#but today is clearly not that day

[demon-country]

The fact that I have already seen a good number of people complaining about how mean Stolas was supposedly being to Blitz in his song and thinking that he legitimately believes that Bliz is a wretched little worm that he owns is just. Utterly baffling. I'm genuinely unsure how anyone could miss the fact that it was an act. It was all a ruse he threw together on the fly in an effort to protect Blitz, wherein he pretended to be a big, bad, masterclass manipulator who was just using Blitz as his pawn.

For anyone who doubts it, here's the truth straight from the song writer's mouth:

This is literally the same exact ploy he pulled in Truth Seekers. He came in at the last minute and put on a big show to convince the people threatening Blitz and the rest of I.M.P that he was a big, scary demon who was so much more powerful than them (which he is) and practically owned them as his minions used to carry out his evil deeds (which he doesn't).

Though, perhaps I shouldn't be too surprised, since pretty much everyone I've seen talk about that scene fails to realize that that and his "who dares threaten my impish little plaything?" and "what's the matter, demon hunter? Never seen a real demon before?" comments were nothing but an act and he didn't actually believe any of it, too.

In Mastermind, he was trying to make sure that all of the blame would be put on himself, so that, as shown above, they would give Blitz the same treatment the others got when Blitz claimed they had nothing to do with it and were just following his orders.

In Truth Seekers, he was trying to intimidate the humans and make them so scared he wouldn't need to resort to violence to stop them. Why else would he put on that whole horror movie display and announce himself and his relationship with Blitz at all, if his entire goal was anything other than to incapacitate them with fear? If all he wanted was to get I.M.P out, he could have quickly and easily killed them without saying a word. Calling Blitz his plaything and saying that he was a real demon served to a) establish that he was the kind of person who had playthings, because that's the kind of cruel, domineering creature that most humans expect demons to be, and b) further intimidate them by implying that he was exponentially more powerful than the demons who just decimated their whole entire team.

He didn't mean any of it either time (except for when he called Blitz an idiot, maybe); those weren't things he actually believed. Why would he legitimately think of Blitz as his plaything and someone he owns when in both cases it was far enough in the timeline that he was already in love with Blitz and wanted a real, genuine romantic relationship with him and not just the fleeting taste of one he got while restrained by the full moon deal?

Those were classist/racist things to say, of course, and that was the point. That was language he deliberately used because it fit the persona he was using to appear villainous. Where he went wrong the first time and how his actual internalized racism came into play was in how he didn't for even one single second think about how those statements would look to the members of I.M.P, because he'd never once had to think about the fact they must get those kinds of demeaning comments all the time and had no way of knowing that he was faking. Calling them "little creatures" while he was scolding them probably wasn't part of the act though, and he didn't realize that it was classist/racist to say those things at all, regardless of intent, so he never apologized or reassured them that he didn't actually believe Blitz was his plaything or that they weren't real demons.

But with the power of hindsight and a more omniscient view of the characters that we get later on, it's so clear to see that all of these comments were only said as part of his theatrical portrayals of a villain, rather than things he truly believes, because he doesn't talk like that after Ozzie's when he realized just how much he had unintentionally been hurting Blitz. Don't fall for his ruse, guys, especially not when it's as blatantly obvious as it was in Mastermind.

[nobleriver]

tag 9 people you wanna get to know better!

tagged by: @spacewives-in-spacetime in this post (who already knows I'm wordy as crap so all of this is your fault)

three ships: OTP: Doctorriver (from Doctor Who, all incarnations), BatCat (Batman/Catwoman), SasuSaku (Sasuke/Sakura from Naruto/Boruto)

I am a huge romantic. Romance, to some capacity, is required in almost every story I read or watch. As a result, I have a lot of couples I like. But shipping is another level of interest. So I decided to go with these three because I spent the most money on them lol. I've bought comics, audio dramas, books, and boxsets. And for those wondering why I didn't put Klaus/Caroline from TVD...they broke my heart that's why. :(

last song: Over the Love by Florence and the Machine

last movie: Avatar 2

currently reading: *takes a deep breath*

Ariadne: The Novel. Literally just finished this morning, so my frustration is still fresh. I absolutely adore the story of Ariadne and Bacchus. I almost wrote a novel based on them when I was 19 but I decided not to continue. But because I am so familiar and fascinated by them, I should not have bought this book. The book itself is fine. It was just a mismatch of expectations.

Yes, in the Greco-Roman myths, there is a running theme that some individuals are heroes to men but dogs to women. And there are few variations to Ariadne's story, so one never knows which direction the author will go. But there is more to Ariadne than being a perpetual victim to all the men in her life. At least, to me, there is. This is why, if I have doubts, I usually check the middle of a book before I buy it. I checked this time too, and I thought I was safe, but it was actually the last pages that ruined it for me.

