#kinda feel like i got carried away on two very different things when designing vs writing them?

[pennaddict]

Dia Voulivia.

A character I got incredibly inspired to work on pretty much out of nowhere, with the idea being their design was always clearly very feminine and masculine at all times. Very both. Future work of them would probably have longer eyelashes though, admittedly.

I scrapped together a sort of doc about their actual personality too. It's as messy as the concept work and not entirely finalized, but they have the ability/curse to dissociate from any status effects, and can ignore (not negate) both positive and negative status effects for periods of time (without informing with the other players of course) drawback that they must regularly make unwilling saving throws whenever a dm feels like it, but with a lesser chance of trigger at a higher frequency. One roll for intensity, another for how long (unless interrupted).

Really, this character was never meant to become a PC, but I thought it'd be fun to make it an option. I also think they'd make a fun romantic interest if someone took the chance.

I feel it's a character that needs more development, but is definitely fun to play with as a concept? Definitely worried I have some serious gaps in my knowlege of themes I started approaching with this character, so if you have something to say about it feel free to let me know. Art and writing is definitely a way to explore ideas and knowlege and concepts in my head. I love developing both as a person and therefore as any type of creator, so if you know something I don't, I'm probably interested in hearing about it.

Here's the link to the actual file!

https://docs.google.com/document/d/1qt7t08mqYxOqpC0ZtTb-21YrxZri4laS_3KtlOggF9g/edit?usp=drivesdk

Feel free to give me some ideas.

[pastelpaperplanes]

You mostly draw Megatron with Crusade in his Cybertronian look but in your canons it was said that while carrying the spark Megs wore his Marauder look. Did Megatron changed bodies or is the Canon changed?

yes! haha so hmm let’s see. So far up until A Little Too Familiar I have tossed Crusade into my Crackship AU—because with the Cybertron’s future AU with a whole lot of my other sparklings, ones that have considered backstories, they wouldn’t exist because of Shamus and Envoy!—and yes in the Crack AU, Megan does sport his Marauder Upgrade.

I’m still 1000% open to keeping Crusade as like,,a cameo for the Crack AU but I will say I’m getting far too attached to their character to better NOT explore them more in a more intricate backstory kind of sense! Many of the asks I’ve answered previously about Crusade’s personality and future are still canon—with the exemption that Crusade has a far more present/loving relationship with their Carrier, who as a literal helicopter parent is near suffocating in his protectiveness and efforts to keep his sparkling away from the hands and influence of the Autobots, even if that means locking them away on the Nemesis far too much to be healthy, and lying straight to their face, and others, about their origins.

Since the TFN 2021 S4 kickoff script reading I’ve been leaning towards guess what—a whole other AU that continues RIGHT after that point, much like where the CF AU would—only certain rescission within the timeline have been changed leading to, in some relationships, a vastly different setting for a next generation! (No, I don’t think I’d create a whole ton of other sparklings in place, for example a planned Strika/Lugnut kiddo wouldn’t happen for obvious reasons, nor would Shmaus or Envoy exist!! Who would remain, THAT I will figure out later down the line.) So Megatron is not in his Marauder form, Optimus is named Magnus, Jazz is with team Prime/Ninja Corps, Sentinel is still a dick figures, Prowl is still dead and so forth.

What I have planned is sort of like where the Deceptions sport a retreat after their bust on Earth when attempting to take over the central line of techno organic energon. The Cons faced losses, high command was scrambled and still very much injured from their cruel, and unusual keeping within Trypticon, heavy sacrifices turned out to NOT reap greater rewards, and the troops are still starving—and starving, scared mecha are far more dangerous than angry ones.

Optimus is still coming to terms that he is due to lead Cybertron, under the title of Optimus Magnus as soon as he’s back, whether he likes it or not as the front lines are still very much on edge with the evermore increasingly violent rouge Con raids.

I made some commentary on the reading as a whole which was PHENOMENAL and I’m still riding the high that is the fanTASTIC work that was put into is, like god. There was a brief but hilarious moment from Rattletrap where he attempted to sell off a crudely photoshopped Megop photograph as dirt—a part of me thought it would be even MORE hilarious if said photo was actually, used and Op was left sputtering after a double take going like how did they find that. HOW.

My poor, poor fanfic loving heart got going on of course the What if the Enemies Were Fraternizing Throughout the Whole of The Show, Morals be Damned in Those Stolen Moments Because I Like YOU For Some Reason trope. Wow is me, be still my beating HEART. It did not stop—so I made another AU :D yayyyyy

Basically the creation of Crusade follows along in this timeline in that sense. They were a product of one too many lonely nights in some far off abandoned cave that never could quite seem to end with a civil conversation, let alone spark apprehension from the other when it came to going toe to toe of the battlefield for the sake of their Causes. A Comfort without Strings relationship, even if they did come to grow fond of each other, not that they’d ever admit it—a confession, in a sense, would only hurt both parties knowing that the two would never give up their motivations in the ‘impossible ‘case that said feelings were mutual.

