#i was imagining some scenes from the show but just with animals that can't talk

[swhhdr-wthhr]

i wanna draw sander sides pet shop au cause its cute but i can't draw animals 😞

[rowie264]

If someone criticizes something, it doesn't mean that they hate it. It also works the other way around. If you like something, it doesn't mean that it's done well from an objective point of view.

I love Jinx. Her design, her story, her personality, her character arc... I was just fascinated by her. Jinx has become one of my favorite characters in media in general. It was the continuation of her story that I was waiting for the most.

Jinx is still my favorite character in season 2. I love almost every scene with her. How she did Sevika's arm and the subsequent fight with the Smeech, the fight with Vi in Act 1, the prison break, search for Vander in the mines, epic appearance during the battle against Noxus.

I got a lot of positive emotions while watching s2 and especially during Jinx's appearance on the screen. But… an emotional response and objective assessment are two different things. And objectively, Jinx's character in season 2 is OOC and poorly written.

Removing very importand part of her story and personality. Her mental issues almost completely disappear. This is a very important aspect of her character. And no, Isha's presence and a "more favorable environment" would not heal her, the whole 2nd act is completely unrealistic and looks stupid, since all her problems with her mental health were magically solved off-screen;

Irrelevant piece of plot. Her arc of "Zaun symbol" passes by her - she becomes a symbol by accident, ignores the consequences and directly encounters all this revolutionary mood only during Isha's saving from Stillwater (at the same time saving her followers - an indirect action, not a purposeful one). So this arc is kinda about her, but she doesn't seem to participate in it herself, and it ends with literally nothing (like the whole Zaun revolution);

Making her more appealing to wider audience. Her hatred of Piltover and Caitlyn just disappeared. Yes, while she was with Vi in the mines she said "piltie goons who murdered mom and dad," but… that's all? Jinx doesn't kill a single enforcer in the entire 2nd season (although, for example, she could have in Stillwater) and tells Caitlyn "I didn't know your mother was there." Let me remind you that Jinx literally giggled in s1 when she killed a dozen enforcers during gemstone kidnapping, killed enforcers on the bridge without any care, she hated Caitlyn fiercely because she "stole" her sister from her, and she couldn't not know that Cassandra was a councilor. It isn't showed how and why she changed her opinion and this is important thing to her character, you can't explain such change with microexpressions or parallels;

Unrealistic happy family reunion. The reunion of Jinx, Vi, and Vander is a spectacular moment from Disney. Do you remember how Jinx reacted when Vi returned? Yes, she was happy but as soon as she spotted Cait she freaked out and immidiately thought that Vi betrayed her. Imagine what would happen if her supposedly dead - bc of her btw - father had returned and now looks like some animal;

Silco mattered much more to Jinx. A very "subtle" replacement of Silco for Vander in the role of father (Jinx calls him father, sniffs Vander's jacket and not Silco's), although Silco played probably a bigger role in this? And Jinx remembers about him like 2 times? Although it's been about 7-10 years since Vi's "death" in season 1, Jinx was still triggered by just a similar appearance. Apparently, Silco wasn't that important to Jinx (which is not true); I could still keep talking about Jinx, but let's leave it at that.

I love Jinx even in season 2. I like watching scenes with her. But my emotional attachment doesn't stop me from seeing that Jinx's character in s2 is not a continuation of Jinx's character of the end of s1. Her image is broken, the arcs are not completed, the relationships with other characters are poorly written.

[zarnzarn]

i see all these comments talking about this after the new episode, but. i would like to state for the record that stolitz isn't. toxic.

first off, the concept of a toxic and a healthy relationship are such... vague terms. when you're online, drenched in language and tight moral boundaries, trying to put a nuanced story like helluva boss's into boxes is easy to attempt and impossible to do.

a toxic relationship is one where one or both parties is maliciously affecting the other. I'm talking fetid, nasty, rude interactions where there is more hurt than love. they're unhappy more often than not when they're with their partner, there's no respect or give from the other side.

stolitz is nothing like that.

Stolas actively cares about Blitz and actually has no fear or hesitation in ADMITTING IT OUT LOUD TO OZZIE. he has been calling, texting, commenting, laughing and finding ways to spend time with Blitz. he's throwing everything he has to the wind, finding the courage to move forward with the divorce, putting everything he has into trying to keep him. he's been alone in a palace since he was born, on medication, with such less people dear to him that he remembered the circus boy who spent a day with him DECADES ago- so when blitz comes into his life and brings back in laughter and color and sex, he's holding on with everything he's got.

and blitz does care!!! he cares a LOT, the whole series we see him falling in love with stolas through SHOW NOT TELL (his expressions, his choices, his fear, his lashing out) and utterly unable to process that stolas cares about him too when talking to fizz; almost a desperate kind of denial-

cause yknow. the first time he tried to confess something to someone he really liked, he accidentally killed half the people he knew and ruined the lives of the rest?

thats gonna leave just a teensy impact on the will to express your emotions in the future, methinks.

even before that, he clearly felt like on some level that he was unworthy and he's said twice that he despises himself for the accident even though it wasn't actually his fault. being self aware doesn't stop the emotions from emotioning.

he keeps insisting its only sex so urgently to anyone who doesn't ask because he can't even imagine it being anything else. he's both disappointed and relieved when he repeats that stolas sees him as a novelty, because what else can it be?

(there's a whole other spiel of how brave both Stolas and Blitz have to be to say it out loud even when asmodeus can't afford to, considering how publically and completely beaten down both were at the club.)

(there's also another whole spiel about how frustrating it has been for ME to see all these comments over time with such bad takes based on like,, 20 min worth of info of a show that takes months to release an ep. like godDAMN have some patience?? let the story UNFOLD MAYBE? IT WAS ALWAYS GOING TO HAVE AN EXPLANATION WHY WOULD YOU CRITICIZE THINGS THAT ARENT EVEN FINISHED ESPECIALLY AN INDIE ANIMATION- i digress)

mind you, this has NOTHING to do with abuse. an abusive relationship is one where one is actively harming the other with full awareness. Stella is an abuser and their marriage is abusive.

and stolitz isn't that; it isn't even unhealthy or toxic. it's a consensual, transactional fuckbuddy relationship that slid into something more for both of them.

but!!!!! one of the main reasons for the problems that everyone looks over is-

they're in a BDSM relationship.

