#i'm trying so hard to write an essay

[jonasiegenthaler]

"I mean, people just figure your pp out at some point"

[aroaceleovaldez]

reminder that the only reason the "ADHD is actually demigod BATTLE STRATEGIES" and "dyslexia is DEMIGOD BRAINS HARDWIRED FOR ANCIENT GREEK" things exist in the PJO universe is because it's a very direct reference to early 2000s teaching/parenting techniques for neurodiverse and disabled children, which aimed to frame childrens' disabilities and hardships as a "superpower" or strength so that the children would feel more positively about their disabilities or situations. This technique has fallen out of favor since then for the most part since more often than not it just results in kids feeling as though their struggles are not being seen or taken seriously.

Yes, demigods are adhd/dyslexic (and sometimes autistic-coded) in the series. This is extremely important and trying to remove it or not acknowledge it makes the entire series fall apart because it is such a core concept. Yes, canon claims that their adhd/dyslexia is tied to some innate abilities, which is based on an outdated methodology. It's important to acknowledge that and understand where it comes from! But please stop trying to apply it to other pantheons in the series like "oh, the romans have dyscalculia because of roman numerals!" or "the norse demigods have dysgraphia for reasons!" - it's distasteful at best.

A better option is to acknowledge the meta inspiration for why that exists in the series, such as explaining potentially that Chiron was utilizing that same teaching methodology to try and help demigods feel more comfortable with their disabilities and they aren't literal powers. In fact, especially given Frank, there's implication that being adhd/dyslexic isn't a guaranteed demigod trait, which means it's more likely to be normally inherited from their godly parent/divine ancestor as a general trait, not a power, and further supports the whole "ADHD is battle strategy" thing being non-literal. It also implies the entire greco-roman pantheon in their universe is canonically adhd/dyslexic - and that actually fits very well with the themes of the first series. The entire central conflict of the first series fits perfectly as an allegory about neurodiverse/disabled children and their relationships with their undiagnosed neurodiverse/disabled parents and trying to find solutions together with their shared disability/disabilities that the kid inherited instead of becoming distant from each other (and this makes claiming equivalent to getting a diagnosis which is a fascinating allegory! not to mention the symbolism of demigods inheriting legacies and legends and powers from their parents and everything that comes with that being equivalent to inheriting traits, neurodiversity, and disabilities from your parents).

anyways neurodiversity and disability and the contexts in which the series utilizes representation of those experiences particularly during the 2000s symbolically within the narrative is incredibly important to the first series and the understanding of what themes it means to represent. also if i see one more "the romans have dyscalculia instead of dyslexia" post in 2023 i'm gonna walk into the ocean.

[catboydan]

my very specific prediction for the upcoming AITA video: he'll open by explaining that last week on the gaming channel he had an 'AITA' moment himself [insert clips from the dan eye incident here]

then he'll lead into the vid by saying something like "and that inspired me to ask you all for your 'am I the hole' moments", and only then will he bring up that this time, he asked for specifically dating/love-related stories, leaving us to piece together that the intro is a dating/love related story via the maxim of relevance

[lightningidle]

Fig's line "I don't think I'm an artist, I think I'm just a good friend" has not left my head at all. Just...

You're Fig Faeth and your horns came in over the summer and you pick up the bard class as a form of adolescent rock 'n' roll rebellion, and it works! It's exactly the outlet you need! You give a guy you just met drumsticks and you start a band and it's good enough that within a year and a half you're touring. You are, in every sense, good at being a bard.

And then, finally, your junior year, you start to take it seriously. Your art goes from an outlet and a form of rebellion to a practice. A discipline. (Can rebellion exist within a discipline?) Your classmates know what they want to do with their work. They all have a thesis statement. And yeah, there's cohesion in the music you make, but you've never had to think about why you make it. You've never sat down and dissected what it is about bass that speaks to you. You've never poured over your lyrics to pick at any deeper meaning. Why should you? You don't play music for a grand design, you do it to... huh, why do you do it?

(Your art is the one form of self-expression that feels as safe as Disguise Self does, because even if you're pouring your heart onto the page and then screaming it in front of thousands of people, it's not like you're really making yourself known. You can sing I'm lonely, I'm scared, I'm furious, and your fans will sing it right back, and there will still be the distance between performer and audience to keep your heart safe.)

Now you're being asked to look inward to explain the artistic choices you're making, and you can't help but recoil at that, because you'd rather do anything than look inward. Meanwhile, your classmates have no problem with it, so you start to wonder if you're a real artist at all. Can your art be authentic if it only exists to bolster a thesis statement? Has your art been unauthentic this whole time because you've never really thought about a thesis statement before? Is that what makes it art, and not just the next track on somebody's teen angst playlist?

You can't think about yourself— acknowledging your own existence makes you want to puke. So if your music is an extension of yourself, (and it is, even if it's just because the spotlight reveals only what you want it to,) you can't think about your music. You can't. You have to. Your grade depends on it.

You're Fig Faeth, and you keep multiclassing because you'd rather be a good friend than a great artist. If introspection is what great art demands, then fuck it. You must not be a bard at all.

[pyjamacryptid]

I'm currently rewatching the dark tower for reasons (fic reasons), and when Gwen said "Morgana's enchanted it to protect me," it rang an alarm bell, this time 'round.

"[...]to protect me."

hm. huh. you don't say. interesting. As in, the knights are the enemy not the rescuers? hm. curious.

Maybe I'm reading too much into it (i mean, hey, that's the fun of it), but that choice of language stood out to me.

[bleue-flora]

idk if this is the correct place but i wanted to talk a bit about this and wanted to see you opinion bc I like you analisys on canon a lot.

A big question people have with the lore about cstagedduo it's that if cpunz actually cared for cdream or not- The same with crivals after prison break but that's for another day- and if cpunz would have helped cdream out the prison if he took too long.

