#geppetos puppet

[mochizuke-creates]

So which are you, I wonder? Puppet… or a human?

[anonymergremlin]

Types of hugs

As promised, another piece of my thoughts and headcanons. This time about the gestures we learn in the game. I got really curious after receiving this one gesture after reading a certain sad letter. Is our boy learning from them? Is he curious about human gestures? Who knows.

Anyway, gender-neutral this time. For all you lovely people out there.

I hope you enjoy it and please forgive me for any mistakes. I am just a silly gremlin.

A heavy rainstorm rattled through the floors. Turning the once silent night into a restless one, keeping some of Hotel Krat souls awake. Step by step they approached the hotel's library. Perhaps a good book would help them through such a stormy night. Their fingers curled around the handle of the door. Slowly they opened it. To their surprise they were greeted by a brightly lit room. Another soul must have found its way into the library. "Oh... I didn't think anyone else would -" they stopped their own words as the other person came into view. It wasn't just anyone from the other residence, no, it was the puppet. Geppeto's puppet. The young man stood beside one of the many bookshelves. Fingers running through pages. He seemed to be quite concentrated on the writings.

“P?”.

As his name left their lips, he immediately turned. For a moment his porcelain face looked so blank, but it changed so quickly. The softest smile of all covered his face, his blue eyes lit up and his freckles almost seemed to shine like stars. It was impressive how much he had changed, he really had become more human.

"Have you found something interesting, my dear puppet? Would you like to show it to me?"

They took a few steps to close the distance between them, close enough for a quick glance at the book. To their surprise, P's finger pointed to a particular word.

Hug.

"Are you curious about hugs, P?" they asked him, eyes moving from the book to his blue eyes. He nodded. It wasn't unusual for him to be interested in human gestures. They had seen him mimic some of those described in books or letters before. Once he even mimicked a painting of a knight, his rapier close to his chest, the blade pointed to the sky, his back straight and a proud smile on his face. It was an amusing sight that brought a smile to their face.

"Well, my dear P, there are many kinds of hugs. You could say that one type of hug is never the same as another". They moved one of their hands up, raising their index finger like a teacher giving an important lesson. "In general, you can hug a person to show them that they are welcome, but you can also hug someone to say 'thank you'. You see? A hug can mean two completely different things." His mouth opened slightly and his eyes blinked, indicating his understanding. "A hug can also be a gesture of consolation. For example, when you see someone crying. You can go up to them and hug them, hoping that by doing that, you're going to comfort them through their sadness." For a moment, they stopped themselves and thought of all the people out there who deserve to be hugged. To have just the slightest bit of comfort in their lives. From the look on P's face, they had a feeling that the puppet probably had the same feeling. 

They shook their heads, trying to rid their mind of the thought of Krat's sad state. The people must continue to look forward to a better future. They brought their thoughts back to the hugs. With a slight blush, they remembered another important kind of hug.

"There's also... the kind of hug that lovers do," they said, almost whispering the words out of a slight sense of embarrassment. A fine blush rose to their cheeks as they thought about it more clearly. "Lovers hug as a gesture of their love. They embrace each other, body to body, to feel each other's warmth. Wishing they never have to let go." Their eyes closed for a second, imagining the feeling of someone holding them like that. Two hands gently touching their backs, arms wrapped around their frame and a chin resting softly on one of their shoulders. The thought alone left a good feeling in their chest, but to their surprise, it seemed to come from a real source. Eyes opened to find themselves in a hug. Two hands gently resting on the small of their back, arms carefully wrapped around their frame and a chin tucked between their neck and shoulder. P hugged them like a lover. He put just a tiny bit of pressure on them to pull them closer to him, wrapping his arms a little more around their frame and hiding his head in their neck.

They had only just told him about this kind of hug, but he was already imitating it so perfectly. And they knew from the softness and gentleness of his touch that he was serious about what the hug was saying.

Perhaps it wasn't a book that they needed in order to find comfort on this stormy night. Perhaps it is simply the hug of the person they love that they need.

[alicethemadhatterapprentice]

From the Specter!Carlo AU of ash-arts-a-thing, I present to you another snipper from my the brainrot happening H24 in my brain!

Thank you @ashes8338 for the AU and @miss-chouquettes for listening to my ramblings and giving so many awesome ideas!!!

Not really angst ? But some Carlo introspection happening, as he follows P around Krat. This takes place before they fight the King of Puppet, probably ? 

No beta we die like Carlo. Enjoy !

