#both are equally as bad imo

[osaemu]

i'm sorry but how r u gonna be close mutuals with a pedo and not know.....

[cosmic-walkers]

Is it me or do I notice a chunk of Wolf Hall fans tend to not like Anne Boleyn. I think a lot of it has to do with how she was portrayed in both the show and the books...

I like her, a lot...but i notice a lot of people don't.

[dazedsies]

Long hair Chara, Mettatons, and some fusions.

[forcedhesitation]

oh? something mizora said actually being worth listening to??

this is an interesting bit of foreshadowing to ansur being dead/wyll being the true "heart of the gate!"

[tonydaddingham]

https://www.tumblr.com/thesherrinfordfacility/725147876273094656/one-thing-i-dont-really-get-is-that-crowley?source=share

My point was more neither option is good by by dash seems to be acting like Crowley was making the right choice.

But your post was really interesting regardless, thank you for such a thoughtful answer.

no problem!!!✨

[thirstghosting]

this is how--now i know this is a cringe take--but this is how I justify every canon pairing in The Office.

When their entire relationship is toxic, but they're both so fucked up that it's actually the best case scenario, because subjecting anybody else to either of them would be a human rights violation.

[centrally-unplanned]

We (somewhat rightly) mock the 2000's era fansub translation notes for their otaku fixations and privileging of trivia over the media, but they should be understood as serving their purpose for a bit of a different era in the anime fandom. Take this classic:

Like, its so obvious, right? Just say "pervert", you don't need the note! Which is true, for like a 'normie' audience member who just wants to watch A TV Show - but no one watching, uh *quick google* "Kamikaze Kaitou Jeanne" in 1999 is that person. The audience is weebs, and for them the fact that show is Japanese is a huge selling point. They want it to feel as 'anime' as possible; and in the west language was one of the core signifiers of anime-ness. 2004 con-goers calling their friends "-kun" and throwing in "nani?" into conversations was the way this was done, and alongside that a lexicon of western anime fandom terminology was born. Seeing "ecchi" on the screen is, to this person, a better viewing experience - it enhances their connection to otaku identity the show is providing, and reinforces their shared cultural lexicon (Ecchi is now a term one 'expects' anime fans to know - a truth that translator notes like this simultaneously created and reflected).

But of course your audiences have different levels of otaku-dom, and so you can't just say 'ecchi' and call it a day - so for those who are only Level 2 on their anime journey, you give them a translation note. Most of the translation notes of the era are like this - terms the fansubber thought the audience might know well enough that they would understand it and want that pure Japanese cultural experience, but that not all of them would know, so you have to hedge. The Lucky Star one I posted is a great example of that:

Its Lucky Star, the otaku-crown of anime! You desperately want the core text to preserve as much anime vocab as possible, to give off that feeling, but you can't assume everyone knows what a GALGE is - doing both is the only way to solve that dilemma.

This is often a good guideline when looking at old memetically bad fansubs by the way:

This isn't real, no fansub had this - it was a meme that was posted on a wiki forum in 2007. Which makes sense, right? "Plan" isn't a Japanese cultural or otaku term, so there is no reason not to translate it, it doesn't deepen the ~otaku connection~.

Which, I know, I'm explaining the joke right now, but over time I think many have grown to believe that this (and others like it) is a real fansub, and that these sort of arbitrary untranslations just peppered fansub works of the time? It happened, sure, but they would be equally mocked back then as missteps - or were jokes themselves. Some groups even had a reputation for inserting jokes into their works, imo Commie Subs was most notable for this; part of the competitive & casual environment of the time. But they weren't serious, they are not examples of "bad fansubs" in the same way.

This all faded for a bunch of reasons - primarily that the market for anime expanded dramatically. First, that lead to professionally released translations by centralized agencies that had universal standards for their subs and accountability to the original creators of the show. Second, the far larger audience is far less invested in anime-as-identity; they like it, but its not special the way its special when you are a bullied internet recluse in 2004. They just want to watch the show, and would find "caring" about translation nuances to be cringe. And since these centralized agencies release their product infinitely faster and more accessibly than fansubs ever did, their copies now dominate the space (including being the versions ripped to all illegal streaming sites), so fansubs died.

Though not totally - a lot of those fansub groups are still around! Commie Subs is still kicking for example. They either do the weird nuance stuff, or fansub unreleased-in-the-west old or niche anime, or even have pivoted to non-anime Japanese content that never gets international release. But they used to be the taste-makers of the community; now they are the fringe devotees in a culture that has moved beyond them. So fansubs remain something of a joke of the 90's and 2000's in the eyes of the anime culture of today, in a way that maybe they don't deserve.

[teaboot]

Do you think that cis men feel the same way as trans men do? Like with how men get treated by society as being inherently evil and as predators?

