#i welcome discussion

[susansontag]

studio ghibli ranking list let’s go

(will include nausicaä and the red turtle)

the these-are-actually-bad section:

24. earwig and the witch

actually the only one I haven’t watched so it’s cheeky to put it here. but I won’t be watching it and no one will blame me.

23. ocean waves

who sincerely cares about these teenagers they’re so annoying. if the boys had been gay it would have honestly been homophobic.

22. pom poko

this film is about shape-shifting raccoon dogs waging a war on humans and there’s copious jokes about their testicles. so on paper a perfect film. execution wise it’s so long and so boring and you care about none of them.

the cure-for-insomnia section:

21. tales from earthsea

hayao miyazaki was right to walk out of this one even though he probably is a terrible father for having done so. some of the animation was really nice but these protagonists made me yearn for the ocean waves cast because at least they have semi-personalities.

20. castle in the sky

proof miyazaki was judging his son too hard for earthsea because this is basically his version of the same thing: a nice idea with good animation and the most boring boy/girl protagonists imaginable. has got that whimsy he does so nicely however.

the passable-films section:

19. the cat returns

but should he have? was that really necessary? has a scene of cats walking in a procession on their hind legs though so that’s a plus.

18. arrietty

visually gorgeous but otherwise a very run-of-the-mill adaptation of the borrowers, which in something that should feel wondrous is less than ideal.

17. my neighbors the yamadas

some harmless and inventive fun that you can put on in the background whilst eating lunch or doing some light yoga stretches.

the don’t-harm-me-I’m-right section:

16. howl’s moving castle

yes I do in fact understand the intricacies of the plot and I still don’t care. this is one of ghibli’s messiest films for sure, it can’t decide what it wants to be or focus on and the plot just seems to happen and then not happen for no good reason. I also think howl’s a whiny bastard and hate that sophie has to mother him and endure his contemptible man tantrums. a shame because she’s actually cool.

15. grave of the fireflies

it was sweet but I’ve watched more moving animated films set in war-time, even. I don’t have much desire to watch it again honestly but maybe I will at some point.

the this-is-getting-there section:

14. the red turtle

I liked it! an acquired taste but I really felt the harshness of the elements and the cruelty and the love. it's also very beautiful to look at, one of the most visually arresting ghibli productions.

13. only yesterday

a tale of two films with this one. the parts where she's a young girl are much more interesting, but if this had stuck the landing and it'd been more even overall, could have potentially been a favourite. alas.

12. the wind rises

a genuinely weird one in ghibli's lineup, in which miyazaki meshes two different stories together (one of inventive 'genius' and a doomed love story, respectively) in a likely attempt to try and grapple with his having chosen his career over all else, including family (noteworthy is that his wife was not able to retain her career as an animator). as a piece of art it's less whimsical and more mature than many of these films, but I struggle to not let my distaste for what it potentially represents get in the way of my appreciation for it as a film, but it's so blatantly personal that it's impossible.

the that-was-just-a-good-fun-time section:

11. nausicaä of the valley of the wind

aesthetically one of the coolest films on this list but I don't remember the story as well. great protagonist too. must have been great to experience when it first came out in the '80s.

10. porco rosso

I love this film about a tomboy mechanic and some pilot guy who went off to war and was so changed he is now a pig. watching it feels like if the mediterranean was so small it fit into your back pocket and was also populated by all your friends all your enemies and your ex-lover also.

9. from up on poppy hill

I found this one boring the first time I watched it but it really grew on me with subsequent rewatches. I really like her predominantly female household and the community they share in the backdrop of the rest of the drama is sweet. the bit of drama midway through is still batshit though but in a loveable, disney-would-never way.

the near-perfect section:

8. the tale of the princess kaguya

probably takahata's magnum opus with the studio, if slightly overlong. folktales are tricky because they tend to feel moralistic and the characters one-note if you're not willing to build on them but kaguya herself feels very spirited and alive. the prettiest on the list too I'd say.

7. my neighbor totoro

cozy late summer comfort film. perhaps even more special now because I was able to see the london production. cute!

