#but this show also shows the mature themes of the consequences of war in its own way

[requiemforthestars]

I'm a NATLA defender now, tbh. I think more people will grow to appreciate its good parts more as time goes on. I'm of course waiting to see how they wrap everything up and I'm not immune to its flaws, but I think people are so blinded by everything not being The Exact Same as the original cartoon than they're not appreciating its good parts. It's an adaptation, a companion, it's not a replacement to the original.

[raayllum]

Sometimes it hits just how tonally different The Dragon Prince is from virtually every other kids show on TV and I lose my mind. I'd argue something like Infinity Train gets closest with its emphasis on psychological horror and morality, or even Transformers: Prime (if you know, you know) with its severe focus on war (aka one of the more lowkey episodes is a main character having a suicide bomb forcibly strapped to their chest). Steven Universe Future and Jurassic World: Camp Cretaeceous/Chaos Theory are also probably honourable mentions.

All of these shows have mature content in them, which isn't different from more popular shows like Owl House, She-Ra, or even ATLA, but often times in aforementioned three that content is presented in lighter ways and/or interrupted by bathos (this is true for She-Ra in particular). Most of TOH's heaviness is reserved for S2 Hunter or S3 Luz; ATLA has some episodes that particularly emotionally heavy (The Southern Raiders, Zuko Alone, the Southern Air Temple) or are quite hitting in exploring themes of colonization (Imprisoned, City of Walls and Secrets, Northern Air Temple), but a good deal, I'd say even the majority, are also pretty fun shenanigans, too. To be clear as well, a lighter tone is not a Problem never mind a negative (ATLA has a very strong thematic point to its own about the sanctity of children and childhood amid the horrors of how imperialism strips it away), but it is a tonal difference.

And it's not as though TDP doesn't have episodes where there are fun shenanigans (Callum and Rayla's initial exploration of Xadia in 3x02 is nothing but fluff, Soren and Corvus are a more gay comedic duo in 6x02) but the series more or less operates like "What if every episode was The Southern Raiders?" due to its consistent emphasis on grief and morality. They use words like kill and death and murder all the time.

From the pilot / opening episodes

and to when characters are having breakdowns because they murdered someone (and we're still supposed to like them) or have done horrible things, with the show's heaviness ramping up particularly from S4 onwards.

When loved ones die (and the show has a body count of 20+ named characters who have died, six seasons in, some even being children) the show depicts mourning in all its stages and ugly glory. The sadness, the anger, the revenge, the desperation, shifting blame and cognitive dissonances, thinking you had moved on only for that wound (which never fully healed) to be ripped wide open again.

Characters get tortured by being electrocuted or having their blood frozen in their veins or beaten up (5x08). There are successful assassination attempts (1x03, 3x02). People, even children younger than the main cast of characters, are put on trial with the death penalty (4x06, 6x09). Within the first three episodes, a character is running down stairs and tripping over dead bodies.

Sometimes three different characters in one episode will be having a breakdown or dealing with something absolutely devastating to their emotional state (2x08, 3x07, 6x01, 6x09, 7x01). The magic system is a trolley problem on steroids. Do you kill a monster to feed starving kingdoms, or to save yourself, or to save someone you love? What makes it a monster? What if the monster isn't a monster? What if you have to kill a child? What if it means killing your child? What if it means killing yourself?

There are two characters who canonically have cannibalized other people, one being a blood-drinker / vampire variant.

This doesn't mean the show isn't fun or funny. One character consistently thinks bathroom humour is funny (while being one of the most tragic characters in the entire show). The characters cheer each other up, take care of each other, are goofy, etc. The show is ultimately hopeful.

But the emotional weight afforded to the choices the characters are making, even good-intentioned ones with unforeseen disastrous consequences, the way show focuses on their emotional processing (or lack of) is very unique in the landscape of western animation, especially to this degree, I think. Never mind the increasing amounts of blood. Nor does this make the show inappropriate for children! Tiny me was morbid as fuck at 7 years old, I would've loved it, and I know many kids from ages 7-12 who do in my work as a tutor. But when people say "TDP isn't like most kids shows," I think what that means is sometimes lost in translation in conflating it with what people usually say aren't 'just kids shows,' when TDP... really, really isn't.

The show begins with assassins sent by a grieving mother to execute a father and his child in revenge for the father killing her partner and child, and it never lets you forget it.

[grifonecoronato]

Grown-Up Star Wars

IMO Andor, Obi-Wan Kenobi, and The Acolyte form a kind "trilogy" of shows that explore Star Wars from a more mature storytelling perspective, as all three examine specific themes deeper than other projects have attempted before.

By this I mean that they not only present a character struggling with something or having had something happen to them in their backstory, but also delve into the nuance, contradictions, and consequences of that character's motivations and choices.

For example, Obi-Wan Kenobi explored child abuse, forgiveness and trauma, themes that were also touched on, but not quite explored in Jedi: Fallen Order.

Andor explored anti-fascist resistance, which delves deeper than what's typically seen in stories set during the Empire era, which are mostly about fighting the authoritarian bad guys than fascism explicitly.

And The Acolyte asks its audience to examine the complexities inherent in emotions, such as regret, repression, longing, forgiveness, and wrath. These are present in the Prequel Trilogy (Revenge of the Sith, especially), but a lot of their weight is undercut by how quickly the stories must resolve for the film's run time (Anakin's leap from "I must save Padme" to "must massacre all teachers and children" is lightning fast).

I think that the show-runners of all three shows wanted to treat the fans like adults. Maybe they hoped the fandom was ready for it.

[epickiya722]

[NOTE: This is long! This is an actual ask about Mineta and among other things that I thought maybe some of you may be interested in reading, but because the font is in orange (due to Tumblr glitching out on Anon and their autism) I'm posting it like this. I'm not too bothered by the color, but I'm sure there are others who may find it unreadable. Now, you do not have to read it. And if you do read it, you may comment or just send me an ask ONLY if you're polite. Don't attack anyone over this. No matter how you may feel about Mineta, BNHA, Horikoshi, a dog, a cat, ANYTHING or ANYONE... DO NOT BE DISRESPECTFUL. Please keep any of your comments that you know are rude to yourself. And now, you may proceed if you choose to.]

Horikoshi said once in some interview that mineta is essentially a self-insert. Coincidentally, early-mha horikoshi had some pretty pervy tendencies (much like mineta—probably why he thought it would be cool to have such a character never really face consequences). The most famous example of this is probably the girls hero costumes, most notably Yaoyorozu. He mentions in an aside very early on in the story (volume three or something?) that he can’t seem to help himself and her boob window always gets bigger every time he draws it. Then there’s uraraka saying she didn’t want such a tight costume, Hagakure being naked, etc. When the anime started airing there was another interview where he said he really appreciated them making uraraka curvier than in the manga, because he likes curvy women. One could also use midnight and mount lady as examples of this but I’d say it’s more of a way of discussing mature themes surrounding hero society and all of its consequences rather than actual sexualisation. Something that sets him apart, even at this early stage, from other shonen mangakas is that he doesn’t only do this to the women, but the men as well. If Yaoyorozus hero costume is revealing, what about kirishimas (this comparison is my favourite because they both need skin showing for their quirks to function well, so why is one considered bad and the other fine? Because one is a boy and one is a girl? Please keep in mind I am not trying to say that kirishima is sexualized. It’s just food for thought)? If urarakas suit is considered too tight, then look at all might. You could probably see the outline of his dick from fifteen yards away when he wears that costume. Then there’s mineta, who makes certain comments regarding the women in his class. But what about mount lady and how she treats shoto? Or one of the wild wild pussy cats asking the boys in class 1-A how old they are to see how long til she can marry them? Unlike basically every other shonen out there, the sexualisation (at least as far as I can tell) is not based in sexism. It’s across the board, and we only notice it more when it happens to women because we are used to it happening to women.

For a long time, I hated horikoshi for the same reasons I hated mineta (it was a love-hate relationship for obvious reasons). He was openly perverted and seemingly one of *those* guys. You know, the ones I’d be afraid to walk near after dark. Or before dark. But I still loved mha and really appreciated what he was doing within the story. As a side note, he writes the women very well, which is rare in shonen (again—love hate relationship with dear old horikoshi). But if you’ll notice, the farther along in the story you look, the less sexualisation there is. It’s gradual so you hardly notice, but compare volume four or five to volume thirty. The difference is stark. It’s not really that mineta has less lines (although since the war started that has been the case) he still talks, just differently.

I think what happened is, when mha started getting popular, horikoshi started seeing huge pushback to minetas character, which probably all came to a head when the anime made him say something super fucked up to eri. I don’t recall if it was in dub or sub or both, but reading back through the manga it’s a bit different and honestly could’ve been poor translation or my own misinterpretation. But in the anime it was clear what he meant. He can’t wait for eri to be older, for exactly the reason you’re thinking now. The process of horikoshi realizing his mistakes started long before this, though, and gradually you can watch him patch up the holes if you pay attention. The anime does a poor job of this, at least until season six. But around the time that season four ends (and this is present in the manga too) there is a scene of Mina tying mineta to a chair and forcing him to watch something. After that, the sexualisation in the manga is gone for good. I’d like to interpret this as horikoshi finalizing his realization and own personal character development. He is no longer pervy, just like mineta is no longer pervy.