I think maybe both cis and trans men experience these issues but it's easier for a trans guy to point it out because he gets to see people so quickly turn on him for being a man while transitioning

oh yeah definitely

I find "meninists" fucking obnoxious, especially as any of their VALID concerns fall under the bracket of feminism, but there does exist a presence of radfems and terfs that are scarily eager to lash out at anything resembling masculine that. Definitely needs to be addressed somehow

Like. There's a mile of middle ground between "Um yeah women have problems, whatever, but what about ME and MY FEELINGS 😢" and "I am genuinely trying my best to be thoughtful and considerate of others, and everything I do is being met with bad-faith interpretations and dismissal"

And I think the best advice I have for anyone else getting bogged down by this is that. like.

If someone is determined to see the worst in you, nothing you can do to prove otherwise will be enough. You will never change that person's mind. They don't want you to change their mind. So like... just focus on you, and keep doing your best, and learn, and know that people determined to find something nasty don't really have an issue with YOU- they have their own experiences and traumas coloring their worldview.

Someone who is determined to see you as a monster will only ever see a monster. So it's better to ask yourself, "would a monster do what I'm doing?". If the answer is yes, take steps to change that. If the answer is no, then it's not about you, and you can give yourself permission to move on.

So... yeah, I imagine cis men probably do feel the way I feel about this sorta thing sometimes.

Except, like. After a lifetime being a girl, living as a girl, fighting for equality as the only girl in a lot of men's spaces, being a feminist girl and an Eldest Daughter girl and calling out the bullshit only to later realize I'm not a girl... and that Im actually mostly a dude, still a feminist... at least when people call me a mysoginist, I know they're talking out their ass

I can kinda see where young men encounter their very first radfems calling themselves feminists and immediately become radicalized right-wing conservatives cause like. If I as a teen thought feminism meant Radfems and Terfs, I'd probably start running too

It's all just so exhausting

Any one group being wholesale grouped as "100% helpless gentle victim" or "100% selfish malevolent monster" is doomed, imo

(Now watch the notes blow up with "this is just 'not all men' rhetoric, lol)

But anyways I hate nuance I hate interpretation I hate implication and symbolism and context and I wish everything in the world was simpler so we could all blow a collective joint together and invent some new soups

[lmnkx]

i wholeheartedly believe that the tumblrwoman poll will end in a morticia v. vriska

[noxiatoxia]

I don't know if this is common knowledge, but Komaeda's talent in Japanese is not "Ultimate Lucky Student". It is "Ultimate Good Fortune" (or good luck).

I know the word "lucky" has connotations with being good luck, but "luck" itself seems neutral to me at least.

I think the fact Komaeda is praised for, and has his talent be centered on, his good fortune is a very important nuance. People only see the good that happens to him. People keep telling him what happens to him is "good luck". His parents dying and getting kidnapped end up being called "good luck" in the end. I think this reinforces his pattern of thought more than people just saying he has extraordinary luck (good and bad). It's a minor difference, but it adds a lot. I have been thinking about this for a little bit now.

Because of the fact it is good luck specifically, I wanted to find parts where Komaeda specifically talks about bad luck. Lines such as "my awful luck/dreadful luck..." doesn't make much sense in the context of his Japanese talent. It made me wonder if those English lines even existed or if it was a "Luke, I am your father" situation. I don't have either the English or Japanese script memorized.

I checked the Freetime Events because of this, and found an interesting thing. There's a number of mistranslations, or simply translation choices I don't really agree with.

The freetime events heavily misrepresent how often Komaeda uses the word "luck". He uses both 不幸 and 不運 an equal amount I'd say. Maybe the former more. The former means "misery" "sorrow" or "misfortune". The latter means "bad luck" or "ill-fortune".

Likewise, 幸運 means good luck, but it also means good fortune. It's the word used in his talent as I described above.

Now, that's not to say I think Komaeda's "talent" should not be referred to as luck, nor am I saying he should never use the word luck. I think good and bad luck is a perfectly apt English word to describe his experiences. I just think the English translation overuses it. It wouldn't have killed them to make him say "isn't that just awful" or "what a tragedy, right?" instead of "isn't that such bad luck?" every conceivable moment. Maybe I'm just nit picky.

Now, onto the free time events. I want to talk about them.

I'll be talking about them in order as they appear. Also, I am only going to talk about the 3rd event onward, after Komaeda's chapter 1 reveal.

Freetime event 3

A minor nitpick, but "friends" is not the word I'd use here. It's true you can translate it that way, but considering everything else about Komaeda, at this point in the game, he wouldn't readily call Hinata his friend. Especially considering the connotations that holds for him.

That's precisely likely why he, in fact, doesn't say "friend" in the Japanese text. He uses 仲間 which like I said, while can and does translate as friend when used in that way, it just means people of a common thread. Like, a group, I guess.