I can't possibly delve into dynamics without making this a 10k research paper BUT even though we've gotten only hints and costumes and dialogue- they're very clearly and undeniably in a BDSM contract. Behind the scenes of this crazy show is a whole different story, of these two delving into the most hardcore kinks out there- knifeplay, painplay, bondage.

if you've gotten into the community, if you've read a couple dozen particularly good fics by authors who know what they're talking about, hell; even if your only experience is fifty shades or 365 or whatever- you gotta know that BDSM scenes are crazy fucking emotionally heavy. there's so much that has gone down between them during their full moons that helluva can't get into!!

but you know how in so many of these popular medias and fics, the dom in the relationship is also like,, the billionaire/mafia heir/prince, etc, the one with financial and physical power? this isnt that. it has been very clearly stated that stolas is subbing, blitz is domming.

now take a moment and think about how much that fucks up the dynamics.

in stolas' eyes, blitz is a confident, dangerous individual who's an old friend and cherished memory of his, who he's trusted wholly with his safety during sex and he's lucky to have; and he has been in an abusive arranged marriage for the past eighteen Years, he's probably not going to be pushing his luck with his dom that much in the first place. plus, blitz is never cowed by him during their conversations- think back to the first phone call right after he stole the book, completely unafraid.

and for blitz, it's someone trusting him again- but it's also a royal- a blue blood who's nearly untouchable and so much more powerful- who couldn't possibly like a piece of shit like him, apart from the sex he gets out of it. he only flirts once he gets some sort of cue from Stolas; he's desperately trying to view this as only a Goetia trying to get his rocks off, despite all the evidence to the contrary, because anything else is unfathomable to him, no matter how clearly Stolas shows it, because of the ptsd.

both of them thinks the other has the power. both of them aren't expecting the other to keep shut if something's bothering them.

and there's so much conflicting messages from the other too!

stolas calls him a plaything when trying to intimidate the humans; stolas cups his face gently and asks if he's alright

blitz asks him on a date and tells him to get better soon; blitz yells that it's only sex and doesn't reply to his messages

ya see?

bring it to fizzozzie for a second now; even though they do look all good on surface, you can still see fizz's trauma and doubt in all their interactions, they're still forced to keep the relationship secret. do you see his face when Ozzie says in hyperbole that he's never leaving the house again, or when someone accuses him of being a pampered house pet or when he got sexualized in the 7th ep? whatever happened in the interim between the accident with mammon, it fucked him UP. even though oz seems to be well aware of this when he tells him not to apologise and in their general interactions, fizz still visibly has trouble separating plaything/commodity from healthy relationship.

shout the fuck out to Ozzie btw, man knows whats UP. rooting for these two so much omg.

i forgot where I was going with this point, I'll edit it when i remember. but yeah! lovely fucking relationship, but damn what angst filled issues.

anyway, to sum up- stolitz is not a toxic relationship. the relationship is stuck sludging through misunderstandings and careless microaggressions and trauma responses, but it's not unhealthy or toxic because of the simple reason that most of the current hurt comes from... a misunderstanding. stolas didn't realise blitz would need reassurance about what they were and blitz didn't see stolas as someone who could get hurt.

unecessarily calling it toxic, even online, is more impactful than people think too. almost all spindlehorse ARE on all social medias; so MANY YouTube animators i know have found jobs there; they see your words, especially since a lot don't tag posts with "anti hb" correctly to keep them out of the main tag. there are Very few queer medias made BY queer people that haven't gone through heavy corporate revisions- helluva boss is practically a historical landmark in its success. it's very very very fucking easy to forget that not ten years ago some of the only queer videos on YouTube were butter lover (one kiss at the end post credits), dirty paws and welcome to hell (subtext).

the amount of "critical talk" helluva boss gets for what it is is very unprecedented. it's a beautiful show. can't wait for the next episode.

[blossomthepinkbunny]

Vivzepop will always be the biggest issue with her own show if she doesn't change. And i'm not saying that because I desperately want to shit on her but rather because it's so clear that her attitude is what made Hazbin Hotel be so dissapointing after the long wait. The pilot released four years ago and Viv had these characters for much longer than that. One could assume that with this much time on her hands she would have a concise plan for how a series of her story would play out (I can imagine that having an own show is a dream for lots of creative people out there). And I get that that plan might get screwed up by a shorter episode count then expected, but she should be the one who knows her story best and who should know what stuff could also be cut out. The first season of Hazbin Hotel is so incredibly overstuffed with characters and plot that it completely looses the main premise the show was originally pitched with (the idea of a hotel were sinners are redeemed. As it is now the hotel is really not important at all). People have talked endlessly about how Viv can't handle criticism and it really sucks because criticism is one of the best ways to improve your writing, drawings, music etc. Without criticism you won't refine the thing you're working on in a meaningful way. Of course it feels bad when you put something out there you wanted to share and then people critique it, but that's part of pretty much every creative journey, or atleast it should be and Vivzepop shouldn't get a pass from this just because she doesn't like it. And there are great shows, movies or books that are rarely or almost never criticised. But the artists behind these works probably went trough years of honing what they do by being criticised for the stuff they put out. And I don't want to say that Vivzepop didn't work hard to make Hazbin Hotel, but it is hard to claim that she improves in her craft, when everytime someone says they don't like her show she throws a hissy fit. She wants the same reactions that these other amazing pieces of media get without ever listening to criticism. Which she sees as a personal attack rather than a tool that could help her to achieve the same level of writing prowess the creators behind media like that have. She believes she is already on the same level as them, just because she basically shuts anyone out who disagrees with her. There's this clip at the end of a Drew Gooden Video which I think sums up the situation with Viv pretty good (the Video is called "Leaving the YouTube Bubble"). He is talking about Lily Singh and her talk show but I feel like a lot of the stuff he says about handling criticism applies to Vivzepop as well.

(you might have to turn up the audio).

Unprofessional behaviour like that might be excusable when the creator is pretty young or they are interacting with publicity for the first time really. But neither of that applies to Viv. And Hazbin Hotel isn't just an indie animation pilot on youtube anymore. It's now a fully realized show created with a pretty prominent studio on a major streaming network and it should be held to the same standards as other shows or movies alike (not saying indie animation or animation on youtube doesn't have a standard but with more budget and support, there's obviously going to be different expectations for the show now). There have been issues in Helluva Boss and the Hazbin Hotel pilot ever since their release which could've been handled with more time and the new show. But Vivzepop shows time and time again that she isn't willing to listen to people who criticise her, which could actually lead to her show getting better. I don't like Viv or her work a lot. I think she is incredibly unprofessional and she has done her fair share of questionable or problematic stuff, which often leads to issues in her shows. There have been some characters I like, some songs or scenes that were pretty well done, very cool animation and an actually interesting premise on paper in HH and HB. There are things that make me come back to these shows to watch the next episode. And i'm obviously passionate enough about these shows to make whole posts about what I think was done badly and what could be changed. But for the aspects of HH or HB I enjoy, there are soo many more problems I have with it. Problems that won't go away unless Viv stops seeing every criticism as a personal attack. Because if Vivzepop doesn't stop acting like her writing is some unreachable stuff that needs no changes I don't really see a point in assuming that these shows will ever get better.

[vintagetvstars]

Rod Serling Vs. Raymond Burr

Propaganda

Rod Serling - (The Twilight Zone) - Imagine, if you will, a man taking on issues of totalitarianism and censorship in Cold War America...

Raymond Burr - (Perry Mason, Ironside) - "He's arguably best known for film roles... but you have got to see him as Perry Mason. Defense attorney constantly dropped into "easy win for the prosecution" cases and flips them upside down. Maybe not exactly conventionally handsome, but rugged. He has this private little smile when he's about to grab a loophole or mistake the prosecution or a witness has just left for him that I find very endearing..." Full text propaganda included below the cut

- No Negative Propaganda Please -

Master Poll List | How to submit propaganda | What is vintage? (FAQ)

Additional propaganda below the cut

Rod Serling:

"The writer’s role is to menace the public’s conscience. He must have a position, a point of view. He must see the arts as a vehicle of social criticism and he must focus on the issues of his time." -Rod Serling

Raymond Burr:

He's arguably best known for film roles... but you have got to see him as Perry Mason. Defense attorney constantly dropped into "easy win for the prosecution" cases and flips them upside down. Maybe not exactly conventionally handsome, but rugged. He has this private little smile when he's about to grab a loophole or mistake the prosecution or a witness has just left for him that I find very endearing. (I haven't seen any of Ironside so I can't speak on his performance there, but I think it's necessary to include in the submission because while he wasn't actually a wheelchair user in real life, it was the first ever crime show with a disabled main character and I genuinely can't think of another show like that with a *title* character using a wheelchair, particularly of the 60s and 70s.)

