#all themes and strengths and subtleties

[ashanimus]

Jesus fucking Christ did the entire earthspark team turn over this is ASTONISHINGLY terrible

Like I really liked this show but it’s like they scrapped everything that made it special in favor of a reset to a status quo of “decepticons bad becsuse they bad” that never existed in this snow to begin with combined with “collect macguffin shards” with the same vaguely concussed energy of the average episode of Inuyasha filler. Add multiple, bizarre and unasked for helpings of intensely boring and unforgivably lazy new characters (and more cast was the LAST thing this project needed) and the insult of sidelining the good characters who already needed more attention…holy shiiiiiit

Like. Again. Super soft sport for earthspark season 1. I still had reasonable transformers expectations for tf media. But man how do you drop every single ball so hard I want to know what the fuck happened on the back end this is a *disaster*

[inbarfink]

After all these years, ‘I Remember You’ is still one of the great highlights of Adventure Time Storytelling. And not just in the basic ‘what???? Silly children’s cartoon does something SAD??? HOLY SHIT MIND BLOWN’ way. But with the execution of that Something Sad. How it manages to pack so many Complex Emotions into just 11-minutes of television. And especially the way it utilizes the basic Adventure Time format for that purpose.

So Adventure Time is a Board-based show. Each episode has an outline pitched and written down by the writer’s room, and then this outline goes to a team of (usually) two Storyboard Artists who develop that simple outline into a full story. And with the show’s art-style deliberately eschewing staying perfectly ‘on-model’ in favor of having the animators take direct reference from how the different storyboarders draw the characters

And the show being generally extremely versatile in terms of themes and tone - AT has allowed a lot of their Storyboarders to really express themselves and their unique artistic vision as part of the Big Collaborative Narrative that is Adventure Time. 

Now, the Boarders who worked on ‘I Remember You’ are Cole Sanchez and Rebecca Sugar. These two were a Storyboarding Duo from the start of S4 and until Sugar left the AT Crew during S5, and they always struck me as a curious combination. I think really from all of the individual boarders working on AT during that time, these two really are the closest to having like… Totally Opposite Artistic Sensibilities as boarders. 

With Sugar favoring a style that is very loose and sketchy and also very rounded. Focusing on expressions and subtle body language and lighting. And being famous for going deep in depth into Big Moments of Emotional Catharsis

And Sanchez having a very clear art style that emphasizes strong silhouettes and clear lines that suggest flatness. Focusing more on major poses and the character’s positions in the space. And having just a really great eye for AT’s brand of silly humor.

Like, I almost kinda suspect these two were paired together so they can each cover for the other’s “weakspots” in writing ‘Adventure Time’. 

And there were a few episodes that did some really interesting stuff with this very contrasting pair - ‘Jake the Dog’ is another example. Giving most of the Farmworld scenes to Sugar and most of the Time Room scenes to Sanchez both plays to their personal strengths as storyboarders and helps to emphasize the strong emotional contrast between these two scenarios. 

And ‘I Remember You’ is actually kinda unique among Adventure Time episodes cause… Most episodes will have the two boarders alternate between working on the episode throughout it. Like you’d have Boarder A draw a bit and then Boarder B and then Boarder A again… But “I Remember You” is divided between Sanchez and Sugar… basically perfectly in the middle.

So the entirety of the first half of the episode was boarded by Sanchez

Until Ice King pushes Marceline and then leaves the room in shame.

And then, Sugar takes over.

And, like, even if you don’t know anything about the Behind the Scenes of Adventure Time or who Cole Sanchez and Rebecca Sugar even are - the Shift is noticeable. The shift in tone, in narrative focus, in the subtleties in which the characters are drawn. 

The entire first half of the episode has this thin veneer of just being a Silly Goofy Ice King Episode. Sanchez’s talent for Adventure Time’s brand of comedy is on full display… but there is also this underlying feeling that Something is Happening just under the surface. And these hints of the Big Emotions of ‘IRY’ expressed via Sanchez’s kinda goofy style really create this balance between putting the audience into a false sense of security that this is just a Very Normal Episode about two characters hanging out and the Tension constantly brewing in the subtext. 

And then it all comes to a blow.

And then the Shift happens. And now we are in Sugar’s court.

And this subtle shift in the artstyle and storytelling also coincide with Marceline finally openly expressing her feelings and the Reveal of Simon and Marcy's shared past. The episode changes focus from Ice King's silly antics to Marceline's feelings. Everything changes, everything in the first part of the episode gets recontextualized and... even on the most basic level, the episode is now Noticeably Different.

I would almost say that Sanchez’s half of the episode has Ice King define the tone, while Sugar’s half of the episode has Marceline define the tone. But more than anything it’s the catharsis. The reveal and release of those emotions that were building up so expertly through the Sanchez half of the episode. All of the Sugar-boarded scenes in this episode are really heartbreaking on their own, just through the tragedy of the story and Sugar’s expert knowledge of howto convey emotion in the visual medium - but it’s so enchanted by what came before it.

“I Remember You” is truly a great testament to how ‘Adventure Time’ could use every aspect of its medium to tell a great story in such a short time.

[salsaseth]

After hearing my friend, James bring it up in a call, we started watching Lily Orchard's video about Pokemon to see all the bad takes in it.

When she starts playing the DS games, she uses a mod to smooth out the aliasing and uncap the game's framerate to 60. And gah damn does it look fuckin bad. Even worse is during the 3D games where she uses another mod to smooth out the 3D models and it looks like peeled oranges. Unnaturally smooth. But it does get funny when she talks about the game running like garbage when she's fucked with the game's logic. Like no shit, it's running at a framerate it was never meant for.

Something really funny also begins in the DS games. I don't know why, but she replaces one of the starters with Ralts, cuz she's got some favoritism for Gardevoir. All well and good, but you know, Ralts is weak as shit until it learns confusion and it's still frail. So it gets its ass kicked all the way until it evolves into Gardevoir. But because of how much asskicking it receives, and I swear this is true, she suspects the game is artificially raising the strength of the enemy pokemon, as a way to explain for why's she losing.

Almost as if the game is designed to use a stronger than average pokemon to get you through the early game. ;) ;) ;) ;) ;) Still, I don't fully understand why she refuses to use the regular starters. Especially when you can catch Ralts and Kirlia for most of the games. save for black and white. Speaking of.

One takeaway I've had from listening to it is what she says is more revealing about herself than what is intentional. The most telling thing is when she's going off about the Black and White characters for speaking about their ideals and opinions. I mean, she mashes through that with the A button (VISUAL NOVEL HATER SPOTTED), so it's when she's paying attention. I don't know if she just doesn't know what the game is supposed to be going for, or if she's just purposefully ignorant for the sake of contrarianism, but the game's themes are about truth and ideals. The truth is out there, but the ideals we have shape our perspective of the truth. Even Cheren, who represents the truth, is still shaped his ideal. It's a little more deeper than, 'Characters excited that they all have opinions,' but what do i know?

She rails against these characters, N in particular for having opinions and speaking them out. Meanwhile in X&Y, which its cast and characters are there to mostly stroke the character's dick, she vastly praises and prefers these characters to the ones in B&W. Hmmm. Characters that have opinions and speak them out are hated, while those that don't and heap praise on her are loved. I wonder if this says anything about her?

The video gets pretty boring the longer it goes on. The hot take well starts drying up and it quickly becomes a bad screenshot let's play. "Then I did this, and then I did that!"

That's all I got to report. Besides the shoehorning in of lefty takes. I don't know if it's because she's not funny or if she wields everything with as much subtlety as anvil-nunchuks, but when there's an opportunity to make a joke with a leftist-slant, it's as heavy handed as a Titan's ballsack and as funny as stale bread. I'm a leftist bastard myself, but every time the jokes were shoehorned in, I'm like, "The funny? Where is it?!" Especially when it was about Looker and Nanu. I get not liking the police, but this isn't the time or place for it. Leave the jokes to the professionals. Like my friend Plate. Several unemployment jokes were made at Lily's expense, and each one was funnier than the last.

I'll report back if there's anything worth commenting on. Me and the friends got to the end of Sun and Moon, so we have SwSh and SV left.

And if you had time to read this 'post', Lily, I think you had time to 'post' your resume to get a job ;D ;D ;D

[byoldervine]

Hi! I just found your blog! I was wondering if you had any tips on writing a good, strong first chapter or two for fan fiction? I’m doing a cross over and I always have trouble in the beginning of my stories. I would love some advice! Thank you!

Welcome to the blog! It’s been a good long while since I wrote any fanfic, let alone started one, but I’ll see what I’ve got up my sleeves!

1. Open with a question. This doesn’t mean the first line has to be a literal question, it just means that your first line should make readers ask questions in their mind that encourage them to continue reading. If you open with something self-explanatory like “I woke up and opened the curtains”, that does give an idea of the scene and the time, but it doesn’t add any incentive to read on. Reframing it to something like “Opening the curtains might have been a bad idea”, you create intrigue; why was it a bad idea? Did they see something bad out the window? Additionally, it can take you straight into the action, which works well with my next tip

2. No need for introductions. With original writing you often have to set the scene more and ensure characters are introduced and well-established, and that often comes with the advice that you shouldn’t introduce too many new names and faces in the same chapter, but in fanfic you can safely assume that your readers are familiar with the characters and world already, meaning you can jump straight into the plot and throw as many canon characters at it as you like. Take advantage of this!

3. Vibe check. Your opening chapter can set the theme or tone of your fic, so pay attention; if you want something lighthearted and funny, have everyone cracking jokes or just generally not taking it all seriously. If you want angst and trauma, it helps if the tone is more serious. If you want romance, have that vibe either through a love at first sight deal or by using other established couples to set the mood. Even if by the second chapter the vibe has changed so you can build back up to it going forward, it’s nice to have that overall feel in the first chapter so you know what you’re getting into going forward; if readers like the initial vibe, they’ll like the fic. It gives them a taste of what’s to come

4. Take advantage of quirks. With original writing, the author has to pave the way for subtle quirks and mannerisms and dynamics to be recognisable by the reader - but in fic, you have the advantage of the readers already being familiar. You can use this to make characters feel more alive and, well, in-character, and thanks to their pre-established characterisation you can utilise it from the start. Maybe there are subtleties in their actions that you can take advantage of plot-wise? Or in your case with the crossover, it could maybe signify to Crew A that Crew B are very tight-knit and know each other and their strengths and weaknesses well

5. Have fun with it. Fic writing tends to be a lot more unserious than original writing; you certainly do your best with it, but everyone knows that it’s just for fun and won’t hold you to the expectations of a professional like some people sadly would for those writing original fic for the same reason. In any case, you can take a breather with fic writing, and ultimately the only way to do it wrong is to not have fun writing it

It’s a little difficult to give pointers that are purely fic-related, especially when I’m unfamiliar with the crossover plan, so it also might be beneficial to read other fics of those fandoms and any crossovers you can find if possible! Best of luck with your fic!

[mdhwrites]

Was Boscha Mistreated In S3?

TL:DR Boscha is actually one of the best written parts of S3, mostly because she actually has some efficiency to how she was written. This does not mean the writing succeeds in its goals because the misguided priorities and management of S3 of TOH is why this isn't some sort of praise. It is the ALMOST success in three specials that I think are objectively a complete failure of writing.

@hinobodyishere wanted a follow up to their previous ask about Boscha and I at first dismissed and deleted it, partially due to misinterpretation. That since we did get Boscha in S3, how was she handled? Was she given respect in regards to the trauma foisted upon her?

