#am I the only one with this opinion?

[ninjaaa-go]

Probably an unpopular opinion, but I started rewatching Ninjago, and I feel like it would have been better if they kept Kai as the protagonist and Cole as the team leader rather than giving both of those roles to Lloyd

[yeonjune]

Yeonjun about the strain he felt while preparing for his debut solo project ✙ "GGUM" MAKING FILM

[mobius-m-mobius]

#brb telling detective Aziraphale everything I know

[buwheal]

Hello, Spamton!

How's life? Also, do you have any opinions on the Addisons? (Pink, blue, orange, and yellow)

If so, what do you think of them?

[curiositypolling]

pls reblog for sample size etc

follow for more occasional useless polls :)

[thekittyokat]

you ever just have a lot, a LOT of feelings all at once about a character and not even remotely enough words or brainpower to FORM the words to describe everything you're feeling. so it feels like you may explode. yeah

[starry-bi-sky]

ty for contributing to the wasteland that is appreciating bruce as a parent and first child danny🙏🙏🙏

It’s a battle out here soldier but I am strong, like winter bear. Also I relate so hard to Bruce in a lot of ways and I think his initial concept is really neat. He tries his damn hardest, and he has so much hope for his city that it’s really admirable.

And as much fun as it is to poke fun at him for his questionable parenting and hypocrisy, there’s always the line of too much that the fandom tends to cross quite often, just as much as they do with the clone and ghost king stuff. Bruce is just as much of a good parent (or at least a trying one) as he is a bad one, and people tend to ignore his good qualities for the sake of a joke. His character is centered around the fact that he cares, he’s just truly shit at communicating it — which, cheers bro, I’ll drink to that.

And there’s already a ton of batfam prompts and aus out there where Danny shows up when the whole colony is already adopted, which means most of the attention goes to Danny bonding with the other siblings and having very little to do with Bruce. He’s kinda just. There. Whether that be as a prop or an antagonist or someone to point and laugh at. Which, I can’t blame people too much for — the cast is so big it’s hard to keep track of relationships and stuff.

However, I think it’s important for Danny to have some form of relationship with Bruce too and not them just be strangers, especially in a familial/platonic setting where Danny is joining the family.

They share a handful of qualities that I think would mesh well together — Danny’s canonically a pessimist while Bruce is a diehard optimist (you kinda have to be to be a hero in a place like Gotham, and he wouldn’t be Batman if he wasn’t) and they both believe in giving people second chances and have wells of compassion to tap into. Danny’s clever and resourceful, and one of his main character traits is that he’s got an iron will.

All in all, good dad bruce go brrrrr and oldest son danny is the perfect, underutilized concept to explore exactly that without distractions. I think they could get along like a house on fire, if given the opportunity.

[doverstar]

actually I love Tentoo and he is the Doctor and it was the only ending for Rose that worked and it is a huge gift to be able to have the man she loves grow old with her, they were always heading for that, y'all be quiet. I 100% understand the angst but it's okay, they're okay, good ending-

[heynhay]

i want them fighting like children as in pushing each others faces away, i'm not touching you with a finger a centimeter away, tripping each other in the hallway bc somehow that's flirting do u see the vision or am i alone

we may never diagnose what the hell their problem is

[ducklooney]

Unpopular opinion, but I kind of wish Disney would focus a little more on other characters from the classic Disney universe (Mouseverse, Duckverse, Dogverse) and not just the Sensational Six characters (Mickey, Minnie, Donald, Daisy, Pluto and Goofy) plus Chip and Dale and Pete. By this I mean Scrooge, Horace, Clarabelle, Oswald, Huey, Dewey and Louie, Gyro, Ludwig, Grandma Duck, Fethry, Gus, Gladstone, Ortensia, Mad Doctor, Beagle Boys, Magica, Glomgold, Rockerduck, Sylvester Shyster, Phantom Blot, Darkwing Duck, Jose Carioca, Panchito Pistoles, Aracuan Bird, April, May and June, Gosalyn, Morty and Ferdie Fieldmouse, Chief O'Hara, Detective Casey, Scuttle, Mortimer, Figaro the Cat, Max Goof, Neighbor Jones, Brigitta MacBridge and others characters.

