#centaurworld season 1

[ignocubo]

i'm rewatching centaurworld and this thought came to me like a brick.

johnny teatime and the nowhere king have a closer connection than what may initially be assumed.

all of the shaman know about the nowhere king, of course. but johnny is the first one to explicitly mention him to horse (unless it was waterbaby, correct me if i'm wrong).

look at johnny's power– how it has the exact same coloring as the nwk's energy, and completely encompases him as well.

sure, the nwk brought 'cat-tastrophe' upon cataur valley. but who's to say that was the end all of cataur valley's involvement in the first war? how do we know that johnny t didn't make a deal with nwk after the wreckage, so that his community would be safe(r)?

in most movies, weird things happen in valleys. evil things. and the cataurs' are the closest thing to a gated community we've seen in the show next to the horsetaurs (aka centaurs™).

what if the cataurs are so closed off from the rest of the world bc of their closer ties to the nwk– specifically through johnny?

[fragilethingz]

some Wammawink faces from What You Need

[joeeatsdvds]

i love it when character use another character's theme within a song it's just absolute perfection to me

[lizard-dumbass]

They had no right to make the Nowhere King that fucking scary

[threewaysdivided]

Ask box is open

Having a brain-day and could use a distraction so feel free to ask me things (about fic, characters, writing, whatever) or share some thoughts of your own.

A request If you want to ask about YJ stuff I would ask that you follow one rule in return:

Don't make me tap the sign.

[theogclownboy]

age regression request list

these are the things I take requests for if you wanna know my head cannons or art (i may add more later) Also if anyone is up for art trades im completely open for it. Also rp stuff with my OCS is okay with me but keep things sfw.

my OCs

OCs with other characters

Dan vs

Hazbin hotel

Helluva boss

MLP

Tadc

Welcome home

Scott Pilgrim (show, game, comic, and movie)

Good omens

Sander sides

Dhmis

Sally face

Bluey

Wander over yonder

Camp camp

Cuphead (game and show)

Brandon Rogers characters

Markiplier characters

Jacksepticeye characters

Centaurworld

Paswg

Adventure time

Beetlejuice (cartoon or musical, not movie)

Y/n stuff

Nimona (book and movie)

Animaniacs

Animal crossing

Heathers (musical or movie)

Stuffed animals

Green eggs and ham

Care bears

Sam and Max

Night in the woods

SpongeBob (I will do human designs)

Wild kratts

An extremely goofy movie

Inside out 2

Pokemon

Emojis/ reaction stuff (idk what it's called)

Fairly oddparents

Winnie the Pooh

Total drama Island (only season 1 cast)

Deadpool and wolverine

Chikn nuggit

Mr plant and Argos

Muppets

Ducktales

Fursonas/animal ocs

Looney tunes

[comicaurora]

YOU WATCHED CENTAURWORLD?!

YOU USED IT AS AN EXAMPLE IN THE TROPE TALK!!!!

It is my favorite and I require to know your thoughts on it.

It's. Hm

So I think it absolutely accomplished what it set out to do, which means it is a successful work of art. But I think what it was aiming for didn't work for me?

In its efforts to play with centaurworld's ridiculousness versus the gritty nightmare of the "real world", it tonally undercuts almost all of its profound moments and then tries to get profound character moments out of squeeky-toy inflatable cartoon characters. Of the main cast, Horse and Wammawink are basically the only ones who get sufficient development to feel like real characters capable of carrying impactful moments, and the rest of the crew are basically walking punchlines - even speedrunning their respective Tragic Backstories doesn't do much to strengthen them, because in the present of the show they're fundamentally joke characters incapable of emotional subtlety. It kinda feels like if a Looney Tunes episode randomly dropped a flashback to baby Daffy Duck being moses'd into the bullrushes as if that mattered to how he functioned now. Plus, once we start jumping back to the Real World again, it turns out all those characters are also wacky in their own way - lots of very quippy dialogue and self-referential humor. Instead of Horse feeling broadly representative of her world's tone, she feels like the most serious character in the entire show - at least until season 2 where her dialogue starts being 50% fart jokes by volume.