Well... Yeah actually. For the most part she is. They genuinely tried to give her a sympathetic character arc and their fumbling of it didn't have to do with disrespect, it had to do with one of the DUMBEST decisions of all of S3 I think. Not one that breaks themes just... Why would you do this? I have NO explanation for why the choice while I can at least tell you a concept for why other things were done.

But let's start with the good and that's that in a season that has some of the absolute least efficient storytelling I have EVER seen, especially in terms of wrapping shit up, Boscha keeps her biggest strength as a character and that is weirdly subtlety and in turn efficiency. Anyone who loves Boscha can probably back me up on this that so many of her weird quirks as a character come from small choices. I've talked in the past about how Amity is the ONLY person she never is mean or cruel to, even once Amity abandons her and that shows how subservient she was to Amity, not the other way around like most people portray it. This also coincides with her response to Luz coming to die. "Wow, you're a really good friend." And that implies she genuinely does understand friendship and loyalty and from what we can tell, she may be mean to even those around her but she is ALWAYS loyal and faithful to those she cares about. She knows what being a good friend is.

I bring this up not just to praise Boscha but also to lead into her trauma. We are explicitly shown her losing essentially her last two friends. Any trace of what her past was is GONE because of the Collector (your reminder that the Collector is a fucking monster btw). She is the last of her friend group. The last one still carrying the torch for what she thought reality was before Amity kicked her to the curb out of nowhere. Skara presumably did the same to be a part of the Entrails. Her reality is already fracturing and it was her own failure this time to protect them that led them to die. She is all that exists of the Banshees anymore. This is reinforced by how Miki manipulates her. She threatens Boscha with being in danger. With being vulnerable, something she's not used to because she always saw herself as Queen Bee and either sharing a throne with Amity or by herself. She is desperately holding onto what little she has left.

Willow's scene next is... Up and down to put it mildly. It is mostly to dogpile on the already heavy and EXTREMELY forced shit they're doing with Willow. A reminder: No one is asking fuck all of Willow this episode, few EVER have, and yet 'Dependable Willow' comes out of fucking nowhere. So while Boscha talking about the weight of responsibility is actually good for her, it is in line with the rest of Boscha's feeling that she's pressured to keep walls up against the world, it's not really anything new and it has little to do with her current trauma. At best, it helps explain why she's leading Hexside because she's the one who actually will take responsibility.

Then we get to the scene I mostly LOVE. Yes, I am a Lumischa shipper but I don't like it for the unrequited love angle. Like I said before, Boscha has lost EVERYTHING. She has lost way more than any of our 'trauma' victims amongst the Hexside crew. Even Hunter was never alone like she has been for MONTHS after having to watch TWO of her friends die instead of just one like Hunter did. The closest he ever got was the time between Hollow Mind and Labyrinth Runners which was like what? A week? It is genuinely incredible how shitty Boscha's life has been the entire time since the Collector showed up. Miki isn't even really a friend. She feeds into Boscha's fears and paranoia. She is actively trying to pull out the most damaged and worst parts of Boscha, essentially using her PTSD against her, for again, MONTHS.

So here is her chance to get SOMETHING back. To reverse the original sin that shattered her world. Finally, the Blight mentality that she must have at least gotten some of from Amity that she's lived her life with can come back. Amity can come back. That's why she's desperate and pleading with her. Then-

"Boscha, you're hurting me!"

I... There is something about the delivery of that line that makes my skin crawl in a way I can't 100% justify. It's not even out of character. It's her last chance after all so she'll go pretty far to keep Amity there. It's just... Not many characters physically hurt each other and Boscha doing it here comes across, especially after the faux confession, like a needy ex getting ready to assault their old lover. For an episode that is essentially trying to redeem Boscha, I don't think it's a good choice. She's been villainous enough already, you didn't need to go that extra step but that may just be me.

But, writing wise, this scene is correct. It is her darkest hour. The moment that forces her to self reflect and choose a path. Is she a Banshee, or is she a slave? Does she stand proud like she always has but now for the right reasons or does she cower in villainy?

And we don't get a proper climax. Then again, neither did the episode.

We're going on a tangent but bear with me because it sets up what I think needed to happen. See, Boscha showing up and promising to kick Kikimora's ass off screen is... Bad. It's not a climax, it's instead tepid and weak, complete with, in the SECOND TO LAST EPISODE, "Don't think we're square" or whatever the fuck Willow says to Boscha. Why? Why are you STILL kicking narrative cans down the lane instead of actually giving any fucking resolutions? It's so indicative of the entire problem of S3 just having no fucking clue, nor interest, in wrapping anything up or giving any sort of real satisfaction to narrative plot points IT CREATES.

Worse yet is tying this around Kikimora of all people! I actually don't hate her as a character but like Boscha, the minute Belos is dead, her utility is over. Her dramatic weight has been gone for over half a season because ever since Falls and Follies, she's been a gag character. Yet, she's canonically beaten our main characters as many times as Belos has and unlike Belos, the main cast has never beaten her themselves, especially in a fair fight if you want to count Hunter's fight against her while she's drugged as a win against her. This is a character who is going to get the same reaction Luz gave: "You again? REALLY!?" because like... Why? Of all the characters to bring back, why bring back Kikimora as a final antagonist? I actually do have explanations for that, it's part of why S3 could never have been good even with a longer version of itself, but different blog.

No, it is the fact that despite bringing her back, despite giving her another objective win against our heroes... She isn't beat. We actually don't even know if Hexside succeeds in beating her. In this adventure show, the villain could have just peaced the fuck out and kept doing whatever she wanted instead of getting her ass beat and giving us a real action scene, something that is sorely lacking in For the Future. It makes no sense narratively, by genre convention, or thematically. And don't claim they ran out of time because that means they kept Kikimora through however many drafts it takes to make an episode and somehow decided to never write in how to actually give a climax to this episode that isn't just Camila and Luz talking about a subject that ANY villain could inspire by kicking Luz's ass.

So. What should have been here?

My suggestion is a roughly three minute trick, maybe less. I'm not asking for a lot of time, you can probably get it from not bothering to show Belos during the main portion of the episode and let him showing up at the Collector's Castle be his whole appearance because the foreshadowing of Caleb leads to literally nothing. In this fight scene though, we'll get our redemption.

Luz is lost and they're still struggling against Kikimora. Suddenly, Kikimora gasps and fires past them. Her shot shows scattered stone and smoke... And Belos walks through it. He smirks at Kiki and asks, "Ah, I see you're still as impulsive as ever." Kiki fires again as Belos gets past Hunter who is seperating the others from Belos. They all see a stone pillar rise at the last second and explode. Amity sees Belos wink at her while hidden by the smoke and looks across the way. Emira winks back at her.

Belos waves a hand and from the Earth, an abomination of rock, dirt and plant begins to rise. He speaks again but we don't look at Belos, we see Emira with Barkus next to her down a potion, her eyes glow with oracle magic and she speaks through that, channeling Belos more purely than she could otherwise. Kikimora screams at him that he's dead and starts to pummel the abomination when a screech sounds from above. Viney drops a potion from Puddles and it crashes into Kikimora's cockpit. From it, tentacles comes out, trying to grab Kikimora but instead knocking her out of it. She falls. The ground zooms close. She shuts her single eye to brace for impact.

It doesn't come.

She opens her eye. She is met by three.

Boscha keeps her face close and her voice low as she says, "You tried to silence me. You tried to take the last thing a Banshee has to her. The thing that anyone who knew our team, knew my friends, would be familiar with. The only thing that'd confuse them is that it's not a nerd in my hand but a little snake. I for one welcome the change." Boscha's face is lit up and you can see fire dancing in her eyes as she says, "Now, like a Banshee, let me hear you SCREAM!"

And Kikimora's scream scatters the birds as a pillar of flame erupts. We don't see the body, to keep it ambiguous and for pacing. Instead, Viney shows up to give a bit of healing and tell them they can go, we've got this. Then everyone leaves and joins back up with Luz to be kidnapped by the Collector.

In this version, we get a real climax and an actual send off to Hexside. Besides Skara, who could be shown coordinating things for a moment, we get a send off of all the named characters we know. I didn't mention Matt but his construction magic is there. So is illusions. So is a lot of types of magic working together, you know, like the show says is better, to pull this off. True unity between more characters than we get in the FINALE. And then a final moment for Boscha to make it clear she's still her but she knows who deserves her rage now rather than using it simply to stay on top.

It is A resolution to the core plot of the episode. You know, that thing that never happened, instead we got the SECOND resolution of Luz's character arc and that was it. Even if people might have still called it filler, it would at least have served as not just a cameo for Hexside but a curtain call for it that also highlights the changes to the kids there that Luz introduced. It would have SOME sort of point besides being there for Willow/Huntlow fans and a very forced "I want to be understood" that only makes sense from a meta perspective and makes Luz look like an over demanding bitch in canon.

But we didn't get anything like that. Why? ...I don't fucking know. I use a lot of words to try to explain shit but I've got nothing for you. The best I can is that it's because the writers felt obligated to include Hexside but no one actually cared about it or its characters and I just don't know why you would write that way, not when you had so much else to wrap up.

But for wrapping up this blog: Boscha continues to be one of the most weirdly nuanced characters of all of TOH and I kind of have to assume at this point it was entirely on accident. If attention would have ruined her, I would rather they disrespect her and let her stand tall as the time the broken clock was right. See you next tale.

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This is your reminder that at chapter 28, Boscha hijacked my over 300k word behemoth, with over 100 chapters, and essentially became the main character of a story that was supposed to be Lumischa. I LOVE writing this bitch and have thought way too much about her.

I have a public Discord for any and all who want to join!

I also have an Amazon page for all of my original works in various forms of character focused romances from cute, teenage romance to erotica series of my past. I have an Ao3 for my fanfiction projects as well if that catches your fancy instead. If you want to hang out with me, I stream from time to time and love to chat with chat.

A Twitter you can follow too

And a Kofi if you like what I do and want to help out with the fact that disability doesn’t pay much.

[chai-en-kaadhale]

I also hate how in dune part 2 they entirely retconned the bit with Paul crying over killing Jamis

Paul giving said tears to the dead is a huge point because of the amount of respect he gained for it, because unlike the movie might have you believe, giving water to the dead is honoring them

like REALLY honoring them

and I also hate how Paul was disliked for killing Jamis in the movie?? Jamis went into that duel knowing one of them would die because that's HOW IT WORKS, so the fact that Paul won originally proved his strength as a fighter- he won the hearts of the Fedaykin and shit

I also hate how nonchalant Jessica was about it (that being said I never watched part 1 so I may be wrong) because she made a point at every minute possible to make sure Paul KNEW that killing Jamis was wrong and that he shouldn't ride that high

Basically their handling of Jamis' death was just <<<<<<<<<<<<

I mean I can level with some decisions. Chani constantly yapping at us about the themes and ideas that we're supposed to get on our own which makes it hit harder? Paul suddenly becoming a good guy who openly doesn't want to go with the Bene Gesserit's plans and the Bene Gessirit having the subtlety of my friend with every other boy she's into? Sure, lots of moviegoers tend to have the literary analysis skills of a fish

BUT WHY WOULD YOU JUST. CHANGE ALL OF THAT

LIKE ALLLL OF THAT

WHY

[nilolol30]

so l Saw you were asking for requests !!

what about the traffick light trio with an ice demon princess s/o ( headcanons pls)

I think of the shenigans !

Ty!!!

