#i get what he was going for and this is a common motif for him but yeah I didn’t rlly like this batch of teasers 😭 styling is ugleee

[cinematheory]

not rlly expecting artistic genius from so10 and i’m okay with that 🫶

[astronicht]

Hi I hope this isn't presumptuous, but so, that post you made about Tolkien making the lads leave their weapons outside the hall and CS Lewis thinking the hall was gonna get burned down by a lady who also wanted to kill herself... what's the historical precedent for that? Is there a trope in medieval lit where people like... do that? I ask because uh. I am obsessed with Children of Hurin and there's a scene where that like, happens. And I'm obsessed with that scene, and would love to know if there's like, cultural/mythic context that would enrich my knowledge!

OH BOY, sorry I'm getting to this late, it's been uhhh a summer, but one, this is a very good question!! And two, yes there is absolutely precedent, particularly in early medieval literature, and high medieval literature set in the early medieval (circa 500-1100 AD) past. I'll let someone else debate how often people actually historically locked their enemies into a hall and burned them, but especially in Old Norse literature (and if Fellowship felt like it leaned a little more on Old English literature, Two Towers, where Eowyn appears, felt a little more Old Norse) this is common. Off the top of my head, you've got many Icelandic family feuds ending in burning the whole family in their hall, like Njal's Saga (Old Norse), Attila the Hun dramas (yeah he's a big guy in the burning halls circuit, but actually not in the way you might expect) like his cameos in Volsung Saga (Old Norse) and Nibelungelied (Middle High German), and my vague recollection of a few Irish and Welsh versions that no search engine is giving up for me right now.

This, predictably, got long and slightly off topic.

Disclaimer: As usual, I should say I come from an Old English-centric background, and Old English literature is actually notable among all its neighbors for not burning down too many halls. Second disclaimer, all links are not proper citations, they just go to wiki.

Hall-burning in literature is, to my understanding, part of the concerns of a few early medieval cultures in which revenge is not only expected but in many cases legally reinforced and codified, and one in which conflicts could spiral to engulf -- figuratively, or literally and in flames -- entire families. Many medieval Icelandic sagas are focused on this exact type of destruction of whole families or friendship/community units. Most relevant of these to Eowyn, Two Towers, and the vibes of Edoras (since alas I am only partway into RotK and can't speak to Children of Hurin yet!) is Volsung Saga, which is set on the Continent, not Iceland, and actually has to do with Attila the Hun. As mentioned before, an incredible amount of stuff turns out to have to do with Attila. We will come back to him!

So, on the particular post you're talking about, a few people iirc have replied pointing out that the hall in TT is clearly supposed to be based on a hall from Old English literature, namely the hall in Beowulf, which famously did not actually get burnt down. And that's all true! I was not posting with much nuance; I was mostly having a joke at the expense of CS Lewis. However, I was also referencing a very very common trope in Old Norse/early medieval stories, and I personally think JRR was as well (AND I think Beowulf was also very consciously referencing the exact same motif anyway) (no one has to agree with me, a tumblr blog, on any of these points).

The thing about the hall when our heroes approach is that the scariest damn thing in that hall is Eowyn. Certainly not every hall-burning story requires a woman with no other recourse to set the fire (in fact, the "warrior band approaches unknown hall which might have a grudge against them" is a trope that can get you killed in a pretty homosocial environment, as I guess Aragorn at least was aware, being a big reader). Still, the presence of a woman who is swiftly running out of options does fit what I'd consider one of the or perhaps The best known version of the early medieval burning hall trope: Gudrun, who shows up in at least a dozen different texts in both the Scandinavian and the German language traditions, including Volsung Saga, a text which itself often gets paraded around as the basis of lotr (which I'm sure it is, in that JRR appears to have simply and very fairly based lotr on every piece of early medieval vernacular literature I can think of).

In a portion of Gudrun's story (which of course changes a bit in each retelling), after her first marriage she is unhappily married to Atli, who is none other than our main man Attila the Hun. After Attila kills her brothers for reasons (in one version, her father), seeing no other way to take the necessary revenge and no other way out, she kills the two sons she had by him, serves them to Attila for dinner, has Attila killed, and then sets fire to the hall with everyone in it. After this, she attempts to drown herself.

The self-destruction of this act is a really important beat, and has only gotten more-so as a comparison to Eowyn the further I've read into RotK (currently, I'm at the houses of healing after merry and eowyn take on the witch king). It's a lot clearer in the book than the films, for me, that Eowyn going off to battle was not so a straightforward empowering and/or freeing move, despite allowing her some agency, but more the one path she saw as available to her with which to die with honor (which was pretty much exactly what Gudrun was facing as well). Like Gudrun, whose first husband was a great hero but has died, Eowyn's romantic choice is a hero who is presumed dead (sorry Aragorn they did Not believe in your ghost skills). In fact, in some versions Gudrun does put on armor and fight with her brothers before they're killed. She kills Attila with her own hand, with the help of another man who needs to avenge a blood feud against Attila.

So while Eowyn didn't get forced into marriage to Attila Wormtongue (with apologies to both historical Attila and that one historical skald also called Wormtongue who was reportedly hot) and burn the whole place down, she's still trapped, and like Gudrun chooses destruction alongside her household.

Reading her arc feels so much like watching Tolkien write a fix-it for Gudrun. What if she got this one little chance, and this one other little chance, and this one more -- tiny little shifts in the narrative that allow her to get out, and not through fire, and not through death.

Anyway, this got away from me. I hope it added some context to the Children of Hurin arson case! Thanks for the ask

[branwinged]

the magnus archives is a romcom—no what the hell it's not. it is, however, a gothic horror romance between jon and elias. because you see, the thing about jonelias is that their canonical dynamic is built around an absurd number of gothic genre tropes. jon sims obviously fits the mold of the tortured gothic protagonist quite nicely who's facing both external (the other avatars targeting him) and internal horrors (his progress as the Archivist weighing on his conscience). but he's also trapped in the gothic manor which is the magnus institute. there are secrets (the place being a temple to the eye), locked doors, forbidden chambers, and bodies in the attic which serve as evidence of past misdeeds (the panopticon; gertrude and jonah's bodies in the tunnels), the institute/archives is ultimately destroyed by fire - purging the gothic manor i.e. the symbolic destruction of the previous order with fire is a common motif in the genre. and jon's work in the archives is haunted by the figurative ghost of gertrude who remains a curious mystery he must unravel and will serve as a constant reminder to jon of his own inadequacies (just like du maurier's rebecca fr)

elias is then —

1) his personal bluebeard figure who murdered his predecessor, a comparison which only gets stronger with the jonah magnus reveal since he's been cycling through archivists for two hundred years, all having met gruesome ends in service to him and jon being his final and most notable choice. are you seeing the maxim de winter rochester imagery. are you.

2) his gothic double. doubles as a literary trope are your hidden self made manifest, the horror lies in the double (elias) revealing the gothic protagonist's (jon) hidden, true self to them. elias as an avatar of the eye is entirely unrepentant for his nature, he revels in it. which is a mirror to jon's own self-flagellation because despite how much he feels torn about his own metaphorical vampirism, he likes it. he admits as much to gerry as early as s3 when asked about his feelings on his ability to compel truths. and why wouldn't he! after being kept in the dark so long, why wouldn't he like it? and jon and jonah had in common their natural curiosity even before they found the beholding. elias is a mirror and jon looks in it and sees someone who is him, but not quite. someone who is what jon would be if he could simply let go, but jon can't. like most gothic protagonists he will kill his double because it is a reminder of a self-truth he can never escape.

and watcher's call. like what even is that. what do you mean that's a thing. what. literally wuthering heights. "why did you heed the call?" // "because this is the place i know i should be" <- normal dialogue to write for two guys definitely not starring in a gothic romance.