Carlo was going to kill his father.

It didn’t matter that he was technically a ghost following the puppet made in his image by said father around. He was going to fucking kill that piece of shit of a human being. 

He had been following Pinocchio for a while now, and was - as much as he didn’t want to admit it- growing fond of the kid. But also so very concerned. 

This boy - he couldn’t refer to him as a puppet anymore, not in good conscience- was growing, changing, and refusing.to.take.a.bloody.break.

Even the cricket was getting concerned !! And wasn’t that absurd ??

But no, Pinnochio was running himself ragged, running around Krat, beating things twice his size, being thrown around, and refusing to stay down. In a sense, Carlo could admire the spirit. Kid had a true Stalker’s soul. 

Carlo also had enough brain cells (if he still had them? He was dead after all, so who knew.He was trying not to ponder about his condition too much, it usually made him panic.) to know the kid was heading straight into burnout, fast. 

All that because their dear old dad wanted him to be a “good son”, telling him how “proud” he was, and that he needed to hurry. Carlo could see how fake Geppeto was being. But Pinocchio ? Who didn’t know any better ? He didn’t ! 

The poor sod actually thought their (when had it become their ? When did Carlo start to consider Pinocchio a member of his family ? A brother almost ? He didn’t know) pathetic poor excuse of a father was being genuine !! 

So, Carlo was going to find a way, even in his dead-but-not-really state, to kill his dad, and make sure the fucker’s ergo was split in so many parts that there would be no chance ever of it awakening again. Cause fuck him. 

It hurt, seeing his - damn it he had to admit it, at least to himself- younger brother running around in pain, exhausted, because he refused to sit down and take a break.  

He wished Romeo was still around. Maybe he could help in the “Hey, let’s murder my dad before he kills my brother in an attempt to resuscitate me” plan Carlo was thinking about.

He had to figure something out, but his only moments when he was solid where usually after his brother used a meteor fragment, and that usually meant being focused on fighting some monster way too fucking big. And he couldn't exactly leave and abandon the kid to a fate worse than death and break the trust Pinnochio had in him, now could he?? 

He sighed, before catching up to Pinnochio. They were about to enter the Opera…well that was bound to be interesting. 

[lazy-writer-owo]

Sneak Peek to my Lies of P story

Little Liars

This is like Past! Carlo x Past! reader and Pinnochio x Puppet! reader

Enjoy!

An Ergo... a manifestation of a soul, memories and time condense into a shard of a blue crystal. When one passes their essences would transform into a shard of Ergo, only those who are gifted as a Listener can hear their cries..

Two souls cry out to one another..

in desperation... pain.. Loneliness

What if... two souls who have bonded for years...created endless memories reunited in another vessel, can they recognize one to another? or would they forge different memories?

"What did you wish for?"

"*Laugh* I can't tell you Carlo, it won't come true if I do"

"Tell me child, would you do anything and everything if a world gives you a second chance to meet him?"

"I would do anything for another glimpse of his warmth... Mr Geppeto"

[butchladymaria]

imagine if like, the plot included Geppeto rising from poverty thanks to his inventions and thus overcompensating by giving Carlo what he never had growing up...so many wasted potential. Perhaps his obsession with working and ignoring his son came from his pathological fear of returning to poverty!

Also, where the fuck are THE HUNDREDS of human workers that were definitively displaced by the puppets taking over every sort of manual labor??? Not a single Luddite refference??

when they say art does carry the "brand of class" this is what they mean uh....

ALL of this. lies of p is literally based in like, victorian england. the "grand exhibition" was a real historical event, showcasing the fruits of industrial labor. i love this game, but i can't help but feel like they missed a big opportunity. themes of the perfect machine replacing the imperfect flesh is so thematically resonant with the overall point of the game.

[zekie78]

StrawHats x Male Reader as P from "Lies of P"

"SPOILER ALERT IF YOU DON'T PLAY LIES OF P"

Part One

You were in the Hotel Krat attacked, you had returned after the tremor and as Sofia had called you asking for help, then you had gone down the secret passage that Antonia had shown you and you faced the black rabbit brotherhood.

You were then on the island, having defeated Laxasia and Simon. ....

-Give me your heart" - you had heard Geppeto's words. That words that made you feel... Lousy,

You were about to say something but suddenly from the mass of ergo, a portal was created, like a Stargazer but not like that.And it began to drag you in before Geppeto's horrified look as he lost the puppet that brought T/N back.