Overall I think I loved what they set up in season 1, but not how they paid it off in season 2. There's the themes they establish in season 1 of how centaurworld has a cartoonifying effect on everyone who comes there, and the way this plays to Horse early on is full on cartoon body horror - a realistic horse slowly and inexorably transforming into a parody of itself. I thought that was a fascinating way to frame it, and it was nightmarish to contemplate! It comes to a really strong head in the Whaletaur Shaman episode when her friends seem to finally realize how much she's been struggling and suffering and how, despite it looking like a big joke to everyone, it's profoundly unfunny to her. But while she gets a nice emotional resolution at the end of that episode, the underlying horror is never addressed again. She still seems unhappy with her new cartoon body, but the transformations are from this point forward framed as uncomplicated positives that everybody thinks are funny.

It's purposefully blending comedy and horror together, but the execution feels like the disparate ingredients are hindering each other's effectiveness. The horror stuff rarely gets sufficient gravity and is just left as Hey Look Horrifying Implications, and the jokes are often undermined by all the seriousness left lying around. It's a flavor combination that doesn't work for me.

And then the stuff with the Deertaur and the Princess is incredibly interesting and profound and tragic, and I don't understand why it's happening in the same show as everything else?

Also, this is a minor nitpick, but the musical numbers were astounding in the first season but seemed to experience some sort of weird categorical downgrade in season 2. All the solid numbers were reprises from season 1.

Centaurworld was doing something very much on purpose, and I just don't think I got what that something was.

[who-do-i-know-this-man]

trick or treat!! 🎃

Your blorbo is one of my favorites, and if my memory is serving me might be one of the few I submitted myself to season 1, Elktaur (Centaurworld)

[kore-cryptid]

okay i need to know cause its been Years now and i havent gotten over this stupid fucking show i need to know what you think of Centaurworld i Beg

please reblog for a bigger sample size AND elaborate in the tags if you want i Need to know what ppl think

[franki-lew-yo]

An 'A-ha!' fandom moment, ft. The Owl House

These comments I screencapped from a user I watch elsewhere really hit like a brick in the face to me. I'm blotting out OP's name, mostly cuz this was just a shower thought they had rather than any meaningful open discussion with people, but it ended up making me realize something (also NO they're not some contrarian AntiSJW type or even hate TOH; they're a very gay+trans writer themselves. Sorry if youknowwhoyouare sees this and recognizes ur posts but you don't allow reblogs or comments and I wanted to present it on my own):

The Owl House was always hampered by being killed halfway through, writing wise and that will always be it's greatest 'sin'. However, OP's comment made me realize how much the show kind of tells you it's characters are flawed rather than actually give them arcs to suggest it, especially in season 1. When I say flawed I don't mean lacking quirks that are relatable but human: Eda is a recluse criminal; King thought he could kill people and acted like it; Luz is a genki girl; Amity starts off as a bully; Hunter...is unfortunately Hunter, ect. Those ARE flaws, character wise, but in the presence of the complete story (as complete as the show will ever be) they really aren't actually flawed, bad people in anyway.

Before I go further, two things: 1, IN ALL FAIRNESS, this is why myself and others particularly LOVE the characters and why TOH was a comfort show for me rather than a 'high-tension narrative'. The characters are a lot of what you want and hope to be like and I think that's really sweet and enjoyable, especially for horror and especially for kids.

2, NO! I DON'T think any particular bad faith cartoon reviewer opinions about coddling certain characters and punishing others IS WHAT DANA and co did at all here! Steven Universe and certain crap-reviewer's takes ON Steven Universe and how it's characters were flawed but overly forgiven by the fandom the show itself are NOT the b-all end-all of this discussion, nor are they the reason The Owl House is the way it is!

The context op was talking about was how in the upcoming hate crime The Last Airbender live-action show the showrunners are going to tone down Sokka's sexism because they think it's 'unlikable'. Even though, we all knew as children that this was an arc for him and it was WRONG, so axing it because we the audience lack nuance to recognize characters we love doing problamtic-sisms is BEYOND annoying.

Op's point is how The Owl House in particular doesn't actually expect much or want much out of it's characters. Or audience. For any infighting early on about how much Amity should 'die' because of reasons, that's really just fandom infighting when you get right down to it. There's nothing on par with the disagreement people have over, say, the Diamonds from Steven Universe and how Steven 'totally forgave them or 'should have murdered them in cold blood' about The Owl House. And like...from a fandom point of view that's good, but otherwise the show is pretty concrete the way you're supposed to see certain characters vs other shows which allow you to make up your own mind.