6. when marnie was there

surprised this one has ranked so high for me but that's the power of tomboy lesbians heck yeah etc. also the fantastical element of this one is so up my alley and touches upon a particular kind of childhood nostalgia I have of being in old houses and imbuing them with magical qualities. the image of anna facing the house across the marshland is burned into my retina.

the I'd-die-for-her section:

5. princess mononoke

aesthetically too cool for school and has one of the best ghibli villains and female characters (lady eboshi). they really said all the spirits of the forest are going to die in this one but well it was a nice thought.

4. ponyo

my comfort movie of all-time! heartwarming! with another great female ghibli character in lisa, sosuke's mum who is legally allowed to drive like that apparently. also one I actually watched for the first time in my childhood when I was around 7 or so at an after school club. the subtitles taught me the useful and now underused gem of a phrase "bog off".

3. kiki's delivery service

asks the important questions such as: what if you were a young witch from a dying tradition who moves to a gorgeous town in sweden? what if your remarkable gifts were no longer appreciated due to rapid advancements in aviation technology? what if you could live in a bakery?

2. spirited away

when you're just a timid child who is scared of admittedly a lot and your parents manage to mess everything up spectacularly so now you're forced to work at the age of twelve for people who steal your identity. still one of the best honestly they may never top this as the peak of their artistic achievement.

1. whisper of the heart

have you ever been a struggling artist? have you ever been in love? have you ever been obsessed with john denver's take me home, country roads? in all seriousness love a story of two artistically inclined people inspiring each other and this has a unique feel compared to other ghibli films forever favourite probably. it feels like basically no one has watched it and that's a shame. rest in peace yoshifumi kondō.

[anyanary]

I present to you: fem wangxian

[teapetal44]

TW: ABUSE, CHILD ABUSE

“He wants to air this dirty laundry to the world does he…? Dabi, you fiend…you’ve been waiting for this moment…when they couldn’t prevent mass destruction…and faith in heroes is wavering.” - chapter 292

I truly, wholeheartedly, believe that MHA as a story upholds the myth of the perfect victim. I do not want to discuss if Horikoshi did that on purpose, or subconsciously because of inner bias – I find no meaning in doing so. For me the execution of an idea, in the grand scheme of the narrative, holds more value than the intention of the author. I’ve also had my fair share of people infantilizing Asian authors in the anime community for their poor writing decisions for one lifetime. It’s patronizing to both the author and the people reading it. Whether or not Horikoshi intended for his themes of abuse to paint the picture they did does not matter, because that’s how it reads as.

MHA puts victims of abuse in narrow boxes and softly dictates what’s an acceptable reaction to said abuse. Victims are continuously walking a tightrope between being deserving of compassion and sympathy and being unredeemable monsters who are too far gone and are only good for martyrdom after being put down.  

Eri fits the clean cut depiction of abuse victims that media usually gears towards. She is untouched by the cruelty around her - she preserves her innocence and kindness. She isn't assertive, but rather meek and passive. She doesn't fight back with force. And when offered help, she is receptive to it. That is not to say that Eri's depiction doesn't have a place in fiction, or that her portrayal can't be representative of the experiences of some - as we all deal with trauma and the inhumanity people throw at us differently. We see the same thing in the portrayal of Fuyumi, who shares many of the qualities discussed above. The same thing applies to her - i personally love the idea of all the siblings having different reaction to their childhood trauma and abuse. It shows that victims are not some type of monolith.

But the narrative treats the "forgiving" or "receptive to help/support" victims of abuse with more grace and with much more kindness. if you are willing to forgive, or the very least be quietly tolerant, the story grants you a happy ending. Forgiveness isn't a bad thing, it is an individual choice - but an abuse victim shouldn't have to do it for them to have a happy ending.

In a vacuum Eri and Fuyumi's character arcs and depictions of abuse are good but it becomes a problem when that's the only experience and type of victim we ever hold in high value or recognize as valid and deserving of compassion. Which the story reinforces.

Touya and Tenko's backstories aren't pretty nor comfortable or easy to sit through. Their responses to abuse aren't either. Reactive abuse is very much real.