The one exception to this rule is that infamous chapter cover. The one with Hagakure on the front? Yeah, when I saw that, it made me rethink all of this. For about two weeks I was convinced that I’d been wrong about it, and he really is just a pervert after all. But lo and behold, he said in an interview that he was running behind and didn’t have time to draw or pick a chapter cover. He handed a bunch of old concept art to one of the higher ups and told them to pick something. He said he was never expecting that drawing to see the light of day, and he figured they’d choose something a little more suited to the story. (A little fucked up that he drew that? Yes, I think so. But keep in mind, these are *old* drawings. People are allowed to change and, following this metric, I think horikoshi has changed quite a bit.)

All of this is to say, mineta is not really a bad person anymore, and also has incredible writing (whether it was purposeful from the beginning or a last minute change) which just goes to show how talented horikoshi really is.

[roamanddiscover]

The Odyssey Book Summary

The Odyssey Book Summary

The Odyssey is a classic epic poem created by the renowned Greek poet, Homer. It follows the story of the main character, Odysseus, and his long journey back home to the island of Ithaca after the Trojan War. The epic is divided into 24 books, each depicting a significant event in Odysseus' perilous journey filled with challenges and mythical creatures. The journey begins when Odysseus, after the end of the Trojan War, finds himself stranded on an island called Ogygia. It is on this island that he meets Calypso, a nymph who detains him for seven years. From here, he sets off to sail back to his homeland, Ithaca, with his crew. On their journey home, Odysseus and his crew encounter the Cyclopes, the Sirens, and the deadly monster, Scylla. They also get stuck in a whirlpool created by the sea-god, Poseidon, before eventually washing ashore on the island of the witch-goddess Circe. Meanwhile, back in Ithaca, Odysseus' wife, Penelope, and son, Telemachus, await his return. Suitors take advantage of the situation and press Penelope to marry one of them, but she stays true to her husband's memory. Eventually, Telemachus joins his father's voyage and together they return to Ithaca to restore justice and order. The Odyssey encompasses numerous themes, including loyalty, hospitality, and the importance of home. It also shows the power of gods and goddesses in ancient Greek society. These mythical creatures play a significant role throughout the epic, influencing Odysseus' journey in both positive and negative ways. The Odyssey is an epic poem that continues to captivate audiences even after centuries since its inception. It is a timeless classic that has inspired numerous adaptations across various forms of media like movies, TV shows, and video games. The Odyssey is a must-read for anyone interested in classical literature and ancient Greek mythology.

Book Description

The Odyssey is a long epic poem that is divided into 24 chapters or books. It starts with Odysseus stranded on an island, unable to find his way back home after the Trojan War. Throughout the book, Odysseus faces many obstacles and challenges in his journey back home to his family in Ithaca. He encounters a wide range of mythical creatures, including the Cyclops, sirens, and sea monsters. Each chapter in the book is filled with action, adventure, and drama as Odysseus fights to survive and find his way back to his loved ones. Along the way, he also meets new friends and allies who help him on his journey. One of the most memorable characters he encounters is the sorceress, Circe, who turns Odysseus' men into pigs before eventually helping him get back on track. Despite the many challenges he faces, Odysseus remains determined to see his journey through to the end. He is a skilled fighter, smart strategist, and resourceful problem-solver, all of which help him overcome the many obstacles in his path. By the end of the book, he finally makes it back to Ithaca, where he is reunited with his wife, Penelope, and son, Telemachus, after a long, difficult journey.

Character Analysis

The character of Odysseus is central to The Odyssey. As the protagonist, he possesses many positive traits, including bravery, intelligence, and resourcefulness. Through his journey home, he confronts numerous challenges and obstacles, demonstrating his strength and leadership skills. However, despite his many strengths, Odysseus also has some flaws, including arrogance and pride. These flaws often lead him into trouble and result in negative consequences. Penelope, Odysseus' wife, is a significant character in the book. She is portrayed as faithful and loyal, awaiting Odysseus' return despite many years passing. Their son, Telemachus, is also important, as he matures throughout the story and learns the importance of leadership and bravery. The gods and goddesses play a significant role in the book, with Athena and Poseidon having particular importance. Athena, the goddess of wisdom, is depicted as an ally of Odysseus, often assisting him on his journey. Poseidon, on the other hand, is his enemy, and his wrath leads to many of the challenges Odysseus faces. The other characters encountered on Odysseus' journey, such as the cyclops Polyphemus and the sorceress Circe, also have significance, providing obstacles for Odysseus to overcome and adding to the mythical elements of the story.

Analysis

The Odyssey is a literary work that has been a subject of analysis and debate among scholars for centuries. The epic poem, written by Homer in ancient Greece, has served as a testament to the enduring power of storytelling and has been praised for its themes, characters, and historical context. The Odyssey has been studied extensively and is considered a classic of Western literature. Scholars have delved into various aspects of the poem, such as its structure, themes, and characters, in order to gain a deeper understanding of its significance. The poem's structure, with its use of flashbacks and narrative shifts, has been analyzed to gain insight into its meaning and to better understand the story. the poem's themes, such as the concept of "home" and the importance of hospitality, have been explored by scholars in order to better understand the worldview of ancient Greeks. Another area of focus for scholars has been the characters of the poem. Odysseus, the main character, has been analyzed for his virtues and flaws, with some scholars praising him as a hero and others critiquing his actions. Other characters in the poem, such as Telemachus and Penelope, have also been analyzed for their significance to the story. In addition to literary analysis, The Odyssey has been studied for its historical and cultural context. The poem provides a glimpse into ancient Greek society, and as such, has been used to study various aspects of Greek culture, such as religion, gender roles, and social hierarchy. The Odyssey has also been studied as a reflection of the political and social climate of ancient Greece. Despite years of study and analysis, The Odyssey continues to fascinate and intrigue readers and scholars alike. Its enduring popularity and significance in Western literature is a testament to its impact and power as a work of art.

Reviews

The Odyssey by Homer has been praised for its compelling storytelling, well-defined characters, and timeless themes. Readers have found themselves captivated by the journey of Odysseus and the various challenges he faces on his way home. Critics have also lauded the work and consensually agree that it ranks among the greatest epics in western literature. The story of The Odyssey is one of adventure, danger, and personal growth. Odysseus faces deadly monsters, deranged gods, and treacherous humans on his journey back to Ithaca. He also learns important lessons about the value of teamwork, hard work, and perseverance. These themes have remained relevant throughout the centuries, influencing the literature and art of today. The characters of The Odyssey are well-drawn, with even the secondary characters given distinct personalities and motives. The interactions between Odysseus, his wife Penelope and son Telemachus are particularly memorable and showcase the importance of love, loyalty and family. The gods and goddesses in the story are also notable for their conflicted and tempestuous nature, often intervening in the lives of mortals with both compassion and cruelty. The Odyssey continues to be revered for its literary merits and has served as an inspiration for countless other works. It remains a popular choice for students of literature, while also attracting new readers with each passing year. Its themes of heroism, survival, and the power of the human spirit are as relevant today as they were in ancient Greece, making The Odyssey a timeless classic.

Details

The Odyssey is an epic poem written by Homer in ancient Greece, and it contains many vivid descriptions of Greece and its mythological creatures. The book is not just a tale of adventure, but also a story about the importance of hospitality and loyalty. Throughout the book, we see Odysseus being welcomed into the homes of strangers, and we learn about the importance of treating guests with kindness and respect. Another important theme of the book is the importance of loyalty, both to one's family and to one's country. Odysseus is always striving to return home to his beloved wife and son, and his determination to do so is a testament to his loyalty and devotion. In addition to these themes, The Odyssey also emphasizes the importance of home. For Odysseus, Ithaca represents not only his physical home, but also his sense of identity and purpose. Throughout his long and difficult journey, he remains steadfast in his belief that he will one day return to Ithaca and reclaim his rightful place as king. This unwavering faith in his home and his identity inspires his followers and helps him to overcome the many challenges that he faces along the way. In terms of the book's mythical creatures, The Odyssey includes many of the most famous creatures from Greek mythology, including the Cyclops, the Sirens, and the giant sea monster Scylla. Each of these encounters presents a new challenge for Odysseus and his crew, and each highlights a different aspect of his character and leadership. The Odyssey is a rich and complex book that offers many insights into ancient Greek culture and mythology, as well as timeless lessons about the importance of hospitality, loyalty, and the place that we call home.

News about The Odyssey

The Odyssey, despite being written over 2,700 years ago, remains relevant in popular culture today. It has been adapted into numerous movies, TV shows, and even video games. One of the most popular adaptations is the 2001 movie O Brother, Where Art Thou?, which is loosely based on the story of Odysseus. The movie was directed by the Coen Brothers and stars George Clooney. The Odyssey has also been adapted into a number of stage plays, including one by the Royal Shakespeare Company. In addition, there have been multiple TV series based on the story, including a miniseries in 1997 starring Armand Assante as Odysseus. The video game industry has also embraced The Odyssey, with several games featuring elements from the story. In 2004, Ubisoft released the game Prince of Persia: Warrior Within, which drew heavily from the mythology of The Odyssey. The continued popularity of The Odyssey is a testament to its enduring themes and timeless storytelling. Whether it's through movies, TV shows, or video games, the story of Odysseus and his journey home continues to captivate audiences of all ages.