^ same genre of images. so the spider, the mother of puppets, the web which is the symbolic representation of narrative thread in the magnus archives universe WEAVED them together? red string fated, that's what they are? so they're soulmates. that's what you're saying. they're literally soulmates. soulmates as existential horror? just enough of an illusion of narrative agency for jonah/elias to claim, "the Chosen One is simply that – someone I chose" but paradoxically joined by fate, which isn't a good thing! because no god-like powers of hope, or love, or indigestion, or whatever, only fear. because even though both help the other achieve narrative self-actualisation (elias making jon the archive and jon making elias the king of a ruined world), their union also irrevocably destroys their lives as they hurt each other in deeply personal ways which signify their greatest fears. elias manipulating jon, whose biggest fear is mr spider, i.e. loss of control and jon repaying by being the very thing that kills jonah, who has spent multiple lifetimes trying to escape the end. and that's romance <3

[cowboycannibalism]

Bullet with Butterfly Wings, Smashing Pumpkins// Saw 2004// Caged Rat, Soul Asylum// The Jig Is Up, Ice Nine Kills// Rats!Rats!Rats!, Deftones// Hatchet, Movements

I know there's heavy association of Adam with the dog motif (which I love) but I swear I've heard Bullet with Butterfly Wings on the radio way too many times during the last month while thinking about Saw for it to be a coincidence

Rats symbolize impoverishment, disease, the lowest of low.

"He's not a cop. He's a bottom feeder, just like you."

Jigsaw calls him angry and apathetic, and we'll be honest here, he is on the surface. He calls his apartment a shithole, he knows his job is shitty but it keeps him fed, and he's just dragging himself through life because he's pretty much already convinced himself this is as good as its going to get.

But here's the other thing about rats: they will do anything to try to survive. Sometimes, that means just doing what they've been conditioned to do by the world around them.

Have you ever seen a rat backed into a corner? or stuck in a trap? they will scream and thrash violently to try and free themselves.

From the moment he wakes up in the tub, Adam is moving. Throughout the movie, he has a hard time staying still, trying to escape, trying to survive. He is loud and frantic. Even though he is pessimistic about life, he wants to live.

also, to swing back around to the Smashing Pumpkins lyrics in particular, I thought a lot about how Adam mentions his ex, thinking he was "too angry." If you've dug into that song a little, it's interpreted in a lot of ways but a common one is oppression and being stuck in a situation/world where you're aware of escape but incapable of it. Adam knows he should appreciate life more, but what's the point when he lives the way that he does and nothing seems to ever get better? Anger feels like the only option and honestly sometimes it is.

(not to get too political or whatever, but if we never get angry enough to do anything, nothing will ever change. Don't let anyone tell you that emotions don't belong in politics/social issues because that's a fucking stupid take.)

[ma4chestier]

actually, im not surprise anymore. he tried to kill himself at fricking 9 years old, he's capable of everything at this point.

umemiya may be a well-witted person wih good intentions and a charisma that can befriend anyone but when it comes to his mental strength.... im not so sure he's as strong as others, like sakura or... or no one actually. sakura is the strongest when it comes to the state of mind in a fight, the most stable. yes, he has abandonment issues but thats outside of a fight. we could see in almost every fight that everyone somehow gets distracted or is affected by emotions they shouldnt be distracted with, they're easy to manipulate in that state of mind, and im prerty sure endo knows it and thats how he managed to bring the old umemiya back to give takiishi a good fight he could enjoy.

endo says a lot of times that he isnt capable of a good character judgement, but he was capable in the past its just that he has become more thrown to please takiishi that he makes errors he didnt use to make about people, because whether he noticed or not, meeting takiishi changed the way he used to read other's motifs and actions. the way he can talk about umemiya that way proves that he is still capable to read people so well, even noticing sakura's worries (and being worried himself). he may not be able to read takiishi like a book, but thats no reason to not understand him, also something about not knowing what he will do next is part of the beauty endo sees in him, that spontaneous personality and disinterest in everything makes endo want to see more, to keep reaching to the unknown.

i dont know where i was going with this but yeah, i love these four dynamics like no others. and i know it wont turn out this way but im really hoping for takiishi to talk with sakura, just a couple of words would satisfy me, they dont even need to be directed to sakura he just needs to say something controversal to make sakura yet again have a crisis, that would be so cool

anyway, someone give sakura a hug please

sakura's trying to understand for the first time the reason why soemone fights. he hasnt question in his entire life why someome fights, he just assumes is a very common way to act, but umemiya changed his way of thinking inside a fight, with the "you can have a conversation with punches too", and im pretty sure sakura is trying to understand what he's trying to tell takiishi with his fists. we already know what takiishi is trying to make across, with the little snippet of his mind we were allowed to see, but we dont know what umemiya is thinking at this moment.

i think that apart from seeing that piece of hell that was takiishi's mind, satoru nii is making the fight in sakura and endo perspective as a whole, not letting us know what this two monsters are even thinking about, making the feeling of anticipation even greater

i love this series so fricking much, satoru nii is really amazing with their job, i love the visuals and metaphors they put in their work.

[lyculuscaelus]

Just a gentle reminder that EPIC the Musical is a musical. It’s not a movie script, not a play adaptation, but a musical itself. Which means, to talk about it with anything less is inorganic, is missing an important piece of the story itself. Because it’s not just the lyrics that display the scene—music tells its own story too.

The way the soundscape for each saga (and sometimes different songs themselves) is so unique that it creates the atmosphere for this certain event almost immediately, the experience of which you cannot go through merely by reading the script. With the Cyclops Saga we have a dark and edgy theme, with the Circe Saga we have a more tropical (mostly due to the drums) and at the same time elegant one (due to the strings), with the Underworld Saga we have this very gloomy theme which is straight up Underworld feels…this is very common for music, but it’s just something you won’t get from the script.

The way the delivery of so many lines is so good that you can feel the emotions so vividly—something lyrics alone can’t display. (Which is also the reason why there’re so many lamenting paragraphs in tragic plays and why there’re pauses between spoken lines in writings where writers describe the expression and movement of characters.) The way you can hear the anguish and desperation in the delivery of so many lines from Mutiny, the way you can feel the emotional struggle of Odysseus at the end of Thunder Bringer in the way Jay sings…there’re so many moments where you just feel the raw emotions coming from those lines that you can’t experience it by reading the lyrics and interpreting with wild guesses.

The way the reoccurring motifs and riffs tell so many things that lyrics won’t is already well-known. Danger is nearby motif already gives you the alert of what is to come; storm motif depicts a harsh encounter on sea that it captures that moment so well; that specific motif from those three songs (the beginning of the second verse of The Horse and the Infant, the first and second verse of Survive, the beginning of the second half of Mutiny) is foretelling the turning point of events (and also asking someone to kill the other being)…and then we have characters’ own motifs. Odysseus’s cunning motif shows the moment where he plots the course of action; Athena’s Warrior of the Mind motif already indicates her appearance and more; Polites’s Open Arms motif just destroys your emotions cuz why not; Eurylochus’s Luck Runs Out motif shows the development of the dynamics between him and his Captain…there’re so many to rant about that I just can’t put them all in this one post. As for the riffs, the most famous one is of course the way Athena and Odysseus and Telemachus sing “miiiiind”/“fiiiiiine”/etc. as Jay has already yapped about in his video, which just shows the dynamics between these three characters so perfectly. Hey look, another thing which the script won’t tell you.

And then we have these characters’ own instruments. I don’t even think I’ll need to elaborate on this one. Most of you have known that already and understood how genius this idea is even though it’s not Jay who came up with it. This is totally something you can only experience in the music itself, but meanwhile it says a lot about the scene already. As in Done For where Odysseus’s electric guitar continues playing under Circe’s lines which indicates he has taken hold of the situation already (even though temporarily). It might be a minor thing, but still it’s very well-thought, and sometimes even foreshadowing (like how Poseidon’s trumpets have already shown up in Storm).

…

There’re so many things to rant about this musical that a single post is far from enough to discuss them all. Here I’m only pointing out that EPIC is an organic combination of lyrics and music (and action when it comes to stage production which I believe it will eventually) that it’s impossible to treat them separately while still getting the whole story right. Once again, the piece you’re talking about is not a stage play—it’s a musical that is epic.

[arandomnerd810]

personal TADC character analysis

uh warning this is long lol

autism time let’s go (/not in a negative way i have autism) stretches hands * I’ll go in order of the character episodes cause why not we have it (see below) i’ll put periods but it will just be to make it more readable not to be intimidating lolll

btw im completely open to interpretations of characters changing throughout the series this is just for fun

Gooseworx has said this series is mostly focused on characters rather than lore, and from what we know, i truly believe it. I don’t think any of the current characters will abstract because of this.

(I put a version of this in the glitch inn discord theory thing so if you recognize it that’s why)

Pomni: we already know her deal pretty well, as we’ve already had her episode. uuuh if anyone’s going to do something important lore wise it will probably be her as she’s the main character but can’t rlly tell what that may be. to review ep 2 though she’s an outcast who has felt like she was nothing and is a logical thinker.

