#and more conflicted the second time

[waitineedaname]

I love that the best emotional acting when it comes to facial expressions comes from Lan Wangji (microexpressions) and Jiang Cheng (macroexpressions). Lan Wangji doesn't emote much but when you're keyed in, the tiny little changes in his facial expression are Devastating. Meanwhile Jiang Cheng is feeling Every Emotion, All The Time, and you are going to see it on every inch of his face. He'll go through twenty different expressions in the same amount of seconds and that face journey will be but a brief glimpse into the awful emotional rollercoaster that is Jiang Cheng's life

[poorly-drawn-mdzs]

When in doubt, Soup it out.

[First] Prev <–-> Next

[s0fter-sin]

one of my favourite aspects of supernatural that you very rarely see in paranormal shows is that sam and dean are already versed in the world they live in. there’s no sudden discovery of ghosts and demons and now they have to learn about them along with the audience; they are born into it and already know all about it. it allows the audience to follow their personal story instead of also trying to figure out this new world and its rules

the first season is full of knowledge we never see them learn; “w*ndigoes are in the minnesota woods or- or northern michigan. i’ve never even heard of one this far west.” […] “great. well then this [his gun] is useless.” (1x02), “you don’t break a curse. you get the hell out of its way.” (1x08), d: “it’s a god. a pagan god, anyway.” […] “the annual cycle of its killings? and the fact that the victims are always a man and a woman. like some kind of fertility right.” […] s: “the last meal. given to sacrificial victims. d: “yeah, i’m thinking a ritual sacrifice to appease some pagan god.” (1x11)

almost every episode in the first season is a monster they’ve faced before that they then explain to the audience in a way that should feel patronising; like it’s the same speech given over and over again but instead, the audience almost feels included in the knowledge. it’s stated with such an innate confidence and comfort in said knowledge that it feels like we already knew it too; “spirits and demons don't have to unlock doors. if they want inside, they just go through the walls.” […] “the claws, the speed that it moves; could be a skinwalker, maybe a black dog.” (1x02), “it's biblical numerology. you know noah's ark, it rained for forty days. the number means death.” (1x04), “no no no, not the reaper, a reaper. there's reaper lore in pretty much every culture on earth, it goes by 100 different names.” […] “you said it yourself that the clock stopped, right? reapers stop time. and you can only see 'em when they're coming at you which is why i could see it and you couldn't.” (1x12)

they already know and, at least in the first season, already have what they need to kill whatever they’re hunting; already know to salt and burn bones for spirits, fire for a w*ndigo, exorcisms for demons, a silver bullet to the heart for shapeshifters. there’s only three times in the entire first season that they run into something new to them; 1x14 when sam gets his first vision that leads him to another psychic, 1x16 when dean calls caleb for help on the sigil he put together and he tells him about daevas, and 1x20 when they find out vampires are real- and they only don’t know that bc john thought they were hunted to extinction and not worth mentioning

(there’s also technically two half instances if you count one of them knowing something the other doesn’t - sam figuring out the tulpa in 1x17 and dean already knowing about the shtriga in 1x18 - but those still rely on sam and dean having prior knowledge)

even when they’re uncertain about facing something, it’s not bc they don’t know what it is; it’s precisely bc they know what it is and acknowledge that it’ll be a difficult hunt (“i don't know, man. this isn't our normal gig. i mean, demons, they don't want anything, just death and destruction for its own sake. this is big. and i wish dad was here.” 1x04)

so much of the tension in paranormal shows typically comes from the main character(s) not knowing what is happening to them/the people around them and having to find out how to resolve it. supernatural is unique in that it operates more like a police procedural. the tension comes from solving the clues and identifying patterns to figure out who (what) the killer is and intercepting before they can take another victim

it’s such a different tone to go for when compared to other shows that came both before, during, and after its run. it sets sam and dean on even footing with each other since they both have the same knowledge going in, and it puts them in a place of authority usually reserved for an outside character

the shows i compare spn to most is charmed, buffy and teen wolf; every main character in those shows are brought into the paranormal world knowing nothing, putting them on the same level as the audience, and they have their mc interact with others already knowledgeable about that world in order to overcome their problem/monster of the week. the audience organically learns about this new world as the characters learn about it. it’s a sound writing strategy that prevents “as we already know”-style exposition but something that complicates it is if your world building isn’t unique or intriguing enough, this slow introduction can become boring