From the looks of it, the Autobots did not once tend to the Deceptions during their stay at Trypticon. Megs still sported bare struts and tattered armor up to his escape—it would be believable that medics never once ran scans, let alone were ordered to get anywhere near the high command. With already being in such poor shape, battered, humiliated, starved, violated (those minicons?? homage to Trepan??? yikessssss) and sedated—it would be believable that Megatron wouldn’t pay notice to a small flutter in his spark amongst all the pain and anxiety, at least until he finally could gather his bearings under the lockdown of his temporary fortress stuck on Earth.

Megatron, knowing he was alone, now extremely vulnerable, heavily outnumbered and out favored by his remaining struggling troops, called upon his definitely not most favorite sub team to cower behind—the DJD, to meet his blaring distress beacon.

Tarn and his crew, with the help of the rest of high command’s signal dampeners, are able to as covertly as possible—minus the world sweeper size of the Peaceful Tyranny and the paralyzing droning on of the Empyrean Suite that Tarn just loves so dearly—made it off planet save for a few bumps and bruises from the small force of Team Prime. The High & Mighty Megatron was no where to be seen in the action. Probably off in a hurry to lick his wounds in retreat after getting his ass handed to him, many assumed, but Nickel knew better. Tarn knew better. Something was terribly wrong in order to resort to a ‘cowardly’ extraction and evasion mission.

You can see where I’m going w this—so anyways YES that is the general gist of where this AU kicks off!!! Megs and Op, particularly Megs, got unlucky on their last night together—eventually all leading to the introduction of the previously secretive back up weapon that was the DJD. Coming to the rescue of their Fearless, All Powerful, and Resilient Leader?? A strange, but instantly understandable measure to resort to once Megatron reveals himself as a carrying mech, the beholder of a true heir and a testament to the resilience that is the Deceptions though the terrible reign the Autobots have held against them through the eons.

I’ll go into why he keeps Crusade on a tight leash and Op out of the loop entirely for as long as he possibly could—and how the rest of Megaton’s troops behaved around this clearly, half blooded Con sparkling their leader doted on— later!

Needless to say, Crusade’s reputation from the moment they were born was tottering on a fine line between that of pitiable condolences for their leader, and that of true Decepticon pride knowing that the one to lead them to glory some day is none other than one of the Autobots’ very own descendants.

Hope that kinda better explains things! I like Meg’s Cybertronian design, it’s sleek, it’s sexy, it’s easier to draw, and since S4 gave us a fresher design to admire of Optimus, why not have the same for his other half!

YEAHH. so new AU :D AYOOOO I’ll tag this timeline/future mentionings of Crusade and their journey as Cybertron’s Legacy AU

extremely stupid doodle under the cut! I can’t get over the duality of Old Written vs New Written Crusade ahhh 💀💀

I found a horrifically perfect tik tok audio for these two oml

Swapping Megatron stories!

[tl-notes]

Kobayashi’s Maid Dragon S2 Episode 2 Notes

Here’s some notes for episode two, too, if you’d care to join me.

The “stay quiet” here is 大人し[い] otonashii, which takes the word for “adult” and adjectivizes it. It’s a common word with a variety of meanings, such as  when something is “behaving” properly and not raising a fuss (from children to computer code to a chronic disease to political forces, all sorts of things) or when something comes across as “mature” (like a clothing design or a young person). 

In this case the idea is that the dragons had chosen to “behave” and mind their own business, which (they seem to assume) led the humans into underestimating them and deciding to attack. (”Stay quiet” probably does a pretty good job of getting that across, but just to fill it out.)

This is 残念ながら zannen nagara, or “unfortunately...”. 

The reason I bring it up here, is that it’s not a particularly intimate way of speaking and leans somewhat formal—potentially implying Ilulu has no more close relatives left to give her this news (and/or maybe her family’s social position is one where other dragons had to treat them with respect).

The second line here is 平常心を保つよ、私は, which is a fairly strong declaration of intent. I kind of feel like “I need to keep a clear head” sounds less confident, like convincing herself “ok bad situation, but if I just do this I’m fine.” In contrast, the Japanese imo is more of a “[Ilulu can do what she may,] but it won’t get it to me either way.” Just a mild point of characterization I suppose.

Just for clarity, she does use the word 雄 osu here, which is the more biological term for “in a sexually reproducing species, the one that produces sperm,” rather than a more gender-based term.

The TV show, シャシャシャシャキーン Sha-sha-sha-shakiin, is a combo reference to irl Saturday-morning kids’ variety show じゃじゃじゃじゃ～ン Ja-ja-ja-jaaN and weekday-morning シャキーン! Shakiin!. 

The former’s name comes from the Japanese equivalent of ta-dah!, while the latter’s comes from the ”sound” for becoming alert, going from relaxed/sleepy/bored/etc. to “wide awake let’s go.” (though not necessarily sleep/wake related)

If you’ve seen these two emoji:

(´・ω・｀)  (｀・ω・´)

The one on the right is the “シャキーン” one, and is the contrast to the gloomy one on the left (ショボーン shobon). Or these, going from asleep to awake:

( ˘ω˘ )ｽﾔｧ…  (｀・ω・´) ｼｬｷｰﾝ

In manga and stuff you’ll also see it used for e.g. someone drawing/brandishing a sword, striking a cool poses with a lens flare, things like that.

