#at least the most relevant episodes

[mistninja]

Watching Black Sails tomorrow night for academic purposes (genuinely)

[thevioletcaptain]

screaming into the sun will the execubot 4000 they presumably have in charge of programming decisions at netflix these days please fucking renew dead boy detectives already??? 😫 i want to write a spec for it, but i'm tired of putting weeks of work into a thing that instantly becomes useless when the show gets axed before i can even attempt to do anything with it.

(also dead boy detectives should get a second season because it's a damn good show and one of very few series currently filling the fantasy/horror niche among hybrid-procedurals in a seemingly endless sea of fucking cop shows. but right now i want the renewal for entirely selfish reasons.)

[sonknuxadow]

they werent lying that knuckles series barely has knuckles in it

[mjbarrosart]

My Dragon Prince Boards season 6, episode 605

Ok folks, It is time to go trough the next episode of season 6 I worked, episode 605.

When you are working on an episode as a storyboard artist you, usually, want to choose how to approach your sequences. Most of the time your will get instructions from your director and supervisor to do things in certain ways, making sure that things aligning between episodes and general season arcs; but most of details of your sequences are up to you.

In this episode I had the huge privilege to tackle most of Soren and Viren interactions, and a big question for my, from the beginning, was "what will be my approach?"

Because, how I see it, there are 2 big forces, struggles, arcs- or whatever you want to call it- in conflict during this sequences. In one hand, you have Soren and his pain, and in the other hand, you have Viren and his desire for forgiveness.

I decided to approach this sequences from Viren's, because 2 reasons mainly:

The first one, is the most obvious one, is that- at least for me- Soren's arc is already resolved, of course he is in real pain, and he is a victim of abuse and there is a lot of trauma that he needs to heal, but his overall arc resolved in season 3. He is one of the goof guys now, and he knows where he stands. This is an important moment for his healing, for sure, but it is more relevant to Viren's arc that is still incomplete at this point.

The second reason is more personal. While I am a daughter, I have the blessing of having a really good relationship with my parents, so while I understand Soren's trauma, I have not a lot of personal experience to pour into. But, I am also a mother, and from that point of view, I deeply understand Viren. I still think that he is a villain, and what he did was wrong in all levels, but I can absolutely connect with the idea of "parents sacrifice for their children, not the other way around".

Parenting is the eternal struggle between being able to do anything for your children well being, and understanding that they are their own person, and their have the right to make their own mistakes and live their own life.

So yeah, that is what was in my mind during this episode, now let's check sequence by sequence!

My first sequence is a sweet one, between Ezran and Soren. I usually don't have a lot of sequences with the young king, so it is always fun to work with him

Overall, it is a simple and sweet moment between this two, I love how much Soren respects Ezran but at the same time tries to keep it casual, haha. I love the idea of friends loving and supporting each other.

My next sequence is when Soren goes to visit Viren for the first time. This is a big one. In one hand, Viren wants to talk and express everything he has to say, in the other Soren holding up his feelings, dealing with confusion and anger.

The sequence opens with the shot of Viren in the cell and the fly on the spider web. It's a pretty on the nose metaphor that we used through the full episode.

A less on the nose metaphor I tried to build during the sequences was using the bars as a framing devise to show emotional states. When Viren is talking with guilt and resentment, he is usually framed behind the bars. When he is talking from a place of love, taking into consideration Soren's feelings and acknowledging the damage ha has caused, he usually is framed without the bars.

This is a sequence where they fail to connect, and by the end, Viren tries to follow Soren, but the chains stop him. There is still a huge division between both of them.

Next sequences is another interaction, This time, they will talk, but it will not be good. We start with Viren, still trapped, suffering. He is a little calmer now. He tries to connect with Soren, but it is still hard, the bars are between them, and the pain is keeping them apart.

But then, Viren starts to talk more freely, to recognize his mistakes, the damage that he caused to Soren, to Claudia. The ways he was a bad parent and hurt them both. So we flip the framing, now Viren is free, Soren is behind the bars.

Soren's pain is stopping him from healing and is coming out as rage.

he has a hard time believing whatever his father is telling him. In the past, Viren manipulated him, why now would be different. It is so hard to break cycles of abuse, and it is hard to forgive, too. Some people don't deserve forgiveness, to be honest. And I am not sure if Soren ever will forgive Viren.

So Soren burst into rage. I wanted to create a pretty visceral reaction. Talking with his hands and body, almost like puking out his feelings, so much pain that he can not hold anymore. But this is not necessarily what he needs. He screams at Viren, he hits the bars, he leaves in rage, and the wound is still open.

And Viren is defeated again. Forgiveness will not be something easy to get.

My next sequences is a short silly one, hahaha. Rayla and Callum going to fight the beast. I swear to god i have the "Slash, Slash, Swirly dash" line stuck in my head until today ><

Well, back to the drama.

My last sequence of the episode is when Viren wakes up, and Soren is there.

This time, there is no confrontation between them. Viren understands that no matter what he says, he may never be never forgiven. So he stops trying to "convince" Soren that he is sorry, and just tell him what he thinks Soren needs to hear.

And after that Soren leaves, maybe for the first time ready to start the path to healing.

And that was my work on episode 605!!

Thanks for reading this long post, again!

If you have any questions about the board process on Dragon prince, please feel free to ask! Also, I always read all the comments you put in the tags, they always make me smile :) Thank you!!!

Soon I'll post about my work on 608!

[cindersnows]

the problem with mitsi (or as i like to call it. mitsogyny)

(context: this was written under a youtube video, which i'm sure most of us have at least seen pop up in our recommendeds, in response to many people taking criticism against the new episode. it has been edited a little to be more cohesive as a somewhat-essay)

ok, i wanted to write out a rant/essay/ramble/whatever sort of summarising the criticism against mitsi's plotline because a lot of the people here seem to be misunderstanding the fundamental issue that people have with it, including some of those people themselves.

first off, an analysis that i think tell both sides of the argument very well which i feel should be read before reading the essay: Mitsi: What Makes A Fridged Character (and why y'all are wrong about it) | an AvA essay by InksandPensblog. i will note: i don't care to discuss whether mitsi was fridged or not and that won't be of much importance in this post. the above link gives some insight into some of the fandom's criticism of mitsi and how she was "fridged", defining common tropes for examples. that's what's relevant to this post.

the main issue with mitsi, in my opinion, is less with the fact that mitsi's a girl and moreso the fact that she's one of the only female-coded character in the series, and that her character's main purpose was to further victim's own development. the other arguably female-coded character in the series is pink, who (like navy) only really exists to explain purple's motivations. i don't have much of an issue with that since they're not meant to be important or sympathised with at all. that's not their job in the story.

with mitsi, i've seen people point out that she has more character to her than just victim's love interest and supporter: she invents rocketcorp, she's smart, she's kind, innocent and helpful. narratively speaking, she shows other creations' relationships with their animators, parallels her innocence with victim's trauma, and introduces victim to the outernet (as most fans call the stick realm).

but most of this things imo are either stretches or invalid arguments. she's not really a 2/3-dimensional character in any way; her main character traits boil down to the fact that she likes to be in service of others with no nuance behind why she likes helping people. she hypes up victim for the villagers, she starts a company with him to share his talents with the world, and she helps him overcome his trauma from alan's torture. all of her main plot beats center around victim: and while technically the sticks are genderless and free to be interpreted however the viewer wants, alan and most of his team see all the main characters as male, and that subconciously affects how they're written. mitsi, the first major female-coded character, spends most of her storyline in service of victim, a character not written as female.

there's also the issue of her being victim's canonical love interest. i feel like this statement from alan is important to keep in mind (don't mind the sound effects and edits, this is the only isolated clip i can find at the moment). in particular:

"i just assume that [the ava/m characters] are just a bunch of bros]. i haven't thought of adding any female stick figures but i think it'd be good. i don't want to introduce any romance though, i don't want that to be a theme."

he seems to have changed his mind on that last part, which is fine, but the notable part for me is that he seems to associate female characters with romance from the getgo. before anyone misinterprets this, i'm not trying to call alan sexist or anything. but there's a common issue with women in stories being reduced to just a romantic partner for the male lead, and mitsi falls under this, with her entire character existing to serve victim. (not to mention people will make things about romance whether you like it or not. that's just basic fandom. search up grapeduo or chodark.) even her death is to put victim on the path of vengeance--- it doesn't need to happen to show the extent of tco and tdl's destruction, because that's already made pretty clear in ava s2 the flashback and the earlier scenes showing various characters escaping burning buildings. when you write a female-coded character whose only purpose is to serve a male character, you're contributing to sexist narratives.

a counter i see many people point out with the idea that she has no character is that she does have character traits, it's just that they're generic ones like "kind" and "innocent". the issue is that she has no flaws to counterpoint this; it's not that she didn't have enough screentime. in ava4 for example, we see tsc's flaws pretty clearly; they can be very mean when they want to, they're petty (albeit for a fair reason), they're a little impulsive. this is shown in 11 minutes (from the moment they come alive to the end of the video).

with mitsi meanwhile… she doesn't seem to have any flaws? she helps victim whenever she can. she's nice to all the villagers. her customers all like her and she's a great leader at rocket corp (to note, specifically as part of a pair with victim. they're a power couple, she's barely given credit for her work alone). she has 13 minutes of screentime, or 10 if you count from her waking up in the outernet. there's plenty of opportunities to show her having flaws; maybe she acts a little selfish during tdl and tco's attack, only wanting to help herself and agent smith, or maybe she overworks herself, or feels awkward at having too much attention (and that could also be why she redirects so much attention to victim, she's shy). you could argue that the episode needs to develop victim and agent smith too, but ava4 shows that's easy to do too: just a few seconds dedicated to showing rgyb fighting over who leaves first shows that they can be selfish and childish. it's very easy to insert a moment like that for mitsi.

it's a little disappointing when the first major female-coded character in ava is completely flawless, with no personality outside of being nice and helpful for others.

also, slightly unrelated, check out this quote from mitsi's plushie website: "her white featureless face seems to ooze mystery and feminine power all at the same time." her main character trait, as a woman, is being feminine. it's irritating as someone who's been raised a woman to see her reduced to just her gender. she feels more plastic than a person, like the concept of what a woman should be (perfect, kind, useful) and not an actual character/person.

i would expect more from the writing in the series seeing as it's not just an independent passion project anymore, and has multiple writers that all could've worked to flesh out mitsi, or at least get a sensitivity reader of sorts to point these issues out. it's extremely disappointing and i can understand why people were upset.

tldr: the problem isn't just that mitsi's a girl, or that she's nice or dating victim, it's that she's written in a misogynistic way.

[candypot]

Illumi Zoldcky - Situationship Headcanons

autor notes: uh…I wanted to write something cute, but I couldn’t picture Illumi out of his narcissistic and sociopath tendencies

• Sometimes he’s totally aversive about contact, which surely leads him to ghost you or treat you with indifference.

• He wasn’t trying to play mind games with you when he simply disappeared last month, he just grew tired of all the closeness stuff! Come on, from time to time he needs to focus solely on what matters the most, which is his family future. You need to be cooperative and understand you’re not that relevant.

• On the opposite hand, there were times when he felt the urge to touch you and be with you almost all the time. It was almost a maniac episode, the unsettling urge to have you wrapped around him was more than he could handle, so you better be prepared to get phone calls and text messages requesting your location 24/7. Make sure to be always available or at least try to give good excuses if you don’t want him coming over without any warnings. As a person who always had his puppets available, the least Illumi could do is inquisitively request you to be where he wants, when he wants.

• Sometimes he feels the urge to fuck you raw, secretly fantasying how it’ll would be if you were good enough to bear his child. The thought of seeing it leak out of you made his heart flutter, his prudence and ego slowly fading as the ideas of having you as the mother of his children start to entertain his lonely and twisted mind.

• if he ever got weak on his prejudiced values and end up breeding you like he always wished to, he would make sure to push you into birth control indigently. After all, having a child with someone as weak and irrelevant as you wasn’t the ideal, even less a possibility.

