wouldn't steal a car ads' when it comes to movie piracy - the original is still there. However, as we've already established, the AI isn't even copying any data. If the process I've just described, of being exposed to many many thousands of images, and iterating on the output in order to more closely match the general, average feeling of what's been seen, is theft, then all artists are constantly committing theft against any artist's work they've seen - because this is the exact process of taking inspiration by which people develop art styles in the first place. Whenever an artist draws an anime-style drawing, they're 'copying' a million pieces of anime art they've seen - or the general impression of their commonalities that they've slowly developed over repeated exposure. Whenever anyone creates anything, they're taking inspiration from everything they've seen before. Nothing is entirely original, and the process of 'learning to draw by comparing with drawings that've been done before' is universal, here.

In short, there's no metaphysical, ethical basis by which we can call training neural networks on art 'theft' without also implicitly extending the concept to all methods by which humans create art - and the only result of that would be Disney being able to sue you for inspiration. And, as I've discussed before, there's neither any basis for calling their images 'not art' - the neural network is, in the final analysis, a tool being used by a person, and what makes something art is the person, not their tools. What's left is purely a political, economic argument. That argument can be had more productively if people didn't immediately jump into the safety of these metaphysical debates the second they felt their position might be weak.

[saturn-sends-hugs]

ok, this has been burning a hole in my notes app and i’m just gonna send it out there:

Why (i think) the Finale was Like That:

to preface, if you liked the finale, good for you!! that’s totally valid and i’m not trying to bash that. but i know a lot of people were left wanting more, and i’m one of them. anyway, to my point:

as silly as it sounds, this show is not written for us.

we’re fans. the producers already know we’re gonna watch the show. they don’t need to convince us to give them our attention, they already have it. why waste time digging into random side characters in the larger Star Wars saga when the average person doesn’t even know who that is?

their real job is to convince outsiders to watch. to get hooked. to see an element they like, probably from the main movies, and tune in, even for one episode. if they can get them hooked with fennec or ventress or hell even rex, that’s a win for them.

the plot lines wrap up in such an unsatisfying way because honestly? they cant waste time focusing more on these characters than they have to. the people writing and designing the show might love them and want to include more meaningful resolutions, but that takes too long and costs too much money. you know what’s cheaper and will satisfy the average viewer? kill the mystery clones, cut off the “trauma hand”, and wrap it all up in a nice little “look, she’s joining the rebellion, guys!” moment because the more bland and broad the ending, the more people will understand it.

i mean, remember the Fives mention? Echo didn’t react, he didn’t even stutter, he literally moved the conversation along like they were talking about where to go for dinner like HELLO. we already know they cannot be bothered to show real important emotional scenes because that would take too much spotlight away from the whole star wars politics plot or whatever were supposed to care about. (honestly, who is watching bad batch for the og trilogy implications? woah tarkin and a couple other empire dudes are talking about project stardust definitely gimme more of that and not any meaningful connection between these characters i love)

it’s scummy, it sucks, it especially kills me that the story is basically lost to corporate greed but let’s be honest, this is Disney’s Star Wars. i could literally just leave it there. meaningful moments will always be sacrificed for shock value and character cameos because the random guy seeing an ad is only gonna watch the show if he thinks “oh cool, tarkin, i didn’t know he was in that show, maybe i should see what that’s about.”

and yes, i know, there absolutely is a ton of love and care poured into this show. i appreciate the effort that went into it. i’m just sad they didn’t have full creative freedom under Disney to give us the story we wanted.

but you know who won’t sacrifice story for money? you know who’s guaranteed to have the fans’ interests in mind? you know who does have full creative freedom and is equally pissed about bad show moments and want to do them better? FANFIC AUTHORS. Fan artists, theorists, even roleplay accounts and every other type of dedicated fandom blog is here for that shit and will reshape things however they want a million different ways because that’s the point. the show simply cannot give us what we want, but we can make it ourselves.

your support, your creativity, and your determination to give these characters what they deserve is how we can solve the problem.

i didn’t really mean to turn all “we’re all in this together” here lol but yknow what i really do mean that. i think supporting the community around you is the best option we have for truly enjoying all of this show’s potential.

tagging a few people cause i value your input!! and let’s be honest i’m probably leaving a few things out that you might be able to expand on: @the-bi-space-ace @inkstainedhandswithrings @phantom-of-the-501st

[neonscandal]

"Sure. So for Geto it's mostly that I don't like villains with a bigoted ideology and he's too incompetent to even fall in the "love to hate" category. Really, the worst thing a villain can be is incompetent and Geto in Vol 0 is barely better than your average disney villain. Doesn't help that he never gets pushback on his ideals. Gojo tells him in Premature Death that killing people is bad, but that's it. He spouts his bullshit about how genocide is totally necessary and Yuuta stands there like "idk you might be right, but you want to kill people I care about and that's the real crime here". Nobody really engages with his ideology except Yuki I guess, but that was before he became an antagonist. I could forgive that to a degree if he was at least a real threat, but he isn't. You don't get any of that with Geto, he's not even fun to hate because he barely provides any pushback. He's a bad villain and I dislike him as a person as well. His descent into embracing the superiority of sorcerers and resolving to kill all non-sorcerers was well written, but I don't feel for him at all. Good riddance to the guy, I'm glad he's now dead both in body and mind."

I was so sad, when reading this, what do you think?

When previously asked about JJK Antagonists I didn't mention Geto even though... he is my favorite.

It should also be said that, in terms of scary movies, I love a good creature feature or a deluge into the supernatural but, the scariest movies to me? Will always be the ones with human villains because they're far more plausible.

