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carolperkinsexgirlfriend · 10 months

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Steddie Upside-Down AU Part 38

Part 1 Part 37

Steve keeps acting like he’s perfectly fine. Like he didn’t have part of his shoulder carved off. Like he’s not suffering through an hour of glorified torture masquerading as physical therapy every day, trying to build his muscle back up. Like the doctor hadn’t told him he might still never get back to shooting hoops and swimming laps with the precision he used to. Like his ribs aren’t still broken, and he doesn’t still have trouble standing, or wake up screaming, clutching at his throat. Like he doesn’t rub the back of his head sometimes and stare into the middle distance with lost eyes. And it’s pissing Eddie off.

Especially now, as he walks beside Wayne, pushing Steve’s wheelchair down the hall toward the elevator. This in and of itself was a feat. First, Steve had argued that he didn’t need a wheelchair, then he’d argued he didn’t need help pushing it. Eddie let Steve flounder for a few minutes, trying to make his useless arm wheel him forward, angry tears springing from his eyes before he acquiesces.

The latest rub is the worst: Steve wants to go home. As if Eddie doesn’t remember the look on Steve’s face when he said he wanted to go to Eddie’s trailer. As if Eddie doesn’t remember the way Steve’s voice broke when he called the trailer home.

“The doctor said somebody needs to keep an eye on ya,” Wayne says reasonably. “Either we do it, or you can stay with Joyce. She offered to put you up.”

Steve scoffs. “My parents—”

“Aren’t home!” Eddie snaps, pushing Steve into the elevator and pushing the down button on the elevator with enough force that his finger hurts.

Steve sits up straighter in his chair, reading for a fight. Wayne doesn’t let him. “If you’re staying at that house, then so are we,” he says, implacable. “Until your parents are there to watch you.” Left unsaid, is that no one had heard from them. That Steve hadn’t asked about them at all.

Steve slumps down in a position that must be hell on his cracked ribs, sighing. “Fine,” he says, like it hurts. “I’ll stay in the trailer.”

It feels like a knife twist. Eddie wants to shake Steve and remind him he’d called it home.

It’s quick after that. Steve signs himself out at the front desk, tucking the physical therapy schedule they’d made for him into the pocket of the sweatpants Wayne had scavenged from Eddie’s drawers for Steve to wear home.

Wayne and Eddie work together to help lever Steve into the passenger seat of Eddie’s van. Wayne slides into the driver’s seat without asking, so Eddie grumbles his way into the back.

Steve’s quiet when Wayne pulls up front, quiet while they help him in, quiet when he’s settled onto the couch.

He’s looking around his surroundings just like he had the first time – like he’s amazed people live like this. That first time, he’d wanted to snarl, make sure Harrington knew that there was nothing wrong with this life he’d created with his Uncle. Now, he just thinks of Steve’s empty house, the hospital’s unanswered phone calls to his parents, and feels unbearably sad.

Wayne puts on a basketball game that Eddie doesn’t even complain about, and settles himself at Steve’s side.

Steve falls asleep halfway through the game, head falling on Eddie’s shoulder, warm puffs of air hitting the bare skin of his neck.

Wayne huffs, and Eddie looks up at him, already glaring defensively. “What?” he demands, quiet enough not to disturb Steve.

Wayne raises his hands placatingly, even as he smiles smugly over at Eddie. “I didn’t say anything.”

They all sleep in the living room that night. It’s cozy and warm, especially after Wayne drapes a blanket over them both.

It should feel weird, settling this closely to Steve, now that they’re not depending on each other to survive. Now that they’re back in the real world. But Eddie feels like he’ll fall apart if Steve’s not in sight, so maybe he’s not out of the woods after all.

It's peaceful.

It stays peaceful until the next day when it’s time for Steve’s physical therapy appointment.

“I can take myself,” he says. “I have a car.”

He’s not meeting Eddie’s eyes. Eddie takes a few deep breaths. He knows snapping won’t help anything, but he wants to smack Steve until this is easier. He just— he doesn’t get this. Can’t figure out what the problem is.

“It would take just as long to drive you to your car as it would to just drive you,” Eddie says, cleaning up their half-assed breakfast of toast a cereal off the table. He doesn’t look back at Steve, wants to play this cool and nonchalant, and he just knows one look at the obstinate tilt of Steve’s chin will send him swinging.

“I can walk,” he says, even though he really really can’t.

Eddie slams a dish into the sink. He’s almost surprised the bowl doesn’t shatter upon impact. He scrubs it, back to where Steve is stewing in silence.

He needs to figure this out. Why Steve is being so difficult, about staying here, about Eddie feeding him and driving him. He does the hardest thing he can think of, and asks, “why don’t you want me to take you to your appointment?”

He doesn’t turn around, just keeps scrubbing the dishes like this is a casual conversation over breakfast. Because it should be.

The silence drags him down, lasts long enough that Eddie doesn’t think Steve will answer at all.

“You shouldn’t have to,” Steve says.

Eddie thinks back – big house no parents – and wonders how long it’s been since someone did something for Steve without strings. He turns around, settles back into his seat and stares at Steve until he raises his eyes from the table.

Choosing his words carefully, he says, “I want to go with you,” Eddie says. “You saved my life—"

“But—” Eddie holds up a hand, and Steve stops, brows furrowed.

“You saved my life,” he repeats, meeting Steve’s eyes. “I’m gonna help you whether you like it or not.”

It’s not quite the whole truth, but Eddie’s not sure how to touch the way it feels like worms are writhing in his stomach when Steve’s out of his sight. How his shoulders only really relax when he knows exactly where Steve and Will both are.

Eddie bites his tongue on the too much of it all.

“Fine,” Steve says, still sullen, but he lets Eddie lead him to the van and drive him to his appointment.

It looks painful. Eddie holds his crossed ankles, to stop himself from leaping up and wrenching Steve away from the doctor’s ministrations.

By the end, Steve looks like he just got done with a basketball game, sweat dripping down his forehead, pits stained. If Eddie squints, he can almost see the uncomplicated jock of days past as they limp out of the hospital.

“You wanna go see Baby Byers?” Eddie asks.

“Please,” Steve says, slumping into the passenger seat like the princess he is.

Eddie drives, turning his music up loud enough to rattle their teeth just to see Steve smile.

Part 39

#steddie upsidedown au #steddie fic #eddie munson #steve harrington #my fic #woke up late today augh. sorry if that one person didn't get to read this before class 😔

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diamondzart · 8 months

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DID “DESPICABLE ME 4” TRAILER LEAVE YOU DISAPPOINTED? There’s a solution! :D

My very good friend @annchanorsomethin writes THIS AMAZING FIC on AO3 for over a year already! I am following it since November 2022 and let me tell ya, I wish this was the way Illumination treated their canon. I don’t think this amount of planning went into the real DM4, judging from the trailer…

And for those of you who were upset about the absence of Dr Nefario and Dru, this fic has you covered, believe me 😏

SUMMARY:

After Balthazar Bratt's defeat, everything seems to go better than ever: Gru and Lucy are back working for the AVL and Gru's overly enthusiastic brother, Dru is the new bad guy in town... or is he? The illusion of everything going so well fades, as the past comes back to haunt the family, threatening to destroy them once and for all... If it wasn't for the most passionate of the family doing everything in their power to protect what they love most - even if it means to step over the bounds of time and space itself.

Rated M for possible graphic depictions of violence in the future (though for now it stays in PG, I think). Features Professor Rott as the main antagonist – the original character inspired by early concept arts for Gru from late 2000s, the idea and design of Rott belong to @elitadream

This post also features original concept art made by me, styled to mimic Eric Guillon’s (official concept artist from Illumination) style, so it looks more like a real DM4 concept. I really, really hope this story will find more followers, because it totally deserves them! For now there are 11 chapters, and there will be more!

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lovesickonmybed · 10 months

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Flash Cards | 18+ MDNI

Pairing: Bully!Eddie Munson x Nerdy!Female Reader | Word Count: 1146

Summary: Eddie invites you over to study and punishes you when you've given the wrong answer.