I think it gets translated to metallic-y sounds in English fairly often in those cases (like drawing a katana, or a mecha pose), hence the translation above. 

The verb for “frolic” here is じゃれる jareru (no relation to jajaan above), which is like to play/mess around, typically in a physical sense. For example it’s used in the compound word じゃれ合う jareau, which is often used in the same way English might say “playful wrestling” about kids or animals.

Though the word Kobayashi uses is actually a different じゃれる compound, じゃれつく jaretsuku, which is like playfully/affectionately grabbing/cuddling up/etc., (also primarily regarding kids or animals). There’s a bit of overlap with some of the uses of あまえる amaeru mentioned in the last episode’s notes.

Assuming I had the visuals, I’d probably just write this as “Please not on my lap...” or similar. (Kobayashi also uses a different verb conjugation for Tohru vs. Kanna in this scene, ~つくな vs. ~つかないで; Kanna’s being more plead-y compared to Tohru’s more “cut it out!” feel, hence the “please.”)

“Contact” here is “skin-ship,” a portmanteau-esque combination of skin and kinship or relationship. It’s primarily a Japanese word (you won’t find it in English dictionaries typically), but it was apparently coined by an American speaker at an international WHO seminar in 1953 (from which a Japanese attendee brought it back to Japan and it was later popularized). 

The original use of the word was in reference specifically to parent-child physical intimacy, but as it became more widespread in usage the meaning extended to all sorts of relationships, from the platonic to the romantic. 

One reason, presumably, that the term caught on so powerfully in Japan is that it has historically been a very touch-adverse culture (at least compared to say the US), and this extends even to parents with their children after the first few years. You’d see (and still see) psychologists recommend “more skinship” to people, for example.

The relative lack of skinship may partially explain the head pat thing mentioned in last episode’s notes (e.g. when you want to touch your kid, but hugs aren’t on the menu) and things like the old “hand-holding is lewd” meme. (Note this isn’t just me getting all orientalist here; there’s been a good bit of research on the skinship gap, and how it may be shrinking, by Japanese scholars.)

This line is also a bit of foreshadowing that Tohru has realized Kobayashi’s... situation already.

The Japanese here is 心と心でつながった後は体ですよ, which I only really mention because I kinda felt like the English’s “Now...” implied she was saying they only recently ‘connected their hearts,’ which I don’t feel from the Japanese wording and would say is probably not how Tohru thinks. E.g. more of a “Our hearts are already connected; now it’s time for our bodies!” kinda thing.

This 3/3 is March 3rd, which “equals” ♀ because that’s the date of Hinamatsuri, sometimes also referred to as Girl’s Day. The third day of the third month was originally a holiday brought over with the Chinese calendar, and it morphed from a more spring/peaches holiday into it’s more girl-oriented version at some point in the Edo period.

One of the highlights of Hinamatsuri is the doll displays, as pictured in this short bit with the Saikawa sisters. There are various types of displays, but this sort of staircase arrangement is the most common I believe. Each level has a certain type of doll that goes on it, with the top level having an “emperor” and an “empress” doll—which is the pair Riko replaces with dolls of herself and Kanna.

There’s some similarities between these doll displays and stereotypical Christmas trees: a family is likely to have a set of ornaments/dolls they mostly reuse each year, you put them up some time in advance of the actual holiday, then get lazy and leave them up too long put them away for a year after it’s over. A lot of businesses and such will put up displays as well.

“The judge in the underworld” is left vague here and isn’t a specific reference to anything, but is generally in line with the typical “image” of what happens after you die (setting aside actual religious beliefs) in Japan. 

Please see the documentary series Hoozuki no Reitetsu for more info.

As of right now in the anime, Ilulu has only shown up twice, and only once of those when Kobayashi was alone. The implication seems to be that there have been other Ilulu encounters that we haven’t seen. 

Also, for clarity, the Japanese is 私が一人の時にいつもイルルは来るから, which is more of a “whenever I’m alone Ilulu shows up” than a “she only shows up when I’m alone.” (The English could sorta be read either way I think?)

This bit is それだけじゃないって、争い以外もあると思ってくれているからだ。私はそんなトールを信じているから…　だからその為にイルルと和解したい

The main point of contention I have with this English is that it implies Kobayashi wants Tohru and Ilulu to make up. However, I’d say this is more Kobayashi wanting to come to terms with Ilulu herself (and just by extension Tohru/the other dragons/maybe other humans). 

That is, by making peace between herself the human and the “hostile” dragon Ilulu, she’d be helping prove Tohru’s belief correct—and she has faith in Tohru that it is (see also last season finale).  

(Notably while Tohru is Chaos faction herself, there’s not really been another Chaos dragon yet to be convinced like this. Kanna is no-faction, Fafnir is technically no-faction even if Chaos-ish, Quetzalcoatl is an observer, Elma is Harmony, and Tohru’s father is an exception on multiple levels.)