This guy had a million hobbies including orchid cultivation, stamp collecting, winemaking, raising cattle and sheep, and founded an association that created a dictionary of the Fijian language. He was a big animal guy and had - from what I've been able to tell - at least a couple dogs (he's noted as one of the first people to import Portuguese Water Dogs to North America), some cats, and a duck. He gave insane amounts of money to charities and was recorded as having sponsored at least 26 foster children with medical needs. He spoke openly about lifelong struggles with weight & image (and about the difficulty of finding acting work when you don't fit the studio hottie build, they made him lose 60+ pounds before they would cast him as Mason despite outperforming their other option in court scenes) and rejected every offer to do a particular popular talk show after the host had started making multiple unprompted jokes about him and his weight. He created numerous inconsistencies in his own life story that, after his death & revelation of a 30+ year relationship with a man he had met during the filming of Perry Mason, have been assumed by both press and people that knew him as intentional exaggeration to keep suspicion of homosexuality low. Absolutely fascinating guy to me, every new fact I learn about him boggles.

[2econd2ight2aver]

Are Gojo and Geto gay?

Well it's complicated. Let's set some things straight, neither of them have been confirmed nor denied anything, and a romantic relationship is not expicitely stated, as their relationship is different according to each person interpretation of their interactions.

That said, it's completely fine if you watched the show and thought of them as completely straight and platonic besties. But we can theorize and speculate for fun!

Spoilers for Jujutsu Kaisen

Firstly, I'd like to mention the fact that they both died in the same day. December 24th. That in it of its self isn't romantic, it's just showing us their connection. But in Japanese culture, Christmas eve is considered to be one if the most romantic days of the year. It's kinda like a Japanese Valentines day, where people celebrate love by eating KFC together.

No, I'm not kidding. KFC is seen as a Christmas tradition in Japan, and also a love symbol. And where did our little guys have their little break up infront of? A KFC.

I can't find the real picture so this all you get.

It surely wasn't just a design coincidence, since it was both in the manga and the anime. Gege must've put that intentionally, and I must admit it's funny as fuck.

Also, that scene in Jujutsu Kaisen where GoJo gives Yuuta (fuck that bitch cunt whore I hope he dies thatt little emo fucker killed my fuckung husband because he promises to fuck his monster girlfriend later, fuck him and 60 family generations) his lost ID that Geto found. And Yuuta (the sheer audacity of this man to exist makes me want to forcefeed him fentanyl and chop his balls off) thanks him, to where Gojo responds "I didn't find it, my best friend did. No, my only friend."

I found that weird because why did he call Geto his only friend when Shoko also was his friend? Maybe they had a deeper connection neither of them wanted to admit?

My bitch ass in that scene:

When talking about Gojo and Geto relationship you have to mention that even if Gege wanted to make them gay he couldn't since Japan, ironically is a homophobic country. Many people get canceled for making characters gay and many shows don't get aired in Japan because of the homosexual characters. And imagine what would happen if Gojo, arguably the most recognizable anime and manga character in all modern media was made out to be gay. The reaction that would have.

Gojo also stated in his death that the only regret he had is that Geto wasn't there to give him a pat in the back. (I'm not crying, you are)

The opening of the hidden inventory arc which is Geto and gojo when they were younger has a certain song which if you read the lyrics can actually tell you a lot about their relationship.

The song is Where our blue is:

If you read into the lyrics you'll relative it's mad from the perspective of Satoru talking about Suguru. I will now put some translated lyrics:

There's nothing to block the front of my eyes.

Your silence... it becomes...inaudible

Even if these days fade away

Even if I've come to know your scent,

different from mine,

In the depths of eternity, left behind.

It's like a quiet love in the summer,

Like colours running down my cheeks.

The words that curse you are stuck in the back of my thoat,

Will we meet again?

A voice that cannot be heard.

We were supposed to share everything

But since that day, little by little

The curse of me being different than you grows

The sorrow behind your smile,

Regretting from what I had overlooked.

To you, who blooms and scatters

Like transient flowers,

Goodbye.

Okay, I don't know about you but I personally don't refer to my platonic bestie as a "quiet love in the summer" or "transient flowers".

Also, I wonder that if the lyrics that said :"The words that curse you are in the back of my throat. Will we meet again? A voice that cannot be heard" Refers to when Getos death, Gojo said something we as the audience cannot hear, a voice that cannot be heard and Geto responds to that "Now in my death the least that you could do was swear me with some curses" the words that curse you are on the back of my throat.

Now, I could talk about the airport scene but I would start hysterically crying so not today. But they did meet again. In death. Someone kill me I cannot do this today

So, in conclusion, It depends on your interpretation, but you if want the answer to the question I'll respond that Gege wanted them to be gay but since he can't do that due to the Japanese culture, so he just heavily hinted at that.

[blackbackedjackal]

Soul Eater has always been a bizarre case. on one end of the spectrum there's characters like Kilik Rung, Mira Nygus, and even major manga antagonist Noah. on the other end there's the infamous bg jazz band that are straight up minstrels (they look identical in the manga. this was not studio bones' artistic liberty) and the death scythe repping Africa named Dengu Dinga who wears a mashup of "african flavoured" clothing. and then there's Sid, obviously i can't pass judgement on what's good or bad design rep but there certainly was a scene where Maka literally calls him a "mean blue gorilla"..

sorry for rambling, but Ohkubo absolutely takes inspiration from graffiti art and hip hop aesthetics in his work which makes the antiblackness even more disrespectful

Feel free to ignore that ask if the topic is bogging you down btw, I didn't see your last post if you're done engaging with the topic for now feel free to delete it. Looking forward to what you do with strawberry moon <3

Oh dude you're good. I just needed a nap before I answered more lol. I'll try and answer as many of these as I can because I'm honestly enjoying the discussion even though I have to step away from it for a bit. It's triggering to me but not in a way that I can't talk about it, just bogs down my mind ya know?

Anyway, I've never watched Soul Eater so I had no idea of the Black characters in the show! I had to look them up and I see what you're saying. Mira is a stereotype because I'd consider her a sexualized Black woman in this context. Kilik is like 100% fine to me at a glance, like he just looks like a Black guy though there may be some writing I'm missing that still makes him a stereotype.

I had no idea that he was influenced by graffiti art but I TOTALLY see it now in his shape language. Sid is by far the worst since he still has the big white teeth and a more 'gangster' aesthetic. Especially considering the time period Soul Eater was released, it's in poor taste at best and still perpetuating Black stereotypes at worse.

Anime is it's own sub-genre of racism in animation. White people LOOOOOVE to say "oh it's a different culture and they don't know" LMAO YES THEY DO DON'T PLAY stop infantilizing Asians you fucking sickos.

