#centaurworld analysis

[spicyicymeloncat]

Okay okay obsessed with wammawink actually and her in this song.

Wammawink’s whole character arc is that, she was the sole survivor of her herd after the war and now that she’s made a new adoptive family (who also came from broken pasts and tragedy), her greatest fear is losing them again, leading her to be overprotective and filled with insecurities.

In the beginning of the series she carries a lot of survivors guilt and helplessness, and quickly gives up in the face of adversity great or small, such as when she quit Waterbaby’s shaman training, because of her trauma. Her most iconic spell is her barrier bubble in which she uses to keep her herd and more importantly herself safe, keeping out all dangers and also serving as a metaphor for her own mentality of rejecting new experiences and keeping out bad feelings.

This song is really cool because the visuals draw a comparison between wammawink and the woman. Throughout the song, the visuals focus on wammawink more than the rest of the herd (except for when Glendale stole the key) and it seems that the woman is directly telling wammawink about what will happen to her (even if she is in fact talking of herself).

Wammawink and the Woman both use the barrier spell (and even their magic is near in hue), and the lyrics “keep it locked up, keep it sealed tight” are really applicable to wammawink. They both went through a huge ordeal in the war, losing the ones they loved (additionally the elktaur and horse also have parallels in being said loved ones who lost or nearly lost themselves to their own self hatred) and having to navigate a strange world on their own. Their trauma leads to themselves sealing themselves away, and in turn limiting themselves and ruling themselves with fear.

But the difference and a true testament to wammawink’s character development, is that she grew to be confident again and grew to prioritise her love over her fear. Wammawink realised that she has control and she now has the ability to defend herself and her herd and they have her back too. She was so afraid to go out into the world but in the end she’s willing to put herself on a battlefield to protect her happiness and safety.

And we see this when she steps of Waterbaby’s barrier, in front the prospect of harm and dark memories, and says to think of the fragile things. She turns the song Fragile Things’ meaning on its head and rather than avoiding the fight to overprotect others, she wants to keep fighting for her hope. She’s driven by her faith that she can be okay whilst the woman is driven by her fear of it not being.

I think both of them are justified in their actions of course because of how grey the circumstances of the plot are but I am so emotional over wammawink getting over her fears and finding the strength to do what she wants, to protect her herd

[quicksilverlightning]

So I binged Centaurworld and have spent the last week processing and need to get it out of my system because I havent seen anyone else with this take -

I find it weird that the crimes of the General and Elk are laid at the feet of the Elktaur. After the split, the Elktaur no longer existed; the Elk and General may have each encompassed a half of who he was, but became separate entities by splitting.

The Elk and General were of the Elktaur, but weren't themselves the Elktaur. It's entirely possible I'm digging too deep into what was meant to be a Y7 kids show, but it really bugged me because intention, potential, and action aren't the same things. The Elktaur may have always had the potential to become what the Elk and General did, but he didn't commit any of the actions. Because he no longer existed. We can argue about intentions all day long without getting anywhere; partly because the show never really got into that aspect, but mostly because, in the end, what matters is action. You can intend to cause hurt without ever actually doing so - intention and potential do not make one evil/ a criminal/ etc.

Like, if I clone myself and that clone goes on to become an interdimensional war criminal, am I supposed to be punished as well? Of course not - the copy was me, until it wasn't.

This is a classic Mind-Body Problem and fits the scenario around the Elktaur - can his two component parts really be considered to be a single entity? But if they actually were a single entity, none of this would be happening at all. If we brought a whole version of the Elktaur to stand before his components, would he also be considered part of that conglomerate?

Is one not the sum of their experiences? How then, can two beings with very different experiences be said to be the same? Isn't that why, post-unification, the Elktaur has two voices?

Just to be clear, I'm totally on board with the actual events of the ending - I think killing the guy was a mercy, but that's a different discussion - but I find the reasoning to be questionable. I blame Netflix and thier pattern of canceling shows too early for the writing team not being able to delve further into some really interesting philosophical conundrums surrounding the plot. I did enjoy the show overall, but the Elktaur and his pieces were by far the most interesting thing going on. I totally understand that the juxtaposition of wacky and serious was 100% the point, but that plot thread was simply too good - it made everything else feel like a distraction 😂

[pancake-breakfast]

After I finished watching Centaurworld, I came up with a handful of essay questions one could apply to the show.