From one moment to the next you saw Geppeto and his briefcase.You were looking at a huge tree, you didn't understand in a short time what had happened, you looked everywhere, and nothing. You looked everywhere, and nothing.

"Dude...where are we? because it's neither Krat nor the island....". Gemini was talking

You didn't know what to answer, so you started walking. You had never seen the sun so bright in Krat. At least you had all your weapons and accessories at hand in case you had to defend yourself although you also had with you the memory of Sofia, you do not know how much happened but when you wanted to feel your heart, you did not feel anything, it is more...

You touched your cheek and it did not feel fleshy or any sense.... You were a simple puppet again as when you woke up the humanity you had was gone

You had to lie again to get it back.

In a short time you had become accustomed to this new world, they knew nothing about Krat, nor the ergo, nor the puppets, frenzy, nothing.

Only that it was a world full of pirates but it was not difficult for you to adapt, you knew your name but you lied to everyone you knew, pretending to be P.

P was your name in this world and your fame in fighting, your weapons, your legion arm got the attention of the marines and your world government.

The P cell should not fall into their hands nor the power of the ergo you did not want another Frenzy to happen

So you isolated yourself from the world

Not until a certain straw-hatted pirate found you when his ship arrived at the remote island where you were.-

"You look great, join my crew"- were Monkey D Luffy's words. You didn't take him seriously so you ignored him and stepped sideways , he wanted to grab you but you reacted and used your fire arm and pulled out a slight flame.

Which alerted everyone around as the other straw hats were alerted and went to see their captain as well as you.

They stared at you...Till they saw you go over Franky with a huge sword in hand There was a fight A couple of bruises A confusion and all of a sudden you were on top of the Thousand Sunny

From there everyone looked at you as doubt, the new member had surprised them, he pulled out a sword from god knows where.

And when Robin wanted to grab it, he didn't feel flesh, or anything like it, wood was wood, the new boy's body. It wasn't until Ussop came up to you and asked you an important question.

- "What is your name?"_To which you just said -

"P"- And from there he knew you were lying.This began your new adventure with the straw hats without knowing what you were, and as Antonia told you

"Lie to protect yourself and find your path."

[sepulchretide]

Really unsure if the transfem coding in lies of p was intended or not by the devs. From that sign about "a dream of becoming a real girl" in the background, to the riddle king stating "cracking your egg" (a common term for transgirls) and the heavily implied tones of geppeto CONSTANTLY reminding you that you're his son, which could honestly be interpreted another way given the reveal at the end, but still adds credence to the the theory

Spoilers under cut

Not including the fact the true ending of the game has Pinocchio (Carlo) putting his soul into a female puppet's body.

[princess-of-the-corner]

So I don't like writing solo protagonists and so I've been trying to figure out an intreasting side charecter for Riding Hood who fits her theme and I had an idea.

Meet Geppetto the Second. After Gepetto Senior dies Pinochio in a fit of depression attempted to recreate the same miracle that gave him life and made him a boy. Something went wrong and only hundreads of years later does the puppet gain sentience and/or Geppeto the Second temporsrily gained sentience, had a good life for a bit only to fall back into non-sentience and gets revived years later.

Ohoho?

[agomeangelcat]

Sugar Plum.

A/N: I like to write when i sad...enjoy my silly oc.

Shipps: Oc x Canon, Oc x P.

Tw: My bad writing and cringe. My head hurts. Game spoilers.

The doors of the hotel open, to the new addition to the Hotel Krat, P father's Geppet's long-time rival.

A man with black hair, olive skin and green eyes like jade, who screamed Christmas spirit in all his essence, or that's what Gemini said, he had a supreme creation, a doll, a soldier, a protector, a Nutcracker that, unfortunately, had to be killed, the memory of Geppeto's Rival greatest creation still fresh in everyone's memory, including his niece.

The creator of the Nutcracker, the only big puppet that was not owned by Geppeto, Herr Drosslmeyer, was long data rival from Geppeto and the type that in addition to being intelligent, Drosslmeyer was kind, gentle, creative and even magical, since Geppeto's death, the automatons being born, were special and took over the hotel like a family, animals and even some toys, the hotel krat looks magical and full of life thanks to Drosslmeyer's extroverted manners. 

P had constant visits to Drosslmeyer's office for concerts, check ups and some upgrades, and it was he who made P resuscitation possible.