Warnings: Swearing, thigh riding, humiliation, dub-con, degradation, dumbification?, wedgies.

A/N: If you're gonna kinkshame keep scrolling lol.

Bully/Perv!Eddie starts being nicer to you and one night invites you over to his place to help him study for a big test he has coming up. But he has no intentions of studying anything besides your body. You let him drive you to his trailer after school and you’re wearing a white t-shirt with a thin bra, a pair of already tight blue jeans, and your favorite shoes. When y’all first get to Eddie’s you do actually study, your books are laid out on the coffee table and he’s actually paying attention…until he gets handsy.

It starts with his hand on your knee, and then he creeps it to your inner thigh. You blush but you continue to help him study, talking him through different definitions and helping him understand the material. After doing amazing when you do flash cards with him he tests you. You’re doing great until you fuck one up. Eddie chuckles when you answer incorrectly and leans forward smirking. “Not as smart as you look, are you, sweetheart?”

“Oh, come on, Eddie. It was just one question.”

“You still got it wrong, why don’t I give you a little motivation to get the next question right?” He smirks as he leans over, your brows furrow in confusion. He grabs the front waistband of your jeans and tugs it up harshly causing you to cry out in pain and confusion. He doesn’t stop until he’s satisfied with the front wedgie he’s given you even though you try to tug his hand away.

You get up to readjust but he pulls you back down onto the couch, “Did I tell you that you could fix that?” He asks sternly, grabbing your face with one hand to make you look him in the eyes, his other hand holding your wrists together.

“N-No…” You stutter nervously, you keep trying to avoid his eyes but he keeps forcing you to look into them.

“Then be a good girl and leave it, yeah?”

“O-Ok.” You don’t have to do what he says, you just have to say the word and he’ll stop, but you don’t want to, you want to see where this is going.

“Good, let’s keep going then.”

You continue to do flash cards with Eddie and continue to get them right; you decide to see if he’ll do that again when you get one wrong. So you answer a simple question incorrectly. “That was the easiest one, how did you manage to fuck that up, nerd? C’mere,” He says, pulling you closer by your belt loops. He slips his hand into the front of your jeans and curls his fingers around the lacy waistband of your white panties.

“Lace? Oh, darling you’re gonna regret this,” Eddie says before slowly pulling them up by the waistband. You feel the rough fabric slowly situate itself between your lips, squirming and whimpering as he pulls. He doesn’t want to tear this pair off, he wants you to feel it. The lace fabric brushes against your clit, causing you to buck your hips and gasp softly, squeezing your eyes shut for a moment to savor the feeling.

“I should’ve known you’d like this…pathetic little nerd…I bet every time I’ve ripped your panties or pulled them up to look at them you’ve gone home and touched yourself thinking about it. Dirty girl likes it when I’m mean, when I’m rough, doesn’t she?” Eddie teases.

You whimper in response, biting your lip. Eddie tugs on your panties harshly, making you jolt forward, resting your head against his shoulder as you whimper and whine. “Be a good girl and tell me how much you like it, baby.”

“F-Feels so good…hurts but in a good way…” You mumble into his shoulder. You’ve felt nothing like this before, you feel humiliated for being so turned on by something like this but the pleasure you feel is making it so worth it.

“Did you get all dumb from getting your panties pulled? God, you’re fucking pathetic. If this gets you soaked and stupid, I wonder what my fingers…or fuck what my cock would do to you…” He teases, continuing to tug on your panties.

“I-It feels good…I can’t help it,” you mutter, your face heating up with embarrassment.

“Stand up and take your pants off for me, baby,” Eddie commands. You do as he says, standing up and taking a minute to tug off your pants. Eddie smiles when he finally sees his work, your white lace panties pulled tight between your lips. He smirks to himself when he sees a little wet spot on your panties. He pulls you down onto his thigh, situating your legs on either side. He leans in and gives you a soft kiss, it’s the first time he’s kissed you and it’s not what you expected. He pulls away, knocking his nose with yours playfully.

“Can you make yourself cum on my thigh, little nerd?”

You nod quickly and he laughs, leaning down for another kiss, “Such a good girl.”

You grind against his thigh as his fingers curl around your waistband again, clasping it so it’s pressed against your clit. The feeling of the rough fabric pressed against your clit combined with the friction of you grinding your core against his jean clad thigh is enough to make your body feel weak. You groan and whimper into his neck, biting down when he pulls a little too harshly, mumbling curses against his soft flesh. Eddie can’t get enough of it, if he could he’d watch you come undone like this every hour of every day, he loves how something so humiliating is what gets you going dumb against him.

He whispers to you as you get yourself off against him, “So pathetic aren’t you? The smartest girl in school but you can barely form a sentence right now, all you needed was a bit of attention, huh?” You nod and whimper against him. When you feel yourself getting close you can’t even speak, your mouth hangs open, eyes squeezed shut as you rut against his thigh. He smirks as he watches, he’s wanted this for years and he can’t believe he finally gets to see it.

“Fuck…” He mutters as he watches you cum, soaking his thigh and mumbling his name against his neck, whimpers and whines falling from your lips. You rest your weight against him, catching your breath. Your face is hot and your hair is a mess, your makeup is too, mascara tears running down your face. Eddie plays with your hair as you catch your breath, whispering praises into your ear, making you smile.

When you finally can stand you remove your underwear and hand it to Eddie, “You made me ruin these, you can keep ‘em.”

He chuckles and kisses you, “Thank you baby, I’ll add them to my collection.”

#eddie munson #eddie munson x female reader #eddie munson smut #bully!eddie munson #mean!eddie munson #eddie munson fanfic #eddie munson fic #perv!eddie munson #eddie munson drabble #perv!eddie x reader #imagine

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canmom · 9 months

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How do you live?

I (finally!) saw Miyazaki's new film 君たちはどう生きるか (How Do You Live?/The Boy and the Heron)! It's been out in the States for a while, and in Japan considerably longer, but it took a while to make its way over here.

I remember at the time it came out, people were having fun riffing on the incredibly cryptic marketing campaign, which consisted only of this rather abstract poster...

In the spirit of this, I resolutely avoided watching any trailers or knowing anything at all about the plot of the film. I picked up a thing or two here and there - I knew to expect some amazing Shinya Ohira animation for example, and you couldn't really avoid seeing the bird with teeth! - but overall, I had no idea.

There's plenty of great writing about this film in English already, such as kvin's fantastic sakugablog piece which discusses the physicality of Ghibli's animation, its weight and springiness, as a throughline. The stuff that kvin talks about really stood out to me as I watched this film. You can likewise read detailed interviews with Toshiyuki Inoue (fantastic interview for sakubutas) and Akihiko Yamashita on fufuro.

First up, the credits of this film are pretty much a who's who of the greatest jp animators of the last 30 years, and they've had some 7 years to cook it, so naturally this film looks fucking amazing. This is absolutely the kind of film that only Miyazaki could direct - its design language feels so familiar and yet it's iterating in all kinds of visually imaginative directions that show that yeah, the old bastard's still got it.

And like, god, man. This film's animation is really something special. Its real-world scenes in particular are full of shots that require an unbelievably strong sense of space, of both subtle and broad acting, the classic Ghibli attention to detail on mechanical objects and everyday tasks. It's full of bouncing and squishing and squeezing and oozing things. It loves to draw crowds and swarms of people and animals. It's the kind of film where any given shot would be the absolute star-of-the-show sakuga moment in just about any other anime film. If you wanted a complete statement of the Ghibli school of animation, it would be hard to do better.

And yet, for all that Miyazaki's known for his tight control over animation and heavy corrections to animators, in this film he had to step back from that kind of role and hand over the sousakkan reins to Takeshi Honda, who steps up admirably - as kvin writes above, bringing in more realist elements to the bouncy Miyazaki style to create a really effective unity that grounds all the big fantastical elements of the film and fills the first act with tension.