[rimatsu]

setting pessimism aside to daydream about my ideal bucktommy makeup scenario and i just... keep oscillating between buck extending an olive branch and tommy reaching out first. there's merit in both. yes i'd love for buck to discard passivity and fight for this salvageable relationship — for buck to look tommy straight in the eyes and tell him that his sharp edges and his vulnerable insides don't make him any less deserving of love. that he's not blinded by the excitement of novelty or misguided admiration — even without the full picture, buck has seen enough pieces of the puzzle that makes up tommy's whole to know that he loves the entirety of him, unspoken faults and past sins included. that buck can't guarantee forever but he sure as hell can try to build the sturdy foundation of a shared life based on the hope for more. that sometimes you just luck out on the first draw and there's nothing wrong with good fortune.

but it would also be extremely healing if tommy knocked on buck's door to chase after his own second chance. to say "i want you more than i'm scared of hurting" when buck asks him what's changed in 4 months — because tommy would rather live with scars than be haunted by regrets and what-ifs. because buck is worth the risk of never recovering from having loved him

[vocaloid-tunes]

So like do you think vocaloid is an acceptable general term for all vocal synths (the same way people will say kleenex about any tissue) bc I've had my tag be vocaloid for vocal synth stuff for years (I know this is a non-issue in the real world just curious about what other vocal synth fans think)

Who even cares (joking)

All kidding aside, its up to you. We still call ourselves vocaloid-tunes even though its very much not just vocaloid only anymore.

All of this is 100% a non issue but I will give my two cents anyways

My personal opinion is that calling a specific voice "a vocaloid" when it isnt is kind of a pet peeve for me (like calling teto a vocaloid), but speaking about vocal synths in general or speaking about multiple voices and using the world "vocaloid" similar to Kleenex for tissues I feel is perfectly fine

At the end of the day, everyone is different and as long as everyone understands what the other person means, its kind of unfair to just jump at them or go "ERM ACHSHUALLY THEYRE NOT A VOCALOID THEYRE FOR THE VOCALSHIT SLOP ENGINE, YOU FAKE FAN", because like I think most people can and should assume that you are speaking in general if you say something like "yeah I like vocaloids" to mean more than just vocaloid engine by yamaha specifically

EDIT: Also yeah for tumblr tagging its way more convenient to just use vocaloid or whatever tag you already had, so there's no judgement here

[azzayofchaos]

@embers--and--ashes

Here's that Convex lore you were curious about...

Thanks to @queseresere again for some bits a pieces!

So.. The Vex Problem?

While rumors of the mysterious Convex are floating around, and Skizz has become quite suspicious of what exactly this mysterious group entails-- he'll soon learn it's not quite as strange or occult as he first thought!

The Convex is essentially one of those super secret Gentlemen's clubs that rich people like... they play golf on the weekends.

Vex are demonic, but they're vermin, easily summonable nuisances and unfortunately their clubhouse has an infestation. Not all that surprising considering how much of a bother Scar tends to be to the PET Demons.

Scar Goodfellow:

The captain of Hermiton's police force, and an all around shady guy.

He tends to come off as a bit incompetent, even a buffoon, but he's much sharper than most people give him credit for. He catches onto the nature of the disappearances and advises Cleo to lend a occult-knowledged hand in the ensuing investigation.

Grian is under a debt to Scar for the duration of Scar's human lifespan since 'the incident' and Scar can pretty much summon him at will --Scar mostly makes him prank people-- though Grian technically works under Cub at the Permit Office as Cub is just about the only person Grian listens to.

"Cub":

Manager of the Permit Office

He probably used shady means to help put Scar in a position of Power

knows a thing or two about the occult but he is genuinely just a guy...

or like, maybe 0.1% primordial, either way he terrorizes Grian a bit.

He and Scar have that weird Bromance...

More Permit Office stuff:

Cub is the only person who doesn’t seem to mind Grian, Grian definitely minds Cub. 

Grian only willingly  listens to, and is mortally terrified of Cub. He swears Cub is not human, but something else. 

The permit office is Grian’s domain, and has thusly become infused with backrooms vibes. It has that uncanny atmosphere.

Cub refuses to acknowledge that anything is wrong with the office or his one(1) employee. “Others have passed through, and I’m happy to hire, but they never end up staying for long. I mean, I get it man. The work is dismally  boring and the pay isn’t great. Might be nice to get a change of pace, though" "It’s alright though, not like there’s much more work than what Grian and I can handle. We make do”. 