The truth was, the Nutcracker's death was not done by P's hands, the Nutcracker was a mistake, a partnership doomed to failure, the Nutcracker was created by Drosslmeyer and Geppeto as a way to show that, in fact, they didn't they were rivals or enemies but business partners, something that was shown to be false as soon as the Nutcracker almost killed Drosslmeyer's niece, if it weren't for Drosslmeyer's automaton rats who saved her from being killed. 

P knew this, since he got his humanity and saw Drosslmeyer as a mentor and doctor, it was inevitable that P, a hunter, would not see Clara, who is also a hunter, and the niece of the man who created the new puppets, Clara was responsible for the death of the Nutcracker, she killed her best friend because of the man P called father. Clara was extroverted, but not in the uncomfortable eay, she was almost a princess, but she held weapons instead of all the glamor of a princess, she had the nickname Sugar Plum, was nickname that everyone in the hotel gave her because the girl was always eating sweets or hungry for sweets. 

P knew that of everyone at the hotel, Clara was the most full of life, she slid down the handrails, danced on the tables, stole sweets from the kitchen and P's favorite, danced alone in the ballroom, he loved the dance's spins and pirouettes that Clara practiced, and when he questioned Gemini, the little guy said that Clara was a ballerina. 

Clara is good, never treating him as less or different because he was a puppet made by the man who betrayed her uncle, the young dancer was good, strong and great at making P's heart feel full of ticks and tacks, when she read books to him like a theater scene or put tiaras and clips in his hair to aplly make up on his face, according to her "he looks beautiful in makeup". 

___

Walking around the hotel in the early hours of the morning where everything was a sleep or almost everything, was always a different energy, P heard earlier before Clara's complaint to her uncle about how all her point shoes were worn out, and that Drosslmeyer would probably take a while to make new ones for his niece, looking at the box in P's hands near the door of the room, Clara's soft voice coming from the huge place, P feels a small spasm, even human when in moments like this he can't help but have spasms or be all messed up, Clara was beautiful, and everyone in the hotel seemed to know and talk about, not only a ballerina's physique, her brown eyes, dark skin and raven hair made her look like a doll made by the most prestigious sculptor, he didn't really understand humanity too well, but I knew beauty when he saw it. 

Stopping in front of the open door of the ballroom, P watches Clara in a long strawberry print dress, Dancing around the room, the twirling dress making her float around her, the soft smile and the melody she hummed, P notices, she was barefoot, the sneakers must have gone bad or something. Clara ends her little dance roughly in perfect arabesque when she notices him standing in the doorway. 

"Holy Rat King...P you scared me!!!!"  P doesn't even move, the girl sighs, smiling softly, her hand on her chest to calm her heart from the fright, looking at the boy in front of her, Clara liked P's presence, he was a strange combination of serious and elegant with a playful boy who liked to play tricks. Noticing the comfortable silence between them, Clara's yellowish brown eyes look down at the box in P's hands, it was white with some pink stripes and an elegant pink bow and screamed sweetness.

"Oh, did you buy Sophia a present?...unfortunately she's not here...but she came to see me a few hours ago-" Clara stops talking when she sees Pinocchio approaching her, she wasn't blind nor was she knows that P's has some charm, hell, since they stepped into the hotel and her uncle brought P to life using blue magic, Clara always said how beautiful P was, not just physically, the puppet according to her was the only thing beautiful thing that Geppeto had lucky to create.

P was very close to her, too close, looking down at her, Clearly her face heats up, the yellow lights in the room make everything comfortable, P tilts his head to the side looking at the river of yellowish brown in her eyes, Caramel, P never really understood so well the reason for the nickname, but now, her eyes were Caramel.

"P? are you okay? are you hurt-" Again being interrupted, P extends the box to Clara, surprising her for a few seconds. 

"Oh..Oh!....is it for me?"  looking at him she touches the box with one hand and points to herself with the other hand, P smiles softly nodding positively, Clara can't help but admire him. Carlo and P were very different, but in a twins way, at the time Carlo was alive, Clara had a rivals relationship with Geppeto's son, but P, ​​still had the same bite, but clearly it was as if P was more open to feelings than Carlo, which is ironic. Her uncle said: "Carlo liked you... but he didn't know how to show it, boys are stupid.".

She remembers when Carlo pushed her into the lake but she insisted on pulling him along, both wet and looking at each other with angry looks, breathing heavily, but Carlo had been the first to break eye contact, his face turning red, which at the time Clara thought was anger.