we’ve seen shows like these before; sitting through the same tropes of characters learning to use their powers, struggling with no longer feeling normal/relating to the regular world around them, and not knowing how much they can trust the people already involved in this new world gets repetitive. all three shows eventually reach the same level of comfort with their new world that spn starts with but if the characters aren’t enough to draw you in, you can end up dropping it before they reach that point (and often, before the overarching plot can really kick in and evolve the show beyond the villain of the week format)

it’s the superhero origin movie in tv format; dragged out and overplayed. dropping the audience into an established world of course comes with its own problems but you also have the benefit of pre-existing established character dynamics that let the audience slot in like they’ve always been there instead of just getting to know all the characters while the characters also get to know each other

sam and dean already knowing about the supernatural lets the audience immediately get to the core of the story; the conflict between sam and dean, the search for their father, and the mystery of what killed their mother

[hazellvsq]

obviously things about the feud between frank and leo could have been executed better but one thing i do actually like about it is that both of them, in their intro books, reference being bullied in the past, and both of them have low self esteem and are seen as outcasts by others. which means that when they fight with each other, neither of them ever really sees himself as doing anything wrong because they’re both used to being on the receiving end of bullying and don’t really comprehend that they’re engaging in it themselves. more under the cut

annabeth and hazel have to explain to frank and leo respectively that the other is intimidated by them, and neither of them can really internalize that until late in the book. and leo can also justify his actions by being intimidated by frank, but he’s also intimidated by percy and annabeth, to the extent that he makes significantly less jokes at their expense, so intimidation is not actually what's motivating his antagonism. he enjoys being able to get a rise out of frank and looking smarter than him, and clearly knows that its different than teasing the people he’s actually friends with. likewise frank has no issue aiming for the jugular once he feels threatened and doesn’t seem to feel even slightly guilty about being mean to leo. and their own insecurities give them insight into the other's insecurities, which they then proceed to use against the other, (“am i worth two franks or three franks” from the guy who blew up new rome, “you care more about your ship than your friends” from the guy very obviously not considering leo to be his friend), all without admitting, to themselves or anyone else, that they’re jealous of the other. they're both projecting heavily, they both very much match each other's energy, and they have the entire ship cringing every time the two of them interact.

and i like that! it’s even one of the reasons that i ship them together, because it gives both their interactions an edge that neither of them have with other characters. they both have massive chips on their shoulders that are somewhat justified by their pasts, but it also can turn them into assholes. i like that the conflict between them revealed deeply buried mean streaks in two typically friendly characters. i think it reflects a certain type of teenage bullying where the mindset isn't "i'm going to antagonize this person i don't like," its "this person makes me feel bad and i'm reacting to it." its realistic! frank and leo show each other’s character flaws and blind spots, and the end result of it is genuine character development and growth for both once they actually try to get to know each other. and they get to a point of resolution without completely changing their personalities or erasing their flaws. its them finding genuine understanding without sandpapering away what makes their character's interesting.

[wojtekaneko]

Season 4 was so good! Really nice change of pace after s3. And it made me love these characters even more!! ^^ also ep 160 killed me and ripped me apart but hey here's some fun drawings!

[fujii-draws]

OKAY! Chatot rant in tags below! Read at your own discretion.

[slurpyboii]

A little bit of this chapter was actually p good but the rest was literally nothing. Like. What are we doing. What do you mean one more chapter left.

Spoilers in tags

[wonder-worker]

"The division between the two families [the Woodvilles and the Nevilles] and their allies can be seen in the royal charters that they witnessed. Warwick, Rivers and Archbishop Neville of York, while serving as chancellor and afterwards, were fairly constant witnesses to royal charters and consequently often appeared together. This was not, however, the case for other family members and friends. From 1466 to 1469, if Scales or Woodville associates like Sir John Fogge, John Lord Audley or Humphrey Lord Stafford of Southwick witnessed royal charters, then members of the Neville group, such as John Neville, earl of Northumberland, or John Lord Wenlock would not, and vice versa. Discounting the ubiquitous Warwick, Rivers and Archbishop Neville, of the twenty-four charters issued between February 1466 and June 1469, twelve were witnessed by men associated with the Woodvilles, eight by men associated with the Nevilles and two were witnessed by no member of either group beyond the two earls at their heads and the archbishop; only two charters, both from 1466, featured associates of both families.

Such striking segregation of witnesses suggests that something more than simple convenience or availability was at play. [...] The evidence of these witness lists does show the extent of the split between the two groups from early in Edward's [first] reign and of the need for political society to work with that cleavage in the heart of the Yorkist regime."