I personally think it's a more grey anwser. We know cpunz cares, yeah they are small moments but he does care for cdream. He wouldnt be defensive over the fact they are friends in the ending and let cdream speak to ctommy without protesting to him and still be worried he and cdream both escape the nuke together if he didnt care for him. But it is true he left cdream make his crazy plan of making everyone hate him and insolating himself for god knows how much time they expected the imprisionment to last. And that he left cdream alone a lot in the prison after the prison break while everyone on the server wanted him death. But i think this is more of a fucked up vision cpunz has than signs of lack of care. He cares about cdream but he also trusts his plan is working and he can handle himself just fine and that he's totally not in a bad mental state. He's also on board with the plan so of course if he wants to recolect knowledge and power and trust his friend to know what he is doing, he will in favor of this even if we know as viewers this is a bad idea in all aspects.

Cpunz has flaws as a friend and characther but I do think he cares about cdream. It would have sense if he didnt for me. At the end there's lots of friendships that are pretty grey and imperfect on the dsmp, Like c!clingyduo exist

As far as the prison goes, it is hard to say. How long would have been too long? And how did he not know about Quackity’s torture when it was’t like he was trying to hide it or anything. I think it comes down to trust. Specifically, Punz’s trust and faith in Dream. I’ve talked about it before, but in the stream we get of the two by themselves, Dream is filling Punz in on his plans, but not all of it. Just enough for Punz to understand what his part to play in it is. So, I don’t think Punz really knew what Dream was subjecting himself to, not to mention that things did not go as planned. Sure, while Dream considered all the possible things that could go wrong, like losing two lives and someone coming to torture him, that doesn’t mean Punz knew that and allowed Dream to go through with it. I feel like the perception a lot of times with Punz is that he is like a viking helping an older person up a mountain only to have him jump off. I think we give Punz too much credit to say he saw the big picture just because Dream did. I more so get the impression that he’s by Dream’s side and helping him climb or go wherever he needs to go not necessarily focused on where they are going, because he believes in what Dream believes, he wants what Dream wants, and be trusts Dream as his friend, who is clever and has never given him reason to question him before. 

Because of this trust, there is also an element of betrayal. If he pulls the plug and makes plans to rescue him from prison, he is going against Dream, he is doubting him. If he makes a move to end things without Dream’s support, he is expressing that he doesn’t believe in Dream and not only does that seem like something Punz would not want to risk, but also the reason he looks so bad is because of the conditions of the prison. But see, I don’t think he got to see it before Dream’s incarceration, so he isn’t aware of how inhumane it is. Sure, he likely heard from Bad, but Punz is probably also aware that Dream could be just manipulating Bad so how trust worthy is he. 

We as an outsider perspective can see Dream breaking at the seams, but the other characters certainly aren’t aware of it, so it’s a little unfair to say Punz would either. Dream has been formidable, always prepared, planned out, 10 steps ahead, why would Punz have any reason to doubt Dream in prison? Punz is also one to follow orders, he’s a mercenary after all. You pay him $10 bucks to log off and he will, why would he defy orders, especially if he didn’t know how bad it was. Hell, maybe Dream was supposed to use Ranboo to send a message to Punz if things went wrong, but after Ranboo stopped visiting that was no longer an option, but that Punz necessarily knew about that. So maybe Punz was just sitting on his hands waiting for the go ahead to do something. 

Now after prison, when Dream is such a wreck, is when we see Punz more so go off script. We see him give a passionate, detailed proposition to Purpled (that there’s no way Dream signed off of as it makes him look bad) and we see him reveal he has the revive book to clingy duo and bring Dream back in front of them. Because after prison, when it is revealed just how “south” Dream’s plan went, Punz more takes things into his own hands, especially when it comes to Dream’s well being as Dream can clearly not be trusted to look after that. 

A lot of people seem to get the impression that they did not spend a lot of time together, but see I don’t think that’s true. For starters, there is the "we" in this [clip] where it seems to me that Punz is helping to lead them to the saw trap room almost like he helped make it. Secondly, according to the map [post], placing Vik and Lazar’s experiments after prison this leads us to figure they at least spend a lot of time working together on that. If Dream is to be believed in the finale, months even. And Punz’s protective behavior seen no clearly than this moment [post] makes me more so inclined to believe Punz doesn’t leave him alone for long, especially with everyone out to kill him. I mean he can’t stay at the prison full time, he still has a cover to maintain, but just because he’s in his house in the finale, I don’t think means he kept his distance from Dream, especially after everything with Las Nevadas.

Then as far as the plan goes, we really don’t know even what it is, nonetheless if Punz fought against it. I think Punz stayed by his side and he had the same goals as Dream and they did things together, but that doesn’t mean that he trusted Dream fully after prison or didn’t push back on Dream’s self destruction or that if they survived the nuke that he would continue the plan without Dream. Like I mean this in the nicest way possible, but Punz to me seems to be more so a follower, akin to Tubbo, loyal even if maybe they should hold their friend back from doing something stupid (except Dream is a liar and good at making his stupid seem smart lol making the situation worse). Punz isn’t like Techno, who will call out Dream’s bs, he isn’t the mastermind or thinking 10 steps ahead or seeing the big picture, he’s following Dream who does. He and Dream have been friends from the start, he and Dream want the same things, and he trusts and believes in Dream...

And yes, I think this is apart of what makes their friendship flawed, unbalanced, and tragic, but as you said, so are the other friendships on the dsmp and honestly, so are friendships in real life...

(anyways... I've talked a lot about staged duo, so if I didn't say or explain it here I may have said it somewhere else like in one these other posts: [<> <> <> <> <>] though their dynamic has been shifting in my brain a bit since noticing the map so...)

[iamthepulta]

i did it u_u

[bisolationist]

I love bi people I love bi people so much but I can't see this topic coming up every day in the course of looking at bi blogs. I feel so fucking insane rn and I'm probably being at least partly unreasonable but fuck it's just EVERY DAY now.