My TL:

Because we both share the common goal of seeking out hope!

Freetime event 4

This is a really bad translation IMO. Hope is never said once in the original dialogue. I don't know why they put it there.

My TL:

Hinata: It's pretty ironic that you got wrapped up in this shitshow considering your "Ultimate Good Luck". Komaeda: It's not ironic at all! This is no doubt just the beginning of the good things to come my way! Komaeda: Um, let's just say the "good luck" I was born with is a little less straightforward [than the name would suggest]... Komaeda: once this is all over, I'll be rewarded with good fortune of the highest caliber.

And though this next one isn't much of a "mistranslation", I want to offer an alternative translation that highlights my criticism of "overusing the words good/bad luck".

My TL:

Komaeda: The greater the misfortune I experience before hand...the greater the good that comes my way afterwards! It completely cancels out everything before it!

Freetime event 5

I sadly cannot find in-game pictures of this since it's one of the wrong dialogue choices, so here's the script file text for it instead (sorry)

I remembered this line in English specifically because I always thought it sounded weird for Komaeda to say - "It's rare to hear you give such a half-assed answer".

While not a mistranslation totally, I think the tone is a bit off.

I would write it more as, "Ah ha ha! That's quite the answer, Hinata-kun!"

It literally translates as "for Hinata-kun, that is a very suitable answer!" but it's clearly supposed to be teasing/sarcastic. So he means to say "oh, wow, Hinata-kun, you're answering with that?" but in a lighthearted tone.

Freetime event 6

Almost didn't include this because it's the mistranslation we all know and hate, but it's worth mentioning in case people don't know.

My TL:

Please, just one last thing...don't ever forget...that from the bottom of my heart, I love y...I love your hope that sleep dormant inside you.

Though he does just say "please, don't forget", he uses どうか which is a pretty polite turn of phrase for Komaeda. It also is a way to emphasize a request, as in please do this to the benefit of me.

He backtracks pretty heavily. The verb comes at the end in Japanese sentences, so giving an exact one-to-one would be hard, but I'll try to explain it.

ボクはキミを... キミの中に眠る希望を心から愛していると。

Boku wa Kimi wo... Kimi no naka ni nemuru kibou wo koko kara aishiteiru to.

の/no = possessive. Such as, "Lucy's cat" "David's car".

を/wo = verb particle. There's no real English equivalent but you use it to signify some verb is being done onto something. Such as, "I kicked the ball" ("ball wo kick") or "I pet the cat" ("cat wo pet").

は/wa = topic particle. Commonly translates as "is/am" but that is NOT what it means. It just signifies everything that comes after it relates back to what comes before it. It's most accurate to think it as "as for the topic of..." Such as, "my damaged car wa had to go into the repair shop." After wa, "had to go into the repair shop", you ask, "what had to go into the repair shop?" you can find the answer in the topic, which is before wa: my damaged car. (or... me no damaged car.)

So, with this knowledge, let's break down the sentence.

Boku = I/me.

Kimi = you.

So this would make Boku wa Kimi wo in it's most literal form: as for the topic of me (aka, speaking for me), I, onto you...

Then he trails off. wo becomes no.

I, onto your hope sleeping inside of you...

and then we return to wo:

from the bottom of (one's) heart, love [the hope sleeping inside of you].

One could easily see it as Komaeda quickly changing the wo to no to add extra steps to not make the confession so head-on. Because if we remove everything after no and just continue where the wo leaves off, we get:

Boku wa Kimi wo koko kara aishiteiru to.

As for me, I, from the bottom of my heart, love you.

Now...one could also read it as him not backtracking, but adding. Saying I love you and the hope that lies dormant within you. Both are equally plausible. Listening to the audio it can go either way, but the way he quickly and softly drops off when he gets to the first wo makes me feel like it's a backtrack. Or maybe the background music is just too loud haha.

Well, that's all I got for now.

[txttletale]

Could you say a bit more about your thoughts on zygon inversion?

the whole two-parter is about how refugees (the zygons) who are being settled by the british government, and how some of them are Good Refugees who just want to assimilate and be Normal Human (read: British) People and some of them are Bad Refugees who join a scary terrorist group that use this fucking banner:

it is, i think, completely impossible for anyone with even the slightest understanding of european political discourse to not immediately scan this as being, if not a 1-1 to metaphor exactly, about as damn close to being About Muslim Immigration as it gets, playing on the everpresent fear of the european white supremacist right that asylum seekers and refugees from west asia are all secretly suicide-bombers in waiting. and this episode takes the liberal stance on this, which is that yes, obviously some of them are insane violent evil militants who just want to kill people, but some of them are The Good Ones, and we should figure out a way to find and punish The Bad Ones without impactiung the Good Ones Too--this is, broadly, the liberal stance on immigration in the UK, and it is obviously also prima facie accepting of islamophobic ideas! jack graham did a great piece on it.