I didn't know if you wanted it platonic or not so I didn't make it specific sorry if this is a bit short

Mk

• Omg he has so many questions.

• Asked if you could make ice sculptures like the ones he's seen in those really fancy party's or restaurants.

• If it's a hot day he'd ask if you could make a small pile of snow if you agree he'd have a snowball fight with you.

• Wonders if you're somewhat related to the snow queen story he heard about once.

• If you invited him to your place he's gonna act like he did when he saw Mei's place you will have to supervise him constantly unless you want a priceless artifact broken.

"So when you use your ice powers do you get cold? Can you even feel cold? Can you feel warmth?"

Mei

• Thinks of so many fighting duo moves you two can do together.

• During party's she might ask if you could cool her drink for her she won't hesitate to pull the puppy eyes.

• She's a little curious about your family history she won't pry but asks subtlety and drops it if she thinks you're uncomfortable about it.

• If she's watched Frozen she begs for you to make a living snowman unfortunately you'll have to explain why you can't create a sentient living being.

• She has so many winter theme outfits that complements both you can her.

"Aww my drinks all warm...if only there was a amazing cool princess that can cool it up! pretty please"

Redson

• He holds some respect towards you not only because of you being "a fellow royal" or something like that but you have power and strength.

• If you ever pick up his habit of calling people peasants he's going to be so prideful. (that one meme of the lil minx licking the baby one y'all know what I'm talking about)

• Begs asks for you to join him in his schemes on taking over the world.

• He is a fire demon so I'd think he's never really experienced the feeling of cold so when he around you and your presence cool the entire room he's surprised and curious.

• Often invites you to dinner with his family his mother and father assumed he's courting you (the way that ends is up to you).

"If you join my plan those insufferable peasants won't stand a chance!!!"

[beatcroc]

tl;dr+disclaimer: this is NOT intended as some kind overarching review or analysis, just my thoughts on various things, and while i am absolutely enthralled by nge’s narrative tone/style/execution, i dont really give a shit about what the narrative is actually saying. This is not a writeup on its plot or themes, but rather the way they are presented and explored. [actually mostly a lot of obsessing over small details and side characters].  the end of evangelion movie is not included here and will have its own post.

secondary disclaimer: apparently nge has a fuckload of cultural context and stuff about How it exists as a commentary or subversion of stuff of its time or whatever. rest assured i know neither jack nor shit about any of it, and am just seeing how it functions as its own thing in a vaccuum.  alright here we go.

earlygame evangelion was absolutely nothing like i was anticipating, and as a person who Generally Does Not Enjoy Anime, i cannot stress enough how much this was to its benefit. first thing i noticed was a distinctive Lack of those ‘anime visual gag’ type of character expressions/reactions; refreshing just for my own petty disdain for them, but also notably important to its overall tone. eva’s tone is absolutely one of the best things it has going for it; i’ll get into specifics as i go, but even before i would get to seeing how it strengthens both individual plot beats and the narrative at large, it was by far my biggest draw to the earlygame.

i think i can best describe it as “contemplative”. there’s very little real dialogue in the sense of characters having 2-way conversations. there’s a lot of emphasis on weighted silences, a lot of minor exposition delivered through background noise/chatter like radio broadcasts, a lot of just... the world moving around and contrasting with the characters as they Exist. The ep where shinji runs away definitely has the biggest focus on this, but it’s noticeable as a unique tonal thing right out of the gate. I feel like anime often tends to explain things too directly, whether it be story or lore; or a character's feelings or intentions. here, you rarely get more than a simple zoom in on a character’s face to denote They Are having Thoughts About This. No internal monologue rambling walking you through their whole thought process, It’s left to just their expressions and reactions. evangelion’s execution of “show, don't tell” still holds up pretty well in 2022 imo. maybe not the best out there these days, but definitely still effective. I’m far from well-versed in media like this, but i’d still say eva’s fairly standout, and anything that manages to do that after nearly 30 years deserves some kudos

Very related to that, “Doing a lot with a little” i think is the best way to sum up all of eva’s strengths. The subtleties and things left unsaid, as it were. Aside from the obvious jab at their making do with a nonexistent budget, this sort of thing comes through in its somber and down-to-earth tone, its character writing, and most especially, its support cast.

Both in the handling of the characters themselves and their dynamics with the main cast, the nge side characters are really, really good; like, probably the actual best i have encountered in any media ever. Each of them in their own way provide perfect backings and contrasts to everything the main cast has going on, they’re laser-focused efficient to enhance the others’ characters and arcs and the overall narrative messages--and yet they never feel like plot devices and are still really solid and wholly enjoyable as their own individual Characters, all without overstepping their boundaries AS support cast in terms of both screentime and narrative presence/influence. suzuhara and akagi demonstrate this best from very different angles and from here out this thing is pretty much just gonna be a breakdown of thoughts by character, but i’m doing suzuhara first because his being much more narratively dynamic means he gets to shine in a plethora of ways, so most of the Cool Narrative/Tonal Shit i wanna say about nge can be said by talking about him.

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you’d think the character whose introduction is “beating up the kicked puppy protag because he’s pissed” would be pretty one-note and uninteresting; i still wouldn’t really call suzuhara deep, per se, but….well, again, they do a lot with a little.

usually for this role you’d get something like “i’m gonna bully shinji because he’s stupid and lame ”, and it’s not like this would be misplaced because like... shinji IS lame, other kids DON’T like him, but suzuhara’s motivation being his hospitalized sister instead of anything with shinji himself changes the entire dynamic here to a pretty profound degree. it’s still a really simple and understandable motivation, but it lets him say a ton more than you usually could with this kind of role. the overt message still just sits at “we’re gonna make shinji hate himself life a little more“, but instead of just, like, making him feel shitty because there’s Mean People who will beat him up even though he’s trying his best or whatever, the implied message is more along the lines of “you’re hurting people you can’t see, but they’re still people who mean something to somebody, and they can damn well see you.”, and it’s for sure noticeable this is the kind of stuff that’s weighing on him the next couple eps. It’s not that he’s afraid of some random bullies that could jump him at any time, it’s that he’s now acutely aware the consequences of him messing up are exponentially larger than he can see.

it also gives suzuhara much easier room for growth! He doesn’t need some huge distracting character-altering event, he just needs to see that this is all way bigger than him and that he was out of his lane and being a shithead. getting caught face to face with an angel is a pretty effective way to do that, i’d say! Being saved by shinji specifically and having to see his trauma firsthand is an especially great note coming out of that too, realizing that shinji is neither a cocky asshole nor some incompetent coward, but that he’s really just. Yknow. Trying. I also think it’s a really…. Idk, cute? detail that while the scene in the cockpit clearly Affects him, he doesn’t apologize or offer comfort right away and just spends the next few days kind of sulking/angsting about it instead. Just a fun little humanizing err for him i think. 

not a lot happens with him for awhile from there but i do really like him and his little nerd friend as just background pals for shinji. Comic relief isn’t usually a very…esteemed title in terms of narrative value, but in this case he’s earned it. Which isn’t something you’d usually say about comic relief characters! So good for him i guess.

The Fourth Child stuff coming into play is what really made me pog at this guy and his handling though. Just like. the framing of it. not telling the audience directly but showing that it’s someone all the other main characters already knew+the persistent scene cuts to him after someone brings up or asks who the fourth pilot is.

The character familiarity is cool mostly because of how small eva’s cast is overall. Like there are really not any random passerby citizens ever shown, let alone given dialogue, that they could have tossed in to use. Everybody who could be considered even remotely important/main cast is already occupied, and seeing that both asuka and katsuragi recognize him, it’s gotta be someone they would have met fairly recently–most likely someone we’d already seen on the show–and not some random guy from their backstories or something.  They had my curiosity but i wouldn’t have guessed it! At least not without the scene cuts lmao. They do this like 4 times it’s really funny. Oh yeah the 4th pilot? Yeah we won’t say who but heyyyyy check This guy out.

my favorite bit from this is seeing the change in his demeanor in these cuts before vs. after he gets the news; his usual cheeky self in the first couple versus his going out alone to stare forlornly off into the distance in the latter few. I am like such a huge fan of this ok. Once again, things left unsaid: there’s so much he could be thinking about here and refusing to have him say any of it in itself speaks volumes.

What’s in there? Regret? Apprehension? Resignation? You’d need a monologue half as long as this damn post to really get into all the different angles of him unpacking the idea that he could now be the one unwittingly dropping a building on someone's little sister + reflecting back all the fears that he’d left shinji with after that little beatdown, but simply Not Saying It leaves a much stronger impression of the sense that it’s just A Lot for him to be thinking about. very cool in other characters’ reactions to it too; suzuhara himself never explicitly verbally confirms his being a pilot, but everyone notices he’s acting different. Hell, they even used SHINJI to point it out, and he’s usually the guy who’s worst at noticing these things.

small side note but there’s also a delightful bit of last minute  rubbing salt in the wound with how bad his nerd friend wanted to pilot eva….seems like that kid is about the only other one who didn’t realize suzuhara is the 4th pilot too, which. lmao.

anyway then he gets in the eva and doesn’t really get to do anything. i don’t have any comments on that it’s the pretty obligatory “oop we gotta have our Angel Encounter for this ep”+”gotta find a newer and more powerful way to traumatize shinji” quota. There’s really good character moments here for some of the other cast which i’ll get to later but uhhh yeah suzahara just gets his shit fucked.

ok now full disclosure here i’m actually a huge bitch about character deaths like this, it is quite possibly my biggest pet peeve when characters go through something that is 100% presented as fatal or a killing blow, only to Not Actually Have Died At That Moment; either so they can give some kind of Emotional Speech:tm: and then die anyway, or by revealing they actually only got wounded or something bc of some kind bullshit plot armor. i thought eva might possibly be the kind of thing that’s brutal and/or disregarding-of-dramatic-narrative-flair enough to actually just leave it at him being dead there in the mech, but to an even bigger surprise i think this is maybe the only thing i’ve seen that’s played “they didn’t actually die in that horrific scene” to a way bigger impact.

The following hospital scene is already pretty interesting just with neither shinji nor suzahara knowing why the other was there; Shinji never learned who the fourth pilot is, and toji shows no animosity for the fact that shinji[’s eva] just beat the shit out of him so apparently he just wasn’t conscious for anything after his mech got taken over? and it’s just kind of like, spooky, to have what has every right to be an emotionally charged character reunion amount to nothing more than vague confusion between them. They don’t even get to talk to eachother! i don’t often see the thing of “audience knowledge vs. character knowledge” used like this; usually it’s the Characters who are sad or angry beause of some knowlege they lack, and You know that things are actually better than it appears to them; in this case you know things are way worse than they look and the characters are spared that burden. it’s weird and cool and potent but it’s not even my biggest takeaway from this. You know the thing that really fucks me up here?

we never see suzuhara again after this.

he isn’t given any sort of real farewell, he’s just gone. not dead, but gone. i’ve never seen that done before!!! it’s like....haunting to realize a guy who had been a minor but consistent constant is just not part of the picture any more, and it’s an especially odd feeling since you can’t really notice until it’s too late. now yeah, part of it was also that the plot had kinda moved beyond having time for side characters, but most of them do still make brief appearances, and we’re also specifically shown a brief scene in the schoolroom where all four pilot kids are conspicuously absent. their friends comment about how the main 3 are missing, and suzuhara is still never mentioned.

i genuinely feel more strongly about suzuhara’s narrative death than anything else in the show. i dont even care that it doesn’t mean anything this is my hill to die on. i love this dude and i love how every single beat with him makes me ape my shit.