Without getting too deep into the “why,” one quick thing I’ll point out is that she says 和解したい wakai shitai, not してほしい shite hoshii or させたい sasetai etc., meaning it’s something she wants to do herself, not want/make someone else do. Generally speaking you can’t use the ~たい “want to” form for anyone but yourself (you don’t know what anyone else is thinking, after all), unless quoting them, asking, or in the ~がる “seems to want to” form.

This is a 防犯ブザー bouhan buzaa, a crime-prevention buzzer, also known as a personal or self-defense alarm. They emit a very loud sound when activated. The idea is you, well, use it like she does here, when someone is trying to do a crime to you.

Since most Japanese children walk to school, it’s extremely common for these devices to given to students (either by parents or a gov’t body). It’s technically recommended for adults to carry them too, though the advent of the mobile phone has driven down carry rates.

This particular one was probably purchased in episode four of season one, if you want to rewatch and see why!

This is 私にぶつけたい気持ちでもあるの？in the Japanese.

The verb for “tell” is ぶつける butsukeru, an evocative word meaning ~to slam against (somewhat similar to “vent” in English when used with emotions/feelings). 

The “something” is 気持ち kimochi, ~emotion/feeling/thought.

So the Japanese here feels a lot more expressive than "something you want to tell me,” I would say (that could just as easily be a translation of 話したいこと). That said it’s not an easy thing to express in English within the confines of the format here, especially if you want to keep the “target = ‘me’” part.

It might feel somewhat like “You got something bottled up you wanna hit me with?”, though I doubt if I’d use that either.

As a side note, the manga has Kobayashi say an extra line after this, about being the “main tank” to take her “hate” (Japanese for “aggro” in MMOs). 

A small note that “that girl and that boy” is あの子とあの子 ano ko to ano ko, so no gender specification in the Japanese (it’s a good language for talking about people without specifying a gender!).

“Next time” here is 今度 kondo, which is an interesting word because you can situationally use it for “recently,” “this time,” “next time,” or “soon.” 

The reason I bring it up here is the English “next time,” personally, leaves me thinking “Was there a previous time? What ‘next’ do you mean?”—just a heads up that that’s not really an issue in the original line.

Also: this whole extended scene with Kobayashi saving Ilulu is one of the “many senses” mentioned in the episode title. (see also episode one notes re ikemen)

As an aside, this "play” is じゃれ合い jareai, the noun form of the jareau that was mentioned in the above “frolic” note.

If you were wondering: “Do dragons use paper?”, the word here is 形骸化 keigai-ka, (almost) lit. ~reduced to bones, meaning something that once was strong/effective is now basically just a formality. It’s similar to the phrase “dead letter” in reference to old laws that aren’t really enforced anymore.

So two potential points of ~lore relevance~ here: 1) the rules probably used to be enforced, 2) we have no evidence (either way, from this) that they actually have them on paper somewhere.

こりゃトールの父ちゃんは本格的に優しかったみたいだな

This might just be me reading too much into the English (again), but one difference in nuance between these two lines is that the English has Kobayashi implying Tohru’s dad “seemed” kind (which implies he’s not really kind, just kind in contrast to this villain), while the Japanese is more taking this as evidence that Tohru’s dad was actually being kind (see also last season finale).

For those wondering if the みたい in that line would imply a “seems”: it sort of does, but it applies across the whole observation here. I.e. “seems Tohru’s father was genuinely nice” vs. “making Tohru’s father seem genuinely nice” (which I’d guess would probably use 優しく見えてくる or something). 

When you see “underestimate” in anime, most of the time it’s なめる nameru. It comes from the verbified archaic adjective 無礼し nameshi, meaning a combination of looking down on, acting rude towards, etc., and uses the same characters as “rude” (though often written in hiragana/katakana).

It also is a homonym of the verb “to lick,” so “Don’t underestimate humans” sounds identical to “Don’t lick humans.”

“Functional member of society” is 社会人 shakaijin, ~lit. person of society, which is a very commonly used word to refer to basically anyone who is an active member of society. It includes homemakers, so it’s not strictly “has a job at a company,” but in many contexts it’s used like “people with jobs” versus “students and NEETs.”

(Not that there’s anything wrong with the translation, just some extra context.)

A technique reminiscent of this shadow puppet silhouette style was also used in Hyouka, another Kyoani show and one directed by the late Series Director Takemoto Yasuhiro. 

I kind of feel like yelling “Stay with me!” at someone injured is something you do when they’re in danger of fading away, not when they’re waking back up? Maybe that’s just me.

The Japanese is お気を確かに o-ki wo tashika ni, a polite (since Tohru almost always speaks kinda formally to Kobayashi, as part of the maid thing) way of saying “pull/hold it together,” and is used in a variety of situations.

Kanna’s line is a question (e.g. like “are you okay?”) in the Japanese here, whereas the English sounds more like something you say to someone who’s injured to try to reassure them. 

This line is その子離れようとしないんです sono ko hanareyou to shinai n desu.