the doctor's little speech at the end of the zygon inversion essentially boils down to 'war is bad, you just want war because you're an arrogant idiot who won't be affected by it'. which would be all very well and good in an episode like the frontier in space, where the confrontation is between two competing imperialist powers full of bluster and bravado and jingoism--but in talking to UNIT and the zygons, he's textually equivocating between refugees who are unhappy with their mistreatment at the hands of the British government and the British government agency mistreating them (yes, i know UNIT is nominally plurinational but that is not the portrayal of them we are getting here.) the fundamental problem with the scene is that bonnie (as elizabeth sandifer has pointed out) is only there to say vacuous nonsense that basically amounts to "i love war and violecen and i think its good" so that the doctor can heroically say, "actually, itsNot good." she's written as such an embarrasing caricature for the doctor to knock over that it imo makes the whole speech profoundly unearned.

of course, peter capaldi sells it, like he often sells garbage he's given to say! it's even a moving speech against war, when taken out of context--but taken in context, it's just equivocating between the oppressed and their oppressors and treating them both as equally responsible for making peace, and i think that's morally repulsive.

[linderosse]

Are you planning on redesigning Aurora now that you intend to fuse her and Echo?

Yes!!!

I’ve finished the redesign, and now all I’ve gotta do is complete the little minicomic that goes along with it. Expect those out sometime soon!

(Aurora’s game, AoL, is actually one of the two Zelda games I haven’t played yet— and now that I’ve finished EoW, I’m super excited to stream my first playthrough of AoL starting tomorrow— 10/16!)

I don’t think I’ve actually written out the full context anywhere, so I’m going to take this chance to lay everything out:

Echo (EoW Zelda) is being merged with Aurora (AoL Zelda) in the Wisdomverse, and Rhyme (Cadence of Hyrule Zelda) is now also canon, and is Echo’s second adventure. This gives Silent (EoW Link) another game as well by merging him with Rhythm (CoH Link).

Imo, Cadence of Hyrule is the perfect second adventure for Echo and Silent:

CoH has two-player mode, and both Link and Zelda are equally playable, which means Echo maintains her protagonist status and gets to fight alongside her Link for a whole adventure this time.

Their names, Echo and Silent, also kinda fit the musical theme of CoH.

CoH features the Gerudo as one of the main races, who aren’t in any of the other Downfall games except EoW. It also features the Deku Scrubs in the DLC, who aren’t properly a race in *any* games except for MM and EoW.

CoH’s main villain, Octavo, goes around putting people to sleep. Sounds a bit like what happened to Aurora… but I don’t think Octavo is the Wizard— Octavo is not that bad a guy.

Cadence herself, the third part of the protagonist trio in this game, fits well as their new friend.

CoH gives Echo and Silent time to get to know each other properly before they’re cruelly torn apart in the backstory of AoL, presumably (but not certainly!) forever.

(I have indeed 100%ed CoH, then went back and completed Octavo mode, then went back again and completed main mode deathless and 100%ed it again. CoH is a really fun game, guys.)

Anyways, this means:

Echo’s journey: Echoes of Wisdom —> Cadence of Hyrule —> (Great Decline: 400 year timeskip) —> Adventure of Link

Silent’s journey: Echoes of Wisdom —> Cadence of Hyrule

Hyrule’s journey: (Great Decline) —> The Legend of Zelda —> Adventure of Link

Dawn’s journey: (Great Decline) —> The Legend of Zelda

…This is getting rather complex, isn’t it. I should probably make another version of that timeline I made for the Links, but with all the updated info, and with the Zeldas instead. So many ideas, so little time!

Masterpost

[unsolicited-opinions]

Just saying like . Of your countries list a lot of these Are heavily criticised by those who take a stance against Israel’s government and current political status. Turkey and Northern Ireland being listed are banger examples. Also of the countries you listed with official religions, the depth of which religion is involved in general affairs varies drastically. I’m Scottish, you listed Scotland, the Church of Scotland has literally no influence on politics and laws, its heritage / a left over item by English Protestants more than anything. I do in fact, firmly think any country having an official religion meddling in state affairs is bad, actually, but the list you pulled together has such massive variety it’s not really making a big point imo. Afghanistan and like Scotland have very different levels of religious control over government and every citizens life. Both shouldn’t be there but, not comparable aside from the simple fact they have an official religion 😭

Cool. Tell me more about what level of ethnic or religious identity you think is okay in a modern nation state? Not joking - I think that's an important conversation to have and I'd like to have it.