• Still, if the situationship lasts too long, his small play of husband wife would get a bit more intense and, of course, he wouldn’t admit it. He wasn’t obsessive, he was just giving you a bit more of attention than you deserved and you should be grateful for that. How could you mistake his interest on your safety with stalking and harassment? He was just trying to protect you! Show some gratitude!

• The probability of him truly developing feelings for you is very low (and even if he develops it he mustn’t recognize it). I mean, it’s a bit obvious how pitiful you were compared to him, specially considering how poor and defenseless you were.

• if he got in a serious relationship with you it would probably be because of acidental pregnancy, in this case he was probably feeling too compassionate to not oblige you to get rid of the baby or maybe he felt inspired enough by his father’s crazy love for his mother… or maybe he just wanted to fill that horrible void, that way at least one thing would be constant in his life, even if it was his useless wife and weak baby

• But the good new is that despise all those crazy stuff, you can rest assured because not even a fly is coming near you. What is his, it’s his, even if it’s a small toy. End of story. You can live in peace in your meaningless little world. It’s not like you would be useful even if he tried to train you so it would be better to just protect your peace, maybe that way you could keep him company in your free time and find as much pleasure in his presence as he finds on yours.

[fansblogs]

fan is a narcissist. isn’t it wonderful.

Fan and NPD: The ultimate masterpost. Or something.

Hello! First time posting something this long, so forgive me for any possible inconveniences. The purpose of this post is to explain the grounds of my headcanon and correlate this disorder to Fan, whom I believe showcases it spectacularly, as well as educating on NPD along the way. This does not mean that Fan having NPD is “canon” by any account, but he most certainly displays traits of it, and it’s something I personally believe he has!

Disclaimer that this post is being made by a questioning narcissist. If you associate NPD with abuse, demonize narcissists or so on, please block me. Disorders do not make anybody inherently evil!

..in the making of this, I forgot that tumblr had video limits. To overcome this, I’ve linked most of the scenes I’ve been using for reference when making this post! There’s plenty of times where I start to describe certain scenes, so make sure to click on the link to avoid confusion. Sorry for the inconvenience!

If this format is too cluttered and/or confusing; here’s also the Twitter version of this post.

Lastly, if any PWNPD have things they want to note or add, go ahead!

tags: @moonlightcanyon @box-of-lemon-nys

All of this information is taken straight from the DSM-5. I don’t support nor endorse the ableist view of NPD shown in the DSM, but for the sake of simplicity I’ll be referring to it, as it’s the official diagnostic criteria.

As per the DSM, NPD (Narcissistic Personality Disorder) is defined as “a pervasive pattern of grandiosity, need for admiration, and lack of empathy, beginning by early adulthood and present in a variety of contexts.”

Fan displays all of these traits outstandingly overtly, yet in such a way most people wouldn’t recognize as narcissism. Starting with the first;

“Has a grandiose sense of self-importance (e.g., exaggerates achievements and talents, expects to be recognized as superior without commensurate achievements).”

This has been pertinent since his appearance in S2. In fact, the first line he even speaks in the season is a proclamation of his believed superiority. Fan has based his identity on being the BEST, the #1 fan of Inanimate Insanity. 

Though there’s way too many examples of his grandiosity to compile completely, one of my favorites is this theory shown in EP 7, which perfectly displays these behaviors.

He’s confident that his theory is right, that each team will always win twice in a row. Though he provides proof, he notes “Not like you need it, right?”, showing that he believes his word is more than enough to prove something correct. Last but not least, his favorite episode (at the time) was Episode 3, the one where HE won the challenge for his team.

Again, just for the sake of simplicity, i’m picking and choosing scenes so I don’t have to note down every single time he displays this symptom.. but please keep in mind that this is a VERY obvious trait he shows almost constantly.

Though this side note isn’t really intended to be “evidence”, it feels relevant to mention that later in the series, Episode 14 becomes his favorite Episode, yet again another episode focused on his growth and accomplishments. 

Another thing important to mention here is that narcissists are SEVERELY sensitive to criticism, which we see multiple times with Fan. Episode 2 of Invitational illustrates this very well with Fan’s reactions to both Cabby’s files and her own spoken criticism of him, even refuting it by blatantly denying his negative behaviors and defending his knowledge. (Timestamp 3:39-3:58)

2. “Is preoccupied with fantasies of unlimited success, power, brilliance, beauty, or ideal love.”

I’d say that this is perhaps the least evidenced of all the traits, but nonetheless, there are a few instances of this. Most relevant to me is Fan’s enjoyment of fanfic, especially the RPF he posted of him and MePhone. 

Fan has a VERY, VERY complicated relationship with MePhone. But considering the idolization he has for him, this very much reads as a narcissistic fantasy in my mind. Becoming closer to a person with such power and influence, a person you personally admire and hold great respect for their accomplishments and believe would reach out to you due to your own assumed superiority absolutely falls into the criteria of narcissistic fantasies, something Fan shows very clearly here.

3. “Believes that they are “special” and unique and can only be understood by, or should associate with, other special or high-status people (or institutions).”

This symptom is heavily varied on presentation, and isn’t as cut-and-dry as “wants influential acquaintances.” In my personal experience, this is more akin to your own personal hierarchy, only caring to bond and make an effort to associate with those whom are higher in the hierarchy. 

Fan is no stranger to this. He has a clear disdain for many of the contestants and subtly belittles them, such as Lightbulb, Paintbrush, Dough, or Paper. This is not that Fan necessarily dislikes any of his teammates or acquaintances, but he sees them as worse than him, which leads to a proneness of conflict due to his indifference towards their emotions. This also leads into the low-empathy in Section 7.

Meanwhile, someone Fan DOES view as “special” is Test Tube, what one would call a CHP/FP (Chosen Person / Favorite Person). He values her input and greatly idolizes her, and of course, is HEAVILY dependent on her. I can’t even begin to explain the intricacies of their relationship in such a small paragraph.

And in a rare case of Fan refusing to associate with institutions rather people, Episode 5 he remarks that he doesn’t want his egg to hatch into a “sub-par, bowless season”, an obvious projection on his end.  (Timestamp 1:32-1:38)

I don’t think he would’ve legitimately made any actions to leave the game given that Bow didn’t appear (despite him assuming that his first interaction with Bow was nothing but a trick of MePhone’s), but his indirect threat of not wanting to be in the game without Bow, finding it too inadequate for him, still stuck with me.

4. “Requires Excessive Admiration.”

Alongside #2, this is probably the other most difficult trait to explain on the list. Fan’s no stranger to subtly fishing for compliments, but that’s the exact problem with him. He’s so subtle that many of the contestants in fact MISS his social cues, and Fan ends up being ignored or degraded instead. 

Despite this, it’s clear that he expects praise and admiration from all, even if others don’t outwardly show it often. In the rare not-so subtle cases of Fan looking for acclamation, he outwardly asks for it to boost his ego, motivation, and most of all- excitement, as shown in Nickel’s FFF. (Timestamp 0:16-0:23)

Most of the time however, Fan places himself in positions that could give him commendation, one of my favorites being this short exchange from the Purgatory Stream. Fan has a lot of admiration for Marshmallow, and he tries to impress her with his offer, hoping for approval and kudos. (Timestamp 1:20:12-1:20:20)

(Short break here. Just wanted to mention how much Fan truly adores Marshmallow. Highly encourage anybody reading this to look into it if you haven’t already.)

Multiple times on Fan’s FFF’s, he’s attempted to do quips with his interviewees. In Nickel’s interview, he refers to these as his “fan instincts.” As I was saying earlier about these cues for praise being missed, both Nickel and Balloon react to his references with annoyance, in which Fan responds with aggression and disappointment respectively. In Balloon’s interview especially, it’s clear to see that he thought him referencing Balloon’s catchphrase would earn him a laugh and praise. (Timestamp 10:30-10:38)

5. “Has a sense of entitlement (i.e., unreasonable expectations of especially favorable treatment or automatic compliance with their expectations).”

Perhaps one of Fan’s least hidden symptoms. Again, a trait so glaring that it’s impossible to pinpoint every example.. but of course, my favorite display of this comes from one of the oldest pieces of Fan media, where he VERY clearly shows this. (Timestamp 0:14-0:38)

Though this short is dubiously canon, seeing it within the context of NPD makes a lot of sense to me. Of COURSE Fan’s personality would be far less nuanced when first created, hence his entitlement manifesting very overtly and negatively. Though it does mellow out over time, it never truly disappears, just seeps into different faucets of his personality and actions. (Timestamp 1:37-1:43)

Take here, for example. Fan tries to justify stealing from Cabby, but the truth is simply that he felt he deserved to see what she said about him, not asking her permission first. As Test Tube said, an invasion of privacy, a serious one at that when considering the later reveal of Cabby’s files being her memory aids. Alongside that, the grandiosity he highlights in this scene (think back to Section 1) is amazing. (Timestamp 0:42-1:01)

Just a bonus clip of Fan’s entitlement in relation to this specific conflict. (Timestamp 8:44-9:02)

In another more evident demonstration, Fan simply admitted to filming FFF without OJ’s permission, not even considering the possibility of needing to ask for acceptance to film and host a show inside of the Hotel. In his view, it’s something he wants, and with nobody encouraging against it, therefore it’s his right.

Another thing I really like about this post is how “innocent” Fan comes across here. In my personal experience, entitlement has never been something I intend to be harmful to others, just something I feel I deserve because I am special, not even noticing my egotism with it. I don’t think Fan intended anything wrong with hosting the show, just assumed that OJ would be fine with it, and that he would have no need to ask for permission.

6. “Is interpersonally exploitative (i.e, takes advantage of others to achieve their own ends).”

Very much so! This is one you’d never note down when taking a first glance at Fan, but it happens to be severely true. The way the DSM words it makes it sound inherently malicious, but trust me that this is not commonly how this trait manifests. Everybody tends to be manipulative once in a while, and that doesn’t make it a necessarily negative symptom if utilized in ways that don’t harm others.

For Fan, one of the big signs of this is his tendency of sitting back and letting his team do the work. According to his patterns he’s guaranteed a win, therefore he finds he  has no reason to contribute, leaving his teammates to put in the effort to achieve it. (Timestamp 6:44-6:49)

Another thing I find I should add here is that Narcissists don’t usually intend for this manipulation to be.. legitimately evil manipulative. In our minds, we’re not doing anything wrong at all. So what if we use somebody as a means to an ends once in a while? There’s nothing wrong with it, especially if you deserve it. Fan is the same within this regard.

Funnily enough, this pattern of exploitation is a key factor of Fan’s character. Fan is THE #1 Fan of II, and as thus, must know as much about the show and its inhabitants as possible. He frequently uses the information and trivia he has collected about his fellows to steer them into giving him what he wants, no matter if it’s more information on themselves or a reaction, both things Fan finds severe intrigue and entertainment within.

Again, mentioning Nickel’s FFF (there is SO much to deconstruct there), Fan asks Nickel personal and invasive questions for his own entertainment, using Dime’s presence to utilize Nickel’s own self-confidence against him, prompting more honesty. (Timestamp 1:37-2:20)

Last but not least for this section, exploitation can be both conscious and subconscious. Though in my opinion it always seems Fan has some degree of lucidity, it’s clear from this blog post that it’s not all COMPLETELY conscious, some of his manipulative tendencies even flying over his own head. 

In this post he mocks a version of himself he believes is far from his own image, failing to notice how often he does take advantage of the others around him. In the end, it all boils down to intentions. This faux version of Fan is comically evil, and Fan believes his own personal intentions are nothing short of moral and understandable.. thus his manipulation not coming across as remotely manipulative to himself, just something he deserves.

7. “Lacks empathy: is unwilling to recognize or identify with the feelings or needs of others.”

A DEFINING characteristic of him. There’s so much to delve into with this specific aspect of his character, it’s practically infinite. For starters, Fan holds zero to none respect for everybody around him, viewing most of the people in his life as nothing more than simple characters.

There’s certain people who break this mold such as Test Tube or Suitcase, but most are confined to it. Even with people that Fan admires, MePhone or OJ for example, he still views as playthings. At that, Fan’s general emotional and mental disconnect from the world feeding into his low empathy leads him into the practice of stalking, in which both MePhone and OJ happen to be targets.