The English is a pretty literal translation: hanareru is the verb for leaving/separating (in some senses), and the ~you conjugation means “try to ~”. However, that conjugation also has a second use in just indicating intent—especially when used in the negative, like here—so e.g. “She didn’t want to leave your side,” or “She wouldn’t leave your side at all.”

（◎Д◎）

Just in case: this is an emoji for expressing shock. 

One thing that is left out of the English in this line is the だけ dake, “only.” 

So Kobayashi’s not necessarily surprised at this by itself, but in contrast to the fact that Tohru says she probably can hide her claws/tail (so why not this too?). 

The base phrase Tohru is saying here is 私たちの仲じゃないですか, which roughly means “that’s just our relationship,” and is used commonly when being thanked for doing a favor for someone close. It’s similar in meaning to something like “hey of course, no problem, I know you’d do the same for me.”

Tohru puts a little spin on it by adding the “eternal” to make it 永遠の仲, which is a separate phrase that means probably what you’d think it means.

This quick cut to Tohru’s feet and the light “foot pop” motion... I have a hard time believing it’s anything but the director trying to give some subtle “goodbye kiss when leaving for work” vibes, even if they aren’t literally kissing. Just me?

Here she says あのトール ano Tohru, lit. “that Tohru,“ which in this sort of context carries a meaning similar to using an italicized “that” in English: not just any Tohru, but that Tohru, the famous one. The implication is that yes indeed Tohru is well-known among other dragons—and known to be quite strong and merciless.

It’s not a particularly big deal, but technically this is 人間と, i.e. Living with.

The ball hands thing is generally thought of as “Doraemon hands” in Japan. Doraemon gets the name from the food “dorayaki,” but “Dora” is also how you pronounce the first two syllables in “Dragon” (ドラゴン doragon).

Keep this in mind.

挨拶 (あいさつ) aisatsu, often translated as “greeting(s)”, is a lot bigger of a thing culturally for Japan than it might be for where you live. Though translated as “greetings” it also includes farewells and more. Basically a general term for “in X situation, say Y” style semi-set phrases.

In more traditionally minded companies, for example, employees are often expected to give a rote ohayou gozaimasu when they arrive (even if they think no one is around to hear it), and may get chewed out for not doing so or half-assing it. Then when passing someone in the hallway etc., an otsukare-sama desu, and yet another phrase when leaving for the day. Also the ittekimasu and itterasshai (when leaving home/saying bye to them) or tadaima and okaeri (returning home/welcoming back) that probably many anime-watchers are familiar with. Even itadakimasu is an aisatsu. 

Obviously every culture utilizes “greetings” like this, but in Japan they’re pretty heavily ritualized and treated as a cornerstone of human relations, a key part of showing respect for your fellow humans (even people you hate!) and ensuring the smooth working of society. It’s not the thing they chose to have Tohru put first in her “living with humans [in Japan]” notebook for nothing!

The English “the” is a popular word to use in Japanese as an intensifier, similar to how it’s used in a sentence like “this isn’t just an [example], it’s the [example]!” 

It’s usually pronounced “za” and often written that way in katakana (ザ) for this usage. (If you type “za” in a Japanese IME, most will offer up “the” as one of the options to convert the text to, even.) 

The word she says here is 喝 katsu, which, in this sense, is a stereotypical thing for a Zen teacher to say to a student as a stand-in for explaining some deep Zen concept that words can’t describe. So here, it’s kinda like “Yes this may seem contradictory, but really it’s just too complicated for you! No more questions!” 

Obviously that’s oversimplified and it’s used in other ways too (see Saikawa’s father during the sports festival), but just for the purposes of this joke, there you have it.

The word used in the Japanese here is 建前 tatemae. If you’ve ever studied any Japanese, you’ve likely heard about honne vs. tatemae, your inner feelings vs. the front you put up for social reasons. 

People new to the language are sometimes prone to approaching that distinction with “well why doesn’t everyone just honne all the time, why play games?”, but of course almost everyone splits themselves like this. You probably hate your boss, but you also probably don’t tell them that to their face to avoid getting fired. Or maybe you have some family members you can’t stand, but act nice around anyway because it’s not worth the trouble to start fights. 

Japan just put names to the idea, and maybe leans a little more toward encouraging tatemae in more situations.

This is せいぜい悩むんですね.

せいぜい seizei as an adverb means doing something to utmost extent one is capable of. You’ve likely heard it from a villain somewhere saying something like “Struggle all you like, wahaha!”. 

Though it’s not necessarily down-talky like that, in modern times that is the trend (you can use it for yourself no problem, but if used to talk about someone else’s actions it may come off as belittling). Tohru, as one of the strongest beings in the setting and with the pride to match, uses it a lot.

悩む nayamu is to worry, fret, ruminate over (some difficulty etc.).

The sentence in general is one that is highly context dependent, but here it’s Tohru thinking to herself, somewhat impressed, that Ilulu is actually putting serious thought into the question of what she wants to do with her life. 

