#and i think they show a lot more character than like illustrations obviously

[ai-no-kokuhaku]

haven't you put any thought about what it is you want to do after this is all over? who you want to continue to spend time with? no one come to mind at all?

[cobragardens]

The Colors of Crowley

Black is the color Crowley uses to cover himself, red is the color that represents Crowley to himself, and yellow is the color that represents Crowley to Aziraphale. What each color symbolizes and how it's used give us important information about Crowley (and to some degree Aziraphale) and about the ineffable relationship.

I feel kind of dumb writing this post because I'm sure it's glaringly obvious to everyone else, but there's this Metro UK article of all things (the Metro is owned by the hardcore rightwing Daily Mail, btw, so please don't link to it) that mentions the red stitching on Crowley's gloves in 1867, and it made conscious some details I had only subconsciously noted, so fwiw to anybody else, here are my notes on the colors associated with Crowley in Good Omens and their significance in the context of the way each one is used.

I don't think we need to cover black-as-evil in Western color symbology. [And yet here's a long-ass paragraph about it anyway! --Ed.] Light:dark::good:evil has been a thing with Christianity since before Christianity was even Judaism. The Israelites picked it up from the Zoroastrians way back before YHWH had subsumed El as 'God,' which may have been before they were Israelites as well; I mean it was a LONG time ago. Good Omens has been using black and white to represent Hell and Heaven, respectively, long before the show. In the UK, the book was published in paperback with a choice of black or white cover with an illustration of the contrasting character in the contrasting color: Crowley illustrated in black, Aziraphale in white. The current hardcover is grey.

Crowley wears black, and the Bentley is black. At the metanarrative or authorial level this is obviously for the purposes of the black/white demon/angel contrast, but on the intra-narrative level, the Watsonian level, it's interesting to note that Crowley doesn't have to wear black. He's obviously not free to choose from the full color palette, but Furfur's shirt and sash are is dark emerald green, Dagon is in ultramarine (as befits a marine Elder God), and Shax has only been on Earth for four years before she's wearing head-to-toe oxblood. When she shows up later in battle dress she's got a lot of oxblood there, too. And yet Crowley wears black.

Authorial reasons aside, black suits Crowley for a couple intra-narrative reasons. For much of history, black was the most expensive color to dye and maintain in clothing, and as a result it has always been fashionable. And for several centuries in Christendom, wearing black was also a sign that you were in mourning, which was a social and religious obligation when someone close to you died. Whether you could wear other colors with it depended on how long ago that death had occurred.

Again: black is what Crowley chooses to cover himself, and as there is a sharp distinction between how Crowley presents himself to fulfill his obligations and who he thinks of himself as being, there is likewise a distinction between the colors that represent those two quantities as well.

Red is the color the show uses to represent Crowley to Crowley. The most obvious reason is his hair. This is another change from Book Omens, where Crowley is described as having hair that is "dark." A lot of fans in the UK hated the change when S1 came out because fans hate change and the British have a thing against gingers, but Crowley's red hair suits him better than dark imo because the Mother of Demons in Jewish religious literature, Lilith, is traditionally depicted with red hair. Red hair has been associated for more than a millenium in the Middle East and England and Wales with sorcery, witchcraft, demonic influence/possession, and satan-worship.

Crowley wishes his mom was this cool with snakes.

A good case can be made that Crowley genuinely likes the color red in addition to considering it demonically appropriate. I say this for three reasons. Firstly, because when he has a (limited) choice of (again, demonically appropriate) colors, he always chooses red. The marble of the desk in his apartment is not green or grey. He can have any color stitching on his gloves or lining of his jacket collar he wants, but it's always red. Secondly, it's not only red he chooses, it's almost always bright red.

We know Crowley's red isn't supposed to represent blood or violence, because we have another demon character whose use of red represents just that, and it's not the same red:

Compare Shax' oxblood and burgundy to

and

and

and

Crowley's red isn't just red, it's lipstick, cherry, crimson red. And in case we weren't sure that we should read this red as symbolizing passionate, romantic love:

Romantic symbolism aside, bright red is also the color of passion (romantic or otherwise), optimism, heat, vitality, life, (hell)fire, and warning.

Red and black says don't fuck with Jack.

The third reason I think we can safely say that Crowley actually likes the color red is that he hides it. It's always tiny little touches, some of which you have to look for to see. (I still don't know where they snuck in the red on his Elizabethan habit, e.g.) And we know this color is a risk for him, and that he is right to hide it, because Ligur, who doesn't approve of any of Crowley's less-than-fully-demonic embellishments and may share Hastur's opinion that Crowley has gone native, comments on one of Crowley's more noticeably colorful items.

And I think the red tells us one more thing about Crowley, too.

Bright red is the colorest of colors, you know? When we can choose only one color to represent all colors, to represent colorfulness itself, we choose bright red (even in cultures where red symbolizes other meanings than it does in Western art).

Remember how Aziraphale gives Crowley's jacket a tartan collar when he swaps bodies with Crowley and impersonates him in Hell because Aziraphale feels the need to maintain some small secret token of his identity, some tiny unremarked sign of something he loves and thinks is beautiful, when he is down there alone in the gloom among enemies?

Crowley is down there alone among enemies every second of every day and night, whether he's in Hell or on Earth. And he's already had his identity stripped from him once. If you were someone who said

about this

and then you got recruited by the fash downstairs bc the fash upstairs threw you out for not being fashy enough and you had to start wearing nothing but dark colors and more importantly had to hide everything that made you feel warmth or softness or joy, and that was it, that was the deal for eternity, but you could add one (1) little touch to everything you wore to remind yourself that there is some beautiful part of you left, something you loved once, that no one has yet been able to steal or brutalize out of you...what color would the stitching on your gloves be?

Lastly, Yellow represents Crowley to Aziraphale. I'm going to skip the chain of evidence for this bc I think it's obvious, but the way it's used also lends itself to some inferences supported in other areas in the show.

Here's where I think changing Crowley's hair to red from Book Omens' dark is a good decision in another way. Crowley always has red hair, and if he has any color in his clothes it's going to be red. Red is eye-catching; it always stands out, but it doesn't stand out as demonic. And yet the color Aziraphale associates with Crowley and calls "pretty" isn't red.

I suspect that when Aziraphale says he can make Crowley an angel again, Crowley hears "You're not good enough for me to accept you as you are, let me fix you" because these are words Aziraphale has said to him many times, and has meant some of those times. But

tells the audience differently. The color Aziraphale associates with Crowley, the color he calls "pretty," is the color of Crowley's only overtly demonic feature. Aziraphale doesn't love the angel he knew who isn't Crowley, he loves Crowley, the demon, the person he is now, his yellow demon irises.

Yellow appears in three other places in S2, and they're all symbolically significant, and in fact serve to establish another symbolic significance to the color yellow in addition to that of Yellow Is the Color of My True Love's Eyes.

One of them is a feather duster:

Crowley reacts to a feather duster like a cat confronted by an unfamiliar object

The other three are private conversations between Aziraphale and Crowley:

The walls that surround Crowley and Aziraphale when they speak openly about their situation and how they will handle it are drenched in yellow, and that is super interesting, because in Western color symbolism yellow is the color of fear. The archangel of whom Crowley and Aziraphale are both (rightly) terrified wields a tool the color of fear. The color of fear saturates the backdrop of conversations between Aziraphale and Crowley when they have to discuss their situation and their actions openly.