By this I mean with regards to the latest Disney animation shows "A Whole New Sound", Hot Ones and these What If Marvel comics. Like you can't make superheroes and super villains out of these characters I mentioned?! Scrooge as Professor X, Glomgold as Magneto or Magica as Red Widow? It seems to me that Disney (I mean the American official one, not the European one for sure) ignores these characters and thinks they don't exist. Really disappointing in my opinion.

Feel free to reblog this and comment if you agree or disagree with this.

[carlyraejepsans]

Frisk being shipped with both chara & flowey is so funny to me. The frizzler indeed. i never liked friskriel but i do like your interpretation of flowisk and i desperately need to see them in dameoverse 🙏

charisk/flowisk is so good when you don't have a bitch in your ear telling you it's incest

[bugcatcherkit]

^ ritsu teru shou friendship in a nutshell

HAHFHWFHWH TRUEE REAL. exactly. i appreciate their dynamic as This but i also appreciate the Duality of their dynamic as being one where they can stop feeling the weight of Responsibility around each other due to the way their specific Responsibility complexes are changing/have changed. And also they all cancel each other out anyway. And their extreme Ride or Die attitudes go crazy. Almost Concerningly supportive of each other.

But anyway. when they Hang Out, as they are all overconfident and overly serious in some way, somebody always manages to start a competition that nobody can back down from or wants to lose and it spirals from there I think. but again. they are Unmasking Buddies. They have enough relatability between all of them that they feel no reason to cover many things up or put on a facade. because of the Understanding. Also every time they hang out for a certain amount of time they always delve into those like Deep Introspective conversations, probably. does this make sense.

this is all after a while though. like it would take them some time to overcome some hurdles and reach this dynamic. Teru and Shou only don’t immediately click because of Experiences and Circumstances though.

ALSO i think of your post where its like. They are Good Kids still and they'd stop whatever they were doing to like. help an elderly lady cross the street or something. Still holds true with Teru in the mix. maybe even more.

them..

[rawliverandgoronspice]

The Dondon Post (or: the bizarre TotK's side content counterpoints to its main quest's immuable binary morality)

Speaking of strange TotK Choices, I think I have one singe post left in me about this game; and it's about the Dondon quest, "The Beast and the Princess".

(and about other stuff too, you'll see, we'll get to them)

More specifically: about how... strange of a thematic point it feebly attemps to make in the larger context of the storyline, and how it seems to be yet another mark of a world that, perhaps, once tried to be more morally complex that it ended up becoming.

Buckle up: it's a long one, and it gets pretty conceptual.

(good gem boys notwhistanding)

The Princess and the Beast

So, a couple of things about the setup. We are investigating potential Princess sightings; but at this point, either because we have already completed a bunch and know the general gib, because we have met a couple of wild Fake Zelda shenanigans, or through the simple fact that we are completing a side quest, we know there's a good chance it won't lead to an actual Zelda information. So when we ask Penn about what is going on and he replies with the ominous "we saw the Princess riding some kind of beast --a frightening one with huge, brutal tusks-- that the princess seemed to control", we get Ideas. Then the sidequest is registered: "The Princess and the Beast".

So. You know me. And if you don't know me, here's what you should know: my brain immediately flared up with the thought there was no way in hell this wasn't some kind of wink towards Ganondorf's renowned boarish beast form, especially given tusks were given so much focus.

My first assumption was: that's a miniboss right? I will get to fight some small boar-like thing that Fake Zelda rides sometimes. Cool! I didn't hold too hard onto my hope that the relationship of Zelda and/or Ganondorf to the natural world, or to each other would be expanded upon, since I had already been burned before, but my interest was piqued.

You have to understand how starved I was for any hint of complexity or mystery or ambiguity at this point. I was extremely eager for the game to throw anything at me that would surprise me, enlighten something pre-established, make the exploration lead to a meaningful discovery or deepening of characters, world or themes (and not just slightly cooler loot, or a bossfight, or a puzzle devoid of emotional context --cohesion and depth is what motivates my play sessions, especially in an open world game that I want to believe is worth losing oneself into). This was about the most intriguing task on my to do list at the moment, and so I plunged in immediately.