I wanted to read the liberation and empowerment of Ariadne, her conversion from the naive, discarded princess to the triumphant Libera, the ascendant goddess whose name literally means free; the woman who latched hold of a once in a lifetime opportunity and carved a place for herself in the halls of Olympia after her lover, Theseus, abandoned her to starve to death on the shores of Naxos; the Libera who watched, enthroned, as her would-be killer suffered a series of mishaps and fell from grace in the eyes of gods and man.

And were all those mishaps accidents? Or curses? And if so, by whom? Her? Bacchus? Another deity? Is Ariadne foolish or cunning, haughty or generous, vengeful or forgiving? There are so many routes her story can go. However, this book does not take the route of the empowered Libera. It has a negative character arc, which - again - is fine, just not for me. Unless it's about the protagonist turning into the villain in which case it's 100% for me.

Other books I'm currently reading because I do not read one book at a time: Francine Rivers's The Lady's Mine; Agatha Christie's And Then There Were None; Tom Baker's Scratchman; James Patterson and Emily Raymond's The Girl in the Castle; and Jacqueline Rayner's Legends of Camelot.

And don't get me started on the endless list of ongoing manga/manhua I read monthly.

currently watching: Nothing really. I've been meaning to watch the latest season of You. And I've rewatched a couple Doctor Who eps for research (fanfic) purposes. But I don't really watch tv anymore, at least I don't regularly follow any tv shows like I used to.

currently consuming: electrolyte water as prescribed

currently craving: Food. I'm hungry but I don't want to cook. But guess who promised to cook today? Me.

@iceinherheart-kissonherlips @livingdeadblondequeen @expelliarmus @wibblyowzah @whogirl42 @benoitblanc @nostalgia-tblr @watson-emma @clarabosswald

[z13lovebot]

Go fish

[buttercupshands]

I started drawing this next day after I finished Act 6

13 or so days and it's finished!

Main things are traditional and Loop's body was edited digitally after

Unedited it looks like this

I've been torn on how to do Loop's body for the entirety of lining, also

A bit sad the main lines are visible only as a wip, most of this thing is literally just a ton of sharp lines

I think it's also my first day of drawing, Loop is just a sketch here (feat. my leg)

I even finished the beans before it so they were a moral support, because if you let me things like this take a year

[nocturnixx]

my favorite part of re4 so far is watching ashley just calmly walk around all the traps i keep getting caught in

[softiedingo]

fuck you FIA, honestly

[humming-fly]

Happy Holiday to those who celebrate, I am crouching like a sprinter in the ready position for those doors opening tomorrow

Bonus from the peanut gallery:

[puppyeared]

you are umasou

[everywaythatmatters]

A Farseer son but ne’er an heir, whose bloodied locks no crown would bear…

[orionsangel86]

Suddenly remembering the best and funniest Good Omens fanfiction I ever read which was set at a mutual Heaven and Hell "work party" and all the demons had bets to see who could bed an angel by the end of the night. It was hilarious and of course you read it presuming that Crowley will win but be gentlemanly enough to not claim the prize - which of course is what happens, but at the last minute it hits you around the face by revealling that Beelzebub hooked up with Gabriel

and well.

I think I'm gonna go reread that fic...

[byemambo]

4Minutes EP. 4 - My Takeaways

For the sake of organization: my future takeaways will be under #mambo.4minyap (get it? hehehehehe) cause it seems to be hitting the radar for lots of folks. It's also an interesting series, and I like talking and taking the scenic route while doing so!

Compositional Framing: The Relationship of Oppression

We got the most information about Korn's character and status within the story from this episode thus far: but the visual devices popped out the most for me (I am an artist after all LOL). I mentioned camera angles, specifically bird's eye view in my episode 1 takeaways, but we're met with a different element: shot sizes! I'm not a filmmaker so please go easy on me (my credentials include my storyboarding and animated illustration classes so my knowledge is limited), but what remains consistent throughout this episode is Korn's relationship with authority and power through the usage of establishing shot size, which lots of his scenes with various characters have varying heights.

Tonkla (Authoritarian) vs. Great (Equals)

The way Korn approaches these two characters have their obvious differences in relation to himself, but the common thread is that these two characters are individuals Korn should love. It's expected to love your family unconditionally, and arguably, love your partner even more than that. But as we've seen the story play out, starting from Korn and Great's family dynamics (which I've also covered in episode 1!): love has always been conditional.

Their relationship is revealed from a flashback that Korn and Tonkla are established boyfriends since their university days, however, dating in secrecy. This further contributes to Tonkla's stress and anxiety within the relationship, slowly escalating once he realizes the mistreatment he's tolerating. I found the symbolism between the pet cat's collar and Korn's "senior chief" sash interesting: there is ownership involved, which is mistaken for partnership.