Avatar, Star vs the Forces of Evil (pre finale), Centaurworld and Amphibia all showcase your protagonists being genuinely, intensely flawed. Sure, maybe some neckbreather crap-pseudocritic complains that they 'made the unlikable' or whatever (i.e. me with Friendship is Magic) but overall the actual point is HOW the characters actually have grown and have ended up with the ending and morality they need. The villains, no not Zukos or 'redeemed' villains who joined the protagonist squad, VILLAIN-villains, will always be at least one serious step behind the protagonists and that's what give the protagonists the cautionary wherewithal to end them like they should and not 'be like them'. It's such a fufilling narrative, there's a reason people like it so much because it's really good when it's delivered well.

Removed from my fandom gaze; the Owl House feels like it's saying it has that ultimate messaging and character arc when it actually doesn't. Your protagonists have the endearing aspirational-part totally covered, but as far as the actual 'edge' and nuance? Well...

Eda is, at most, naughty. She really isn't any kind of morally sidetracked character. She's an outlaw because literally her society is awful to her and she's in the right to be against it. She's cursed but she's not addicted to her potions or hiding it or not really taking care of herself or her loved ones because of it. Her actual biggest flaw is that she's been 'running away' from problems rather than dealing with them, but I'd be lying if that wasn't suggested more than it's actually portrayed; or at least, dealt with fast enough in "Eda's Requiem". A bigger issue I see, even if it's what's also endearing about her, is that she REALLY isn't a flawed caregiver at all. It's portrayed as her most redeeming feature that she's otherwise a good mom and mentor, but Eda having virtually no problems in raising Luz and King just, again, makes her feel ONLY aspirational. All of the angst about 'failing' to parent and making up for it is moved all onto Camilla and sadly all of that angst for her is mostly within an already bloated episode. Eda, while an absolute mood, lacks any real kind of edge. Does she need it or not? I don't know. Discuss, kids.

Luz, like OP says, is treated like this high-energy super-optimist. She's like Star Butterfly in that her fangirlism and impulsivness are supposed to get her in trouble. But, she absolutely just isn't one when you break it down. Besides episode 2, Luz really is never that inconsiderate or lost in her fantasies ever again throughout the show. She never has anything like what Steven goes through where he hops into Larz' body and makes things worse for people by trying to fix things- which is not only good filler but it calls forward to the ultimate ending of Steven's arc for the series - Luz is just sort of adorable. Luz has blindsided by hype moments of weakness, like when she accidentally hurts Owlbert or messes with Amity's secret room, but still always level headed and down-to-earth. Her impulses are always kind of treated like...excusable? Because, again, they usually are. This is a large part about what makes her self-hatred at the end of the show about accidentally helping Belos' feel 'forced'. Even MOREso than what Hunter and Daddy Titan explain about Belos using her, we the audience never see Luz's choice to go back in time and try and get answers from Philip as being anything other than just, you know, logical. Because it is. The show acts like what Luz did was reckless and bad and that she was SOOO overtaken by her fangirlism about Philip and now just how much she has to live with the guilt and regret of helping being duped by him...it just doesn't come off that way at all. She was only so much excited about meeting him and her interest was getting home to her mother. In terms of comparing her to Philip, that's all fine and good, but again it's not 'flawed'. Not really, anyway.

Lilith absolutely has it the worst...but I kinda think people know that. She arguably does have the most morally-gray turning point in the show given what she did to her own sister. But neither the characters nor her nor the show really hold her accountable in any lasting way for cursing Eda. Lilith is the closest we get to that 'Diamond'-dilemma. She does 'make things right way too quickly and it's obvious to even her biggest fans that her character is really rushed in this area. They lampshade what Lilith did and that she was their villain in season 2 and 2B, but lampshading isn't the same thing as progress. As a result, as a Lilith fan you kind of never really forgive her for what she did. None of that's her fault, cause' you know...she doesn't exist, but it makes it frustrating that you the fan watching the show is doing the heavy-lifting in your mind in this area.What you come away from is this feeling of loving the characters for being able to work everything out. They're engaging and nuanced in theory, but you also feel robbed, w or w/o the Disney interference, of them being fully rounded or WHOLE. It kinda feels like 'and suddenly, he wasn't racist, anymore' all the time with every character ever with except Amity's mom, the Titan Trappers and Belos.