And, as the background suggests, finding it surprisingly adorable/admirable; up until just a few days ago, Ilulu was known as one of the most extremist Chaos faction dragons obsessed with nothing but destruction, yet look at her now. In a way, Tohru’s taken over an older sister kind of role for her.

(For the curious, if the ね was dropped or swapped to a よ here, that would imply she was directing the comment “at” Ilulu, rather than saying it in observation.)

The word here is 契る chigiru, which usually means to swear/pledge (e.g. swear a pact, pledge your love), but can also be a somewhat fancy word for having sex, especially of a married couple.

I feel like I personally would have used more of a euphemism for the translation.

The phrase here is ダメの助 dame-no-suke, where dame is no/bad/can’t do/useless, and (no)suke is a common ending to first names; both actual names and sort of on-the-spot nicknames; someone looking sleepy might be called a 寝坊助 nebou-suke in the same way as “sleepyhead.”

Or, as here, sticking to the end of things for comedic effect or as indication of a panicked/confused thought process.

（ ° ρ ° ）

Just in case: this one is also expressing shock, but a kind of dumbfounded shock. The ρ is a drooling, slack-jawed mouth.

In the next episode preview they talk about where Ilulu will sleep, since they don’t have room for another bed. Ilulu wants to sleep in the closet—or more specifically, the 押し入れ oshi-ire, which is a particular closet layout you’ll find in many Japanese bedrooms. 

The typical difference is that an 押し入れ was originally designed for 和室 washitsu, traditional-style Japanese rooms with tatami floors, primarily as storage space for folded-up futon/blankets/pillows, as you would put those away during the day to free up space. Thus they typically are rather wide, mildly deep, and have a waist-height, solid horizontal divider capable of supporting a lot of weight. 

They actually are pretty okay for sleeping in if you’re not claustrophobic or tall.

Anyway, I bring this up because you know who else very famously sleeps in one of these? That’s right: Doraemon.

[monkey-network]

The Odyssey of Spongebob Squarepants

A lot can happen as you grow up. Your tastes will change, you will have more responsibilities, and unless you can literally live under a rock, you can’t turn things back for yourself. So... after over 20 years, when the time keeps going in spite of yourself, does your past evolve and how should you feel about it? Spongebob Squarepants is a show so many have noted as the greatest of all time, but has grown to not be wholly beloved as its later years have not been as well received as it’s golden era. But I’m one to think: how has Spongebob evolved over time? What of this show makes it the greatest in my eyes despite thinking more about those vaunted first three seasons with its movie? Well, let’s roll back...

Back to the Past, To Remember Episodes that Sucked Ass

Despite what some may say, I don’t believe season 4 and 5 was where Spongebob started losing its mojo. There were definitely stinkers like Good Neighbors and Driven to Tears but the good ones definitely outweighed the bad. Not like the quality Golden Era didn’t have its duds, I really don’t like I’m With Stupid, Party Pooper Pants, and Spongeguard on Duty. Season 6 is where I say things surely falter, where for a good amount of time more episodes became unpleasant in retrospect. I noticed it’s more season 6 through 8 that people really take issue with. The Splinter, Boating Buddies, Pet Sitter Pat, the many we call the worst are some good time after the first movie. The first movie came out in 2004, season 6 was spring 2008 so it’s fair to say we had a grace period.

But it begs the bucking question: why did Spongebob stop being good? Numerous people have tried wrapping their heads around the decline citing reasons from flanderization, creative fallout and changes. Emplemon believed in his Spongebob video that the spirit of what connected the show to adults was severed due to merely become a cartoon for children, especially when Spongebob and Squidward’s dichotomy as adults was broken in later seasons. But you know what? I think I truly have the answer. It’s not so much production wise, but it certainly explains the many differing bad episodes that many have covered. It explains why I don’t like Sponge on the Run but we’ll get to that later. But a truth I’ve noticed, remembering and looking at Spongebob in its seperated eras is one I haven’t seen anybody talk about when it comes to why it could be considered bad:

The Plot Drives the Characters Too Much

The greatest episodes of Spongebob, I’m talking Band Geeks, Pizza Delivery, Ripped Pants, Chocolate w/ Nuts, Karate Choppers, etc., don’t have the premise take over the characters. Meanwhile the worst episodes always have the plot push the characters in noticeably different directions because it demands it. Spongebob is strictly a character based cartoon, and when you have episodes that, while can appear fitting on paper, force the cast to be somebody they’re not, people aren’t gonna be on board. Take the episode A Pal for Gary where Spongebob gets Gary a new pet that dangerously hates other pets only for him to be completely ignorant of Gary’s pleas and blames him in the end for banishing the monstrous Puffy Fluffy away. Reasonably, Spongebob is very much the asshole but unfortunately has to or else the plot would need to be seriously reworked. We can chock it up to poor direction but this is indeed a common occurrence for when Spongebob gets bad, not just in post first movie era. I’m With Stupid is a great classic era example where yeah, Patrick becomes an ignorant jerk but on paper, it works with the plot of him trying to please his parents. It does the job at the visible cost of the characters. We generally say the characters are bad but I’ve hardly seen people say the plots are bad like Family Guy where, despite also being character focused, the plots they have can go off the rails in favor of trying to get laughs and the sake of a status quo. The highlight of this problem lies with the coined ‘Squidward Torture Porn’