Ratings

The Odyssey is one of the most beloved classics of all time. It has consistently received high ratings from readers and critics alike. The book has stood the test of time and has remained popular for centuries. Many readers praise the book for its excellent storytelling and well-developed characters. The poem is an epic tale of adventure, with Odysseus facing numerous challenges and overcoming incredible odds to return home. The book is a testament to the human spirit and the power of determination and perseverance. Critics also appreciate the book's themes and its relevance to modern times. The Odyssey explores timeless ideas such as the importance of home and the relationships between humans and gods. Readers can still relate to these themes today and are drawn to the book's timeless wisdom. The Odyssey has been translated into many languages and has been read by millions of people around the world. It has captivated audiences for centuries and has inspired countless adaptations, from modern retellings to film and television adaptations. The Odyssey is a beloved classic that has received high ratings and praise from both readers and critics. Its timeless themes, well-developed characters, and excellent storytelling have cemented its place in literary history as one of the greatest books of all time.

Book Notes

Reading The Odyssey can be a challenging task for some readers due to its complex language and long length. Its 24 chapters weave a complex narrative that is rich in detail and requires close attention to fully comprehend. Fortunately, there are some great resources available to help readers better understand the text. If you're struggling with the language or are in need of a refresher, SparkNotes is a great option. Their in-depth summaries and analysis of each chapter can help you gain a better understanding of the events and themes of the book. study guides specifically designed for The Odyssey are widely available online and in bookstores. One of the key aspects to remember while reading the book is that it is not just a simple adventure story, but rather it is layered with multiple meanings and interpretations. The journey of Odysseus serves as an allegory for the human experience, exploring topics such as the cost of pride and the importance of perseverance. It is also important to keep in mind the historical and cultural context in which the book was written. Ancient Greece was a highly patriarchal society and some of the themes and actions portrayed in the book may be viewed differently through modern lenses. while it may be challenging, taking the time to read and understand The Odyssey can be an incredibly rewarding experience. With the help of resources such as SparkNotes and study guides, readers can fully appreciate the masterful storytelling and important themes that have made this classic a beloved favorite for centuries. Read the full article

[alongtidesoflight]

so here's the gist of it for everyone who hasn't seen a single thing about this or my mod blog before. for the rest, congrats to sticking around for so long, it'll probably pay off.

my mod has six companions. they're romanceable.

they have their own personalities, quirks, alliances, history and boundaries. everything across the moral alignment board's on there. they have questlines, and those are story-heavy. those storylines include player choices and consequences, up to and including permanent death. the player can recruit up to two of them and they interact with each other and the world as the player progresses through it. they ride their own horses when the player does, interact on horseback, and the player can customise their wardrobe. by default they each have two outfits, a combat-oriented and a leisurely one. they follow the earlier class systems and include nods to previous elder scrolls games. morrowind and oblivion are referenced heavily, earlier game references are scattered into the mix through small easter eggs.

(this is cut content now i'm pretty sure, screenshot's just here to show off the interactions)

when i say their quests are story-heavy, i mean it. i've created new worldspaces wholly populated (with the population of these places offering small quests of their own that aren't fetch or fence quests) or at least relating to a big quest, several dungeons, a player home that is also acquired through a quest, and small little side tangents that are meant to add some fluff to something that's overall very mature in themes. if one of them mentions a location, chances are you will head there at one point down the line.

this isn't me just conceptualising this thing, it's me saying all this stuff is already built, coded in, and populated. there's also way more than this, i just gotta keep the picture limit in mind here.

and remember the player home i mentioned? well here it is:

it has a history of its own, dilligent staff that can be hired:

enough space for the player to recruit a whole garrison of guards (literally):

and a secret that will be revealed post-game, for a few more hours of gameplay if a certain few conditions are met:

i have poured an embarrassing amount of time into this. several thousand hours, actually. i'm not exaggerating.

i didn't want to change or break or destroy or "fix" canon, i wanted to expand on it, weave stories through it, give the game more depth and personality and add some personal stakes here and there, like the civil war, guilds and factions, hell even the follower/companion framework, dialogue and romance system. this is the result. it's sitting on my hard drive stuck in the last stages of "tiny little details need stabilising and fixing, dialogues need to be spell and grammar checked and then we should be good" for now. literally the only things standing in the way of an alpha release.

my spare time is a little packed lately. lotsa unpleasant things going on. but this isn't going anywhere and maybe i'll finally get over myself and put it out there. and if you're willing to playtest it in some point in the future feel free to leave a comment on this. i'll get back to you about it when the time's come.

back when i got started with modding and began advertising my stuff i'd always put it into coded words like "romanceable regardless of gender" or some shit so the cishet bethesda fanboys wouldn't start foaming at the mouth and just look past the gays as long as they get to have some dunmer or breton coochie and i think it's what ultimately broke my neck about finishing it coz i was just expecting it to blow over and my account to get troll swarmed if i ever put it up on the nexus because we're talking about the website that collectively lost its shit over a rainbow flag in spiderman in like what 2020

i'd be scared to write lines like a guy talking about his very same sex lover, or a girl being sweet on another lady or a nonbinary blacksmith and their partner and their children and i'd put them in then erase them the next day and put them in and erase them the other day again and it'd get even worse when a quest was kinda built on the history of that because at one point some voice lines were crucial to a script or a stage progression and i couldn't just cut them out anymore

i was trying to really keep it on the down low to avoid any backlash with the bethesda fanboys but the end result of that was hollow and didn't ring true and i just ended up getting increasingly anxious about the thing and couldn't look at it anymore lol and it's a shame because it's really in the stage of being close to an alpha release so if i could just stop being neurotic over the what ifs of the future for five fucking SECONDS yk

anway todd put canon gays into your game i beg you

don't just let a guy wear a dress and play it off as a joke in the trailer give me same sex relationships, queer people and gender modification so i don't have to create an entire condition to check if the player chose they/them pronouns for every voice line

[opinions-about-tiaras]

I never really had a problem with any of the Steven universe moral nuance except how they dealt with the diamonds in the end. Even in a kids show you can have their be more mature themes and they built up the slavery and imperialism of the three diamonds too much for the rushed “everyone gets along now!” Not sure if you agree but I was curious your thoughts since I only ever hear people who think the show sucks for unfounded reasons or that it can do no wrong

When it comes to the great Steven Universe implosion, I am firmly on the side of "the fandom did this to itself."

The entire show is based on the premised of Steven solving problems via befriending the shit out of people and the narrative thrust is always "war to the knife is wrong." It was very obvious after Bismuth, after how Steven's racist uncle was handled, etc. that the show was not going to be about Steven kicking the shit out of the diamonds and overthrowing their authority. I knew this was coming, the shape of it was obvious, and also that I'd be disappointed.

(I also have real issues with how I feel the show does Rose dirty; Rose Quartz is the proximate cause of any positive reform of the Gem Empire and literally committed suicide to bring the instrument of liberation to it, and by the end of the show they were writing her as a kind of cruel semi-villain. That's a digression, tho.)

Now, it's perfectly okay for people to say "This show is airing during the fuckin' Trump Administration; I neither need nor want to see a show about befriending and reforming the fascist overlords, who get to continue to be powerful and in charge and suffer no meaningful consequences; I want to see their faces kicked in. The current state of affairs of the real world preclude this entertainment for being enjoyable to me, and frankly I also call into question the sensibilities of its writers for trying to sell such a line at this time, in this place."

(This, by the way, was also a problem She-Ra and the Princesses of Power had.)

But instead what happened is you had a lot of people going off on unhinged "Steven Universe is actually deeply transphobic, queerphobic, misogynistic, racist, and patriarchal" rants. To this day I'm not sure why, because this case is incredibly weak.

[xxxsoukokuxxx]

Mori and Yosano's Relationship ft. Elise - Analysis

Analysis

Characters: Mori Ougai; Yosano Akiko; Elise

Warnings: Pedophilia (?); Dark themes; BSD Manga Spoilers (mainly chapters 65 & 66)

Notes: @jessbeinme15 Thanks for sending a request! I apologize for the long wait. You have made an interesting point and I never knew how interesting and dark the thing between Mori and Yosano is. So I was actually really excited to do this, and yes Elise does seem somewhat older during The Great War than what she is presently but more on that later in the analysis. Alright, let's do this!

______________________________________________

So we learn in Chapter 65 - 66 that Mori and Yosano had a past, and might I say a very dark, traumatizing one (for Yosano). The chapter starts off with Yosano flinging a chair towards Mori's direction in a fit of rage at Mori's 'plan' as he says that The Agency will split up and live out the rest of their days in hiding. Yosano believes he has no intention of saving them and thus says that his plan of "transferring someone from The Detective Agency" is practically a load of crap.

I partially think that Mori's only aim was to get Yosano back and work for him in the mafia, considering it'd be a real game changer (I'll explain how later on).

Mori's (unusual) Possessiveness Over Yosano and Similarities of This With Elise

14 Years ago prior to present events, it was near the end of The Great War. We meet 11-year-old Yosano and 26-year-old Mori, Yosano being a Military Hospital Scholarship Student and Mori an Assisstant Military Physician - First Class. It's clear already that Yosano is a feisty one and Mori...well he's Mori. There is panel straight after they are introduced where everyone (soldiers) cheer for her after she has healed them with her ability, 'Thou shalt not die'. And then there's this:

So it seems quite obvious that he is possessive of Yosano, calling her "My Yosano-kun" with a dark, threatening aura, which she disapproves of and argues she isn't something of his and threatens to bite his ear off. After Yosano's "brattyness" he becomes silent for a moment before:

In this panel some of us may see parallels between the way he treats and reacts to Elise now and 11-year-old Yosano then. He seems to find their behavior rather cute and endearing exclaiming that "This fortitude...it's amazing..." which of course Yosano finds weird. Mori seems to have been more successful in treating present Elise in such a way because Yosano, although having the same feisty nature, is a little different.