My favorite moments of Fan exhibiting his low empathy always tend to be when he’s alongside Paintbrush. This scene in Episode 7 really puts this into perspective.. despite Paintbrush’s outburst and clear distress, Fan sees their frustration as nothing more than laughable, even predicting the time it would take to happen. (Timestamp 12:50-13:03)

Even Paintbrush momentarily pauses in their outburst, shocked by his insensitive reaction. Later, they threaten Fan with the idea of smashing Baby Shimmer, an impulsive action in the blindness of rage. It really speaks to me how even though Paintbrush was too highstrung to adequately try to analyze Fan’s reaction, they still subconsciously realized that trying to get Fan to empathize with them was near impossible, choosing to instead threaten him in efforts of arising understanding.

Same kind of situation here. Fan only cares about Paintbrush’s emotions when Paintbrush punches him to the ground. This concern is completely unrelated to empathy of Paintbrush’s anger, merely just a self-preserving meekness in fear of being attacked again. And after Fan notices Paintbrush’s “cliche”, his attention is entirely diverted and he instead only focuses on this new discovery, again finding no meaning in Paintbrush’s emotions as his priorities are higher. (Timestamp 9:04-9:20)

Though this quote is more about Fan’s disconnect and escapism, it does highlight his apathy to others as well. I think there’s bits and pieces to be said here about Fan’s low empathy, even if not directly related to it’s portrayal in this context.

8. “Is often envious of others or believes that others are envious of them.”

This symptom, just like majority of the others, is a key trait Fan exhibits. Time and time again, Fan flaunts spiteful and petty behaviors. Especially when provoked, Fan quickly finds himself vindictive and jealous. Though I do believe Fan’s grandiosity makes him believe that he has enviable characteristics, he tends to more outwardly show his jealousy toward others rather than vocalizing the assumed envy others have for him.

As I’ve referenced multiple times over, Episode 2 of Invitational is prime grounds for Fan analysis. This scene in particular shows such an evince of jealousy. Cabby first insults Fan’s formation of his identity, with an implied superiority of intelligence on her side. Watching his reaction is fascinating- first frustration, doubtful vulnerability, anger, then lastly disbelief.

Now, of course, this doesn’t exactly SEEM like jealousy, more-so defensive rage. Yet, it’s both! Fan has a lot of respect for how Cabby plays the game and her general self-image, admiring how professional and knowledgeable she comes across. Considering Test Tube’s proclamation of adoration for Cabby upon their first meeting, Fan instantly marked Cabby as somewhat of competition. 

Though he initially pursued a friendship with Cabby, he was quicker to turn on her than Test Tube, due to what I believe to be jealousy. Yes, Cabby is smart, but part of the reason Fan felt entitled to steal from her to prove that he is vasty more intelligent.. making a point that Cabby's notes on him are surface-level and nothing as good as Fan himself could create. When Cabby's file showed criticism of him, he took it even more personally than anticipated, because not only did her notes happen to belittle him, but also were severely impressive.

And as I said, during their confrontation with Cabby, Test Tube’s reaction seemed more disappointed and shocked with Cabby’s assessment of her, far more calm than Fan’s obvious anger. Again, Cabby is deprecating Fan in a way that makes her come across as far more impressive than him, far more mature and intelligent to the both of them. Not only is Cabby damaging Fan’s pride, but he sees her own self-presentation as a threat to how Test Tube perceives HIM.

This little interaction is quite a parade of envy. Vexation and jealousy tend to happen at the same time, something that’s very obviously shown here. (Timestamp 13:08-13:13)

At the end of the Episode during Fan’s elimination, Fan takes the news FAR more calmly than one would expect. Yet, this is mostly a facade, one to make himself seem far more composed and impressive than he actually is; by being so envious of Cabby, he holds himself to coming across just as dignified as she does. In matter of fact, Fan and Cabby share many of the same traits despite how differently they may manifest between them, and Fan sees part of himself in her. And for Fan.. my, is it terribly demeaning to meet somebody who’s  like you but BETTER. The envy he holds is gnawing at his core.

9. “Shows arrogant, haughty behaviors or attitudes.”

As expected, a Fan special. I honestly wish I had more commentary on this symptom, but it’s so blatant and pertinent throughout his entire runtime on the show that I can’t offer up much variation that isn’t already obvious enough.

Citing this scene for example, this is clearly arrogance mixed with jealousy. Not only does he believe he’s far better than what Cabby has said about him, but he’s also jealous that Cabby comes across as more intimidating than him. (Timestamp 5:00-5:11)

Another really good presentation. His haughtiness causes him to act defensively, attempting to reassure to both himself and the Shimmers that he is in fact a threat bigger than them. When met with even more denial of his self-assumed daunting, he merely pushes it out of mind, believing that yes, he has fearful qualities about him and that his “lower score is preferable.” (Timestamp 12:05-12:30)

-

As per the DSM, NPD is diagnosed when patients meet 5 out of the 9 traits. In the case of this essay.. I managed to correlate Fan to all 9 symptoms. Though some are certainly more pervasive than others, I do believe Fan meets the full criteria… Which brings me to the end of my essay!

I have SO many thoughts about this that I couldn’t all squish into this already lengthy post. Please feel free to ask me anything about this at all, as somebody with a special interest in Fan, I could go on for HOURS.

And last but not least, if you have any questions on the topic of NPD (related to Fan or not) I’d also absolutely love to answer!

And with that.. Fan is absolutely a narcissist. Thanks for listening <3

[mothmans-side-ho]

Armand called Lestat a clown in the most round about way

s2e3 hot wired the two passions in my brain into this info dump, however seeing as a central theme of this episode (and the season) is power, status, and their subversions, it seems relevant. for context, I have 2 degrees in theatre, specifically theatre history and how trends effect form. (I am in no way an expert though, and this is very simplified). long story short, I'm relishing in being a big ol nerd about this entire season

FINALLY, we got to see Lestat (a version of) strutting his stuff on stage in a scene with peak commedia dell'arte shenanigans. Commedia dell'arte is/was an originally Italian form of theatre which was defined by lazzi (comedic bits), improv, and stock characters. these stock characters have been around from Roman times and are still super familiar to us today - the young lovers, the pervy old rich man, the soldier with bravado, etc. It's been seen as a somewhat formulaic form of theatre which relied on quickly identifiable characters and situations so audiences can sit back and enjoy the butt jokes and servant beatings.

In the book - specifically The Vampire Lestat - our beloved Lestat RELISHES in playing a character called Lelio, one of the young lovers. It is in playing Lelio that he "found a tongue for verses and wit [he]'d never had in life" (TVL pg 31). It is in playing Lelio that Lestat first gets a taste of the person he can become, and it is in Lelio that we see the first glimpses of the Lestat which so fully seduces Louis. In short, Lestat casts himself as the suave and handsome romantic protagonist, here to sweep people off their feet. The young lovers are also notably some of the only roles portrayed without masks, to emphasize their youth and natural beauty.

SO IMAGINE MY SURPRISE WHEN LESTAT SHOWS UP IN S2E3 DRESSED LIKE THIS:

He has a half mask! He's wearing all sorts of colors! He's clearly acting as a go between between two other characters who seem to be of a higher status than him! As I said before, commedia dell'arte can be very formulaic (especially by the late 1700s when it is being codified away from being improv focused to being cemented into scripts). From all of these visual and characterization clues, Lestat is not playing Lelio the young lover, he's playing a Harlequin! And his costume seems to be heavily based off of this Harlequin (Arlecchino, Arlecino, etc.) which is literally the wikipedia image of a Harlequin.

(note, if you give a fuck, this image is depicting an Arlechino from 1671, roughly 125 years before Lestat on stage. in my mind, this accounts for the changes in silhouette, styling, why Lestat doesn't wear the mask for the entirety of the performance, etc. Also, just while we're talking about costuming, I believe the late 18th Century was still a time in which actors would have been expected to provide their own costumes, which would explain why Lestat's version is made with expensive fabrics and includes cunty little details like the bow in his hair. At the very least, I can see him making looking good a priority as the owner of the theater and as...well...Lestat.)

Okay, okay, okay. Why does this matter?

Harlequins are not characters of any social status. They're servants who are quick witted enough to get into antics but stupid enough to be commanded by animalistic instincts (lust, food, you name it). The Harlequin being beaten by their master was ENORMOUSLY funny, and is the origin of the term "slapstick comedy". They a memorable iteration of clown.

In this scene, which I'm willing to bet was inspired by (if not outright) Carlo Goldoni's A Servant of Two Masters, Lestat plays a servant who interacts with two characters. One appears to be a young woman in a breeches part - another common trope of commedia performance. The other appears to be the young male lover! We see Lestat prancing between the two, seemingly facilitating some romance plot, being paid for his compliance, and doing a good ol fashioned butt lazzi. (Could he be presenting his ass for beating? Maybe.)

So why is Lestat not the young valiant lover, but instead A LITERAL CLOWN? Three potential, not conflicting, reasons. By the time Lestat is performing (mid to late 1790s, based off Armand's earlier comment about Robespierre's 1794 execution), the Harlequin characters were the most sought after roles! At this time, we are seeing the emergence of "Celebrity Culture" where audiences sought out actors for their off-stage personalities as much as their on-stage ones. This is an extremely fitting position for Lestat to fall into. Yay a semblance of historical accuracy!

Secondly, Lestat's ENTIRE ROLE in season two is to come between this season's new pair of young(ish) lovers: Louis & Armand. Lestat's function is to repeatedly detract and distract from their relationship through Dreamstat's antics (appearing at the piano calling Louis a whore, having Louis re-kill him, etc.). Additionally, simply put, Lestat (and Sam Reid as Lestat) is a lot of fun to watch. He is absolutely a stand out (if not THE stand out) of the show! His constant ability to serve cunt is often what your eye is drawn to, he pulls focus to himself, and often undercuts the more subdued, philosophical, and morose nature of others. Both on-stage and on-screen, Lestat continuously upstages his screen partners. He does kinda function as a Harlequin. But in the end, the Harlequin's antics are also what ultimately drive the young lovers together. If not for Lestat's actions, Louis and Armand would have never met nor bonded over knowing this fucked up brat prince.

But we also have to remember! This portion of the episode is presented by Armand the mind fuckery master. It is absolutely in his best interests to paint Lestat as some sort of ridiculous, lesser being driven by animalistic nature. Especially if - by extension of the metaphor - this frames he and Louis as the virtuous and optimistic young lovers, striving to cling to each other in a world of chaos. I would be EXTREMELY interested to see if, when recollected by someone else, Lestat appears in a different role or characterized differently.

Again, given the celebrity culture of the time and Lestat being himself, it is entirely believable that he would appear in the Harlequin role (Truffaldino, if this is Goldoni's Servant). However, I think it's extremely telling that in Armand's iteration of the story Lestat is not the dignified, refined, and sympathetic young romantic. He is instead a literal fucking clown.

[jesncin]

A Failure of Asian Lois Lane: Pt 2: My Adventures with Superman, an honest discussion

If I had to pinpoint the fundamental problem with My Adventures with Superman's depiction of Asian Lois Lane it's in their attempt to subvert the classic two person love triangle: Lois loves Superman but is indifferent to Clark Kent. In MAWS, Lois insta-crushes on Clark Kent and hates Superman. In the show's attempt to make sense of this dynamic, Lois' Asian identity becomes at odds with a story meant to touch on xenophobia and immigrant themes.

Let's have an honest discussion about a show that made fandom cheer as an Asian character removed the one thing that made her most visibly Asian.

Disclaimer: While I am of East Asian descent, I am not Korean. I'll be discussing general Asian diasporic experiences but the specifics of Korean culture are outside of my knowledge (as usual I can't and don't speak for every Asian person ever, I am 1 opinion). Secondly, I'll be pulling from my personal experiences every now and then particularly pertaining to being a butch Asian person watching this show. It'll be a mix of formal analysis and personal anecdotes. Thirdly, this isn't an exhaustive analysis of MAWS Lois' character. We'll be sticking to what I consider is relevant to themes of Asian identity and immigration. Lastly once more, I do not believe the MAWS crew had malicious intent in any (of what I consider) poor writing decisions. We're here to analyze and challenge these writing decisions.