(Everyone in town will tell you just to straight email the permit office higher ups rather than bother with the office at all… honestly, just skip the permit, this is a lawless town…)

The permit office is definitely maybe a front for something, Cub knows what though. (It's illegal fireworks 0_0).

[iamaslutforjatp]

So, it's been exactly two weeks since this Stetopher fic idea was born. (See this thread for background info)

Within those two weeks, I have written 69k words in my brainstorming document (AKA the 'brain dump' where everything starts before I tidy it up into finalised notes elsewhere, separated into character, plot, outline, etc.).

I repeat, I wrote 69,000 fucking words. In two weeks.

(I had to repeat it, because I still can't quite believe it)

I've broken all my own personal writing records.

I've realised this fic is going to be at least 150k words, possibly 200k.

I've split the fic into 5 Acts, covering over one and a half years [there are cliffhangers between Acts that are already planned and that have me wanting to cackle like an evil villain].

I'm essentially rewriting seasons 1-3A adjusted for several key 'what if' changes pre-canon and exploring the domino effect of how things continue to change from there.

I've currently got a 3-page-long detailed and colour-coded timeline of events that happen in the fic, which is growing every day as I figure out where things fit (which included printing out monthly calendars for the relevant years and using 4 different websites to reference when the actual full moons were for each year).

I spent hours on university websites and several other resources figuring out what programs different characters might take, what courses they might take, what their schedule might look like, what are the start and end dates of semesters, etc.

I spent even more hours with several google maps tabs, wikipedia pages, geographical maps, and fandom wikis open to figure out where the fuck Beacon Hills might possibly be located and figuring out the distance from this fictional location to several real ones.

Do you have any idea how long I've spent doing math? MATH?! I hate math! I thought I was going to drive myself insane trying to figure out ages and timelines and dates and ughhhh. Just. No more math please? I beg.

If you've made it this far down (wow, thank you), here are some things you can look forward to in this fic, in no particular order:

Unresolved pre-fire Petopher drama

Stetopher endgame, obviously

Allison & Stiles friendship

Boyd & Erica live

Pack bonding

Stiles yelling at Derek about how to be a good fucking alpha

Chaotic pack board game night (that may or may not involve Chris tackling Peter over the game board)

Stiles already knowing he is a Spark, his mother having taught him about magic when he was growing up

Domestic fluff

Stiles unknowingly driving Chris and Peter crazy with his lack of boundaries, oversharing, and oral fixation

Slow burn

Stiles getting to study magic at university

Stetopher nerding out over research together

Stiles somehow having keys to everyone's places (Peter has no idea how Stiles even found out where he lives)

Christmas pack fluff

Several key alterations to the Argent background, including Kate & Gerard being arrested & sentenced to jail after the fire, Chris divorcing Victoria, and Allison finding out about the supernatural a few years early. (Stiles may or may not have had something to do with at least one of those things)

[birdiedoesdc]

my hot takes re: batkids music taste

dick: pop, but like classic pop. think abba or fleetwood mac

jason: same as bruce, ie dad rock and grunge

tim: doesn't listen to music. tim listens to white wine mom true crime podcasts and then sends expansive emails detailing everything they got wrong and inadvertently solving the case in the process. when he's not doing this, he'll listen to literally whatever is on the radio

steph: extremely cunty hyperpop

cass: the worst and most embarrassing techno-edm you can think of

damian: was mostly raised on classical (thanks ra's) but is carefully learning to indulge in classic emo rock like mcr and the older panic/fob stuff.

duke: pure punk pop babeyyyyy

[dancing-lex]

I was immediately struck by this panel in the manga in which Light is thinking about the effect of Kira's judgment on how average people across the globe interact with each other.

This is well known and well examined in the fandom but it really never ceases to amaze me how much of an influence Soichiro has on Light's values and thinking patterns. The modern police state rules with fear as the primary method of control. Light takes the enforcement of law-abiding behavior under threat of violence to the extreme by giving any criminal the death sentence. Being raised by a cop, he would be inclined to believe that this is the best or only way to attain peace.