Alongside all that excellent key animation, the film's colour and photography departments evidently understand that well-chosen colours and good highlight shapes beat all the digital gradients and overlays you can imagine - the drawings get plenty of form from the strength of the animation, and the flat shading really pops. The backgrounds are as delicious as ever, skyscapes and vegetation and opulent interiors with the just-slightly desaturated and harmonious colours that just kind of remind you that oh yeah, it is still possible to do it this way.

Basically it's a Ghibli film lol. You know how it is.

But what of the story...? What's all this technical magic in service of?

The film's story has something of the feel of a serial story, perhaps reflecting Miyazaki's (in)famous process of working out the film gradually as he draws the storyboards. Certain ideas, like the parakeet empire, arrive in the film rather suddenly and then become fairly central to the plot. There's a clear emotional throughline, but this is not a film that is in a hurry to explain itself more than it absolutely has to. It wants to keep its magical elements numinous and mysterious. I would say, though, it's generally more satisfying in this approach than some of Miyazaki's other later films like Howl's Moving Castle, and resolves a lot more clearly.

So what is it like, About? Well, Miyazaki has been pretty open about channeling a lot of his personal relationships into the film, and a lot of it seems to reflect more or less obliquely on him. It's what they call a 'personal film'. The protagonist's position as the son of an aeroplane factory owner during WWII is straight-up from life. What about the old sorcerer, haphazardly stacking blocks to keep a world alive, and looking for someone to succeed him? The reading's kinda obvious, even if Miya himself says this guy is based on his memory of Takahata. Well, he can be both...

To say more I'm gonna have to delve into the spoiler zone. See you below the cut.

OK so! Let's try and get some thoughts in order.

first, a plot summary type of thing

Our first act introduces us to Mahito at roughly the moment his mother Hisako dies in a hospital fire. This is midway through the war, which is present mostly in the background - now and then we see soldiers marching around, and of course Mahito's dad runs a factory producing warplane parts, not entirely unlike Miyazaki's own father although seemingly a bit higher up the ladder.

We jump forward a little and Mahito's father remarries - to his deceased wife's sister, no less, and she's already pregnant. This is Natsuko, who does her best to play the role of mother, but Mahito still has big traumas and he is understandably not entirely on board with the idea of welcoming a mum 2 who looks almost exactly like mum 1. He moves with Natsuko into a huge old house complex, a mix of older Japanese architecture with a more recent Western wing where the family currently sleeps - and staffed by a small army of colourful old ladies who are eager for any canned meat or cigarettes they can get their hands on.

Also there's this freaky heron that keeps bothering Mahito. It seems to have something to do with a mysterious tower which turns out to have been built by his great-uncle. Mahito visits the tower, but can't make his way inside. Natsuko tells him not to go into the tower.

Mahito goes to school, but naturally they don't much take to the new rich kid on the block, and so after being attacked by his classmates on his way home he injures himself with a rock. (His dumbass dad is like, who did this to you son, I'll fuck 'em up.) For the rest of the movie, he has half his head shaved to accomodate a bandage, which is the sort of attention to detail this movie loves.

The heron has started growing teeth and talking to Mahito, telling him to come to the tower. Mahito is convinced it's a trap, and after a maybe-dream sequence in which Natsuko shoots an arrow to drive off the heron, he steals cigarettes from Natsuko in order to get one of the servants to sharpen his knife, and then constructs a bow and arrow out of bamboo - using a couple of the heron's feathers. Constructing the bow and arrow is shown in immense, loving detail.

In the process, he witnesses Natsuko walk into the forest, and also stumbles on a book: How Do You Live? by Genzaburō Yoshino, which contains a handwritten message from his mother. He looks at this book briefly... and this is about the extent of the connection of the film to the book, beyond thematic parallels.

The maids notice that Natsuko is missing. Mahito tells one of the maids, Kiriko, that he saw her go into the forest, and they follow, finding an old road that gives another approach to the tower. They're greated by the heron man, who is increasingly emerging from the heron's beak to reveal a big warty nose. He's some kind of like... heron selkie or something, a gnome in a heron skin. There's some wonderfully grotesque animation around this guy.

Heron dude taunts Mahito with an illusion of his mother Hisako. Mahito threatens him with the bow - the heron guy is like, do your worst, not realising it's a maaagic arrow. The arrow chases him around the room and pierces his beak, fucking up his magic. At this point, the tower master shows up and orders the heron to guide Mahito. Heron guy sends everyone through the floor into a fantastical world...

Mahito arrives in front of a huge, sinister tomb. He approaches the gate, and a swarm of pelicans walk up behind, crawling all over him and pressing him through the gate. This causes a storm to start brewing, since opening the gate seems to piss off the stones or something...

A fisher woman resembling a much younger Kiriko runs up and chases the pelicans away. She takes Mahito under her wing, explaining that this world is inhabited mostly by dead people, but there are also these little round guys called the wareware, who gain the ability to fly when they eat a fish's guts.

Kiriko, uniquely in this world, has the ability to kill, so she catches fish to sell to the other inhabitants and feed to the wareware; she and Mahito butcher a huge fish. Mahito fairly quickly figures out that she is somehow the same Kiriko that entered with him. She has tiny charms representing the other maids, which serve an apotropaic function.

That night, staying on Kiriko's huge derelict ship of a home, they watch the wareware rise into the sky to be born as humans in Mahito's world. They're attacked by the pelicans, but a fire-wielding magic user called Hisa (hmmmmmmmmmm) drives the pelicans away. Mahito shouts at her not to harm the wareware, but Kiriko assures him that more of the wareware will survive thanks to Hisa's intervention.

Later, a singed and dying pelican explains the pelicans' predicament to Mahito in a scene that calls to mind the animals in Mononoke-hime. The pelicans are foreigners in this world, they don't have anything to eat, so they take it as their role to eat the wareware. The heron man arrives on the scene too, offering to help Mahito find Natsuko as Mahito - coming in to his own as a protagonist more - buries the pelican. Mahito distrusts him but eventually Kiriko persuades them to give working together a try.

Mahito and the heron set out. As they pass through a forest, the heron reveals that thanks to Mahito's arrow, he can't fly and do heron shit anymore - and by magic law, only Mahito can fix the hole. Mahito applies his new woodworking skills to fashion a bung for the hole. The heron tries to stage a top 10 anime betrayal, but then the bung needs more work, so Mahito fixes it, and from that point on, the heron joins the party and he and Mahito are fast friends.

(You might wonder why I just call him 'the heron' and not by a name. He never gets named! He's just the heron man.)

Mahito and the heron arrive at the house of a blacksmith who's supposed to help them find Natsuko, only to find it guarded by big buff parakeet men. The parakeets are splendidly goofy round guys - they remind me of the heedra in Nausicaa. The heron draws the parakeets away, and Mahito enters the house, only to find, uh oh! More parakeets. The parakeets prepare to eat Mahito, who is not carrying a child and therefore fair game unlike Natsuko, but Hisa shows up and burns them with fire magic. She looks just like a young version of Mahito's mum! Funny that. Hisa helps Mahito escape into her house through the fire, and then takes him to infiltrate the parakeets' empire.

In the human world, the maids explain the backstory of the tower to Mahito's dad. It's a weird meteorite that came from space, it turns out, and Mahito's great-uncle built the tower on top of it before eventually disappearing inside. Mahito's dad overprepares in an elaborate getup complete with katana, and goes to try to rescue everyone.

Hisa leads Mahito to a corridor full of doors which open into all the different worlds, including his own world. Mahito briefly glimpses his dad coming to try and rescue him - the two see each other briefly, but the parakeets catch wind of the whole thing and attack, and so Mahito and Hisa have to flee back into the magical world. We see that the parakeet guys turn into regular parakeets when they come into the human world. Mahito's dad becomes convinced he turned into a parakeet.

Mahito and Hisa make their way to the delivery room where Natsuko is resting, waiting to give birth. On their way, lightning starts emerging from the stone - Hisa explains that the stone is sentient and pissed with them. Mahito insists on approaching Natsuko despite this being a huge taboo. They have a heart to heart - Natsuko's mask breaks and she tells Mahito she hates him, while he finally starts calling her mother, as he's assaulted by paper charms that tear at him violently. They part, with Hisa burning the charms to free Mahito, but it's too much and they both pass out.