(Kinger and Zooble will there their focus episode but i put it in order of who was revealed to be the ep 3 focus first)

Zooble: From their design (the entire motif is it can be changed at any time) and the fact she doesn’t know his gender, we’re dealing with some pretty clear identity issues. Friends with Gangle seems cool excited for next episode to learn more about them!

Kinger: One of the most interesting characters so far. I feel like we will get to learn more about abstraction though Queenie, the X-ed out door that looks like a female version of him. If i had to guess, since Gooseworx said they were not siblings, they were a couple. (Also judging by his age and the fact he could have been married, he may have been a father yeowch imagine that) I can see the common theory of the insect collection implying he was a coder before getting trapped, but i could also see him being some random guy who just likes bugs lol. He seems like really sweet guy behind his constant anxiety and disassociating.

 Gangle: (My faveorite human rn) Her mask design can be interpreted in a lot of ways but it’s clear that the happy mask isn’t her real personality. My take on it rn is she doesn’t wana bother people with her stuff so she pretends she’s happy? She seems easily embarrassed and def has self esteem lower than the last circle of hell. What’s interesting though is she’s willing to stand up for herself from time to time, even though she’s easily shot down after.

Ragatha: Waaaay too nice for her own good. Also probably has self esteem lower than the last circle of hell and bases her self worth of others approval.  Though she’s been here the second longest, she seems a lot more normal than Kinger. Makes me question how long apart their introductions have been. Probably copes via escapism.

Jax: I can see why everyone is very interested in him cause me too. He seems like the only fourth wall breaky guy (unless you count Caine cause of his intro at the pilot)which is rlly interesting how did he figure out more than everyone else? what’s with the keys? i have no clue lmao. He’s an asshole who makes the best of his situation by torturing everyone else. At the end of the day though, he’s a human and was sad at kaufmo’s abstraction but he probably isolates himself so it would probably be the same for anyone

but waAitTt a moment

that’s 6 humans but Gooseworx said we would look into 7 (cause of the “other” part) in her twitter post talking about the character focus timeline so we know our fav character won’t be left behind ⁉️⁉️⁉️ I hear you not asking well my dear hypothetical person, who better to fill the 7th character than Caine?

Why you did not ask? Too bad i’m info dumping. First, he’s the main antagonist and alongside Pomni, the commercial face (or lack their of haha teeth and eye joke) of the series. he’s an important character and loved by many. (and hated equally if not more aside the point lmaooo)

Yes, gooseworx can lie about stuff but I think she’s smarter than to lead this heavy into Caine depth/ angst territory if there wasn’t going to be anything On top of that, the entire purpose of the timeline post was so we know our faveorite characters weren’t getting treated poorly. It’s unlike for a character based show to suddenly drop such a major character for some random other guy were introduced to later or smth. i mean cmon there’s three episodes after all the humans at least one of them has to be focused on my boy.

Caine: I believe he really does have good intentions and wants to help but just does not understand people at all. This means he’s like an anxiety disorder; it wants to help, solves some issues but creates 500 more. Judging by the Tumblr post, loneliness may play a big part in what’s to come? I’ve always had a feeling his front was extremely fake and his VA saying “breaks keyfable” (an act that pretends it’s true) supports that theory. Episode two gives some insecurity vibes when Zooble didn’t want to go on the adventure. I find that pretty interesting cause he didn’t care at all if people went on the gloink adventure or not. Maybe he puts some adventures over others and he could have been proud of the candy adventure cause more time and care was put into it and he made a new AI. Why did he blue screen? i feel like he could have some blockages on what he can say built in though im not sure why he was blocked then if he even was. one of the biggest questions i have ab him currently tbh. what’s with him grabbing his cane like that in ep 2? if i had to guess simply be nervous = that? His VA also knows some depth to him even though his focus episode is likely going to be at least one of the last 3 episodes, which they have not gotten to recording yet. You know what this means Caine angst solidarity club? Sad Caine so more fan angst appetizers before the main cannon feast let’s friccin go‼️‼️⁉️⁉️

(try to guess my fav impossible /j)

[azumasoroshi]

suzume no tojimari spoilers ! hi guys im Insane

literature analysis brain is going haywire so here’s a bunch of incoherent ramblings some themes motifs and symbolism i love in this movie because AAAAAAA

Love and Sacrifice.

Obviously, but like the different kinds of love and devotion and how they’re never perfect and sometimes self-destructive but they’re so powerful and just waughhh. It was so important to me how after exploding at her Tamaki (suzume’s aunt, ik im not the only one who forgets names) was like “you know I don’t feel that way all the time, right?” like not denying that yes, she has felt exhausted of taking care of Suzume and sometimes wished she didn’t have to take care of her, trying to be the parental figure she needs while also trying to not encroach on her sister’s memory. It means so much to me that she didn’t deny those feelings but instead told Suzume that it’s not how she always feels, because loving someone means sacrifice and ewughghgghfgfh im not putting this into words well but htrggfhgf.

and ALSO the reciprocation of kindness with daijin - as thanks for the taste of freedom at last, and wanting to be with someone whom you love but not really comprehending that what they want (that “suzume doesn’t love me” killed me) and how by the end daijin helped her pull souta out and sacrificed himself for suzume because he really loved her ggrgfggfhfnfnch

And just. everyday love. This is kind of a mix of themes and motifs but every time we flashed back to the memories of whatever abandoned place they were in - the simple “good morning”s and “be back soon” and “it’s so hot”s made me choke up. the mundane love of Chika and Suzume in their newly found friendship, Rumi’s kindness in picking Suzume up off the street and her love for her children, Serizawa’s platonic love for Souta letting him drive these two crazy women with crazy beef for 7 hours across Japan, there’s just so much expression of love and the hardships people go through because of it and rhgrjgrjhgdhgjhb

Mourning and Closure.

Makoto Shinkai himseld said that he wanted to write a story about “mourning deserted places” (at least according to Wikipedia) so this one is all but textual but like yeah. the motif of opening/closing/locking doors and locking the bike and things like that? AaAAaAaa

To close the gates, you need to imagine the emotions of people who once lived there - i can only imagine what Souta was thinking in the abandoned bathhouse area, but hrhggejghw the school and the amusement park and the shots we got of normal life in tokyo before the worm revealed itself in the climax, it just. really speaks to the beauty of everyday life. im a sucker for that kind of stuff as both a psychology major and just a weird person who thinks “man i wonder what happened to this person for the past 22 years of their life that led them to be here with me in this moment” whenever i pass someone in the grocery store. Hodaka could let japan be flooded in weathering with you because of his love for hina, but suzume’s whole arc was learning about the common people and living their lives and embracing all the kindness they had to offer to herself and others and it really hits that like. of course she can’t just let tokyo get destroyed to save Souta, every person in all of tokyo is just like Rumi and Chika and Serizawa and they’re all people who love and are loved. She finds herself in Souta’s place as one who stretches himself thin between being a gate closer and studying to be a teacher because he loves life as well, and-

oops i forgot i was talking about mourning and closure

anyway the doors keep getting reopened because the grief never fully goes away and the worm of “calamity” is letting yourself be consumed by the grief and destroying the people around you and not being able to move on, and it comes from the Ever-after becomes ever-after is a place where time doesn’t exist and you wish you could be there forever because it’s where you can relive the events of your past, it’s where you can live in denial that time moves forward and you have to move with it, it’s where Suzume goes after her mother dies because she wants people to stop giving her condolences and just give her her mom back. “Ever-after” in itself is a “happily ever after” - a place where mortals aren’t meant to go, no matter how beautiful it looks. Souta goes there too because he is the catalyst Suzume needs to go back and face Ever-after - and it’s no longer beautiful, but it’s torn apart by grief and everything is in flames. The idea of a keystone as well, locking the memories and hurt away, is one that Suzume removes to relive her memories and puts back in place when she’s ready to move on. htrhgfhgfghfghf. she won’t let souta be the keystone because she refuses to move on without him.

Also both Souta and his grandfather tell Suzume to just forget everything she’s seen, but it’s too late for that because connections aren’t so easily forgotten. Even when Tamaki couldn’t remember telling Suzume she’d be her new mother, that doesn’t change that she cared for her for the next 12 years anyway. Suzume visits Chika and Rumi by the end, and obviously she’s never forgotten her mother, both because her chair was still in her room by the start of the movie and because she looks like her by the end. Even though relationships change, they’re never forgotten in the movie, and I think that’s beautiful, really.