Colorism alone is such an issue in Asian countries. I've lived with people from China, South Korea, Thailand, Taiwan, and the Philippines. I've heard first hand accounts of people from the Philippines being treated like lesser human beings just for having a slightly darker skin-tone and don't get me started on how Chinese imperialism has impacted Taiwanese people. I'm not going to speak for disenfranchised Asian people but it's easy to find if you look it up. But my point is if colorism is that prevalent, imagine how much worse it is when your entire culture has a history of being exploited to the point that blackface is a worldwide issue.

Also the Boondocks exists and though not a perfect example, it still has some of the best depictions of Black people in an anime style. There's no excuse to draw racist stereotypes when there's literally 5 seasons worth of overall solid Black character designs that can be referenced for other series.

[sonicjustbecause]

Humans are hard to include in worlds filled by anthros (Sonic aestetic analysis)

Aestetic... a word I like.

This kinda work. Both of them have about same cartoonish proportions, similar head size, similar hands and feet size. The human girl has a thicker body and is bigger, but humans are tricky to include in a world with anthros.

The fact is, since we are humans, the specie is particularly familiar with us. What we are is written in our DNA. If you ask to a blind person to draw a fellow human, the drawing will turn out correct, the very same a person with normal sight woyld do.

So is tricky to avoid the uncanny valley and keeping them recognizable as humans. Humans are also rather large overall compared to hedgehogs and other beasts as specie. In fact we are included in the great apes group. Alongside the gorillas we are the also the tallest so pretty much big animals (but we are also slim).

Actual hedgehogs are as big as human hand, or so. Sonic doesn't need to be this small. Just more balanced.

Humans are always been a presence in Sonic world. Eggman is the most well known. And he has large hands and feet, like Sonic and the other. But his proportions are quite realistic and I think he should look bigger because actually, his head is smaller than Sonic's and the other...

In this scene from Sonic X it works well. Eggman's human features are exaggerated (like the typical human long nose compared to the flat noses of the other apes), and his head is about as large as Sonic's, making him fit the enviroment.

Those are very a little bit awkward. When I complain that the size are awkward is because of Eggman's small head.

This is no-no! She just doesn't match in the universe. Like, she belong somewhere else. Small hands and feet, anime proportions, vintage Italian style doll face...

Back in the '80s I saw some that were even closer to what Maria looks like. There were even drawings of girls who just looked like Maria around, some hanged on walls in my granparents home, I just can't find them not even online (the last time I saw them I was 16).

(Shadow likes those pictures...)

Surprisling Mario fits greatly despite being part of a completely different universe.

With modern style...

And even with SatAM style

Both in Sonic and Mario, humans tend to have small eyes.

Roundish head, large hands and feet, noodle limbs just like the beasts... Eggman obioulsy has small eyes. I figure them being about roundish, like Mario's.

Now, we see some human eyes there. A western aestetic just look better within Sonic world (the aestetic is pretty much western overall, being based on rubber hose style). Maybe hands and feet size could be more balanced...

I don't like Eggman having Majin Bu style eyes like in SatAM and AoStH. I've read somewhere he has regular human eyes. There (Archie) he looks as if he is possessed by an entity, so I wonder, Sonic should try to save him at this point? I imagine is to show that Eggman is a psychopath, but it doesn't do the job. The shape and size of the eyes is fine.

This is a joke... 'never mix styles' I was told 'Characters should look like they're part of the same universe!'...

Even Eggman was changed to have a realistic look, and it sucked.

Elise should be with Cloud Strife and Sephirot, not with Sonic, if we are talking about the style.

Outside Sonic series...

Top Cat

A human and six cats. They fit perfectly in their universe. Like Sonic, the cats are bigger than real cat, still smaller than humans. Heads look perfectly in proportions.

Now, here we are in the opposite territory. The feline is bigger than a human. In fact he is a puma.

Just to show how well human and anthro blend togheter in Hanna&Barbera works. In addition they also have actual four legged beasts, like Scooby Doo.

In Japan antros are rare, yet it can still work it the style is consistent. In Dragon Ball and Dr Slump we have plenty of anthro characters who blend well with humans. And there are also actual four legged beasts.

Some Japanese anthros

[burningcheese-merchant]

I recently, while watching an anime, saw a scene that was SO burningcheese core that I had to tell you about it. What could wound a warriors pride more than a fight your opponent throws? That's what infuruated him in canon, after all. But what if it was a fight purposefully interrupted by a third party to ensure your opponents downfall? Picture Spice and Cheese going blow for blow, exchanging hits strong enough to make the earth split. And just when they're about to collide in the worst way yet, a Spice Commander gets the awful idea to "help" their leader. They tackle into Golden Cheese's side, grab ahold of her wrist, halting her from plunging her spear. A single second her attention is completely diverted, but it's far too much already. Burning Spice's eyes fill with an insurmountable dread in that precious second as it dawns on him he can't stop his swing's momentum. An axe that should've be parried now turns into a fatal blow. As the dust settles, and wild spices all around gawk at the golden sovereigns crippled form now cratered in the earth, the only expression the Lord of Destruction makes seems to be of horror, as even his own equal is ripped from him.

This hurts so bad, but fits so well 😭😭😭 Imagine the Spice Swarm is ecstatic and cheering, gathered around their fallen nemesis. She's been defeated! The master can reclaim his power and glory! He shall shower us all with praise for helping him!

But... no. Instead they see him fall to his knees, axe slipping from his grasp and falling to the ground with a loud clang, abandoned and forgotten in the bloodstained dirt. They see him take her into his arms, trembling, and hold her close to his chest, even gently grabbing her head and holding it against his Soul Jam - why, one can only hazard a guess. Did he want her to feel for herself how much his heart ached, listen as it shatters to pieces in the hopes that she's spurred to rise and act and help him put them back together again? Was it some misguided, feverish notion regarding the Soul Jam's power; did he hope that physical contact with the missing half, especially so close to the half that's sitting on her forehead, would somehow resonate with and heal her? Did he just want to hold her, cradle her, feel her skin pressed against his - not by way of exchanging blows like they had been, but by a gesture meant to give comfort, to inspire a sense of warmth and safety and... affection?

(Was this the only way he could show his love and affection for her without falling back on violence, which has long since become the only way he knows how to express himself? Was this the only way he could admit his feelings for her without words, because talk is cheap - and even if it wasn't, even if he actually still believed words have value, he's incapable of them now, for the sight of her has made his mouth run dry and rendered him speechless? His thief, his bird, his prey... his beloved, his goddess, his heart, his equal, his other half, struck down not through his own personal merit, not fair and square, but through a slimy little coward's unwanted meddling?)

The Spice Swarm's cheers begin to die down as they watch on. Grins fall from faces; weapons raised high into the air are once again lowered. Their master isn't sharing in their laughter. He isn't joining in their cheers, their joy. He's just sitting there, holding onto the Soul Jam thief, rocking back and forth (what for? To try to rouse her? Or is it a half-baked attempt at self-soothing?), his head lowered and hair obscuring his face, thus leaving his expression a mystery...

...Until he looks up again. Slowly, but surely, turning his gaze back to his warriors. His lips are pulled back into the most visceral, hideous snarl they've ever seen. His eyes glow brighter than the sun itself, alight with mad fury... and they're filled with tears, tears that are now streaming down his cheeks, dripping from his chin.