Posting them here for posterity. (They are spoiler-free. Feel free to answer one (or more) if you'd like.)

1. In the last episode, Elk claims he and Horse are the same. What evidence is there to support his claim? What evidence is there to refute it?

2. Do you think the final choice the Woman made at the end was the right one? Why or why not?

3. Discuss the various elements of modern culture and/or society, both good and bad, as reflected by least one of the following centaur groups: Bird-taurs, Centaurs (TM), Mole-taurs, Cat-taurs, Cold-taurs.

4. Use at least three of the characters listed below to discuss ways people try to attain comfortableness. Be sure to address the effectiveness of their technique. Characters: Ched, Comfortable Doug, Elk, Gebbrey, General, Glendale, Horse, Sunfish Merguy, Tree Shamans, Wamawink, Whale Shaman, Zulius

5. How might an adult utilize a show like Centaurworld to discuss one or more of the following topics with an audience under the age of 12? Be sure to reference specific scenes from the show. Topics: Depression, Suicide, Trauma, Loss, Self-Acceptance, Conflict Avoidance, Conflict-Seeking Behavior, Unhealthy Internalization of External Expectations, Boundaries, Recognizing and Respecting the Struggles Others Have While Still Respecting Yourself

Extra Credit: Why are you smudging up your answers with tears?

[jkl-fff]

Centaurworld and Mental Illnesses

Has it struck anyone else that each member of the Herd could represent a major spectrum of mental illness? The notion has been buzzing around my brain since finishing the series last night. While normally I would take more time to organize my ideas, I figure it’s better to put them all down here and now before I can forget to share them.

(Please feel free to comment, by the way, if you’ve got any thoughts on the matter. A bit of input or dialogue could certainly help refine this little literary theory of mine, perhaps to more cogently articulate it later.)

Anyway, this isn’t to say each member of the Herd is meant to perfectly personify a specific diagnosis. To be clear, I’m not giving one, either, it’s more that I’m trying to identify some broad symptoms and maybe a broad spectrum of kind of of illness (since symptoms often overlap a lot with different specific diagnoses). Nor am I saying that the show is, overall, an allegory for dealing with mental illness. It’s more an observation about another way the show is deeper and more symbolic than it first appears (with its kids’ show antics and its overabundance of dumb fart jokes). Sorta how in a lot of other shows, main characters really typify one of the Seven Deadly Sins or a major philosophy or whatever.

First, there’s Horse.

Chronic Depression (McFreakin’ Episode 8, plus all her other frequent bouts of melancholy and self-doubt).

Second, Wammawink.

PTSD with bouts of Manic Activity (especially related to recreating the family she lost, to protecting and nurturing the family she’s found).

Next is Glendale.

Anxiety, no question. Even her kleptomania is frequently pointed out to be a coping mechanism for how anxious she is.

Then Zulius.

Who would be something having to do with Self-Absorption or even Narcissism.

Followed by Ched.

He has problems with Anger Management, most frequently directed at Horse.

And finally Durpleton.

Who, I freely admit, feels like the weakest link in this theory. But given how frequently he seems to not be paying attention or to not respond in a seemingly appropriate way emotionally, would by Disassociation.

[sciartherp]

Why does nobody talk about how even if the Elktaur confessed his love to the Princess, he wouldn’t’ve been able to love and accept his cebtaurhood. It’s likely he would’ve tried to split himself even if he knew he was accepted by the Princess because his dysphoria weren’t caused by falling in love with her, only amplified. He was destined to fall down this path no matter what.

This smelly bastard is a walking trans allegory and I will die on this hill.

It’s 1am I’ll make a full analysis sometime I just needed to get this out there

[sneakerdoodle]

new Centaurworld essay! analysing the relationship dynamics between Horse and Rider, Wammawink and Horse, The Elktaur and The Mysterious Woman, and how identity is lost, compromised or re-discovered within those; also talking about how co-dependency is not what you might think it is

[ghastmaskzombie]

thinking about how centaurworld is just so much about how love can go wrong. like wammawink’s overbearing hyper-protectiveness, durpleton’s desire to please the parents who were never going to love him, the whole birdtaur fandom, and i don’t even know where to start on the beartaur’s war obsession. everyone in that show cares about someone or something else in the wrongest way. i mean, horse and rider probably have the healthiest friendship in the whole series, and even they had becky apples. and sure, i noticed the pattern as i was watching it the first time, but i never would have thought to look at it as, like, a deliberate narrative theme if it weren’t for that one line that blew me away. “he doesn’t love you. that is not what love looks like.”