[octoagentmiles]

Try list any Octo-Agents and think of an Episode you Think give them a Shining Moment

W O O F this took a while– I was thinking long and hard about this because there are SO MANY good moments and episodes 😅, and so many agents– it was difficult, but I’m happy with my answers 👀

Ranger Marsh’s Shine Episode is definitely The Monitor Lizards. I LOVE this episode, it’s one of my favourites in the whole series so far—not just because of the events in it, but as a concept. I LOVE the callback to the Great Swamp Search!! I watched the 2nd season blind, and seeing all these familiar faces was SUCH a fun surprise. It’s good for Ranger Marsh as a character, because it actually shows him doing his job as a Ranger, not as an Octo-Agent. It also reinforces the fact that he truly cares for and is friends with these creatures, even if they are invasive, and that he's willing to travel to check in on them. This is another episode that also proves (to me) that the writers know they’re dealing with an older audience for the show, and are more likely to delve into solid lore and continuity. This episode makes me really hopeful for more of that.

Natquik’s Shine Episode, WITHOUT QUESTION, is The Red Fox. Honestly I feel like I don’t need to explain why, but I will because I like talking ✨: Natquik is my favourite Octo-Agent, but overall we haven’t actually gotten that many episodes dedicated to him yet. The Red Fox gives us a close and personal look into what Natquik is like by himself (I love episodes where characters are alone 👀), how he deals with problems (by ignoring them until they get worse—which is interesting... *stares at Barnacles*...), and even hints toward his family, by showing us his family portraits, and leaving us wondering, “Where are they?” – There are so many moments I love in this episode, from when he first discovers the kits, decides to help them stay warm, rushes to protect Barnacles, to his bittersweet goodbye at the end. It’s all so perfect.

Tracker absolutely shines in The Missing Lake. Honestly, he shines a LOT in Above and Beyond, considering he never got his own episode in the main series, and was only in Operation Deep Freeze for two scenes. AnB has been really good to Tracker, and I’m so grateful they decided to make him an Agent. The Missing Lake sticks out to me the most, because for the most part he is by himself (and I’ve already mentioned my love for that <3), and unlike all his other episodes, we get to really see him be responsible and use his Polar Scout skills in action. He’s often portrayed as a follower, who just goes along with whatever he's told to do, but he takes charge twice in this episode: when he offers to help Rowan, and when he stays behind to save Buck. Love that for him.

Calico Jack. Ohhhhhhhhhhhhhh, Calico Jack....... I could talk forever about this funky old cat man. He doesn’t just shine, he GLOWS in every episode he’s in—but alas, for the sake of this post I will be focusing on The Harlequin Duck. I love the showing of his gentle parental instincts in this episode, and his singing; since we know he canonically has a theme song, that I headcanon he wrote himself. I think far too much, and often, about how he legit panicked when he realized the egg was missing. How his first instinct was to hide that fact from Captain Barnacles. He was terrified, having a full blown panic attack on screen. He apologizes to the mother duck with such genuine solace, and promises to get it back “On [his] honour as a pirate!” ...Which is extremely significant to me, considering Kwazii was the first character to EVER say the phrase: “On me honour as an Octonaut!” in The Flying Fish after Inkling’s book was lost – and of course as a final touch, I adore seeing him work with Pete to get the egg back. The way he tosses the egg in the air, fully trusting that Pete will catch it... they’re so in sync, just as pirate and parrot are meant to be ;)

Paani... I feel like there’s so much more to him than what we’ve seen so far, it almost feels unfair to assign him a “Shine Episode”. So, instead of highlighting a single episode, I’ll quickly talk about three that stick out (PS: you might sense a theme 🤣):

The Barnacle Geese - Uncle Paani. I like the “I’ll be my own uncle” joke, and the Edgar Allen Poe reference. I think Paani’s determination to help the chick (who doesn’t seem to want help) is nice to watch, and helps to prove his worthiness as an Agent—which is always fun considering his hesitance when Barnacles tried to recruit him in S1E1. In a way, this episode also makes Paani seem more like Barnacles. See my old post analyzing the show’s intro. (*Stares at the episode title* 👁️👁️)

The Arabian Camels - Take a shot of cocoa every time I mention my love for episodes where characters are forced to be by themselves. This one is especially interesting to me though, because we know that Paani was alone, for a very long time, before he met the Octonauts. He has no trouble working and getting by alone, and we get to see him exhibiting that, while being out of his element (a dry desert) at the same time; and that’s really cool.

The Lonely Frog - ...Y’know how they constantly make the Octonauts/Agents meet creatures with similar issues to them? Yeah. *Stares at the episode title.* *Stares at the end scene where he says “Kinda like when I met you guys!” before obnoxiously jumping into the lake, in response to Shellington+Peso saying “They never even knew each other existed before! [...] and now it’s like they’ve known each other all their lives!”* *STARES MORE AT THE EPISODE TITLE,,* *wonders how long Paani was actually alone before becoming an Agent...*

Pinto, where art thou? He wasn’t in S2 at all, which was a bit disappointing since we just saw him get an Octowatch in S1. I would’ve expected him to be pressing that button every chance he got, giving us a “Penguin who cried Octoalert” episode. But anyway,, The Curious Penguin is the PERFECT episode for Pinto. It shows his personality really well, and I love how his distractions and the things he learns and discovers help him to save the day in the end. I think Pinto (just like Kwazii) is a good portrayal of ADHD, and how he just needs to be in the right environment to succeed. Each time Pinto messes up or loses focus, isn’t because he was left alone and couldn’t be trusted—it’s because he was left alone and understimulated. So when he’s thrown into a sudden high-stakes situation, all of his focus hones in on the moment, and he’s able to save Dashi and Paani by himself.

AND, because you didn’t say it had to be an Above and Beyond moment, I want to throw some love at The Oarfish episode from the main series. In this episode, Pinto no longer views Peso as “less” than an Octonaut, and is so excited to watch him do his job—it’s really cute!! His impulsivity is once again a positive thing—granted, it seems to annoy Peso a little, but when you think about it he kinda saved the day by being impulsive. He sounded the Octoalert without permission, which let the captain know to come back before their radio signal cut out, and by being unafraid of the “monster” and swimming outside, he was able to discover what the problem was so that Peso could help. He did good.

Pearl.... I love Pearl a lot, but I can’t think of one specific episode that comes to mind for her. I love The Pupfish because it introduces Peri to AnB, and I love how he teaches her how to tie a knot, so she can save the algae (and Glen). I like The Bison episode because it’s interesting watching her not doing something with algae for once, and The Pink Glacier because her and Kwazii’s dynamic was something I didn’t know I needed, but now I want more of (/p).