Remember how Aziraphale's voice shakes here?

Crowley realizes the crows have just handed an angel evidence the angel can take to Hell and use to have Crowley killed

Even the Bentley, that clear sign of Aziraphale's love for Crowley, is also a yellow coffin enclosing him. For Aziraphale, thoughts of Crowley are always entangled with fear, because Crowley is not just Crowley, he is also Crowley's Fall.

And I think fear is what Crowley's eyes themselves represent. For Crowley, fear is now a fundamental part of his perception, his nature, his identity.

The angel Aziraphale once knew is not Crowley, and yet from what we've seen, the chiefest difference in character between this sweetheart and this mischief-maker--

--is that the Starmaker does not know yet that he should be afraid, and the Serpent does. That knowledge and its fear has, shall we say, colored his view of the world.

Aziraphale learns that fear early by observing others rather than Falling himself, and knows enough that by the first time we meet him in the Before, he is already afraid.

Pink was once symbolically equivalent to red; in modern Western color symbology it is a color of innocence, youth, beauty, and first love. Hashtag just sayin'.

The cruellest thing this suggests to me is that, rather than rebellion or his propensity to ask questions, rather than the knowledge of good and evil, the Starmaker's Fall was caused by his innocence. it wasn't the questions that were the problem: it was that he didn't know any better than to speak them out loud.

Y'all, Crowley and Aziraphale do not suffer from communication problems. Despite both being male-coded and British, they don't even seem to lack emotional intelligence. What they do have is a universe of silence and fear they have to communicate within and around. What they lack is the safety to speak and love freely. The true color of Crowley is crimson, but someone gave him those eyes, and Aziraphale either watched that happen or knew about it, and now Crowley covers himself in black--which btw is also the symbolic color for mystery and secrets--and only lets Aziraphale see him as he really is now, because Aziraphale won't judge him for his yellow eyes (or punish and forsake him for his questions). Because Aziraphale carries that fear with him too.

[thefirstknife]

ViDoc... 2!

A lot of cool stuff shown, my favourite being the strike, but first I want to mention this:

They said that when looking at Ace of Spades they realised they have the potential to make the rest of the deck of cards so this is why TFS weapons look like this and have character portraits; they're a deck! And specifically, these characters were chosen because of their ties to Cayde's story.

Obviously we have the generic Warlock, Hunter and Titan to symbolise the Guardians, but then there's others. Ikora and Zavala are obvious. Bottom left is most likely Shiro-4; hooded Exo with Hunter knives, I'm not sure who else it would be. The hood first made me think Elsie, but the Hunter knives don't make sense then.

Bottom right? That's Maya Sundaresh! Both as human and as Lakshmi-2, as we've learned from Veil Logs. It helpfully also has the Ishtar Collective logo. For those that don't know, Cayde worked as her guard, as an Exo, while she was still with Ishtar on Venus so that's why she's connected to him.

And top right? We have the "neoteric kiyot" cloak with the symbol of the Six Coyotes. Six Coyotes Exo member with ties to Cayde? That's Micah-10. Micah-10 category 10000 event.

Also for those that don't know, back in Beyond Light we got a really neat story about Micah-10 as a child in the lore book Your Friend, Micah Abram and some associated lore pieces that confirm Micah-10 is this kid. In one of the entries from the lore book, Micah is exploring Europa and accidentally alerts two Exos who then end up panicking, trying to shoot the intruder and then catching the kid. Then on one of the raid armour pieces, we have Cayde's flashback to this event from his POV, showing us that he was one of the Exos (as Cayde-1 then). He tried to shoot Micah, not realising it's a kid, then later grabbed them and held them up; the implication here that this is almost certainly the source of his mismatched memories that made him think he had a son. Him holding Micah is what eventually progressed in him simply remembering holding a child and constructing a story to go with it.

Micah-10 is an incredibly interesting character in general, as she is the closest thing we have to someone fulfilling the prerequisites for a speaker; even as a child, she was having strange prophetic dreams where something was speaking to her (most likely the Traveler) and showing her as an Exo. As a Guardian, she has the unique quality of being followed by Ghosts and has the title of "den mother of Ghosts."

She was also illustrated for the Volume VI grimoire collection, the one about Ghosts! Her Ghost Stories lore book is featured there accompanied by an illustration which shows her with a sniper, which the weapon with her image in TFS seems to be:

And yeah the sniper appears to have trans colours which I can't see as anything other than deliberate because Micah-10 is canonically trans! (Link to my post about it with links to a few more posts about it)

Incredibly exciting to see her featured on one of the TFS weapons, especially after she was featured in the grimoire and also in the TFS CE, in the autograph book where she left her own message, and so did the Ghosts that follow her. It's also interesting to tie her to TFS when we're going into the Traveler, given her unique relationship to the Traveler that she's harboured since she was a child. Can she become more than just a lore character now? Please?

Destiny fandom when a minor lore-only character gets one new mention be like: time to write an essay.

[fishyfishyfishtimes]

Hey, psst. Want to hear about one of my more meaningless pet peeves?

You know the Moomins, right? A few years ago the answer might've been no, but after the popularity of Moominvalley (2019) the Moomin franchise seems to have gained popularity outside of Europe and Japan. In any case, Moomins follows the adventures of hippo-like "trolls" in book, comic, TV show and movie form, animated, stop motion and live action alike. One of my very favourite characters from the Moomins is Edward the Booble.

(First image from here, the rest pulled from the episode Adventures of Moominpappa: Part 1)

My first introduction to him was in the animated Moomin (1990) series, and wow!!! What a creature, I'm sure you can assume why I immediately took a liking! A gigantic, reptilian beast, magnificently suited for aquatic living with his long body and finned tail! In this series it's even implied that he might be a dragon or related to dragons (this is not a feature of other Moomin series or books though) which made him infinitely cooler to me. Despite being the second largest creature on Earth he's always described to be a very friendly guy, if he ever steps on a person by accident he always pays for the funeral costs, they say.

Edward has other interpretations of himself, naturally, given the long lifespan of the Moomins as a franchise and the fact that he made his actual debut in the book Moominpappa's Memoirs. This is him as illustrated in the book:

(Image from here)

In the stop motion show The Moomins (1977) he looks like this:

(Image from The Moomins episode Edward the Booble)

The comics take perhaps the greatest divergence, as in those he looks like this:

(Image taken from here)

...Still pretty similar, usually.

Fortunately for me, despite his rather few appearances in any Moomin property, he gets his own spotlight in the Moomin World park! ...There's a theme park, by the way. Two parks, one in Naantali, Finland, one in Hanno, Japan. I'm talking about the Naantali park in this case, a place I've gone to significantly more than the average person. ^^' As you saw, certain characters (and places) look extremely different interpretation to interpretation, so Moomin World most closely sticks to the 90's animated show if there's any conflicting designs. This is Edward at the park, he floats near the Moomins' "bathing hut":

(Image from here)

Now look at that! Naturally they couldn't have made him a gigantic looming beast, but this is really darn close to how he is in the 90's series. He looks a lot like a long-necked dinosaur, I really enjoy his individually molded scales and hair strands, and his sort of claylike texture. It makes him look like he was brought into the real world straight from a cartoon: a look that's just right for the Moomin World! Just look at his face!!!