(also cool detail: 12 years ago is when the tsunami that killed suzume’s mother struck. the movie came out in 2023, and the touhoku earthquake/tsunami that inspired this film was in 2011. nice)

Reality vs Fantasy

The scenes where Suzume goes out into public again following stopping the worm from destroying Tokyo were especially poignant to me. This girl’s been going on a fantastical adventure with her talking chair and talking cat, meeting nice people and making friends, excited at the idea that she’s doing something important, but after Souta’s gone she shuts down. Her feet are bloodied, her clothes are destroyed, and people keep giving her strange looks and calling her homeless because she may have stopped the worm but even without being consumed by grief, it still isn’t pretty or picturesque. Standing out in Japanese society is discouraged, as most of us are well aware, but she’s been doing nothing but that with all the running around and talking to chairs and flying through the sky she’s been doing. Without a concrete goal in mind, without Souta as company, she’s alone in the world of adulthood and has no one to tell her what she should do, no Souta to guide her through Tokyo. And without that confidence or charm, people don’t come to her aid like they did before. It’s only once she finds her resolve to save Souta, quite literally walking in his shoes/footsteps, that the next helpful stranger (Serizawa) comes in.

She could imagine those abandoned places as alive, but the truth is that they were abandoned and will stay that way - none of them miraculously revived by the end, unless something happened in the credits that I couldn’t see through all my tears. Reality will not bring those places back, but what really matters is how we carry the memories of those places with us? I think. man maybe it’d be easier to write this post if i had actually seen the end credits

this post is really fucking long so im calling it here 😭 makoto shinkai has done it again. goddammit

[digitalagepulao]

Prodigal son terror

Li Jing in a fury grabbed his halberd, leapt on his horse and galloped out of the headquarters. He was astonished to see Nezha with his Wind-Fire Wheels and Fire-Tipped Spear. He swore loudly, "You damned beast! You caused us endless suffering before your death, and now that you've been reborn, you're troubling us again!"

"Li Jing! I've returned my flesh and bones to you, and there's no longer any relation between us. Why did you smash my golden idol with your whip and burn down my temple? Today I must take my revenge!"

since I'm on a Nezha streak, might as well do my design for him on the Expedition AU! given that i've chosen to give characters a closer likeness to their region, it's only fitting i do the same with import deities like Guanyin, Subodhi and Nezha.

he's a complicated figure to place in the timeline because he gained popularity as a deity much after, only really arriving in China by the time the Journey would have been set. FSYY was written closer to when JTTW was written down, and he was retroactively inserted on the Zhou Dynasty period.

so deciding what to even do with him is dicey. but then i said fuck it, mythological rules apply here, he was around for the events of FSYY, and it and JTTW are set in the same universe. and for the sake of having some fun, i decided to get funky with his concept.

Nezha had the likeness of his family when he was alive, as described in FSYY, but once he was reborn with a lotus body he gained Indian traits instead. this is to be a nod to his status as an import deity and his origin as Nalakubara, and as the centuries roll by he may present himself to mortals closer to the locals' appearance wise.

as for his looks, i drew inspiration from multiple sources. read more for my rambles <3

his armor is closer to reconstructions of Zhou dynasty-period armor, skipping over extra parts simply because his lotus body is so indestructible, there's no need for a full set;

there are two red Chinese knots with jade beads dangling from the armor ties. they are said to ward off evil spirits, which felt like a good fit for a guy known to banish demons. i picked a six-petal flower pattern, which represents reunion, unity and a bright future;

i included lotus petals and leaves on his outfit as they are common in Beijing Opera outfits for him, and his makeup is a call to it as well;

The pink from the cheeks and eyeshadow seeps into his ear shell, as to convey the way sometimes, you get so angry even your ears blush;

Another thing i referenced from Opera is the two red ribbons on his sidelocks, though I changed them to two bulbs of lotus roots;

Four petals drawn close to his urna as both to make it look like a lotus but also form five petals, which is an auspicious number;

His hair crown is a fancy princely [knot] with a lotus motif and a pearl in the center, as he was the Pearl Spirit before becoming Nezha;

I was going to go with elf-like ears but I thought I could do better, so I went for stretched earlobes instead. you can't see it that well but hopefully the very large golden earrings imply it well enough xvx;

His cheek dimples are common sight on religious images of him and it was a cute touch imo;

Younger Nezha wears a golden robe because of his title as General of the Central Altar in Daoist belief, and the center direction is connected to yellow or gold, and yellow robes are usually meant for emperors and their sons, which is a minor nod to his self-assureness and boldness;

The Cosmic Ring has spiralling grooves on it both to catch blades on it for defense but also as a callback to Opera props;

On his waist is the embroidered ball weapon he was attributed with in earlier myths, he was also meant to have the leopard skin bag Taiyi Zhenren gave him, bjt it was going to be obscured by the text so i omitted it;

A few depictions of him gave him a halo of fire, which was real cool so i added it as well.

[drill-teeth-art]

I have no idea how to ask but here goes…

How do you shape your characters and your designs so good??? The shapes of them are soo good! Big, slim, sharp, round, etc! They’re all so good, how do you design them so well??

I could write an entire book on character design and how it's changed over the years and how open ended it is and what I think are good principles and what commonly shared rules are honestly a bit too overly restricted because I'm crazy about character design but! Shape work. Let's stick to that for now.

Now of course for bodies and body types my number one recommendation is: For the love of god look at real people of different body types look at actual photos of fat people and skinny people with different bodies different distributions of their weight look at disabled bodies look at trans bodies look at people of all different races and draw them and learn PLEASE.

Additionally...

Here's a little design principle I like to work with that I find very helpful for spicing up my designs. I find the common character design advice of "simplify your design to ONE major shape motif! circles for friendly characters. squares for stubborn characters. and triangles for villains." to be overly restrictive. And of course the pros giving you that advice aren't trying to say you have to do every design in that framework every time. But they're not really going into detail on how you can use more shapes to add more layers and interest to your character design. Also tbh I think that the "circles for friendly characters and etc" piece of advice is stupid actually. You can easily make a villain character that is all circles and a hero that is all triangles. Plenty exist already in media.

I see a lot of people trying to diversify their body types fall into this trap of drawing all their fat characters with the same fat body type. And even if it is an accurate way fat distributes, it's still not representative of the diversity in fat bodies. Something that helped me (along with looking at references) was introducing secondary shapes. An additional shape motif. As you can see on Toxi here, he's mainly circles and round shapes. But I also added a crescent motif! To broaden his shoulders more and give a pointy and sharp edge to him.

Your primary shape for a fat character doesn't even need to be a circle. Tempos is square heavy with roundness as the supporting shape to emphasize how unassuming and soft he deliberately tries to look. And you can apply this to characters who are slimmer too. Conductus is composed of longer rectangles supported by triangles to emphasize its speed and electrical theme.

Viperos' major rounded shapes are supported by triangles to emphasize their flexibility and power. Gaz's square shapes are pushed with round shapes to make him look stronger and more agile. Mesmeris' crescent heavy design is supported with squares to help her look sturdy and imposing. And it's all about context too.

Squares can read as sturdy and trustworthy or rigid and intimidating. Circles can be soft and friendly or flexible and slippery. Triangles can be speed and cunning but also power and mystery. It's not about saying "circles are always friendly!". You can make villains who are round and imposing. It's more about "I want my character to come across as (blank)" and picking what major and minor shapes you want to use to support that. And (blank) shouldn't be just one word. "I want my character to come across as fast and agile while also being large and round" is a much more clear goal for your design than "I want my character to come across as fast".

And again as always please use references of real people too. You can study my art, and I highly encourage you to study the art of other artists you like and how they design characters. And I highly encourage you to get a solid foundation of "what different bodies look like irl" so you can also be respectful and accurate in your depictions. And remember that creativity doesn't occur in a vacuum. Please take the time to also sit down and watch movies or look at animals or read books or look at videos of machines working or whatever. Look at tons of media. Creative designs don't just spawn from my brain. Toxi's look is partially inspired by centipedes that crawl on ceilings I saw a video of. Viperos' look was inspired by snakes and also roadrunners. I was inspired by that Virus Ghost from Scooby Doo And The Cyberchase for Conductus' look. Please remember research is ALSO part of the design process. So I appreciate you asking me how I do things because asking questions is part of good research!