— Theron Westervelt, "Royal charter witness lists and the politics of the reign of Edward IV"

*This is specifically applicable for Edward IV's first reign; in contrast, the charters in his second reign displayed a great deal of aristocratic and domestic unity and cohesion.

[blueskittlesart]

i am an athena cykes defender forever and ever until the day i die but god. somewhere out there there is a universe where apollo justice got actual follow through and it kills me that i am not living in it

[spittingspite]

It's always "character who will do anything to protect their loved one, even commit horrific acts of violence, learn kindness and mercy at the request of their loved one" and never "merciful character who hates violence and fighting makes an exception because they love someone so much they will disregard their own morals and values to commit horrific acts of violence if that's what it takes to keep their loved one safe"

[completeoveranalysis]

[3]

We resume in the Time Stop!

Visually I quite like how they’re differentiating this here - it’s harder to show that time is stopped in a still medium, because we view things as if time has already stopped. The pictures don’t move. But CLAMP have added a grey filter to the moments where time is frozen, and left the unfrozen parts looking brighter by comparison. It works really well! You can even see Evil Wolverine’s pretentious throne that looks like little wings because he just can’t stop himself. He cannot resist being extra for no reason. The man does not know the meaning of moderation. 

And VERY fun framing with Lava Lamp and Evil Wolverine visually divided by THE MOMENT where he didn’t grab Sakura’s hand, also cast over in grey. Evil Wolverine looking Peak Villain as possible, while Lava Lamp’s eyes are wide open in realisation. I’m not sure if it’s because of Who is talking to him, or the Pure Temptation of an offer that WOULD FIX EVERYTHING. He COULD do it. If he took this man’s offer he COULD SAVE SAKURA, which he has devoted literally half his life to already.

[mint-stone]

ngl the season finale was a bit dissappointing :/

[your-pal-nebula]

"Cringe culture is dead!!!" They say, and then proceed to be absolutely insane about Hazbin Hotel fans

[jubileebloom]

I aspire to be a lover not a hater. but

[deerest-me]

maybe things are turning around...

[fabdante]

This is probably just the high of finishing season 2 talking, but like. Can we get whoever did Arcane to do a DMC reboot show? Maybe as a reboot of the reboot? Or at least a sequel?

Like, just. People who love and respect the source material/preboot! But can also take that and craft something good based on those source materials that kinda does its own thing! And is actually good!

Just. My kingdom for some good character writing for DMC stuff. Preboot and reboot, tbh.

I'll be honest I kinda like...idk perhaps I'm in the minority but I don't really want more extended universe dmc stuff? Like I'm firmly in the 'I don't want a DmC2' camp and I'm also not particularly jazzed about the upcoming anime. IDK like more official works on the reboot in particular for me over the years has just become something I'm not interested in. I've spent a lot of time with the material and I've put thought into how I'd like for it to be followed up and I'm just...so confident it would not at all be what I want and it'd leave me disappointed and with a lot of work that would just now feel pointless.

I do, however, realize most of the fandom hasn't been making a like 250k prequel about Kat and Vergil that's been stuck in development hell and would probably not be bothered by any of this asdfghjkl

I do think it'd be interesting to see what Fortiche could do with Devil May Cry, any of the Devil May Crys. Though I'm not sure what they'd do with it given how much less...complex it is I guess? Not that the story has to have as many moving parts as Arcane for Fortiche to do a good job but still. I do think, though, with the new Netflix anime and Fortiche focusing on their own projects and new Riot projects that them doing anything for anyone else is not very likely (very much a shame I'd have LOVED to see what they'd do with Warcraft. The story of Warcraft is so ripe to be cleaned up, fixed up, and released in a comprehensive and coherent way, like the Warcraft cinematics team are incredible themselves but I'm still pretty sure there's only a handful of them. Warcraft just has such good meat in there that I'd really love to see someone else pick up and put together)

If I were to get my dream project from Fotiche on DMC/DmC I guess what I would like is either a much more slowed down and polished soft remake of what we get with the reboot. Like a version of it that really gets to take it's time. Though it would lose a lot of it's campiness asdfghj for good or for bad. For the preboot I mean there's a lot there with the preboot if they wanted to just go through the whole brother saga. Like across the board for both preboot and reboot, given Fortiches focus on writing complex and intense family dynamics that we see in Arcane, it'd be interesting to see how that'd play out in their interpretation because at the end of the day both Devil May Cry's are about like family bonds, both born into and forged, and what loyalty we do or don't have to those bonds and legacies. I think either would definitely be a good series, in the very least.

It's a bummer though as I'm like...really not confident in the new anime and would much rather have this asdfghjk