Ryla. Possibly controversial opinion: I liked Ryla in The Caves of Sac Actun, more than I like her now in Above and Beyond. I know she’s only gotten 3 episodes so far, but she’s really missing something. Sac Actun gave us lore on her right off the bat: she’s old friends with Dashi, she’s a skilled cave explorer, she’s spunky, she’s purple. AnB hasn’t given us much yet. So far her only shtick is caves, and that’s getting a bit repetitive. Consider every moment she has in Sac Actun as her “Shining Moment”, because honestly that whole movie is a 10/10.

Koshi,,,, she hasn't gotten that much yet, but I'm gonna say The Longfin Eels is her Shine Episode. I like the way she narrates the whole episode, because it's very in-character. Plus we know she’s literally writing about this adventure in her diary as she's telling it, as if it were a mystery book. She reminds me of narrators from 1920s film noirs, and that’s cool. Also! Honorary mention of the scene when she gets her Octowatch: I loved that for her <3

Min is below the cut, because my answer for her includes some very heavy SEASON 5 SPOILERS, including SCREENSHOTS:

All of Min's appearances so far are dear to my heart. However, my favourite has to be her own introductory episode: The Giant Chinese Salamander.

The Rainforest Rescue is another amazing episode for Min—she’s a wonderful character on her own, of course—but I think we can all agree that she and Inkling are very adorable together (no matter how you interpret their relationship).

When Above and Beyond aired on Netflix, there was a lot of confusion around Min, from the younger audience and other fans who hadn’t seen S5. The Giant Chinese Salamander introduces Min with a 20-minute special; showing her in high-stakes action with Kwazii, bonding with the Octonauts, being an all-around Cool Person™, and a flashback of how she met Inkling when they were younger.

She saved his life. He was thrown far inland by a rough storm, and was trapped until she found him. I honestly headcanon that Min partially (if not outright) inspired Inkling to form the Octonauts, and this moment could have literally sealed the fate of EVERYTHING we know.

But! Until S5 comes out, that's all I've got to say~ 👋💝

[muffinrag]

sometimes alan alda writes really well. sometimes he writes the silliest oc fanfiction i've ever seen in my life

[cangrellesteponme]

hhhhhhhhhh now i want to talk about fandom and 'girlboss' characters and my beloved grelle but. idk if i have the energy for that discussion

[sunfollows]

what makes a sunflower a sunflower? a brief post on symbolism, aesthetics, & harper yi.

sunflowers are, honestly, literally everywhere on my blog, as i'm sure everyone has noticed by now. i have the lyrics to sunflower by allie x all over my carrd and in my tags, but i wanted to do a post explaining why i associate harper with sunflowers, and what this imagery means for him.

young sunflowers are heliotropes, meaning they follow the sun across the sky. mature sunflowers, however, don't. mature sunflowers point in a fixed position (apparently usually east?) because their growth stops, so they don't really need to anymore. there's a whole scientific process behind this, but this is as deep as i'm going to get into the actual science of the circadian rhythm of flowers. this post is about harper! more under the cut because i totally rambled while writing this.

so, why is he a sunflower? they're his favorite flower, for one, and he thinks there's nothing like a sunflower bouquet in the summer to brighten up his apartment. but more than that, there's something kind of poetic about them, isn't there? young sunflowers chasing after the sun, following something they'll never reach? it's in their very nature to follow the sun's warmth, to depend on it, only to let it go and stand on their own once they're old enough.

harper's like that, always chasing the fulfillment others give him and depending on it to get through the day. he builds himself up based on the warmth he receives from his loved ones and uses it to guide himself ... but can he stand on his own? does he want to?

the answer is, ultimately, yes, but ... it's so hard. to be himself. to be alone with himself and stand proudly, and to accept that he's whole and doesn't need the crutch of approval to be who he is. to accept that he's grown up and can thrive in the sun without depending on it and feeling worthwhile is so ... hard. it's about self-love and growth, really, and the idea that he can overcome his hardships and be something worth caring about. worth loving.

there's also the layer that comes from the lyrics i love to use everywhere: i'm a sunflower, a little funny / if i was a rose, maybe you'd want me. roses are beautiful, and everyone loves them. they're the perfect image of romance and they're the right flower for any occasion. he feels like a sunflower in a world of roses. it's not to say that sunflowers aren't beautiful, or that people don't like them, but they're different. not as loved as roses. they're just distinctly different, and, in harper's case, he doesn't see that as a good thing.

he's so deeply tired of being different, of not being enough for everyone. his otherness is what keeps him feeling like he'll never be able to stand alone. he's stuck trying to be something he's not to make other people love him. and what for? why does he want other people to love the image he's created instead of wanting them to love the authentic him? he goes to so much effort to erase his differences and be what he thinks he should be. if you can have a bouquet of the most perfect red roses, why would you want a silly little sunflower that can't do anything outside of the sun?

all of this is to say that harper is, at his core, a character whose arc is about growth. his ultimate goal is to grow into himself and not need the sun to thrive, even if he enjoys the warmth. it's about realizing that he, like a sunflower, is beautiful and loved, even if he's not quite the standard he sees other people meeting.

one day he'll be kinder to himself, but for now he's going to keep following the sun.

[will-o-wips]

It is 4 am. I'm staring at the ceiling of my bedroom, coincidentally having my phone right in my line of sight, and write this with the exasperation and intense focus that I probably won't ever have again. I'm about to attempt to make any sort of sense of the latest Hayao Miyazaki movie, The Boy and the Heron (or rather, How do you live? in Japanese), that I watched for the first time in theatres a day ago.

I cannot claim to be right, or to know everything about this movie. Actually acclaimed critics and people with obviously more braincells than me have probably better takes than I do. But I must speak, lest the insanity truly take over my brain, lest I really end up combusting because of how much I want to talk about this.

Prepare yourselves for the most incoherent train of thought and line of consciousness you will ever experience.

FILLED WITH SPOILERS READ AT YOUR OWN RISK. YOU WILL NOT UNDERSTAND UNLESS YOU HAVE SEEN THE MOVIE.