Mahito dreams of meeting the sorcerer, who stacks irregularly shaped wooden blocks, and explains that stacking the blocks is necessary to maintain the world, buying a few days at a time. The sorcerer reveals the huge flying rock that is the source of his power; he also shows Mahito some blocks, but Mahito somehow divines that these blocks are 'stone for building tombs' and stained with malice. The sorcerer approvingly says this is a good sign for Mahito's ability to succeed him.

While they were asleep, the parakeets have captured Hisa and Mahito. One of them is preparing to eat Mahito, but the heron arrives just in time to save him. They Metal Gear Solid their way through the kingdom while the Parakeet King - a big swaggering guy very like the colonel in Castle in the Sky - goes to press a claim on the wizard, using Hisa and Mahitos' taboo act of entering the delivery room as a bargaining chip. There's some very funny scenes where the parakeets cheer for their king.

Mahito pursues the parakeet king, but the king destroys the staircase behind him, and talks to the sorcerer. The sorcerer is inclined to wave away the transgression, because he wants to let Mahito succeed him, but the parakeet king seems to be bringing him around. I kind of forget how this part went, but the parakeet king goes away from the sorcerer for a bit while Hisa is freed from her prison thing.

Mahito climbs back up with the heron man's help, arriving in the sorcerer's little subplane. The parakeet king quietly follows him, after telling his aides to inform his subjects he was a good king. Mahito approaches the sorcerer, who reveals he has found a new set of blocks, unstained by malice, and again invites Mahito to succeed him. Mahito says that his self-injury is proof of his malice, making him unfit for the job.

At this point, the parakeet king intervenes. Angry at all this sorcerous malarky, he desperately attempts to stack the stones himself, but when they don't stack, he flies into a rage and slices them with his sword. This naturally causes the world to start collapsing, and everyone runs to the doors to escape into the human world.

Mahito has by this point figured out that Hisa is his mum, and he asks if she really wants to go back to their world, knowing that she will very definitely die in a fire not much later. But she is naturally on board with this. Young!Kiriko goes with her, suggesting that she and Hisako entered the magical world at the same time. Meanwhile, Mahito returns to his own time, with Natsuko and the heron. All the various parakeets and pelicans come out through this door too. Old!Kiriko is restored from her apatropaic charm.

As everyone celebrates their safe return (and the appearance of a fuckton of birds), the heron tells Mahito that he ought to forget what happened in the magic world. We skip forward again, with Mahito - now with a baby sibling - setting off to Tokyo. Roll credits!

now let's comment on it

This is not a film that necessarily prioritises an internal logic playing out - new elements enter unexpectedly even quite late in the film. The sorcerer's motivation is murky until late on; the parakeets become major antagonists despite entering only halfway through the film.

There is a certain temptation, knowing how autobiographical this film is, to take it is a roman à clef. Mahito is of course a young Miyazaki; the old sorcerer's concern about finding a successor might be about Miyazaki wondering who should take over Ghibli or if it should just be allowed to die. Under this schema, the parakeets might be Ghibli's legion of fans, or the merchandising empire that prints their designs on every possible product. kvin's article develops this kind of reading, finding some angles I wouldn't have even considered, such as how the idea of weight communicated by the animation factors in to such an allegaroy. It's also something suggested in Miyazaki's own comments about the film, where the sorcerer is Takahata, the heron man is producer Toshio Suzuki...

It definitely helps to know a bit about Miyazaki's background when approaching this film. However, I think it would be reductive to go too far with this kind of reading, and take everything as an allegory for something in Miyazaki's life. The film still has to stand on its own feet!

'Coming of age' is the spin put on it by some outlets, like the BBC. And this is accurate to an extent. The arc of this film is similar to Spirited Away: Mahito starts out sullen and traumatised, but like Chihiro he transitions over the course of his journey in the magical world into the kind of determined Miyazaki protagonist we're used to. On this coming of age angle... well, also like with Chihiro, I don't find the Mahito of the first part of the film especially unsympathetic, his alienation is extremely natural given his situation. Mahito's dad kinda sucks! Living in wartime Japan also really kinda sucks, even if you're the son of a rich dude. But definitely over the course of the film Mahito has a change of heart towards Natsuko, and forms friendships that motivate him to try to protect them. His character arc definitely sees him become 'more prosocial'.

However, there's another angle that's pretty important - the idea of the weight of 'malice', the cursed existences of the pelicans and the like, and the fantasy of building a utopian world that is free of these things. This returns to a theme of Nausicaa, the manga in particular, where Nausicaa discovers that the world she knows - the toxic forest in particular - is actually an elaborate artificial system for cleansing the world of pollutants, that the clean world on the other side will be uninhabitable to her and her people, and that the architects of this system wait in stasis to replace them in this utopian future world. Nausicaa destroys them, commiting instead to an uncertain future.

In Mononoke-hime likewise, we encounter the lepers and former sex workers of Irontown clinging on to the 'cursed' world. Their extractivist project proves incredibly destructive, but the film still regards them sympathetically, and the resolution sees them perhaps finding a new way to live - and San, the feral girl, reconciling herself to the idea of humans.

Here, although the parakeet king forces the decision, Mahito has already declared that he doesn't believe he's fit to oversee a utopia, but instead that his place is in the awful, violent human world.

The film, and the book it's vaguely based on, are titled How do you live? In Japanese, that's a plural 'you' (君たち). There's a lot of ways you could read it, depending on who you take as 'you' - a child asking an adult how to live, or equally a future question of how will you live. This is a lot more explicit in the novel - which I have not read, but here is a summary courtesy of wiki:

Junichi Honda is a fifteen-year-old junior high school student, known by his nickname Koperu, after the astronomer Nicholas Copernicus. He is athletic and academically gifted, and popular at school. Koperu's father, a bank executive, passed away when he was young and he lives with his mother. His uncle (on his mother's side) lives nearby and visits frequently. Koperu and his uncle are very close. Koperu shares about his life and his uncle gives him support and advice. His uncle also documents and comments on these interactions in a diary, with the intent to eventually give the diary to Koperu. The diary writing, which is interspersed with the narrative, provides insight into the ethical and emotional trials that Koperu shared with his uncle. The diary entries, which cover themes such as "view of things", "structure of society", "relation", etc. are in the style of a note written to Koperu.[8]

Thinking like Copernicus that our Earth is a celestial body moving within the vastness of space, or thinking that our Earth is fixed at the center of the universe, are two ways of thinking that, in reality, are not only related to astronomy. Even when we think about things like the world around us or our own lives, the truth is that we are still revolving around them after all.

In the end, Koperu writes a decision on his future way of living as a reply to his uncle, and the novel ends with the narrator asking the question "how do you live?" to the reader.

The author of the novel was a socialist, who had been imprisoned by the nationalist government, and wrote the book intending to impart lessons on ethics. The version of his book published after the war was heavily edited to strip the book of political content. But it's also, perhaps paradoxically, a book that centres on very wealthy characters, aimed narrowly at educated boys, though it became a widely read classic.

Studio Ghibli's films, from both Miyazaki and Takahata, have a habit of being framed as imparting something to the younger generation - something the pair seem to have seen as a mission all the way back in the days of Panda Kopanda. For example, while Grave of the Fireflies is seen as the classic tragic war movie, for Takahata it was also aimed at criticising what he saw as the careless, consumerist generation of the 80s; the stubborn arrogance of the protagonist supposed to reflect on this. It's an attitude that also emerges in their comments about Chihiro. And, indeed, one of the first things we heard about How Do You Live? was that it was aimed towards Miyazaki's grandson - and more broadly towards that generation.

So what does this film have to say to the younger generations? Let's have a look at it from Mahito's POV.

For Mahito, the adults in his life are all pretty complicated. His father is enthusiastic and well-meaning but incredibly oblivious to what his son is going through (we might recall some of what Miyazaki wrote about his father in Starting Point, describing him as basically a grifter). Natsuko is masking pretty hard, trying to play the role of Good New Mum and connect to her newly acquired son, but there's an intrinsic distance. It is understandable that Mahito would want to reject them.