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rei is the other end of Stuff Eva Is Really Good At. i mostly want to talk about her Big Reveal here but i do also want to give kudos for their committing so hard to the whole uncaring/ambivalent thing with her. feel like a lot of stuff that tries to do ‘emotionless’ characters chickens out and still gives them like one specific personality trait or thing they’ll react to or care about, probably for the sake of still making them relatable or enjoyable or something. granted, the context for this kind of character matters all the more when they’re Supposed to be empty, but even so this kind of thing is usually done to show there’s something Off about the character; rei’s being so aggressively, blatantly nothing and nonreactive about literally everything is just like. oh there is something OFF with you. Her and asuka’s exchange of “i bet you’d even kill yourself if they asked“ “i would, yeah“-said not out of devotion or depression, but pure disinterest, is probably about the strongest extreme you can take this idea to. 

The whole series she’s such a powder keg waiting to blow and they let you smell its smoke in the flashback with akagi’s mom where it seems to be revealed that she’s 1-possibly a clone, and 2-apparently got killed the same day as she was unveiled, which obviously feel like pretty significant revelations but then they move on from it with zero fanfare and i was like huh. Wait. no wait hold on go back. i had actually intended to go back and rewatch that scene just to i’d actually make sure i’d clocked it properly because it was just that was chilling* and disorienting to have left it sitting pretty much unacknowledged for several episodes, but then it comes to ep23 after her dying for real in the eva and she says “i think i’m already the third one” as a soft confirmation and you’re like OH SHIT I WAS RIGHT but then theyre still not done blowing up everything with the actual reveal and it all comes out in the following scenes and it’s just like oh this is all so much worse than i could have imagined. all that was my peak of being Affected By Evangelion. i kinda just sat there In A State for a solid 30 minutes afterwards, just, rotating the series as a whole in my mind. man.

the scene with 01′s awakening is done with a pretty similar structure to this, and even though i actually knew about the twist of eva units being Literally Humans before going into the show, that scene was....hoo. like the knowledge does not prepare you for the presentation. I credit this mostly to its tone as well; there’s something really awesome about how evangelion can pull huge fucked up twists like this, yet the raw shock value of the scene itself [which should not be understated!] never outweighs the gravity of the situation as a whole. Like the takeaway from 01’s awakening isn’t just “oh shit!!!! The government is making fucked up mechs full of blood!!!”, it’s “these measures may be extreme but they are a necessary price to pay for survival[though is it really worth it?]”. And also maaaaybe a little “mankind is hubristic as fuck and we Love to fuck around and find out.” but that’s kind of just the deal throughout the whole series

Coincidentally, it’s also rei’s brief first couple appearances that i think initially help establish that gravity.  very often when a character is badly injured it’s only really used to change how either they or another character engage with a situation; usually to remove them from it and/or spur another to action, which IS exactly what her role in e1 was for shinji. Thing is, unless the injury itself is a plot beat to be built upon, it just sort of gets swept under the rug at soonest convenience -so seeing her still really beat up a few episodes later, for pretty much no real purpose other than to say “yeah no that’s gonna take her a bit to recover from” was defintily a striking moment to me.

*spooky, haunting, chilling, i’ve used these words for these turns a good few times now. I know it’s a bit repetitive, but there really is something just so… hollow, so empty about these scenes; something that you know should be there and just isn’t and it feels weird. nge is damn good at anticipating where its emotional beats should be, and then intentionally leaving you with nothing when they come up. You wanted hype? You wanted catharsis? No get fucked. In most situations this would feel cheap or like some kind of buzzkill but with eva’s tone being how it is it’s just sort of… humbling? i know this is a bit of a pretentious read, but eva seems to make it a point to never go to hard into this being A Story, rather than Just Life; in the sense that life doesn’t always have the satisfying narrative conclusions you can expect in a story. They know enough not to Always do this because then the whole show would be actually lame and unrewarding, but the times they choose Not to deliver definitely have…a palatable contrast.

Also i know i made the jokey post about this already but LITERALLY why did they make rei go to school? There’s no?? Practical advantage to this???  I mean obviously from a narrative perspective it’s just to help sell the illusion that shes a normal human child but like. In-universe. Whose idea was this. Shes not even learning or getting Involved with anything she’s just staring out the window the whole time. She’s regularly absent and they’ve always gotta have people go check on/cover for her, not to mention that she doesn’t retain memories between bodies and they have to cover for her deaths too so like WHAT is the goal here!!!! Literally there are nothing but downsides to sending ur godspawn kid out into the public. Ok anyway. Moving on

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why DO people meme so hard on ‘get in the robot shinji’?? coming into this i really thought it was gonna take him half the damn series to get in the robot and that that was gonna be some kind of Climax, but it actually just happens in the first ep, and no one ever really has to ask or force him do it again after that? yeah he tries to quit half a dozen times, but all it really takes for him to come back around for another go in the eva is a fresh perspective. it’s more or less always his own choice.

i’ve heard a decent bit about shinji being an annoying or difficult-to-like character, and i... don’t get that at all? hes literally just a dude. A fucking babychild. coming into this i understood that he was young but i didn’t know he was Literally Fourteen, good lord dude. he’s definitely not a ‘good’ or standard type of personality for an anime protag but that’s literally the point? Like that is entirely central to what we are doing with this show. I’m not gonna say i’m a shinji Enjoyer; he’s mostly only my fave of the pilot kids by default, since asuka is,,,,,,, well. i’ll get to her in a moment, and rei you’re not Supposed to have an opinion on; but i am a shinji Defender. he has a couple of fun and strong character moments, and doesn’t really do anything egregiously awful or obnoxious so like. Literally leave him alone hes doing his best???

do people dislike him for that little tantrum he threw when he threatened to destory nerv hq? that one i can understand, but personally that was his strongest character moment for me. i’m pretty much always in favor of characters taking bold action for themselves, even if said action is outright a terrible/destructive choice. i think he shoulda done it. i would have supported him. the fact that he didn’t get to though is so.... oof. his most impactful moment for me for sure.  Like he absolutely was not bluffing, and the ONE time he really gets it in him to take charge of his own life and surroundings and he just gets such a harsh reminder that he’s still not the one in control.

this is kind of just the whole show with shinji. A friend pointed him out as being “trapped in the narrative” and wow god yeah. It’s just a cycle with him. he goes out in the eva and something fucked up happens to traumatize him and hes like oh my god why am i doing this and then while hes out trying to sort that out something nice happens to make him accept whatever fucked up thing he had to deal with so he gets back in the eva again and then something fucked up in a totally different way happens and rinse and repeat. it’s pretty good at escalating the different types of trauma each angel inflicts on him; if i really cared about plot or thematic analysis it might be fun to pick apart what exactly each does, BUT i dont. The two final ones dealing with having to hurt other humans is definitely cool though.

the one part i felt his characterization was Questionable was when he was going up against the jaws sphere, it is like. Super not his deal to ignore orders and leap into action? Really kind of a ‘he’s gotta do this because the plot needs him in this position’ moment but it was ultimately pretty minor so whatever

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So yeah asuka……Hm. Asuka. good lord. i’m not a fan of the whole ‘tsundere’ thing in the first place, but that alone wasn’t actually grating just bc it plays up against the much more stiff shinji and rei in really fun ways, and it’s also extremely funny just knowing she’s The Progenitor for that whole Type. her concept is fine and she very easily could have been a thoroughly Fun character but uhhhhhhhhhhh. uh oh. uh oh. oh no.

as the unfortunate vessel for most of nge’s Awful Bullshit i can’t say i was ever looking forward to having her onscreen. in the beginning she wasn’t even instigating it they just loved shoving her ass in shinji’s face for no reason or doing the classic wind blowing up her dress and shit like that. now to be clear i know this wasn’t the first instance of Fanservicey Anime Bullshit in eva, but it was much easier to tolerate before because.. well, one, katsuragi isn’t fucking fourteen, and 2 even when that shit happened with rei she didn’t have a Reaction to it. I think its really the reactions that make it insufferable for me. the kyaa! pervert! nonsense and the self-conscious anime girl yelling and the characters being visibly humiliated, also the halting whatever else was going on at the moment to do all this. this also did not happen with the katsuragi ass shots since she was still just having a normal fuckin conversation and carrying on the plot BUT i digress. asuka did start saying weird shit of her own accord later in but i still didn't hold it against Her Character so much as just "the writers are being weird". Yknow like it would just feel so forced and arbitrary every time she made some comment like that. For the longest time the only thing i blamed her character for is being fuckin sexist all the time. ‘shinji youre a man arent you’ he is 14 and traumatized as fuck leave him alone you are making things worse >:| 

In the end though, and i cannot believe i am saying this,  i do think all of that was at least conceptually justified. Not in execution, because all that came through there is their insistence on shoving naked 14-year-olds in your face, but conceptually the idea of asuka’s desperation to be seen as capable and mature manifesting as forced aggressive sexuality is honestly really solid. She wants to be seen as an Adult, so she jumps to the first idea she has for Things That Adults Do, which i guess is sex. This is kind of a fantastic notion for her character because 1, it’s shallow-showing she’s A Goddamn Child who has no actual understanding of what adulthood really means, and 2, it’s loud-a very visible and hard to ignore thing which bolsters her all the more to stick to it. While portraying this is obviously a super touchy subject, i can’t help but feel it wouldn’t have been. All that hard to so without it being,,, this bad. Don’t show it to the audience? Literally just don’t show the audience. I get they need to make the other characters uncomfortable to land the concept but like. Dont put asuka herself onscreen while it’s happening jfc. i still would have been HARD side-eyeing at it that way too but just. anything had to have been better than this bro.

ANYWAY. that nonsense out of the way, she did end up being kind of fascinating for her own. i have never seen a character so extremely, terminally, self-damning as asuka. i hear a lot about shinji being hopelessly miserable, and like, sure, but asuka has it so, SO much worse??????? shinji is miserable because he’s directionless; he doesn’t know what he wants or how to get it, but he knows a glimmer of hope when he sees it and never squanders it. were he ever given direction or a way to Find his path to happiness–or to at least a way to care about finding his path to happiness, i’m sure he’d be able to chase it pretty easily.

asuka does not have a path to happiness, or at least not for the time presented in the show. While it’s true if half her issue here is just “being 14”, her “i’d rather be dead than pitied” ideology isn’t something that will automatically solve itself with age. It stays mostly out of the way as long as she never fucks up but as soon as she DOES make any kind of big mistake it becomes pretty much her entire character. damaged pride is one thing, but usually the remedy for that is just other characters lifting her up if she can’t do it herself. here, this is not only not an option but also actively detrimental. It’s already incredibly self-destructive on its own, but i still wouldn’t quite call it “damning” yet just because like. If you’re ride or die committed to your personal philosophy, you’ll still die, but there’s probably some kind of underhanded gratification in it to chase it to its end. The thing is though that she’s not committed to it, and it’s honestly kind of hard to say to what extent she even believes in it at all.

this, i feel, is asuka’s defining moment, especially after her extensive agonizing in previous eps about having to be rescued by both shinji and rei. She can’t live with being helped because she wants to be independent, and yet she can’t live without help- with being alone-because she’s desperate to be seen and regarded as worthwhile.  

both of these are damned-if-you-do-damned-if-you-don’t situations! this kid is damned 4 ways ‘till thursday and the only way to get around it would be her undergoing some kind of minor ego death, and she is extremely not interested in letting this happen. shinji takes a blow and goes off to sulk for 3 days, has one positive interaction/experience, and gets a whole second wind. asuka takes a blow and falls into a pit of self-loathing [or really everything-loathing by the sound of it], aggressively refuses positive interactions, and tries to kill herself. It’s just like. Very telling i think that even though “everyone's depressed and miserable and dealing with shit Badly”  is a running theme in this show, asuka is the only one who attempts suicide.