Please read Pt 1 of Asian Lois analysis that covers the comics, as it provides the groundwork for the ideas expanded on in this essay.

We need to talk about Lois' design. In the follow up to MAWS' release, people have been speculating on Lois' ethnicity. CBR writes that the show has "some fans believing that she's at least part Asian" and other articles have the show crew confirm Lois Korean heritage via her hanbok outfit in episode 4. The existence of these articles, my own anecdotal experience of streaming MAWS with Asian friends, and comments I receive from people asserting Lois' Asian identity was never explored in the show ("you'd only know she was Asian if you searched up articles about it"), tells me we have a case of an ambiguously designed Asian woman. Tangentially many people had no idea Livewire, the white haired and blue eyed woman, was meant to be South Asian.

There's a lot to be said about art styles that don't properly stylize ethnic features, but for the purposes of our analysis that means the writing has to deliver the heavy lifting where the design fails. This is the opposite case of American Alien: a comic that relied on the art to portray Asian Lois.

Let's start at episode 3. In it, Lois finally manages to conduct a private interview with the elusive Superman. When she asks where Superman comes from, how his powers work, etc- Superman comes up empty. In this version, Superman can't talk to his Kryptonian father (Jor-El)'s hologram because of a language barrier, so he knows very little about his alien heritage. He leaves Lois, assuring her he's here to help the people of Metropolis. When Clark Kent congratulates her for interviewing Superman, Lois rebuffs him. "Oh, he's [Superman's] a liar." smirking as she says it. This is the start of the Lois Hates Superman For Being a Liar arc.

I'd like you to consider the optics of an Asian American woman interviewing an alien immigrant who honestly told her he doesn't know where he comes from and is still figuring out who he is, only for her to think he's lying. Because she didn't get the answers she wanted. I can't help but think about my own experiences, where I was asked "but where do you really come from?" or "okay but what's your real name?" I think of my Asian American peers who would honestly say they're from Texas or Atlanta and get a vindictive "you're lying" as a response. People want to hear you're from China. They want their biases confirmed. I think about how I honestly can't tell you where my elders hailed from, because of cultural genocide and language barriers. This scene makes me uncomfortable, but let's press on.

Episode 4 is where Lois is most visibly Korean. In this episode the trio of Lois, Clark, and Jimmy are tasked with interviewing rich techbro Prof. Ivo of Amazo tech at an investor event. It's a prom episode. Lois wears a "hanbok inspired gala outfit" designed by Dou Hong and Jane Bak in a deliberate move to showcase Lois' Korean heritage. Bak comments "I remember feeling strongly about wanting to inject some aspect of her Korean heritage without disrupting her characteristic as a spunky and resourceful intern/reporter." while the wording poorly implies that Korean heritage is at odds with Lois' spunky personality- I do want to challenge a couple of the decisions that went into this design.

I want to acknowledge as an Asian butch that there are many ways to sport traditional garments and it's okay to mix and match to figure out what reclaiming culture (and your comfort) mean to you. However we're talking about the opportunity to showcase culture in an episode of a fictional animated show. I also encourage cultural gender expression that thinks outside of western white people's idea of gender (in both fiction and real life).

Whenever artists try to do a non-conforming spin on a cultural outfit, I always have to ask: "what standard of masculinity are we basing this on?" It's clear that MAWS is pushing for a "tomboy" Lois, and this gala outfit is an extension of that. But what's the standards of masculinity in a Korean lens? Men wear hanbok too, so why can't Lois imitate how Korean men wear hanbok, by traditionally accompanying her look with baji (baggy and loose pants)? This design notably has tight pants that hug the form, instead. I know the hanbok look has been modernized in and out of Korea in many ways, but in a show where you have the opportunity to showcase cultural non-conformity, I feel more thought should be put into the outfit outside of a potentially western lens- or the idea that cultural heritage of any sort "disrupts" a character's personality.

Now that we've discussed the design of the outfit, let's look into the narrative role it plays in episode 4. While we can celebrate cultural representation in media, I consider it important to ask "what is this media's relationship with the cultures it represents?" and the answer for Lois' hanbok in this episode is: nothing! It's an aesthetic acknowledgement of culture. "Hanbok" or "Korea" are not terms explicitly mentioned in the show. When Prof Ivo offers beautiful women as compensation for Clark to keep quiet about his company's corruption, Ivo looks over to Lois- who spills food on her clothes, and remarks that she's unclassy. She's not judged for wearing othering cultural clothes- which would have tied nicely into Clark choosing to be silent on issues of Ivo displacing a neighborhood, making Clark realize his complacency actively hurts marginalized people. Despite wearing cultural outfits being a political statement in America, nobody reacts to it. It's clear what the actual goal of this scene is: Clark looks cool for defending his "tomboy" crush.

In a scene blatantly made for fanservice, Lois offers to sew up Clark's ripped tuxedo by undressing her hanbok so she can reach her little sewing kit. Lois never wears her hanbok again afterwards. This scene haunts me. It's a scene that tells you that fanservice is more important than cultural representation. It's a scene meant to set up that Clark gives his tuxedo to Lois later on for warmth. Lois removing her hanbok is meant for not one, but two fanservice scenes.

Lois talks to Clark at the stairwell. She opens up about her estranged relationship with her father, how her mom has passed away, and how she's been an intern at the Daily Planet for a year with no sign of being hired. This makes the narrative decision for Lois to lose her hanbok far more tragic. Lois being a diasporic child with so few familial ties to her culture would mean garments like her hanbok would hold a lot of sentimental value! It's hard enough finding a cultural outfit that fits with your butchess (many of my cultural outfits are hand made to fit my form and gender expression), and yet Lois unceremoniously loses her hanbok. You would think in Lois opening up about being distant from her parents that Clark would be able to culturally relate with the distance he has with his Kryptonian parents. But the narrative opportunity to link their immigrant experiences is not taken, because the show simply doesn't recognize the parallel between the two.

Instead MAWS pushes for the Lois Thinks Superman is A Liar thing again. A far less narratively substantial and fundamentally flawed arc. This episode starts with Lois calling Superman a liar and has Lois ranting about him "dodging her questions" (remember, he was honest with her about not knowing his heritage) thereby rendering her interview unpublishable. She resorts to conspiracy tabloids giddily provided by Jimmy for information. She rather cruelly says "nobody normal believes in aliens". We are uncomfortably seeing the build up of Lois being allegorically xenophobic towards alien immigrants- a Lois on a quest to out an alien before he's ready. This is their justification for flipping the love triangle. Lois loves cuteboy Clark from work, and hates Superman for not confirming her biases that would help her publish an interview that would promote her at work. What a love story.

To wrap this episode up: Prof Ivo ends up challenging Superman to a fight so he can flex his Parasite suit to investors, only for it to backfire, destroy his reputation, and greatly damage the Amazo building (remember this it'll come back later). The episode ends with Lois discovering Superman is Clark Kent. Anecdotally, I was so frustrated with the treatment of Lois' hanbok in this episode, that I went online to search if anyone else felt similarly. All I was met with was fandom thirsting over the stairwell scene where Clark and Lois were undressing. Consider the optics of an Asian character who removed the most visible signifier of her heritage (the outfit far more culturally specific where her character design was racially ambiguous) and how people cheered because that meant they could see her in her undergarments. They can happily thirst over the body they desired now that the othering cultural garment was out of the way. It's just clothes after all. Diversity clothes. This show continues to be very uncomfortable, and a little too real.

In episode 5 Lois is passive aggressive to Clark and Superman, trying to get Clark to admit he's Superman and vice versa. She eventually confronts Clark by jumping off the roof of the Daily Planet, causing Clark to fly down and save her. She proclaims she doesn't want to be friends with him anymore for "lying" to her. This episode caused a huge ruckus online as people were divisive over Lois' actions. Some defended Lois, saying that "women should be messy" and "it's not Lois Lane if she doesn't do something crazy for journalism!". Ignoring that opinion's very flandarized view of Lois' character for a second, let's thoroughly discuss how this relates to themes of immigration and Asian identity.

By this episode, Lois had known Clark for 5 days. In that time she's entitled and angry to the point of friend-breaking-up with him because he wouldn't disclose his marginalized identity to her within less than a week. "A secret is another type of lie!" Lois says, regardless of her lying on sight to both Jimmy and Clark upon meeting them at work, and continued to lie in episode 3 (after promising not to in ep 1) about her intentions to interview Superman. Only Lois gets to lie in this relationship. The hypocrisy of her character is never recognized. Clark calls out Lois for having previously admitted to him that she wanted to dox Superman and "publish all his secrets. MY secrets!". Keep in mind that when Clark brings up Superman feeling uncomfortable about his secrets being published by Lois in episode 3, Lois' response was "yeah, but HE doesn't know that's my plan!". She explicitly admits that she would publish private information about Superman without his permission. But when she's confronted by Clark in episode 5 about that, her response is "I would never do that to you, I didn't know it was you until after the gala. How could you think that?" It's only through conflict of interest that Lois spares Superman of being doxed. He's supposed to magically know this. Extremely cool of Asian American Lois to be entitled to an alien immigrant's identity within four business days.

Episode 6 wraps up the Lois Hates Superman For Being A Liar arc, so let's quickly summarize what happens. Lois and Clark set aside their fight to find Jimmy in an abandoned scientific facility (he's being cared for by Mallah and the Brain). Jimmy admits (very smugly) to having known Clark was Superman all along because he kept breaking stuff. As the trio are chased by killer robots, they emotionally confront Clark for not trusting them with his alien secret- despite neither Lois or Jimmy creating a safe environment for Clark to come out to either of them (Jimmy outed Superman as an alien on his video channel). The moral of the story is Clark should have trusted his friends anyway, because lying is bad. Not once does the narrative hold Jimmy or Lois accountable.

We have Black Jimmy Olsen and Asian American Lois Lane being entitled to their white passing friend Clark Kent's marginalized alien identity. A joke is made at Jimmy's expense that he doesn't understand bigotry, and Lois clearly doesn't understand why an immigrant wouldn't be forthcoming about his identity to his hostile friends at work. This is how that arc ends.

I'd like to quickly compare this Lois Hates Superman For Being A Liar arc to my favorite scene in Superman Smashes the Klan. In this story, Superman debuts as a strongman superhero instead of an alien, suppressing his more othering powers to pass as human. He jumps instead of flying. Roberta, the Chinese American girl targeted by the Klan, calls Superman out for not using his full abilities to save people who could've gotten hurt. Yet, as she's calling him out, Roberta understands Superman's fear of not wanting to be othered. She sees the way her father dresses up to pass as an accomplished scientist, how he tells her mom to speak in English, how her brother makes racist jokes at their family's expense to fit in. She's not mad at Superman, she's mad at the world that would be scared of Superman if he flew.

"I wish it were okay for you to fly!" Roberta yells. This is a beautifully empathetic scene that shows a marginalized person frustrated at a systemic problem, instead of blaming the marginalized for being marginalized. It's the empathy and perspective we're missing from MAWS.

Episode 7 is a metatextual episode where MAWS addresses how their Lois isn't like the other Loises you've seen before. Lois and Jimmy are brought on to a team of alternate dimension Loises to find interdimensional troublemaker Mxy. In seeing the other more accomplished Loises in the multiverses, Lois ends up feeling inadequate about her self worth...in connection to being Superman's girlfriend, of course. Because Superman only loves Lois Lane after she wins a couple of Pulitzers, right?

I'm open to a version of Lois Lane that isn't as accomplished as she's historically known to be. I can like a Lois that's young and idealistic, like in Girl Taking Over. It's hard not to compare this episode to 2022's Everything Everywhere All At Once, another multiverse story about an Asian American woman who is the "greatest failure" version of all the parallel iterations of herself. But while that movie talks in depth about themes of generational trauma, expectations, and self potential within Asian immigrant families, MAWS uses the multiverse to say that while their Lois is less accomplished, she's still a good girlfriend to Superman! Why should I bother giving grace to a different take on Lois only to get such a superficial story out of it. This is metatextual-ly frustrating.