Mahito is... not entirely a passive character, he goes to some efforts to for example fashion the bow and arrow and repair the heron man's beak, but mostly he is pulled around by the plot into a strange world he doesn't understand. At first, his instinct is to retreat, even to the point of self-injury. Once he arrives in the magical world, he has acquired something of a purpose (finding Natsuko), but he gets pushed into near-disaster situations (the pelicans piling up to push him through the gate at the tomb) or stumbles into circumstances where something is expected of him (hey kid, gut this fish!). Gradually though his exposure to this world pulls him out of his shell. He runs into conflicts and injustices that seem intractable - the wareware and the pelicans - and has little power to intervene except to bury the bodies.

Eventually, he gets to carry out his main objective - finding Natsuko - but despite finally deciding to accept Natsuko as his new mother, he finds himself rejected, not just by her but also by the earth. Perhaps feeling responsible for getting her into trouble, his new objective becomes rescuing freshly-damsel'd Hisa. But now new adults want things of him - his great-uncle has decided he'd make a fine successor. Mahito has to make a decision here about what relationships he wants to commit to, what sort of life he wants to build - and he chooses the world he found so alienating at the outset of the film, the one which hurt him by taking his mother, not to the secondary-world fantasy.

It could be a 'this world is all we have' sort of statement, perhaps. But also the last act of the film feels like it gets a bit caught up in Castle in the Sky-style adventure-story beats.

I do feel like some aspects of the film ended up a little underbaked - which is an odd thing to say because it's not a short film and there is so much in it already. But Hisa for example - she's got badass powers and all, but I feel we barely get a chance to get a sense of what motivates her. Why did she enter the fantasy world? She acts at first like she doesn't know Mahito is her future son, but rapidly becomes incredibly devoted to him (in a way that reads a little romancey lmao). So much of her screen time is dedicated to having her convey the secrets of the world that it's hard to get a bead on her as a person.

Likewise, Natsuko - why did she enter this world to have her baby in this special ritual delivery chamber? She clearly knows more than most of the characters, but she gets kind of sidelined after Mahito confronts her, with wizard shit becoming more central. The animation does such a fantastic job of selling her feelings in the first part of the film that it feels like a shame that she drifts away at the end.

The progression of the film feels rather like a dream, where everything is arranged by symbolic significance to Mahito. It makes sense... on a magical level, where the secondary world is shaped primarily by parallels in the real one. So the tiny apatropaic statues of the old ladies protect him because they represent the role the real old ladies have in his life. Hisa has fire magic because Hisako died in a fire. Once Mahito has come to his personal resolutions about returning to the world, the magical one is no longer needed, and it collapses.

This is not such an uncommon role for magic in a story. In Miyazaki's own works, we have Totoro and Spirited Away, where a magical world provides direction or relief to a child's real struggles. Or take for example Okiura's film A Letter To Momo, in which the three yōkai recognise taking care of the grieving Momo as their explicit purpose as spirits. This magical world comes to Mahito to help him come to terms with losing his mother, and reorient himself towards living in a painful world.

Meanwhile, the sorcerer, whether he be Miyazaki or Takahata, is quite a distant figure. He may maintain the magical world by stacking his blocks, may be the authority which factions within it must plead to, but he also rules from afar in a vast empty palace full of long halls and open air spaces. His main company seems to be a big fucking rock, with which he made a 'contract'. He's generally handling it a bit better than, say, Ushiromiya Kinzo - he receives the parakeet king with good humour - but he's a pretty flawed god of his little world. So much of this world seems to pre-exist him, it's not something he constructed. Still, when he shows up, you pretty much have to do what he says.

If this is about Miyazaki's relation to Takahata, it seems like quite a sad portrayal. But 'unapproachable patriarch' does sorta describe their role in the studio from what I understand (c.f. Oshii's infamous article comparing them to the Kremlin).

When it comes to the question of who should succeed Miyazaki, we should probably consider the matter of Yoshifumi Kondō, who was being set up as the next big Ghibli director until his untimely death - which allegedly Takahata was willing to accept the blame for. The mythology built up around Miyazaki and Takahata is double-edged.

Here are some rather startling comments from Toshiyuki Inoue's interview. Inoue is one of the most impressive animators who ever lived in my book, the other star of the realist line besides Okiura. Just have a look at his booru page: iconic scenes from GitS, Akira, Millenium Actress; even in more recent films, he pretty much carried Maquia, and steals the show with his scenes in Miss Hokusai.

And yet even he was intimidated to be working alongside Miyazaki when he first came on board for Kiki's Delivery Service, fresh off Akira:

I believe you’ve always been a fan of Miyazaki’s, why were you scared to work with him? Toshiyuki Inoue: I had heard quite a few scary stories. A lot of acquaintances had worked on Nausicaä, Laputa and Totoro before that, so I knew how scary he could be when he got angry – I had heard stories of people being fired mid-production, things like that. How was it actually? Toshiyuki Inoue: Not as scary as I had imagined. He’d only rarely scream in the studio. But he did get angry. I’d sometimes be called to some separate room and lectured alongside Kōji Morimoto and Masaaki Endō. It felt like being in school all over again.

'Only rarely'. Honestly. Inoue describes how difficult it was for him to adapt his logical, analytical style to Ghibli's stretchy, bouncy characters - and how Miyazaki would disparage him if he, for example, drew a ship inaccurately.

For Inoue, coming back to How Do You Live was something like a 'return match'. He talks about how an older Miyazaki was no longer able to strictly correct the animation, and in general age was limiting him, but he still feels that Miyazaki is fundamentally superior:

Toshiyuki Inoue: I’ve always wished for a return match or a way to redeem myself. But even if I say that, I know I can’t even pretend to rival Miyazaki. I just can’t win. He’s extremely smart and learned, and on top of that, as an animator he always transcends common sense: he’s so talented that I know very well there’s nothing I can do against it. The more I learn about him, the more I realize I’ll never be on that level.

Miyazaki's genius is undeniable, but man... it's not a good mindset to cultivate if you want to find a successor lmao. If even Inoue doesn't feel he can measure up, who the hell could?

Mind you, it does rather seem that Miyazaki had mellowed out by the point of How Do You Live?. Here's Yamashita:

Akihiko Yamashita: As I said, the core of an animator’s job is to follow what the director asks, so whenever I had trouble with that, I’d go see Miyazaki to show him my roughs. He’d advise me on the things that were missing and reassure me about those that were good. He really helped me to gain more confidence in myself.

Reading these interviews underlines pretty hard that we shouldn't get too caught up in the mythology of Miyazaki the mighty auteur. While the story may be all on Miyazaki, and most of the character designs (with the notable exception of Natsuko)... so much of the details of the animation, the stuff that really makes this film land, is primarily shaped by everyone else - Honda in particular, but also the individual key animators who interpreted his scenes. I really need to get my hands on a copy of that Industrial History of Studio Ghibli book to get a less Miyazaki-centric perspective on the studio's history.

I do not feel, having come out of this film, any closer to knowing the answer to that eternally pressing question of how do you live - I guess I'm still working out my answer to that one, and I will be until I die. And maybe that's rather the point. I think this film still carries some of the flaws of Miyazaki's later films - despite having so many iconic scenes, it doesn't quite seem to know where it's going. But I am so glad to have seen this in the theatre (I saw it at the Prince Charles theatre in Soho with friends, the theatre was completely packed!), and glad Miyazaki managed to get this one out before he goes. Whatever happens to Ghibli without its sorcerer, it's been a hell of a thing to witness.

#anime #the boy and the heron #how do you live #studio ghibli #hayao miyazaki #film

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destinygoldenstar · 7 months

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What Separates Digital Circus’s Horror From Others

Disturbing.

Unnerving.

TERRIFYING.

BUT WHY?!

On the surface to the… five people that never watched The Amazing Digital Circus Pilot, this show looks like a Five Nights At Freddy’s knock off.