Before I start with my actual thoughts, however, I'll state my personal feelings about the movie, because I feel that matters too, and this is my post anyway so! But I personally left the cinema feeling somewhat mellow. I was not insane about it yet. It was,,, "meh". The impression of the ride was great; I was giggling along with the funny and even sometimes not purposefully funny moments, I enjoyed the animation to the point I would genuinely flap my hands in excitement at how good it was, I understood the story in great lines by noticing small details and going "oh so does this mean x?". But I did not cry. Not a single tear during or after or before the movie. I did not waver with my opinion on it as I rambled about it to my friends online and irl, much to their annoyance. I did not hesitate when I put it in my silly little Studio Ghibli movie tierlist maker that I update whenever I watch another one of these films together with my friends, categorized (in)discreetly under "all vibes no plot but there's a witch/wizard". I still don't, in fact.

So, given all of this, you'd probably say that I disliked the movie. That I would not have so much to say about it, after doing my mandatory ramble and update. Wrong. I still have more to say, somehow.

Despite that, I didn't rewatch the movie itself. I read an entirety of one (1) review of it, together with one (1) random video essay of 8 or so minutes, covering the basics of it. I reblogged one (1) post about its protagonist on tumblr and otherwise kinda read through the rest of the posts on here. I did not re-experience or re-examine this movie again. I cannot (again) accurately reference anything besides that what I vaguely remember from watching it a day or two ago. It's not playing anywhere near me anymore/not out anywhere else yet, so really, I don't even know what possessed me to write about this, or even say anything. The most fascinating thing (to probably all of us here) is; what made me change my mind about it?

It might've been the review on IndieWire. David Ehrlich and his well-written review, bringing things into much needed context as to why this movie was created. It could've been the fact that I've actively processed the movie better, now a little bit of time has passed. [Honestly it deserves a second watch/view for something more concrete, but I'm repeating myself with this, you get it.]

But I don't even really understand it myself. I felt and still feel so detached from this movie in a sense. I appreciate the artistry that went into it, and I adore the way it simply tells the story and leaves it up to interpretation. It references every single film Hayao Miyazaki has ever made before, and elements of other Ghibli films can probably be found in there too, if you looked hard enough. The vibes were similar to those of Spirited Away, and Howl's Moving Castle, given how inexplicably fantastical the world was. It just existed and breathed, and we as the audience jumped straight into it. We never got more exposition than what was needed; honestly I have a feeling that the second half of the movie was the vaguest piece of media I have ever consumed in my life. But it also had this perfect balance of the more drama-focused Ghibli films. The Boy and the Heron, in my opinion, is like the golden middle between reality and fantasy, both in terms of its narrative as well as comparison between other Ghibli movies.

This might also be the reason why I felt confused. The lines between reality and fantasy were so effortlessly blurred, that you could only process a singular picture. And when things are vague to me, I constantly need to pick them apart and analyse them, simply to satisfy my own curiosity.

The moment before I stepped into the movie theatre, my friend who watched along with me told me they heard it was a film about grief. I nodded along and said "yeah, okay, that just means it's another one of many Hayao Miyazaki and Ghibli films. Most of them are about some kind of loss, and dealing with it, either way." I sat down together with them; row 9, chairs 17 and 18, with my two bottles of water (one carbonated, one stilled) and the bag of terribly sour packaged chocolate pretzels I bought at the theatre itself. Horribly overpriced for the quality, I must say. My friend held onto the popcorn, and we sat through the ads, talking and laughing, anticipating something that was supposed to blow us away.

I cannot speak for my friend, but I think they really liked the movie regardless. They didn't cry at it either, even though we both know of each other that we always cry at such things. Somehow this movie evoked a certain stillness in us both; a stalemate between emotions and confusion. Maybe delayed processing. Maybe something else entirely. We both, or at least I, hid it until later.

It was midnight, and right before we stepped on our train home, I was excitedly going on about the references and animation, the things I did appreciate. I bragged a bit about how I recognized Kenshi Yonezu's voice in the final credit song that we didn't get to listen to entirely, because it was so late and we had to rush to get home. They laughed at me and told me to take some time to actively formulate any coherent thoughts on it. I disagreed (lovingly and jokingly of course), and we left it at that.

In the train itself, the same high dimmed into a simmer, the excitement replaced with contemplation, and I kept talking.

I told them: "I believe that this truly is his last film. This felt like a goodbye." And in return, they replied: "It's crazy how this is the last time we'll ever get to live in such a moment. The release of the final Ghibli movie in theatres.

"I'm glad we got to go."

I was too.

I got home, rambled about the intrinsic way The Boy and the Heron referenced other Ghibli movies to my online friends who had yet to see it. Followed by a heated tangent about how When Marnie Was There truly could have had better direction in regards to the narrative, as well as how Only Yesterday was the most boring out of all Ghibli movies. It was a nice night. I didn't think about the movie again.

The following morning, I contacted other friends, who told me about how Robert Pattison voiced the Heron in the English dub, which I hadn't seen or heard at all. He did a great job, judging by the trailer. This led me to another opinion, namely the video essay (I will try to find it and put it in the notes later if you are curious), which claimed something similar to this (of course, paraphrased):

"This is a farewell. The one true movie to tie such an expansive career. It is another movie where you are allowed to explore the magical together with the main character, while sticking close to the processing of it all."

The review I read said it was a swan-song, that it was the question and title of the movie in Japanese, posed at us, after The Wind Rises left it open to interpretation at the end of its run. That this was a story about the legacy that Miyazaki is leaving behind, how reality and fantasy coexist together, possibly influencing each other (not explicitly said but what I interpreted that review saying, so no this is also not completely like this).

Other tumblr posts I've seen on here say it was a film most likely dedicated to his son, Goro Miyazaki. That it was a gentle "I'm sorry, the shadow I leave behind is huge. I know that you will try and fail to fill it. It's okay; you don't have to. You can leave it behind. It's alright if this legacy dies with me."

Some other sources I've seen compare the main protagonist to Miyazaki himself, trying to grapple with the ending.

Yet somehow, all of these interpretations seem to fail to explain the entirety of this movie. The bigger picture if you will. These themes and moments and interpretations are not wrong, but to me, they're not satisfying enough.