[jewishdainix]

I have no words to explain it properly but the abseloute irony and tragedy of Woman and General's wedding vows being "once shattered now whole, once whole now united".

It started with how Elktaur fell inlove with Woman but felt like he couldnt be with her due to them being from different worlds. Due to him not being human. So he used magic to seperate himself from his beastly side.

So he's shattered. He has shattered himself so he can live Woman. And certinetly his human side, General, has gotten to marry woman. By marriying her as a shatter of the whole that he was he is casting out elk, and proclaiming that Woman is his "whole", and not his actuall self. By making those his wedding vows he is representing the lie of how he is "whole" as human.

But its still a lie, and he is still shattered. Woman's wedsing vows are "love is a spark, love is an ever groing blaze" because she truley wanted to love him.

Her reprise of it, which was thr first time we heard it reflects how betrayed she is. She truley wanted love, and while Elktaur wanted love at first, after shattering into Elk and General, he sought that love as a way to continue feelling whole. Dooming a part of him to forever be shattered, without his love, and belong no where.

[eemoo1o]

..Adam vs The Nowhere King character analysis, anyone? •3•

[angstandhappiness]

Interesting!

Now a part of me does feel pity and grief for the Nowhere King/Elk/General, but on the other hand I see the Mysterious Woman kill him and I’m like;

This lady didn’t ask for this. She was only ever kind to the Elktaur and his components, but then had to deal with the fallout of them fighting over her without much, if any, regards to what the Woman wanted. A part of me is sad for the Elk, but a part of me notes that it’s kind of possessive how he mostly throws a pity party for himself and doesn’t seem to care that his beloved is happy. And the General... Well? He speaks for himself.

The Mysterious Woman saw two worlds get ravaged, countless people died, because these two men couldn’t agree over her. And she no doubt blamed herself, shouldered the burden for their immaturity, hence why her final song evokes the ‘poison’ they’d fed her. She had little to no agency in this mess, yet was the centerpiece of it as a trophy the Nowhere King and General were fighting over; Civilizations were ravaged by the Nowhere King, while the General let people die so he could be with the Woman when she clearly didn’t want to prioritize their relationship over lives.

So to see the Mysterious Woman acknowledge her pain so she can absolve herself of that unfair guilt placed upon her... Realize it’s not her fault, the Elktaur and his halves made their decision? Genuinely cathartic. The Mysterious Woman can finally be free of the burden of their possessive love that killed and destroyed, and not treat this tragedy as her responsibility, but simply a problem to be dealt with. She would’ve loved him regardless, it really is just HIS fault.

From a meta standpoint, I have to wonder if this is Megan Nicole Dong’s discussion of how women are treated in media. How in stories like these, the women’s feelings and agency in these back and forth conflict between their potential lovers is often overlooked, swept aside, because the pain and angst of the men is more important. What about the woman, what does she think and feel and want?

Not to mention the sexist tendency of writers and web fandom to put the onus on the woman for the man’s mistakes- To act like she’s responsible for him/them, she’s supposed to take care of and do everything in her power to make him okay, to ‘fix’ him. It’s her fault for not taking care of this grown man and her fault that the man caused this damage, and not... The man’s fault for choosing to do all this because she doesn’t owe him anything. If anything he owes HER, we see how the Mysterious Woman went out of her way to be kind to this dude and give him recognition!

So the Woman mourns the Elktaur, the love they could’ve had... But ultimately, she finally absolves herself and recognizes that this is his fault. She’s not beholden to him, she doesn’t owe him love. And while she wishes he hadn’t been like this... In the end, HE was, and she and so many others had to deal with the fallout of it. And the Mysterious Woman blamed herself, because if only she’d done more or been kinder...!

So yeah, I think this whole arc was a bit of a meta commentary on sexism and how women are tossed around as trophies to be won with no agency, while simultaneously given the onus of being responsible for the feelings and thus actions of the men who yearn for them. This backstory is possibly a discussion on how these messages in media can harm and damage women watching them, who feel like it’s up to them to ‘fix’ toxic people, because who else will?