Why is it, the minute we get an adaptation of an Asian Lois in something as prominent as an animated show, we get "the worst Lois in the multiverse"? Lois is historically depicted as excelling in her field. She's an award winning journalist, jaded and mean from having to work her way to the top. She owns her sexuality, she's the experienced city girl. Instead of taking the opportunity to inform Lois' jadedness and excellence with her Asian American identity like in Girl Taking Over, instead we have an Asian Lois that's simply incompetent at her job. Why are we now adapting historically accomplished women into adorkable quirky screw ups? She went from being sexually confident to being insecure over sending a text to Clark. Is it more relateable to see an Asian woman that way? Is it too intimidating to see a butch Asian woman who excels at her job? Who's romantically confident? This is what MAWS would rather do than humanize her excellence or her failures.

Are you tired of an ambiguously designed Asian American woman reporter being xenophobic to Superman in MAWS? Well too bad because episode 8 introduces us to Vicki Vale, voiced by Andromeda Dunker (an Asian actress), with explicit notes in leaked concept art to design this character as "Indian American or Asian American" (as if those are mutually exclusive...) inspired off of real Asian reporter Connie Chung. Vicki wants to write a hit piece on Superman and interviews Prof Ivo's assistant, Alex, for a negative biased opinion on Superman (to Lois and Jimmy's dismay).

This episode is where it's abundantly clear the writers don't know how to talk about xenophobia. They'll make nods to xenophobic rhetoric, but they don't know what the rhetoric means. In response to Alex's derisive opinion on Superman destroying Amazo tower thereby bankrupting the company and putting "thousands out of work", Vicki responds "Superman wiped out good American jobs". This is a misplaced nod to Replacement Theory: the fear white people have over people of color, but particularly immigrants, coming to "their" country to "steal" jobs they're entitled to, ultimately becoming demographically replaced by non-white cultures and people. This rhetoric is also commonly applied to Jewish people.

The problem is, that's not what Superman did in the show. Amazo tech was going to go bankrupt because of Prof Ivo's poor business decisions. Prof Ivo made the mistake of antagonizing Superman and ruining his own image. Superman damaging the building came from his fight with Prof Ivo, not a deliberate attempt to get hired (if anything don't the building repair people have new jobs now?). No one's job is tangibly being taken by Superman. None of this is called out by Lois or Jimmy, who know the full story and were even the ones to attack Alex for helping Prof Ivo (let's be real the writers forgot this happened). In fact, Lois and Jimmy don't react to Vicki's Replacement Theory remark at all! It's like they don't even recognize she said something with racist implications!

Jimmy and Lois meet up with Superman who learns the people of Metropolis are becoming scared of him (from causing some recent property damage in an attempt to hunt a criminal down) and writing mean comments on social media. A user writes "he should go back to where he came from." This is a transparently xenophobic comment. It doesn't work in the context of the show because of a huge plot hole: Superman never publicly came out as an alien to Metropolis. No verified newspaper has explicitly made this fact known. The only source that mentions this is Jimmy's conspiracy channel, which the citizens of Metropolis are apparently treating as fact- therefore (if we're to believe this is how people knew) this means Jimmy absolutely outed Superman as an alien without Clark's consent.

So how does Asian American Lois respond to seeing her alien boyfriend go through xenophobia? She says "Take a break from being Superman and just try being normal." To be fair, the narrative does portray Lois saying the word "normal" as charged (only here at least, not in episode 4), and when she tells Superman to "take a break" it's because he had been overworking himself after suddenly unlocking the ability to hear when someone's in trouble. But was this really the response Asian American Lois thought to say? To her boyfriend going through such explicit xenophobia? At this point it's abundantly clear that racism doesn't exist in the world of MAWS. Being "normal" is to be human. And to be marginalized- or as the show likes to call it "different" is only reserved for white passing alien man Clark (along with gorilla and robot that was once a white man). Any hope of an immigrant parallel between Asian American Lois and Superman should be fully discarded at this point.

After the events of the previous episode where Superman is kidnapped by Task Force X, in episode 9 Lois regrets being allegorically xenophobic to Clark. At least I think that's what's happening. I often describe MAWS as a show that's extremely squeamish with getting political- and I believe the vagueness of Lois' Dark Night of the Soul moment reflects that. "I said awful things to Clark. I doubted him when he needed us most. I was wrong and now he's gone..." Lois says as she cries to Jimmy. Is this dialogue implying she shouldn't have told a sleep deprived Superman to take a break? What did she doubt about him? This dialogue is purposefully vague about Lois being xenophobic. They've universalized Clark's immigrant identity to such a point that they can't keep their argument consistent. Was Lois in the wrong for telling her overworked superhero boyfriend to take a break? Or was she being xenophobic for telling him to lay low for a while? Or is she regretful for hating Superman for Being A Liar? How is that possible when the narrative sided with her and Jimmy in episode 6? It's woefully non-committal. Regardless, the intent of this scene is to pay off in the climax of the episode.

In the end Superman has a showdown with Prof Ivo Parasite, who has grown into a large godzilla-esque kaiju creature. In typical MAWS fashion, the show is more interested in a surface level nod to Asian media instead of engaging with the specific themes of nature and post-war trauma kaijus and godzilla serve in Japanese culture. I digress. Using Jimmy's massive social media platform, Lois delivers a hope speech that instantly heals Metropolis of its xenophobia towards Superman.

Lois says to the people of Metropolis.: "People have told you to fear Superman because he's different from us. But we humans are capable of causing hurt and pain too. [...] Because we want to punish those who don't look or act like us." I mean this in the most polite way possible, but who on Earth thought this line was a good idea for Asian American Lois Lane to deliver when talking about white passing man Superman?? Why did the writers feel the need to specify Superman not looking like us. I simply don't understand how nobody considered the terrible optics of this.

After Superman defeats Parasite, episode 10 is about Clark, Lois, and Jimmy celebrating Thanksgiving at the Kents' house. At the Daily Planet, the trio of interns are promoted to finally being reporters. It only took Clark and Jimmy a few weeks while it took Lois a whole year! Now feels like a good time to remind you that Lois as a character was historically frustrated at sexism in the industry and despised how men were treated better than her (including Clark Kent). Well in MAWS episode 4, Lois has no idea why she isn't getting picked up to be a reporter. According to the narrative, and Perry White's dialogue ("you're terrible interns, so the only thing to do was to make you reporters")- she simply didn't break enough rules yet! Thank goodness she had the help of two men to show her how it's done! This is a pretty clear case of character regression. Keep in mind that in American Alien, at the very least that Asian Lois still underwent sexism, and I gave it the grace that the story could eventually expand to talking about both sexism and racism if it were to continue. But in MAWS? I don't think even sexism exists, let alone racism. Somehow Thanksgiving does, though.

Half the final episode is spent on Thanksgiving shenanigans where everyone's trying to be polite but they dislike Lois' stoic dad (Sam Lane)- who Clark recognizes as the Asian American xenophobic man who tortured him in Task Force X's government bunkers. A parallel is pulled between Sam and Jor-El, two fathers with different ideals when it comes to protecting their kids. There's a huge missed opportunity to have Lois and Sam speak in Korean with each other, to create a parallel in the language barrier between Clark and Jor-El. Maybe Lois isn't as fluent in Korean as Sam is depending on how culturally connected she is. Oh, but the existence of non-English human languages would imply some sort of minority, who would be marginalized, and we can't have anyone outside of aliens and a gorilla be marginalized in MAWS. Non-English languages in America are political, after all. Oh, but they also got a Filipino actor to voice Sam. Generously Lois could be Filipino-Korean but if we're being truly honest it's clear the MAWS crew think Asians are interchangeable.

Let's talk about Sam. In terms of optics, it's already not great that the main villains who represent the face of America's secret government xenophobia are Amanda Waller and Sam Lane- a Black woman and an Asian man. What's doubly notable is that of the antagonistic villains, Sam and Vicki are the most xenophobic. When Sam tortures Superman, he shouts "When is the invasion? How many of your kind will come through this time?" without a hint of irony. Reminder that historically, Asian immigrants were (and still are) considered invaders in America. They are the perpetual foreigner. MAWS loves making nods to Superman being an immigrant allegory, and yet they can't fathom the human beings that allegory is inspired by.

It's not impossible to portray people of color or even Asian American characters specifically being xenophobic. In Superman Smashes the Klan, Dr. Lee is initially antagonistic towards Superman but we understand why. We see him trying desperately to assimilate into whiteness, to the point he rejects assistance from his Black neighbors who help put out a fire in their backyard (that the Klan started as a threat). We understand why he's a character who would turn on fellow people of color, or fellow immigrants, in order to fit in. For MAWS, if we had a flashback scene where Sam was serving in the military and fought against Asian soldiers, showcasing his loyalty to America over his own people- that would narratively explain why an Asian American character would be xenophobic. Writing bigotry from within marginalized communities requires specificity. Otherwise, you've just got a diverse villain. In the end, Lois defends her immigrant alien boyfriend from her xenophobic Asian American dad.

Whenever I bring up how MAWS fails its characters of color but especially Asian Lois, I'm met with people telling me that "hopefully they'll make Lois more Asian in S2" or "they'll just retcon the bad writing in S1" and I hope this thorough analysis on the treatment of Lois' Asian American identity can help enlighten why I personally think that's impossible. The entire concept is flawed from the very beginning. The story MAWS wants to tell is at odds with Lois' Asian identity. In trying to justify an Asian Lois that loves Clark but hates Superman, they never considered what it means to hate Superman. To hate the alien immigrant. The alien other. What it means for an Asian American character to do all that. MAWS is a show that wants to have its cake and eat it too, they want a diverse world without racism or sexism but still want to reap the clout of lightly portraying Superman as "different".

They'll make the most surface level nods to Lois' Korean heritage- but remove all of the cultural context from them. They can't be bothered to acknowledge the inherit political identity being a person of color means in America, they're too busy doing that with Clark. I'm told "MAWS didn't have the time to go over Lois' Asian identity, it's a 10-episode series that focuses on Clark's alienation", and to that I say the potential of an immigrant love story and time frame was there, they simply chose to go another direction.

When I bring up things like Superman Smashes the Klan, Girl Taking Over, and Everything Everywhere All At Once, it's not to say MAWS should have used those stories as reference when crafting their allegory. All of those specific media were released while MAWS was deep in production already. Girl Taking Over was released the same year MAWS premiered. What I am saying is that we, as the audience, should have higher standards. Because better media portraying Asian American characters already exist. Better media portraying Asian characters relating to Superman mythos already exists. What we're doing when we celebrate the breadcrumbs of representation that is MAWS, is allowing mediocrity to exist uncritically.

Shows like Wednesday are known in the discourse for their portrayal of Black characters as being functionally white, yet that kind of scrutiny doesn't seem known for MAWS. The diverse reimagining of Lois and Jimmy is so poorly handled in MAWS that it would honestly make more sense if Jimmy and Lois were white here. The joke made at Jimmy's expense that he doesn't understand bigotry would be actually funny if it was calling out his white privilege. If, for whatever reason, the writers are compelled to write a xenophobic Lois that unlearns her bigotry and falls for Superman, I'd rather she be white for that kind of story. I wouldn't personally root for that kind of couple, but at least it'd make sense. It's a common joke among DCAU fans of color that we like to headcanon Lex Luthor as Black, or Lois Lane and Terry Mcginnis as Asian. It's a cruel irony that the one time we finally have a canonized Asian Lois in an animated show, she honestly feels and acts whiter than actual white Lois ever was.

I mentioned in Pt 1 of my essay that Asian Lois and Superman has the potential to be a definitive love story. One that considers both their backgrounds as immigrants, othered in different ways by American society. The story of a jaded but accomplished Asian city girl who finds hope to be herself again in an alien immigrant superhero. One where she gets the courage to wear traditional clothes again, to practice languages she once suppressed. The story of Superman, an alien immigrant, finding hope in someone with a painfully similar experience.