Squidward Tentacles can be a jerk. A real cynic, a character that’ll gladly try to bring down Spongebob’s childlike wonder in favor of giving him a dose of reality. The most memorable episodes of him are where him and Spongebob are in the same situation but have their clash of outlooks, with Squidward ultimately understanding Spongebob’s POV enough to have a moment of genuine happiness or a modest bit of karma. He’s indeed the most important character because adults grow to see where he’s coming from but at the same time wants to be on Spongebob’s side. The best provide Squidward the chance to understand differently and potentially enjoy a new perspective. The worst punishes him for simply wanting to live.

The plots of the worst Squidward episodes have Spongebob and/or Patrick actively antagonize Squidward because on paper, it makes sense to make someone like Squidward the punching bag like Elmer Fudd to Bugs Bunny or an egotistical asshole to the Warner Siblings from Animaniacs. But in the effort to do so, they never give Squidward the chance to fight back. It’s like they took the whole “No One Wants to be a Squidward” line and utilized that to make him the go to for misery based comedy without giving him any upside. Cephalopod Lodge, Good Neighbors, Choir Boys are stories designed around Spongebob ruining Squid’s life because... what? He doesn’t want Spongebob to be around every time of day? As a child, it can be some fun just seeing Squid get punished but for an adult, it can definitely be a turn-off. Some people see themselves in Squidward, for better or worse, so what’s it to them when Squidward is basically forced to suffer for no reason other than the plot demands it? Later stories give Squidward far more of a break, even some successes, but the idea of making him the butt of life’s joke is still leftover from the episodes that called for him to casually suffer.

The worst plots of the show can be the safest, the simplest, and pretty predictable because unlike the best where the characters are just allowed to make things happen, the story has to contain the characters in a way that’s fitting to who they can be but notably sacrifices who they were before. Why they got made is very up in the air, I’d have to listen to a ton of commentary to potentially pick that apart and I don’t have that much time. 

But it doesn’t the change the fact that the plots were never what made Spongebob good. And it doesn’t mean all those bad episodes make for bad seasons either. We could say there was a decline but that would mean giving up on the show merely because it lost it’s footing with more bad episodes than good for a few seasons. Because I believe 4 to 5 years after season 6, things got back on track even if things weren’t exactly the same.

Return to Form, Change in Energy

I don’t believe that Stephen Hillenburg’s departure was what proposed the decline, I’d say the show never really declined, just had some real potholes within three particular seasons. But I say it’s clear that the direction of the show shifted because you gotta understand, with or without Stephen the show has to be unique, has to have fresh ideas in the midst of potential competition despite being the most popular of the network. Even the trusted of Hillenburg’s team might’ve figured Spongebob couldn’t make lightning strike so rough patches might be expected. This is where Spongebob’s 2nd film, Sponge Out Of Water comes in.

I wasn’t as into this film with my first watch. I know it wouldn’t compare to the first film, but things felt segmented to where it hardly felt like a structured movie. Going back to it again, it kinda showed how Spongebob was going to evolve as a series. A lot of Sponge Out of Water lies in the characters getting into a more chaotic adventure than before. Spongey’s dream sequence, the whole Mad Max apocalypse, inter-dimensional dolphins, really told that the show post 2nd film would follow in its footsteps both in the stories and in animation.

It’s to say the golden era of Spongebob was more... grounded with itself. The charm of the characters was what made the plots unpredictable in nature but mostly not to a visible extent. Idiot Box, one of the greatest episodes, literally have moments where we see nothing but a box but the episode’s carried by the performances. Modern Spongebob, post 2nd movie, started to run all over the place. That’s not a bad thing but clearly a change of pace. I think it’s befitting to say the modern era got more cartoon-y where it’s way more expressive and the plots themselves go in unpredictable places in a way that all feels refreshing. It’s not the same as before, but well enough in it’s own time. It’s like Teen Titans ‘03 vs Teen Titans GO! The two have their clearly different tones but they’re appealing in their own way, only Spongebob isn’t trying to poke fun at its older audience like a snarky ass motherfu-

That is the thing as well that I haven’t seen many people consider when it comes to the modern era: it always tries to be fun. I can say an episode’s bad, but there are times where a bad Spongebob episode was enjoyable at least. It isn’t like modern Simpsons where you could tell they’ve been running out of steam and you’d just wish it died. It feels like the staff were given some time and space to make Spongebob back into as intended, even when most moments aren’t as strong or memorable as before. It can appear as just another cartoon for children but it never felt like it wasn’t Spongebob anymore, especially after the 2nd film and with Stephen Hillenburg’s consulting return. Unfortunately, only after a few more years is where say Spongebob’s going in a direction that I’m admittedly not fond off. It isn’t on par with The Simpsons, but it’s not as comfortable a fate.