This time she was the one who looked away first, looking at the box and seeing how their hands were almost touching. P watches curiously, almost leaning in to catch her eyes again he almost pouts when the girl breaks the eye contact. Clara undoes the box's bow in his hands, carefully, the science was almost suffocating but not the bad kind, it was tension, a need for presence instead of words. The girl makes a surprised noise, and P observes every detail of her face with parted lips, so he looks at the contents of the box with her.

"...you...found..." A new, untouchable pair of point shoes, elegant and clean, smelling of lavender. She laughs, taking the shoes from the box and seeing that in addition to being her size, they were soft shade of purple not completely pink.

She looks at P with a giant smile on her face, a smile that he returns with the same enthusiasm, watching as she sits on the floor to put on the new sneakers, the box on the floor next to her, the prepayment for the sneakers, breaking, bending and straightening, P helps her to  get up as soon as she finishes, extending his hands to her, and lifting the girl up without difficulty. Clara laughs, spinning around and testing her new pair of point shoes. 

"That's perfect, how did you get this!? I thought they didn't have any more of it, and Uncle Drosslmeyer said it would take a while to make new ones!"  Looking at him as P stands in the middle of the room and looking at her with the same intensity, P feels his insides heat up with her sweet, caramelized gaze.

P is almost flinches when the girl runs to him and hugs him, tight, but not only that, the Ghost of her lips on his neck.

"Thanks P...you're the best."  P slowly returns the hug, it was strong, and the kind of hug that someone would die happy in, his face hidden in her neck, arms holding her back and waist, lifting her from the ground, Clara laughs at the sudden action and the laughter only increases when he twirl around with her on the tight hug, it was a new feeling, sweet as a Sugar Plum Fairy.

Drosslmeyer was not surprised to find his niece and P lying in the library sleeping with books around them, Clara with her head on P's chest and P looking almost human with his head on Clara's hair, and a small white mouse sleeping on the girls hand.

"...P can sleep now....what a shame your father didn't see what a gift you are."  The older man covers them both with a soft blanket around them.

"Good night little sprouts"

[somethingusefulfromflorida]

The Blue Fairy had meant to give life to Geppeto's little wooden puppet, but she had had one too many Blue Drinks that night and her aim was off, so her spell hit the pez dispenser on the table beside it.

After many adventures too tedious to list here, not least of which involved talking cats, donkey slavers, and a giant whale, the pez dispenser was turned into a real boy, but some habits, especially those related to dispensing, die hard.

I kiss you with tongue and as that happens I slide an ibuprofen in your mouth since you have a headache

[litsnobconfessions]

A Year of Animation Day 52: Pinocchio

Date: February 21, 2025

Day: 52

Content Watched: Guillermo del Toro's Pinocchio

Year: 2022

Rating: PG

Run Time: 1 hour 57 minutes

Disney Double Feature: Pinocchio

Year: 1940

Rating: G

Run Time: 1 hr. 28 minutes

I know I've done my last couple of Disney reviews alongside their modern pairing because I haven't had the time to sit down and construct two separate reviews. But today's pairing calls for the films to be reviewed together. Because today's pairing is obvious. Let's get into it.

Like Snow White, Disney's Pinocchio is gorgeous. Just look at the scenes with the whale. You could take any still of the whale and have a beautiful picture. What I really like about it though, is how, unlike Sleeping Beauty, and Cinderella, the setting feels lived in. Geppeto's house has all these clocks and music boxes, which he likely made (And they are pretty elaborate and creative). I love the clutter. It gives Geppeto so much more character, immediately. Imagine if Cinderella had even had one thing, one clearly precious and important thing. It's the reason for Mako's scarf in Korra (something about Callum's scarf in The Dragon Prince also feels significant, though they haven't told us this. Maybe it's just another ATLA/Korra connection). I also feel like the cat is more animated than Dumbo, and I like the camera work at the beginning of the film, especially the hopping.

But then there's del Toro's Pinocchio, which again, feels like Persepolis or A Scanner Darkly. Once you see it, you realize there is no better way to do Pinocchio. He used literal puppets. The other thing I like about this movie is that like Bluth and Miyizaki, del Toro has an immediately recognizable style. Consider the forest spirit, with all her eyes, and her sister, the Sphinx. I've been a fan of del Toro's work since high school, and at this point, I love the familiarity I feel at seeing each new one. As a side note, I watched the behind the scene's featurette on Netflix, and apparently it took fifteen years to make, Pinocchio has a different head for each expression, and some puppets took an entire year to create. If that doesn't fly in the face of hypothesis 6, I don't know what does.