It’s a cute mascot show that is actually secretly a horror monster infested world.

Even people who haven’t seen FNAF at least seen a few clips of it and what it’s famous for. I know I have.

My sister is super into this, and she hogs the TV, so… RIP me.

That’s what most non-horror stans usually view horror as.

The jumpscares.

The unnerving imagery.

The designs made to freak out the viewers and make them uncomfortable.

It’s usually quite obvious when something is a horror, cause these aspects are often front and center. You can usually tell it’s a trailer of a horror movie by just looking at it.

At least, from my, a non-horror lover’s understanding. For some reason these sorts of things, especially indie animated ones, are the faces of a lot of content farms.

If the product itself isn’t r@%ing your audience, it’s those.

(TAKE MY WARNING AND TAKE IT SERIOUSLY: IF YOU VALUE YOUR MENTAL HEALTH AND YOUR SANITY, DO NOT LOOK UP THIS MOVIE)

BUT BACK ON SUBJECT.

Digital Circus… doesn’t really have this stuff.

There’s no jumpscares.

(I mean there is in a trailer, but it’s used as a joke.)

The character designs are very cute looking without any alternate versions that are scary.

And the imagery of the show remains cute and fun all throughout. The darkest it gets is in a realistic looking office.

But there are no jumpscares in that scene.

It’s just… a normal office.

If this was a horror, then perfect opportunity, right?

So… what’s going on here?

This, my friends, is why Digital Circus is not your typical indie animated horror flick.

And why people even call it ‘scary’ at all.

Here’s the trick this show uses.

It’s not the imagery.

It’s not the designs.

It’s not even intentionally trying to scare you.

Caine is not intentionally trying to scare the audience. He’s just acting like an A.I.

Yeah he has SOME unnerving moments.

But compared to THIS:

I’d say Caine is pretty tame.

Maybe it’s an indicator that he’s secretly a monster like the Other Mother in Coraline.

That horror flick is about the host lying to the protagonist and revealing their horror-like appearance later on.

But not only was it confirmed that Caine is NOT evil. But look at his design right away and his presentation.

There is no sign so far that he lies about anything. At least not what he doesn’t know.

Yes he lied about the exit. But the exit ITSELF was the thing that sent you to the VOID. So really he kinda tried to protect them.

If he didn’t, he’d let jester girl eject herself like Among Us.

So why is it unnerving?

Because it’s the POV we the audience are in for most of the episode: Pomni.

Pomni is an Audience Surrogate.

Audience Surrogates are characters designed specifically to be a placeholder for the audience.

People usually assume this trope as the character made to be the bland and generic one. But that’s actually not true.

An audience surrogate can be as simple as a First Person POV. As all it means is that the character is designed to have the same reactions the audience would in the situation they would find themselves in.

Course, not speaking for everybody, but majority that would consume the content.

Thus, with Pomni as the audience surrogate, we the audience are thrusted into her shoes the whole time. We feel the fear she does. We are experiencing the circus the same time she does.

Notice the editing in some scenes. Specifically the scenes Pomni is NOT in.

When Pomni is in a scene, there’s usually some change in lighting or camera movement that’s unnerving.

But when she isn’t in a scene, these editing moves aren’t there at all.

Which makes it pretty easy to suggest that these unnerving edits are just what’s going on in Pomni’s head.

So with that, when she’s scared. We’re scared. We’re in her POV.

But she’s scared all the time. That’s just her average personality, right?

Then why make these specific edits?

Let’s think about this:

This character is trapped in a world that isn’t her own. Everything is unusual, and she wants out. But instantly realizes there’s no escape.

And then gets told this is her new home and her new body.

A home she doesn’t recognize. And a body she doesn’t even know the name of.

She lost all sense of identity in an instant. Losing everything about herself in an instant. To the point where she can’t even remember what she was before.

And to make matters worse, because this is unusual, everything SEEMS terrifying. Even to those trying to help her adjust.

The only way out of such a confusing and terrifying world is to escape. Which is what she tries to find the entire time.

So THEREFORE:

The horror is this show is NOT the jumpscares or the creepy images.

The horror is THE VIEWER’S MIND.

This show constantly destroys your mind and breaks you through Pomni.

The idea of losing everything about yourself and being trapped in something unfamiliar forever. That IS terrifying.

If you were in this situation, you’d probably freak out even if you were the bravest being ever.

So it’s not about how scary the scene is on the outside.

It’s about what you’re THINKING that’s scary.

Ragatha’s distress monologue is not scary on the outside. But if you actually take into consideration what she says.

THATS terrifying.

That toys with your mind. And it also toys with Pomni’s.

The monster figure in the episode, the abstraction, is nowhere near as scary as something from FNAF

At least in my opinion.

Especially seeing what the monster does.

It can’t kill you. You’re just glitched.

Or maybe it CAN kill. But we never see that.

Even if Pomni ended up like Ragatha, Caine would’ve eventually came back, found them, and fixed them. And they would’ve been fine.

But then, rather out of nowhere, she STOPS.

And we get this shot.

I talked about this shot before. Said it quickly became one of my favorite shots in media.

This is why.

This shot makes me queasy every time.

The idea of looking in a mirror and not even being able to process or recognize yourself. Unable to even process your own reflection, that’s how unrecognizable you’ve become.

That’s horrifying.

And there’s no dialogue here either.

The episode effectively uses SHOW DONT TELL.

They SHOW you how scary the situation is. They SHOW you a single image that tells you everything.

It would’ve been so easy to just have Pomni say “I’m scared. I don’t recognize myself. Who is this person looking back at me?”

But no

They DON’T insult their audience.

They don’t TELL you.

They let you sink it in yourself.

Pomni doesn’t even have ANY lines after she goes through the exit door. And yet the shots after that with her have been plastered everywhere. Why? Cause she doesn’t need to tell you her mental state. You’re SHOWN it.

Can someone PLEASE tell the live action Avatar The Last Airbender that?!

Speaking of the office scene. This is the only moment in the show that looks… real. Not that cartoony.

Which I guess being in a setting that’s off putting from the rest makes it creepy, right?

Well not really.

Sure she’s running through rooms that seem to be repeating, which that of itself is sanity breaking. It reminds me a lot of another existential horror: The Stanley Parable.

But while that game is excellent and the monologue that plays in that ending is one of my favorites, it IS just telling you the sanity of the player.

Not that there’s anything wrong with this in that games style. There’s no other way that could’ve been done in that game.

Here, again, there’s no dialogue. It’s just Pomni running through these desperate for the exit.

The scary part about this is that we KNOW the absolute DESPERATION she has.

Even if we couldn’t see her face, that’s still across because we’ve seen it the entire episode.

And then there’s her break.

She snaps at the sight of a desk, and gets fangs, that of a FNAF character. But only for a second. She doesn’t even go out at the camera with them. She goes on her merry way.

But Pomni, being the POV character, really doesn’t have much to be scared at about her.

So why is this terrifying? Why not go all the way if this is supposed to be a jumpscare?

Well cause it’s not.

A way to scare your audience is to make them feel dread. Lingering longing dread. Sometimes irrational dread.

People with anxiety especially get scared at things even when they’re completely safe. They feel an unease in their stomachs. They feel unable to move. Unable to speak. Unable to put it into words at all.

It could be because we saw something unnerving that stays in our subconscious. It could be because we’re nervous about something coming up. It could be because we’re in an uncomfortable situation.

Either way, anything even remotely resembling that triggering thing can break someone to feel this anxiety. Sometimes even something as simple as the dark. Even if we know we’re completely safe.

(Speaking as a person with anxiety myself)

She only snaps and cackles when she sees a random desk with a computer. Which also has the headset she put on there. The thing that got her in this.

But you might not have even seen the headset on your first viewing. I didn’t.

But your subconscious sees it. The environment not being like the others aids in unnerving you and making it hard to process what you’re looking at.

Why is this terrifying? Why does it break you? Why does it mentally break Pomni? We don’t know. It just does.

We’ve been stuck going through doors in repeating rooms for hours.

Fear makes you not able to overthink it.