(Image from here)

A real big sweetie!!!! He's obviously fake, yet he feels real anyway. It's the way that he's shaped so naturally, how his raised neck and tail and arched back create a shape that flows from body part to part. It’s the way each part of him is textured, even in the parts of him where he lacks scales there’s a subtle unevenness to his surface, and certain features are raised. Despite being a purple yellow-haired reptilian creature he's very much like a real animal! All in all an excellent adaptation.

“Wait,” you might be thinking. “This is all good things. You like the Edward at the park. Where’s the pet peeve?”

You’d be quite right! All of this is indeed well and good, but that’s because I’ve withheld one crucial detail.

That is not Edward the Booble at the Moomin Park.

Not anymore. He was replaced some time ago, with an all new design.

Currently, Edward looks like this:

(Top image from here, bottom image from here)

......

What in the world. Do you see that??? Edward looks like his spine was mangled. I presented you with several different versions of Edward before so you could compare: does he look like any of his adaptations? Certainly not. He has never been a sea serpent!! Nevermind this ridiculously long snake torso, he's always depicted as having a long neck and tail but a normal, plump body. See those things shittily painted on his side? Those are fins! When did he ever have fins!!!?????

All of those wonderful sculpted scales have been replaced with an all smooth surface. His body's surface texture is instead communicated through paint. I do think the paint job is quite pretty as his colouration gets some variation (reminds me of a story book illustration, likely they were going for that look), but see how much the light reflects off of his plastic surface? When his scales were actually there, you'd see their shadows, but now that they went for an all smooth design he looks cheap, like any other theme park plastic statue out there. He looks factory-made. It makes his newly added fins appear like an afterthought, nevermind his hair that shifts from three-dimensional to painted on halfway down his neck. I suppose they just didn't feel like painting his hair all the way down his back like it is in Moomin...

I suppose his quizzical look is pretty cute, but yeeeouch that neck!!!! It has that weird bend right in the middle, and it's so skinny and short compared to his body. It widens so much at the bottom, he's like a watering can, man! His head is far too small and a real weird shape, though I can't put my finger on it. Perhaps his weird bulging teeth? They're awfully big in his mouth when previously they were more in proportion.

They insisted on this weird long noodle body and yet he doesn't even flow nicely anymore. There's an awkward hump between the neck and the body, and at the end of his body where logically his form would rise up, it instead straightens out for a bit, then his tail raises.

Now, obviously this is extremely minor in the grand scheme of things. I seldom bother myself with thoughts of the new Edward the Booble — only now did I get the idea of making a Tumblr post about this, lmao. This is just another case of “man, now why would they do that >:(“ rather than anything big. Because, really… man, now why would they do that!! Had a perfectly good Booble before. Perfect down to every last detail. Now he’s been replaced by some imposter! >:(

[cripplecharacters]

Hiya!! I’ve got a couple of stories I’m currently working on and because I also draw a lot, I like making illustrations for the stories. One of my protagonists experiences psychosis, and occasionally suffers with hallucinations. When drawing hallucinations (or expressing other elements of psychosis), is there anything major to avoid doing? For reference, the main reference for how I was going to draw them was similar to how the show Arcane expresses psychosis, since I like the artistic direcrion of the show overall, and I’ve been only positive feedback on how Jinx’s mental health was portrayed.

Hi!

I think it depends on what kind of hallucinations she has. I personally liked the way Arcane did it, and I think it works both for Jinx as a character and the show in the aesthetic sense.

However, I think it could be cool to visually show that for a lot of people, hallucinations aren't “obvious”. They can be incredibly regular things or just be “kinda weird/out of place” rather than clearly impossible to onlookers (in this case, readers)

Someone could also have both - they could hallucinate a person who definitely isn't there (like Jinx seeing [characters who have died]) but also have some that are just... hard to differentiate as an actual hallucination (like seeing a regular dog being outside, appliances being on, sounds that make sense but aren't there, etc.). Arguably, if she has both, the second ones become much harder to spot in comparison.

Another thing is what kind of things she's hallucinating. For Jinx, they were distressing and related to traumatic events, so the whole experience is obviously intense and full of PTSD flashbacks. This makes sense for her as a character. I really liked the tense slow-motion that was used in some earlier scenes of her as a child and the exact opposite used for her older self with the quick cuts and incredibly rapid pace, because it really can be like either of these.

But then again: some people see things so boring that there's no emotional reaction. Sometimes people don't realize they're hallucinating because the hallucination in question is a stranger sitting on a bench you're walking next to in a perfectly normal fashion, or something else that you wouldn't pay attention to, hallucination or not. I know of people who look through their phone/camera lens at things they think might be hallucinations because they don't show up on photos, and they just want to make sure (I've done this with audio recordings before). Would someone like this experience psychosis the same way as Jinx, who is shown surrounded by neon sketches of beasts with giant sharp-teethed mouths barking at her? Possibly! But there's a big chance it's simply not as intense in the visual sense (it can still be incredibly stressful on the inside).

So to kinda answer the question, it depends on the above. What is her relationship with her hallucinations? Some people like theirs, hallucinations can be positive or neutral, even comforting. Is she used to them? Does she know that she's hallucinating? Why is she hallucinating exactly (flashback? stress? under the influence? no reason? fatigued?)? Does she have “regulars”? They don't have to be literally people that show up regularly, but things or just general themes that can be related to the person's life. You might have one set of hallucinations that appear as a result of X, and a different that shows up when Z happens (with Jinx, she hallucinates [dead characters] very realistically when general PTSD flashbacks happen, but much more abstractly when confronted in a stressful, overwhelming situation where she's panicking). Is she only hallucinating impossible things, regular events, something in-between, or all of the above? (As someone in the last category, I'd love to see that.) Are there sounds, tactile feeling, smell, taste? (I guess hard to convey visually on a drawing, but still something I'd love to see, delusional parasitosis is such a classic it has its own name)

It might make perfect sense for your character to experience her hallucinations in the same visual manner as Jinx, but they might also just look like another slice-of-life panel with nothing out of the ordinary, they may be just slightly “off” with the hallucinations sticking out like interactive objects in video games, or maybe the entire hallucination is just the sound of neighbors arguing upstairs. Which again: the latter options can be hard to do visually, but if you establish that place X looks like that and definitely doesn't have that object in there, and house Z definitely doesn't have a second floor, you can clue readers in a more subtle way that I think could also show that sometimes psychosis is easy to miss.

Psychosis is diverse, and I don't feel like I can't say that there are contents of it that “shouldn't be shown”. People absolutely hallucinate demons, ghosts, blood, or other “stereotypical” things; there is a kernel of truth in the “evil hallucinations” trope (though that's where the truth ends to be honest). For every person who tells you to not draw shadowy figures as an example of a hallucination, you will have two people who will tell you that it happened to them last week.

The thing I'd urge you to not do is much less concerned with actual hallucinations, and more with their context in their story and how they are portrayed.

The point is to not demonize it in narrative, and understand that the character isn't their hallucinations - they're not “subconscious desires” or proof of anything, they're not a sign of something supernatural happening, and they're not any kind of indicator of the person's morality or potentially being dangerous. And, I can't stress this enough, they aren't “predicting the future”. Don't use the psychosis as a Chehov's gun or other implication that the delusions are real for the sake of your psychotic readers.

Sorry for the non-answer answer but I hope it helps,

mod Sasza

[flutterflora]

Whenever I see people say things like "Pinkie Pie should've been a pegasus" or "Fluttershy fits earth pony more" I get a little frustrated because TO ME the mane six have always been a really good example of "societal expectations" VS "societal deviance" of the three pony species within equestria.