And then that applies to just about any toxic and possessive relationship... Like there’s something rather victim-blaming and gaslighting when the Nowhere King tells the Woman that he forgives her, as if she caused this! Maybe it was in reference to sealing him away, but she only did that because HE tried to kill everyone; “I did this for you,” he claims. But did she ask for it? Is it her fault that he chose to do this when she never asked, and is it her fault for choosing to reject it, when such humble gifts are meant to be unconditional and prepared for rejection?

It almost implies as if it’s the Woman’s fault for making things more difficult and bloody than they need to be, by not accepting this ‘gift’, and rendering the Nowhere King’s efforts and sacrifices ‘meaningless’. As if this violence only became senseless because the Woman didn’t justify it by accepting the gift. As if these deaths that could’ve been a necessary loss by accomplishing something were instead wasted by her, because the Woman didn’t want to go through with it and take the final step.

All in all, she did the right thing. The Mysterious Woman practiced some self-care by smashing Elktaur’s head in, taking a moment to mourn and pity but also take out some much-deserved anger; I’d argue it’s a very progressive, feminist storyline and victory for her! And honestly, I look forward to her friendship with the Beartaur, of all people- Yeah they sass one another but they’re actually relatively honest and open with each other. There’s more communication with these two over their issues than there’s ever been between the Woman and Elktaur, and I think about that a lot.

It’s funny, because I was wondering what their relationship was like, if the Beartaur moved into the Woman’s cave and she had to sneak back in to make additions to the mural, but no! It’s a totally open and relatively mutual arrangement between these two, and I love that weird yet human dynamic where these two bicker as roommates in Season 2.

Weird take incoming, but the Beartaur is already proving himself to be a better romantic candidate than the Elktaur, and if the Mysterious Woman ever makes room for romance in her heart again, he’s arguably the best and maybe only option she has! And yet the Beartaur would never act entitled to her love, all he asks is for the Mysterious Woman to be a cleaner roommate which is... A totally fair demand let’s be real. This might be just HIS cave and he lets her live there in exchange for lore.

And it’s kind of ironic but really fitting that this shlubby nerd of a dude who is a borderline basement dweller is like. A better companion to the Mysterious Woman, romantically or platonically. Simply because he never acts entitled to her love and just talks and communicates with her on the same level, while the Elktaur doesn’t.

Yeah the Beartaur is willing to glue live people but it’s because he knows what he wants and isn’t indecisive about it. He’s not a Nice Guy like Elktaur who is swimming in self-doubt, dude chooses to glue people because they make the best figurines, what about it? It’s not like this is because of some self-loathing or personal pity party, he is who he is, and that self-acceptance and communication is kind of why ‘jerks’ like him are preferred by women. The Beartaur owns who he is and will actually talk to the Mysterious Woman, and complain not over love he’s owed but just hygiene.

TL;DR There’s something very feminist, both in a meta and in-universe standpoint, about the Mysterious Woman reclaiming her agency and absolving herself to kill the Elktaur, and finally be rid of his possessive and destructive love that she blamed herself for. She’s finally free now, to live and breathe and love -herself and others- without guilt. And while it’s so tragic and unfair that it’s up to her to finish this and kill the Elktaur, even if it’s not her fault, at least the Woman finally got over if.

(And ftr I don’t hate Elktaur or his components. Well except maybe the General. I’m very emo over him/them too.)

[pipermca]

I am accepting @altraviolet's challenge (from the post here) for the fic writer questionnaire. This looks like fun! *cracks knuckles*

1. How many works do you have on AO3?

90

2. What’s your total AO3 word count?

1,133,042 (holy shit)

3. What fandoms do you write for?

I mostly write for Transformers these days. I do have a little short story cooking for Centaurworld; maybe I'll get that jotted down some day.

4. What are your top 5 fics by kudos?

I can definitely see how writing for a popular ship will skew your stats on your fics, and smut gives bonus points. 😅

Frag the Police. Jazz/Prowl, NSFW

Claim Rejected. MegOP, SFW

Peer Review. Starscream/Wheeljack, NSFW

Anamnesis. Jazz/Prowl, SFWish (has plug-n-play interfacing)

Public Indecency. Jazz/Prowl, NSFW

5. Do you respond to comments?

Yes! I love comments and I want to pass on that appreciation. 💗

6. What is the fic you wrote with the angstiest ending?

Hmm. Even my darker stories usually have a bit of light in the end, since I am a sucker for happy (if possibly bittersweet) endings. But the story Atrocity (please mind the tags on that one) leaves Bluestreak in a bad place at the end, and nothing is really resolved.