So all of that is build up to the near perfect shot of Pomni at the brink of snapping at the dinner table. With the others voices blurred in her mind. As all she can do is fake a smile.

Terrifying End.

It’s not scary because it’s scary. It’s scary because it toys with the character, and the viewer’s mind

Now, is Digital Circus the first media to do this technique?

No. Not at all.

One of the most acclaimed animated movies, Spirited Away, also uses these exact same tactics for example.

That’s obviously a master class at this tactic. And it scared me as a child as a result. For all these exact same reasons.

It’s not a horror. Not traditionally. It’s not trying to scare you. But it does anyway cause in your mind it’s a scary concept.

And also, well, Spirited Away is a completed story as of the time this post comes out.

And Digital Circus only has one episode. But we did get confirmation this would be a series. And I personally have high hopes that this brilliant tactic is kept. From the trailer, it does seem like they’re not forgetting the stuff I bring up here. So I hope this works out for the creators despite the drama and the internet BS surrounding this show.

But even if not, we at least get one case in this show where we all want to curl up in a ball and cry

Us too Pomni. Us too.

Thank you for reading my… analysis a ton of people made before me, and probably better. Happy day for you all.

#digital circus #the amazing digital circus #amazing digital circus #tadc pomni #tadc caine #horror #existential crisis #existential dread #existential horror #anxiety tw #anxiety attack

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byemambo · 2 months

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4Minutes EP. 1 - My Takeaways

So after finagling with my VPN options, I managed to watch 4Minutes episode 1 shortly after episode 4 of This Love Doesn't Have Long Beans released. Given that I haven't read a singular novel/source material for any of the series I end up consuming: my analyses are not anything more than just pastime fun and pondering thoughts.

Title Sequence

When I first saw the title sequence along with the score: I immediately thought of WestWorld (which I haven't seen the show myself because I'm not great with intense themes surrounding it but my professor showed us the title sequence and I immediately fell in love with it). The score is dynamic and although the title sequence itself doesn't give too much away besides showcasing the two main characters in fragments, it sets the tone for how I'll be viewing the series moving forward: intense, dark tones, small pockets of joyous moments within the storyline (but won't be the main focus of the story itself), and following the lives of morally gray characters.

Camera Angles (Bird's Eye View)

For starters, I noticed a repetition in using a bird's eye view angle to introduce us to new environments and exposition. Whether it be Tyme's introduction after suffering out a possible fatal injury, Great's apartment away from home (which his family members allude to his absence majority of the time in visiting the home), Korn being transported to the "department" that earns the family company most of their revenue, to Tonkla's place of stay (is it Korn's place as well, who knows at this point in the story). However, the scene that stood out the most to me is the right image in the third row of Great descending from his apartment level down a spiral staircase rather than taking the elevator as usual, which hinted at Great's spiral of wrapping his mind around his experiences with sporadic short term time travel and why time is warping the way it is. What I find interesting and continue to ponder during this point of the exposition: why is Great experiencing these symptoms and when? Did he start experiencing them out of the blue, or did he suffer some sort of freak accident or injury prior to the hit (and almost potential run)? Even during the family dinner scene, Great's father even emphasized him having to clean up after his son's "messes," so him experiencing the consequences of past accidents is possible.

I also appreciate the usage of the bird's eye view to emphasize the size of the characters within the space/environment they occupy. That in some instances, they're a small part of the entire whole within the context that they reside in. Tyme running away from the killer who injured him and left him for dead, Great occupying his apartment alone, his only companion that is briefly introduced to the story is Title (which rip for him not getting that calculator for the exam), Great also occupying the elevator to reach the bottom level of his apartment building (which makes me wonder if there's a correlation between the physical levels he occupies and the levels of consciousness he has awareness of, maybe even having its own spin on Inception's take on dream levels now that I referred back to the series's trailer). Korn taking a boat ride to the company's place of organized crime/gambling that seems isolated from the rest of the world where the story takes place, Tonkla's lack of fulfillment and feelings of loneliness after Korn leaves the apartment to attend family dinner (which a lot of us are speculating a cheating or romantic betrayal story arc). The director and cinematographer does an amazing job with utilizing the space through framing and placing each character within the composition, which is intentional and pushes a continuation of how a certain environment shapes the interactions between characters within the environment.

The Number 4 and Time

We know how significant the number 4 will be throughout the entire series, but my question right now is how the gift (since I don't think it's a power that the holder can control willingly) works and its parameters. From the first time leap: Great's car clock read 12:39 just before entering the tunnel and meeting his doom. However, after hitting the woman and attempting a hit and run, it had been four minutes since the incident occurred, latching onto Great and forcing him back four minutes to redefine his fate and making different decisions.

This also happens when Great pays the woman a visit at the hospital the next day: spending four minutes between speaking with the nurse at the desk and attempting to leave the premise after running into Tyme and desiring no confrontation. Once his phone clock reads 13:14, we are transported four minutes back to speaking with the nurse again, this time Great peeking at Tyme's visitation with the patient in room 1 and still running into Tyme regardless. Rather than walking away, Great helps Tyme with his papers, which makes me wonder just how much of these occurrences are solely coincidental and which are repeating itself for Great to revert down a predestined path for the appropriate events to happen in sequence. If Great hadn't left the woman to die out from her injuries or slow down the time taken to aid her injuries, he would not cross paths with Tyme. Even after visiting the woman and attempting to leave the hospital without saying anything to Tyme, time leaps backwards and establishes a second chance for the first meeting to occur. I wonder until the next episode is released: is Great only acting out based on what he's been taught and has known for majority of his life and being met with another chance to act according to his own volition? Is this a matter of nature vs nurture? Is he going to realize that he's being given chances to make different decisions that he will be better off living with than if he were to act based on what he's always known despite not 100% aligning with them?

Family Dinner (Introduction to the Dynamics)

Great doesn't strike me to be someone who thinks like an inherent nepo baby (at least that's what I got from Korn's character introduction as well). Between the two brothers, Korn appeases his father's wishes that involve the state of the family company's successes and endeavors, whereas Great despises them, seemingly living a more "detached" life (while still having access to things like his luxury car) of going to university and focusing on graduating. Again, with the director's intentionality when framing the characters within the environment, we get another rendition of rich family, empty homelife that we all know and love. Even Great establishing the disconnect even further by physically sitting in opposition to his father by being on the opposite end of the dining table, he not only refuses to become one with the family by bowing down to the head of the household, he desires to be viewed as an equal to his own father and cause a rift between the family members.

Despite being unified by sharing the same color grading, we can see how Tyme's home environment is much more inviting, much more lively, much more loved. We can see this through not only his relationship with his grandmother, we can see this through how the home is decorated and cared for, and see how Tyme's priority in life is to become a surgeon and take care of his grandmother by repaying for all she has done for him for what seems like majority of his life. I'm curious to see how the relationship between Great and Tyme play out after being introduced to their temperaments: both having their own expressions of stubbornness, Great being more outward and Tyme being more subdued. However, both characters have shown their sillier sides that's dependent on the closeness of their relationship around those individuals, so I wonder how long it'll take before both characters take down their walls around one another.

Miscellaneous Thoughts

I absolutely adore Den already. I feel the stark contrast between Pol in KinnPorsche and Den in 4 Minutes, which makes me so excited to see what Job will bring to the story as a more relevant supporting character that we couldn't get enough of in KinnPorsche. His smile is gorgeous and just from the kabedon alone in the image below already lets me know that his character is about to be a hoot, and I'm ready for it. The look on Tyme's face is sending me, which makes me wonder where Tyme stands in terms of romantic experience as he's a focused medical professional with a clear goal that may stray him away from other priorities in life like his social needs.