Yosano then sees a soldier (Tachihara's older brother) and a little conversation flows back and forth between them, Yosano saying that he should be back on the frontlines after being healed instead of "reading a novel". He expresses his gratitude by summoning a golden butterfly from the book of poetry he was reading and its placed as a hair clip on Yosano.

The soldier keeps on showing her his gratitude, calling her "Miss Angel" and he seemingly smiles a lot at her and at which we can see Mori disapproves of, a lot:

As I said, he is possessive of her, just as he is with Elise presently. Elise is Mori's ability, but if anyone ever dared to try anything with her I'm sure there would be dire consequences. Now we get to the part where Yosano (her ability rather) would be a real game changer in war and Mori's intentions.

How Mori Plans to Use Yosano as Game-changer to Fight Wars

I'm not sure whether it is canon or not if Mori is a pedophile but he does seem like one (he even says "he's weak to little girl's wishes"). This may be true but he also has a hidden agenda for Yosano.

Mori wrote an essay to the emperor on "An Immortal Regiment", in which it states that Yosano has an ability which can change the world (the world of war and game theory/strategies) , the European powers have realized that using ability users to fight wars is a game-changer, and that it's urgent that they prove the worth of that strategy to the top brass of their military to avoid falling behind.

Obviously, at this point of time in this chapter Yosano knows nothing about this and when Tachihara's older brother explains this she questions it and exclaims she's only come there to save lives, to which Mori holds her back.

And that's where we see Elise after Mori asks her to take them to the patients Yosano needs to heal, but the whole thing about Elise will be discussed under the next heading.

In short he plans to use Yosano or rather her ability to change how war works and later on we find out, to overthrow the previous Mafia Boss as well. As long as she was there, the soldiers would never be able to leave the battlefield no matter the mental trauma. It was their psychical self that mattered to Mori so that they can keep on fighting the war without any delays or retreat.

Fortunately enough, Fukuzawa saves her from this and Ranpo gives her a new hope.

Elise's Age During The Great War and Presently

I understand what you mean when you say she looks older during this war:

...compared to now. Perhaps Mori wanted her a bit younger, he can control her after all, however I am not certain if he can change her age. All I can say about this is that, yes she looks older and might I say much more mature during the great war but! I have something else to point out. Her eyes. They look...as if she is hypnotized, it seems to me that she is not acting out of her own will but rather Mori's complete control. And she even calls him "Master".

Conclusion

Overall the relationship Mori and Yosano have is pretty messed up. I feel Yosano holds resentment and a lot of held-back anger for Mori (she has every right to). While Mori only sees her as a mere pawn to use in a cold-hearted game of chess. First he wanted to use her as a pawn in his game-changing war strategies and such and then he wanted to use her as a pawn to overthrow the "King" or otherwise known as the Previous Mafia Boss.

And since he wants to get her back and work under him in the Mafia, he can fulfill what he previously wanted to do and it is the optimal solution to him. That's all I have and thank you for reading, I hope that this was clear and made sense. If there's anything I missed out feel free to tell me and I'll see what I can do.

[blacksunscorpio]

I have a stellium (Venus, Saturn, Uranus, Neptune) in Capricorn in the 11th house and I cannot for the life of me find any reliable resources on what this means, particularly in terms of the 11th house. I'd be grateful for any help.

Planets in the 11th House The 11th House

is Ruled by Aquarius/Uranus. It is a Succedent house which indicates the themes are purpose and stabilization [or lack thereof].  This house is ruling the area of group associations, network, community, friends/peers, philanthropy, & humanitarianism. When your planets fall in this house, it indicates the Planet in particular will play out themes regarding related to Aquarian/Uranian archetypes. A native with this placement in particular can often have a “mass appeal”. There can often be a “detached disposition as well. For more insight:

Sun in the 11th

A dynamic placement. Natives with this luminary can have immense social [Uranus] influence. They in particular operate in a society based manner. They feel driven to navigate social networks. They typically seek to make a change in the world. Driven to leadership positions, this native may head up Civic lab duties or general charity/philanthropy work. Typically this placement gifts natives with good public speaking skills-they excel in politics as well. No. 42 Bill Clinton, No. 44 Barack Obama, Margaret Thatcher, Britains “Iron lady”, etc are a few examples of eleventh-house Solarians. On a smaller scale, eleventh-house suns are the first to organize clubs in school, or as adults to lead or join an organization designed for social change.

Moon in the 11th

Finds “comfort” in groups. If they wish to communicate a message, there is a level of deep caring involved. These natives often use the moon's emotional nature to express their views artistically. They can often gain  trust in people. They are able to lea and enact social change by gaining said trust. There can be this “therapy” theme among groups they are associated with. The moon's caring nature has an equal but opposite need to be cared for in return. The give and take involved in social networking is comfortable terrain for eleventh-house moons. Oprah Winfrey, MLK, Bruce Lee, Winston Churchill, & John Lennon are among a few Lunar 11th house natives. 

Mercury in the 11th

Quick silver running the show in the 11th/working with Uranus indicates a native quick witted, rational, talkative and generally light on their feet in social settings. They thrive here, especially with communication involved. They can chat up a storm and gain the attention of crowds. This is often difficult for many but not for someone with this planet living in the 11th. They have an advantage actually.  Mercury loves to socialize and can be very chatty. They tend to keep conversations broad and non-personal which compliments the eleventh house's focus on social and group dealings. Debating over social issues is their forte but they can be detached as well. If harshly aspected, it can make someone a bit fanatical over social issues. However, Mercury here can keep track of facts and figures and keep their information accurate. They can also come up with original though processes and ideas on how the “collective” can operate at a higher frequency. They are the out of the box/original thinkers who come up with all kinds of new ideas and inventions. Social intercourse is very important to them.

Venus in the 11th

Powerful magnet placement. This native loves charming and associating with groups/friends/and peers. This is the person you want to host you when you’re visiting from out of town or just having some sort of housewarming. They are an agreeable, friendly, kind and gregarious individual that enjoys company. Nothing is too extravagant or too much for their associates and/or friends. They have an instinct for putting guests at ease, exercise tact in catering to their diverse needs, and delight in bringing congenial people together. You’ll often find this person is attracted to liberal movements and gravitates to art geared towards change or revolution. They enjoy theater, shows, concerts- anywhere there is a collective group of people loving on each other. The type of person who would have been a shoe-in at Woodstock. Etiquette is highly involved when dealing with groups. They are the ones who seek diplomacy among others. The type of person who tends to be the mediator between friends. Great effort is made to always consider the social consequences of actions and statements.

Mars in the 11th

Can indicate conflict or greatness. Because Mars is ruler of the first house, the native is pre-programmed in a way to be more “I” centered. Therefore, this attitude can class with the group oriented energy of the 11th house. If the Mars native is leading the group, they feel satisfied.  However, too many “group” projects or god-forbid, following the orders of social institutions can make Mars liable to get frustrated, and if pushed to the limit, erupt.  They can be a disruptive force because their independence can broil issues with cooperatives/peers. They can often be the center of controversies because of this. On the other hands, when harnessed or significantly well aspected, they can be demagogues or champions of the under-dog.  They should take care to follow standard rules though, because paying fines and in general, dealing with other punishments society inflicts due to rule-breaking [Uranus/Rebellion  & Mars/ War]  can be more common than the 11th House Martian may be comfortable with.

Jupiter in the 11th

Tis placement makes a native gifted with the power to beneficially influence the collective/friends/coworkers and peers. They will usually have ideas that inspire others. This makes them the perfect types to spearhead or lead out group events, projects, movements, and teachings. The great “socializer” who can often find success through networking. They will “know everyone”. It’s very common for these people to be quite popular. They’ll typically have a friendly and outgoing persona and may even have many friends outside of their native country. Jupiter's success [regardless of house] lies largely in its ability to roll with the punches things and keep a light, global outlook [Jupiter equals expansion]. In the eleventh house, this laidback style puts them far ahead of most people by not getting entangled in the drama of any particular person and instead focusing on the dynamic of the group. Charisma and confidence, live here, making them excellent in leadership positions. 

Saturn in the 11th

This placement is actually well-placed believe it or not. Why? Because of Saturn’s ancient relationship with Aquarius. It was actually the ruler before Uranus was discovered. A native with Saturn in the 11th is likely to be discriminating in their choice of associates/friends/colleagues, etc. Because of Saturn’s association with time, and longevity, the relationships that they do form will usually be long term and enduring. Not unheard of for them to associate with people older than them or groups that have a more austere vibe. Law and order are things they appreciate. If “age” isn’t a factor, they can often come across as distinguished intellectually or more Mature to their social group/peers/community. They can often perform more of the serious work and duties in organizations. However because rules are often broken or not adhered to in social groups, Saturn here can often be frustrated. So, Institutions like school and corporations where there is [traditionally] a good amount of structure makes Saturn more comfortable. If they are not IN said institution they will create it [Uranus/Innovation].

Uranus in the 11th

Uranus is in its ultimate bag placed here in the 11th. This planet rules this house. As a result, this native can be extremely friendly, but this disposition walks hand in hand with not wanting to become too attached to others. So they thrive in “acquaintance” like environments/relationships. The Uranian rebellious streak can rear its head as well and this native can often see frequent and/or sudden changes in their social circles, organizations, & communities. They hate complacency and are attracted to forward-thinking and out of the box, thinking associates. They hate to conform. They make even opt out of doing something/buying something/going somewhere if “everyone is doing it”.  Uranus placed here doesn't feel threatened by differences and believes their acceptance makes them superior to those who are unaccepting [you’ll usually see this with harder aspects involved]. They need to take care not to be too zealous in their quest for social change or they could risk leading others in the wrong direction.