The crowd falls completely silent. None dare make the slightest movement, none dare make the smallest noise - for if they do, it will make Burning Spice take immediate action, and unleash divine punishment the likes of which the world has never seen, even on the darkest days of his past rampage across the world. They must delay the inevitable for however long they can.

Anger on its own is destructive, a prime catalyst for the suffering of so many, a poison that kills both its target and whoever wields it... but anger born from grief is so, so much worse.

[beanghostprincess]

Not to keep beating a dead horse so to speak, but circling back to how the anime handles the Shuggy breakup it is personally the first time I've fully understood people who say the manga is way better & the "true" story because on the whole I think the anime is a really good adaption....except for this omg. I haven't read the manga fully either yet so now I'm wondering what else got a totally different vibe than intended & how that colors the perception of the story & characters. For instance, I'm already seeing anime onlys completely misinterpret Buggy's feelings in the shuggy breakup probably because of how brief it was.

I've had arguments in comments sections about people who do not think Buggy wanted to be Pirate King himself & his anger with Shanks isn't tied to him secretly sacrificing his OWN dream to follow him. To me the manga made it very clear that Buggy was making a great personal sacrifice in order to stay with his friend & how that all ties into his own insecurities, but a ton of anime onlys only saw it as Buggy being a whiny baby & not realizing how deep of a conflict Shanks refusing to look for the One Piece was for them 😭 and it's so frustrating! They just think Buggy is being "ungrateful" for everything Shanks did for him. I'm tired of the Shuggy dynamic being viewed so one sidedly in Shanks's favor & Buggy's detriment because they both narratively hold equal amounts of significance to each other. We just haven't been allowed to explore Shanks's side of it...yet. Oda kept Shanks's face obscured for a reason I'm sure.

And since the anime didn't frame it correctly Buggy's speech to Cross Guild about reigniting your dreams & setting sail for Laugh Tale loses all seriousness & comes off as just another gag instead & it breaks my heart because in the Manga while there is humor in it Buggy's tears are REAL & you can literally feel the spirit of One Piece flow through his speech. That speech shows us Buggy is a TRUE pirate! He ALSO inhereted Roger's will! I could literally feel the "I'm gunna become king of the pirates" OST from the anime play as I read it, but the anime framed it like another one of Buggy's "upward fialures" 💔 and it breaks my heart anime onlys don't get that. Imagine if Luffy gave up on his dream & finally after 30 years decided to believe in himself again? Imagine If Usopp really did give up in Water 7 & we didn't see him find the will to believe in himself until 39 years later? Buggy is an example of forgotten dreams & a lesson on it never being too late to go after them.

So I completely agree with you that it doesn't matter how little panel time a moment gets because if Oda can convey all of THAT in like 3 panels then the anime can do so and then some in a minute or 2. I also can't help but think this will confuse viewers later on because I'm certain Buggy is going to get to do some really cool & meaningful stuff in the last arc & a lot of them will feel blindsided because the set up was executed weirdly.

Sorry for sending such a long post & feel free to ignore If ur tired of discussing this I just wanted to give you some validation &let you know you're not the only one who thinks this way. Adaptation has a lot more going into it than just copying manga panels & the a good anime should definitely know when to expand on brief scenes & how to set the correct mood for them.

Oh, please, if it's not a negative ask you can keep sending me stuff about the episode and the breakup all you want!!! I'm just tired of having to defend my opinion. As if it wasn't just that, an opinion. But I'm sooo open to talk about it!!

And you're right!!! It bothers me so much to just think about how Anime Onlys are going to perceive this episode... If Buggy is already misunderstood within the fandom, I can't imagine what's gonna happen now that HIS episode has gotten this awful pacing and explanation (I complain but I've watched the episode so many times already lmao)

People misunderstand their relationship so much and in such levels... I don't get it because it's literally right there. You can't miss it. They're canonically crucial for each other no matter how you see it. It IS mutual whatever they have going on. I know we don't have much of Shanks' POV but you don't even have to read between the lines to see it.

And Buggy being seen as whiny because he has... Feelings... And is emotional... After his whole life crumbles down... Idk about you but if I lived in my best friend's shadow for years and gave up on my dream to trust in his instead, and suddenly when our captain dies he says he won't follow it... I'd be pretty fucking emotional too tbh. I could defend Buggy all day long and explain his character, but I believe I've done that already... So many times... (I love it it's my favorite thing ever)

I love your comparisons to other characters giving up on their dreams because it's so real. Buggy is the representation of people who once gave up on their dream and now are getting the courage back to follow it again. His speech is so emotional I think I know it by heart at this point with how many times I've read this chapter. I always cry-- Every time-- And I'm sooo angry Toei made the episode for laughs basically. It frustrates me in unimaginable ways.

Buggy is gonna do something incredible and people will complain and say it was out of nowhere because his speech in the Anime seems for jokes and like one of his schemes to get away from his problems. But this man was literally having a breakdown in the middle of a torture session and made an impulsive, emotional decision that came from the depths of his heart, because he had been holding onto it for his whole life. That's what bothers me about the animation. The pacing is bad and the way they treat him is even worse...

Don't apologize!!!!! I loved reading this. You expressed yourself sooo well and in such a polite way!!! Basically, you wrote everything I thought about the episode and I'm so glad to finally talk to someone with my same views 😭💖💖

[barrenclan]

ok ONE more music ask bc i think this is the third one i’ve submitted for the new issue so far:

so i went back & read issue 37 while listening to “drunk walk home” by mitski (both the original and the live at palisades version), timing my reading with the listening so that certain panels & passages would line up with the right points in the song, and dear. fucking. LORD. i wanna make a rainhaze pmv with this so badly. the only question is which version of the song to use

so the best way i can explain it:

*drumbeat intro* - the title page

“i will retire to the salton sea/at the age of 23” - that comic panel at the beginning showing how much he changed

“for i’ve started to learn i may never be free/but though I may never be free/fuck you and your money/i’m tired of your money” - idk exactly how it’d line up with the issue but something something him being influenced by defiance & ranger, something something “you can love someone and still hate/hurt them”

*guitar picks up* - the canine realization and/or slug’s reaction to the murder reveal. some combination of the two.

“and i sit on the curb ‘cause it’s the prettiest night/with no one else in sight/don’t you know i wore this dress for you/these killer heels for you” - rain gets all defensive & tries to justify the murder with the sleep thing & the hypocrisy

“see the dark, it moves/with every breath of the breeze” (+ the buildup before the guitar solo) - “convince them…okay”

*guitar solo* - slug attacks him, big fight scene

and of course the screaming at the end correlates to him screaming as he’s gutted like a baked potato

Nice!! I always love how much thought you put into song choices.

As a Johnny Cash enjoyer I must say I do prefer his cover but of course I love Nine Inch Nails too. More dark and gritty does fit Rainhaze better.

I've never actually listened to or seen Repo, but it does seem like something that would be up my alley. It does fit him too, driving in what he's done and forcing him to remember killing Asphodelpaw.

I remember every dying whisper Every desperate murmur I remember when I gaze upon her She looks just like you I remember, I remember

I like this from Rainhaze's perspective, like he's constantly trying to guess what Ranger wants from him, how much he has to hurt himself to please Ranger.

The waves suck you in then you drown If like, you'd just stay down with me I'll swim down with you Is that what you want?

You hang the anchors over my neck (Saw your end) I liked it at first but the more you laughed The crazier I became

Haha aww, Pinepaw.