Anyway! Long ramble! Hope all this helps you in your design endeavors.

[storm-driver]

hi, i have feelings about cartoon nostalgia and the audience perception of them 20 years on

this is gonna read hyper-specific, but bear with me

i refuse to credit butch hartman for the way danny phantom came out during it's first two seasons, at least outside of the initial pitch and the idea of the protagonist having white hair. i know the majority of enthusiasts for this show are more than aware of hartman's antics at this point. these anctics, i won't get into. other people are far more suited to explain that stuff vs me, a random guy on the internet. but there's very specific topics that i don't often see get brought up in detail, like the production and staff behind this show.

i'll get into it below the cut so as not to clutter your dashboard. but if you're not familiar with the actual production history of danny phantom, this might be interesting to read.

it's common knowledge these days that stephen silver is the one who developed the design for danny based on hartman's original rough sketches. the similarity between each drawing is apparent, but you can see clear as day which design was gonna be more apt for animation and overall audience allure back in 2003.

he also did character designs for hartman's other poster child, Fairly Oddparents. the trend is similar, though far from a huge concern. character design overhauls happen all the time in media production. designs might be too complicated for animation, so they get stripped down. or maybe things aren't complex enough and more nuance needs to be added. that's normal stuff, and i am not dunking on hartman for not nailing danny's design right out the gate. i'm pointing this out in case you've ever looked at butch hartman's recent work and wondered "how are these done by the same artist?"

the answer is they weren't. hartman had to adapt to stephen silver's conceptual designs in order to work on the storyboards. take from that what you will.

onto the actual writing.

butch barely wrote a single episode for this show's first two seasons.

steve marmel helped write at least 28 episodes of the original two seasons, with writers like sib ventress and marty isenberg bringing a good amount of episodes to the table, as well.

butch hartman is credited primarily for directing and storyboarding this show. the episode pitch and writing was by other people almost entirely. the ONLY episodes in the first two seasons that hartman is credited with having written are mystery meat, one of a kind and splitting images. and he's credited with co-writing these episodes alongside steve marmel and mark banker. ie, he did not write these episodes on his own. and allegedly, butch hartman had a tendency to be credited as a writer for an episode, even if he only wrote a few lines of dialogue. again, take from that what you will.

past that in season 3, he wrote infinite realms, torrent of terror, forever phantom, urban jungle, and ofc, phantom planet. which a lot of people know, these episodes in particular weren't the most enjoyable, nor was the overall direction of them very good.

a director's job is to make sure that the overall tone, feel, and message of the show is being kept consistent with intent. that means meeting with producers, who are the ones managing the, y'know, producing part of the whole project. it may sound like the director is the one heading the project if it's their job to keep things in check. which, i will not deny, hartman must've put in a good deal of work to make the show come out as well as it did.

but pile that with some of the off things per episode. the mean-spirited way that characters tend to be taught lessons, the voice direction getting a drastic change in season 3 (you can hear it explicitly with david kaufman suddenly going for higher pitches instead of the usual one he's done so far). there's really only one consistent motif in the entire show's OST. which isn't a bash against the music producer. it's a concern that the director of the show never asked him to change things up, and ONLY stuck to this one motif.

to briefly touch on the mean-spirited thing. there's multiple instances in the show where danny or someone else is seen fighting back against whatever has given them trouble, or they're taking matters into their own hands to ensure they won't be hurt ahead of time. and repeatedly, the show likes to kick these characters back down for trying to stand up. it's a trend in all of butch hartman's shows, and it's treated more like comedy than anything else. it's up to audience perception on how to view it. but for me personally, it starts to feel like an overused gag and turns into something more malevolent after seeing it overused almost every single episode.

okay besides that, i actually wanna look at specific examples of episodes that steve marmel wrote for. again, this is the guy who's more or less responsible for the show's serialization.

the complete list of episodes is as follows:

Mystery Meat, Parental Bonding, One of a Kind, Attack of the Killer Garage Sale, Splitting Images, What You Want, Bitter Reunions, Prisoners of Love, My Brother's Keeper, Shades of Gray, Fanning the Flames, Teacher of the Year, Fright Night, 13(Thirteen), Public Enemies, Memory Blank, Reign Storm, The Ultimate Enemy, The Fright Before Christmas, Secret Weapons, Flirting with Disaster, Micro Management , Kindred Spirits, and Reality Trip.

multiple episodes listed here are from the first season, which a lot of people consider the show's best. and of the handful listed for season 2, he wrote all of the hour-long specials.

i would be here for hours talking about how steve marmel tackles all of these characters and concepts significantly better than hartman does in season 3. but that's a topic best praised elsewhere. point is, if you watched any of these episodes and thought to yourself "wow, that was actually kinda clever," steve marmel is more or less the guy responsible.

butch hartman was in charge of direction, but that does not give him exclusive credit for every single line of dialogue or plot beat. there could be a LOT we just don't know because people on production staff don't want to comment. but the writing consistency taking a dive off the board by season 3, which is the same season that steve marmel departed from the project due to conflicting direction in the story? you might deduce that butch hartman was not the prized writer and artist behind this otherwise beloved cartoon.

to dredge up an easier-to-tackle target, season 3.

my criticisms are 18-year old echoes at this point, you've heard them all. from otherwise pointless episodes that don't develop the characters or world, to completely out-of-touch writing (looking at you, phantom planet) that juxtaposes the characters with everything we've been told about them so far. it became a slog of a season that didn't have any build-up to it's finale. the occasional gem of an episode like frightmare helped in some aspects. or the promise for something later with d-stabilized. but it all gets swept under the rug thanks to a rushed finale with poor build-up, bad writing direction for the characters, and most importantly, an unlasting effect on the viewer. (or a negative lasting effect, which is arguably worse)

for a season that knew it was on its last leg before inevitably needing to give up, there's seldom few episodes dedicated to advancing an overall narrative, and thus give a slimmer of hope for a satisfying conclusion. instead, the show goes all in with villain-of-the-week stories, and even the returning villains are hardly taken seriously or given more to do besides just being there.

of course, we know the reason steve marmel had left the project was because hartman wanted the show not to taken a more story-focused drive. it almost starts to feel like spite that kept the show so horribly grounded, letting it become stagnant before eventually being forgettable.

all this is in service of letting people know, it really wasn't butch hartman that made the show, not alone. death of the author and all that nonsense aside, he pitched the concept. and it takes a lot of love and dedication to make a concept something you can physically see and adore. don't let him swath in all the credit. recognize the others who made the work you can still enjoy.

[punkeropercyjackson]

My audhd brain won't stop telling me to do a full breakdown of the parallels between Percy and Hobie so i will.Alright,let's do this one last time!

Troubled but good kids

Afro-dominican New Yorker/Jamaican-English(NY and England are where punk first started)

Anarchists,proffessional instigators,always helping out around communities(it's implied Percy participated in Rachel's protests and charities with her)and looking out for the little guy

So they're actual punks instead of just EdgyTM douchebags because they wanna do the right thing no matter what

No masking game autistics

Trans femmes who come across as masc only to normies

Chillaxed and super kind and love cute shit and people but also have major street credit,a huge edge and strong as fuck backbones and the reason they're so kind is that their childhood was beyond brutal so as they grew up they decided to be the positive older figure in younger people's lives they didn't take to have to the point they turned into Team Dad's

The EXACT same sense of humor

Blue-coded

Alt music lovers

Expressions are always either super intimidating or meme worthy goofy

Pet supernatural dog(Spidermutt and Mrs O'Leary)

Widely regarded as the coolest ever in-universe and correctly so but they're huge dorks when you get down to it but that only makes them even cooler-They were this cool the whole time

6'something with guitarist hands and described as so attractive it's shocking

Go by a nickname instead of their full name and have a common black surname

Oldest and most experienced heroes in their main casts

Hobie's dad is a deadbeat who left him as a baby to do supernatural shit

'I'm not a role model' 'I hate the a.m,i hate the p.m,i hate labels' 'I don't believe in consistency' / 'Was i a troubled kid?Yeah,you could say that' 'I AM impertenent' 'The sea does not like to be restrained'

'Calling yourself a hero makes you self-mythologizing'Hello???????????