Neptune in the 11th

A native with Neptune placed in the 11th will tend to be attracted to artistic, “boho” and quirky associates. Friends may often be Neptunian types. I.e dreamers, spacey, a tendencies towards idealistic thinking, or spiritual and inspirational. At the worst, they can attract friends who are disloyal, deceptive, or people with substance issues. Friendships can be murky here so they need to be sure to pay extra attention to whom they associate with. They also need to take care not to get swept up in group movements at the risk that they can be mislead easily–they can find it difficult to determine where their individuality ends and the group begins. However, they are the ones who want to heal the group. To find ways of inspiring and leading in creative and artistic ways.

Pluto in the 11th

Natives with The Lord of transformation living in the 11th often are drawn to radical social reform tend to be acutely aware of the power dynamics in groups, friendships and societal institutions. There is a deep obsession with these themes when placed in this house. Often when these natives step into a group setting, they immediately sense the power structure or others easily sense power with them. It can be unnerving to some. They need to take care not to think to deeply about what friends, associates, co-workers or peers think of them. Frankly, everyone is going to have an opinion and they will make themselves crazy obsessing over what others think. They may have difficulty trusting others/institutions/ or general “group-think”. They want to know the ins-and outs of why people do things. They can have a tendency to keep their guard up against the idea of someone exploiting them or by being exploited by the power of groups or organizations. To the point where they may downright avoid group situations as a whole. However when someone in their social circle passes the “trust test” they are very devoted.

Honorary Mention: 11th House Stelliums

When one has a convergence of planetary energy from 3 or more planets [a stellium] in the 11th, this indicates a native who may be “everyone’s best friend”.  They can be quite popular, take part in many groups or organizations, etc. They’ll often be the most social of the zodiac. They will often try to cater to their peers and society. They’re always wanting to help. They need to take care not to become “people pleasers” as a result. They think about the big picture and enjoy subjects that allow them to interact with groups/friends/peers. You may find people with this particular stellia  involved in protests, or working simply working to make significant changes in their communities. I want to mention, 11th house is where one can experience both inclusion as well as exclusion. Often simultaneously. They need to make sure they don’t set themselves up to be scapegoated. However, they often find their tribe at some point. Oddballs or people who are considered “strange”, “unusual”, “crackpots” which are all synonyms for “geniuses” ;). A stellium here may very well indicate 11th house dealings are integral to that person’s life. This is especially significant if the north node is placed among the stellium. 

[theuntitledblog]

Andor: Season One (2022) - REVIEW

SYNOPSIS

Set during the peak of the Imperial Empire, Andor tells the story of Cassian Andor in his formative years that would ultimately lead him to become a spy for the Rebellion.

I was not expecting this. Rogue One: A Star Wars Story gave us our first live action peek into the internal politics of the Empire and the Rebellion that consequently added a lot of grey into the black and white morality of the Star Wars Saga. Andor takes this to a completely new level while it covers serious and recognizable themes as a Star Wars property that is the most un-Star Wars yet and a significant improvement over the major misfire that was Book of Boba Fett. This isn't a fast paced space western with a soaring score like the Mandalorian, this is a carefully paced drama with a measured amount of action but spread across a much larger canvas with complex characters who are often disconnected from one another. The major set pieces when they do come are thoroughly earned with clearly established stakes and executed to thrilling perfection. With Andor we've got something that is not just very different but so much more mature. This is, putting is bluntly, Star Wars for grown ups.

Andor plays out against an incredibly vast canvas consisting of several new planets including the worlds of Ferrix and Aldhani but it also includes one strikingly familiar world in Coruscant. More than simply being a quick edit to a CGI backdrop, each location is unique from one another and explores a different aspect of life under the cold and bureaucratic tyranny of the Empire. So much time is spent in these locations that includes a variety of Imperial facilities such as the Imperial Security Bureau on Coruscant and the prison on Narkina 5, that they feel just as lived in and real as anything seen in the Original Star Wars Trilogy. This is world building of the likes we haven't seen from Star Wars while at the same time it treads into darker depths and murkier waters of morality with characters who often can't be divided into a simple category of good and evil. So striking is its pace and tone that I often felt I was watching something closer to Blade Runner than Star Wars. Tonally it also shares similarities to the Hunger Games with the run down, oppressed worlds of Ferrix and Aldhani versus the high society and politicking of Coruscant being similar to the Districts and Capitol of those movies.

Throughout its 12 episode run, Andor tells a slow story of radicalization; the Cassian Andor (Diego Luna) we're introduced to here isn't the committed Rebel agent we see in Rogue One. This is a Cassian Andor who's simply about survival but then finds himself in the sights of sinister Imperial Security Bureau agent Dedra Meero (Denise Gough), who is convinced of the existence of an organized rebellion. Andor is as much an origin story for the Rebellion as it is for Cassian himself as Senator Mon Mothma (Genevieve O'Reilly) attempts to navigate the complexities of Imperial politics while trying to fund the fledgling rebellion. The characters that feature here are often located separate from one another with only the mysterious and ruthless Luthen Rael (Stellan Skarsgard) providing the link between all arcs. There are few characters to truly root for but many who are interesting and complex with Cassian himself, Fiona Shaw's Maarva, Luthen, Dedra Meero and Andy Serkhis' Kino Loy being particular standouts. This is a show with plenty of interesting characters.

The show is very patient with its storytelling and doesn't rush into one set piece after another which will disappoint anyone looking for the more traditional thrills of Star Wars. The set pieces however are all unique in terms of their specific stakes and structures, but all of them serve to make the Empire feel more of a threat than its ever felt before. From the escape from Ferrix, the raid on Aldhani, the escape from Narkina 5 and a few others. The visual effects are always stunning and look especially effective from the use of practical locations and sets. The pace of the storytelling means that each set piece is carefully laid out and understood beforehand by the audience leading into one which generates great tension. For a show that can feel tonally very bleak, these set pieces give Andor several moments of exhilaration and satisfying pay offs. But the real pay off is Cassian's journey as the 12 episodes perfectly capture the cruel, unjust and relentless essence of the Empire. Cassian's arc from a nobody to a Rebel, much the series as a whole, feels completely earned.

VERDICT

Andor is the Star Wars show I didn't know that I needed or wanted and is a rare show that manages to stick the landing with a thrilling finale that perfectly sets up season two. This is arguably the best Star Wars property of the post-Lucas era.

5/5

[tthael]

I really admire so many things about your writing - the introspection and deep meaning, the realistic and sensitive way that you handle topics. Do you have any recs for fav media/books/tv shows/fanfics ? I guess I'm curious if there are any you think might have similar qualities/themes?

This is a tough one because basically everything I consume gets picked apart and reused in some way. However, I’ll give it a shot:

The Book Thief and I Am the Messenger by Markus Zusak. There’s quite a lot I like about Zusak’s use of language and have since 2007 when I read The Book Thief for the first time, and there’s something very cinematic and magical about I Am the Messenger (particularly in the chapter with the young track runner).

The Bone Clocks by David Mitchell. He’s most commonly known for Cloud Atlas, but he has an ongoing theme of vampires and cannibalism reappearing in his work (I just read Slade House for the first time while I was in quarantine) and there’s something deeply satisfying about the way that all of the disparate pieces come to fruition at the climax of The Bone Clocks. Not a perfect book, but deeply satisfying.

The Lacuna by Barbara Kingsolver. Again, she’s most commonly known for The Poisonwood Bible, but I liked that well enough to read The Lacuna in 2013, and I completely hated it for the first half of the book until finally something clicked in my brain and I activated the literary critic within, who doesn’t care so much about whether they enjoy something and more cares about how well something is done. The description of US American rationing during World War II really got me onto the novel’s side, if that makes sense; and I do love a good family epic, and while this only focuses on one protagonist instead of generations of them, it’s interesting in a similar way to The Bone Clocks where you see everything start to snowball together.

Literally anything by Ursula Vernon/T. Kingfisher. I particularly recommend The Raven and The Reindeer, which I read shortly after being diagnosed with my chronic illness and really helped me to understand the irrelevance of shame. There’s something very satisfying about saying “a reindeer doesn’t care if it smells bad, so I’m going to lean into that particular apathy and not allow a bully to take me down over it.” Something comforting about taking shelter in the animal and in survival, when you and your body are in one place and working on the same side, and it’s your brain that’s ready to give up first but your body will keep dragging you through because that’s what it does. Certain lines in Indelicate were inspired by her adaptation of Tam Lin in Jackalope Wives and other Stories (https://www.amazon.com/Jackalope-Wives-Other-Stories-Kingfisher-ebook/dp/B071946RLN). Lots of her short stories are available at this link for free: http://www.redwombatstudio.com/portfolio/writing/short-stories/

TV’s a little harder to unpack, since I don’t always think in terms of visual media, I tend to default to words first. Recently I’ve been enjoying New Amsterdam on NBC--it’s nice to see the radical socialist doctor doing his damnedest to secure the right thing--and Call the Midwife--similar reasons. There’s a lot about meeting someone where they are in both shows that I appreciate.

There’s also a lot of music that inspires my writing so I’ll have to dedicate a post specifically to that in my methods and materials.