Del Toro also says in this featurette that he wanted to think of this movie the way you might think of a live-action film. For this reason, they spent time crafting mistakes and inconsistencies. He talks about how, in a live-action film, an actor might make a mistake, mess up a line or an action, but the result is better. In animation, that's unlikely to happen. You have to build it in. I put this forth as evidence against hypothesis 2 (modern animation lacks detail). This is not to say the Disney version is not incredibly detailed. It has the seagulls flying over the boat, the references to boys "making jackasses" of themselves, and (my personal favorite) donkeys pulling the wagon full of boys to Pleasure Island. It is just to say that this modern adaptation is no less detailed than the original. Like Disney's classic, the detail extends beyond the animation because apparently the music was done entirely with wood instruments. Basically, just because some movies are being made today that aren't being made with great effort doesn't mean that none are. And that's probably always been true.

Both films have a lot of delightful humor. As someone who interacts frequently with children, I appreciate Disney's Pinocchio asking Gepetto "why?" over and over. Similarly, del Toro's version has a musical number in which Pinocchio is discovering all of the new things in the world. He asks Gepetto what various things are, usually throwing them (often hammers and knives) over his shoulder when he gets bored with them. This, of course culminates with him wearing a chamber pot on his head. I also love the detail that Honest John, Disney's fox, can't read. He holds Pinocchio's book upside down, and later fails to spell his name. And I think the reference in del Toro's to Pinocchio being made of "good, Italian pine" is darkly humorous.

But let's talk adaptations. I don't usually have the opportunity to do this, seeing as I haven't read most of the books that these adaptations are based on, but I am actually familiar with this one, and it's a trip, much in the same way A Scanner Darkly is. Okay, it's a trip is a very different way. Pinocchio was originally published as a serial, so a lot of things happen, and it doesn't have much of a through line. The Disney version only contains about half the events, if that, but it does weave them into a nice three-act structure that we in a the United States have come to expect. Some of the things that come directly from the original (more or less) include the blue fairy, the talking cricket, the fox and the cat, the marionette show, Pleasure Island, and Gepetto being swallowed by a whale. And of course, Pinocchio transforming into a real boy for being obedient.

I bring this up because del Toro's adaptation (and, I hazard to say, most American adaptations) is as much an adaptation of Disney's version as they are of Collodi's. There's enough material in the book that someone could create an adaptation out of only the parts Disney skipped over--a story in which a talking log is carved into a puppet who then proceeds to abuse his creator and get him thrown in jail, gets conned into burying gold coins in the Field of Miracles, and tries to take the con artists to jail, only to be thrown in jail himself by a gorilla judge for the crime of foolishness. All of this happens in Collodi's book, but it would be unsatisfactory to most American viewers.

In fact, I think some viewers were upset that del Toro's version replaces Pleasure Island with a training camp for boys to become soldiers. And yes, this is a variation from the original text, which was published 50 years or so before del Toro's version takes place. But anyone familiar with del Toro's work will not be surprised that his version also tackles the theme of fascism. Personally, I found a lot of meaning in the moment that Podesta declares, "obviously, the puppet is quite a dissident. An independent thinker, I would say" because I think independent thinking is important, and it's something I want my students to be able to do. This also kind of sets del Toro's version in opposition to both Disney's and the original text.

But it's clear that del Toro familiarized himself with the original text because he included Pinocchio dying and being carried by four undertaker rabbits before coming back to life. He also includes a reference to Collodi's work in the film itself, when Pinocchio tells Count Volpe he has Carlo's book and Volpe responds, "Carlo's book! A classical, canonical work!" Like the Disney version, del Toro's Pinocchio is just all around nicer (a worthy change, I think), and the cricket plays a larger role. Unlike Disney's version, this version combines the puppet master with the fox into Count Volpe (a very worthy change, considering Disney showed their true colors by naming him Stromboli. Why, Disney, why?)

My favorite scene in del Toro's Pinocchio is when Pinocchio has died after blowing up the underwater mine and he tells the sphinx that he can't wait. He must go back to the land of the living to save his father. The sphinx warns him that if he does this, he will become mortal, but he can do it, if he breaks the hourglass. "break the rules," she says, tapping the glass, "break them, if you're sure." This again, is not only the heart of this movie, but the heart of del Toro films in general. It instantly brought me back to a scene from one of my all time favorite films, Pan's Labrinth, in which Dr. Ferreiro tells the captain, "to obey, just like that, for obedience’s sake… without questioning… That’s something only people like you do." This scene has stuck with me since the first time I saw this movie, and here in Pinocchio, the idea returns. Sometimes, you should disobey. Sometimes, you should break the rules.