Gwen is the Hazel to Hobie's Percy.She's a younger trans girl with a ghost motif who's a pastel ray of sunshine and runs her mouth as much as they do and has a dead mom,an abusive corrupted figure dad and their own impressive experiences in heroism before meeting them

Nico is another teen Ghostkid who Percy gifted a Ramones shirt and gave shelter to multiple times when he was homeless because Hades/Pluto is as much of a fucking cunt as George Stacy is.Nico is also a Miles kinnie because he's an optimistic softboy who's nerdy,a fast food lover and a lot stronger than he gives himself credit for and Percy is the big brother mentor to him the fandom thinks Hobie is to Miles(Nah fr Hobie and Miles are ambigious but Percy's canonically a grown ass man and Nico's Miles' age,P*rcicos pack it up and get over that your ship only works for transfem Percy proof)

Karl=Jason(the cooler St*ve R*gers,the actual voice of reason on the team but just as unhinged as the rest of them,very nice guy vibes and Hobie's righthand),Riri=Annabeth(Black girl genius who takes no shit but is still written as a person instead of a stereotype)and Mattea=Clarisse(red-coded,rowdy tomboy and war paint)

Mayday and Margo are basically just Estelle and Rachel,Jessica makes a pretty convincing Sally and Miguel reminds me of Poseidon but especially when he's interacting with Hobie

Sarcastic troublemaker smiles i've always found endearing(Rip to Annabeth but i'm different)(Also for Hobie i mean this platonically)

Immaculate rizz that's mostly unintentional but reaches critical levels when on purpose

Cocky asf and self-loathing at the same time

That one scene of Hobie leaving Gwen a Watch with the 'In case it don't work out' note with a lil doodle of him on it after getting her dad's ass/Percy sending the Olympians Medusa's head in a box after slaying her with a note saying 'Best wishes' to spite them

Goofy ahh who are nonetheless taken seriously cause Watch Out

They even both have terrible singing voices

And technically not the same thing but Hobie's also pink-coded so they're cotton candy colors and with Percy's white streak they can be the trans flag too!!

[thecraftyninjacat]

Mahoro, Matakara, Aladdin and the Princess

I think Episode 8 finally confirmed to me that the role of the Princess in the Aladdin allusion was actually split between Mahoro and Matakara, rather than it being one or the other. There's a reason why they're both represented by Jasmine-chan during the Nyan Nyaight Love cutaways!

Preface; imo Bucchigiri's narrative takes inspiration from both Disney's Aladdin and the original Aladdin story, so I'm going to switch the Princess's name depending on which version of her I'm referring to. So Jasmine -> Disney's Aladdin, and Badroulbadour -> 1001 Nights Aladdin.

From what I saw in the 1001 Nights Aladdin, Badroulbadour didn't have much of a personality, so it makes sense that a lot of Mahoro and Matakara's personalities were taken from Jasmine, while their roles in the story were slightly more influenced by Badroulbadour.

Mahoro: The feistier side of Jasmine. She has a sharp tongue and always speaks her mind, regardless of potential danger. Eg. Mahoro stands up to Akutaro after he gains the upper hand on both gangs, similarly to how Jasmine refuses to bow to Jafar when he becomes Sultan.

She's also regarded as pretty desirable, and has charmed several men to get them to do what she wants (something that both Jasmine and Badroulbadour do at some point to trick Jafar/the sorcerer). Arajin falls for Mahoro at first sight, similarly to how both versions of Aladdin fell for both versions of the Princess, and like Aladdin his crush on her becomes his driving motivation throughout the series. Akutaro also talks about turning her into a NG Girl and…abusing her, a la Jafar. Ik it's just to trigger Arajin but yk what I mean!

Matakara: The gentler, more naive side of Jasmine, in that he trusts/believes in Arajin...a lot more than he should, really. The main 'lying' plot point between Disney's Aladdin and Jasmine is directly implemented into Matakara and Arajin's relationship. On a surface level there's also their blue colour schemes and phonetically similar names (Asamine -> Jasmine). Near the climax of the 1001 Nights version, the sorcerer tricks Badroulbadour into giving him the lamp with the genie in it, similarly to how Akutaro manipulates Matakara into shooting himself with Ichiya. Both actions trigger a Very Bad Turn of Events that Aladdin stops/will have to stop with the help of his own genie.

Also very interesting how Ichiya has a moon motif, and Badroulbadour's name is a metaphor for female beauty meaning 'full moon of full moons'. Totally not losing my fucking mind over that no sir

Though they both fit the Princess allusion, the entire show is screaming that Matakara is Arajin's true Jasmine, and Arajin is going to realise he was what he needed all along. Honestly, it doesn't get more obvious than Episode 9.

That's not to mention how Mahoro and Matakara also have many, many parallels to each other via their relationships with Arajin. (Both visit him one-on-one at his mom's restaurant to convince him to do something and order the exact same dish, Arajin thinks of child Matakara after seeing both current Matakara and Mahoro get hurt, his meetings with both of them are juxtaposed with one another and described as a 'fated meeting' in this trailer, etc.)

Aside from that, there's also a lot of little stuff that the two have in common! (Both suck at cooking, both deeply care about their older siblings, both are cute as hell etc etc.)

(it's also pretty neat how they're technically both the respective 'princesses' of Minato Kai and Siguma, being the younger siblings of the leader/former leader of each gang!)

[butchjesus]

I find it fascinating that in the 2015 film instead of naming victor's brother after one of his two brothers from the novel, they call him henry. they have not one but two brother names to choose from, they could have easily called him william or ernest, but they didn't. they also could have had the character be a sister and named her elizabeth, but they didn't. however, the name they picked wasn't out of thin air, either—they named him henry, like henry clerval. I know this film was by no means faithful to its source material, nor is it required to be, but this is just such a strange point in the writing to me. this was an intentional decision. why would they do that?

the way I'm choosing to spin it is that they wanted the inciting incident, the death that haunts the narrative and drives victor's cause, to be (at least inspired by) the person who victor loved most (and of course with this particular victor that couldn't possibly be a woman), and so they chose henry, victor's very best friend and character foil, with whom many have expounded upon the queer subtext present in the novel. but why make them brothers? could be a handful of reasons, maybe what kept them from leaning into the other queer themes obvious in the film. the likely culprit (if any) by my guess is that they wanted to solidify motivation for the relationship with victor and his father as "the family disappointment," a position sharpened by the loss of his older brother for which victor takes the blame. narratively I understand this choice, it's cleaner and a recognizable trope foothold, and also it sets up the brother/other motif with the creature*, but I think they could have just as easily done the same if henry was the child of close family friends or something to that extent, closer to the setup of the novel, because then his death could tarnish the whole family's reputation and relationships in addition to the internal turmoil, etcetc, thereby underlining the themes of the main story with victor and igor.

(*though by victor's own admission, he isn't trying to replace or bring back henry, but rather even a scale of life and death, so the connection of the creature to his literal brother also seems like something that could be effectively subverted to the story's benefit)

it could also potentially be that they did pick a name at random that just happened to be another novel character's—henry is a common name for the context, after all. but what a coincidence that would be (and far less fun than the alternative).

all this to say imo they could have left the rest of the origin story the same with henry filling the clerval role as victor's childhood best friend and still had his death play out as it did, and the rest of the story would be equally supported, but with stronger queer themes and overall narrative reinforcement in terms of the character relationships.

so, here's my rework:

victor and henry are teenagers, best friends since childhood, from two close and wealthy families, the frankensteins and the clervals. victor's parents adore henry, and so does victor (the latter in ways he cannot fully process, but he loves him differently than he loves his siblings, a way he's never loved anyone before). the two of them were always finding excitement and adventure, always together, and henry inspires so much wonder and ambition in victor, always eager to combat the bouts of malaise and despair that take victor every so often. his bright side, his sunlight.

one night when henry is staying with the frankensteins (a frequent occurrence), victor convinces henry to sneak out with him to play, giddy kids of maybe fifteen always looking for adventure. henry agrees, they go out, the storm hits. they get stuck. there's nothing to do but try to stay warm. they cling together, terrified. time scrapes on at an agonising crawl. victor gives up hope, sure they are to die there, and laments it being all his fault. even then, henry wants to comfort and cheer victor up, and so he gives up a piece of his clothes, maybe a housecoat or something, and wraps himself around his friend, despite victor's concerns and protests. henry insists they keep hope that someone will find and rescue them.