Fanfic, though! Lots of my favorites, lots of genres. Here we go:

we are all stardust by synergenic (Losseflame) (https://archiveofourown.org/works/5682496) Star Wars Episode VII: The Force Awakens, pairing Finn/Poe Dameron. Sexually explicit, but also leans a lot into physicality. You can probably see the influence on the very first chapter of Indelicate when Eddie’s waking up in pain and Richie’s at his bedside. It’s very much inspired by a similar sickbed scene here.

If They Haven’t Learned Your Name by silentwalrus (https://archiveofourown.org/works/6329503) Captain America/Marvel Cinematic Universe Steve Rogers/James “Bucky” Barnes. The holy grail of Steve/Bucky fanfiction. If you want independent character exploration, this is the place to go. Natasha shaving her head? Yes. Sam pleading with Steve to keep his shit together while thirty Koren grandmothers assume they are American celebrities? Yes. Bucky defiantly hunting down his sense of self while bingeing romance novels in a space ship? Yes. Pay particular attention to the Sam chapters, because they’re a beautiful way of defining Steve’s characterization from an outside perspective, and I’m trying to do the same with Eddie looking at Richie in Indelicate.

An Ever-Fixed Mark by AMarguerite (https://archiveofourown.org/works/8523001) Pride & Prejudice (Jane Austen) Elizabeth Bennet/Colonel Fitzwilliam, Elizabeth Bennet/Fitzwilliam Darcy. Soulmark AU. This is one of my longtime favorite fanfictions and what it taught me was cause and effect. The characters move the plot forward based on their assumptions and decisions. Definitely very helpful when I was writing TTHAEL by the seat of my pants.

You Can Keep Holding On by NorthernSparrow (https://archiveofourown.org/works/7233709) Supernatural Dean Winchester/Castiel. Sexually explicit. A lot of the summary I can give here is spoilers, but if you read this one through, you’ll be able to see the inspiration for the “Can you tell me where I can get another Eddie Kaspbrak?” scene in Indelicate.

Work of All Saints by antistar_e (kaikamahine) (https://archiveofourown.org/works/15006644) Coco (2017) Imelda Rivera/Héctor Rivera/Ernesto de la Cruz. Sexually mature. Oh my GOD this is a beautiful coming-of-age story set in turn-of-the-century Oaxaca, this is the best complete expansion of canon that I’ve ever seen; the author takes the pieces and runs with them and it is WONDERFUL.

Lycanthropic Studies by Eiiri (https://archiveofourown.org/series/575263) Harry Potter, Remus Lupin/Sirius Black canon-divergence AU. I very much enjoy the meditation on lycanthropy as a chronic illness and I sometimes reread this for comfort. Particularly early on Remus has a rant about how he’s sick and he’s always sick and his life doesn’t stop for it, despite holidays and birthdays he still has to deal with the consequences of his illness and take the devastating medication, and there’s a lot about that that speaks to me. I haven’t kept up with the series for some time, though.

Careful Truths by SassySnowperson (https://archiveofourown.org/works/12111966) Rogue One: A Star Wars Story, Bodhi Rook/Luke Skywalker canon-divergence AU. Sexually explicit. Honestly identity p!rn fics are a good inspiration for that third-person limited perspective I’ve been working on in Indelicate. Also I love love LOVE Bodhi Rook. It’s fun watching him run in circles trying to conceal his identity from Luke while completely oblivious to Luke doing exactly the same thing.

Stammtisch by chaya (https://archiveofourown.org/works/15060152) Critical Role: Season 2, Caleb Widogast/Mollymauk Tealeaf, AU. Sexually explicit. Long before Caleb actually leveled up enough to cast Mordenkainen’s Magnificent Mansion, chaya speculated about what kind of spaces he might create for each of his friends. I think it’s a very good resource for really condensing characterization down into lots of images and concepts and deciding what other characters know about them. The idea of making space for someone else is something that I lean into a lot when I write Ben, who’s the kind of man who will set himself on fire to keep those he loves warm, and even though Critical Role has far more material than even IT for determining characterization, and even though this particular moment has already occurred in canon--it’s just a wonderful homey story, and has the kind of found family vibes I like for the Losers as well.

I know that’s a lot to unpack there, but all of those fics are very good and I recommend reading any assortment that appeals to you. (Work of All Saints in particular you don’t have to be familiar with the source material beyond the basic premise; it stands on its own.) Thank you for asking, and thank you for reading!

[ammaterasu]

9,10,22

9 Most disliked character(s)? Why?

Danzo and the elders

Theyre evil reincarnate, powerful behind-the-scenes, corrupt politicians orchestrating genocides, running underground hunger games, pitting children against each other (no one talks about sai enough but that story hurted) etc etc.

die die die die die die die dIE DIE DIE

10 Most disliked arc? Why?

Kaguya

It undermined all the major themes and buildup of the series – pinning everything on some alien and in-turn taking away accountability from the shinobi and corrupted practices of the human world.

Also following up Madara, the most op and satisfying ‘villain’ with kaguya was just a let down. (not that I even like the war arc bc of its own reasons but that’s another post that many others have summarized much more eloquently)

Ill be honest the storyline for this series already went off the rails since time but this was just a very boring villain that didn’t really stoke the reader with thought-provoking ideological questions like Pein did, as an example (bc actually this is just some mystic higher powered evil alien deity behind it all)

Also, this arc was followed by the final Naruto and Sasuke fight which everyone knew was bound to conclude the series with. Except, leading up to that fight by uniting them against a common enemy where you see sasuke fighting alongside Konoha forces which he vowed to burn down 2 chapters ago? Then endlessly show him save Naruto time and time again (like uh, u want to kill him bc u want to be alone…? Ok so your thoughts have already changed?) , but Vote2 needed to happen so idk it just didn’t flow well and consequently, the start of Vote2 felt forced to me (the actual vote2 fight itself tho was nice, I liked it, just the lead up felt forced. Like I would’ve just cut+pasted vote2 chapters in front of another leadup)

22 Popular character you hate?

Sakura

She was introduced as the shallow, damsel-in-distress token female character in a 3-person group and yea ofc I /would/ have liked her if she actually matured, had complex goals and driving forces for growth but alas that’s Not her. That’s Not the point of her character. Also she’s one of the few characters that was given a backstory that just made you hate her even more. Her backstory w ino started off so cute like ‘wow finally, ok they have history! They were friends! The ‘flower in bloom’ moment was so touching!! Until… what made them break apart? Sakura dropping her for a crush who doesn’t even know her existence???? u dropped ur FIRST FRIEND that saved you from bullies, that praised your greatest insecurity!!!(and ill bring this up again but *cough* *cough* lets see how loyal Naruto was to his ‘first friend’ in comparison) And does this ever get addressed? Do you see her ever apologize to ino for being such a jerk to her? For growing up and realizing wow I was so dumb ino, #sistersbeforemisters (JOKING but u get the point). why doesn’t she grow up? Cuz kishi is misogynistic? Or bc he purposefully crafted a character that u r Not supposed to like? And if so, why would he do that?

Like to me, kishi contrived Sakura with the purpose to uplift Naruto in the eyes of the viewers. The Plot of the show was the storyline between naruto&sasuke and whats an easy way to show the reader how strong, loyal, selfless, mutual the bond between naruto&sasuke is? Well, lets show the reader the opposite of this bond. Lets show a dynamic where sasuke is chased by someone deep vs someone shallow, someone who understands him at his core vs someone who has an idolized infatuation on him, someone who was endlessly loyal to their first bond, vs someone who dropped it for a shallow childish reason, someone who got closer to him through rigorous training and ambition pushing each other to improve and grow vs someone who tried to get closer by putting others down through insults and petty remarks etc etc etc.

And that’s not to say that Sakura as a standalone character didn’t have any shining moments that I appreciated (sasori arc was good, her performing open heart surgery on Naruto was satisfying, her trying to guilt trip sasuke on narutos behalf was annoying af but when I look back on it that was one of the first times I saw her fighting for ‘sasuke’ on someone ELSE’s behalf like… wow the words coming out were garbage but the thought process was.. hm.. thoughtful. Etc).

But the thing is, once you hate someone, they have to REALLY change for you to appreciate them and ofc besides this, fundamentally her character is still not a standalone character with her own goals and passion. Her goal was to ‘get a guy’ .

Send me Salty Asks !

[raayllum]

it’s high key really annoying the attention toh gets on this website while no one acknowledges tdp exists

Yeah, sometimes I wish TDP got more recognition and appreciation in a fandom space for its storytelling (the parallels, the worldbuilding, the mature theme explorations) simply because we haven't had a western kids' show go this hard since TLOK (even if I think Korra stumbles in a lot of ways) and arguably ATLA in its explorations of war and morality, two things that TDP is obsessed with, as well as a sometimes overwhelming discussion of Grief.

However, to be frank, while many teen and adult fans of kids cartoons say that they want darker themes and storylines, what that usually means, I think, is more akin to something like TOH or She Ra, in which you know 1) your favourite characters will always typically survive with maybe one or two minor parental or villainous exceptions, and 2) one or two characters in an otherwise fairly cookie cutter 'good guy' cast will have a redemption arc or be quirky morally dubious in a way that's played for comedy, and there will be a handful of significantly "Oh Shit!" darker or creepier moments. The characters are mostly teenagers, the heavier plot stuff is regulated to a few standout episodes, with most of the other conflicts being things like figuring out how to make friends or struggling with not fitting in or deciding what you want to do with your life. And those are all good explorations, and it's not as though TDP doesn't touch on some of that (Callum is finding his place in the world, Rayla is 'changing careers', Ez struggles with his new responsibilities and not fitting in, Soren - like Hunter - leaves an emotionally abusive relationship with a parental figure).