I think this panel reveals something about Light's character; he thinks to himself that it's a GOOD thing that people are afraid, that the fear of getting killed by Kira will prevent them from doing bad things. Fear = good. Now that I think about it, I bet Light is of the opinion that if you have nothing to hide, you have nothing to fear, so he probably thinks that anyone who is afraid of Kira would be guilty (but that's another can of worms).

The thing is, sure, fear is a great motivator, but that also effects other parts of your life. Light mentions that people have begun to treat each other better (citation needed, anecdotal evidence?) but consider. If you're afraid of your neighbors snitching on you, you're less likely to want to interact with them. You don't know who you can trust; best not to have any close personal conversations. You might be overly (inauthentically) friendly just to make sure people don't plaster your face on the internet for Kira to judge. Otherwise, you might avoid interaction as much as possible. Lie if you have to, if it preserves your safety. Conform, appear normal, be a good person, try not to draw too much attention.

And this is what gets me the most, because isn't that how Light behaves? He's taking his own fear of people finding out the ugly parts of him and imposing that on everyone else. He essentially standardizes how all the people in the WORLD interact. Can you imagine the impact of Kira's rule on communities, friendships, relationships, families, not to mention diplomatic relationships and politics?? Light is singlehandedly breaking down the networks between people.

And the fact that HE is the one doing this is just so fascinating. I'm under the impression that Light believes he's actually doing something good for the world, but what he can't see is that he's actually vaporizing something so vital to society - the genuine connections we need to survive and lead fulfilling lives. And because that's not something he's really, honestly experienced, he doesn't even realize what he's doing. He wouldn't get it anyway.

[for-lovely-things]

Do i have a lot of thoughts regarding lore after playing veilguard (and replaying inquisition now)

Literally everyone tells the inquisitor that he's herald of andraste and even if he thinks he isn't he essentially has to lie to keep up the reputation and you just gotta start believing that lie yourself eventually

[gooch-cancer]

i feel like the infantilization of lisa throughout the movie was very very real. coming from someone who did deal with being outcasted due to their oddness and mental instability i did deal often with my peers treating me like i was younger than them, acting like i wasn't smart and i saw myself in lisa during those moments. for example, michael and doug calling lisa "kid" or "kiddo" when talking to her or her dad not taking her seriously when showing obvious signs that things are getting worse for her. i often see the adults treating her like a misbehaving child who wants attention instead of a person going through a very rough time in life. they only cared when she passed away. something about the only good victim being a dead one etc.

[vigilskept]

i just want to say i saw your tags and i do agree with most of them!! i just think we also cannot overlook the role of racism in that, because of how many of those people who walked away with more attachment to assan than davrin talk about that exact sacrifice. it is a recurring problem in the dragon age fandom that many other players do not LOOK for depth in Black characters, then complain about its absence. So I am much less generous about it personally! But thank you for your thoughts, they were interesting to read. (Sending as an ask cause I don't want to reblog and make a whole post about it in case anyone gets aggressive, feel free to answer me privately if you want too at all - no worries about doing so! But I made the post partially because of my major frustration with how racist a lot of people were being about davrin and that choice, so it was something I took into consideration while writing the thing up)

i do know what you mean, fandom has been terrible with reading any depth into characters of colour in this franchise... there's a tendency to assume they have no more complexity than whatever image of themselves they're projecting outward (see: zev, bela, vivienne)

and based a lot of the discourse around wyll in bg3 over the last couple of years, i don't think we've seen much change in fandom when it comes to this. it's still a big issue, and that kind of bias (consciously or not) factors into how a lot of people have been interpreting davrin's character/arc for sure

i just think that the writing also plays into this a little

that first scene where you welcome him into the lighthouse struck me as particularly off because davrin's literally just lost two friends in the wardens before joining us and we don't even get the option to ask him how he's feeling. the whole conversation is about assan, the grey wardens and the griffons

now assan's isolation from his siblings is being deliberately paralleled with davrin's isolation from his clan (and now the wardens), but on it's face this conversation comes off as though rook is more interested in the griffons than in davrin. especially when you compare it with the other early-game lighthouse conversations! just 1 more dialogue where you actually get to check in on davrin could've mitigated that, if only a little

the heart of davrin's quest isn't buried between a dozen layers of metaphor or anything, it's not hard to find the parallels with assan when you put some time/thought into it. but the writing elsewhere in veilguard is so unsubtle, and the opportunities to talk to davrin directly about himself are so much fewer that it becomes much easier to write off his character than the other companions...