I agree that the UK's level of religious establishment is mostly harmless. There is real freedom of religion, despite the fact that the Monarch takes vows to protect the Church of England and the Church of Scotland. There is real freedom of religion despite the fact that public funds go to religious schools. I don't think those circumstances are ideal, but I think the UK lives up to Enlightenment Liberal values by truly protecting religious freedoms for religious minorities and having laws against religious discrimination.

The same cannot be said, for instance (as you mention) for Afghanistan, Iran, or Egypt.

Meanwhile, non-Jewish Israelis have the exact same legal rights as Jewish Israelis. (If you would like to dispute this fact, please cite sources). As every citizen of the UK has equal rights of religious freedom, so do the citizens of Israel. Israeli non-Jews are judges and members of Israel's parliament, the Knesset.

So, how does this differ from the UK?

I totally agree with you that ANY establishment of religion is potentially problematic- But if Israel's identity as a Jewish state is bothersome while it has true freedom of religion which none of its neighbors have, I'm asking why Israel is singularly bothersome to its detractors for having an ethnic/religious identity.

And, again, I really would like to hear *answers* to this question which leverage facts and reason.

Lastly, thank you for offering a differing view without resorting to slurs or telling me to kill myself. I value and appreciate your civility more than I can adequately express.

It is one of my life's ambitions to visit Scotland. I loved how the Scots responded to Trump's visit. David Tennant made my week with this one.

Wishing you well in these awful times.

[yaksha-lover]

i’m obsessed with the thought of vil falling for someone who’s ugly. especially if it’s a forced proximity trope. triple points if it’s enemies to lovers!

there’s just something about a guy obsessed with beauty is shown that beauty doesn’t equal to value that melts me

omg i actually was obsessed with this concept a few months ago and i wrote a very short unfinished drabble (set in medieval au) about knight!vil falling for ‘ugly’ knight!reader but i didn’t think anyone would want to read about an ‘ugly’ reader 😭😭

i definitely agree tho the concept is so perfect for vil imo. like the idea of this guy who’s so fixated and obsessed with beauty (especially one who’s potentially been told that much of his worth lies in his looks) who ends up falling for someone very unconventional completely unintentionally. like theres’s a whole internal struggle in him that he doesn’t want to fall in love with this person. they’re an enemy, and unattractive at that.

but then he just can’t help but falling in love with their character; when they give hope to him and represent a goodness that he’d lost. someone who is called ugly and unwanted everyday by the world and manages to keep their head held high even if tears are pouring down their cheeks.

i think that’s a quality he’d admire a lot; kindness even when the world has been unkind. he wants to be good like that too. in a way, you’re like a mirror of the kind of goodness he wants to see in himself. you’re made fun of and put down at every turn and yet you do not let that stop you from being nice. whenever someone mocks vil, he can’t let it go, he can’t let himself be kind because it hurts and that’s the only protection he’s found.

also the idea of consciously thinking someone is unattractive but unconsciously starting to notice their eyes and lips and desire settling in- help-

unfinished drabble under the cut 👉👈 (also its fem reader bc i think medieval gender roles and the idea of ‘ugly’ woman x hot man couple is kind of important to the theme lol - aka this is just jaime x brienne rewritten but anyway-)

Vil truly believed you were ugly when he first met you. He almost never truly meant the term, but in this case, it was appropriate. Most everyone you encountered agreed. He could tell by how you’d stayed stone-faced at his cruel taunts, apparently used to it. Your features were just a bit too extreme, too out of place, too different. He’d used your appearance against you, scratching at every insecurity you’d thought of and probably some you hadn’t. Still, you hadn’t gotten angry as he’d hoped. You didn’t seek to harm him, even when he knew he’d struck a sore spot.

He persevered, but you’d never given in, despite his hopes that you would become blinded enough by anger and pain to give him a chance to escape. He admired you, in a way. It seemed as though life had beaten you down long before he’d come along, but a hardened rock had emerged from the erosion.

Sometimes his words would cut too deep for you to ignore. You never did anything rash, to his dismay, but he could tell they affected you. He didn’t feel bad; why should he? He was your hostage, and you his captor. Even if you were performing your duty, you were getting in the way of his own responsibilities, his life.

Vil was surprised to learn that you were a high-born like himself. Well, not exactly born to a family of his status and wealth, but a high-born nonetheless. He’d realized that he should’ve been addressing you with your Lady title, but you’d fought at soon as he’d tried.

No matter my origin, you know that no man sees me as a lady, Sir Vil.

-

They came, and they cut off his hair. One of them taunted him for being a beautiful husk. So they’d cut a deep gash across his face. Now your outside matches your inside, ‘Sir’, they’d mocked.

Vil had wished they’d cut off his head instead.

Later, after you’d managed to convince them to let you treat his wounds, he’d bemoaned to you.

Now we’re both grotesque, he’d said, a pair of freaks.