From the jump, Korn doesn't view Tonkla as an equal partner to him, but someone who he can assert dominance over (which is primarily physical but also emotional). By displaying acts of love such as helping Tonkla through his first time and being present during Tonkla's loss with his deceased pet cat, what seems innocent and kindhearted on the surface actually has more context (which due to the 30 image limit, y'all are going to have to watch the episode for yourself and take my word for it LOL).

In the university flashback, Korn mentions keeping the cat's collar as a memento, but he's not the one reaching in and taking the collar off the cat: Tonkla is. Tonkla also isn't the one who puts on the "senior chief" sash himself: Korn is. In both scenarios, Korn is the one making decisions for Tonkla during his moments of vulnerability (both in a state of grief and during a sexual act). I checked out this article to make sure my facts are straight (got too many fun facts up my sleeve), but this approach is how cults target and recruit their victims:

Possible situational vulnerabilities include illness, the death of a loved one, breakup of an important relationship, loss of a job, or moving to another city, state or country.

Is this deliberate, or is it Korn's act of kindness? We can only infer at this moment where Korn falls on the value spectrum, but he's definitely a morally gray character (you can argue with your mom idc). During the after care scene, Tonkla mentions his father (which is alive during this flashback, but not presently living during the funeral ceremony) and moving to a new place with his younger brother due to his father's alcoholism (and possible physical abuse but this is only an assumption). Korn handles this interaction by providing financial stability (cough cough financial abuse) for Tonkla in the meantime, establishing a relationship rooted in give-and-take, debt and IOUs, under the guise of a caring romantic relationship. Given that Tonkla and his brother have suffered from trauma relating to family dynamics and enduring dysfunction into adulthood, I can see why Tonkla had become completely blindsided to this level of power imbalance that is simply all too familiar.

Once Tonkla realizes that Korn is only present in his life for his own self-interest, and access, he stands up against his oppressor, recognizing that there is another individual that is displaying signs of love and care (which isn't 100% healthy, but it's progress nonetheless) that Korn has bread crumbed him for all these years.

This confrontational scene is highly intense and emotional, which is reinforced by Korn's physical stature towering over Tonkla in most of the scenes we've seen thus far in each episode and usually ending with Korn continuing to be enabled. These scenes are usually shot at angles such as panning from above to reveal Korn's power over Tonkla, who's usually shot from over-the-shoulder and panned down. However, once Tonkla finally takes his stand against him, the camera follows him and frames the shot as a close up, tightening the gap between Korn as the oppressor and Tonkla as the oppressed.

Once Korn leaves and returns to question Nan about the leaked information: we're shown a similar staging of Korn physically towering over his victim, but from a cowboy shot slightly panned upward. However, the framing suggests from size relationship alone: Korn is nothing more but a victim himself playing the role of the villain. He is in the same predicament as his own victims, but living in a state of falsehood and denial as he has been trained to believe it is his birth right to take over his father's business (not even taking the time to question the morality behind such a business). What remains behind choosing moral righteousness over injustice: the disappointment of living as a failure and abandonment of his family system, the only consistently good thing in his life that is his younger brother Great. It's heartbreaking because we can see somewhat of goodness from his beaconing of retrieving information without the reliance of violent methods (which is unsuccessful and out of context, rather pitiful?), and I really do hope that he will be able to redeem himself (but I wouldn't completely write off the series if he does not deserve redemption).

However, the greatest loss is Tonkla's revelation of his own entrapment: reminiscing the memories held by the collar but in an entirely new perspective. The composition of him looking at himself in the mirror is hauntingly beautiful but full of melancholy: the mirror serves as a moment of literal self reflection, the collar reminding him of living as a possession rather than a person, the frame of the mirror serves as a metaphorical cage. Now it's a matter of whether or not Tonkla will reclaim his power again and recognize that he's simply a bird confined in his cage, but the door is now wide open. Will he realize soon that he has his own wings to fly?

Moral Value: A Hidden Responsibility

We've seen in this episode Great having a better understanding of his gift, establishing his moral compass and duty to act with integrity and with a strong sense of justice. Seeing such strong character development within these past few episodes is breathtaking (especially if you've been a long time supporter of Bible and just his journey as an actor). We have a good sense of Great recognizing his autonomy and relationship with free will, contrasted to how passive and reluctant he was in doing the "right" thing and being given a second chance to make a different decision.

Tyme's motive reveal (I love being right hehe) after being confronted by Great's demand for why he attacked his brother became a turning point for Great to finally tap in and establish his innate desire for moral justice, especially after being told about Nan's captivity and being foreshown her demise once he found her location. What I found most interesting during the initial rescue of Nan from Samarn was just how "normal" his conduct was when addressing Great as the son of his upper head. How polite his language was while holding a gun and standing next to a pool of his victim's blood, to just before Tyme's appearance where Great becomes the voice of reason amongst the chaos.