7. What’s the fic you wrote with the happiest ending?

I have lots of fics with really happy endings! But in terms of having no hanging ends, I think The Renegade and the Hound might be the happiest. 🤗 The last chapter of that fic is all warm fuzzies for the characters.

8. Do you get hate on fics?

Not yet. 😄 I've gotten some vaguely critical comments sometimes but I wouldn't call that hate.

9. Do you write smut? If so, what kind?

Ooooh yeah. I write it all. I'll even write the weird stuff there's no terms for. Give me that weird-ass smut.

10. Do you write crossovers? What’s the craziest one you’ve written?

I tend to write fusions rather than traditional crossovers, but the weirdest one was very recent: The Spark and the Lightning, which is the War for Cybertron game crossed/fused with Dune.

11. Have you ever had a fic stolen?

Not that I am aware of.

12. Have you ever had a fic translated?

Yes! The fic Becoming has been translated into Russian.

13. Have you ever co-written a fic before?

Sort of? A friend and I tossed little bits of a story back and forth several years ago, each of us building on what the other had just written. I have the bits all collected, but I'm not sure if it'll ever see the light of day.

14. What’s your all time favorite ship?

Bluestreak/Hound. 💗

15. What’s a WIP you want to finish but doubt you ever will?

It's in the Alt Modes and Alchemy AU. Basically it's the events of the climax of The Renegade and the Hound and a period immedately afterwards, but from Perceptor's POV. It's written as a half diary/half academic paper. The title is:

On the Restoration of Cybertron: An Analysis and Personal Account, or A Treatise on the Effects of the Destruction of the Matrix of Leadership on Cybertron and its Inhabitants from an Alchemical Perspective, and a Personal Account of said Event as Recalled by Perceptor of Iacon, Head Alchemist of Optimus Prime.

It's hella fun, and I'd love to finish it, but it keeps moving out of my "currently working on" stack into the "shelved" stack. :/

16. What are your writing strengths?

I think I'm good at worldbuilding and writing those juicy emotional scenes.

17. What are your writing weaknesses?

Finishing stuff. 😅 But seriously, I have a tendency to go back and rework stuff I've written (but not yet posted) instead of working forward on getting more words down. I love editing too much I think. >.<

18. Thoughts on writing dialogue in another language in fic?

It's fine? It should be clear to the reader what the dialogue says without them having to Google Translate it. Anything that stops a reader and takes them out of the flow of the story is a Bad Thing imo.

19. First fandom you wrote for?

Hahaha! I think the first actual fanfic I wrote was in the Time Quintet series (specifically after reading A Swiftly Tilting Planet) by Madeleine L'Engle. I think I was about 8 or 9.

20. Favorite fic you’ve written?

Hmm. My favourite long fic is Mind, Body, and Soul (which was long and self-indulgent and I said everything I wanted to say about the Big Themes of the story). My favourite short fic is probably Datastream, mostly because I dipped into Cybertronian brains and weird sci-fi elements, mixed with formatting to help tell the story. :)

That was fun! Consider yourself tagged if you want to play along.

[quasarkisses]

It's fine if you never watched Centaurworld on Netflix (or otherwise), however, that means you also never experienced the beautiful (Adventure Time-flavored) dichotomy of goofy fun happy laughs and the dark horrible memories of war and nightmares that will never leave you.

The main character (a horse named Horse who single-mindedly seeks a way back to her rider, a human named Rider) is suddenly whisked away from a world of brutal warfare to a fanciful land of magic and earworm sing-alongs, resenting every moment of it and somehow being changed against her will by the compassion thrust upon her by her silly, overly-affectionate new companions.

More than a year post-watch, Centaurworld still leaves me processing. Somehow this story felt like a hundred tales of queer identity; like leaving my conservative, rural upbringing for queer friends in college, tackling some deep-seated fear of vulnerability hidden within me, in a strange dance between fun and happiness vs. serious intellectualism.