You’re not ugly, you just have a scar, you’d replied. You turned away from your task to face him. You’ll never know what it means to be ugly.

Even with his bitter remarks, you treated his wounds all the same. When he was too afraid to face himself in the reflection of the lake, you’d been the one to peel away his bandages and force him to look.

See, you’d said, not a monster, just a man.

He’d wondered if you were an angel at that moment, a saint. Or maybe you were a witch destined to lead him astray. He hadn’t really cared either way.

[schlong2]

latest fix rant time

none of my friends want to talk to me about monkey movies and then i remembered i have a whole blog dedicated to my latest fixations so. i've watched Kingdom of the Planet of the Apes two (TWICE ✌️) times in theaters. this was after watching the newer trilogy (Rise, Dawn & War) and the first 1968 original in prep.

things (SPOILERS!!!):

Kingdom's run time is 2 hours and 25 minutes. this is incredibly long for a movie. compared to 1968's 1 hour and 52 minutes, that's a half hour difference. Infinity War was 2 hours and 36 minutes for reference. that's a whole marvel cinematic convergence, but ape. the run time isn't exactly the issue i've seen talked about. it's the pacing. sitting twice through this movie was not a problem for me. i sat there engaged all the way through. on the second watch, i tried to be mindful of times in which it might have been dragging for the average person, and i like, literally couldn't find any. pretty much every scene had meaning and didn't drag imo. which is something these newer movies do extremely well. Kingdom is pretty equally split between verbal communication and sign language compared to the first three before it. the apes use both verbal and visual cues to talk. but because they don't talk every single time, it makes every moment that they do feel special. it reminds me of the Quiet Place concept, where most of the movie you only hear a human voice a few select times when it's safe to do so. Rise, Dawn, & War were kind of like this, as Caesar only really spoke when he was trying to make a point or communicating to humans, who are mostly speaking in those movies. he speaks more as he gets more fluent, and by War, he can speak very well. we see other apes like Koba, Maurice, Blue Eyes, and Bad Ape also speak English. these moments are rationed pretty well throughout Kingdom, making the dialog more select and meaningful. this makes every time these beasts talk feel like it means something and isn't just fluff to fill your ears. every other scene feels like it's building or showing a side of a character we hadn't seen before, and the scenes between those advance the plot or are like, really action-packed. i just don't see why some people say it has pacing problems. it's just long. i understand the average person's attention span is super short, but when you're sitting down to watch two and a half hours of movie, you gotta know there's gonna be downtime. moments where they're not fighting or advancing the plot. and i think that's GOOD man. but im also not one for action/adventures very much so maybe that's it? i think a lot of people maybe watch these apes for the violence and conflict rather than their introspection, genuinely thoughtful world building, and complex characters. and hey, that's completely fine to enjoy, but POTA is originally about morals and asking the audience questions and posing dilemmas to popular beliefs at the time. ok

Raka. he's great. Peter Macon has this butter smooth voice that's just perfect for the kind of character he plays. you can't help but like him. but he dies like 1/3 into the movie and is really only there to religion dump about Caesar (ape jesus) and then he's swept away. people are complaining that that's all he was really there for. to explain the real values of Caesar and provide a foil to Proximus. and i agree to some degree. i really hope he's not actually dead. his presence and death are felt throughout the movie, as both Mae and Noa (mostly Noa vocalizes it, Mae just silently shares in his loss and i think cries at one point?) seem to mourn him, saying shit like "if Raka were here..." and especially at the end when Noa gives the Caesar pendant to her. it's the shared memory of Raka and what he devoted his life to. but they never really like, actually linger on his death. there's a moment after he's swept away, and the shot stays on the rushing waters, Raka no longer visible and plays some sad tunes, but like. C'MON. he's not really dead. he isn't please tell me he isn't PLEASE

Noa isn't Caesar. i honestly do not get why you would want otherwise. of course, he isn't Caesar. we don't need another Caesar. he had a whole three movies to be the center of. i would be extremely disappointed if they just made a carbon copy of him or made Noa like a direct descendant of him or whatever. i hate that Chosen One bullshit. Caesar was just a guy that wanted peace for his people and that got him killed in the end. Noa is also a guy who wants peace for his clan. they're both leaders and have good hearts, but like. they're different characters. i LIKE that Noa has no relation to Caesar, i LIKE that he's his own character with his own ideals and purpose. Owen Teague does a wonderful job making the character his own. i mean Andy Serkis is Andy fucking Serkis. pretty big shoes to fill and i think Teague has the right foot size you know. i heard one guy say like "we've had our time to mourn Caesar" and yeah. we have. let's accept that and move on