After really REALLY misunderstanding what I was supposed to do (I stalked every corner of every forest surrounding the tropical area at night or during blood moons in hope to see something --which was very much the wrong call), I arrived to the other stable, then was guided to the other side of the river where Cima awaits and explains that these creatures are actually a new species discovered by Zelda; that they are gentle and kind and not at all scary ("Dondons aren't beastly, they're adorable!"), and even somehow digest luminous stones into gemstones. They like the company of people and liked Zelda in particular.

I was... I felt two different ways about this conclusion, and I think it's worth to explore both: disappointment and some sort of... "huh!" Hard to describe this emotion otherwise.

I'll get the disappointment out of the way first, because it's the least interesting of the two. While I think the little emotional arc I was taken on was not devoid of interest --I was indeed taken on by the rumor and intrigued by its implications-- I wanted, well. A little bit more. And if the creatures were to be Zelda's pet project, I would have loved for them to be actually terrifying and feisty, and for her to develop an interest for these creatures in particular regardless. It could have been very interesting characterization that veered out of the perfect princess loving the perfect world floundering around her, always bringing her clear, practical benefits from the interaction.

(I have made another post that speaks of my discomfort that Zelda does everything everywhere and everyone loves her for it --I get what they were trying to go for, but it either lacks conflict for me to buy into that dynamic at the scale of several regions, or they went on too hard for my taste, as she is, at once and in the span of a couple of years at most: a schoolteacher, a gardener, an animal researcher, a scholar, a traveler, a military expert, a knower of landscape, a painter, a horse rider, an infrastructure planner, a [...] princess --at some point it begins to sound made up, "Little Father of the people"-esque to rattle the hornet's nest a little bit, especially if it's not shown as either a clearly godly characteristic or, even more necessary imo, a negative trait; another expression of her killing herself at work to compensate for a perceived flaw she's trying to earn forgiveness for, like she did in BotW. But that's another topic, and the clumsiness of her character arc has been well threaded by basically everybody disappointed in the story already.)

But, if I decide to be a little graceful, I'd like to explore my "huh!" emotion, and take it apart a little bit.

I think there's something interesting to have such strong parallels to setting up a story about the relationship between Zelda and Ganondorf ("The Princess and the Beast", like come on guys that's the conflict of over half the series), or at least Zelda and the concept of Evil since Ganondorf pretty much represents it in this game, and then have it go: actually, there was a horrible monster that everyone was afraid of, but Zelda was wise and patient enough to approach it and realize its potential beyond the tusks, what beauty can be brought upon the world if one makes the effort to look for what exists underneath. It says something a bit deeper about the world and about Zelda in particular. It intrigues, at the very least.

Is it a reach? Probably! Is my first interpretation that the quest is actually about "eww you thought Zelda would be interested in *disgusting vile monsters* and not sweet and gentle and human-loving animals that literally shit jewlery when cared for? jokes on you, she never would feel any ounce of sympathy for anything that isn't Good and Deserving" uhhh definitively truer? Probably! But I also don't want to dismiss that the quest made me think about it. If I had completed it earlier, I might have even felt like it was (very clumsy, not gonna lie) setup about the main conflict.

But that's also a good segway into my next section: the arbitrary limitations between the animal and the creature, the monstrous and the human.

And the fact that TotK points directly at it.

A Monstrous Collection

(these two guys are just. doing So Much and being So Valid despite being massive weirdos the game wants us to be slightly repelled by. I, for one, respect the Monster kinning grind and their general Twilight Princess energy.)

So. These two guys. There is so much to say about these two guys. I don't think I have seen the Trans Perspective on Kolton on tumblr, and I would love to get it because. I feel like it's a worthwhile discussion (just, how gender and identity is handled in TotK overall, I feel like it's a very complicated conversation and I have not seen super deep dives and I'd be very interested in hearing more).

Beyond the throughline of voluntary consumption of magical objects to turn into less human creatures being a weirdly prevalent plot point in TotK (Zelda, Kolton and Ganondorf casually transing their entire species for funsies --Ganondorf being particularly relentless with Fake Zelda, mummy/phantom shenanigans, Demon King and then literal dragon), I want to focus on Kilton a little bit.