I lost some weight from anxious pacing talking on the telephone If I look cool I'm fooling you At any point you can assume My mind's computing every path that screws up what I wanna do

The things that I can't shoulder well I pass onto my older self And hope I learn to cope so I don't end up broke or overwhelmed 'Cause vocally, I'm not the best

Poinsettia is an interesting pull, but I can see it. I hate to say Rainhaze once again but yknow... kinda Rainhaze...

The feelings of regret And now I'm running to forget But know, the consequence of imagination's fear I met a man downtown the other day With ruby eyes that took my life away

Thе antidote we look so hard to find To purge yourself of fear, relax your mind But heaven only knows Where my mind leads, the feeling grows

Someone has actually recently made an incredible animatic set to Ptolemaea, actually! You can see it here.

That's alright, I usually do all the lyric quoting!

Pick up another cigarette Smoke it now and soon you'll forget If only your silver lining had better timing 'Cause there's no crown for one on the way down

Your dull blade and your dusty attire Can bring back all those burning desires So go back to the pit or roll over

I'd love to see the animation if you ever make it! It does have big synergy with "The Death of BarrenClan" event.

Heed the sirens, take shelter, my lover Flee the fire that devours But the sight held me fixed like a bayonet against my throat

It was a pale white horse With a crooked smile And I knew it was my time

Not a song in the world that doesn't make me think of Rainhaze... anyways, I always like a good Hoosiers song.

Everything you love turns to dust, You'd make more of it but you felt rushed By all that's periphery, You held tight, but on the contrary

Don't look your life passed you by, 'Cause you're too attached to it, Don't look your life passed you by, 'Cause you're too attached to it

[bluntblade]

I've got a theory about why this happened, and I think the other Mandoverse shows support it, especially Mando S3. Basically, these shows have over-committed to using the Volume to the point that it hurts their action scenes. Not just in terms of how they look and feel, but what can even be put in front of the camera.

As Greig Fraser (the brilliant DoP who worked on early Mando as well as Rogue One, Dune and The Batman, and first got the Volume to work) has said, the Volume comes with pretty steep limitations. Spielberg has managed to do some things with it that Fraser hadn't thought possible, but for the most part it restricts what angles you can shoot at and also what movement you can have. Film Crit Hulk talks about it in more detail re Mando back in 2020:

Note HOW MANY times they’re standing relatively flat and the camera angle is directly parallel to a ground so that it puts the horizon in the same 1/3 of the frame spot behind them. They do this because if they raise the camera higher (as many shots should and would) it would reveal the “boxy” angle of the stage. It may seem small, but it REALLY de-emphasizes the natural surrounding and I’m worried it’s hurting the overall look of the show.

And it occurs to me that arguably the best-shot action of that series is probably the one where they went out and just filmed in the California hills. Note how Boba gets to tower over that one Stormtrooper and how there's a real sense of wham when he lands.

If you're shooting everything in a context where nothing can move all that fast, though, it really hurts your most kinetic characters. When Kelleran Beq gets his showcase in Mando S3, the camera can't move to add oomph to his strikes or give him a hero shot (in Kenobi you see them trying this with Vader, but they have to stop short of an angle which will actually give the image punch). If you've seen Dune Part Two, think of how the camera races along with Paul and Chani in some of their fights with the Harkonnens. That's wholly missing here.

And this also impacts the old jet packs (and Jedi acrobatics, for the most part). Whereas Jango could rocket around merrily, it's notable that the Children and the Nite Owls alike only really use their packs for dedicated aerial scenes. In the pirate fight, you can easily imagine them boosting from rooftop to rooftop and sparking even more "high ground" memes, but instead they conduct the fight entirely at a walking pace and on the ground.

And all of this hurts Sabine in particular, because like Ahsoka, she originated in animation and has previously been depicted in a really kinetic way. Even without a jetpack, she's a very acrobatic fighter in Rebels, and it's one of the things which makes her a really fun character. But in the process of moving to live-action, Filoni and co opted to change the characters to fit the Mandoverse style, instead of changing the style to fit the characters. The result is that lots of the things that first made Sabine so cool and fun just aren't really possible now.

[gofancyninjaworld]

Thinking about Garou

Question: "Compared to the first season, which draws attention to Saitama's exhilarating punches, the second season focuses on story development. Did you have any specific goals while drawing the story?" Murata: "There was one thing that I requested from ONE Sensei before drawing my re-illustrated manga. At first, there were plans to cut out Garou's childhood with the bully in my version, but that scene really left an impression on me. I thought it was a vital part of understanding Garou's position, so I discussed it with ONE Sensei and requested that I be able to leave it in for y version. And it was paced so well in the anime! I believe it ended up being a very high-quality scene." -- From the liner notes of One-Punch Man Season 2.

I'm including this because I feel it's fundamental to really talk about Garou with any depth. Garou without context does not make sense. He is a kind, sensitive, and thoughtful young man who wants to do good in the world. Yet, he caused a horrifying amount of harm, both directly and indirectly, and ultimately undermined his own goals.

I'm glad that ONE listened to Murata about keeping Garou's childhood flashback. Without it, he'd just have been a thug attacking heroes for no reason to us (pretty much as the heroes saw him). Not only that, but ONE has gone a lot further in the manga in showing us the context in which Garou grew up that's been very helpful for understanding who Garou is, what he saw, and making some sense of his powerful yet contradictory desires.

Ultimately Garou is Garou. He's his own person and the buck for his actions firmly stops with him. No matter what, I can't imagine him not being an independent thinker with the determination to put his thoughts into action.

But...

...the tragedy of his thinking becomes clear when we see his thinking of monsters as metaphors for what is misunderstood or unacceptable in ourselves (a popular enough one IRL where monsters aren't real) and compare it with the reality of his world in which monsters have won, successfully restricting humans to one continent, and people like heroes because they are reminders that sometimes, even apparently overwhelming evil can be defeated. Nothing good happens when you deny the reality around you.

You know Garou's rant about uniting the world with fear? It's a standalone rant in the webcomic. The manga gives us a snapshot of the context in which he came to this conclusion. As this is a place that is no stranger to natural disasters -- forget the monsters -- Garou has no doubt experienced at least one big storm, or flood, or earthquake, or volcanic eruption in his life. In those days and weeks that follow, he's no longer an outcast. Nobody cares about where you come from or who you are: people help each other. At least until normalcy is restored. That's something he's directly experienced.

That's just human nature: even in individualistic societies, for every report of looting in the wake of a natural disaster, there are hundreds of people trying to help. And this is a much more collectivist society that has to deal with disasters semi-regularly. That's the sense of looking out for each other in the face of a tragedy bigger than any person he wanted to recreate—only permanently.

Then we get bits of Garou through the people around him. We got nothing about his parents in the webcomic but in the manga, his parents refuse to see him or get him out of custody. They've given up on him. To make it worse, the audience ONE is writing for understands that Garou is a minor until he's 20 (the law recently changed in Japan but it wasn't even up for debate when ONE started writing OPM). So they've done the equivalent of washing their hands of a 16-year-old. That's got to have hit Garou very, very hard, even if he was estranged from them. He'd have liked it if his father cared enough to tell him what to do.

We see how Bang has literally taken on the role of in loco parentis. It's been interesting to see that the reason Bang has chased after Garou so relentlessly is because he sees himself in the young man. However, we also see that he deeply misunderstands Garou too. Bang beat up people because he was an extremely selfish young man who felt he was entitled to everything.