But how much I adore Tyme's relationship with his grandmother. Nothing is more wholesome to me than a family man, but specifically for their elders. The contrast between Tyme's relationship with his family versus Great's will be an interesting juxtaposition for both characters to teach and learn from one another's upbringing that carried into their adult lives. We still don't know their backstories so early on in the series, but I can only speculate that Korn's mother is either deceased or no contact with the remaining family, which may put a strain on how Great and his mother fit within the family's dynamic, since wealth and status seem to be key players influencing the direction of the story. One main character having inherent access to wealth and status that can save him from all sorts of struggle and difficulty, whereas the other main character coming from a humble upbringing that places a lot of strain on his desire to earn a living well off enough to take care of him and his family. We will definitely see how these core values will create friction or shape the characters' outlook on life and the world in which they occupy.

#4 minutes #4 minutes the series #bible wichapas #jes jespipat #bas asavapatr #job yosatorn #thai bl #thai drama #thai series #bl series #mambo.4minyap #mambo.speaks #i'm literally sat for the next episode #4minutes

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lemonmatronics · 9 months

Text

THE POPPY PLAYTIME CHAPTER 3 TRAILER IS SOOO!,?!.?.!.

What a great treat to wake up to—Excuse me while I go insane and spill some thoughts, reactions, theories, and predictions below please

ahem

AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH

SO LIKE FIRST OFF this chapter is gonna fuck, like this looks SO good holy shit

The setting and environment looks amazing but also the new hands mechanic along with the mask ohhhh this is gonna be FUN

Okay rambling about screenshots I took time

First off the environments look great, holy wow

The house itself looks kinda small so idk if that is the orphanage itself or some kind of set. Cause you can see fake sky walls around it, but like this is Playtime Co they would definitely do that to the orphanage also to give an illusion of outside. Either way it looks GREAT and I’m really excited to explore this setting

Just a nice shot of all the critters

I’m really curious if all the critters are gonna be utilized somehow. We know about Catnap and Dogday already, especially after the trailer itself. Though there was also the footage of Bobby running down the hall, looking like a normal plushie, and possibly seeing Hoppy in the trailer too. (I’ll touch on that later)

New Poster

Definitely looks like some company propaganda to try and keep kids from being afraid of CatNap. Judging by the files we got before looks like the results were a mixed bag. Considering the gas is there in the poster it’s definitely a company only poster, not something they could sell outside. They manipulated this kids so bad man :(

A CLEANER LOOK OF THIS THING,,,

THATS A SKELETON COMING OUT OF PUGAPILLAR’S MOUTH…Like that’s just straight up human remains.

I don’t think we’ve ever seen that before in this game. Like blood yeah plenty but BONES? They’re definitely amping things up for this chapter and I’m 100% here for it.

Besides that there’s a ton of plushies and such stabbed onto this weird thing. Is it a shrine? It doesn’t look like it could really move tbh, and if it was meant to be alive those parts aren’t doing anything to help it.

This poor mf

I’ve seen a lot of people speculate this is DogDay, which is a valid guess, but tbh my first thought was Hoppy. You can tell they have long droopy ears, which lines up with both candidates to me. Though I think the ears look a bit slimmer than what Dog Day’d would be, plus the angle on the head looks more like they’re dropping from the top of the head rather than the sides. I feel like if this was DogDay the whole head silhouette would be different because of the ears, which makes me lean towards Hoppy more.

I know her toy gives her long pointed up ears, but going off art and animation her ears can definitely fold

So I don’t think it’s out of the question that as a Bigger Bodies being her ears could fold over like that, especially while stuck like this.

Now I could be the one wrong here but I really think this is Hoppy. Won’t know until the game itself though so, I won’t treat either as divinities yet. It could just as easily be the case everyone else is right and it is DogDay, there’s evidence for that as well (Again, I’ll touch on that later).

So much happened here where do I even start

Obvious out the bat I guess, Kissy Missy is back!! And looks like Poppy isn’t ditching us alone either! Man I cannot tell it Poppy is good or not at this point, gray area? Trailer dialogue definitely sounded like she was supporting us.

“We’re coming! Just hold on!”

It’s really nice seeing Kissy back, really excited to see how she’s gonna help and play into this. I’ve been on the stance that she’s good ever since she helped in chapter 2 so this is really cathartic for me lmao.

As for what Poppy says here I found it interesting, like really interesting. Like, hearing it the first time made me think she casually confirmed something massive interesting. Granted, actually thinking about it longer, it could mean something else entirely. But was that the whole point?

“What’s happening down here is bigger than all of us. I need you. So we can revenge on those monsters who’ve tortured you, who’ve tortured us.”

“Those monsters who’ve tortured you”

Now, once I thought about it this is most likely referring to the literal monsters in the factory. Huggy, Mommy, CatNap, so on and such. But that’s not what my initial assumption was.

When Poppy referred to “monsters”, by first thought was the people working at the factory. I thought she said people at the factory tortured us.

I thought she confirmed that we’re a toy.

Once I thought about it longer, it doesn’t actually confirm that. But what if that’s the entire point? A double meaning line?

Now the player being a toy theory is something that’s been around since chapter 1, a theory I’ve fully stood by since then and still do. I like to think that’s why our character is completely silent, we’re a toy that can’t speak. Mute toys is something we’ve seen plenty of in the factory, more so than toys that actually talk. (Unless you count stuff like the Smiling Critters cartoon or the cardboard cutouts, but I’m talking purely living beings here.)

So while this doesn’t confirm the theory, this line is definitely throwing wood into the fire for me.

DogDay

Wether or not the chained Bigger Body above us DogDay or Hoppy, we have it confirmed here that DogDay is featured heavily in this chapter as an enemy. Again, I really wonder if the other Smiling Critters will show up as threats as well. Maybe a mixed bag of good and bad critters. If the chained up Bigger Body is DogDay, I wonder why he chases us after we assumingely set him free.

One note I’ll give that is to evidence for the chained bigger body being DogDay is that in the thumbnail you can see a shackle on his wrist

His arms are also long and lanky, which is why I won’t completely rule out it possibly being him there. It’s just as possible that it is him, both feel very plausible to me.

Though looking at the game footage, I’m not sure if can can see anything on his wrists. Additionally his arms look much wider than the one in thumbnail.

Additionally, the DogDay in the thumbnail looks so much like a…mascot suit? You can see seams and stitches all over him. Even other Bigger Bodies don’t look like that. Which is something I wanna give its own post to to figure deeper on.

So is this even the same DogDay at all?

It’s not completely out of the question there could be multiple DogDays, though that begs the question, what about other Smiling Critters? What about other toys as a whole?

Here’s my prediction on it. One Bigger Bodies experiment, and then there’s smaller ones approximately the size of their normal toys.

I think the DogDay in the thumbnail is a result of the Bigger Bodies testing, and the one actually chasing us is just a smaller more “normal” DogDay.

But if that’s true then it begs the question, what about other critters? We’ve seen a smaller Bobby before, does she also have a Bigger Bodies version?

Do they all have a Bigger Bodies equivalent?

Is there still a normal CatNap?

Again, all speculation but this chapter especially is really tickling my brain.

And finally we’ve got the man of the hour

Man he is so much lankier than I thought he would be. That definitely explains why his face was so high up on that one cam footage though. Here I was thinking he’d be bulky!

There isn’t too much to say here other than CatNap is definitely gonna be an imposing threat, and I’m very excited to see him in game. So far we’ve mainly seen him through silhouettes, and light peeks at small portions of his design. Seeing him better is game is gonna be a thrill and I’m so ready for it!

Additionally, just for the sake of adding on, we’ve seen these posters apparently from overseas get spread around lately

Both of these definitely look like they’re meant to be company only posters, ones you’d find in the schooling and orphanage areas.

The left poster telling kids to go inside right away when recess is up, nothing super deep here. Just a peek at the schooling that had here, and that these kids had their lives completely contained within the factory.

The second poster is CatNap telling Huggy to go to sleep, another attempt at convincing children CatNap isn’t dangerous. If Huggy is fine they will be too, right?

Anyways that’s my initial thoughts and reactions right after watching the trailer. VERY excited about this game, it’s been awhile since I’ve been able to brainstorm on my own over a game like this so I’m really looking forward to what this chapter has to give.

#long post #poppy playtime #poppy playtime chapter 3 #catnap #poppy playtime catnap #huggy wuggy #kissy missy #dogday #poppy playtime theory

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