If my interpretation of all this seems a little weird it’s because  “i’d rather be dead than pitied” is uhhhhhh unfortunately an ideology i’m very personally familiar with, and even though characters with that general idea aren’t too rare in media, i’ve never seen it BASICALLY stated verbatim, so. needless to say seeing asuka’s arc go the way it did did some things to me. whoops! anyway.

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i have to talk about katsuragi now ok. Ok. katsuragi is absolutely the hero of this show for me and it’s a little baffling she’s not like, A Recognizable Eva Character in laymen’s circles? Like coming into this I knew the pilot kid trio and a handful of the angels just from seeing stuff floating around the internet, and i could least recognize gendo from memes, but katsuragi? Entirely new territory here. what gives! She’s an incredible character and people should talk about her more because i am NOT about to be out here being the foremost katsuragi enjoyer in 2022. Come on

anyway man where do i even start. she’s everything. she’s got a cool car. she’s fiercely competent. she’s the man with the plan. she’s a domestic disaster. she notoriously cant cook for shit. she has a pet penguin [?!?]. she adopts two kids. shes a little bit crazy. She’s the butt of a lot of jokes. shes a rogue agent. she fucked her ex in an alley [??!?]. She has a drunken breakdown and needs help to get out of it. she hates her father. she has complicated feelings about her father. she’s on a vengeance quest. She accidentally gets attached to the kids in her care. she fucked her ex for government secrets. She’s sick of the expectations on her. she’s petty and emotional and weird, and most of all, she’s allowed to do all this without ever undermining her skill and authority, and the respect other characters have for her. im going to be real i don’t quite think all of her traits and flaws were intentionally written to be enjoyable but damn if i didn’t enjoy them anyway. Katsuragi has this real edge of emotional roughness to her that i feel like most female characters aren’t allowed to get into, and i really just??? Love her for it???? I thought i was gonna have a ton to say about her but honestly it all just comes back to “i really really really like how her flaws are written/handled alongside the rest of her character”.

I don’t have anything to like dissect about this line i just really like it. Eva had built up a pretty good bit of goodwill through its first 7 eps, and this really put a point on it. unfortunately it would then be ruined immediately in ep 8 BUT i did want to bring it up just because it was like. an ‘oh ok i can be justified for liking these characters’ type beat.

Also as far as the series ending goes i do have to be an apologist about her sorry. She literally has not done anything [more] wrong [than any of the other characters]!!  they wanna go through and list out all these characters’ insecurities and flaws and they go after katsuragi to slutshame her like  “Oh you're lonely so you use men to chase simple pleasures” and like. no?

First of all, every character’s breakdown was “you're lonely and/or afraid so that manifests as x”!!!! if she wants to fuck about it that’s her business! There is nothing inherently wrong with that! this COULD have still easily been a fatal flaw, like they could have presented it as a bunch of partners she’d had in a sort of use-and-abuse fashion and i’d have been like ok yeah this is an issue for you but they didn’t do that! the ONLY thing they talked about  was her less-than-stellar relationship--and subsequent messy breakup with kaiji**. Even if said breakup was largely her fault, she already acknowledged this and recognized the issues that led her to it! She has already apologized and openly admitted her fear to him, and that fear was explicitly why she ended the relationship! That is not intentionally “using” someone!!! you cannot call this a fatal flaw without more evidence. she had one messy relationship and she likes to fuck. That's a normal human flaw, try again. 

**this is actually a blessing in disguise, as it’s most of why i’m willing to look the other way when it comes to interpreting the more, uh, questionable aspects of her dynamic with shinji in nge. Like if the possible sexual implications there had been a Serious Deal for her character/portrayal i feel like it would have been brought up here, but since it wasn’t im happy to sweep it under the rug so it doesn’t ruin a character i otherwise really love. i do have a decent bit to say on this, but i’m saving it for the eoe post because it’s more relevant there and because, unlike eoe, my feelings towards nge are mostly positive so likewise i want to keep this post mostly positive. 

only thing she doesnt get a pass on is the alley sex like come on at least ONE of you has to have more class than that?!?!? It’s gotta be cold and dirty out there you are ON THE CONCRETE GROUND and there is VISIBLY A TRAIN GOING BY someone one is gonna see you!!! You’d have been better off fucking in a goddamn bathroom at that point

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akagi is the other unsung hero of this show, but in an in-universe way. this woman is holding this whole damn operation together. i don’t have much to say on her narratively, she’s got a very small presence, but as with suzuhara i think her lessened involvement really shows how eva lets simplified characters shine. I’m not gonna break down all of her appearances like i did for toji, but she has the same general “every time she’s onscreen they make excellent use of it” thing going on. she’s known the other NERV mainstays pretty far back and they’re really good at showing that familiarity through her dynamics with them. they just Know Things about eachother, and it’s played in a very natural and non-exposition-y way to inform stuff about the other characters’ pasts or motivations or how they’ve changed through the years or something like that. it’s good. she’s good. Always a delight to have you ma’am

Also im gonna say it. She should have been a lesbian. she has the vibes and it would have saved us all from... whatever that lategame nonsense with her and gendo was. c’mon girl LITERALLY anyone but gendo i know you have better taste than this. also x2 her dynamic with katsuragi is already great but i think it could have been even more interesting with some Subtext:tm: at play, even if unrequited. also x3 there is literally official art for this.

its literally right there. come ON

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also on side characters i never learned suzahara’s little nerd friend’s name but he’s really good too. his scene with shinji in e4 is wonderful and i think his being a dweeb does a good bit to enhance suzuhara’s character too, again just showing suzuhara isn’t an indiscriminate bully going after people who are ‘weird’ or lame or whatever since he clearly does not share this guy’s interest in military junk. also him cheerfully apologizing while suzuhara beats shinji up is just a great dynamic.

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I have to bring up penpen real quick just because no one ever told me theres a fucking penguin in this. hello? shinji just opens the door and theres a fucking penguin there and gets told thats his other roommate and we just have to accept that. I was looking at his wiki page and apparently 1. He lives in a spare freezer [very funny], and 2. katsuragi “took him with her from her previous job”  HELLO??? Did she steal a fucking penguin???? and what IS this thing’s level of sapience anyway. he eats out of a little doggy dish on the floor and doesn’t seem to have much capacity for communication, but knows how to use buttons and switches around the house, takes his own showers, and is apparently LITERATE???? lots of questions here but nonetheless i am very happy he exists. little guy :)

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kaji is.....*through gritted teeth*...........okay.......i guess. He does a lot of shit i want to kill him for but he also behaved himself at all the most crucial moments [providing gentle support when katsuragi was at her most vulnerable, and flatly ignoring all of asuka’s advances] so that makes him better than a lot of other characters. there’s a lot about him that easily could have gone way, way worse so ill take what i can fuckin get here. i don’t actually care about his narrative involvement at all sorry. i’m taking a petty point on this one. kind of glad he died just for getting to avoid the painfully obvious cliche of being the love interest katsuragi gets together with in the end, especially after treating her the way he does most of the time, and her still being really into him regardless for some reason. Would have felt like a really cheap and bullshit way to “justify” all of that. the most frustrating admission i have to make with this show is that "well, i'd rather it be between misato's tits, but failing that i'm choosing to die right here in my garden" is kind of unironically a fantastic line...he can have that one. That whole gardening scene was just really nice in general, and i do enjoy him as a sort of guide for shinji but other than that jesus christ dude.

i think he’s probably the most messy and plot device-y feeling character, though i recognize at least part of that is my general distaste for him so i have nothing else to say here.

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The little trio of field operations tech type guys…. Listen i know my fawning over literally every minor character is getting absurd at this point but like. I literally enjoy them. Ok. i think it’s really cool having a handful of just Actually Normal Guys along for the ride on this; seeing how The Horrors affect just the average joe kinda guy. For everyone else their own emotional torment is on pretty equal footing with all the impending physical threats, but these guys aren’t already super traumatized and have a much more surface-level relation to the horrors. Idk !i just think it’s neat seeing a different set of perspectives with them that lacks the tint of the Personal stakes/involvement the rest of the cast has with the whole situation; even if their reactions are pretty “generic” and could have been done with any random passerby in the city, i think it adds to it that it’s done with recurring guys, however minor. they are freshly Going Thru It but they persevere and i love them for this.

---------------------------------------------

gendo is notable just for how much he sucks. like it’s truly astonishing. i dont even mean in the abusive shitty father way. or, well, i do, because he IS also that, but even moreso he is just. so lame? he’s SO lame. all he does is sit there with his hands folded and say edgy ominous shit. some of that was definitely intentional and i think they also just couldn't afford more than one pose for the guy, but also....come on. Get a life loser.  even the peppermints guy somehow has more personality and intrigue than gendo and im pretty sure his only purpose is to sit in the bg to be intimidating and to mediate between nerv and seele.

anyway in ep18 he CLEANLY crosses the line from “obnoxiously distant and uncaring/nonreactive” to ”oh this guy is Actually evil”, in a... not really unexpected, but still very brutal way. given his interactions with rei it’s easy to think he’s still a somewhat benign dude overall and just hates shinji for being a failure son or whatever, BUT turns out actually shinji is the rule and rei is the exception instead of the other way ‘round. which, given what rei is... lol. lmao. [you of course don’t know that at this point though.] but no yeah this dude is just totally down to physically destroy some random kid by mentally destroying his own kid. oh and he also killed his wife. literally just astonishing how awful he is.

--------------------------------------------

oh yeah and kaworu exists. i guess. evidently people actually care about this guy? don’t get me wrong he’s a hell of a plot catalyst, but like as a character? Theres nothing there dude. he only exists for like 1.5 episodes and has zero agency, he’s just there to once again fill the quota of “new angel+traumatize shinji”. To be fair he is very good at this. But yeah i cannot give a shit about him, even as an angel. If i wanted to talk about individual angels i think i’d legit have more to say on that glowing one with psychic beams than the guy whose role is “suck up to shinji for an episode to make it extra painful when he inevitably has to die” i do think it’s insanely funny he shows up in so much of eva’s promo art though, what an absurd way to do a red herring.

--------------------------------------------- ok thats all the characters. umm a few other random misc notes

I moved this part out of the intro bc it’s a longer sidetrack but another thing that hooked me about the earlygame was actually the coverup explanation of the second impact as a meteor strike. It’s the first one you’re given, and a devastating natural disaster plays perfectly to the Somber tone eva thrives on. something unavoidable and unprovoked…. perhaps it is simply the bio nerd in me but the idea of earth and its life just trying to figure out how to exist again in the wake of something like that is awesome to me and did a ton to keep everything down to earth despite the giant robots and otherworldly horrors and whatnot. Definitely kind of a letdown to hear that’s just the cover-up explanation though, sort of turned it into your generic “humanity brought its own end” post-apocalypse thing, which may have been more novel at the time but it’s become pretty overdone these days. granted, eva’s a lot less overtly About said apocalypse than your typical modern post-apoc thing, and the… circumstances for this cataclysm are definitely a bit different, but still. “You couldn’t have stopped this, you can only repair after the fact” is an angle i’m vastly more interested in, and also one i don’t see as much.

coming out of that, 8-17 are definitely the low stretch for me. the introduction of kaji and asuka their Anime Bullshit™, and the tone turning to a more standard monster of the week mech battle thing definitely killed my engagement there. whether there was actually more dialogue or i had just gotten acclimated to the Usual lack conversation i can’t tell, but all the aforementioned stuff put a pretty big hit on my enjoyment regardless. it picked back up HARD with the fourth child stuff though, and the plot motion of the Really Fucked Up Shit from there was plenty enough to outweigh my other gripes.