Earth ponies are almost always expected to be providers. Like the Apple family for example or the Cake family OR even the "flower trio". They provide necessities, often food or they often provide hard labour (note how "background" jobs like construction and taxi pulling are most often done by earth ponies too). Applejack is obviously a perfect example of this! She's the head of her family, she's extremely hard working, shes incredibly physically strong, she's known and relied on by most of Ponyvill. Applejack very much lives up to the expectations that pony society has of earth ponies.

Pinkie Pie on the other hand is not one bit concerned with hard work. Her whole thing is having fun and throwing parties. In a way she is also providing something very important and necessary, socialisation and relaxation, however these are generally not deemed as valuable as strenuous labour and food production. Pinkie Pie is always written off as "childish" or not taking things seriously enough. She isn't deemed as very reliable a lot of the time and has to work very hard to prove herself, more so than someone like Applejack.

Ponyvill was founded by earth pony farmers, and is densely populated by earth ponies. Earth ponies are expected to work hard and grow food and provide for everyone, their roles are incredibly necessary and their work is highly appreciated. However, without someone like Pinkie Pie who deviates from those expectations, Ponyvill would be a miserable place (as seen in the episode Magical Mystery Cure). She may not be a farmer or a construction worker but her divergence from earth pony "standards" is what keeps everything in balance.

The same can be said for Rainbow Dash and Fluttershy too. Rainbow Dash is an exceptional athlete, she flies like no other pony and she almost always has her wits about her. At the end of the day, Rainbow Dash is truly a performer at heart, she wants to be in the Wonderbolts and show off her skills to all of Equestria. Pegasi are expected to be fast, agile, eager, always cool, proud and quick witted just like the Wonderbolts, and just like Rainbow Dash. She is a peak performance pegasus.

Fluttershy is Rainbows exact opposite. She doesn't care for speed, adventure or displays of athleticism, she truly doesn't even care for flying. She is, in both a literal and metaphorical way, very "down to earth", however her role is still very important and her being a pegasus is still very integral to who she is. If it weren't for her experiences of being ostracised for being different she would never have the empathy and dedication to her animals the way she does (and on more practical note, being able to fly does aid her in her work a lot the time). Fluttershy slows down, she's quiet and she gentle which something that other pegasi (and earth ponies honestly) struggle with. It was alway right for Fluttershy to be a pegasus who could soar the skies, because if she never fell down to earth she would have never found her true calling. Without ponies like her, many important things, creatures and events would go unnoticed and unchecked.

Rarity and Twilight Sparkle is kind of a funny one because I think a lot of people may expect Twilight to be the prime example of unicorns, but that's not really true at all. Twilight, despite being our mane character, is actually the deviant one here.

This is illustrated for us almost immediately in the first episode, where she's invited to a party by three other unicorns but ditches it to go study instead. Magic is merely a tool for most unicorns, but for ponies like Twilight or Starlight, it is their whole existence, it's what they were quite literally born to do. Twilight does not value social status at all, she doesn't have time to and growing up so stuck in her studies I'm not even sure she aware that it's such a big deal to others, especially within Canterlot. It's also worth noting that to Twilight, Princess Celestia was always her teacher and Princess Cadence was her babysitter so their status as royals never really mattered to her and she's able to see them more are regular ponies for that reason also.

Most Unicorns are socialites, they value "social currency" and monetary gain more than they value magic. They don't care that the Princesses are very powerful magically, they care more about their political powers and their social status as royals. We see this clearly in the season 2 episode "Sweet and Elite" where Rarity gets swept up on the high society life of Canterlot, when she mentions being from Ponyvill to two random snobby unicorns they look down on her, yet once it's revealed that she's staying at the castle for her visit, things change, mostly notably: her status. Rarity is a prime example of a unicorn, she's stylish, she's ambitious, she's concerned with image, she's social, she has very fine tastes and she's a businesswoman.

As the series progresses we she both Twilight and Rarity gain some fame. Twilight is mostly inconvenienced and troubled by this whereas Rarity, like most unicorns would, relishes in any sort of limelight. Unicorns are expected to be professional, they're most often more modern or "ahead of the curve" than other ponies and tend they to be the primary business owners of Equestria. However without ponies like Twilight, magic would become just an afterthought. Without powerful wizards like Starswirl, dedicated students like Subburt or magic obsessed freaks (affectionate) like Twilight Sparkle, pony society would crumble.

Applejack, Rainbow Dash and Rarity are prime examples of what is expected of earth ponies, pegasi and unicorns, respectively, in Equestrian society. However without ponies like Pinkie Pie, Fluttershy and Twilight Sparkle there would be no balance and no progression. In fact in the episode "Hearts Warming Eve" we literally get canon lore telling us that if it wasn't for three ponies who deviated from the rules and expectations of their respective tribes, that Equestria wouldn't even exist today.

I think the mane six are a great small scale example of how pony society functions and I really appreciate this aspect of the writing <3

[hatosaur]

i realized that i hadn't said anything here so this is a bit belated but i'm super unhappy with the casting choices of tlou hbo, and just the general direction it's going toward.

in abby's case, it's been well-pointed out at this point her body type is a narrative device, a catalyst for showing just how her dedication and obsession with tracking joel down and killing him. i don't doubt that kaitlyn dever will be working out for this role but i can only imagine she'll end with a sort of lean muscular physique that will hardly illustrate the point of the body type, rather than one that takes fat into consideration. dever is far too small to achieve it, and what's more is, i think it's super unethical to bank on someone working out in order to fit a role. the announcement of the casting came about a month after the trailer for that new kristen stewart movie, the one where she falls for a bodybuilder, came out. there are fully actresses who lift and bodybuilder and have similar body types, and yet their choice leaves us wanting.

dina's case feels a lot more sacrilegious. isabel merced isn't jewish, nor has any of dina's defining features. granted, i'm well-aware that neither cascina caradonna, her face model, nor shannon woodward, her voice actor, are jewish, but i feel like this is what made the casting choice matter all the more. dina's a character whose heritage matters to her character, and there was such a clear chance to have her be portrayed by a jewish actor.

like a lot of people, i think that they chose the more palatable route, considering the massive backlash against both abby's body type and dina's more prominent features, which is both incredibly sad to see but also infuriating. particularly with the issue of neil druckmann's batting for jewish rep under the veil of his allegiance with israel. i obviously can't speak for the feelings of jewish fans but i imagine to pull the rug out from underneath us on a character that he has said is a connection to his jewish like this would be like spit in the face.

the whole thing has just made me disinterested with season 2 of tlou hbo. there are already issues with the games' representation of people of color, and seeing as i could tell there was a small (i cannot stress how miniscule) attempt to "fix it, i'd held out hope prior to this but...no.

IN ALL HONESTY, i'd already been content to not engage with s2. i was skeptical enough from the get-go when it was announced, but truth be told, too many red flags are cropping up. obviously, there's the zionist stuff that i think, right now especially, literally everyone can do without (though i'm sure neil and craig are rubbing their hands together over how the people NEED a great "both sides are bad, completely and totally biased view of the conflict in palestine" story), but even to like pirate is a no-go for me.

all of this to say, since i've already gotten some people asking, you shouldn't expect me to draw or indulge in any of the content from it.