finally, someone does—but it's too late. henry is already dead, his cold body stiff and frozen, still shielding victor from the wind and cold of the calming storm. victor is bad off, barely still breathing, but alive, only because of henry's sacrifice. they have to pry henry's clinging corpse off of victor to get them both home. when they're back and the families get victor to explain what happened, they are shocked to hear that it was victor's idea to go out, and both parents blame him for henry's death, the clervals in grief and the frankensteins in shame (though all are grieving the loss of such a sweet and promising lad).

victor is understandably devestated. he not only lost his truest friend in the world, his first love that never got to fully blossom, in such a traumatic way, but now his parents were disgusted and angry with him, leading his siblings to keep their distance; the clervals have shut him out; and everyone else they know has heard the news from the adults that victor frankenstein killed the clerval lad with those crazy whims of his. victor lost everything in that storm, and now he is alone and disgraced.

the film is a love story already. what better way to drive home the turmoil of victor and igor's relationship and victor's character arc in general than having the big reveal be that victor feels responsible for killing his best friend and first love, and having the physical manifestation of his guilt and unresolved feelings and relentless obsession with overcoming death (the creature) drive him away from and literally try to kill his new love?

anyway, the sketches at the top are reworks of my novel clerval design to have him be about fifteen or sixteen when he died. if you read all this I'm giving you a very smooth river rock or a piece of seaglass

[seat-safety-switch]

Something about the way that Big Business likes to operate in this country rubs me the wrong way. They stride into little, upstanding communities and push them around to get a slightly better deal on extracting our precious, non-renewable natural resources. Only pollution and human misery is left behind. For a brief, shining moment, I was the solution to this corruption. And then I kind of let things go to my head.

Running for office is easier than you'd think. All you need to do is get signatures of a hundred people. An afternoon at the mall, asking folks to save the endangered Pacific African Grey Rhino, will just about do you. Of course, there's also the filing fee, but I managed to distract the lady working the counter at City Hall and transfer the cheque from another mayoral application to mine when she wasn't looking.

Quite why I fell out of favour with The Mayor is between him and I. We go way back, and it would not reflect well on my upbringing to reveal our private feud in public. Not like it stopped him, though, as he blabbed to every talk-radio host, morning-news talking head, and local newspaper about how awful I was. They just laughed, thinking that nobody could be that bad, and surely it was some kind of desperate lie, another sign that he had lost touch with the common man. Such embellishment did get my name in the public ear, and I won in a landslide after promising to double speed limits (that's all it takes.)

From day one, I went about kicking all the huge-capitalism greedheads out of my city, mostly because I got tired of them driving their Porsches slowly on my newly speed-unlimited corners. Big lawsuits were launched, rich folks ejected into the nearest river. I was on the news every day in my stained coveralls and greasy sweater, adding further credibility to my regular-dude motif. If you were some kind of crank weirdo who liked to tell other people at the bar what the government should do, then I was your representative. And crank it I did. Wait, that came out wrong.

After about a week of this, I think the big business monsters got together. They went to their little gangster restaurant and they decided the best way to get rid of me would be to catch me up in a bribery scandal. Didn't work: I took the bribe and bragged about it to the news. That bribe? 2005 Dodge Neon, with an un-torn drivers' seat and only about 180,000 km on the odometer. Mint. They did their homework. The problem was that I now had a fancy new car, which I had effectively stolen from rich people, but I didn't want to look rich, so I didn't drive it to work.

The problem is that I slowly became paranoid. As with my forebear, I lost touch with the common man. I began to fear that they were going to steal my Neon – my retirement fund – while I was at City Hall, doing stupid mayor stuff. Soon, I lost focus on my work, and I slipped in the polls. There was only one thing left to do: stop coming to work for a few weeks and don't answer the phone. Works every time!

[sunderingstars]

☆━━━━━ ⋆⁺｡˚⋆˙‧₊☾ ◯ ☽₊‧˙⋆˚｡⁺⋆ ━━━━━━☆

✩ ‧₊˚ ⌞ PENACONY VOICELINES ⌝

sampo analysis m.list

— what the stars reveal: analysis, elation!sampo

— word count: 2.2k

— overview: (as of 2.4) a look at sampo’s voicelines throughout penacony, focusing on identity, views on the masked fools, sparkle, and masks.

— i will not be focusing too much on the dream bubble since it is included in my “notable topics” analysis!

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✩ ‧₊˚ ⌞ IDENTITY REVELATIONS ⌝

Note: I am still slightly unclear on the delineation between Sampo and Sparkle!Sampo during the Trailblaze Mission, so this analysis will be assuming Sampo is the one who takes us to the Pepeshi Salon & Dream Bubble, or that Sparkle!Sampo is at the very least capitalizing on connections and motifs that Sampo already has during these scenes.

Starting off with a bang, let’s talk about perhaps the biggest theme of Sampo’s on Penacony: identity. Up until this point, Sampo being a Masked Fool was largely unexplored; with the exception of the Aetherium Wars dream bubble and Rivet Town TV screen scene, there wasn’t much detail given to his function within the Fools. However, there are quite a few things we can take from the Penacony quest(s):

He has a VIP card to the Pepeshi Salon and seems to be on good terms with an important person there.

He wants to “reveal the truth” through convoluted means and implications.

He is an “old timer” and Sparkle is in possession of his mask.

From this, we can reasonably assume that his status (or charm skill) is high enough to land him a VIP card for a place that is extremely strict about who it lets in. He obviously holds some type of sway in Penacony beyond just another member of the Masked Fools, as shown by him eventually being able to get the items he needs. 

Furthermore, the theme of age is continued from its usage in Belobog, with Sampo referring to himself as an “old timer” to Sparkle. What is notable about this, however, is that it is a departure from the more general use of “old pal” and “old guy” to something with a specific meaning — “old timer.” “Timer” is often used in reference to profession, and usually unique to experienced positions at that. Different forms of media often use “old timer” as a way to delineate an experienced member of a group; for example, if someone refers to themself as an “old timer” in a mafia movie, they are definitely someone to watch out for, usually an experienced hitman or former boss. It has become a way of showing how characters downplay their power to those around them — “oh, I’m just an old timer” (said right before they take out an entire crime syndicate solo). After all, the oldest tend to be the wisest and most practiced out of everyone. While it can still be used in more common settings (like old members of a group just being stuck in their ways), I think it’s clear that this isn’t Sampo’s case. Taking into account everything present in Belobog’s story, it’s reasonable to assume that “old timer” is a way of him referencing a more powerful or experienced status. 

Which leads us to the dream bubble. Sampo’s dreamscape is interesting, to say the least, with heavy indications of wanting to say something that can’t be said. He constantly circles back to the idea of “revealing” the “truth” — not merely hinting at it, but fully uncovering it for others. However, he doesn’t seem to be able to do this in a straightforward way. Instead of just saying what he wants, he has to rely on the metaphor within a metaphor of the dream bubble. It isn’t entirely clear if the “truth” he wants to show has to do with Firefly, his own identity, Penacony as a whole, or some combination of the three. One thing, however, is clear: he is very insistent. This seems to be something important to him, important enough to go out of his way to formulate and guide us to experience. 

Which is why it’s so strange that he doesn’t use that silver tongue of his to “reveal” it directly. If it’s so important to him, why not tell us? Why not, at the very least, imply it with his own mouth? My theory is that he can’t. Not that he won’t, or doesn’t want to, but that he is physically or mentally incapable of doing so. This may be due to the potential repercussions he’d face from others, or it may be due to a more eldritch power binding him shut. To me, the dream bubble seems like a scream. Some part of him trying to reach out to us, to tell us something important, despite being separated by soundproof walls. His insistence on truth seems less like a bit and more like a cry for help, trying to get through to us despite us having no way of knowing the real situation going on.

Whatever his identity is, he’s trying to let us know in the only way he can. Personally, I see a direct tie between the size of “big Sampo” and Phantylia, so perhaps the “revelation” is of Emanator or Aeonic status (but that’s just me!). Either way, there’s definitely something he wants us to know. There are limitations to his identity, but that won’t stop him from trying to find workarounds.

✩ ‧₊˚ ⌞ "CLOWN'S ITEMS" ⌝

Let’s take a detour for a moment and focus on the items Sampo requests from the Pepeshi Salon. Given that these items are used to directly create the dream bubble (which relies on Sampo’s personal dreamscape), they seem important to discuss when talking about his identity and potential backstory. 