Kilton is genuinely the only NPC in the game willing to acknowledge the inherent personhood that monsters have (the game does showcase them picking up fruits, mourning their boss if you kill them, being cutesy and happy to identify you as one of their own if you wear the appropriate mask --and that's not even getting into creatures like the Lynels, who seem to really edge on the limit of being a conscious creature with a system of honor and property and many other things). He does encourage us to think of monsters as more than a species whose only worth lie in how fun it is to eradicate them; even more, gameplay-wise, he does give us a reason to interact with them in other ways than just our sword with his museum. He does encourage us to see that beauty for ourselves and then select what we think is coolest/most intimidating/cutest/eight billion ganondorfs in every pose imaginable

The fact that Ganondorf is considered a monster was a great win for this feature in particular, and is very funny, but it's also... A lot, if we dig at it a little more than warranted. Beyond all of the Implications and all of the things of representation and political conflict and values already discussed ad nauseum: when did he stop being considered a human? What does that mean about the flimsiness of what is a monster and what is a creature and what is an animal and what is a person and what is even a hylian, as sheikahs got absorbed into the definition in this game? Especially with the stones taken into account, how profound changes in nature are a huge part of the plot (even when reversed and ultimately pretty meaningless): how easy it is, to make that slip? Who decides when that slip has been made? What is acceptable to hurt without remorse? What is beautiful and worth preserving? What is both at once? What is neither?

And again, in a classic Zelda conundrum (appreciative(?)): who the fuck gets to decide that, when, and why?

The Bargainers and the Horned God

(major shoutout to these big guys for being the sole and only providers of actual depth to the Depths, and for looking cool as heck)

So. Let's move the conversation to the Depths.

Conceptually: what an interesting idea!! And so well executed (initially)!! A mirror world to the surface, dark and hushed and full of unknown creatures; haunted by gloom and sickness and the unknown. Not a first in the series, far from it: from ALTTP to ALBW, and even taking the Twilight world of TP into account, this idea of a Dark World acting as a deforming mirror to Hyrule and revealing many interesting aspects as we get to explore both is always a very interesting take on corruption and envy and fear/weakness and/or some sense of darkness looming under the perfect exterior. I'd argue even the Lens of Truth of both OoT and MM's serve a similar function, both gameplay-wise, but also in terms of theme: not everything is as it seems. In the world of Light, darkness must hide itself; but darkness also possess its own beauty, its own hardships, and will stare back at you without blinking if you go seek for it. It's, in my opinion, one of the series' most compelling conversation about the cyclical nature of fate, the coldness of godhood, and how small one feels in the face of a universe that is more complicated than it initially appears --which is why Courage must be invoked to push forward regardless.

The Depth's otherworldly ambiance is truy wonderful, whether in the plays of light and shadows, the creatures native to the environment we meet there (wish we met more!), the soundtrack, the strange aquatic/primordial plants, the fact that the dragons visit this place and connect them to the outside --invoking ideas of balance and interconnectivity, that the tree branches look like veins. The coliseums, the mines, the zonai facilities and the prisons do seem to poke at many things about what the relationship to the past was to this place; was it ever truly a place? Did it look like this back then? Why was it buried? Why did it come back? But in spite of it all, I think the Depths struggle overall to question or reveal anything about the surface that we couldn't already assume going in (that the only thing congealing there is Ganondorf's gloom, his lonely domain of Wrongness, only shared by Kohga and the yiga --the only naysayers of Goodness and Light, contemptful and blinded by self-importance and rage). The zonite is mined by gloomy monsters --why, what for?-- so any notion of greed and over-expansion that could have been associated to the zonai is now reabsorbed into Ganondorf's general evilness, since it needs to be reminded he is everything and anything bad with the world: darkness and conquest and greed and capitalism and pollution and bad weather and sickness and darkness and violence and war and death and betrayal and fakeness and lies and patriarchy and exploitation. No matter that he never does a single thing with zonite in the game; rather set up elements of conflict that never go anywhere than, for a second, let the foundations of absolute goodness and absolute evil risk becoming shaky --and you coming to this unwelcoming dark place that hates you, killing the miners and taking their resources for yourself is, on the other holy, royal fur-covered hand, utterly legitimate. The resources were once Rauru's after all, were they not?