[carrioncider]

bastard's box more like bastard's Ball

[danishphoner]

personal lyric analysis series (3/?): i ain’t quite where i think i am - arctic monkeys

[if-you-heart]

A small ramble on Canon vs Fanon, alternatively titled; Hey! You’re part of the “Fanon”! Now what?

I’ve been thinking about this a lot as of recent, I just haven’t had the time to properly jot my thoughts down. I like to put a generous distance between myself and the fanbase that comes with basically any piece of media I get into, and this also goes for the fandom that’s been built around CCCC and the rest of Chonny Jash’s albums. Don’t get me wrong, there are some lovely people here from whom I’ve interacted with (and from how far I’ve been willing to stick my head out of my own little crevice in this place), but I’ve noticed that, unfortunately, this album isn’t free from what’s been happening in more “recent” fandoms.

This isn’t me stoning anyone specifically. This is purely a generalized observation I’ve made during the (checks calendar) 8 or so months I’ve been floating around this space. same goes for every other fandom I check in on.

One of the biggest things l've come to notice the most is how the line between "canon" and "fanon" seems to be blurring more and more each day. Especially here. CCCC is first and foremost an album covering another album. Things are not explicitly narrated like a storyline you'd see in a movie or something. That doesn't mean there isn't a story to be told, but a lot of it is more up the air than most media out there right now. To my knowledge, certain events/incidents that appear to be a staple in many interpretations that I’ve seen (including my own!) only exist because of how the fanbase perceived the narration inside the songs. Which in of itself isn’t a bad thing at all— I’ve seen some really creative stuff from artists who connect to the album purely for how it describes the struggles of mental health and simply being in a bad place.

HOWEVER. There comes a point where I think it’s necessary that a line be drawn..! I’m mostly talking about the ridiculous amount of gore and torture I’ve seen in the depths here.

I have absolutely nothing against gore by itself. I’m a Resident Evil fan of all things. it does not bother me. However, there is one crucial thing to keep in mind when indulging in media of varying… maturity ratings. And that is that there is a TIME and a PLACE where such content should be the main focus in fanmade work. For example, there is a lot of fanart and writing surrounding the topic of absolutely horrific levels of torture here. Which is very disconcerting to me! Because there is nothing, and I mean NOTHING whatsoever in any of these songs that even imply the idea of, say, soul beating heart and mind with a long sock filled with quarters (pretend that example is some jigsaw level torture scenario or something because I ain’t typing allat). There’s already a lot of dark themes in the album. Why we stackin em now? Are we listening to the same album??

And I’m not talking about this just because I went “oh…that’s gore of my comfort character.” a couple dozen times now. I sincerely think that a lot of people sort of forgot that this album is a vent album. Made by a real guy. Venting about his own poor mental health. It’s great that people can connect to the characters in CCCC because they may feel the same way that they do, but I don’t think anyone would appreciate seeing the characters they constructed to express the nuance of mental health and coming to accept every part of themselves absolutely mauling each other like bloodlusted gorillas. It kinda takes away from the point of self acceptance at the end of the album if you ask me.

This does not mean every single part of the fandom is bad. not at all. There just happens to be a lot of bizarre shit here. however, just because you may not agree with these more violent interpretations does not mean you aren’t a part of the “fanon”. I think a lot of people try to vehemently deny that they fall under the fanon category (and denounce it altogether) because of the negativity surrounding the term fanon now. But truth be told, if you’ve made your own fan interpretation/au with a storyline based off of the songs, with creative liberties taken, you are part of the fanon group. This is not always a bad thing! In fact it’s better to embrace this so newer fans who are getting into CCCC and such don’t immediately think certain fanmade events/headcanons are real things that occur in the album. Because it eventually turns into a game of telephone for those who do not communicate that these aren’t canon, and then we’re back at square one.

I’m by no means the headcanon police. Do whatever the hell you want. Just be courteous and mindful about what you’re putting out there maybe.

Moral of the story, maybe listen to the album all the way through a couple more times. And please, do NOT trust genius lyric annotations, I am BEGGING you.