"Why can't I?"

It's such a simple response, but it's so loaded with depth and hidden meaning: it makes you sit back and also wonder...why can't I?

Great becomes an individual questioning the circumstances surrounding him, enabling himself to experience change. When his "friend" attempted murder and brought him along for the ride, when he experienced his first few heart attacks and hitting the woman seeking unalivement, when he is confronted by his brother's attacker and doesn't blindly dedicate his loyalty to his brother for the mere fact that he's family, when he sees Nan's predestined death in the hands of the enemy (which you can say that it really be your own people).

What makes Great such a fascinating character to me is just how dynamic and determined he's become after being gifted with foreseeing the future. Having such excitement in his awareness to his free will makes me enjoy him more as a character, that our lives are not predetermined to live and die for, that we have morals and values that must be considered and analyzed for its legitimacy, that we have integrity to do what's right without entitlement to self-interest, that we have the shared responsibility to criticize the world in which was built for us, but our jobs to upkeep and maintain. I'm excited to see what's in store for Great moving forward, and I'm so happy for Bible and Jes to play such characters.

Even though the lighting is similar to how Korn and Tonkla's flashback was, the visible warmth is even more obvious with how these two established their relationship. That in contrast to KornTonkla's ownership, TymeGreat is partnership (we haven't reached boyfriend status yet but it's coming!) How Tyme is willing to accept and make room for Great's excitement and passion, to hold it gently, to cherish it as a fleeting moment. Their NC scene in comparison to KornTonkla and WinTonkla is simply ethereal: the level of shared vulnerability and intimacy warmed my heart. From the lighting to the shots and down to the chosen score, the director does a fantastic job of creating such dissonance between all the pairs (which lots of people like to write off NC scenes as unnecessary and vulgar but it's just blatant purity cultural standards imposing on all of us and I need to dedicate another time to talk about it). The visual storytelling thus far has me anticipating more from the story as the details continue to establish the worlds revealed to us.

Tonkla's Brother: The Arrival of Home

I'm sure we all saw this coming but the reveal is heartwrenching. To see such a sweet face and scene filled with hope and longing with its immediate contrast to harsh reality, my heart goes out to Tonkla. Some may infer that there's a separate timeline that exists alongside reality, but I think it's possibly a hyperrealistic hallucination or dream by Tonkla (since the last scene we see of him was just before heading to bed for the night but also his intense codependency on drugs). Of course on the surface, people can infer that this is simply Dome returning home from recovering from his injuries: however, I interpreted it philosophically. Dome arrived home for his soul to rest.

We're shown in the first half of the episode of Tonkla mourning after Dome's body is cremated (I'm also Buddhist but I'm nationally American and ethnically Vietnamese so my interpretation of the religion will have its differences), which now establishes Dome's physical remains returning to the earth which his soul can no longer return to. I imagined Dome's soul has reincarnated and given access to the Western Pureland (since Tonkla was physically outside in the warm sunlight versus his more cool toned coloring within his scenes), only hoping that he actually experienced resting on his deathbed ready to enter the afterlife with a smile. Now we know that Tonkla's fingerprints were already in the investigation database: we need to know why and what crimes he had already committed before the murder shown as the opening in episode 2. This is definitely going to affect Win's current dynamic with Tonkla, given that they're now living together and he has access to Tonkla's home and possessions. Maybe we'll experience another shift in character development like how Great was, but possibly targeting Korn if the company is involved in Dome's case somehow.

Honorable Mentions: Heart Attack Transition

This scene was literally so fucking cool. The match cuts and in and outs of the inversion (def going to have trigger warnings for future GIF sets) were literally out of this world, especially when I find out it's from the freaking painting within the hospital hallway that is just a prop on the surface. I wonder who suggested such a transition and I wonder how they'll depict Great's future heart attacks and visions. The VFX team is working overtime and I'm so impressed so please give them their flowers!

[ezlo-x]

telling all of you rn when I finish chapter 3 and this idea still lingers in my mind imma make an animatic of this song for my au

[javelinbk]

The Beatles interviewed at the ABC Cinema in Carlisle, 21st November 1963 - part 1 (part 2) (x)

[emmm-uhhh]

Messier sketch than usual, just getting back into the groove and testing things out

[tiniest-hands-in-all-the-land]

Finally finished it!! Thank you for all of your suggestions (taken from both here and twitter) ! Aside from Himari and arguably Danny Phantom, I know basically next to nothing about any of these dudes f;oaeinfa

[sundered-souls]

Etheirys Challenge — Star(s)

[Prompts]