Garou beat up people because he is an extremely thoughtful young man who sees himself as bringing a great good into the world at the expense of some heroes.

It's definitely going to cause trouble but that's okay -- nothing in life is smooth and such differences are inevitable. With love, such struggles are worthwhile.

Garou's an object lesson in why the energy to do things in the world rarely comes with the power to make those changes. His overly simple solutions were disastrous. But one thing we can also say about Garou: he's a fast learner. He's literally rebuilding his life little by little in the webcomic by rebuilding the world around him. In the manga, he's been given the opportunity to sift through his thinking and find what's genuinely good. We'll see how it all shakes out.

[mislamicpearl]

I watched The Wild Robot! First time in the cinema in awhile, and it was great, beautiful music and wallpaper worthy art. Also pretty funny! I do have a few thoughts about the story as someone who read the book first, so spoilers below, but to sum it up, basically I felt like the movie put more focus on Roz raising Brightbill than on Roz learning to adapt to her surroundings, which was what I loved most about the book. But even with that, yeah go see this movie, it's a delight!

Roz was a lot more peppy than I imagined her in the beginning.

I really wish there had been more small moments showing how Roz learned behavior from the animals in order to survive, like that scene of her copying the crab to scale the wall.

They introduced Longneck a little too late imo, I don't remember if it was him or another female goose, but there was supposed to be an adult goose who helped Roz and gave her advice about raising Brightbill. They could've had Longneck meet her sooner so the line about them going "way back" would make more sense.

A few of the very obvious movie moments made my eyes roll, like the whole reveal scene to Brightbill about his family and the falling out, I don't recall it being that big a deal in the book.

They elevated Fink's role a LOT compared to the book, and he was fun and all, but I was disappointed they didn't also include Brightbill's chatty squirrel friend.

I reeeeally didn't like the scene of the geese on the farm, it was so ridiculous; this is supposed to be an advanced future and you're telling me a bunch of geese caused THAT much panic and disorder? Why were the robots shooting at them with no regard for destroying property, I'm sure they could've got rid of them some other way. What I liked about the book was that even with talking animals it always felt very grounded in reality.

Glad they kept the whole winter hut scene though, that was my favorite section in the book.

Wish they'd at least made a mention of the fact that Roz can make fire while the animals can't, heck how were they even able to make a fire after she left??

I also really didn't like the villain robot character, I don't think she was necessary. She was just too obviously evil, she didn't really mesh well with the rest of the film.

I honestly thought at one point they were going to combine the first two books together and I was really excited (I could've sat and watched another full hour of the movie tbh) but with the way it ended I guess they want to keep their options open to do the sequel in a second movie. Still, ending it where they did was a little sad.

Any character voiced by Moominpappa's VA from MoominValley is instantly a win, omg he was so funny.

[kcwriter-blog]

Let’s Talk Solas on the Balcony

A comic in which Solas and a Qunari Inquisitor discuss his views on the Qunari people is making the rounds. Per usual, it is sparking conversations and arguments about whether Solas is a racist piece of shit or not. I don’t think people’s opinions can be swayed one way or another at this point, so I’m not going to try.

What I want to talk about is the diffculty Weekes would have had writing this scene, the contradictory nature of the balcony conversation with banter, and the fact that Solas may not be entirely wrong (although he shouldn’t have said it that way).

The writing. I’m going to use the Qunari balcony conversation because it’s the most egregious, but all conversations Solas has with an Inquisitor of any race are problematic. I don’t think the intention was to cast Solas as a racist. I could be proven wrong in The Veilguard, of course, but for now, let’s say that was not the intention.

Weekes had the Herculean task of writing the “loyalty” conversation that happens after every companion quest is successfully completed. That isn’t an easy thing to do when the character is hiding the kind of secrets Solas is and who might not be feeling particularly loyal at the time.

The writer must show that Solas has doubts about his plan based on his observations of a single person – the Inquisitor. Weekes must show that Solas is looking for anything he can cling to, to justify his plans. They must show Solas’ growing admiration for the Inquisitor – in some cases against his better judgement. They must show that Solas is only just beginning to realize these people are real and destroying them would make him a monster. They must do it all without giving away the stinger. Not easy and very open to misinterpretation.

I love Weekes as a writer but even they can miss the mark. Solas has a tendency to say whatever is on his mind in the most socially awkward way possible. Probably because he spent 4,000 years conversing only with spirits. I love Cole but imagine spending that long in a place where everyone talks like that. Also Solas' first language is Elvhen, a conceptual language that is much more fluid than the common tongue. He's trying to express complicated thoughts in a language that isn't his. Again the writer has not and probably can't give us this context.

What Solas says on the balcony contradicts his banter. This could be because of the way banter triggers. It’s possible that banter was meant to trigger after the balcony conversation to show the growth of the character. But let’s look at it.

In an exchange with Bull Solas defends Tal Voshoth. Bull calls them savages and says they are sick. Solas says they aren’t. They are victims of a sociopolitical system that denies them agency so when they gain it, they don’t know what to do with it.

If you save the Chargers, Solas is the person that helps Bull through his concerns that without the Qun he will turn into a mindless beast. My family has dealt with enough racism to know that a racist would never do that. Basically, if Solas was a racist, he would absolutely believe Bull is right and he will eventually turn into an animal.

Solas’ problem- as has been stated multiple times - is with the Qun and the fact that most Qunari don’t question the regime they live under. The Qun removes agency from the people. That is anathema to Solas. The problem with the balcony conversation is that this isn’t expressed. Solas seems to be saying he believes that without the Qun all Qunari are savage brutes when he clearly defended all Qunari who have rejected the Qun.

It’s poor writing because it isn’t made clear that this is Solas’ problem with the Qunari. When he says the Inquisitor is different he means that they question the world around them. They don’t take things for granted or mindlessly follow whatever their society dictates. Again, poor writing choices don’t make this clear.

And Solas isn’t entirely wrong. The Qunari aren’t savages but they can be brutal. Most of us have played all three games. We have learned a lot about the Qunari and it isn’t all good.

Their goal is for everyone to live under the Qun. The entire second act of DA2 explores what your average Qunari believes. We must fight through Kirkwall because the Qunari have decided the city would be better off under the Qun. We know that the Qunari treat their mages even worse than humans treat mages. Circles are bad but the Qunari cut out the tongues of their mages, sew their mouths shut and give them personal minders. They are fed a chemical that keeps them pliable (a chemical they feed anyone who is judged to be a problem child as Fenris tells Isabella).

The Qunari don’t have names. They have numbers. Their “names” are just their job descriptions. They can have all the sex they want but when it comes to children there is a breeding program. They are told what jobs they will do. If they don’t do what they are told, they can be made Tal Vashoth or killed. In DA2 we free a Qunari mage who doesn’t want to be free and self-immolates because he feels that’s what he must do under the dictates of the Qun. Most Qunari, even Bull, would rather turn themselves over to re-educators than become Tal Vashoth because they have been told they will turn into savages without the Qun to guide them.

As of Tevinter Nights we know that a subset of the Qunari decided to take the “Path of Blades” to forcibly get other races to submit to the Qun.