The reason everyone dunks on Star vs the Forces of Evil's finale, (besides being salty over ship wars and declaring THAT'S the reason for the drop in quality) is that 'Cleaved' could have not only worked but REALLY worked. It just needed to be better written and processed as an ending. Instead people reviled Star, the protagonist we're supposed to be rooting for, for what feels like impulsive apathy and cruelty towards everyone else by destroying magic, as opposed to it being an actually selfless sacrifice that makes her different than Toffee. Ultimatley, I do prefer The Owl House, unfinished as it is, to any of that. But yeah... I can now never unsee the characters as being what they are: fun but indulgent when they're supposedly complex. Indulgent is never bad u guys, but the problem is when you only have that to go on while insisting you have fully developed characters, there's a lot of the show telling you how to feel and how to come away from it rather than letting you, the audience, make of that yourself. As annoying as fan-wars can be over this stuff and when people are either WAAAY to forgiving of their villain blorbo or form hate-campaigns over Glub Shitto for ruining their life, it is ultimately a good thing that shows give you that chance to really see the characters that way at all.

The Owl House is, as OP calls it, "tumblr feels" not for being gay and magical and fun and wholesome and indulgent like that stuff is GREAT. It feels 'tumblr oriented' in that it all kind of feels too easy even when it's not for your protagonists. It's never actually "challenging". I guess, in as far as 'good' indulgence is concerned, it's as warm and fuzzy and a happy AU fanfic you found but not so much the Pacifist Ending of Undertale where you really do feel bad if you rectify the good ending in anyway. It's fun and it's comfort food, but not entirely lasting as you want it to be???

Amphibia, I think, was also way better than Owl House in this respect. It wasn't perfect cause nothing is but you really got a feeling for HOW flawed Marcy, Sasha, the townsfolk and even Hop Pop throughout their arcs-- which made it so SO rewarding to see them get their happy endings and come together to defeat the core and be the better people they needed to become.

The Owl House is my favorite where I think Amphibia is the better of the two.

[weaselbeaselpants]

Arbitrary 50 'villainy-villain antagonists who have a point'

Lily, if you know what's good for you you don't reply to this at all just like you shouldn't have the first time.

Lady Eboshi. (Princess Mononoke, aka Lorch's favorite kid's movie)

Nearly all of the Rogue's gallery at some point. (Batman TAS)

Sweeney Todd.

Mrs. Lovett. (Sweeney Todd)

Erik. (Phantom of the Opera)

The Wretch, aka Frankenstein's monster.

The Witch. (Into the Woods)

Judge Holden. (The Blood Meridian)

Hama. (The Last Airbender)

Mewtwo.

Yzma. (The Emperor's New Groove)

Judas and the priests. (Jesus Christ Superstar)

Onceler. (Lorax 1972)

Patrick Bateman. (American Psycho)

Hannibal Lector.

AM. (I Have no Mouth and I must Scream)

Professor Nemur and Strauss. (Flowers for Algernon)

The Grinch (2000 How the Grinch stole Christmas)

Tywin Lannister.

Tyrion Lannister.

Sher Khan. (Jungle Book 2016)

Jaimie Lannister.

Cersei Lannister.

The Narrator/Tyler Durden. (Fight Club)

Flowey. (Undertale, Pacifist Route)

Sans. (Undertale, No Mercy Route)

The Wizard (Oz books and the Wicked musical)

Abigail Prenderghast. (ParaNorman)

Mickey and Mallory. (Natural Born Killers)

Olivia Foxworth. (Dollangager series)

Joseph Sugarman. (Bojack Horseman)

Beatrice Horseman. (Bojack Horseman)

Bojack Horseman.