But I think it's TDP's attachment of all of those things to morality that makes the emotional stakes higher and less comforting and/or comfortable for people who are, likely, going to fiction for escapism rather than exploration. (To be clear: one is not better than the other, I just know what my personal preferences are.) Rayla's 'career/schooling' change is whether she's going to kill people for a living; Callum deciding what sort of mage he's going to be is rooted in deciding how much he's willing to either slowly destroy himself or take on the impossible, both with some dire consequences; Ezran not fitting is is also tied to having mysterious, unknown magical powers the story still hasn't fully explained the root cause of. Yes, the three main kids are typically good people who want to do the right thing, but that's much easier said than done (Ezran burning the monster soldiers, Callum's ruthlessness, Rayla's self sacrificial tendencies manifesting in destructive ways). TDP is never going to have an episode of "I lied to my friends because I wanted them to think I was cool or not a nerd" or "I'm scared of them preferring someone else over me" or "I need to learn how to be a good friend" (hi TOH with like 5 episodes and She Ra).

Like Rayla lies to the boys, but that's because she isn't sure how to tell them that her father murdered theirs and made them orphans, and she's worried it will accordingly be a wedge between them.

Like, there's hardly any episodes of TDP that don't talk about grief or death or both in some manner. The show consistently explores unreliable narrators across all sides of its ethical spectrum(s). S4 has a subplot regarding religious traditions and the ethics of the death penalty. Most of Arc 1 and now into Arc 2 sees good people with good intentions or understandable motivations doing pretty terrible things to either themselves, the people around them, or both. The death and body horror imagery aren't one offs, but consistent series defining elements that are always treated seriously. Villains aren't people who don't love their families (or anyone) and good guys aren't good because they're good friends to one another. It's more complicated than that, from the body swap and discussions of the soul in S1, to the cycle of violence laid out explicitly in S2, to explorations of punishment and exile in S3.

Overall, I'm fine with the success and appreciation that TDP gets; some of my students watch it, actually, which makes it useful in some of our lesson discussions. Because TDP is a good show for kids, yes, but it certainly never pulls its punches in forcing all of its ensemble cast through the wringer.

TLDR; due to age demographics and tonal differences, particularly in character conflicts, themes, and amount of Lore, I'm not surprised at all that TDP is pretty underrated on tumblr. Again, doesn't mean these elements of 'maturity' make it Better (although I do think it's written more cohesively than She Ra and more consistently than TOH in its set up and payoff), I just know where my (and many other's) preferences lay accordingly, and am not surprised at the split.

[ja-khajay]

2020-2021 Animation Watch(ed)list

I haven’t posted about animation in a while that I remember, and I know a lot of my followers are into it as much as me so I decided to make a list of the animated movies and series I watched on the past year or so, coupled with my short, spoilerless take on them. Enjoy!

Organized by

Things I saw for the first time

Things I rewatched

Under a cut for the sake of your dashboards! PS: I have not added any images yet. If you are interested in knowing more about the visuals of these movies, I might make an old fashion ask-prompted imageset list.

Part One: Things I saw for the first time

The Bear’s Famous Invasion of Sicily

Movie, 2019, Italian/French

9/10, a delightful little movie with amazing visuals. It feels like an animated picture book.

One of those “plot is in the title” media! I had never heard of this before but was heavily recommended it by my family members, who all loved it! It’s a sweet story, nothing groundbreaking but the unique colorful visual style alone makes it worth it.

The Castle of Cagliostro

Movie, 1979, Japanese

10/10. Reminded me of all the books i loved reading as a child

I assume its because it’s so old and the art style and themes are so different that it gets little to no love compared to other Ghibli movies, which is a shame! It’s fun with an endearing cast and as always, great animation and music

Mushishi

Series, 2006, Japanese

10/10 three episodes in I knew it was going to be my favorite series ever

One of the few things I’ve seen I’ll describe as life-changing. It’s absolutely lovely but never toots its own horn about it. Humble, calming, emotional and surprisingly mature. It’s pretty impossible to binge due to how intense the experience is. I just want to walk in the forest now...

FMA: Brotherhood

Series, 2009, Japanese

6/10 Dissapointing adaptation of a classic story

I read the manga for this when I was in middle school and remembered loving it. The animated version does an ok job of presenting the characters and worldbuilding and has some nice action scenes but overall looks really damn cheap and just. Not very good. Seeing I already knew most of the plot I did not have the element of discovery that made me marvel so much reading the original. It’s still a nice series but I really recommend reading it instead.

Code Lyoko (s1+2)

Series, 2003, french

3/10. 1.5 being for the opening song alone

This show sucks ass if I hadn’t been watching this with my bestie I would have dropped it two episodes in. The art style is ugly the stories are always the same and the first season has a (later removed thank fucking god) LITERAL “erase any consequences” button as a plot device in every episode. If you watch it for one thing let it be the nostalgia factor of early 00s Vidya Game Plot

The Legend of Hei

Movie, 2019, Chinese

7/10. Impressive visuals and a poor story

I finally watched this, peer pressured by the load of gifsets on my dashboard! It’s a sweet movie with really impressive animation, sometimes a bit too flashy for my taste (the action sequences go so ham they become not very readable...) but the story was just ok? The setting is barely explained and you are instead bombarded with vague epicspeech about powers and stuff that made me fondly remember Kingdom Hearts lol but that asides it’s a really good time! I need to watch more Chinese movies the few I know are just delightfully off the shits in how they approach action and I love that

Hunter x Hunter

Series, 1999, Japanese

9/10. Superior to the recent one!

I first got introduced to the series via the 2011 one. Comparatively, the 99 series focuses way less on action and way more on the characters, which I love because that fits my personal preferences! Despite mediocre filler episodes and some weird slight pointless plot changes, what it changes from the original manga doesn’t have much of an impact on the characters. The animation quality isn’t always consistent including a huge art style change for an arc (???) but it’s overall pretty nice. The series really shines in the last arc it adapts.

Oban Star-racers

Series, 2006, Japanese/french

9/10 a lovely surprise

This series is completly obscure despite having been created by people famous for their other series (Cowboy Bebop, Code Lyoko that i can name) and it’s a crime! It’s a kids show but without being stupid about it who tells the story of an inter-planetary race. If you liked that one scene in the star wars prequels you know what I mean. It’s got surprisingly nice animation for a TV series, and some truly great character design. The art style is a bit unique in a not for everyone sense, but I didn’t mind it much. It’s also THE most offensively 2000s series i’ve seen in terms of visuals. y2k kids assemble

The Little Prince and the Eight-Headed Dragon

Movie, 1963, japanese

8/10. Classic fairytale format with incredible visuals

Watched this for the art style because I know it inspired Samurai Jack, and it delievered! I dont’ have much to say about this one, it’s a very simply film but it’s sweet. For my pirates out there if you want to find it in good quality with english subtitles it’s VERY hard to find. If you just want to see the looks of it, it’s on Youtube with portugese subs.

We now enter the Gobelins Shorts Zone....!

My Friend Who Glows In The Dark

10/10 makes me cry each time

Pure delight...great animation writing everything. A little short about death and friendship but not in the way you imagine!

Colza

9/10

Visual treat...homely and nice :) not far from a 10 but a 9 because nothing about it is that groundbreaking

Sundown

9/10

If you’ve ever been ten minutes from failing a group project because of a single dude you will REALLY enjoy this. Loved the colors and personality

T’as vendu mes rollers?

10/10

It’s SUCH a sweet little short I loved that one so much

Dix-huit kilomètres trois

10/10

Surprisingly well written dialog. Visuals are great but the humanity of the characters carries this to another level

Un diable dans la poche

9/10

Amazing visuals and the most tense/creepy of Gobelin shorts i’ve ever seen. Chilling

La bestia

8/10

I had some issues with the pacing. Interesting story and visuals choices but I was not fond of the art style

Goodbye Robin

5/10

Confusing but predictable. Both at once??? Yes!

Le retour des vagues

6/10

Cool animation stuff but felt pretty pointless

                                                                ***

Part Two: Things I rewatched

Ruben Brandt: Collector

Movie, 2018, Hungarian

10/10. Underrated as hell

Watched this fully blind for the first time in an animated festival and rewatched it with friends. It’s a crime I never see anyone talking about it given the amount of whining I see about the lack of both adult animation and 2D movies? This film is a unique love letter to art in the form of a weird mix of charming crime story and psychological horror with amazing visuals. I recommend watching it blind and also buying it to show appreciation for how nice it is!!! WATCH THIS MOVIE...

Mononoke

Series, 2007, Japanese

10/10 Visual/storytelling masterpiece in the weird shit departement

If you can stomach intense stuff watch this. The visuals are incredibly unique and beautiful and under the jewel tones and art direction high takes it’s a really cool horror series. My only obstacle to enjoying it the first time I saw it was how dense it is - simply put, it’s so...culturally Japanese it’s not very accessible to me who doesn’t know anything about the culture? Watching it for the second time helped understanding the stories more! 

Corto Maltese in Siberia

Movie, 2002, french

9/10 but really close to ten. A great adaptation!

I’m a huge fan of the original comic so I entered this a biiiittttt suspicious it would suck but it was a really pleasant surprise! It has all the wonder and charm of the original and the animation was surprisingly good for the little budget. If you’re not familiar with the series, it’s a sort of geopolitical action/adventure movie but with it’s own really poetic vibe to it. It’s almost impossible to find online but happens to be fully on YouTube so go ham I guess?