Why does this story still haunt me?

Why does it cling to me like the fear of being shunned, and like the answer to a scream I don't remember giving voice to?

Is it neurodivergence? Queerness? Isolation? Theatre? Art? A desperate attachment to analysis as a means of connection? I need to know. I need answers.

[blackcur-rants]

And that brings me to a very big question about “Once Upon a Time”.

What is this show about?

I don’t mean like a plot synopsis. I mean, what is its theme? What is the central idea that underpins all of its various elements? What message or theme were Adam Kitsis and Eddie Horowitz trying to convey with this show?

Cause me and my parents have been binge-watching a whole bunch of iconic animated series lately, and they all have strong themes at their core. For example…

•“The Owl House” is about queerness and neurodivergence and identity and the immigrant experience in the United States and imagination and childhood and trauma and grief and how all of these things come together and it’s also very much a story about a Messianic figure (Luz) who guides people out of their own darkness into the light of hope and beauty and who overthrows a false messiah who’s really just gaslighting everyone in the Boiling Isles so he can oppress and then kill them. •“Amphibia” is a Buddhist allegory that deals with the need to accept the inevitability of change and death and mortality while also showing how beneficial those things can actually be. It’s also a strong condemnation of caste systems and nationalistic imperialism. •“Dead End: Paranormal Park” is about the dangers of trying to substitute winning the admiration of external forces like parents or mentor figures or a community or a celebrity with whom you have a parasocial relationship for actual self-esteem and meaningful connection with other people. •“Centaurworld” is about learning to accept the difficult parts of yourself like mental illness or trauma or even stuff about yourself you consider ‘cringy’ and it especially dwells very heavily on the horrors of life with body dysmorphia and how it screws up relationships and entire lives. •“Kipo and the Age of Wonderbeasts” is about the immense importance of globalism and internationalism and worldwide community over isolationism/nationalism.

•“Arcane” is about the complex shifting nature of class and change and violence and the complexities of revolutions and relationships and how binaries are ultimately kind of futile as a way of understanding the world around us.

•“Hilda” uses its supernatural and fairy tale elements to discuss racial and class dynamics in modern Norwegian and British society and the complex evolution of the adventurer trope in an increasingly post-colonial popular culture. •“Over the Moon” is a story about how people use beloved cultural stories and touchstones to contextualise our world and deal with our problems. •“The Sea Beast” is all about the complex nature of historical legacy and how that legacy gets weaponised by oppressive power structures to justify their own atrocities.

•“The Mitchells vs The Machines” is all about not just a neurodiverse family coming together to blend all their hyperfixations into something new and wonderful, but it’s also about the dangers of atomisation and isolation. •Lin-Manuel Miranda’s “Vivo” is about legacy and how cultural heritage filters down from the home country into immigrant communities. •“Pachamama” deals with keeping true to your culture and heritage in the midst of chaos and cultural upheaval. •“She-Ra and the Princesses of Power” deals with themes of indoctrination and marginalisation and breaking free of toxic patterns of thought and behaviour in order to become the person you’re truly meant to be and basically creates this really wonderful story that’s kind of like a version of The Aeneid wherein Aeneas is a woman and stays with Dido. •“DuckTales 2017” is very much a Disney Afternoon reference-fest just like how “Once Upon a Time” is a Disney Animated Canon reference fest, but DT2017 actually uses its references to discuss concepts of family and legacy and choosing your own destiny over what other people tell you your destiny should be. •“The Ghost and Molly McGee” is on the surface just a goofy sitcom about a girl and her ghost friend, but it also very much deals with class themes and the Jewish ideal of Tikkun Olam in the context of a small Midwestern American town. •“Hailey’s on it” is mostly just a goofy sardonic satire of YA fiction tropes, but it does also manage to deal very honestly with Millennial and Gen Z Climate Angst and the struggles of living with OCD and being a teenager who wants to accomplish everything they possibly can in life before they die. •The 2019-2022 Jared Stern Netflix version of “Green Eggs and Ham” is mostly just a silly cartoon riffing on Doctor Seuss’s absurd universe, but it’s also a very smart show about learning to appreciate and understand new perspectives and ideas and it deals especially heavily with learning to see parents as complete human beings with their own lives and agency. •“The Willoughbys” is all about how it’s vitally important to acknowledge that children are fully developed human beings with their own depth and interiority and sense of self rather than just treating them as pawns to be shuffled around from home to home to make adults feel good. •The new Netflix adaptation of “Carmen Sandiego” is all about the importance of repatriating stolen artefacts to their cultures of origin and the crucial importance of keeping art and culture and knowledge from being privatised for corporate profits.