[racketballz]

Hope u don't mind another perspective about the spit scene, but I actually saw the reddit comment that kickstarted this discussion. It was a deeply annoying argument (that was left on a post about aku/bloss of all things??) to the point I actually left a long reply before thinking better of it n just deleting and blocking

Just for reference, in response to someone disagreeing, they asserted something along the lines of "He's still holding her down and violating her using fluid from his body, it's WEIRD that you're ignoring that just to ship them" and that level of stretching words just. Did not signal a productive conversation to come

I really feel like people want to overcorrect for the early portrayal of the boys by the fandom (made up of mostly children, who obviously would not have known how to write a character) by like... treating them as adult men almost? It's super weird because they always end up using extremely specific, modern types of adult misogynist (like cryptobros or Andrew Tate) to illustrate their point regardless of how little sense it makes for their canon personalities

I also think people conveniently forget what kind of show they're watching sometimes because PPG is still like, a kid's cartoon where the MC's have superpowers. Everything the girls do are normal kid activities cranked to 11 because they're superhuman, and when I look at it from that lens then the boys' episodes really don't strike me as very sinister largely bc they're all just kids on an even playing field (obviously the dynamic was really lopsided for most of TBABIT, but even then I mean. We already discussed how the girls retaliated)

Idk maybe I'm biased but it's kind of obvious that the boys are super archetypal snot-nosed, sexist brats and ime, characters like that pretty much always grew out of it. Like if the girls could destroy the entire town for no good reason more than once, Harry Pitt could pull what he did in the cooties episode, and Mitch could torture a hamster without being considered monsters for it, then realistically there's ample hope left for the RRB (and even if there wasn't, I don't think just projecting the worst guy anyone has ever met onto them is guaranteed to fit their characters, but I digress)

Also to be real I don't think people take the boys' actions as seriously as they make it sound a lot of the time. Like if we're going by their logic, then it should also be questionable to portray them as friends or close siblings to the girls, but I've never seen pushback against this idea off the basis that the boys have hurt them too badly in the past. It's pretty much always leveraged against ship content, which makes me think concern about the boys' characters aren't what's actually driving this criticism, but that's just me

1000000% brother this is not my first rodeo I had a feeling thats what was happening. To demonize a ship to uplift their own favorite ship people will pull out anything and everything to misconstrue the shows intention

[bloodgulchblog]

fuck it i woke up and thought about halo and can't get back to sleep.

i really genuinely truly, from the bottom of my heart, think that sergeant johnson is a critical character for a halo adaptation and creates a lot of opportunities.yes, he's dead. yes, he's been dead for longer than we had that character in the first place. but if halo wants to return to the story of the original three games, johnson is so so valuable.

bear with me and pretend i know a damn thing about tv for a second.

everybody loves our boy master chief, but chief is an obnoxiously difficult character to portray directly as a leading man in a medium where you cannot easily get inside his head. chief's quiet and private and focused on his work. because of that, chief's personality is a negative space that you demonstrate the most through the characters around him. the people you put around chief and have talking to him, telling him stuff, and asking him to do things are the tools you have for illustrating him so they gotta be good. cortana is the best of them, obviously, but cortana is also an AI so her perspective on the world is also very weird.

of the human characters who interact the most with chief in that period of time, johnson is by far the best and the one who has the most layers. on the top layer, johnson is charming and funny and competent and tough. game fans love and remember him because he's likable. on the deeper layers, johnson is a long-experienced participant in this war and the war that came before the aliens showed up. he knows a lot of secrets, including the vital secrets about the chief, and has conflicted feelings he carries around. he keeps his head down and his ears up, and plays dumb jarhead to protect himself and others. he has just as much crazy shit in his backstory as chief and cortana, but chief's chief and cortana is like 3 years old tops and also an ai. johnson is our adultiest adult. johnson's pretty stable, he knows who he is and what's going on, and his perspective is much less strange.

chief needs handler characters with perspectives that are easier to grasp than his. johnson is an amazing handler character for chief because johnson knows him, johnson knows why he's fucked up, and johnson is a decent dude who cares about him even though he cannot save him. if you dilate the timeline to let these two characters talk, it is easy to have johnson check on chief and have chief report back that he's fine in a way that totally shows oh, this dude's priorities are insane. you establish that johnson knows the chief and is looking out for him, and then you do a flashback that shows he has known chief since he was a teenaged child soldier? jesus, suddenly so many things click together. you don't even have to get into the details of johnson's own status as a spartan-i grad for it to work.

it doesn't stop there! johnson's also a key character if you're working with the arbiter! johnson's the first human the arbiter ever has a chance to have respect for, and johnson's smart and able to figure out how to work with him! it also makes for great parallels because johnson was there when the war with the covenant started. you don't have to shoehorn him into a situation to create a bookend, it's just there.

johnson is a likable character with a rich backstory and a nuanced perspective on events and a complex relationship to them. (oh avery johnson, you have been victim of and complicit in so much shit, how's that going for you buddy?) he's a capable action character who also works well on the quieter end, is known and involved in secrets, and can draw out interesting and important details in the original trilogy's two main characters.

also, johnson is just a genuinely cool character who deserves more and on the one hand it's probably ultimately better for the character that he hasn't changed hands a dozen times like everyone else, but on the other his death still feels like a gutpunch and a loss. so like. idk. give him something cool to do in an adaptation from the time where he's alive.

....

anyway, the punchline of this whole thing is that i think johnson is a vital character. so of course he wasn't in that tv show.

[lazzarella]

Peaceful Property rambling incoming! I wrote it in like ten minutes, so it’s a mess, but I’ve been meaning to write this since ep 6 and I just wanted to finally get some of my thoughts out. This really is more for myself than anything I guess 😅

TL;DR I’m finding the writing in Peaceful Property really good and satisfying, especially when it comes to tropes I sometimes find frustrating or offputting or that are often poorly executed imho

The writing in Peaceful Property has been so good and so satisfying to me so far! The pacing in general is really nice, and there's been some nice misdirection/red herrings (I kept forgetting to write about this and now I can't remember what they were lol) and I think the pace of the reveals has been really good too. Like, if we knew from the outset that Peach was hit by a car and died for a while, I feel like it would've been easier to suspect Home's involvement? Similarly, if we knew that Home had been involved in a hit and run earlier, I don't think the audience would've sympathised with him as much (of course, some people have lost sympathy with him now, and that's understandable)

But the writing is also a good illustration of how tropes that aren't my favourite or can be frustrating for me can end up enjoyable in certain writers' hands. Obviously, this is just a personal preference, but I often find the 'person wants to confess something and takes their time doing it because they're nervous and then, when they're finally ready, the person they want to confess to finds out some other way with disastrous results' trope frustrating at times. But it worked SO well here! I think the frustration sometimes comes from it not fitting characters, but it fits Home and Peach so well and the setup worked well to make it believable for me too!

Like, Home has never had to take responsibility for anything ever. Of course he doesn't know how to own up to what he's done wrong! Especially not to someone he truly cares about! (Which also seems like a rarity in his life). Like, he literally has no precedent in his life to draw from as far as we know. And he has a family and he doesn't want to risk it and he wants the apology to be perfect. So, it makes sense to me that he would hesitate and take so long!