Redline

Movie, 2009, Japanese

10/10 cinema was invented for this, actually

Every review of this movie i’ve seen gives it five stars and starts by talking about how immensly stupid it is. I’m no different. It’s a masterpiece of escalating energy with the depth of a puddle and it fucking rules. It’s free on YouTube too so there really is no excuse to not watch it. Watched it for the first time on a huge cinema screen and despite this my second rewatch on my small laptop was as/even more enjoyable. If you watch this stoned with friends you might travel to another dimension

Spirited Away

Movie, 2001, Japan

10/10 deserves the love it gets

I watched this a single time as a kid and had little memory of it! I mean it’s Ghibli you know it’s going to be good as hell but this one rly shines in how colorful and detailed it is and in it’s world! It made me remember I had a huge crush on the dragonboy as a kid. I’m gay now

Kung-fu Panda (1&2)

Movie, Usa

10/10. KFP fucking rules

Honestly my favorite franchise of the whole disney/dreamworks/pixar hydra. It’s fun as hell, doesn’t skip a single beat and has amazing animation and character designs. If something is a good time I will not care if it’s deep or not and boy I fucking love these movies

Sinbad, Legend of the Seven Seas

Movie, 2003, Usa

5/10 Some great some really bad and overall generic

I tend to hate american cinema and this includes that era of animation I have no nostalgia for. Sinbad is in a weird place because I love adventure stories and the visuals of the movie absolutely deliver but it’s very predictable and TANKED by the addition of the female character, pushed in your face as “look we have woman!!!” despite her writing being misogynistic as hell lol. The evil goddess rules tho. This movie would have been a solid 9 if instead of the girl the two dudes had kissed

[darthkvznblogs]

I really hope that the diamonds aren't just easily forgiven and that steven is the only one who actually wants to. Because most of the characters in this would focus more on the fact their genocidal monarchs over 'im sad because my sister died despite the fact I commit genocide and murder everyday' that shouldn't be just brushed under the rug. I also can't wait for pearls panic attack when she sees how many bad influences stevens gonna have because of the other heroes like ben, Kevin and tony!

That's an interesting discussion to have, isn't it?

I think the way the Diamonds were handled in Steven Universe works for the context of the show. Yes, we're shown in many subtle (and a few none-too-subtle) ways what the rule of the Diamonds was like, and we can infer a lot of horrific conclusions from what relatively small glimpses of the Empire at its peak looked like, and what it looks like in the present day. However, I also think that it's important to take into account that SU isn't primarily a show about realistically depicting authoritarian regimes, war, rebellion, or even genocide. It's a (surprisingly mature, yes) show oriented at children about love overcoming all odds, the trials of tribulations of being a family, healthy/toxic relationships, and recovering from trauma.

Of course, SU uses the format of Homeworld's horrors and the war to prevent them from happening to Earth to explore these themes, so it definitely touches on the more realistic consequences of it every now and then, but it isn't usually the main focus of the show. That's why the Diamonds are treated (once the PD reveal happens) as uncomfortable familial relationships, instead of what one logically assumes them to be from the context of the show, aka immortal, genocidal tyrants, which you'd probably want to get tried at The Hague (but like, in space), not chilling at Homeworld (even if they are trying to correct eons of damage)

I know a lot of people disagree, and I can empathize with that - we know from real life that this isn't what justice should look like. I personally never expected the Crystal Gems to destroy the Diamonds or even depose them, so their conclusion felt pretty much in line with what I assumed would happen - hell, I honestly didn't expect them to heal the Corrupted Gems or try and fix their mistakes in SUF.

At any rate, I will strive to be a little bit more realistic in my depictions of the Diamonds, though I'm also definitely not deviating so much from canon that the SU characters and situations are unrecognizable. The Kryptonverse is intended to be a fusion crossover, after all, not a full alternate universe situation.

[astrarche-x]

The Poppy War: thoughts

Context: I saw this book heavily recommended on tumblr and even though I didn't research it (to avoid spoilers), it looked like something for me. I also realized recently that I haven't read a modern high fantasy in a while, so when my friend told me "hey, I've read this book and need someone to rant about it with", I was like "sure can I borrow it?". It is worth noting that my friend's tone was rather disapproving and we mostly share our taste in books, but still, I approached The Poppy War with a very favourable mindset.

Which didn't last very long.

Fortunately, after some time the book got better, so: disapproval first, praise later.

- the first part, aka Rin's time in academia, was so predictable and cliche I went through it purely out of malice (to be able to roast it). It was fitting every cliche you can find in a books set at school and bore me to death.

- Jiang: aaaa. This is coming from my personal experiences, but I've had a hard time with my "cool but weird" teacher lately and I just can't get past this trope without being angry at writers who do not acknowledge how toxic it usually is. (tho in Jiang's case it was more or less ok) Also the reveal of his backstory was very predictable.

- Rin: i couldn't bear how "edgy" she was. I started to like her when the actual war begun and she turned from "i'm not like others lol" to "i'm so scared, i want to be safe. also what is sleep". (also because she has been a chaotic mess the whole time and the war actually made it more believable). I had issues with her character though - for example she comes to the academia when she's like 15/16 and even though a lot happens to her over the course of the action, i had a feeling she hasn't actually matured. Did she develop? In terms of abilities, knowledge, rage etc - yes. But I didn't think she was more mature at the end and it really bothered me (as i was still picturing as a 15-year-old and had to constantly remind myself that she's an adult now).

- self-harm: uuh handled in a weird way? It's obvious that Rin's self-harming to cope with stress in academia is not healthy and the context shows that the heroine is under immense pressure which has a bad effect on her, but the narrative seems to present self-harm as a necessity to manage life and never really condemns it - not only explicitly, but any negative consequences of it are also absent.

- this book (and Grishaverse) would be more enjoyable if I hadn't taken that basic Russian course. I cringed every time I read Kitay's name (and it appears quite often...). Literally why name your character China? It's such a bad idea...

- I don't know if the original edition has trigger warnings, but oh boy, i kinda wish Polish one had them too. Not that they would actually stop me from reading this, but I started this book with intent to get some nice escapism with a tad of intellectual challenge and I wasn't quite prepared for what I got. I saw a post that talked about how in fantasy or sci-fi wars are a thing that just happens and serve more as a plot device, but are not treated as like an actual tragedy and how this isn't the case for The Poppy War. I think this is a very good point and I very much agree with this but I wish this book was marketed in a more accurate way (with mention of the genocides) than "cool protagonist goes from poor orphan to badass" (almost literal description from the back cover).

- on genocides: the Golyn Niis part was so hard to read. It totally gave me flashbacks to the time when we talked about Shoah in Polish lessons in high school and I had to read like 4 short stories by Tadeusz Borowski about Auschwitz, one novella by Zofia Nałkowska about investigating Nazi crimes and one book about the Warsaw Ghetto Uprising by Hanna Krall & Marek Edelman* (and it was all in the span of like 1-1,5 month) - all of which were written by survivors of said events, so it was an extremely difficult and emotionally exhausting read. Parts of The Poppy War had the same effect on me, so it shows the author really did her research and is to be appreciated, although while I would like to know what happens plot-wise in the next parts of the trilogy, I think it would be too emotionally draining for me to read.

- Having said all this, I found the Speer genocide theme really interesting. The legends and propaganda surrounding it, its impact on both country politics and Altan's (and Rin's) personal stories... Also I really liked how Rin's perception and understanding of it changed. Plus it served really well as a backstory - its effect on the whole plot was huge and manifesting in unexpected places but without the feeling of being hammered into reader's head.

- Altan: that guy. He was an interesting character, but a very unlikeable one. He was such an asshole... (And yeah obvs still trauma and all that but he really was one). Also I found it confusing that at the end of the book Rin was like "omg his power is so strong because he's fueled by revenge!"... duuh? It was obvious since her convo with Jiang about lore students?

- But generally Rin's relation to Altan was for me one of the strong points of this book. I'd say that Rin's emotions regarding him were very realistically written - admiration, longing for approval, the feeling of similarity, anger, frustration about his expectations, the need to rise to the challenge he posed, to be his equal... And then the shock as he fell from the pedestal she constructed; the understanding, the pity and the sadness. I loved how complicated that was and that we as readers got to see that Rin's Altan and the actual Altan were two different persons, even though the narrative is close to Rin's POV.

- Chaghan: he was my fave character. This is, again, personal, but works of fiction work 200% better for me if the characters are well-written - which The Poppy War rather lacked: few characters were interesting and even less were likeable. Chaghan was both - maybe he didn't have a big arc and was rather a secondary character, but he was intriguing, had that close bond with Altan (I ship them) and also was the most competent person in the cike (Quara was the second one). He was very straightforward and had that no-bullshit attitude, but unlike Rin, Altan etc., what he said and his actions actually made sense. So every time he had to went away from the main character I was devastated...

- What I really enjoyed about this book was the parts about shamanism. I'm not an expert about what goes on in modern fantasy, but I have a feeling that a character of a shaman often appears in a very exoticised way (wonder why is that /s), whereas in this book it was treated seriously and was a basis for a great magic system. 9/10 very original take, highly recommend.

* books mentioned: "Medaliony" by Zofia Nałkowska, "Zdążyć przed panem Bogiem" (eng: Shielding the flame) by Hanna Krall & Marek Edelman, Pożegnanie z Marią by Tadeusz Borowski