As far as the ending goes… yeah it’s good. It’s lame as hell in execution but like conceptually it’s fine and i can’t really be too mad about anything seeing as they were evidently Out Of Money. They stuck the landing effectively enough; really about as well as they could have given such strict limitations, and i do actually think it’s extremely cool that they were able to frame “removing backgrounds and colors and clean lines” and “we literally can only get this part out as storyboards” as a legit storytelling thing. Still sad about the dozen hanging lore threads ofc but getting any followup on those means acknowledging the movie so i’ll gladly cut my losses

I think this might fall under ‘fakedeep’ and ‘not actually good’ but i do genuinely appreciate that while nge looooves to have intentionally confusing presentation, when they Want to say something  it’s never really inscrutable and/or buried in metaphor and symbolism. This isn’t a narrative critique or anything i’m just not very smart so i like that it’s still pretty straightforward.

---

Obligatory section about the angel designs. Yeah they’re good too. Anyone knows me knows i am allllll the fuck about creature design, and even though these aren’t as in-depth as what i usually go for[mostly due to budget stuff no doubt, judging by what they did with ramiel in the rebuild] [again i havent seen rebuild but hot damn rebuild ramiel my beloved], i still really appreciate just how diverse most of them are. They don’t stick to any particular type of design logic, and it’s rare to see something actually embrace an “anything goes” ruleset as well as this does. Like you got ones that are sort of just fantasy animals, ones that are a funky combination or suggestion of earth animals, ones that are just arcane imposing shapes, ones that are kind of abstract interesting shapes, some that are humanoid, some that are just and then like…whatever the fuck was going on with that dna halo thing. The humanoid ones do feel a bit samey but also anyone who knows me knows thats pretty much always the opinion i have on human/oid designs fdjsdjkfd. They have pretty funky and diverse sets of shapes which is rad, but their attack methods are all… Pretty boring. Pretty much all of ‘em just attack with their hands in some way and i feel like theres a million other things they coulda done there but oh well. Bland attacks are consistent across a lot of them though, like half were just “extrude something through the guy”, though i don’t think i can really be too mean about it because elaborate fight sequences would Also require money lmao.

Anyway my fave is the spider, followed by the weird fuckin orange splatter comet thing and the eel type guy

---

i just have to say this as a standalone point but why do people not meme on the part where an angel starts fucking shit up and they just drop the hallelujah chorus oh my GOD. we make fun of the elevator scene and rightfully so even though that wasn’t the only instance of a single frame lasting over a minute, but like. idk maybe they thought the hallelujah chorus souned cool and dramatic or something but it just made me lose my shit when it came on. asuka is going fucking through it and the most sanctimonious singsongy music is playing.

another really funny thing is how every time they do a scene with an eva unit they’re like “oh no! something is going wrong! cut the power! aaah it’s not responding we can’t stop it!! oh no this is unprecedented!”. yes this is very precedented actually it happens literally every time. i know theres no suspense in an easy mission and they’re trying to drive that controlling the evas is janky as hell but you gotta have SOME standard of success/normalcy to compare to sjkdskdfdsf

---

on the rebuilds....yeah no i don’t intend on watching them [unless it’s as a group with friends or something] If i’ve communicated nothing else in all this, i’d hope i got across that i admire nge mostly for the incredible efficiency of its narrative. It’s tight, focused, makes the most of that it’s got, and doesn’t go anywhere it doesn’t need to. i wouldn’t have been able to see a purpose for the rebuilds to have a new character in the first place, and after hearing a bit about said character’s evident production hell, uhhhhh. Lmao. i’d already think it loses something by not having by not having such tight budget restraints-since those no doubt factored into the way its tone was played here, but if they’re also adding shit just to add shit i Really don’t care.

that’s it i dont have a cool conclusion to all this or anything. i just needed to get all the thoughts out so i didn’t go insane. thanks for reading!

[maria-de-salinas]

20 Questions Game

Thanks for tagging me @ashesandhackles

1. How many works do you have on AO3?

19

2. What's your total AO3 words count?

831, 605

3. What fandoms do you write for?

HP

4. What are your top 5 fics by kudos?

Regretfully Yours

The Bollan Cross

The Alchemist

Vulnera Sanentur

We'll Sing Like Birds in the Cage

5. Do you respond to comments? Why or why not?

Yes. It never stops blowing my mind that someone read something I wrote and then took the time to tell me about it. Actual real people that I get to talk with. Incredible.

6. What's the fic you wrote with the angstiest ending?

I'm a pushover for happy endings so none of them are really angsty, but What the Moon Revealed is close

7. What's the fic you wrote with the happiest ending?

Regretfully Yours is pretty fluffy towards the end

8. Do you get hate on fics?

Someone once said that my OC Graihagh was really fucking stupid. All I can say to that is, if you're looking for confident, well-adjusted heroines who make good decisions, you're barking up the wrong tree. We serve girlfailures here, sir.

9. Do you write smut? If so what kind?

Yes. I've written everything from angsty PWP to fluffy relationship smut, but what I really love is throwing characters into situations where all their fears are exposed and they're totally vulnerable.

10. Do you write crossovers? What's the craziest one you've written?

None yet, but Snape works so well as a brooding Regency gentleman that a Jane Austen crossover is bound to materialize at some point

11. Have you ever had a fic stolen?

not that I know of

12. Have you ever had a fic translated?

I think so! Someone asked if they could translate Paradigm Shift into Chinese and post it to Lofter, which is similar to tumblr in China. It's really incredible, this global community we've built through AO3.

13. Have you ever cowritten a fic before?

no

14. What's your all-time favourite ship?

Hmm, maybe Anne/Wentworth

15. What's a WIP you want to finish, but doubt you ever will?

At one point I started some Snegulus but I just couldn't make it work. Not sure I'd want to finish that though--I'm more drawn to Snack.

16. What are your writing strengths?

Characterization, building relationships between characters

17. What are your writing weaknesses?

Sometimes the writing/theme/dialogue is too on-the-nose; I'm not great at subtlety or finding that line between revealing too much and revealing too little. I can be a little too cautious at times, and then there's action--sometimes I'll get stuck for days trying to get the character to walk across the frigging room.

18. Thoughts on writing dialogue in another language for a fic?

Love it when others do this, and I love to do it! There may be things a character can express in other languages that they can't in English, or the language may be fundamental to them in some way. I loved adding snatches of Manx Gaelic to Vulnera Sanentur; my OC was raised as an English speaker, but the language is so deeply rooted in her psyche that it gives voice to unutterable longings.

19. First fandom you wrote for?

Harry Potter

20. Favourite fic you've ever written?

This is probably cheating but the whole Vulnera Sanentur series

tagging @marshmallowmcgonagall @celta-diabolica @bunny-bopper @logicgunn @scattermeamongthestars @writer-or-whatever @typingkeys-11 if you'd like to!

[autolenaphilia]

Tell me I'm worthless by Alison Rumfitt

The horror novel Tell Me I’m Worthless by Alison Rumfitt from 2021 is very blatant about what it’s about. It’s a haunted house story, that uses gothic horror imagery to tell an anti-fascist allegory.

In fact it’s barely even allegory. The house is named Albion, representing England and the myriad forms of fascism in that country. The way its haunts people are clearly the influence of fascism. It borrows the idea from horror fiction of a haunted location influencing the thoughts of the people who dwell within (The Haunting of Hill House is brought up explicitly). And the influence in this novel is just plain fascist thinking. The supernatural events caused by the house sometimes literally take the form of fascist symbolism.

The book is also obvious about its hauntings also representing the trauma and grief fascism can create. The opening part of the book takes place after the two main characters Alice and Ila visited the house and got hurt by it, losing their friend Hannah to Albion. The novel eventually describes what happened then, but the first part takes place afterwards. Alice and Ila continue to be haunted despite leaving the house, because the hauntings represent their trauma and grief. The house used its influence of fascist thought to turn them against each other and ruined their relationship. They literally have scars from how they hurt each other. And they also lost their friend Hannah to the house. So the hauntings take the form of fascist symbols, but the women also have visions of each other and of Hannah. And of course the house is England, so still living in the country they are still affected by it.

It’s all very obvious what it is about. It’s so blatant at times that the hauntings are often silly in the way horror stories can often be. The book literally opens with a haunting of a poster of the singer Morrissey, whose image becomes a vector for the hauntings because he is more or less an open fascist now. That is funny. And I won’t spoil it, but when the book describes what happened to Hannah in the house, it’s gruesome, but even more funny than the haunted Morrissey poster.

Overall, the book is as subtle as a sledgehammer about its themes. Subtlety is not one of its strengths.

Yet it’s a sledgehammer to the face. It’s emotionally effective. There is some really good writing here, with some great use of stream of consciousness. There are some intelligent explorations of fascist thought, it’s ideology, it’s dreams and nightmares. There is depictions of rape, but it’s not for shock value, as the book also explores the nuances of who is believed when rape accusations are made. The heavy themes are explored with enough depth to actually disturb the reader.

Even the sillier supernatural events are fun, as silly horror can also often be, and I get the sense the book has a sense of humour about itself, so it might be intended to be fun.

And there is a complexity to the portrait of fascism. If the book lacks subtlety, it definitely has nuance. It knows fascism can take many forms and aspects, and people are vulnerable to supremacist ideology according to their privileges, even if they don’t buy the whole package. And they still reinforce the overall fascist political project, even if they aren’t aware of this.

The main character Alice is trans, but she is still white, and under influence of the house, she has anti-immigrant and racist thoughts. Her former lover Ila is a Jewish lesbian woman of colour, but she still is cis (or thinks she is), and becomes part of Britain’s TERF movement, who use and abuse her. They were once lovers, lesbians and marginalized in different ways, but the house and its fascist ideology still was able to make them hate and hurt each other, and destroyed their love and friendship. The complex public image of Morrissey, the bisexual indie rock singer English gentleman fascist, literally haunting Alice is both ridiculous and appropriate.

It’s intelligent writing. It works for the novel as a story thing, because it makes the characters feel complex. They are victims of fascism, but also perpetrators, so the book doesn’t fall into the one-dimensional victim trope that anti-fascist fiction can often fall into. Even as the book’s ending suggests love can resist the influence of fascism, because of this moral complexity and the darkness of the book, it doesn’t feel cloying at all.

It captures the complexity of fascist and supremacist thought. It’s a book about fascism that doesn’t reassure the reader that they are immune to fascist thinking because of their identity (a fallacy white queer people are often vulnerable to). That even if you are a marginalized person, you are still vulnerable to its thought patterns. The book is a horror novel, and I find that pretty scary.