And this is what I would say, except... except for the dead. The fallen warriors, the poes, and, most important of all: the Bargainer statues.

The Bargainers are, in-universe, godly creatures guiding the fallen to a place of final respite, regardless of moral alignment. The poes are all, fundamentally, cleansed of judgement: they are lost souls whose past reality does not matter anymore, and all deserve that peace regardless. In spite of the heavy paradise/hell parallels drawn in that game, with Rauru/Zelda/Sonia as the guardians of Light where Ganondorf gets to become a Devil-like figure, it is confirmed here that no such thing exists when you actually die in this universe.

It almost feels as if the fabric of Hyrule itself, in a brief moment that refuses to elaborate on its own point, goes: "yeah, whatever is happening here between Light and Darkness, it doesn't actually matter. This conflict is futile and doesn't understand the real nature of being alive, dead, a god, a person, a monster, an animal. The truth lies elsewhere --but you will never be told what it is."

It's: wild.

One of the game's most striking traits of narrative brilliance in my opinion --to the point where I'm wondering whether it's there on purpose or was effectively an oversight since every other aspect of reality breaks its own back trying to reassure us that everything is at its correct place, receiving the appropriate treatment by the universe in a way that is never to be questioned.

Another case of that ambiguity being allowed to exist without being immediately crushed and repressed is the case of the Horned God (interesting parallel to Ganon's actual horns that he develops in this game in case the hellish parallels weren't clear enough already): a demon Hylia sealed into stone and pushed far from humans in a clear case of questionable behavior since, while the Horned God isn't exactly nice, does propose a different philosophy you are not punished for exploring; and yet, a proposal that has seen itself persecuted in a very real sense by the goddess of absolute goodness, patron of hylians, Zelda, and many more. Pushed away from view.

Interesting.

And Yet, Light Must Prevail

Okay, so, after all of this, we're left to ask... What the fuck is up with morality in Tears of the Kingdom?!

What do we trust? These half-breaths in the occasional sidequests that Light and Darkness is just the wrong frame of reference, that nature cannot be this simple, is ever-shifting and can be recalled or reaffirmed by arbitrary forces, and might even not matter at all in the universe's fabric, despite having so much of its lore soaking in the dychotomy? Or... everything else about the game, this insistence that Good must not only be assumed as whatever tradition the kingdom has passed down for thousands upon thousands of years, but remain utterly unquestioned the entire time? That Bad is without cause, graceless and unworthy of investment?

Are the Bargainer's statues the only thing worth listening to, that morality is a fable the living tells themselves --or should we be moved when Darkness destroys Light, when Light suffers to preserve itself and the world --but not when the Other is rightfully slain?

Was Kilton correct to see beauty in the monstrous? Was Kolton onto something when he let go of his previous form because there is no clear distinction between what should receive an arrow to the face and what shouldn't? Or should we rather focus on Zelda losing her human form as a beautiful and tragic sacrifice --but something that never actually altered her nature as a hylian, the descendant of a lineage of Good Kings meant to rule forever?

Is the Dondon good because it always was, or was it worth Zelda's love in spite of the fear it initially provoked?

Either way, at the end of the game, evil is slain. Ganondorf is, not killed, but --like his angry BotW boar counterpart-- destroyed, as monsters tend to be. He explodes over the lands of Hyrule, freed from Darkness; freed from everything wrong, since the foreign menace that embodied it all was wiped out in one fateful sweep of a holy blade cradled in sacrificial love. Nothing wrong remains. The Sages reaffirm their vows to protect the kingdom forward, and a very human --hylian-- Zelda smiles: Hyrule now forever and ever basked in eternal Light.