This is what I love about del Toro's Pinocchio. There is so much more happening than the Disney version--not just in animation, but in story. Like I said yesterday, stories have shifted over time, and I have more than once found myself at odds with the type of people who value the narrative of Disney's Pinocchio, in which obedience is to be rewarded with becoming a real boy. In del Toro's Pinocchio, an obediant child may find themselves forced to shoot their best friend. That's not to say that blind disobedience is a good thing either. In both stories, Gepetto and the cricket are looking out for Pinocchio and give advice based on their concern for his well-being, but del Toro's story is still very much about finding your own way in the world.

The characters in del Toro's version also seem more complex. Gepetto has kind of given up on the world. He used to love carving, but since the death of his son, Carlo, he's had nothing to live for. He carves Pinocchio in a drunken stupor and doesn't even finish him. But Pinocchio gives him a reason to live again. And Sebastian J. Cricket is rather self-centered. He's determined to write his memoirs and get famous, and continues to refer to Pinocchio as his house and his property even as Pinocchio is being carved and even as he's being brought to life. Sebastian's arc travels parallel to Pinocchio's. Just as Pinocchio decides he's willing to become mortal and die in order to save Gepetto, Sebastian decides to give his wish to bring Pinocchio back once more.

In contrast, Jiminy is kind of terrible at what he does. Like Princess Irene from The Princess and the Goblin, he has this tendency to give up at the slightest difficulty, and almost walks out on the job on multiple ocassions. He also tells Pinocchio to tell the truth to the blue fairy, but is then a poor model by trying to hide from her and telling him to "keep him out of" the story. And yet, he gets a medal at the end for being kind of useless. Sebastian does get separated from Pinocchio, but doesn't give up him. Actually, he tries very hard to guide Pinocchio, despite getting smashed over and over. By the way. I think it's brilliant that he keeps getting smashed because this is what Pinocchio does to the cricket in the original book.

Del Toro's version ultimately turns the Disney version on its head. In this version, Pinocchio does not turn into a boy at the end, even when he becomes mortal. Instead, he remains a wooden boy because even though, over the course of the movie, he develops a better understanding of the world, he learns to make decisions for himself and therefore, remains himself. Through del Toro's lens, Disney's Pinocchio fails the lesson. He conforms, becoming someone who is just like everyone else, rather than forcing others to accept him for who he is. As someone who was incessantly bullied as a child, it's a pretty powerful message.

As I said yesterday, stories reveal our values and our shift in values. I appreciate that del Toro decided to change Collodi's Mangiafuoco into Count Volpe because he felt the former was too much of a stereotype, something that just didn't feel like an issue in 1941 (but Stromboli? Really?) And I his Gepetto doesn't make his cat open the window that he's sitting right next to. The characters feel more real, the problems more complex, and the themes of fascism and (dis)obedience unnervingly relevent. But if someone else came along and did a different, beautifully animated Pinocchio in 50 years? I might say it couldn't possibly be as good because it's not stop motion. Or Pinocchio doesn't have to rescue Gepetto from drowning. Or the fairy isn't blue.

These are both beautifully animated films. And I would not be surprised if preference for one over the other did fall on generational lines. But I don't think that makes one version of the story inherently better or worse (aside from naming the puppet master Stromboli). It just reflects different values and maybe differences in the types of stories we needed at the time. Perhaps we're all a little bit like Pinocchio and Candlewick. We need to pause, realize we're not in a war, and it's okay to tie.

Tomorrow, we return to Xadia and find out if Callum and the gang can escape Claudia' clutches.

[mochizuke-creates]

“Who are you, I wonder… Puppet? Or a human?” - GIF Ver.

[dmdarius]

The way towards Geppeto is riddled with stronger and stronger puppets, and a rather intimidating quarantined off area. But after giving ol' Murphy the one two and kicking aside a donkey, we're sure to find him.

[miratenebrarum]

He gives half a bow at her kind words. After all, he knew that not everyone - be they from outside or citizens of Krats - could understand his reasonings, so he appreciates the fact that she doesn't try to change his mind. Granted, it could be because she couldn't care less wether he lives or dies, but he'd much rather be optimistic and see the good in others. Being nice to eachother was the least anyone could do, in moments of crisis such as these.