WHERE MY APE DIVERSITY AT. we get a fuck ton of chimps, ONE orangutan, ONE gorilla, and ONE bonobo. what the hell. i mean. what is with the bonobo villian. Koba i fucks with because bonobos are some of the most playful, nonviolent apes out there. that humanity and its cruelty could twist a naturally peaceful creature into what Koba became.. i mean, that's great. but again with Proximus? maybe trying to evoke some of the same energy and nuance Koba had? ALSO. GORILLA PSA they are like so sweet. all that muscle is there to protect their families, and they're strictly vegetarians. i feel like Rise, Dawn, & War portrayed this better with most of the gorillas getting bodyguard jobs because of all their bulk. especially when Luca tucks that flower in Nova's ear. man. and Red going out like he did. gentle giants. in Kindgom we just have Sylva. gorilla henchman for Proximus. that's it. then we have Raka, the one orangutan character that i saw. wise and knowledgeable, guides and accompanies Noa and Mae then dies. at least we get one female chimp character that's more than just wife or mother. wikipedia lists Soona as Noa's love interest, which i can totally dig, like it's there. he takes her to the telescope at the end of Kingdom, which is more than what we saw romance-wise between Caesar and Cornelia. and the only other important chimp female is Dar, Noa's mom. in Rise, Dawn & War there was usually only one of each species of ape assigned a main role, but we saw much more diversity it felt like. maybe that's because there were smaller in numbers and have since spread out in the last 300 years? also like, bonobos are known for having female-female & male-male sex. dont know about the other apes. my friend mentioned that Raka said something about having a male companion and promptly searched reddit. all they had to say was: gaype?

the visuals. dear god the visuals. this movie is just visually stunning. absolutely breathtaking. they did a great job. i mean Rise, Dawn, & War are all triumphs of cgi and are excellent examples of the animation style done right. i did hear some guy say there is a loss of texture, as mostly everything in Kingdom is cgi, from the characters to the landscapes. but there's an explosion of texture in this film. there's one point where Noa is covered in the ash of his village and you can see it on his fur. there's quite a couple water scenes where the moisture clings to the apes' fur. It's all very impressive. great work

the references!! Rise especially has a ton of them (IT'S A MADHOUSE!!! & GET YOUR STINKIN PAWS OFF ME YOU DAMN DIRTY APE), and names like Nova and Cornelius, but Kingdom... i picked up on at least three main instances, but im sure there are more. there's the scene where the apes are rounding up the feral humans, and its very reminiscent of the scene from 1968 where they're doing the same thing for sport. there's the scene where Mae is running in the field, and she jumps on that log structure to get to Noa, which is nearly identical to a similar scene in 1968. the scene when Noa, Soona, and Anaya are exploring the human bunker and they come across an old classroom. one of them picks up a doll that says a distorted "Mama" which was huge in the original because that was evidence that once man did speak, why else would he make a doll that talked? superb call backs to the og. respect what was there before

SCHLONG THEORY

here me out guys. the starring ape-human relationship in Rise was between Caesar and Will. this type of love is called storge and describes the love a child has for a parent as well as the love a parent has for their child.

the starring ape-human relationship in Dawn was ultimately between Caesar and Malcolm. which i believe is truly philia towards the end, the love between friends and allies. just two dudes trying to keep peace in the world.

in War, i mean Caesar well and truly hates the Colonel. like more than he's hated any human in his life before. close to mania, obsession. anyways it's a study on this type of relationship between an ape and a human. true, all consuming hate.

SO in the newer movies we've explored familial love, platonic love, and hate, between an ape and a human.

in Kingdom the main ape-human relationship is between Noa and Mae. and their relationship is complex. not really that friendly and certainly not familial. no trust. some kind of begrudging respect maybe? i just think it would be neat if in further installments they explored a romantic love between a human and an ape. ok.

i KNOW Noa and Soona are probably going to get ape married and they're never going to touch on the subject but i just find it hard to believe that in the last 300 years or so that's NEVER been heard of. apes have the same level of intimacy between each other as humans do in this universe and can willingly consent. what are you so afraid of wes ball

after all, the whole franchise is about how apes, when given intelligence, compare to humans and begs the question: how different are we really?

is it possible for an ape and a human to fall in love?

[actualmermaid]

Since I've spent the last month-plus neck-deep in queer Christian history research, I ended up with some thoughts™️ about "classical" Western homoeroticism vs. Christian homophobia.

Liberal Christian apologetics sometimes do a very annoying thing when asked to explain the homophobia in the New Testament epistles. Because it's real, it's there, and homophobic Christians take it as the Unquestionable Word of God. So obviously we have to do something about it.

The liberal explanation tends to go something like this: "the epistle writer is talking about the abusive and exploitative homosexual acts that were common in ancient Rome, not the loving/egalitarian/mutually respectful relationships that gay people are able to have today." And it's so frustrating because there is SOME truth in this. We and Paul both know that the Greeks and Romans were notorious pederasts and slave-abusers. And that's bad! It's super bad. I do agree that Paul/the epistle writer is condemning abusive behavior using language and frameworks that would have been available to him at the time. Deciphering the social context of the epistles can get messy.