That summation of Geto is that person's opinion so I, personally, am unmoved by it. I've seen so many piss poor interpretations of Gojo and Geto's characterizations that it's honestly just best to let the story play out so people can retroactively come to some sort of understanding. Moreover, I think there are a lot of people who struggle to concede that, between Gojo and Geto, there was always love. Without that, you can't understand his spiral, you can't acknowledge the humanity of the villain. Moreover, to not understand Geto is to not understand Gojo. And.. since JJK seems to very much be a circular parallel between SatoSugu and ItaFushi, if you can't understand them you miss the whole story.

I'd be curious what villain doesn't have a bigoted and/or radical ideology, especially in shonen? They're meant to be horrible and hard to empathize with. Unless that person's tolerance for villainy is Oikawa from Haikyuu? Most stories hinge on the main character espousing a piece of whatever makes villains.. villains. RE: Yuji being a cursed vessel, Denji being a devil, Tanjiro's proximity to demons, Eren being a titan, Kaneki being a ghoul... I'd argue Naruto and Nine Tails but literally haven't seen the show at all to confidently compare.

Even so, let's get into Geto.

Gorgeous, gorgeous boy. So earnest, so upright... so forged to break.

I recently went on a tirade about SatoSugu which I won't rehash here because... then I'll feel inclined to add more and no one wants to see an adult woman cry today.

As a character, Geto attempts to be incredibly principled. Design wise, he is stylized with features that liken him to Buddha which I think he individually plays into as well to give himself some sort of identity. From his long hanging lobes signifying wisdom and compassion capable of hearing the cries of the suffering, to his gentle chastising of Gojo's flippancy. He believes that the strong should protect the weak while also keeping the strong in check. But... how would a jujutsu outsider come to such a noble ideal?

We know next to nothing about Geto's parents except that they were not sorcerers and, based on his affectionate ability to recognize family beyond blood ties, I think it'd be fair to make some assumptions about what typically informs a characters predilection for the found family trope. 👀

His cursed technique, I think, creates an impetus for purpose. I don't know how he figured out he could do curse manipulation. But we know he swallows the curse, the likes of which is compared to a rag that had been used to mop up vomit, in order to subjugate it. This process, this martyrdom of ingesting the negative run off of mankind has to have a reason to justify his suffering. Because, as the only person we see with this technique, it must feel like a burden only he knows. Moreover, with a special class technique, it's not like he's given much of a choice. But if it helps people, if it has meaning, purpose... he can endure.

We've seen the perfect storm of events that, don't necessarily challenge his pre-existing ideals, but... force him to question whether the ends justify the means. We can call each of these events a moral injury and I don't think it's a stretch to say that there is a link between staunch morality and radicalism which I'm going to bastardize as saying a person may have their ideals on a righteous pedestal. Believing that if I do "A" and "B" then "C" is sure to follow and it allows them purpose and reason. But life is seldom free of other stimuli. I'm not going to go into great depth about examples of this but suffice it to say, this break in Geto's belief system caused an internal chasm we see immediately.

When Gojo asks him if he should kill the believers that applauded Riko's death, Geto said "no, there'd be no reason" which I believe is sufficient for Gojo since he readily leans on Geto as a moral compass. But Geto keeps rationalizing further, likely to curb his own impulse to kill those gathered ignorantly in celebration. OP talks about no pushback on his ideals but the truth of the matter is the biggest pushback for Geto is internal.

When he decided to slaughter that village, he didn't leave a margin of error to come back from. He had to keep moving forward, keep pushing to achieve this impossible world because to not would mean that the atrocities he committed were done in vain and we know, from his characterization, that he would not be able to accept that. Gojo speaks of Geto not starting a war he can't win during JJK0 which is empirically incorrect. When they parted ways in high school, Geto relented that with Gojo's power, his vision could come into fruition. They both knew he didn't have the means to achieve this but he didn't have anything else to stand on. So he hurled himself further and further from his previous path of righteousness and further from himself. He'd committed too great a sin to not give it meaning. To question it now would shatter him completely.

So much of what makes Geto compelling is the fact that he is inherently characterized as a good person, forthright and gentle. He'd have been a great teacher. In fact, the events that transpired between Gojo and Geto are why Gojo is a teacher in the first place. I believe he tried to be a great father figure to Nanako and Mimiko (again, let's forget the murder for a minute) because he pointedly did not raise them in the ways or traditions of jujutsu society. He protected them as best he could even though they still didn't survive their teenage years because they were ignorant about binding vows with sorcerers! Crazy when you think about it. Even what he thought to be a kindness to them cost them fatally.

Things happened to him, likely intentionally, to create this departure from reality and the jujutsu world. He was forged to break because he lacked the flexibility and nonchalance to not be overly concerned for others. He wasn't a diabolical genius, he was overly compassionate and at a complete and total loss when terrible things continually happened to good people who were already sacrificing so much. Riko Amanai was resigned to give up her short life to guarantee the future of Japan. Haibara was a ray of sunshine who, with the means to do so, wanted to help people. The twins were simply cursed to see things the other villagers couldn't, a burdensome reality that damned them to a life he was finding no meaning in, himself. His weakness perhaps lay in a weakness of character? but I wouldn't even say that, honestly. He's like placid water hiding a violent undercurrent deep below the surface.

The gap between who he was and who he died as should be jarring. It should be a demonstration of the grisly reality of jujutsu society. Where classes of 2-3 children are regularly pressed to fight beyond their means against horrors only they know. The sacrifices of the few to protect the many regardless of their virtue. That's the point. He was a casualty of a system that would always lead him toward a moral crisis.