[themovieblogonline]

Didi Review: A Resonant Journey Through Adolescence

In his directorial debut, Sean Wang presents a heartfelt and resonant coming-of-age comedy-drama in Didi. Set in the culturally rich and complex backdrop of Fremont, California, the film explores the nuances of adolescence, family dynamics, and identity through the lens of a 13-year-old boy navigating the turbulence of growing up. The film stands out as a remarkable portrayal of the universal struggle of finding one’s place in the world, particularly as an Asian American teenager. https://www.youtube.com/watch?v=e6gve8GtSuU Capturing Adolescence with Heartfelt Authenticity Didi captures the essence of adolescence with striking authenticity. The film centers around Chris Wang (Izaac Wang), a 13-year-old boy grappling with the challenges of growing up in a multicultural household. Set against the summer of 2008, the story unfolds with a careful balance of humor and drama, echoing the everyday struggles of a teenager trying to navigate friendships, family expectations, and self-discovery. The narrative is driven by Chris’s interactions with his family—his mother Chungsing (Joan Chen), his demanding grandmother Nai Nai (Chang Li Hua), and his older sister Vivian (Shirley Chen). Chris’s father, who remains a distant figure, supporting the family from Taiwan, adds another layer of complexity to the family dynamics. The tension between Chungsing and Nai Nai over parenting and cultural values provides a poignant backdrop to Chris’s personal journey, highlighting the generational and cultural gaps that often exist in immigrant families. Sharp, Nuanced Screenplay Wang’s screenplay is both sharp and nuanced, capturing the awkwardness and vulnerability of adolescence with a keen eye. The dialogue feels natural, with the banter between Chris and his friends Fahad and Soup, as well as the bickering with his sister Vivian, providing a window into the everyday life of a teenager. The film also delves into the challenges of identity and cultural expectations, particularly in Chris’s interactions with his peers and his crush, Madi. The film subtly addresses the microaggressions that come with being an Asian American teenager, without turning it into a didactic lesson, making the narrative feel all the more authentic. A Standout Cast Led by Izaac Wang Izaac Wang delivers a standout performance as Chris, embodying the character’s awkwardness, confusion, and resilience with a sincerity that makes him incredibly relatable. His portrayal of Chris’s emotional journey—from the excitement of a first crush to the pain of social rejection and the struggle to fit in—is both touching and believable. Wang’s ability to convey complex emotions with subtlety adds depth to the character, making Chris a protagonist worth rooting for. Joan Chen’s portrayal of Chungsing is another highlight of the film. Chen brings a quiet strength and vulnerability to the role, making Chungsing a deeply empathetic character. Her chemistry with Wang is palpable, and their mother-son relationship is one of the film’s emotional anchors. The scenes between Chungsing and Chris are some of the most powerful in the film, as they navigate the push-and-pull of parental expectations and adolescent rebellion. The supporting cast, particularly Shirley Chen as Vivian and Chang Li Hua as Nai Nai, also deliver strong performances. Shirley Chen captures the complexity of being an older sibling on the cusp of adulthood, while Chang Li Hua’s portrayal of Nai Nai adds a layer of traditionalism and cultural weight to the family dynamic. The ensemble cast works harmoniously to bring out the film’s themes of family, identity, and belonging. Strong Direction Paired with Thoughtful Cinematography Sean Wang’s direction is confident and assured, especially for a debut feature. He has a clear vision for the story he wants to tell and how he wants to tell it. Wang’s ability to balance humor and drama, while maintaining a consistent tone throughout the film, is commendable. The film’s pacing is steady, allowing the characters and their relationships to develop naturally over time. Wang doesn’t rush through the emotional beats, instead allowing moments of silence and reflection to resonate with the audience. The cinematography by Sam A. Davis is another strength of the film. The visual style captures the suburban landscape of Fremont with a warmth and familiarity that complements the story’s themes. The use of natural light and muted colors gives the film a nostalgic feel, reminiscent of summers past. Arkapaw’s camera work is unobtrusive, allowing the performances and the story to take center stage, yet it is also capable of capturing the quiet beauty of everyday moments—whether it’s the sunlight filtering through a window or the intimate space of a family dinner. Themes of Identity, Family, and Belonging At its core, Didi is a film about identity and the often painful process of self-discovery. It explores the tension between individual aspirations and family expectations, a theme that resonates strongly with many first-generation immigrants. Chris’s journey is one of learning to balance the different aspects of his identity—being an American teenager, a son, a brother, and an aspiring filmmaker. The film also tackles the complexities of friendship and social belonging. Chris’s interactions with his friends and his crush, Madi, highlight the social pressures and insecurities that come with adolescence. The film doesn’t shy away from showing the awkwardness and discomfort that often accompanies these experiences, making Chris’s journey all the more relatable. Subtle but Profound Emotional Impact The emotional impact of Didi is subtle yet profound. The film doesn’t rely on melodrama to convey its message; instead, it finds power in the quiet moments of connection and understanding between characters. Whether it’s a mother’s quiet confession of her own dreams or a sibling’s wordless gesture of support, the film’s emotional resonance lingers long after the credits roll. Final Thoughts: A Remarkable Debut Didi is a beautifully crafted and extremely moving film that marks an impressive directorial debut for Sean Wang. With its authentic portrayal of adolescence, strong performances, and thoughtful exploration of identity and family, the film stands out as a resonant and emotionally impactful coming-of-age story. Wang’s ability to balance humor and drama, coupled with the film’s strong visual style, makes Didi a memorable and heartfelt experience. Read the full article

[vector-art-bundles]

Exploring the Black Panther: A Symbol of Strength and Grace in Design

The black panther, with its captivating presence and silent strength, stands as a powerful symbol across different cultures and contexts. This mysterious feline embodies a unique blend of grace, power, and mystery, making it a favored subject in art and design. In this article, we delve into the symbolism of the black panther and how it is expertly captured in the "Stealthy Black Panther Vector Art" pack—a versatile graphic collection ideal for a wide range of creative projects.

The Black Panther as a Symbol of Strength

Throughout history, the black panther has been revered for its strength and ferocity. This elusive predator is often associated with leadership, courage, and fearlessness. In many cultures, it represents the warrior spirit, embodying the idea of fighting against all odds and emerging victorious. The "Stealthy Black Panther Vector Art" pack brings this symbolism to life, offering detailed silhouettes that capture the panther’s poised and powerful stance, perfect for designs that seek to convey strength and resilience.

Grace and Stealth: The Duality of the Panther

Beyond its raw power, the black panther is also a symbol of grace and stealth. Its ability to move silently through the night, unseen by both prey and predators, has made it a symbol of subtlety and elegance. In design, the panther’s sleek silhouette can be used to convey a sense of sophistication and mystery. The "Stealthy Black Panther Vector Art" pack includes a range of files that highlight the panther’s elegant form, making it an excellent choice for projects that require a touch of refined beauty.

Versatility in Design Applications

The symbolism of the black panther is incredibly versatile, allowing it to be used across various design applications. Whether for branding, apparel design, interior décor, or digital content, the panther’s imagery can adapt to different themes and messages. The "Stealthy Black Panther Vector Art" pack provides a variety of file formats—SVG, AI, EPS, PNG, JPEG, and PDF—ensuring that you can easily incorporate these designs into any project, from t-shirts and tattoos to murals and marketing materials.

Commercial Use and Creative Freedom

One of the standout features of the "Stealthy Black Panther Vector Art" pack is the freedom it offers for commercial use. Designers and businesses can create and sell derivative works with these graphics, making the pack not just a design tool but a valuable asset for commercial projects. It’s important to note, however, that while the pack allows for the creation of new products, the resale of the source files or their online distribution as standalone graphics is prohibited. The receipt of your purchase serves as your official license for commercial use, so be sure to keep it safe.

Conclusion: Embracing the Black Panther in Your Designs

The black panther’s rich symbolism of strength, grace, and mystery makes it a compelling subject for creative projects. By integrating this powerful symbol into your designs, you can create works that resonate deeply with audiences, conveying messages of power, elegance, and resilience. The "Stealthy Black Panther Vector Art" pack offers a versatile, high-quality collection that allows you to harness the full potential of this majestic creature in your creative endeavors.

Whether you’re looking to make a bold statement or add a subtle touch of elegance to your designs, the black panther is a symbol that delivers. Explore the possibilities with the "Stealthy Black Panther Vector Art" pack and let your creativity take the lead.

[heartypearl666]

The hidden beauty of Ghibli films

When discussing the magic of Studio Ghibli, it's easy to be captivated by the surface-level enchantments: the whimsical characters, the breathtakingly detailed landscapes, and the fantastical stories that transport us to otherworldly realms. However, the true beauty of Ghibli films lies beneath these enchanting visuals, in the subtle, often unnoticed elements that weave through every frame. Here are some of the hidden gems that make Ghibli movies extraordinary.

In a world where animated films often rush from one high-energy scene to the next, Ghibli movies stand out for their moments of quiet reflection. These serene interludes invite viewers to pause and breathe, mirroring the natural rhythms of life. Whether it's Chihiro's contemplative gaze across the river in "Spirited Away" or the gentle rustling of leaves in "My Neighbor Totoro," these moments of stillness are imbued with a profound sense of presence.

Studio Ghibli's characters are rarely confined to simple archetypes. They are complex, multifaceted beings with strengths and vulnerabilities that make them deeply relatable. Take, for instance, the witch Yubaba in "Spirited Away." Though initially perceived as a villain, she reveals moments of tenderness and maternal care. Similarly, in "Princess Mononoke," Lady Eboshi is both a compassionate leader and a ruthless industrialist, challenging the black-and-white notions of good and evil.

The reverence for nature in Ghibli films is not just a theme but a pervasive ethos. The natural world is portrayed with a reverence that reflects Japanese Shinto beliefs, where every rock, tree, and stream has a spirit. This is poignantly depicted in "Nausicaä of the Valley of the Wind," where the protagonist's deep connection with the environment underscores the narrative. The lush, detailed landscapes are not mere backdrops but integral characters in their own right, reminding us of the interconnectedness of all life.

Ghibli films often address pressing social issues with a subtlety that invites reflection rather than didacticism. "Grave of the Fireflies" is a haunting portrayal of the human cost of war, while "The Wind Rises" explores the tension between artistic passion and the moral implications of one's creations. These films provoke thought and discussion, prompting viewers to consider broader societal issues through the lens of deeply personal stories.

One of the most enchanting aspects of Ghibli films is their celebration of the mundane. Everyday tasks and simple pleasures are depicted with a reverence that elevates them to the realm of the sublime. In "Kiki's Delivery Service," the young witch's journey of self-discovery is marked by ordinary challenges and triumphs, from baking a pie to making new friends. This focus on the everyday imbues Ghibli films with a warm, relatable charm.

The scores of Ghibli films, often composed by Joe Hisaishi, are integral to their emotional resonance. The music is not just an accompaniment but a storytelling device that enhances the narrative's emotional depth. The hauntingly beautiful melodies of "Princess Mononoke" and the whimsical tunes of "My Neighbor Totoro" linger in the hearts of viewers long after the credits roll.

The hidden beauty of Ghibli movies lies in their ability to capture the essence of human experience with grace and nuance. They remind us that magic exists not just in the fantastical, but in the quiet moments of reflection, the complexities of human nature, and the simple joys of everyday life. Each Ghibli film is a testament to the power of storytelling to touch the soul and awaken a deeper appreciation for the world around us. So, the next time you watch a Ghibli film, take a moment to savor the hidden beauty that lies beneath its enchanting surface.

[dangal-play]

Explore The Top 10 Must-Watch Hindi TV Shows Online To Stream Now.