OUAT, on the other hand…I have no freaking clue what point, if any point, the writers wanted to convey with the story they were telling. It seems to me to be less of a clear story with an important point to make and more like a randomised goulash of middle school kid pop culture references.

@whencartoonsruletheworld @disregardcanon @uncleasriel @nooneleavesforgood @strangesmallbard

Here’s an interesting question about OUAT. Is Cora/The Queen of Hearts being the mother of Zelena/The Wicked Witch of the West and Regina/The Evil Queen meant to be commentary on how the original “Alice’s Adventures in Wonderland” probably helped inspire the original “The Wonderful Wizard of Oz” while the Alice Comedies eventually lead to the original “Snow White and the Seven Dwarfs” movie?

i severely doubt the ouat writers put an ounce of thought into anything but that is cool

[sneakerdoodle]

(remaking my pinned, which used to serve as a directory for my personal art/writing, to now attempt to marry personal projects and small forms of activism/fundraising)

🕛💬 inbox temporarily closed as i catch up! --------------------------------------------------------

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Pressure for Palestine: an online advocacy/pressure resource

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🌿 Original Writing 🌿

Prose:

Lambs of God (short story)

Soothsayers (short story)

Poetry:

@nebulogy

ace this test (choose your own poem)

Misc:

You do not have to be good: A lyric essay

MOTHER'S LOVE* - a solo journaling game (also on gumroad)

*any proceeds to be donated to a human rights initiative

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📖 Media analysis blog** 📖

Character VS Status Quo essay series:

Intoduction

Chicory: A Colorful Tale

Encanto

Interlude

The Owl House

Singles:

Wendell & Wild: Status Quo redefined

We Know The Devil: The Demonic Feminine

Centaurworld: An Experiment in Childish Maturity

The Sea Beast: Challenging Curiosity

Identity, Co-Dependency and Fixation in Centaurworld

NIMONA!!!

(**probably to move soon)

[weaselbeaselpants]

If it isn't obvious, I'm trying to both articulate and come to my own conclusions about how I feel about the Owl House finale and Belos' defeat. I have so many emotions about it and find myself agreeing and yet also disagreeing with every post I see about it. So for now, here's all I can say:

Nowhere King/Elktaur had a better, more satisfying end, relative to his arc, than Belos. Yeah, comparing Centaurworld to The Owl House isn't peek/real critical analysis...but that's all I got at the moment for sure.

[sojourners-melancholy]

intro

hey i’m june and welcome to my personal blog! i’m pretty new to tumblr so please lmk if there’s any etiquette i might not be aware of. you’ll usually find me reblogging art posts, but sometimes i’ll post about my philosophies, some analysis of media, the typical love/heartbreak stuff, and the occasional doodles

general stuff about me: any/all pronouns, 20, poc, agender, aro(?) ace lesbian

interests and other stuff below !

WATCHED: skip and loafer, rgu, eeaao, jjba, tlou, abbott elementary, toh, amphibia, otgw, i'm not okay with this, league of our own, bee and puppycat, centaurworld, legion of superheroes (2006), various ghibli movies

READ: pokespe, fluttering feelings, savior, marionetta, the stories of those around me, even though we're adults, blue flag, how do we relationship, my idol sits the next desk over, yuri is forbidden for yuri otaku, yuri espoir, school zone

PLAYED: deltarune, monster prom/roadtrip, touchstarved, butterfly soup (only the first), signs of the sojourner, last legacy, the arcana, hollow knight, triangle strategy, botw (getting totk soon!)

MUSIC: rainbow kitten surprise, louie zong, twice, g idle, lovejoy, beabadobee, the crane wives, laufey, beach bunny

OTHER INTERESTS: podcasts (tma), astrology, tarot, interactive fiction, musicals (heather, hadestown, working)

THINGS TO KNOW: i'm in the process of creating a story so any posts with the tag "kaleido" are just me blabbing about that, please don't recommend me anime if it has fanservice

DNI: terfs