Because maybe I am the only one who actually was insane about this moment, but I will never forget the delivery room scene between Mahito and Natsuko. How Himi addresses the magic stone, pleading to let the two go, saying "Natsuko and the boy who is to be her son". (Again, paraphrased, I cannot remember the exact line.) Maybe I am the only one who witnessed the whimsical fire witch and the going back in time plots and the fact that a younger Kiriko and Himi were there, already part of an ecosystem. How we already know from the other grannies in the house that Mahito's mother disappeared once for a whole year into the tower, and then came back the same as before. How the pelicans were BROUGHT there, that they did not belong there, and yet were forgetting how to fly. How they ate the Warawara, these creatures that were rising above to be born in the upper world. How the Heron's weakness was his 7th tail feather (or something along those lines), and how the fish and the frogs chanted for Mahito to join them in the tower. That the great-great-uncle was hoping for Mahito to succeed him and build a new tower, yet the king of the parakeets butted in and haphazardly did the job, resulting in it immediately toppling over, as well as the stones getting cut.

I think about the final scene where the Heron says "It's best to forget. Do you have any keepsakes?" And Mahito shows not only older Kiriko's figure, but also a piece of the stone paths they walked upon in order to get to the centre, the beating heart, the magic stone and his great-great-uncle.

How this is taking place during a war, that the timeline goes from his mothers death that Mahito cannot get over, to the welcoming of his stepmother and his new younger sibling. Them moving back to Tokyo. The way the tower completely collapsed. Completely and utterly collapsed and perished; not even a trace of it left behind. The way that older Kiriko keeps yelling it is a trap to Mahito in the beginning, but that both he and the Heron know. That it is inevitable to tread this specific path. That he must see for himself, whether his mother is truly alive. The way she both was and wasn't; first a mirage of her older self disappearing into a puddle of water, and second a firey spirit of her younger self coming to help Mahito. The way that he reads and cries at the book she left him, the way he hits himself with a rock after his big fight with his classmates; the way Mahito in general drowns consistently in the beginning of the film. He drowns in the fire that he lost his mother in. He drowns in the mud and the dust when he tries to enter the tower at first. He drowns in his dreams, in his tears, drowns right into his quest to find Natsuko (straight through the floor, by behest of his great-great-uncle), drowns in pelicans trying to eat him, nearly drowns in the actual sea until younger Kiriko fishes him out.

Now these things may seem like me just randomly naming shit that happens in the movie. Hopefully in a slightly poetic way, possibly. I could go on and on about the imagery, truly. But my point is, this movie may have been Miyazaki's last movie, his way of closure, his way of speaking to his son about his legacy, his way of describing the grief of losing his mother (idk if this is autobiographical or not. It very well may have been), yet...

Even so, it doesn't really fit the entire picture. It feels incomplete. The analyses always focus on the true meaning behind this movie, what happens behind the scenes, this one key climactic moment between Mahito and his great-great-uncle. But that's as if you would ignore the rest of the movie in general. As if the fantastical aspects weren't there to abstractly tell a story besides just being a symbol of closure for the person that directed it.

Personally, this is a tale of rebirth. Of losing yourself, and then rediscovering yourself in a way. I associate it with my own personal loss of my grandfather; the family member I felt closest to out of everyone.

The way you look back at such a traumatic stage in your life, something that irrevocably changed you for good, something that you probably don't ever want to relive again, but also mustn't forget. The way you instinctively are afraid to learn about who the person you love and grieve was, before you were in their life.

To this day, I still cannot speak to my mother about whether my grandfather had a favourite song before me forcing him to sing along with my favourites. A favourite book before he read out bedtime stories to me tirelessly. Who the boy in him was, and what wisdom and life lessons he carried on, into his grave, into the hearts of his children.

This movie depicts so much more than just grief, it's so much more than just legacy, even. It directly reflects the way I know I would have felt had I dared to actually see things for myself. If I actually dared to go through my grandfather's old things; the books he wrote and dedicated to me, the books he read when he was young. This movie depicts not how to live, but how to live on.

And the only way to live on is to move forward. To look at the foundations upon which it was built, to evaluate whether you truly want to have this be your burden to carry for the rest of your life. Mahito's abstract grief in regards to his mother, and the solace he finds in the fact that he at least knew who she was; that he at least had her in his life as both his mother and the girl that his stepmother knew, that at the very least he knows his mother would do it all over again, if she could. That despite everything, she did not regret a thing, and that she was not afraid. That somewhere, in the past, she lives on, happily marching toward this fate, because she knows that Mahito will be there to meet her again in the future.

And Natsuko, god, she worries relentlessly about whether Mahito will accept her. She worries to the point she yells at him, telling him that she hates him and his existence, because he rejects her so coldly and yet still bothers to show up in front of her during her most vulnerable moments. That he only takes and takes and takes; he steals her cigarettes in order to learn how to sharpen a knife from one of the servants. He uses those techniques to create a bow and arrow, a weapon. He gets into fights at school, he gets gravely injured on the side of his head, leaving a lasting scar.

If I were in her shoes, I would be furious at him too. Especially if he walked straight into the delivery room, trying to drag me out of bed while I was doing my damn best to keep the other child in my belly alive.

That scene, that sheer rage, and the way it ALL FUCKING SUBSIDES the MOMENT Mahito accepts her and calls her mother. The moment Mahito understands that through the literal whirlwind of plasters, things used to tend to wounds, none of those pleasantries/guards will truly allow him to reach her. The way he tries to nurse his own wounds, as well as try to nurse hers, over the loss of their shared connection (Natsuko's older sister, Mahito's biological mother), will NEVER allow him to make a connection with her. By being careful, by being polite, he will never get to be her son.

And he realizes, in that moment, that he wants to.

The magic stone tries to stop this. The magic stone dislikes disruption; dislikes things changing, dislikes breaking traditions (the taboo of entering the delivery room). The parakeets in the tower flourish because they follow the magic stone's whims more or less. They agree to follow its rules, even if it means they are prone to its abuse, because it gives them an advantage, a place to stay. The pelicans have to eat the Warawara, because there is no other food available to them.