And, of course, Peach's devastation is believable, but him jumping to the conclusion that Home knew all along when he sees the video makes sense too! Yeah, he's learnt to trust Home, but seeing that video would just really mess you up, right? That the worst thing that's ever happened to you was done by this person you now see as family? I think it's easy to assume he'd known who he hit. And Home's family stepping in before Home can explain also makes perfect sense because they've done it before. So, yeah, where I can sometimes find this setup frustrating and annoying because it doesn't fit the characters or it's just sort of weak, I thought it was really strong here

(As a sidenote: I'm not necessarily mad at Kan, but really really curious about what's going on with her, so that's another nice piece of writing for me personally. I'm not saying she's not out of line, but she's so mysterious that, yeah, I'm just SO damn curious more than anything)

I can also go either way on the 'poor person rejects rich person's money out of pride, etc.' trope. But, again, I thought it worked perfectly here! There were a couple of other posts that went over why it made sense for them, and it definitely worked for me too. Peach is still very emotionally raw, he believes his friend—his family—has been lying to him all along, probably using the money to assuage his guilt, and now this attorney says he's there on Home's behalf, so he's reacting emotionally on some level. (I mean, we see him not long after sobbing on the bathroom floor) He feels used and betrayed and the money—even for the work he's already done—symbolises that to him. 

So, yeah, like a lot of the writing in the show, his rejection of return of the money is symbolic of severing ties with Home and rejecting what he sees as corrupt ideals, or whatever. He wants Home to know, without a doubt, that he wants nothing more to do with him. And, because Peach thinks Home cares more about money than anything else (and has good reason to believe so), this feels like a 'hit 'em where it hurts' thing to me too? 

But, yeah, sometimes I hate this trope, but it worked well for me here as well because of the way it was written

Anyway, I'm repeating what others have said, and I don't know where I'm going with this, but, in conclusion, I'm finding the writing SO satisfying. I could probably do a breakdown of every ep, but I won't because I'm lazy and also just parroting what's been said already haha

[straycalamities]

so for some Reasons, the same reasons zombinoslayer is on indefinite hiatus, i have a question on like. Say there is a Truffula Flu-oriented plot, story. Y'know a narrative. Coming up, but the way it's being made is basically prose-based, how would you prefer to see that formatted onto a tumblr askblog/archive thing?

it does deal with two characters and two characters only (so far?)

rp-style is out of the question because of editing reblogs being killed

but...i have a few thoughts, but i'm not sure which one people would like to read and digest the most

for more clarity on what i mean with terms/styles: click under the readmore

when i say "prose-style" i mean it's written like a novel. it's 3rd-person limited and past tense.

The sun was baring down hard on Mikey's back as he trudged down the sidewalk. He drug his feet, pose hunched. Why did he have to run out of eggs on the hottest day of the year?

when i say "script-style" i mean that it's written how you would read the script for a show or a play. this is how i treated zombinoslayer's big scenes. it'd have progressive images for each action/dialogue, wherever i deemed an image needed/important

Mikey: [The sun is bright and harsh. He is walking down the sidewalk. He looks exhausted.] Why did I have to run out of eggs on the hottest day of the year?!

and when i say comic, well, that's obvious. i'd do my best to translate everything as well as i can into something that is heavily image and dialogue based that has comic frames and such.

pros and cons of all these being:

prose pros (lol): it keeps all of the character's inner feelings, struggles, and thoughts and even some motives out and easier to see, which with these scenes and with how these characters are, might be important or even very enlightening for people i also don't have to draw as much because i would only be illustrating significant parts and to make the posts look more appealing/interesting. thus updates would happen more frequently. easier to plug into a translator if english isn't your first language the images would be illustrations i'd actually put effort into since there would be so few of them

prose cons: it'll be a lot more reading overall less left to interpretation, i guess? less pretty pictures? it takes a lot more cerebral energy in some cases to take in prose and turn it around in your mind i just get that for some people, they don't like walls of text. like i, for one, have gotten very bad at reading so i get it

script pros: more pictures to look at then prose-style scenes move by more quickly and smoothly, everything focuses more on actions and interactions so maybe things are easier to digest than prose-style still translator-friendly updates still more frequent than comic-style, but less frequent than prose-style most likely full-color images. may or may not have a bg in every image (just think zombino-slayer style? but i might not render every time either like i did there because that was..phew..that took a lot out of me)

script cons: more images to draw for me the format might be wonky to some none of those inner thoughts/monologues, a lot of depth and inner feelings/struggles/references made in the characters heads are left out. it all focuses on the external with hints to the internal left to expression, body language, and dialogue and the reader's own bias/experience

comic pros: ALL THE PICTURES YOU COULD WANT! everything's images! if you're most comfy with reading comics or manga already, you'd dig this (obviously) the least reading and it's all together in one image (well multiple) very easy to soar through and take everything in since the focus is on images and dialogue Only (maybe narrative notes or thought boxes when really important) easiest to share i'd think? and easiest to get a feel for what's going on in a scene without having to study and/or think too hard about it

comic cons: oh my god all that drawing...updates would be slow as molasses tbqh.. unless i decided to do manga-style aka B&W or limited grayscale/monochrome. even then though again, everything internal would be left to the hints you'd get from the external i could give with imagery, panel-shape, dialogue, and such not translator-friendly (i know there's the google image translator, but i'd be handwriting the text (i just like how it looks best) and it's not always friendly to handwriting)

--

as far as specifics for each style, we'd work that out once one is picked

other notes: i do think i'm a pretty strong prose-writer, but i also think i'm a pretty strong comicsmith. so i don't think it's really up to what i'd, personally, be able to pull off best with the skills i own :3 (and i mean script-style is the most simple of the three. and i've already done it. it'd be almost identical to zombinoslayer. and it'd be most similar to Camp Entre's rp-style i think? even though Camp Entre was much more dialogue-based than anything else

i know i haven't uploaded too much of either, especially my writing, but trust...i'm pretty good at it. at least that's what people tell me.

[little-lynx]

SECOND QUARTER QUELL II UPRISING AU

Ok, look. I’m obsessed with Second Quarter Quell generation and I have A LOT of head canons about them. And sometimes these head canons contradict each other, lol. Previously I showed you some of my illustrations about SQQ generation but it was always one particular AU (where they all are kinda friends/classmates?). And I think it’s time to show you another one that I also like. This is AU (or “head canon” since we don’t really know what is real and what is not) where all of them were part of revolutionary movement before the 50th Hunger Games. Some things are the same in both universes (Mr. Hawthorne and Mrs.Mellark are best friends in both, haha), some are completely different (Mr.Mellark and Mrs.Mellark were not in love in “uprising au” and had to marry for the sake of revolution after Mr.M/Mr.E partnership was broken, oh oh, that was super dramatic!). But they look pretty much the same in every AU I have in my head haha. So here are quick portraits of SQQ gen characters and their confident files from D13 before the 50th Hunger Games reaping day (everything went wrong after that, huh).

About Donner sisters. Peeta said that Mr.Mellark described them as “twins or something” and I interpreted this “something” as that they were not identical twins. Katniss was amazed by young Mrs.Undersee and Madge’s similarity but she didn’t have this feeling about Maysilee. So I think they looked like sisters but not super similar to each other. I mean, I’m a mother of identical twins, I know what I’m talking about lol.

These portraits are not perfect and were done quickly but I really tried 😅. Funny fact: overall I have more clear vision of SQQ characters than THG characters, haha (especially young Haymitch, Mr.Everdeen, Hazelle and Mrs.Mellark). Oh, and you have no idea how much time I’ve spent on these files lol. I don’t even know WHY I did it, because obviously no one cares, but this idea lived in my head for far too long. Ugh, I’m finally free of it. And now I need to return to my work and also main series uffffffff.