Introduction:

In the vibrant world of Indian television, Hindi TV Shows Online hold a special place with their captivating storylines, diverse genres, and rich cultural narratives. Whether you enjoy intense dramas, supernatural thrillers, romantic sagas, or mythological tales, a Hindi TV show has something for everyone. Thanks to digital platforms like Dangal Play, streaming these excellent performances has never been simpler.

Here are the top ten must-watch Hindi TV Shows Online you can stream on Dangal Play:

Mann Sundar:

"Mann Sundar" tells the story of a young woman whose life changes after she marries a conventional family. The episode explores her attempts to balance her contemporary outlook and her new family's traditional traditions. With its engaging plot and likeable characters, "Mann Sundar" is a pleasant watch for those who appreciate family dramas with a contemporary touch.

Mann Atisundar:

"Mann Atisundar" is a heartwarming family drama that explores the life of a young woman who attempts to maintain her family's unity despite numerous obstacles. The show emphasizes inner beauty and character strength. Because of its realistic plot and outstanding acting, it is a hit with audiences of all ages.

Nath:

"Nath" is a captivating social drama with an engaging plot that tackles essential societal concerns. The program's main themes are the struggle against injustice and the path to self-empowerment. With its compelling message and dramatic performances, "Nath" is a must-see for anybody who values significant content.

Phir Laut Aayi Naagin:

"Phir Laut Aayi Naagin" is a suspenseful supernatural thriller that follows the life of a serpent woman who can change her shape. The show is captivating because it blends drama, fantasy, and suspense. The fictional character is followed as she returns to exact revenge and defend her loved ones from wicked forces. You'll be gripped from start to finish by "Phir Laut Aayi Naagin"'s gripping story and impressive spectacular effects.

Baazi Ishq Ki:

"Baazi Ishq Ki" is a passionate romantic story that delves into the subtleties of betrayal, love, and trust. The drama revolves around the turbulent relationship between its two main characters, who are caught up in a complex web of feelings and events. Because of its potent performances and plot twists, "Baazi Ishq Ki" is essential viewing for lovers of romance and drama.

Devi Adi Parashakti:

"Devi Adi Parashakti" is a mythological television series that tells the stories of the Goddess Adi Parashakti while exhibiting her many guises. The program vividly depicts the epic tales of Hindu mythology and has significant cultural and spiritual value. Because of its vast sets, intricate costumes, and captivating narration, "Devi Adi Parashakti" is ideal for people who appreciate mythological dramas.

Jai Hanuman Equals Sankat Mochan Naam Tiharo:

"Jai Hanuman Equals Sankat Mochan Naam Tiharo" is another mythical series that centres on Lord Hanuman's life and exploits. The show highlights his adoration for Lord Rama, his extraordinary exploits, and his function as the one who removes barriers. Those who enjoy spiritual content and the timeless stories of Hindu epics will find great enjoyment in this series.

Sindoor Ki Keemat 2:

"Sindoor Ki Keemat 2" continues the well-liked drama series "Sindoor Ki Keemat." The characters' lives in this drama are still being explored as they deal with love, family conflicts, and social expectations. The intense tale drama and emotional depth make "Sindoor Ki Keemat 2" a must-see for fans of family dramas.

Purnima:

"Purnima" is a heartfelt family drama about a young lady named Purnima. The show depicts her hardships in her personal and familial life, along with her victories and struggles. The realistic characters and passionate narrative make "Purnima" a must-see for fans of emotionally driven dramas.

Prem Bandhan:

"Prem Bandhan" is a love drama about two people from different backgrounds who have an arranged marriage. The program explores their path of love, comprehension, and overcoming challenges to start a life together. Thanks to its captivating storyline and superb acting, "Prem Bandhan" is an enjoyable film for romance lovers.

You can even watch shows such as Bindiya Sarkar, Aaina Roop Nahi Haqikat Bhi Dikhaye, and Sindoor Ki Keemat only on Dangal Play.

Conclusion: The vast array of Hindi TV Shows Online contains many tales that represent the spirit of Indian culture, feelings, and customs. From mythical stories to violent dramas and spooky thrillers, there is something for everyone. Platforms like Dangal Play make it simple to access these compelling shows, allowing you to watch high-quality entertainment from the comfort of your home. Sit in your preferred location and enjoy watching these ten best Hindi TV series online.

[driveinfilmreviews]

The Heart-Warming Classic “Marty”

“Marty,” released in 1955, is a timeless classic that continues to resonate with audiences today, showcasing the universal themes of love, loneliness, and the search for connection. Directed by Delbert Mann and based on Paddy Chayefsky’s teleplay, the film won four Academy Awards, including Best Picture, Best Director, Best Actor, and Best Adapted Screenplay, solidifying its place in cinematic history.

Set in the Bronx, New York, “Marty” follows the titular character, Marty Piletti, a kind-hearted and unassuming butcher in his mid-30s, portrayed brilliantly by Ernest Borgnine. Marty leads a simple life, working at his family’s butcher shop and spending his evenings with his friends at the local dance hall. However, Marty’s bachelor status and lack of romantic success often make him the target of pity and ridicule from his family and peers.

The film unfolds over the course of a weekend, during which Marty reluctantly agrees to accompany his boisterous friend, Angie, to the dance hall. There, Marty meets Clara, a shy and insecure schoolteacher played by Betsy Blair. Despite their initial awkwardness and self-doubt, Marty and Clara form a genuine connection, finding solace and understanding in each other’s company.

What sets “Marty” apart from other romantic dramas of its time is its authentic portrayal of everyday life and ordinary people. The characters in “Marty” are not glamorous or larger than life; they are ordinary individuals grappling with loneliness, insecurity, and the fear of rejection. In Marty and Clara, audiences see themselves reflected, making their love story all the more poignant and relatable.

Ernest Borgnine’s performance as Marty is the heart and soul of the film. With his rugged appearance and expressive face, Borgnine brings depth and vulnerability to the character, capturing Marty’s inner turmoil and longing for companionship with subtlety and nuance. Borgnine’s portrayal of Marty earned him the Academy Award for Best Actor, a well-deserved recognition of his talent and dedication to the role.

Opposite Borgnine, Betsy Blair delivers a standout performance as Clara, Marty’s love interest. Blair infuses Clara with a quiet strength and sensitivity, making her a perfect match for Marty’s gentle nature. The chemistry between Borgnine and Blair is palpable, creating a sense of intimacy and authenticity that elevates their on-screen romance.

In addition to its stellar performances, “Marty” boasts a sharp and poignant screenplay by Paddy Chayefsky, which captures the cadence and vernacular of working-class New Yorkers with precision and authenticity. Chayefsky’s script is filled with memorable dialogue and poignant moments that resonate long after the credits roll.

Delbert Mann’s direction is understated yet effective, allowing the performances and the story to take center stage. Mann’s decision to film on location in the Bronx adds to the film’s authenticity, immersing viewers in Marty’s world and enhancing the sense of realism.

At its core, “Marty” is a celebration of the human spirit and the power of love to transform lives. Through Marty and Clara’s journey, the film reminds us that true happiness often lies in the simple joys of companionship and connection. In a world filled with noise and distractions, “Marty” serves as a gentle reminder to cherish the moments of genuine human connection that enrich our lives.

Despite being released nearly seven decades ago, “Marty” remains as relevant and affecting as ever. Its timeless themes and universal appeal ensure that it will continue to captivate audiences for generations to come. Whether you’re a fan of classic cinema or simply appreciate a well-crafted love story, “Marty” is a must-see film that will warm your heart and leave a lasting impression.

[denimbex1986]

'If you keep up with the world of indie film, there's a good chance you've heard of the new British film, All of Us Strangers, directed by Andrew Haigh. It premiered at the Telluride Festival in August and has gone through an extremely limited release in both the United States and the United Kingdom. But if you do manage to hunt down a screening of this elusive film, you'll be met with a heartfelt queer story filled with emotion that masterfully blends the familiar with the other-worldly.

I first saw the trailer for All of Us Strangers, I remember rolling my eyes and thinking "great, another film about a queer couple where one is conflicted with their sexuality because of their upbringing, how predictable." That's a movie I've seen a thousand times over. But I was sorely mistaken because All of Us Strangers is a lot more unconventional than I ever could've expected. The story follows depressed, lonely screenwriter, Adam who gets into a relationship with his neighbor, Harry, which sounds mundane enough, until you see that Adam routinely has visions of himself and his deceased parents, whom he speaks with frequently throughout the film. We learn throughout the runtime that Adam was bullied for his sexuality when he was young, and never felt comfortable coming out to his parents despite the fact that they always seemed supportive of him. Unfortunately, Adam's father and mother were both killed in a car accident before he could ever express who he truly was to them. The film follows the progression of both Adam and Harry's relationship as well as Adam's continued visits to his parents in his mind. These two elements create a beautiful tale of both love and grief.

All of Us Strangers is not a particularly loud or exciting film. Its strength is derived from its sincerity and subtlety. The story is loosely based off a Japanese novel called Strangers from 1987 by Taichi Yamada. But despite the concrete roots in fiction, All of Us Strangers feels oddly biographical when you learn more about the director, Andrew Haigh. Haigh himself is an openly gay man, and like Adam, he wrote the script for the film in the midst of an intensely lonely time in his life, namely the first wave of Covid. It's refreshing to see a queer film where the main theme is not oppression or pain, they're present, but at its core, this is a film about being human and the emotions that come with it.

While the editing, cinematography, music, and directing are solid, the real standout in All of Us Strangers are the performances. It has an extremely small cast, consisting of only four people, Andrew Scott, Paul Mescal, Claire Foy, and Jamie Bell, who all play their roles with such grace and humanity. As an Irish person, it's amazing to see a film lead by two Irish actors get so much praise. And although this is a film from the UK, and was directed by a British person, I can't help but feel like this is an intensely Irish movie, and it's not just because of the actors...

If you're Irish, you'll know that one of the most prominent aspects of the culture is being stoic. Never letting your emotions get to you, or more colloquially: "be a man." If you're feeling sad, drown your sorrows in whiskey, and if you happen to jump off a bridge, you're seen as a coward. This was brilliantly illustrated in the 2022 film, The Banshees of Inisherin by Martin McDonagh. All of Us Strangers shows a much softer side of "being a man," emotion, gentleness, loneliness, love, etc.

A scene that particularly stands out is when Adam comes out to his mother at the kitchen table during one of his memory trips. Her reaction is mixed and she has a lot of questions. She asks if people are still mean to him in the future, if he's able to get married and have kids, if he'll end up dying of disease. Her reaction is very complicated but you can tell it is one of love and concern. It's a reminder to viewers that being queer was not always a cakewalk, and still isn't for a lot of people. His mother is under the assumption that a gay life is a lonely one, and she asks him if that's the case. He hesitates because he clearly is a very lonely person, but he insists that's not the case because the fact that he's lonely has nothing to do with him being gay. It's a very human scene, and the fact that it takes place so casually over a cup of tea makes the film feel so much more grounded and humble. It's also hard not to get choked up at the scene where Adam says the same thing to his father, and explains all the hardships he went through growing up, which ends with them both in tears. These are all attempts to relive his childhood the way he would have wanted, with both of his parents alive, knowing who he truly was.

All of Us Strangers on the surface, is a queer love story, but if you look deeper you'll find a film about a man's battle to feel comfortable with himself, and looking towards the past and present to do this. It's remarkable about how a film about loneliness can make you feel so much less alone.

Without risking the chance of any spoilers, All of Us Strangers is a film jam packed with love, grief, and self discovery that is sure to bring a tear to your eye no matter who you are or where you come from.'