(Note that these are labeled the “Clown’s Items” — not the “Fool’s” items. While Masked Fools are often referred to as “Fools” (and Sampo is specifically referred to as this by Sparkle’s team voiceline), these items indicate a higher status. A fool is often someone who is unaware of their foolishness, someone less aware of their own antics than that of a clown. It is also important to note that clowns are often experienced performers who are paid to do a job. Simply put, “clown” would be a more sophisticated way to refer to someone within the Elation, a more serious and dedicated title.)

Similar to Sampo’s eidolons, I see these three items as taking narrative form. 

First: “The Moment of Betrayal.” This likely refers to an “inciting incident,” something that completely turned Sampo’s world upside down. With all of his emphasis on trust throughout his dialogue, it would make sense that he potentially has a rocky relationship with it; or, at least, trusting someone that eventually would betray him. This could go several ways — the ones that stick out to me are: Aha as an Aeon somehow being upstaged or betrayed or otherwise lured into a joke that turned sour (the specifics of this could get iffy, but given Aha’s proximity to mortals wouldn’t be entirely out of the question, especially if They were lured into mortal form or into taking power away from Themself as a joke); a part of Aha being betrayed by another part (betrayal of the self), something akin to the masks casting the silhouette out or the mind leaving the body behind; Emanator!Sampo being hurt or otherwise led astray/stripped of power by Aha or another Emanator (being the butt of a traumatic joke rather than the one making it); a Sampo that, after being constantly mistreated by the Elation, was subject to a moment that “broke the camel’s back”; and general abandonment or deception that led to a horrifying revelation.

Second: “The Cloud of Doubt.” After the betrayal occurred, doubt began to set in. Sampo’s faith in the goodness of himself/others/the Elation began to wane, most likely taking the form of a confused haze similar to a “cloud,” an ever-present reminder of loss. It also implies a state of dissociation, of shock, the quiet, stretching time after something occurred that he couldn’t quite process yet. But the doubt was still there, hanging in the background, fermenting.

Third: “Everlasting Hatred.” Eventually, this doubt would morph into hatred, either turned inwards or outwards depending on the specifics of the betrayal. Sampo would carry this within him, always keeping his target in mind. The “everlasting” quality of it, the inability of it to fade, would lead to it further strengthening, further fermenting, most likely influencing his overall plans and endgame goal. This is most likely where we are in the present, with the “truth” he so desperately wants to reveal to us potentially including details like these.

✩ ‧₊˚ ⌞ VIEWS ON THE MASKED FOOLS ⌝

To put it simply, Sampo is tired. Worn out. Exhausted, even. He constantly carries the air of exasperation when talking about the Masked Fools, the kind of energy reserved for a parent watching their kid flush car keys down the toilet again. We know he places an emphasis on dignity and respect in his own view of Elation, so obviously he would butt heads with the idea of a group like the Masked Fools who are dedicated to sowing chaos purely for the sake of laughter. We see most of this in Black Swan’s companion quest, with Sampo calling the smoked red herring a “cringe joke,” then asking “Have you dealt with many Masked Fools before?” when Black Swan says Sparkle’s sense of humor sticks out to her. This seems to be his way of generalizing Masked Fools as 1. telling “cringe jokes” (i.e. being unfunny) and 2. being all the same, not necessarily unique but instead sharing the same sense of humor — “cringe” humor at that (this could alternatively be read as all Masked Fools having extreme and unique senses of humor, which in turn makes them all “similar” in their uniqueness). 

Additionally, in his conversation with Sparkle, he wants her to stay away from Belobog and even says, “… the Elation Miss Sparkle seeks… isn’t something ol’ Sampo can stand by.” While this is a conflict with Sparkle specifically, it can also be applied to the Masked Fools writ large since Sampo seems to see them as similar to each other. (It can also be reasonably interpreted based on the Masked Fools subscribing to a shared ideology.) In this way, the Masked Fools’ idea of Elation is not just something that Sampo disagrees with ideologically, but is something he is actively trying to keep away from the people and places he cares about. “Stand by” additionally implies a source of frustration or anger spurring him to take action; being so overwhelmed by emotion that he can’t put up with it anymore and refuses to support this ideology. Sampo presents a more mature and balanced idea of Elation, while the Masked Fools are pure youthful insanity. It’s clear that while he technically respects all people’s ideas of Elation, he doesn’t have to support or tolerate what he views as too dangerous.

✩ ‧₊˚ ⌞ SPARKLE & MASKS ⌝

Lastly, there is definitely something going on with Sparkle in relation to Sampo. It is never revealed why Sparkle has his mask or how she got it, only that it’s in her possession and she gives Sampo the means to find it. It’s unclear if Sampo gave her the mask to begin with or if she stole it, or if it simply made its way around to her through other means. We also aren’t clued in on if Sampo potentially left it with her for safekeeping — essentially “giving up” his power willingly with the intention of coming back for it — or if he gave it to her as a way to specifically keep it away from himself. Alternatively, we don’t know if Sparkle could have taken his mask just to fuck with him, or if there was a deeper reason for her to hide it. 

The idea of Sparkle “giving” the mask back to him after he does something for her could support the theory that she took it originally, but the following line from her asking why he “suddenly want[s] to take back [his] mask” could point to more intention on his part of handing it off to her. There seems to be somewhat of a disconnect here; Sampo’s lines seem to see Sparkle as having taken or otherwise having full control of his mask, while Sparkle’s lines seem to see the mask as something she was just holding onto for Sampo until he wanted it back. “Giving” and “take back,” after all, mean two very different things. “Giving” implies authority on behalf of the giver, whereas “take back” implies authority on behalf of the taker. Either way, Sampo wanting his mask back seems to be a surprise to Sparkle, most likely because he hasn’t expressed any want to use it for a long time. 

Whatever is going to happen on Belobog, it’s clearly bad enough for Sampo to need more power than he currently has. The severity depends on his status — if his higher status is only by experience and title, then the issue is mild. If he’s an Emanator, it’s more serious. And if he’s an Aeon? Whoo boy. Whatever makes an Aeon risk complete transformation back into an eldritch entity is a huge problem indeed.

✩ ‧₊˚ ⌞ MISC. ⌝

Firefly’s hilarious Wattpad introduction for him: “large palms,” fingers that are “slender and nimble, “emerald eyes.” I’ll say it, she absolutely sold me on the dramatic aspects of his appearance. Like, noting that he “walks in long strides, but his steps are light and barely audible” so he doesn’t leave footprints reminds me so much of that one Twilight scene LOL. Also, that description is so hot wtf?

More “old friend” references scattered throughout the quests (for more explanation, see Sampo’s Belobog Lines).

“Entertainment for grownups”? “The adult side of things”? Don’t mind if I do ;)

(I think 99% of the problems in my life could be fixed by making out with him sloppy style.)

Sampo distrusts Firefly, perhaps almost omnisciently, but Firefly also distrusts him. As much as he tries to help, he’s not completely in the clear.

In her voicelines, Sparkle mentions Sampo having “lines he won’t cross” — while I’ll explain this more in another analysis, the main question I pose is: Won’t? Or can’t? Aeonic or Emanator restrictions could look an awful lot like being a buzzkill to an outside observer.

The dream bubble is a dream within a dream — dreamception. Perhaps this links to Sampo’s own identity — an Aeon within an Emanator within a Masked Fool (or any combination thereof).

Sampo, despite eventually making that deal with Sparkle, is a lot more straightforward in this quest. Not in the sense that he’s any less cryptic or confusing, but that he doesn’t seem to be trying to outright deceive us as much. In fact, he’s trying to guide us and look out for us — even going through the whole dream bubble thing as a way to warn us about multiple things.

— There are heavy themes of disguise throughout Penacony; we know from Sparkle that the Masked Fools are already capable of disguising themselves easily (or at least she is). I wonder how much more powerful or adept at disguise Emanator or Aeon status would be. 👀

Overall, I feel Penacony brought a lot of great information for Sampo’s character. Unlike Belobog, his scenes here focused more on identity and function within the Masked Fools, which I found to be a nice way to balance out the more “personality-heavy” scenes of Belobog. I’m very interested to see what more is revealed in future plotlines!

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.𖥔 ݁ ˖ જ⁀➴ thank you for reading to the end!

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© analysis by sunderingstars. do not copy, repost, translate, modify, or claim my work as your own.