Alex DeLarge. (A Clockwork Orange)

Chiaroscuro. (The Tale of Despereaux)

Col Kurtz. (Apocalypse Now)

Verosika Mayday. (Helluva Boss)

Rattlesnake Jake. (Rango)

The Grand Council Woman. (Lilo and Stitch)

Gantu. (Lilo and Stitch)

Amos Slade. (The Fox and the Hound).

Toffee. (Star vs the Forces of Evil)

Mina Loveberry. (Star vs the Forces of Evil)

Colonel Shikishima. (Akira)

Beetlejuice. (og movie, tv show AND musical)

The Mysterious Woman. (Centaurworld season 1)

Oh Dae-su. (Oldboy)

Ramses. (The Prince of Egypt)

Esmerelda. (Edward Scissorhands)

JD. (Heathers, movie and musical)

For your sake, Lily, I made some rules; the characters I chose can't simply be sympathetic with an excuse for what they do ala Nowhere King/General/Elktaur and they also can't be only a manipulative bastard who literally doesn't care about anything but their own glory like Emperor Belos/Philip. No Jack Skellingtons or Syndromes either. I tried my very hardest to follow your "has to be good"-rule, which in my hands is "can't be written in a way to which the writer is either forgiving the character's shortcomings OR villainizing a specific mindset."

A villain with a genuine point to make can be a really compelling, tragic, WONDERFUL character as that's almost always some kind of person with a level of self-awareness, pain and even good in their heart still who has fallen HARD. A villain with a point can also be an absolutely horrifying obstacle for your heroes, because just like in real life, awful people will use your own faults and the preexisting misery of the world to justify their own actions.

Thanks for the fun writing prompt, Lillian.

[tumbleringismycopingmechanism]

I ran across this post by @pancake-breakfast a while ago (actually quite a few months) and finally got around to write my own answers. I'll be posting them one at a time because they're rather long and I kinda want people to actually read them.

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?

Let’s start with the similarities. Both Elk and Horse are unique in Centaurworld as well as in the human world. They are the only beings who are neither centaur nor human, but still possess a similar intellect and the ability to talk. They both find it difficult to find their place in society. Elk tries to console himself with food, but can’t stand the loneliness and eventually begs the General to reunite with him into one being. Meanwhile Horse struggles to come to terms with her changes in Centaurworld too, feeling like none of her friends truely understand her and fearing that not even Rider will anymore.

Both of them also (for the longest time) depend on the love of one specific human, Woman and Rider respectively. You could even say they both get unreasonably jealous at some point. Horse of course when she hears about Becky Apples, thinking that Rider wants to replace her. And Elk back when he was still the Elktaur is jealous of all the humans at the ball who get to spend time with the princess, even though he could just go back in and rejoin them. Elk also gets jealous of his human-half, when he finds that the General managed to marry the Woman.

Both of them went to drastic measures to assure they would be (re-)united with their respective human. The Elktaur split himself in half – unfortunately this only worked out for his human-half, not for Elk. Horse crossed Centaurworld, reassambled the rift key and fought the Nowhere King to reunite with Rider.

Neither of them where happy with their centaur-like traits (at least in the beginning). Horse hates her wibbly-wobbly physique almost the entire first season and is not a fan of her tail’s magic. Elk wishes to be human just as much as he did when he was still the Elktaur, having internalized the human’s opinion that centaurs are lesser.

Both have spent time trapped, though for Elk it was much longer and much lonlier. He spent ten years locked away in a cell so small he couldn’t even stand and (probably at least) another 20 years alone in the rift. (The timeline is a bit weird here. The war in Centaurworld probably only ended after the rift was closed. Wammawink’s village was killed in the war when she was still a child. She seems like a young adult when she meets the rest of the herd (maybe 20 or so). Durpleton seems to be about ten at that point. During the final battle he is confirmed to be 47, meaning Wammawink would be in her late 50s to early 60s, meaning the rift would have been closed for about 50 years. However that doesn’t add up with how old the Woman and the General would need to be at this point, let alone with how in S2E8 at about 46:55 we see that Rider was born before the rift closed and she’s at best in her 20s. Maybe Centaurs just age faster, and Durpleton’s age is in giraffe-years or something?) Anyway, Horse on the other hand is only ever trapped shortly and usually with company (with the herd in the Moletaur jail, with Rider at the rift, with Elk in the Nowhere King’s mind).