P.S. “agent Fox” is Haymitch’s girl, but I have no decent head canon for her

P.P.S. I don’t mention any names because I try not to be too attached to particular names for these characters (who knows maybe one day Suzanne will reveal some information and I don’t want to be upset lol)

[chronic-cynic]

"'You're so different,' he says, shaking his head and squinting at me.

'I may have grown a few centimetres since I was eleven.'

'No, it's—' He stops himself.

I put down my phone. 'What? It's what?'

'You're more serious.'

I don't remember not being serious. As far as I'm concerened, I came out of the womb spouting cynicism and wishing for rain." (Oseman 73)

This is an analysis of Tori Spring and her unreliability as a narrator. It will be incredibly long, so I hope I do not bore anyone.

Lucas, as we know, had been Tori's best friend throughout elementary school. He had a dream, to chase after his childhood best friend and start a beautiful romance—which was nicely foreshadowed by the line: "'[The Great Gatsby is] about...' He pauses to think. 'It's about someone who's in love with a dream'" (72). However, he realizes that she wasn't the person he thought she was. Or rather, she isn't the person she used to be.

Alongside Lucas, there are two other characters that hint at the fact that Tori was never this pessimistic: Mr. Kent and Becky.

Near the beginning of the novel, Tori mentions how she and Kent know each other quite well because he has been her teacher for over five years. And, throughout the novel, Kent continuously shows his concern for Tori and her attitude towards life. It would make a lot of sense for him to be this concerned if he had actually seen life in Tori to begin with. Along with that, it is very clear that Tori is liked by the teachers, as stated by Becky on page 79. Again, it would make more sense for this to be the case if she was a different person when she was younger.

Finally: Becky. Throughout the novel, Tori feels incredibly jealous towards her best friend, and she feels the gap between them comes from the fact that Becky moved on while she stayed exactly where she was. However, during their argument after the Solitaire party, Becky says, "you've changed. I might have changed too, but you definitely have. And that's not necessarily a bad thing, but it's true" (310). This completely contradicts everything Tori has told the reader.

The scene in which Tori reads her old diary illustrates my point perfectly.

"Up at the crack of 10:30am. Becky et moi went to the cinema today and saw Pirates of the Carribean (is that how you spell it???) 2 and OMG it was SO GOOD. Becky thinks Orlando Bloom is the fittest. Then we went to get pizza in the high street she had Hawaiian but obviously mine was plain cheese. YUM! She's coming round next week for a sleepover too. She says she needs to tell me about a boy that she likes!! And we're going to eat so much food and stay up all night and watch films!!!!!" (274)

It's very clear with the exclamation marks and enthusiasm in her tone that no, she was not born serious. Unlike now, Tori used to be genuinely happy to listen to Becky's relationships with boys. And—my favourite detail—the use of French in the second sentence. The word "moi" was almost always used by tweens as a quirky replacement for "me" (source: me. I used to use that word all of the time because I thought it was cute and silly. Gross). This is my favourite detail because of an earlier scene with Oliver when Tori says, "Are you suggesting that Charlie is better at Mario Kart than moi?" (63). Now, this could just be a coincidence, but I like to think that this is Tori's inner child being revealed to her little brother, especially because she would never speak to anyone else in that way. But, I digress.

So, I have now established how Tori has been unreliable with the way she describes herself, but what else has she been lying about? I think the most obvious answer is her hatred and lack of knowledge about literature.

Unlike everything I explained above, Tori does admit to lying near the end of the book, saying that books scare her because of how personal they feel. However, there are many things that contradicted her prior to this reveal. For example, her grades in her previous English class—as mentioned by Kent—and the way she used to read with Lucas.

After Lucas speaks about the books he is currently reading, Tori tells the reader, "I nod as if I understand. I don't. I don't know a single thing about literature despite studying it for A level" (72). Yet when Michael tests her on famous literary works, she is able to answer every question correctly, once again contradicting everything she has said.

Her unreliability is not deliberate, it comes from lies she tells herself. However, it seems like she knows the truth deep down. But I guess she is justified. After all, it feels better to say you were born serious than to admit to the damage the world has done to you.

[wannabe-cartoonist-blog]

Key:

Mine: the colors I've used the most consistently in my own fanart

Anime: pulled straight from screen caps from the show (i also tried to find scenes where the lighting was most "average" (so no night scenes, or scenes with noticibly harsh lighting)

Manga: pulled from these official manga box set covers (bc they all seemed consistent in lighting and shading)

More info below cut (bc i started to ramble, like always)

Probably one of my oddest projects yet, but I've always wanted to compare what colors I choose when drawing the characters vs what the anime uses vs what Fujimaki uses. Color choices and art styles usually go hand in hand, so I wanted to see how weird the characters would look in my style with the two different canon color palettes. Conclusion; pretty fucking weird (to me, at least).

I've always suspected it, but I think this is pretty concrete evidence that I go bold when it comes to coloring (which I think fits my chonky lineart and cartoonist art style). It was funny to see that the anime colors especially are actually rather "dull", because they don't look it at all to me in the actual show. Fujimaki's style was hard to translate, since obviously he uses traditional mediums and also does a lot of blending/shading. I still tried my best to pick the colors that I thought were most prevalent in his images, even though, obviously, they aren't quite so flat in the actual illustrations. I used the special edition covers for the manga color palette, but I'm not 100% sure if Fujimaki himself drew/colored these special edition covers, so someone please correct me if wrong!

Some conclusions I made;

apparently, at some point, I decided to make Kuroko pale as hell??? i think he's always read as pale to me (bc compared to other average characters like Furihata and the GoM themselves, he's does look fairer-skinned imo. But apparently I leaned waaay into that lol. Once I got the actual canon color tones I was like "....oh. I made him sickly...". TBH tho, I think he looks better paler in my style, but that's probably because I got so used to drawing him that way lol. Please do lmk if you think I should begin to switch things up tho when it comes to my style!

kagami, alternatively, I ended up making tanner than canon it seems. but my (perhaps controversial) anime opinion is that Japanese artists tend to "whitewash" a little bit (aka they lean into lighter tones as opposed to darker when it comes to poc skintones). Now kagami, may or may not be mixed raced, but i've always thought a rich, tan skin tone fit him quite well, idk.

I already knew I did this, but its clear from these drawings that I really lean into the colors of their hair. once I get to the GoM, this will be very obvious ("I mean, the colors are in their NAMES. ofc i'm gonna exaggerate them" -> I'm sure that was my exact logic whilst picking my personal palette over the years).

since i'm lazy, i usually just make the characters hair and eye colors the exact same hue, so it was fun to see the different tones they can take in the canon palettes.

So yeah, I plan to go through all the GoM and compared my color preferences vs anime canon and manga canon, so look forward to that! If you read this far, thank you I love you.