But the annoying thing is this: it is not affirming to suggest that all gay people in the past were either abusers or their victims, and "we're more enlightened now" is a lie. We are not smarter than the Greeks. We are not more civilized than the Romans. We are not more pious than the medievals. (Hello there, Roman Catholic sex abuse scandals.) And there have always been gay people who have defied all odds to have loving, egalitarian, and mutually respectful relationships with each other, even if we do not know their stories or their struggles.

This is kind of the crux of John Boswell's "controversial" thesis: gay people have always existed, even if they had to conceal themselves and their relationships behind various protective structures. (I actually haven't read any of his books yet, so I'm not going to engage too deeply with the nuances of his arguments.) When people try to dismiss him, I suspect it's because they don't notice or appreciate what he probably noticed. I have a hunch that Boswell's arguments are not super intersectional and focus mostly on the privileged sphere of people who left written records in the Middle Ages, but hey, serious LGBTQ Christian history research has to start somewhere. I'll withhold judgment for now. But I do think he was totally right about one thing: Saints Sergius and Bacchus. They were totally a gay couple until somehow proven otherwise, IMO. The reason I think he was right is because he was able to notice the "classical" aesthetics of homoeroticism in their legend even though it might not obvious to people who don't know what they're looking for. Straight people reading the legend are like "there's nothing gay about this" and gay people are like "wow, this story is pretty gay."

If you've ever looked into Western gay history, you've seen two words: erastes and eromenos. This means "lover" and "beloved," the two sides of a classical Greek pederastic relationship. The Greeks did actually recognize an age of consent and had ideals of proper behavior that regulated these relationships, but these were still usually relationships between a teenage boy and an older man, which isn't great. They also had all kinds of weird ideas about the politics of penetration and so forth. The Greeks and Romans didn't really think that two people could really be equal to each other--in any relationship, there was always one who was sort of subordinate to the other. So it was "weird" for two social equals to be in a gay relationship, as opposed to one with one partner who was already "established" and was "showing the ropes" to a younger guy who needed some wholesome manly instruction. We may not be better, smarter, or more enlightened than people in the past, but we do have the ability to critique them and try to identify the harmful behaviors that we've inherited from them, so we can do better. We've come a long way since the days of erastes/eromenos relationships, but one thing has stuck around: the classical aesthetics of a "manly guy" and an "idealized youth" in love with each other.

Apropos of nothing, here's a photo of John Boswell and his longtime partner Jerry Hart. They were within a year of being the same age.

So anyway, this brings us back to the legend of Sergius and Bacchus. The version that Boswell translated takes great pains to show how Sergius and Bacchus were equals in every way. They're both Roman officers, they're about the same age, they sing in unison, and are united in the egalitarian love of Christ. However, they are still just a little bit unequal. Sergius is of a slightly higher rank than Bacchus.

To be clear, this whole legend is a literary creation, and it's got a bunch of Byzantine propaganda in it. It's not history, it's mythology. Whoever wrote it down would have been familiar with erastes/eromenos dynamics, because these were everywhere in classical antiquity. So they made sure to specify all the ways in which Sergius and Bacchus were equals, but took a firm position in ye olde fandom top/bottom discourse.

Throughout the legend, Sergius acts, and Bacchus is acted upon. Bacchus is killed first, and Sergius is temporarily demoralized. Bacchus then appears to Sergius in a vision encouraging him to stay strong. Sergius is so steadfast that they can't torture him enough to make him recant his faith, and he is beheaded. Even straight couples are not usually said to have been reunited in heaven, but Sergius and Bacchus are.

So, knowing that Sergius is the erastes and Bacchus is the eromenos in this story, we can start to notice it in iconography too. It's not always consistent, but sometimes icons will have Sergius' cloak curling protectively over Bacchus' head, or one of them taking a slightly more "authoritative" posture, etc.

Above all, they are always depicted as true equals--sometimes they almost look like twins.

Increasingly, modern icons are being made that explicitly communicate the idea that they were a gay couple. The one on the left was created by Robert Lentz, a Franciscan friar, for Chicago Pride in 1994. The one on the right makes the classical homoerotic aesthetic super explicit, and is by far the most sexually-suggestive "traditional-style" icon I have ever seen lol. Shoutout to this artist.

So to sum up: John Boswell knew what the fuck he was talking about. Also, none of this excuses the homophobia in the Christian scriptures or the homophobia that Christians continue to perpetuate. However, knowing what to look for in art and writing helps us understand that gay people were not magically granted the ability to have egalitarian relationships in the modern world, and THAT leads us away from problematic apologetics.