Solas would see all of this and hate it. He doesn’t hate the Qunari people - which is an aspect of racism - only what they have become because of the system they live under. The Inquisitor is different, not because they are a special snowflake (they are because they are the hero of the story) but because they don’t believe in the Qun.

The fact that Qunari can throw off what he perceives to be their shackles confuses him and makes him believe that they and possibly Bull aren’t the only ones capable of doing this. That’s not good for his plan. That’s why he wants to know if the Anchor has affected them. He wants to believe they are special because of the Anchor so he can carry out his plan with a clear conscious.

I think this is true of the other conversations with other Inquisitors. The solution to the problem would have been for the Inquisitor to be able to strongly push back against Solas’ comments. Weekes could have then provided some clarity. As it is we get no clarity and people are left with misconceptions.

[polufabrikat-na-vilke]

Thoughts about Diavolo and Doppio

Introducion

All that ton of text exists because I didn't believe it was DID since my first time watching and reading Golden Wind. Literally from the first time seeing their actions and interactions, I thought it looked more like some sort of supernatural thing than that condition, to which I only found more confirmation as I watched. I still want to call the following examples thin, since there is a very high probability that Araki was simply going way too wild with all this mystical mysterious secrecy of the antagonist, and everything that I will give may turn out to be just the fattest wicked technique for exaggerating this, but I want to express my thoughts nonetheless. Plus, I think it might be a narrative trick after all, so I may turn out to be right in the end of the day.

Point

So, let's get it straight: the theory is that there's no DID in that story, Diavolo is not an alter-ego, but something else and probably not a human at all. And now to the specifics.

Let's start from afar: his (to make it easier to read, I'm talking about Diavolo in a generally accepted way) mother, in her words, became pregnant from an unknown man who died 2 years before his birth, and, moreover, she has been sitting in isolation from the outside world for 2 years, in a specifically women's prison without any men at all. AND, MOREOVER, the anime adaptation shows that the fetus develops in just a few hours (I’ll say a few more words about the validity of David's version later). Well, it’s impossible, well, it’s a huge nonsense, even if we consider from a seemingly scientific point of view of this universe, with which Araki tried to explain, for example, the change in physical parameters when switching egos. Here's mystical supernatural shit number 1.

Further. This particular point is relevant only for anime adaptation. Unfortunately, I haven’t found any data on how much Araki took part in its creation, I confess, but I have the right to assume that if it was approved by him and released the way we see it, it is quite a canon by which we can argue. It came out after the manga and this is quite possibly a more correct representation of events from the point of view of canon details. In the same scene, after birth, the baby's eye color momentarily changes from hazel to red, then back. This move, I want to note, is often used to show a character’s possession, usually with supernatural forces or the like. Yes, it is also used to refer to a "second personality" or some hidden nature of a character, but newborns do not have DID, it is a disorder that develops after severe repeating trauma. Mystical supernatural shit number 2.

We smoothly move on to the extreme turbidity and ambiguity of DID, and I’m not even going to talk about body changes when switching. So, DID develops, as, by the way, even in the original source is noted, as a result of a deep shock or trauma. A person dissociates from the traumatic experience, which, if severe and repetative to the point when their mind can't really survive it, results in violation of an identity integrity. It does not develop immediately and is noticeable to others, while commonly not being noticable to a person expiriensing it. And what do we see on this topic there? Nothing, only Doppio shows symptoms of dissociation, and only in situations where something threatens to expose the boss’s identity (or in other situations related to him, that’s the only way), which is strange, because I can’t even imagine such a trauma can be (i.e., it becomes a chicken-and-egg paradox: the trauma, in theory, should be related to the boss, to alter, but without the trauma there should be no boss, no alter). Other trauma is either not shown, which is a serious omission from the script, because this is no longer a mystery, but a hole, or it simply does not exist, because in the village, as far as can be seen, the attitude towards him was near normal, and his foster father is caring and loving, and has a trusting relationship with him (judging by the phrase casually thrown by the drivers from a flashback with his youth, where they warn him not to complain about an accident on the road to the priest, which seems to refer to the fact that this has already happened at least once before, and as if he would hardly have gone to him to complain if he did not trust him). Mystical supernatural shit number 3.

The same muddy and unclear story with his mother under the floor. Why is she there? For what is she there? How did she survive there? But who would know. In my opinion, it looks like some kind of some ritual-related bullshit, or at least a sacrifice to something, but I don’t undertake to make any special statements or comments here, I’m just noting and thinking. Mystical supernatural shit number 4.

Let's get to non-flashback events. POSSIBLY Diavolo is able to influence Doppio's consciousness (which does not happen in the opposite direction). This is indicated by the latter’s holy faith in the fact that he is talking to his boss on real work phones, well, that’s how he sees them, as well as the clouding and memory lapses that suddenly occur after the end of the call, which is strange, but still convenient for Diavolo, what a goddamn lucky coincidence, huh? I don't think alters are able to perform such tricks. Mystical supernatural shit number 5.

In the SCR arc, characters mutually switch bodies with closest persons. What's going on with Diavolo in that situation? He, like a self-respecting individual soul newly revealed to the audience (!), not like everyone else, not like a sucker, "attached" to someone else’s soul (it was kind of similar with Doppio before), and for time secretly sit happily in one body for two. And now, this is no longer a person suffering from DID (that is, a soul with, in our case, an ego split in two (that's PSYCHE thing)), but a whole separate being, moreover, also capable of ruling his soul as he pleases. Mystical supernatural shit number 6.

We will need some of the things from the previous point now. At the end of the arc of Ciocolatta and Secco, Diavolo not only immediately knows from somewhere that Bruno can only see souls, but he also, in order to make Doppio look like Trish for him, lends him a fucking piece of his (let me remind you, separate, like we have already found out) soul. A piece of his soul, God damn it! He (again) not only knows some unreal information about souls, he, as already said, is able to manipulate at least his own. Mystical supernatural shit number 7.

His eyes (iris and pupil), already extremely unique in themselves, are the eyes of his entity, but not his body. When he takes control of someone's body it is visible, when Bruno is in his body it is visible. Worth a mention. Mystical supernatural asshole number 8.

The last, probably the most interesting mystical, but not so supernatural screw-up lies in a small detail: when the souls of the characters in the final battle return back to their bodies, we are shown all of them, except for Diavolo's (well, more precisely they showed King Crimson as it, but this doesn't count (otherwise Diavolo is KC, lol)). Coincidence? I don't think so. More likely it was done on purpose, and this is not even attributed to the supposedly yet another creation of an aura of mysticism around his personality - at this point we seem to already know very well what he looks like... Or we don't, actually?

Conclusion

That's all, actually. The bottom line is the same: Diavolo is something supernatural, I don’t presume to say what he is exactly. This is probably all the fairly significant evidence (meaning those that are less than half conjecture) that I had. There were a lot of strange things in JoJo, inspired by some things from the real world, and then blown up to the point of "incredibility," but here they tried to tie it into some kind of pseudoscientific nonsense that I didn’t believe in. In any case, this is not the first "spirit" in this universe (it’s worth remembering Anubis), so this theory, I think, is more than valid.

So thank you for reading, it's open for discussion, since we'll never know the truth for sure (DID was the assumption of the characters of Vento Aureo, and they called it "assumption" themselves (I want to believe with all my soul Araki fooled everyone, being an unreliable narrator so Diavolo will be even more of an enigma)).