The way younger Kiriko says "you reek of death", and how they establish this place is mostly made up of death and dead people. Dead people, or dying people, creatures that are begging to survive another day. Creatures that are begging to be reborn. That want to change, that wish to fly once more.

My mother once gave me a poem dearest to her heart. We have always been a family filled with literature and stories, but my mother was always the best at both writing them and reciting them. She used to read them out to me, back when I was in a particularly bad spot mentally, to the point I could not get out of bed for weeks on end, to try and reach me. She read with the sincerest passion in her voice, a small plea to get me back to the girl I was before.

I cannot explain or remember the poem by heart, but once I was at my true rock bottom, she told me to look it up. A Serbian poem, written by Miroslav Antić (I will add the name of it later), that was about growing up and growing into your own person. It made me weep, for it had a phrase I think I can only translate to this:

"Run and don't look back."

Somehow, whenever I look at all of these birds and creatures in this fantasy world, trying to fly desperately, trying to get to the skies, trying to get to even live, and think about the fact that the only way they can is by leaving this place. That the only way they can fly and survive as themselves is by leaving this tower, this stone, this foundation. By leaving and being born, by leaving and being reborn.

And, after all of this. Somehow I'm not even done yet. I haven't talked about the great-great-uncle in depth, nor the king of the parakeets, nor the heron whatsoever. I have not yet even touched upon what I might think the magic stone is, and the sheer amount of like symbolism I picked apart in my brain because of my insanity.

I'm probably not the only one who noticed these things. But so far I haven't seen anyone actively share these things, so, I will do my best to continue and genuinely wrap it up as best as I can. So that this can also bring the same amount of closure as the movie does.

The magic stone is like a shooting star that came onto the earth. It realizes dreams and worlds of whoever dares to walk into it and claim to own it; like how Mahito's great-great-uncle got obsessed and built a tower around it, caging it, taming it. And yet he still had to play to its whims, consistently making sure his own tower of blocks did not fall, that all of his work did not amount to nothing. Personally, I do believe the great-great-uncle could represent Miyazaki himself. That Miyazaki is trying to express how he built Ghibli and that now it has been going on for so long, and it has become unmanageable to continue upholding it. That it is time to retire.

A thing I find interesting and remember pretty well is the conversation between the parakeet king and the great-great-uncle. How they talked about Mahito's transgression, breaking into the delivery room (side note: he broke in and broke through to Natsuko with his mother's spirit. Mahito became Natsuko's son with the blessing of his mother; with the sheer love she had for him being carried on and through), and how the great-great-uncle says something akin to this:

"It is why I wish for him [Mahito] to succeed me."

"I cannot overlook such a transgression."

I feel this is important. It is key to how the great-great-uncle views Mahito in this. Because Mahito was not sent out on this quest to find Natsuko out of pure selfishness. Sure, his uncle would have wanted him to succeed him, but the entire reason WHY he believed in Mahito to begin with, is the fact that this boy was able to break the foundation and the traditions in the first place. Mahito inherently disobeys from the chosen path. Mahito inherently does not believe the Heron when he says that all herons lie. Mahito doesn't waver when the heron flies straight at him, he doesn't sway when the frogs or the pelicans overwhelm him. Mahito stands firm in who he is, even if he is trying to deal with new circumstances. Mahito inherently goes to places he should not be in (his curiosity for the tower). Mahito has enough power on his own to create a new tower, but only by rebuilding it from scratch.

This ready acceptance that the great-great-uncle has towards Mahito's decision NOT to inherit his legacy, is what makes me believe this is what this movie is supposed to represent. Break away from the old, off into the new. Closure. Moving on.

This is also reflected in the sentiment that Mahito truly DOES move on. He goes back to his family, his father, school, he goes back with Natsuko as his mother and a new younger sibling to Tokyo. He returns there where he came from, but he is not the same anymore. He is reborn into a new Mahito.

And god I feel like I'm repeating myself to death here; I really should have thought about the structure of this, but give me some slack okay. It's like 6:30 am already and I'm still not done, despite continuously writing and labouring at this.

So, the tower that immediately falls apart by someone who always follows the whims of a dream (the parakeet king and the stone respectively). God it is just such a momentTM. Because in the end even this shows that the parakeets, too, even though they by far had it the best in that goddamn tower, had to leave. For they could not build something on their own without learning who they were outside of the already established. Outside of just following the rules and all.

They had to leave, my GODDDDD.

As I'm getting progressively more unhinged, we shall move onto the most unhinged character in this entire fucking movie. The Heron himself. God there's too much to unpack here, really, but the truth is, the Heron was supposed to be the guide to Mahito. The Heron was supposed to be Mahito's biggest, most aggressive enemy, the direct antagonist to Mahito's protagonist. The Heron doesn't want change. The Heron tries to bribe Mahito with the fact that his mother is still alive, that he need only enter the tower, and lose himself to illusions and dreams. That fantasizing about his mother being alive won't only drown him more, that it won't just let Mahito sink into the deepest pits of his despair and anguish about such a death, that losing yourself to the belief that something is there when it is not wouldn't only be counterproductive. The Heron masks himself consistently; he says that all herons lie. He says that he only has one weakness, his own feather, that allows the arrow to automatically target him. In essence, the Heron shot himself in the foot beak. He himself slipped up in his mirage world, and came out to be who he truly was, this weird little man with a huge nose and a conniving demeanour. He adamantly cannot disobey the dream, for then his true nature comes peaking out (a small detail I absolutely love is the fact that the Heron's feathers also disappear out of Mahito's hands when Mahito is called back to reality by the grannies. The grannies protect him in the dream world too, by being his tether and support system while he gets over himself and starts trusting Natsuko). The Heron doesn't WANT to be a guide, for in order to be a guide, you must tell the truth. You'd need to know some facts about the world around you and share this information with the ones seeking guidance. This is how I believe Mahito understood the Heron before we did.

It's not that all herons lie; it's just that this particular one does not want to face the truth/reality.

Another interesting detail: the whole reason why only Mahito was able to cover up the hole in the Heron's beak was reminiscent about how only those that called you out can really patch up your old image. Only those that have poked holes in your false narrative are able to fill them back up again, and even then it is not the same, and even then it will not always be comfortable/reliable.