As her focus returned to the puppet, his eyes instinctively once again wandered to his room, then back to her.

"Well, objectively speaking... he is different. Geppeto said he's not bound to the Cavenant, and that's what makes him unique" once again he paces around, back and forth, unable to stay still as he explains more tecnicalities "He said that, without being bound to its rules, Pinocchio can't fall for the frenzy... and, even more than other awakened puppets--" a beat "...that is, those who learned to, as far as I know, truly feel emotions... he has a free will. Granted, he does what he's asked most of the time, but I think it's more due to politeness than anything else."

The Angel knows that dealing with P when he doesn't want to do something, it shows. Other awakened puppets might voice their avversion to the requests given, but can't do much else but follow it; Geppetto's boy, on the other hand, pouts and sits down on a good day and starts doing little petty pranks and uses sarcasm on the worse ones. Who taught him to be that sassy is a mystery...!

"...but, honestly... I trust him because he saved my life, and my butler Pulcinella's as well."

His voice gets much softer, almost melancholic. How he regretted asking the butler-- his friend to deal with the furnace, how scared he was of losing him!

"If it wasn't for Pinocchio, neither of us would be here. So, of course I trust him to do the right thing."

A moment of silence. And then he laughs - a little forced, a little too loud.

"Ahh, but look at me! Getting overly emotional over nothing! I mean, I bet you saw it yourself, yes? He might be a little..." ...what's the right word, there "...forceful, sometimes? A little bit awkard? But he did help you too, no?"

Again, Lilli listened silently. And she wishes she could understand, that she could relate, to the people who instead of leaving, decided to stay. To rather die with the city than escaping. It's their city. It is their home. It's probably understandable for everyone else who had a home, but for the thief it's just stupid, even though she doesn't says it out loud. The word 'home' doesn't really has a meaning for her.

" Then that is your decision I suppose... I guess I can only wish you good luck in this fight. "

Even though there is a chance that she has to join that fight if she wants to leave Krat alive. Ugh. Why does she always find herself in such situations?

It somehow surprised her to hear that Venigni put so much of his trust in Pinocchio though. Lilli was pretty sure he was talking about that puppet. Who else could it be? And she really couldn't but wonder how he could stop a sickness. The raging puppets outside? Sure. She had seen him fight. But fighting something that can't be killed by a weapon?

" You put a lot of trust in him... What makes Pinocchio so different from all the other puppets? I mean besides that he isn't trying to kill everything in his sight. "

[butchladymaria]

considering how pretty damn poor both Pinocchio and Geppeto were in the original book and the poverty PLAYS a huge part in Geppeto's creation of Pinocchio (the old man was trying to make a living as a puppeteer since he was making pennies as a woodcarver)...the blatant omission of the topic of class disparity is a huge slap to the book's core values

Hell, Collodi himself was working class and managed to climb the social ladder thanks to his rich godmother!

SAY IT LOUDER!!!! gepetto is literally surviving hand-to-mouth in the original text but in the games carlo is born into wealth. i’m not saying they had to make gepetto impoverished — i think having him as the villain serves the story really brilliantly — but the fact that the game features a benevolent capitalist who faces no consequences either in-universe or from the narrative itself is really an insult to the social commentary of the original story.

[themousefromfantasyland]

I finished watching Guillermo del Toro's Pinocchio, and oh my goodness, this is a better adaption of Disney's Pinocchio than their actual remake.

The story is closer to Disney's than the original Carlo Collodi book. The character is brought to life by a "blue fairy", she sends the talking cricket character to be Pinocchio's conscious, he is more innocent and curious instead of being a straight mischievous child, and he goes from a Puppet theater/circus straight to a place where boys become jackasses of themselves, and when they escape from the fish/whale creature, Pinocchio sacrifices himself to save Geppeto and has to be brought back to life.

Even story points that the Disney remake brought, like Geppeto having a deceased son and Pinocchio staying a puppet in the end, points that I felt were left useless in an otherwise inferior copy of the original, here bring much more depth and meaning to the story.

And I don't think any of this was intentional. Del Toro simply used the Pinocchio plot that most audiences know to explore deeper themes like fatherhood, life and death, and the dangers of blindly following authority. It's amazing how this film manages to subvert the moralistic messages of both the animated film and the original book.

But by dedicating itself to the craft of animation and a storytelling technique that doesn't talk down to its children's audience, this film feels like a better companion to the classic Disney film than the soulless remake.

@thealmightyemprex @ariel-seagull-wings