If you guys give suggestions, perhaps I'll go back and make a "voted on" color palette, so please do let me know your opinions, in terms of what colors you think "feel right"/look best in my style! :)

[sophaeros]

golden trunks theory but i've forgotten how to do literary analysis:

so i think much like a lot of tbhc golden trunks is about a juxtaposition between intimacy/desire and the facade u have to put up as a public figure

like the opening verse/chorus are so starkly plain in the mental image they describe. it's just a simple portrait of an intimate night falling asleep together, and theres a very secretive tone created by the words "whispered" "admit". so from the get go we know immediately that it's about "true love" → romantic connotations, and this true love is associated w the night ie secrecy

this is a stark contrast to the second verse and bridge but esp the bridge where he plainly says "in the daytime". usually the day and light are associated w truth and revealing things but here he uses the daytime to talk about "a fresh new pack of lies", in contrast to the nighttime's "true love". the fact that the bridge is about being a celebrity and contending with lying for the sake of public relations is made very clear w how he says "bendable figures" → public figures who just bend/conform to the narrative crafted by pr managers, and most obviously w the use of the word "publicise". in an interview w la times hes asked if he enjoys being a pop star (w all the pressure and attention that entails) and he says "i have very little basis for comparison. the band has been going on for a larger fraction of my lifetime than it hasn’t." so as a very private person even leaving conspiracy theories about sexuality aside hes obv familiar w trying to keep the details of his relationships out of the spotlight. + this idea of the nighttime being the time for truth has been used before in diwk so it's a consistent theme

lots of people say the song about politics bc of the second verse cuz they say it's about (eugh) donald trump but i feel like thats a very surface reading. it's very out of place to me for him to have this randomass political commentary in a love song that he never brings up ever again which is why i dont think it's actually political commentary (or well, not Just, the pitchfork interview shows that is Is aware of politics obv it's just not the Point) it's just another angle to illustrate the idea of a public facing facade. he states in an interview that he thought of the wwf, which has given us the very interesting concept of kayfabe: the fact or convention of presenting staged performances as genuine or authentic. the public persona, like a wrestler w a dramatic theme song, is larger than life, rehearsed, beloved and famous, and also very much fake. 

this next part i said entirely as a joke making shit up while talking to my mutuals but then i was like wait maybe i was cooking. we're getting into more speculative rpf territory here but essentially i thought it was very interesting how he specifies that this is "the closest thing to a love song on this record", and also that the character it's centred around is one that he "made". many of his past love songs everyone knows are about his real actual love interests (eg shes thunderstorms was about alexa. alexa was a tv presenter) and now here's this song that is about simple, straightforward admittance of desire towards someone that doesnt exist. summed up in my og message to my mutuals, "hes singing to the amalgamation of his lovers an imaginary ideal to whom he can be simple and honest with in a way he can't quite bring himself to be in real life". i honestly feel like this gels well with the ultracheese's last two lines; a vague admission of guilt, of complicated feelings, vs capitulating to honesty and tiring of lying for the sake of pr ("i'm sure you've heard about enough"). + i find it interesting that golden trunks is that only tbhc song that has never been performed live

++ this idea of duplicity and lying has come up a lot in his discography but in tbhc specifically the bside anyways has the line "what a place for both the opposite sides / of my double life to finally collide"

and finally. the absolute funniest part of golden trunks.

Let me set the scene: sometime between Axl Rose getting braids (2002) and People Just Do Nothing jumping the shark (right now), those brothers in melodic yarns Turner and Kane, plus “another human being” – let’s call her “The Girl”, shall we, to save her poor mother’s heart condition? – are intertwined among the postcoital flotsam of an upmarket hotel room. “Hey, I’m glad you came,” Turner is alleged to have said, forever on the right side of etiquette and politeness in such matters. While Kane, in his sludgy Scouser lilt acknowledged, “Ah, thanks, man.” At which point Turner sat bolt upright in his sparkly gold briefs (unconfirmed) to stress who, in fact, his grateful aside was aimed at: “Not you, you wally. Her!”

sauces: - quotes curated by genius - la times - gq magazine / tumblr post

[f1llory]

i know this all started like 11 years ago but i'm still so mad at how the hunger games movies have removed practically every trace of the avoxes that they can. i know that movies can't include everything from the books, but the avoxes are so important to the story and it does a real disservice to the movies by removing them. also, it would have added maybe a couple minutes per movie to include them the way they were in the books.

there are mentions of them here and there, and we do see lavinia briefly, but the only avox who's there in any meaningful way is pollux. and they couldn't take him out of the movie! not only is he important to include with the camera crew, he has to be there because he's the one who leads the group through the tunnels. if it were possible to cut him out of mockingjay, i think they would have.

removing so many scenes with lavinia genuinely detracted from my enjoyment of the first movie. especially witnessing her capture & carrying the guilt about it. when there are avoxes waiting on her, katniss does treat them politely, but i think it would have been so important & impactful to see her truly recognizing lavinia and her humanity and trying to communicate with her like anyone else. fixing this probably wouldn't add more than like 5 minutes to the runtime, but it would be such an improvement.

and don't even get me started with darius being removed from the movies. maybe he shows us a little less about katniss's character than lavinia would, but the mentions of him in catching fire add so much to our imagination of the hob and illustrate just how different peacekeepers were in district 12. this is also the first time this has happened to someone katniss actually knows. i think this would take maybe a minute and a half to fix? at most. really all we would need to see is darius talking to katniss in the hob, then being one of the peacekeepers getting captured when thread takes over.

obviously they kept pollux in because they literally couldn't remove him from mockingjay. i don't really have any complaints about his portrayal in the movies, which is kind of surprising given how passionate i am about him. also, the movie actually portrayed castor's death better than the book! it wasn't really in the book, basically castor was there and then he wasn't. so the movie version has a lot more impact.

also, it sucks that we didn't get to hear what happened to lavinia and darius. i always have intense second-hand embarrassment at the fact that in the book, peeta realizes pollux is an avox then immediately starts trauma dumping about seeing lavinia and darius tortured to death. if it were done as written in the movie, i might have experienced literal physical pain. but at the same time, i think it's very important that katniss finds out what happened to them. also in the books, squad 451 hears all the avoxes in the tunnels screaming as the mutts kill them. i feel like that would have been really easy to add in.

anyways we are moving on before i write an entire dissertation on pollux.

it was even worse in tbosas! the movie cut the scene where snow sees dr. gaul experimenting on and torturing avoxes. it would have been absolutely horrifying to see that translated to the screen, but it's incredibly important to snow's character development and his transformation into someone who both allows and perpetuates that cruelty. also, justice for ma plinth! i think it would have been incredible to see more of her and the way she treats people. in the book, she is so kind and caring to the avoxes working in her house. they're able to communicate with her, and she cooks food that will be easy for them to eat. since treating the avoxes as remotely human is so unusual, treating them with such love and respect is a revolutionary act, and goes to show what kind of person sejanus was raised to be. i know that this would add quite a bit to the runtime, but it probably should have been two movies anyways.

i know that side/background characters are cut from movies all the time. it happens. but even without getting a lot of lines, the avoxes are incredibly important to the story. these are people who have been enslaved, tortured, and dehumanized more than basically anyone else in panem. once characters truly see the avoxes, they're forced to confront the true brutality of the capitol and what they'll do to keep people in line. i think the movies don't truly force audiences to confront the brutality of this punishment. any rebellion is punished by literally robbing people of their voices and cutting them off from everything they've known. even if there's someone left to buy their freedom, they're physically disfigured for life--even removal of part of the tongue can have catastrophic side effects.

also, characters' perceptions of avoxes can say a lot about the kind of person they are. avoxes are the lowest class in panem, and treated with about as much agency as a piece of furniture. people aren't supposed to treat them like people. they're only supposed to talk to avoxes when giving them an order. despite this, there are certain characters who choose to show them kindness and love.

anyways i'm gonna end this here before i write a post so long it crashes tumblr but pls ask me literally anything about pollux i am in love w him <3