As of writing, we have yet to see this dynamic in any canon DC media. A second season of MAWS will not give us that story.

[soulfulazrael]

"Media literacy" in HB fanbase. OH MY GOD is r/HelluvaBoss dumb. Also Vassago.

I made a mistake

Well 2. One of them is using this gif given recent... funny things with certain VA, but the other, relevant one is visiting the dreaded r/HelluvaBoss

Now I do not engage in discussion there. It will lead nowhere as most of you will realize the moment you will see what I have to show you, but first let's talk about a spectacular case of confused character writing that is Vassago.

I wont discuss who he is in Demonology. That is kind of irrelevant because this show barely follows any of it anyway. What is important is their appearance in Mastermind as the sole defender of Stolas's honor and all I can say is... Who the fuck are you?

And let's be honest. If none of us watched promotional material we would also ask ourselves the same thing. Who is this guy?

And it makes sense because suddenly at a very high point in the story this character is thrown at us as if we are not only supposed to know who this is, but also be amazed at that he defends Stolas. His one friend... brother... lover... someone who comes to his aid among all the other Goetias.

And there was no build up to this character, there was no name drop of him before, no flashback, not even a peep that would relate in ANY way to his character and all we are left with are questions and not the good kind. Why is he for instance speaking spanish in between english? Why is he so important? Why is he the only one in Stolas's corner? Why is he in this pivotal moment that is meant to cap off the entire season's story?

But not to worry because bright people from a beautiful place that is r/HelluvaBoss come to our aid to help our 'media illiteracy'

Do I even have to say anything? I mean I do, but still... come on.

Let us first address top comment "He will be important later". I am sorry, but what kind of justification is that? When is that later? 3rd season? Because if so then this is terrible way of introducing character that is going to be important in 3rd season. Because this show already presents him as if he has been part of the story for a while and gives him a prominent role (as prominent as like 5 lines are) like there was some kind of foreshadowing towards him being the only one to defend Stolas.

There was not. Vassago is put in a role that would be more fitting for character like Ozzie. You know. Actually important character that was given previously some screentime and has established relationship with the main cast who can stand in this proceeding and do SOMETHING aside from looking down at his phone like an average 12 year old today during Christmas Dinner.

And that is the thing. Such a role in an episode should NOT be given to completely new character. This is a role that should be given to already pre established character that AT LEAST is mentioned by word. Like I dunno. With Stolas maybe wondering how Vassago is doing or how maybe at some point he mentions him. SOMETHING. Dropping this character so suddenly in such a crucial moment of the story is just very strange. In a way same goes for Satan who also had about nothing about him besides I believe Verosika episode having him mentioned... one line... that is the level of foreshadow we are doing here.

And then there is that other comment that talks about "media literacy". You want to add a new character? How about do it ANYWHERE ELSE than a crucial part of it. Because those moments are not good for introductions of new parts of main cast without any prior mention of them. Those moments are meant to be culmination of everything that came before. Leave intros for before and/or after.

And then we have some of this

I love those people man. All talking about "media literacy" or "anti-intelectualism". Just... AAAAGH! God. Yeah. You are so smart. You understand writing so well.

Let's just put it into perspective. This is as if Verosika's first appearance would be in Apology Tour as one of the people Blitzo hurt and we are suddenly supposed to care for her even though she never showed up or was mentioned before. That would be STUPID right?

Well that's what they did with Vassago. Apparently VERY important character to Stolas introduced haphazardly during climax of the Season in a prominent role of being the only one who defends him even though not only is this part better suited for other character that is there, but also this role is absolutely wasted because he has about 5 goddamn lines. And it is telling how much in that first image the long comment does mostly just theorizing because we know absolutely NOTHING about this character and people are already supposed to be hyped for him despite that he was introduced so quickly. Also take a load of this.

Yeah. Because a character introduced at the very start of the book is the same as goddamn Vassago. In fact this is like Gandalf being introduced in Moria. Wouldn't that be just dumb? And you know what's sad? This.

Those people actually bring up good points. And they either no attention or get downvoted. Why? Because critical thinking is a sin on that subreddit. The first one especially (upvoted by me now BTW). Just... ugh...

This is the state of people on r/HelluvaBoss. If you value your braincells do NOT go to that damn place. There is about as much critical thinking and praised "media literacy" as there is on ragebait thread on twatter spouted by some idiot talking about how "west has fallen" because woman.

It's stupid. And makes me dumber just thinking about it. Jesus. This fanbase man. It's amazing.

Now there are smart people in this fanbase. There are good people in it. There are very much great, talented people in it. And some of those people who I mentioned who's comments hurt my brain could be talented and could be smart, but are just not about this part of HB. But considering what they are saying... I needed to vent about this because this hurts to see.

And the worst part is that Viv probably likes that this fanbase is like this. No critical thinking or doubts. Just spouting insults. Making headcanons to counter criticism and refusal to leave their echo chamber.

It's sad. Because not only I feel bad for them, but I feel bad for the show, because with fans like those how could it EVER improve? To many of those probably the only time to say anything critical is when it's all over. But at that point... who cares?

Also do not think I am some pillar of 'media literacy' or 'intellectualism'. I am not. I am really not. I am just passionate about writing and those people cause me headaches.

[tschulijulesjulie]

my best friend @acepizzalover and I keep discussing the scene after Daniel uncovered the truth, the Loumand fight and the "ill kill you if you harm him" and the burning of the laptop, you know the entire complex of what happened before Louis left. because it feels fishy. because something isn't adding up. why did RJ frantically tell Danny to leave NOW? Where is Rashid? and most importantly why did Armand turn Daniel presumably afterwards.

We believe that what we saw isn't the entire truth. it might actually be another one of Louis' hallucinations or at least his personal perception of what happened?

anyways, while rewatching that scene for the 50th time and looking for every detail, i did notice something seemingly indifferent. a casual mistake of the set designers:

before...

after...

not to be nitpicky but this is the same episode where they adressed every prior "error" like Lestat telepathically talking to Louis, or Sam being in two places at once. i dont think the chair itself is relevant but it might be a clue that this scene... isn't... entirely correct...

[yurimother]

'I'm in Love with the Villainess' Anime - Episode 1 Review

An astounding and hilarious first outing for the series with the power to revolutionize Yuri

We are finally here, the long-awaited and much anticipated first episode of Platinum Vision’s I’m in Love with the Villainess anime aired on Tokyo MX and is streaming everywhere outside of Asia with a plethora of dubbing options, including English, on day one on Crunchyroll.

The first outing covers most of the events of the light novel’s first chapter, or the first three chapters of the manga, at a rapid but steady and not overwhelming pace. At this rate, the anime should be able to cover much of the series’ first arc, or the first two out of five books, in a single cour. Perhaps a bit less, depending on which of the story’s various adventures it elects to include. This is an exciting possibility, to be sure, as the story is a character-driven, socially mindful, and expertly written and, despite its fantasy setting, an exceptionally relevant tale of romance, socio-economic inequality, and of course, queerness.

While the first arc of Villainess is a triumph, it would be a shame not to see at least some of the developments from the extra chapters that lead into the second story, like (spoilers for the end of volume 2) Rae and Claire’s wedding and their adopted twin daughters May and Aleah. If we are lucky, perhaps they will appear in the final episode or, dare to dream, a second season (end of spoilers).

Now, onto the show itself. For those who, for whatever reason, have not read Inori’s masterpiece, I’m in Love with the Villainess follows Rae Taylor. A salary worker who dies and is reincarnated as the protagonist of her favorite otome game, Revolution. However, Rae has no interest in any of the game world’s three eligible royal bachelors and has eyes only for the game villainess Claire François. Armed with exceptionally magical ability, Rae sets out determined to secure a happy ending for her beloved Claire against the coming revolution and perhaps win her heart in the process.

Now, the opening of I’m in Love with the Villainess is the series' weakest moment in all mediums, which, considering episode one’s outstanding quality, only highlights just how superb the Yuri masterpiece is as a whole. Even with its need to establish the setting, characters, and premise of the series, the premiere managed to be an excellent introduction and set the bar high with lots of laughs, entertainment, and service between our two leads.

I watched the Japanese audio, and Yu Serizawa and Karin Nanami are fantastic in these roles, with Serizawa playing up Rae’s teasing adoration and borderline masochism at full blast, and Nanami explicitly giving voice to Claire’s arrogance and frustration. She even manages to deliver a perfect Ojou-style laugh to seal the character’s elite status and lean into the show’s use of otome tropes. And having the leads sing the excellent opening and ending themes is just icing on the cake.

Speaking of tropes, while Ironi’s original work is a genre-defying masterpiece that broke the Yuri mold, it is never afraid to play with the genre’s iconography and its otome game setting. Every other scene had another allusion, including to the book’s cover. As always, I am likely overeager to see connections, however intentional they may be, but the academy’s halls harken to otome staples, the bells and strings of the first scene's soundtrack conjured blistering memories of Strawberry Panic (perhaps a sacrilegious comparison to make but I digress), and even an areal shot of the campus was another check mark on my “Scenic Yuri” theory.

Now, as mentioned, I’m in Love with the Villainess has to establish the groundwork here, and narratively, these are the weakest moments, often direct exposition, with a few exceptions like Rae’s conversation with her roommate Mash about maintaining Claire’s attention. The narration is at least accompanied by relevant and creative, if perhaps limited, animation. But to their credit, these moments are succinct, existing only as long as they have to in order to provide the necessary information and get out of the way for what matters most: the characters.

Rae and Claire are front and center from the very get-go, and there is little time wasted in showcasing Rae’s intense bottom energy or establishing Claire’s elitism and bewildered anger towards Rae’s excitement in the face of Claire’s carefully calculated cruelty. It is a montage of silly and fun competitions between the two that had me laughing and smiling all the way through, as the Yuri was present in full force, and gives glimpses at the mutual obsession the women have for each other that will soon blossom into a wonderful romance.

These early story beats have a light tone and focus on the bullying, teasing, and rivalry between Rae and Claire, a dynamic that previously and understandably made a subset of readers somewhat uncomfortable. However, assuming the anime unfolds in a similar manner to the manga and light novels, the narrative will explore meatier, heavier subject matter and a far deeper lesbian romance, all without losing its sense of fun and adventure. The next episode or two will be incredibly telling - as the source material is perhaps the most profound and forthright depictions of LGBTQ identity in Yuri, and that all starts with a pivotal conversation that, if it is included, will be coming up shortly.

Overall, I am incredibly excited for this series. The first episode is everything I had hoped for out of an adaptation of one of my favorite works of all time, save the animation, which is average at best. While there is a lot more to see, and we will have to wait to know if I’m in Love with the Villainess lives up to its incredible potential and source material, I am extremely hopeful. We have one of the funniest, most thoughtful, and queerest works of Yuri transformed into a stunning anime project unlike anything that has come before and offers the chance at not just a new Yuri “gateway” but to continue the work of its source material in revolutionizing the genre.

Ratings: Story – 8 Characters – 10 Art – 5 LGBTQ – We shall see… Sexual Content – 3 Final – 8

I'm in Love with the Villainess is streaming on Crunchyroll with English sub/dub.

Review made possible by Avery Riehl and the rest of the YuriMother Patrons. Support YuriMother on Patreon for early access, exclusive article, and more: patreon.com/yurimother

[character-fan19]

So I calculated the exact screen time of all the love square ships in season 1

Yeah, it's exactly what it says. With 99% accuracy I went through all the episodes of season 1, calculated the exact screen time of ever love square ship in every episode, added them all up and made charts to compare them.

But first of all, where did I get the idea to do this? Well, I was looking through Tumblr and I so a post by someone called purrincess-chat answering an ask about Adrienette in Season 5 and in her reply she mentioned how Ladynoir and Adrien have around the same screen time in seasons 1-4 with Ladynoir having slightly more and that is simply reversed in season 5 with some Maricat and Ladrien sprinkled here and there. So that made me wonder: how much really is the distribution of screen time between the love square ships? So I did this, starting with season 1. But before we get into the results...