[that-was-anticlimactic]

i will never understand how or why the httyd movies did the books such an injustice.

the movies aren't even an adaptation - they stole the name of the series, the name of some of the characters and places, and the general idea that there are dragons. honestly, i would be fine with the movies and maybe even like them if they didn't capitalize off of cressida cowell's incredible books that never get any credit.

the books are an amazing story about the cycle of violence and how vengeance and revenge is dangerous. hiccup says that the past is a ghost story, one we need to learn from to better ourselves. the books are about how everyone deserves freedom, how every creature, every being on the earth deserves to be free. we see that in the slavemark, with the dragons.

and like... hiccup is so different. they did him a severe injustice. he's scrawny and intelligent and learned to talk to dragons simply by observing them! he chooses kindness first above all else; instead of yelling at toothless to train him, he is kind. and in the end, that kindness is why toothless chose to save him. bc even toothless himself says that dragons are inherently selfish creatures who care only for their survival. hiccup is brave - his beliefs differ drastically from both the vikings and the world.

hiccup is a child who chose to do the right thing even at the expense of himself. he agreed to free the slaves on nobert's ship, and in return, they gave him the slavemark which is easy to give but cannot be removed. he was like twelve. and having the slavemark means he cannot be with his tribe or his family, it means he isn't considered a human being anymore. and he keeps it a secret for awhile until it's revealed and when it is everyone turns their backs on hiccup. his family, his tribe, his mentor, people he TRUSTED. everyone except fishlegs, and, once she got over the shock, camicazi. he was thirteen. and even when he lost his memories and was really injured, he persisted. he was told to go to tomorrow and to save the dragons and he did bc in his heart he knew it was right even though he didn't know who he was or how he got there.

and fishlegs,,, oh my god FISHLEGS!!! the did him SO DIRTY!!! fishlegs is hiccup's best friend, one of the main motivators for hiccup. he steals norbert's potato for the sake of fishlegs, he gives fishlegs his dragon and goes to retrieve another, he takes the blame for fishlegs. and fishlegs does the same for him. he takes the slavemark with pride. he refuses to turn. he gives hiccup his lobster claw necklace which is his most prized possession. he is brave for hiccup, he believes hiccup is alive. he fights for hiccup harder than anyone else ever has. he does not turn. his is loyal, has allergies, has asthma, has a squint and a limp, has glasses bc he's blind without them... and he's still a hero despite being a runt, despite everyone even the adults telling him he's hopeless, telling hiccup to leave him behind.

and they cut camicazi! i'm sorry, but astr*d is nothing compared to camicazi. camicazi is a tiny, feral child who can easily best hiccup, fishlegs, and pretty much anyone in a sword fight. she can bring a grown man to tears with her rudery and smack talk. she is recklessly brave and craves adventure and follows hiccup blindly bc she trusts him that much. she isn't in love with hiccup - in fact she doesn't care about romance and love. she gives up everything to help hiccup bc she has a strong sense of justice. she is the motivator, the cheerleader, she finds a positive in everything. she never gives up. literally never gives up. and that's one of the most inspiring things about her: she always has hope.

and toothless! god!!! toothless is *thought to be* a common or garden dragon. he is horrifically tiny, he is literally toothless, and is the biggest brat in the world. he will cause problems on purpose. he has a stutter, he's the most selfless selfish dragon around. he and hiccup can talk to each other. he masks his fear with singing and being annoying. his growth is remarkable. he starts off refusing to obey hiccup, doing the opposite of what he says, making life harder for literally everyone around him, and he's still somewhat like that. but he's also braver, more caring, more willing to make sacrifices for the sake of others. he's clever, which he needs to be to make up for his size and aggression. he protects hiccup with everything he has, therefore, he protects what hiccup cares about just as hard. he was the only dragon that didn't abandon the vikings in the first book bc he cared about hiccup.

and snotlout,,, god,,, i will never forgive the movies for butchering snotlout. hiccup's cousin, the bully character, the one who is horrifically jealous that hiccup's dad was born before his. the one who desperately wants to prove himself, to be worthy, to make people proud. and you hate him, you despise him. he betrays everyone many times bc of the nothing promised to him by alvin and his mom. he loses himself, turns his back on himself, all bc he wants to prove himself. all bc he wants to be better than hiccup. and hiccup still forgives him and gives him chances, sometimes out of pity, but also bc snotlout is his cousin. he can't just turn his back on him no matter how miserable snotlout made his life. and in the end, snotlout sacrifices himself for hiccup. he gives up his life for hiccup in one last attempt to set things right. his death and the events preceding it are one of my absolute favorite moments in the book. gives me chills. makes me cry.