They both have been traumatized, Elk mostly by his captivity, but also by his other half trying to drown him and by the Woman’s rejection. Back when he was the Elktaur, he was also traumatized by being treated as a second-class being by most humans. Horse on the other hand is mostly traumatized by the war she grew up fighting in and by being so abruptly seperated from her closest friend Rider. Elk deals with this by forcing trauma back onto other people and at the start of the show, Horse is similar. She enjoys murder and she has no problem risking the herd’s safety and lives if it brings her closer to what she wants.

Here is where their differences start though. Horse, through the course of the series, learns how to properly deal with her trauma instead of surpressing it and traumatizing others. It takes her time and hard work to do so. One of the important aspects here is that she has the herd – especially Wammawink – to rely upon to help her. She trusts them to tell her when she’s acting wrong and (although it often takes her a while to accept it) to reassure her about her changes and her inherent worth.

Elk does not have that. Back when he was still the Elktaur he might have had it; the Woman could have been reassuring to him the same way the herd is to Horse and convinced him of his worth. But he couldn’t trust her, wouldn’t trust that she was genuine in her kindness and split himself into two. Instead of accepting and learning to live with this change, he starts to become evermore desperate to go back to how things were. After his imprisonment he then tries to forcibly create himself a support system, but it doesn’t work. Horse never needed the herd to fundamentally change who or what they are to feel like they could support her; the Elk thought he needed to create the Minotaurs so they would understand what it was to be like him.

Horse over the two seasons learns to shake off the societal expectation of what she can and can’t be – a friend, a shaman, a warrior, a singer, a strategist etc. instead of just a war horse – and to redefine what friendship means to her – wanting to be with someone instead of needing to be with someone. But Elk is trapped in the mindset that as long as he isn’t human, he is noone, and he needs the Woman to reciprocate his love to the point that he interprets every little kindness from her as a sign that she does.

Another fundamental difference is how Horse reacts to a disagreement with Rider vs how Elk reacts to a disagreement with the General. Rider basically tells Horse that she doesn’t trust her enough even after Horse was willing to give her life to buy them more time. Horse is hurt but tries to go on with what she knows is right. And when Rider gets stabbed, Horse isn’t glad or rubs it in that she was right. She is concerned about her friend’s life and stays by her side thereafter. She trusts that they can work through this and that they only have each other’s best interests at heart. Meanwhile when the Elk and the General disagree about whether they should reunite, Elk immediatly threatens the General. The General escalates things and tries to drown his other half. When that doesn’t work, Elk rubs it in the General’s face. Neither of them cares at all about the other’s wellbeing.

Horse bravely leaves everything she loves behind in an attempt to stop the Nowhere King. The Elk has nothing more to lose, and if he was just concerned about the General hurting his (supposed) love (e.g. by lying), he could have sacrificed himself, knowing it would take out the General as well. (Same goes the other way around if the General was truly interested in saving the world from the Nowhere King.)

The two of them may have started out very similar, but where Horse changed and grew the Elk remained stagnant, was obsessed with the past and became increasingly cruel.

(I’m also working on a song-based comparison of Horse and the Nowhere King, I’ll link it here and in my pinned post once I have completed it.)

[fragilethingz]

[roskii]

I finished season 1 of dungeon meshi

And I finished all of centaurworld.

And I need to get back into disco elysium..totk..AND start on my zelda comic- omg..

[tangledinink]

what's your centaurworld opinions?

spoilers below if you care.

I'm so torn on that show, because there are parts where I think it's beautiful and compelling and visually stunning, but there are also parts where I'm just... so disappointed in it? Like, I commend it for being out there and taking risks and trying to be different, but like...

You know the opening scene in the very first episode? Before Horse ends up in Centaurworld? And we get the whole Rider's Lullaby Thing before Horse and Rider get seperated? After that I was immediately, like... so disappointed. Because right off the bat I was like! Well... I don't care about this world or this story, quite frankly, I care about that world that we saw before! about Horse's world! About her and Rider! And, like, yes, I know the plot is about "oh this is how Horse gets back to her world and gets back to Rider," but, like, at least for me, none of the Centaurworld characters really won me over, esp not at first. I didn't give a shit about them or their world! So they were really just... in the way. They were obstacles standing in between me and getting to see more of Horse and Rider's story, and that's, like, idk, maybe not what you want? For your main cast?