Some Ground Rules

What does and doesn't count as screen time for a particular ship? Here are the rules I laid out:

Both characters of the ship must be present in the scene for it to count. That's means no scenes of Marinette fawning over ads and pictures of Adrien or Adrien swooning over the fact that the love letter he found in "Dark Cupid" might be from Ladybug.

At least one of characters of the ship must be reacting to the presence of the other character for it to count or at least doing something together. We can't have Maribug and Adricat both just doing their own separate thing acting like background characters and call that shipping content.

If one or both of the characters believe that there are speaking with the alter ego of the other character, then it counts as screen time for that ship. Meaning when Ladybug goes to check on Adrien in "Volpina" and Cat Noir pretends to be his civilian self taking a shower, it counts as Ladrien screen time, not Ladynoir.

Now that that's dealt with let's get into the distribution.

Screen Time Distribution

To the surprise of absolutely no one, Ladynoir dominated season 1, having 76% of the total love square screen time. Makes sense, right? There's an akuma every episode so there's Ladynoir ever episode and since this is season 1, it's more focused on the strict formula rather than some actual development between the other ships.

Coming in a definitely-not-close second is Adrienette with 18.5% of the total love square screen time. No surprises here. Adrienette along with Ladynoir are the main 2 ships while Maricat and Ladrien are simply the side ships. Plus, it's not often for just one of them to be transformed.

Speaking of which, Maricat and Ladrien come in 3rd and 4th with 3% and 2.5% of the total love square screen time respectively and pretty close to each other, Maricat having a slight edge over Ladrien.

Now let's see the trend across the episodes.

Screen Time Trend

For the most part, Ladynoir is on a completely different level than the other ships, only temporarily being dethroned for one episode- that episode being "Gamer"- by Adrienette which was the episode they both practiced for the Ultimate Mecha Strike Tournament and we got some Adrienette bonding with Marinette giving Adrien her lucky charm bracelet. Other than that, it's been on top the whole time, with there even being episodes with solely Ladynoir screen time and having an average of 4 min 22 sec of screen time per episode, with most screen time being in "Animan" (8 min 28 sec) and least being in "Pixelator" (1 min 3 sec) a.k.a the episode where Adrien was stuck in the titular villain's prison dimension for most of the episode. It mellowed down a little towards the end of the season due to there being more plot relevant stuff in those episodes than akuma battle but picked itself right back up for the finale.

Adrienette stayed fairly low in screen time and having screen time in most episodes having a huge spike in the episodes "Kung Food" to "Animan", even temporarily dethroning Ladynoir like I mentioned before with 6 min 28 sec of screen time.

Finally, Maricat and Ladrien had a few small to moderate spikes here and there with some even being two episodes in a row and Ladrien having most of it's screen time towards the end of season 1.

Conclusion

Yeah, so that's it. I'm going to be doing these after I complete every season so keep a look out.

[mjbarrosart]

My Dragon Prince Boards season 7, episode 708: My Final Episode

Happy new year!!

Well, the day has arrived! It is time to talk about my last sequence on the last episode of The dragon Prince I worked: season 7, episode 8.

I can not explain you how much work went into the last 3 episodes of season 7. If you check the board artist credits for this episode, several artist worked on each one! Usually a SB unit has 3 artist, but for this last ones every unit was collaborating with each other. There was a lot of work to do.

I boarded the initial sequence of this episode. Or at least the bones of it. 2 things happened that made my input in this episode smaller that in the previous ones:

First, they removed a lot of things from this initial sequence as it was on the script, mostly to make it shorter, because episode 8 is incredible long (almost half an hour!) so they trimmed the beginning to give more space to other sequences that were more relevant. So a lot of the things I did are not there, haha.

Second, By the end of my time in Dragon Prince I got a really cool offer to go to Titmouse (another animation studio) to work on an amazing show (that sadly is still unannounced so I can not talk about it) so, as soon as I finished my boards for episode 8 I left, while most of the team stayed to keep working on revisions of the boards, so while normally I would do the revisions and changes on my own sequences in the past, for this one I was not in Bardel anymore, so some of my talented coworkers did that for me.

As I said the structure of the sequence is close to what I boarded but not the same. All the beats are there, mostly.

Anyway, there are still some shots that I would like to share with you:

Most of the sequence with the corrupted banthers was changed,. because certain things did not happened, so a lot of my shots got changed, but this one survived, and I like it, "Are you betraying us AGAIN, Karim?" hahaha lol

I like this two shots, they look cool.

Also, Karim is such an idiot. As I told before, i worked so much with him during all my seasons in the show, that i kinda like him, but also he is insufferable, lol.

I think that when I was boarding this parts, we were not set on how big Aaravos will be. We had a proxy to work with, but looks like at the end they made him slightly smaller.

And yeah, I had the privileged to Kill Karim, haha.

No regrets, tho. The part when Aaravos clean his hand on his chest was added later, so that was not me.

Its is not up to me to talk about the parts that were cut or changed. This is not my show at the end of the day, and that is something that only the people at Wondersotorm could share with you. I always try to respect how creators choose to tell their stories, and this is the same.

And yeah, a little anti-climatic after all the highs of episodes 702 and 705, but anyway was a privilege to work on this episode and on so many season of this amazing show.

I could write long about how important for me and my career this experience was, but i have the feeling that you already know that, haha.

Thank you for being part of this journey.

And feel free to ask if you have any questions, I always enjoy reading your comments and tags!!

[jthealien]

I was going to do a quick analysis on the comic’s title in relation to Buddy and uh. here I am now 900 words later. hope at least one person enjoys this,,

TLDR: Maybe the real Cinderella Boy was the weird goth friends we made along the way.

So I was doing my routine pondering of Dreams by Night (because symbolism and parallels are like crack to me) and this line right here might my favorite piece of dialogue in the whole comic:

Really this scene as a whole might be my favorite moment, but that line in particular — and its implications — are so fascinating to me.

Chase yet again breaks the conventions of a story, but this time it's the story of Cinderella Boy itself. In this case, Chase relinquishes his title of The Hero — or more accurately — The Protagonist. I don’t think it’s any coincidence that right after this moment is our first glimpse of Buddy outside of Chase’s perspective. Outside of the narrative up to that point of him being a villain.

I also don’t think it's a coincidence this is something as unreliable as a dream: a (quite literal) look inside Buddy’s head and thought process. Again, further establishing the unreliability of the story’s narrative as we know it.

I’ll stop before I go full blown analysis mode on the comic’s meta themes of narrative and conventions (saving that for another time). But I do bring up all this stuff about changing the view of the narrative, because I want to talk about another implication of ”This can be your story too.”

Which is that the title of Cinderella Boy actually refers to Buddy (or at least also refers to him).

Chase does fit a lot of the qualities of Cinderella and that story. I mean, it’s the very first story we see him in. But, I also think the Cinderella story fits Buddy even more.

List:

—A young person trapped in a horrible situation, stuck wearing rags and being treated as a pawn for a higher authority’s bidding. (Cinderella being a servant for her “family” and Buddy being a servant for Ex Libris).

—Said higher authority being cruel (The Evil Stepmother and the Old Man)

—The young person is assisted by a lady who gives her nice clothes and an avenue to escape reality. (Violet acting as a fairy godmother-like figure).

—Young person falls in love with a man who can rescue them from their troubles (the Prince and Chase), but doesn’t reveal their identity to the man

—Both Cinderella and Buddy are just nicknames, but that’s how everybody refers to them.

So yeah, lots of parallels to Cinderella with Buddy, at least based on the little we know about him.

I also want to bring up something we see in the very beginning of Cinderella Boy. In the first episode, we get a cliff notes version of Cinderella’s story. Colors (especially background colors) are really important in the comic, representing emotions and characters. And what is the main color that reappears again and again in this episode?

Purple.

The petals and roses that surround the snippets of story and the revealing of the main character, all Buddy’s signature color. The petals only turn pink — Chase’s color — when Chase actually appears.

Side note: The inclusion of both purple and pink side by side in this episode also alludes to the fact that, from the start, this is both Buddy and Chase’s story. (Seriously, go check it out, there’s so many instances it’s hard to unsee when looking for them).

Also, where else have we seen purple roses? Oh yeah, Chase’s dream in Dreams by Night. I’ve already rambled about its importance to shifting the narrative. Granted that’s not the only place purple roses appear, but it’s the most relevant.

Beyond just the colors, the actual descriptions of the heroine in the first episode should sound pretty familiar. A person “unknown to all” and “dressed in humble rags.” Sounds a lot like Buddy, from what we see in his dream at least.

Ok, so having discussed all of Buddy’s connections to Cinderella and the comic’s title maybe being about him, this is the part where I start speculating and jumping fifty different sharks. I want to make some predictions about Buddy based on the Cinderella story.

List (the sequel):

1- Buddy is an orphan. (Not far-fetched of an assumption to make about him in general, since in Beach Boys VI he expresses what seems to be confusion about the idea of having a family).

2- The palace’s clock is important in Cinderella, and Buddy’s dream heavily features a clock. So, Buddy’s likely running out of time for something. To find the keys or just being able to see Chase, either/or. What’s going to happen when that time is up? Well…

3- Mimicking Cinderella running away at midnight, Buddy’s going to be forced to leave the stories for good, likely as the season finale.

4- I think Buddy’s going to leave behind a metaphorical glass slipper, an identifier. What do I think it’ll be? His name. (Considering the current relationship between Buddy and Chase. And the fact we’re getting close to the end of the season and therefore a Buddy name reveal, I don’t think this is too improbable).

4.5- This is the most out there one, but Buddy’s name might be related to the name Ella, which is Cinderella’s original name in many interations. Maybe Ellis, Elliot, or Elijah.

It’ll be fun to see if any of these are actually close to what’ll happen. And with that, I’ll end my red string board session for now. :]

[yoursinisforgiven]

GOOD GRACES ──

pairing: isaac x reader (pickel) 

cw: mentions of murder, mentions of blood, non–canon aspects (ivan’s last name, and the name of his acquaintance), asriel & pet appearance, reader gets flirted with(?). episode 7 & 8 of isaac’s series doesn’t have relevance in this fic.

you are responsible for your own media consumption

Nothing was making sense. 

It had been about a week since Christmas, and Isaac's gift to you—a sleek leather notebook with embossed initials—had already been filled with notes from your latest case. You hadn’t expected to dive in so deeply so soon, but the week had passed in a blur. The case itself seemed simple on the surface: one arrogant rich man owed another arrogant rich man money. The problem? The money hadn't been paid, and nearly eight months had passed since the deadline.

You leaned back in your chair, pressing the heels of your palms against your temples as if that might clear the fog in your brain. Why wasn’t this adding up? Every lead seemed to dissolve into nothingness, leaving only more questions behind. 

The desk lamp cast a dim glow over your scattered notes, and you glanced at the name scribbled across the top of the page: Oliver. That was the client. You frowned, flipping through the notebook to a previous page where another name stood out: Ivan. The two men had been acquaintances—close enough for Oliver to lend Ivan a substantial amount of money. It wasn’t just a verbal agreement, either. Oliver had insisted on a formal contract, a safeguard for the sizeable loan. 

You exhaled sharply and skimmed through your notes again. Ivan had started paying the loan back promptly after receiving it. Bank records showed three substantial payments made to Oliver over the span of three months—payments that covered about 70% of the debt. And then… nothing. No payments. No contact. Just silence. 

You tapped the side of your pen against the notebook and stared at the next document in the stack: Ivan's bank statements. Something didn’t sit right. His accounts were practically drained after those payments, but there was an unusual expense that caught your eye—a sudden trip to Tanzania. You squinted at the details, double-checking the timeline. Why would Ivan, who clearly didn’t have the means to pay off his debt in one lump sum, suddenly spend money on an expensive international trip? The timing was suspicious at best.  

The more you thought about it, the stranger it seemed. Ivan had been diligent in making payments. If he intended to disappear, why bother paying 70% of the loan back at all? It would have been easier to cut and run after the first payment—or to never pay anything at all. 

You jotted down the growing list of questions in your notebook:  

- Why did Ivan stop paying after covering most of the debt?  

- What was so urgent or important about the trip to Tanzania?  

- Was there something—or someone—waiting for him there?  