that's the thing with the books - they're so realistic. there is no inherently happy ending where everything works out. the first book begins with "there were dragons when i was a boy", implying that they're gone now. the books show there are consequences to our actions. they enslaved the dragons, they fought against them during the dragon rebellion all bc alvin and his mom said to, and now they're gone bc a simple apology doesn't fix hundreds of years of enslavement. and the only way for the world to move forward was for the dragons to leave and heal on their own. and now they have to learn to live without them. and yeah i've heard the third movie ends like that but. it doesn't have the build up. it doesn't have "there were dragons when i was a boy". it doesn't have eleven books of development to back it up, to make it feel meaningful.

i know that the movies are really special to a lot of people. i know that, on their own, they're genuinely good movies. i can acknowledge that the soundtrack is amazing and the animation is beautiful. i just can't see past the way they butchered the world that i love, the world that i grew up with. i can't see past the way people yelled at me for saying i liked the books better, the way that people gave me weird looks when i showed them a picture of the original toothless, when i tell them that nightfuries aren't even a type of dragon. cressida cowell created hundreds of different dragons, and the movies couldn't even pick from that. i can't forgive the way that barely anyone knows there are books bc the movie barely gives credit to them. i cannot forgive the way they capitalized off the books and then shoved them aside. i know cressida thinks they're good movies and i know a lot of httyd book fans also like them. but i just... i cannot get over how much they changed and how they missed so much and ignored the books. also they got rid of camicazi so hiccup could have a love interest and that is unforgivable to me.

if you disagree, that is a-okay. we're all entitled to our own opinions. i just ask that you, perhaps, try the books out. give them a chance. bc they're amazing works of art and also just like. don't yell at people who don't like the movies? whether it's bc they prefer the books or just aren't into that kind of movie. and just remember that dreamworks didn't come up with the story; cressida cowell did.

[bayetea]

I'm a strong "percy would get a job in education/outreach to underprivileged kids in the future" truther but I don't necessarily agree with people who say that him taking on marine biology as a college major doesn't make sense at all

"why would he study marine biology he can already work with sea animals to his heart's desire" I don't know maybe because he wants to get paid???????? he wants a normal job???? percy grew up poor and unsafe. why is it weird that he craves stability with a career that enables him to do something that he loves? or maybe he wants to go into the system and help bring about lasting reform that will actually improve care for sea creatures??? yes he can save sea animals on his own time but think about it. is it better to abandon his life in the middle of the night to go help a trapped sea creature Every Single Time it happens or is it better to enter the system and make it so that capitalists stop polluting water or disturbing sea ecosystems for profit. his powers as a son of poseidon are a band-aid not a lasting solution to systemic environmental neglect and decay. he has an established precedent of caring for bringing about systemic change (see: turning down immortality) and for me this is no different (I just personally headcanon him wanting to bring change for disadvantaged kids but whatever)

to me this logic is like telling an exceptional artist that there's no point in going to art school to become a professional when they can already just do art on their own time for fun. like yeah....... if you're content with doing that as just a hobby. but what if you want to become an even better artist and learn new skills. what if you want to do it as a job that pays you and gives you health insurance and social security. then what

for me the main logistical issue of him majoring in marine biology has never been that he would never do that it's that the intersection of new rome college accreditation to the Actual Real world isn't all that clear/logistically sound. like I guess the mist can handle anything but what impact is new rome going to be able to have on the realm of mortals. this would be a nice thing to discuss actually (more in tags)

[kenobihater]

of all the star wars movies, which of them do y'all 1) enjoy the most 2) consider the best quality and 3) think you've rewatched the most. add your answers in the reblogs or replies, i'm genuinely curious how much of an overlap there is within everyone's three answers. mine don't overlap at all! they're revenge of the sith, empire strikes back, and the force awakens :^)