Either way, the Heron, after this wings partially turn into hands, his true nature, is unable to fly all that well for a while. He relies on Mahito's corkscrew thing in order to relish in his comfort zone of lies again. But throughout the movie, the Heron slowly starts to ignore the corkscrew completely; simply opting to stay in his (frankly, freakish) half gremlin man half heron costume form. The Heron changes because Mahito inspired him to change. Even though his image used to be spotless before, and he tried to deceive Mahito, after a while, he stopped doing that. The mutual trust both Mahito and the Heron had grew. The Heron became a person, although his heron-ness would never go away.

The Heron thus warns Mahito that he should want to forget. That he will forget, either way. That this struggle of his to grapple with the reality of his situation, and the fantasy that he was delving into, will become a far-off memory that Mahito should not revisit. The Heron, I believe, is genuinely trying to look out for Mahito.

"Don't dwell in what you have already overcome. Don't revisit the things you have already outgrown."

And this is where the movie more or less ends. Mahito still keeps that stone, and his mother's book, and he goes back to Tokyo; the only crucial difference is that he has overcome his own grief.

Now, I've said this like a billion times now, but this is the rebirth. This is what I think this movie stands for. What it means, at its core. This is what it means to live; to move on and to cut ties with that what has no place in your life anymore. Miyazaki, I think, is trying to give us closure, a final farewell to Ghibli altogether.

Now I don't know about any speculation that he might come back again, and personally, I don't think it really matters. If he does come back, good for him. I just don't know enough to say anything for sure, so I'll just say I cannot say.

Either way, I think, even though Miyazaki conveyed the need for a new start/a rebirth, he didn't really end on the complete abolishment of all that used to be. You are allowed to keep mementos of it; even though the Heron advises not to. Mahito is allowed to reflect upon this experience, to see it as another stone in his foundation/formation, to say that, yes, the spirit of this change will always stay with me, although it has passed.

Just like how Mahito's mom was someone who returned to the past without regrets. She never came back. She was a spirit that pushed Mahito forward, and he will always remember her, but it's better that she stay a memory than become a fantasy.

This is why I'm so impressed by this movie in general. I'm so thankful that I was able to witness this with a friend of mine. I'm glad that I was able to see this, even though my insanity knows no bounds, and the fact that I didn't even think about any of this until I really sat down to look through the options of interpretations.

I'm so glad I got to go. Now it's time to run towards the future, and never look back.

[mhaccunoval]

i always think i'm normal. and then BOOM. mini series eddie

[vigilskeep]

We've done this for Keir and his companions, how about Minerva and her thoughts on her own companions?

in order of when she picked them up. these are all intended to be roughly how she feels by the end of the game

alistair: minerva’s bitter and frustrated and resentful. and she’d do blood magic in front of every templar in thedas if it was necessary to come to his defence. these are not mutually exclusive

morrigan: a lot of love, a lot of gnawing worry. minerva jumped at the chance of the dark ritual so quickly she’s not sure she thought it through, she’s not sure what consequences morrigan is facing or bringing about, she’s not sure she had the chance to ask if it was truly what morrigan wanted. she misses her

leliana: a friend, but also, faith frightens minerva. and she’s always seeing leliana as lily from the mage origin. sure, you’re my companion and you have a good heart and you love me. when i lose you to the chantry will any of that matter? of course it does matter, leliana didn’t give up the warden’s location to the divine’s investigation, but minerva could never risk abandoning that wariness

sten: a great deal of mutual respect. they understand one another. she takes criticism better from him than she would from anyone else

zevran: it’s still an absurd luxury to her, to be able to love someone, to wear it openly, to not have to hide it in stolen moments under constant threat of separation, the very best she could expect in the circle. she loves him, she thinks the world of him, she would hate nothing more than to trap him beside her and is still stunned every time he chooses to be there. light of her life. let her be a sap about this one thing. the first time he comes to visit vigil’s keep she smiles so much everyone except oghren thinks she’s been possessed

wynne: minerva gets the full preachy weight of all the circle propaganda wynne tries to convince herself of, wynne in response gets all the rebellious vitriol that minerva was never able to say during her time in the circle, it’s not good at all. it’s very bad. i think they both scare each other; minerva sees the compliant circle mage she could’ve become if she’d stayed and wynne sees everything she fears if mages lose themselves to arrogance

shale: genuinely very uncomplicated friendship. minerva is kind of envious of shale, especially early on: openly saying what it thinks, openly hating what it hates. also being a golem which minerva honestly really really enjoyed in the fade lmao. she hopes it finds what it’s looking for

oghren: after overthinking every interaction she has, oghren is honestly just so straightforward to deal with. he’s loyal. he’s a weapon when she needs one. when he’s funny, she has wit enough to joke along and make it funnier, and when he’s not, she’s scary enough to make him shut up. what else do you need in a companion? honestly after awakening, where he’s the only one who knows she’s an ex(ish) blood mage, they’re pretty good friends, and they stick around in each other’s lives enough to be kind of family, given time. especially if the warden encouraging oghren to be in his kid’s life really works, bc i imagine they and minerva’s kid could easily basically grow up like cousins

loghain: nothing upsets minerva more abt loghain than how much they genuinely get along. why does it only truly feel like she’s betrayed alistair when loghain makes a dry comment and she laughs. they work well together, though, and there’s no sense in ruining that. it would be as much a waste as killing him would have been. he does his duty. they’re friends. none of it absolves him, but minerva’s a warden, not a priest. it’s her job to save worlds, not souls

[cisthoughtcrime]

I know this is probably not anything profound and maybe people have already said the same thing... But in regards to you talking about your creative writing struggles, just write it. Yeah maybe it sounds stiff and shitty. Doesn't matter. Just write it. Speaking from experience, if you always let that get in the way you'll never actually write and get better.

So just write it, even if it sucks. That's what editing is for.

This is my weird attempt of encouragement but seriously I really hope you can reach a point where the creativity is flowing freely and you enjoy it :)

thanks for this 💖😄 genuinely encouraging