The weight of the case settled heavily on your shoulders. There was something more to this than a simple unpaid loan. Ivan’s actions didn’t align with someone trying to evade their debts. Something—or someone—was interfering.  

You set the pen down and leaned back in your chair, staring at the ceiling. If this was going to make sense, you’d need to dig deeper. Tanzania might hold the answers—or at least the next clue in the puzzle.  

 ──

“Can we go to Tanzania?”  

Isaac didn’t look up from the stack of papers on his desk. Instead, he let out a low chuckle, his amusement barely veiled.  

You pouted, moving further into his study and dropping into the chair directly in front of him. Leaning forward, you rested your elbows on the desk and tried again.  

“Isaac, I’m serious!”  

“I’m sure you are,” he said without looking up, his tone light and teasing. “But what business, pray tell, do you have in Tanzania?”  

You groaned dramatically, throwing your head back in frustration before sitting up straight. “It’s about my case!”  

That got his attention. He set down his pen, finally meeting your gaze with a raised brow. “Go on, then. Explain.”  

You leaned closer, your voice hurried and insistent. “This man—Ivan. He borrowed a huge amount of money from my client, Oliver. He paid most of it back, seventy percent to be exact, but then he just… stopped. No contact, no explanation. Instead, he vanishes and takes a sudden trip to Tanzania.”  

Isaac tilted his head slightly, an unreadable expression on his face. “And?”  

“And,” you said, exhaling sharply, “that’s the last anyone’s heard from him. He hasn’t paid the rest of the debt, hasn’t contacted Oliver, and now I can’t figure out why he’d suddenly drop everything to go there. It doesn’t make sense.”  

Isaac took a slow sip from his glass of whisky, the amber liquid catching the light. When he finally spoke, his voice was calm and matter-of-fact.  

“He’s dead.”  

The words hit you like a freight train. For a moment, you just stared at him, your mind racing to make sense of what you’d just heard.  

“What?” you finally managed, your voice barely above a whisper.  

Isaac swirled the whisky in his glass, his gaze steady but distant. “Ivan. He’s dead. Asriel attempted to cover it up, but clearly, he didn’t do a very good job.”  

“Asriel?” you echoed, your brows furrowing deeply. “Who the hell is Asriel, and what does he have to do with this?”  

Isaac leaned back in his chair, the faintest hint of a smirk tugging at the corner of his mouth. “Asriel is a name you’ll want to remember. He’s not the type of man you want involved in something like this. If Ivan’s death is connected to him, you can bet it wasn’t an accident. He’s a colleague of mine.”  

Your stomach churned as the implications settled over you. “So, you’re saying someone killed Ivan? And it wasn’t just some random tragedy in Tanzania?”  

Isaac raised a brow, as if the answer were obvious. “Precisely. Tanzania wasn’t a coincidence. Someone orchestrated this, and Asriel’s involvement suggests it’s much bigger than unpaid debts.”  

You felt a shiver run down your spine. The case had gone from puzzling to dangerous in the span of a single conversation.  

 ──

Asriel had killed Ivan.  

That was the conclusion you’d drawn after hours of pacing in the kitchen, replaying Isaac’s cryptic words over and over in your head. Isaac had left the house for a "business meeting," his tone deliberately casual, but you couldn’t shake the sinking feeling in your stomach. Would he really confront Asriel—or worse, collaborate with him? The idea that Isaac could be protecting a murderer gnawed at you like a persistent itch you couldn’t scratch.  

Your pacing came to an abrupt halt. If Asriel was truly a colleague, wouldn’t Isaac have access to the case files? And if those files existed, they might hold the key to unraveling this entire mess.  

The thought ignited a spark of determination. Without hesitation, you raced up the stairs, taking them two at a time, and headed straight for Isaac’s study. The faint scent of whisky and leather still lingered in the room, and the soft ticking of a clock seemed louder in the silence.  

Your eyes darted to the large mahogany filing cabinet tucked neatly in the corner. You hesitated for a moment, glancing at the door to make sure you were alone. Then, with a deep breath, you crouched in front of the cabinet and began pulling open drawers, fingers flipping through the neatly organized files.  

“Ivan, Ivan, Ivan,” you muttered under your breath as your fingers flew across the labels. “Come on, where are you?”  

Then you found it—a thin folder marked ‘Ivan Volkov’ in Isaac’s clean, precise handwriting. Your heart skipped a beat. You pulled it out and laid it on the desk, your hands trembling slightly as you flipped it open.  

A dossier on a woman named Rhene, complete with a photograph.The photo showed a woman with sharp features, her eyes calculating and intense. The accompanying notes were concise, detailing her connection to Ivan. It seemed Rhene had accompanied him on his trip to Tanzania, though her role remained ambiguous.

A sealed folder labeled "Crime Scene."The label alone made your stomach tighten.

A DNA analysis report.The samples listed weren’t Ivan’s or Rhene’s. Instead, the report highlighted genetic anomalies, with unsettling notes referencing “non-human origins” and “predatory characteristics.”

You stared at the sealed folder, your breath catching in your throat. You knew you shouldn’t open it, but the pull of curiosity—and the need for answers—was stronger than your fear.

With trembling hands, you unfastened the clasp and opened the folder. The first photo hit you like a physical blow.

Mutilated. That was the only word that came to mind. Ivan and the woman, Rhene’s body—or what remained of it—was scattered in grotesque disarray. Limbs had been torn apart, some strewn across the room, others almost unrecognizable. The scene looked more like the work of an animal than anything human.

Your breathing quickened as your eyes darted over the images. Bite marks. They were everywhere, jagged impressions on what was left of Ivan’s torso, arms, and legs. It wasn’t just a random attack—it was targeted, deliberate.

You slammed the folder shut, stumbling backward as nausea clawed at your stomach. Your heart pounded, your vision blurred.

This wasn’t just a murder. It was a massacre.

If Asriel hadn't killed this man, Who—No, what had?

 ──

You had been sitting on the floor of Isaac’s study for exactly 24 minutes, nausea twisting your stomach into knots. The weight of what you’d seen refused to dissipate, the gruesome images replaying in your mind.

Suddenly, your work phone rang. The sharp sound startled you, making your blood run cold. You hesitated, glancing at the screen. Oliver.

For a brief moment, you debated ignoring it—dropping the case entirely and walking away from this madness. But you knew you couldn’t. Not yet.

Alast, you answer on the fifth ring.

“Hello.” You say, trying not to sound uptight. The line crackled faintly before Oliver’s sharp, impatient voice cut through.

"Finally," he snapped. "I was starting to think you’d forgotten about me."

You swallowed, gripping the phone tightly. "No, Oliver. I’ve been working on your case."

"Good" he said curtly. 

"Oliver," you said sharply, unsure if you even wanted to mention the man. "Do you know Asriel?"

Oliver’s silence was immediate, tense.

"Answer me," you pressed.

There was a pause on the line, and when Oliver spoke again, his voice was quieter but no less tense. "Why are you asking about Asriel?"

 "I need to speak with him."

Oliver let out a bitter laugh. "You think you can just speak with Asriel? People like him don’t take calls from nobodies like you."

"Then give me the number of someone who can get me to him," you pressed. "You hired me to solve this, didn’t you? Help me do my job."

Oliver grumbled something under his breath before responding. "Asriel doesn’t deal with most people directly. But I know someone—Vic. He’s Asriel’s right-hand man, and I know him well enough to get you a meeting."

"Vic?!" you said. You curse at yourself, regretting sounding so surprised. Your breath hitched at the mention of Vic, memories of the man rushing back to you. His smooth voice, the way he’d tried to “take you off Isaac’s hands” like you were a burden or a prize—either way, the thought made your skin crawl. "Send me Vic’s number. I’ll handle it from here."

"Fine," Oliver said begrudgingly. "But if this goes south, it’s on you. Don’t expect me to dig you out of any trouble with these people."

"Trust me," you muttered, "I wouldn’t expect you to."

Oliver hung up without another word, leaving you gripping the phone tightly, the tension in your chest refusing to ease. Not a minute after you get a text from Oilver, it was Vic’s number.

The sight of it made your stomach churn, but there was no turning back now.

With a deep breath, you dialed the number, your fingers shaking slightly.

The line barely rang twice before a smooth, lilting voice answered. "Well, well. This is unexpected. To who do I owe the pleasure?"

"Vic," you said, keeping your tone measured. "I need to talk to Asriel."

There was a pause, and then a low chuckle. He recognized your voice. "Straight to business, I see. No pleasantries? No ‘How have you been, Vic?’ I thought we had something special."

You clenched your jaw, resisting the urge to snap at him. "I don’t have time for games. Can you get me to Asriel or not?"

"Tsk, tsk," he said mockingly. "Always so serious. But lucky for you, I’m feeling generous today. Why don’t you tell me why you’re so eager to see him? Did Isaac finally let you off the leash?"

You ignored the jab, your voice cold. "It’s about Ivan Volkov. And if you care about keeping Asriel’s name out of this mess, you’ll help me."

Vic hummed thoughtfully, his voice dripping with amusement. "Ivan, huh? That’s a dangerous name to be throwing around. But you’re in luck. I happen to like danger."

"Vic," you said sharply, your patience wearing thin.

"Alright, alright," he said, his tone turning playful. "I’ll arrange something. But only because I find you endlessly fascinating. Just promise me one thing."

"What?"

"Try not to get yourself killed before the meeting. It’d be such a waste of potential."

The line went dead before you could respond. You stared at the phone, your heart pounding. Vic’s words echoed in your mind, sending a shiver down your spine.

──

Three weeks.

Three weeks of complete radio silence.

The days dragged on, heavy with uncertainty. You told yourself that Vic was playing some twisted game, dangling the promise of a meeting just out of reach. But the longer you waited, the more your mind spiraled.

Isaac had noticed your unease, though you tried to mask it. Every time he asked, you brushed him off with a strained smile. "It’s nothing," you’d say, "just the change of season."

But the lie did little to ease his concern—or yours.

Vic’s words replayed in your head like a broken record: “Try not to get yourself killed before the meeting.”

Was it a warning? A threat? Were you being watched, stalked? Did Vic want you dead? You didn’t know, and the uncertainty gnawed at you. Every creak of the floorboards, every shadow in your periphery felt like a potential danger. Sleep became a luxury you could no longer afford.

Then, just as you began to consider calling Vic again—perhaps to demand answers, perhaps just to scream at him—your phone buzzed.

You froze, the device trembling in your hand as you checked the screen. It was an unknown number.

Your pulse raced. It had to be him.

With a deep breath, you answered. With a deep breath, you answered. "Vic. You arrogant son of a bitc—"

"Well, that’s not how you answer the phone now, is it?"

The voice was smooth, like silk over glass, and utterly unfamiliar. Not Vic.

Your heart sped up, a cold wave of fear washing over you. This wasn’t Vic.

"Who is this?" you demanded, your voice sharper than you intended.

The man on the other end chuckled, the sound low and rich, reverberating in a way that made your skin crawl. "Why, I believe you already know who I am. You’ve been asking around for me, haven’t you?"

The breath caught in your throat. Asriel.

“What did you use to kill Ivan?" you asked, forcing strength into your voice. "Whatever it was, it’s clearly inhumane. Something that shouldn’t be in the hands of someone like—"

The chuckle came again, softer this time, almost indulgent. "Careful now," Asriel interrupted smoothly. "They don’t like being referred to as ‘it.’ If you want to meet them, it’s important you learn a little respect."

Them?

“Has Isaac taught his own pet no manners?”

You were about to respond when a voice murmured faintly in the background. It was low, guttural, and laced with irritation. You couldn’t make out the words, but it sent a shiver down your spine.

"Asriel," they said, sharper now.

"Ah," Asriel drawled, the faintest edge of amusement in his tone. "Pet, come here. Come say hello to our curious little friend."

There was a pause, a rustling sound that could have been movement, and then a new voice entered the line. This one was different—softer but no less chilling.

The single word hit you like a cold blade to the spine.

"Hello."

──

author's note: this may be one of my personal favorites, i know many are a fan of the pet x pickle duo so i wanted to write an interaction a little more realistic.