That's not to say that I hated it, because I didn't hate the first season! There were episodes and moments that I enjoyed, and I liked most of the music, as well, but I really wasn't a fan of the second season at all.

I HATED the birdtaur episode. Like! I HATED the whole gimmick where they treated Horse and her Herd as a 'TV show' and the main cast were all annoyed at them for 'treating their lives live entertainment' and judging Horse's decision to split up with Rider as like? A kind of subtle jab at criticisms from fans because it... it doesn't work!? Like, in the show, Horse's main defense against the Birdtaurs saying that the ending of season 1 wasn't good and 'felt empty' since they did all this build-up to reunite with Rider only to immediately leave her again was "well this is my real life!!!"

Okay, but, like... it's still a TV show. If the Birdtaurs are a stand-in for real Centaurworld fans, then Horse's defense... doesn't work at all? Because it's not her real life. It's a make-believe TV show. That you seemingly have no actual defense for. (Because it's... it's valid criticism, actually...) Also just in general making fun of your own fans is, like... stupid, I think.

I also feel like season 2 totally assassinated Wammawink's character? I liked her in season 1! She was overbearing and protective and a bit much sometimes, but one of her main character traits is that she loves her herd and is their caretaker, and she wants to ensure they're safe and protected at all times... in season 2 she just? Doesn't seem to care about them at all? She spends the entire second season just being so self-absorbed and catty the entire time, and it makes no sense.

I didn't like Durpleton, Glendale, or Ched at all, they were all just... too annoying for me to enjoy.

I'm still fucking mad that literally ALL the main cast got at least some kind of backstory/side-story type thing... except Zulius, for some reason? Despite being a fan-favorite (and my personal fav because I mean. Come ON. He's just fun.)

I understand it's a kid's show and they're gonna have silly moments and jokes and comic relief, etc etc etc, okay, sure, there will be fart jokes, fine, not my taste but it's fine it wasn't made for me, whatever. But it often felt like... the show wasn't allowed to breathe? There was no point where it truly took itself seriously. There always had to be some dumb heeheehaha fart joke shoehorned in. Which is, like, fine, if you wanna be a fart joke show, that's fine! It's just that Centaurworld also tries to be an edgy drama at the same time, and it just... I don't think it pulls off being both. Comedy and drama can definitely exist at the same time but! There are times when you have to allow the show to be one or another! Is this a dramatic character moment? Just be a dramatic character moment! It often felt like Centaurworld truly was not capable of even having a single scene with some 'bad-dum-ts' fart joke moment in it, which made it very hard for me to? Take any of it seriously or enjoy it.

Also, I hated the Nowhere King's story. I thought he was so dumb and uncompelling. I know he's the bad guy and you're not supposed to LIKE him but like? When they told us the backstory I think they expected us to, you know, feel SORRY for him? And I didn't! At all! I found no part of his story to be sympathetic. That guy was just a fucking idiot the whole way through, just repeatedly shooting himself in the foot by being this self-important "I'm not like other centaurs" dude while at the same time being all "woe is me this girl will never like me since I'm a centaur so I won't even ATTEMPT to get to know her at all, I'm gonna jump straight to crimes against nature and deceiving her." I thought that guy was stupid and I did not care about him.

ALSO? HOW THE FUCK DOES THE PORTAL KEY WORK? Like??? It makes NO sense to me??? Like, sure, apparently, it keeps the Rift open to connect the two worlds or whatever, I guess, but then it also like, just... does other magick? It can just??? Separate centaurs, for some fucking reason? Which I don't understand? Is that just what the key does? Open the rift AND de-centaur people? Or is it just a generic magick item that can do anything? But then also the Nowhere King could make minotaurs... without the key??? It makes no fucking sense to me and I think it's dumb.

... I like the songs, though, and the animation is really pretty. Also I thought the ending was dumb lol.

[chaifootsteps]

man how does centaurworld a show made for kids have better musical numbers than a show made for “adults”? And kimiko Glenn better have a song in season 2 because she was heavily underutilized in season 1 of HH

Vivzie and Sam could never.