A Spongebob Cinematic Universe

I enjoyed Sponge on the Run, but I don’t like it what it stands for. Many say it’s a poor backdoor for the spin-off Kamp Koral and I can’t help but agree. I’m not speaking for Stephen’s behalf nor will I shame everyone who comes to love this mini-series when it comes out, but I can definitely see where he was coming from with his abstain of spin-offs. Spongebob is a show that works, always worked, on its own. It has many characters that, to this day, they’re bouncing with to create new adventures and jokes. Now, I’m actually okay with giving some spin-offs revolving around the other characters; a show for Squidward would be hype as all hell. 

But Kamp Koral, by extension Sponge on the Run, feels less like a creator’s passion and more like a marketed decision. The fact that they scrapped a potential alien cat invasion movie all for a visually pleasing yet heavily derivative story tells quite a bit. It’s a movie that, compared to the previous, is just hitting certain beats; the plot again driving the characters instead of the other way around which leads to really off-putting moments. There’s fun to be had, but it feels superficial. And while I don’t think this’ll affect the next generation of Spongebob, the most recent episodes are good, but I have a bad feeling that it’ll be morphed into something Stephen genuinely didn’t want for the series and they do it because regardless of what the fans don’t want, they truly own the show now.

I was okay with Spongebob having its merchandise and a Broadway musical because the show helped make them work. After seeing SCOOB! and countless talks of making cinematic universes thanks not only to the MCU but stuff like Spider-Verse and Lego Movie though, it’s starting to feel more like an corporate sanctioned omen that I fear too much becoming a reality. But really, it begs one more question...

What Do I See in Spongebob?

I’ve said this when talking about the 1st Spongebob movie: “[It] works so well was because, speaking for adults, it is about embracing the you that you love as opposed to trying to be someone you aren't. You can grow up for taking that journey, but you don't have to be grown up all the time.” Even with its not so great history, Spongebob personally never comes off as a show that’s lost its identity. If there’s anything learned from the likes of Steven Universe and Family Guy, yeah, it’s that bad episodes or changes in tone doesn’t make for a buried series. Vast majority will definitely notice the difference between classic and modern Spongebob, but I don’t believe they’ll say it isn’t Spongebob anymore. I keep bringing it up, but it doesn’t feel like the Simpsons where you notice the burnout, the age of its existence in the late late seasons. Not that Viacom/Nickelodeon won’t hesitate the same fate because they can be fucking scum, but otherwise the show has run out of steam yet. 

What mostly concerns me though is that the charm of the show falls by the wayside with trying to expand it outside the show. Bog down the love by making unnecessary spin-offs that try to do what fanworks like the Spongebob Anime do for the hell of it in order to retain that all age appeal. They’ll feel like memes that age horrifically the moment it’s trending on Twitter. Again I don’t wanna speak over Stephen Hillenburg’s behalf but it feels like Nickelodeon gets potentially too ambitious with something that should be simple enough at the same time. We got some good hype back thanks to the Battle for Bikini Bottom Rehydrated, but that only could boost our spirits so far this year.

To me, Spongebob was certainly a game changer and now, while still popular, it is very much among the crowd. It’s not a show we’re worrying about compared to stuff like Infinity Train, Glitch Techs, the Animaniacs reboot, Primal, shows that are continually changing the metagame in what people want for a cartoon. We might notice stand out moments and we’ll continue making memes, but it’s fair to say we aren’t as invested in Spongebob socially as back then when, as I remember, new episodes or specials felt like an event and it was considered the best out here in our friend circles. Now when we say it’s the best, it’s asterisked. Many love Spongebob Squarepants, but notably aren’t too keen with all of it nowadays.

But to truly conclude, I say for everyone who reads all of this, 1st thank you, and secondly to give modern Spongebob a chance. I can’t recommend Sponge On the Run but these later seasons (nine to recently) actually feel like the show cleaned up itself after many touted that bad episode era was what made Spongebob fall. I don’t believe the show’s fallen because I shouldn’t have expected this show to be flawless. Not every episode’s a hit, but there is not only still good variety but episodes that feel right at home. Mimic Madness, Boo-kini Bottom, Squid Noir, Moving Bubble Bass, One Trick Sponge, and any episode with Plankton are actual joys to see and rewatch if I’m in the mood. The episode premieres are all over the place nowadays but it feels like the crew are given their time at least. And I think this is the path is where I’m content with about Spongebob: it just gets to be a cartoon.

I see so many people try to prop up shows as more than meets the eye. I mention Infinity Train and Steven Universe as the new game changers but I hardly see people just recommend shows that are simple, clean, knows what they are without trying to be anything more premise wise. We just get some quality entertainment with characters we’ve come to know, just for the sake of it. We get a cartoon in its bare essence. Spongebob gets to do its thing like it always has these past 20 years and I’m grateful for that. I’ve seen a variety of shows, but Spongebob always felt like a show worth sticking with even when I feel I’ve “outgrown” it. Not because I want to regress in growth, but as an adult I see now why Spongebob worked so well as it did and why it’s worth sticking with. Even after everything, the show’s made it it’s sole passage to provide us the core reason why we love Spongebob: the show always wanted to love itself for what it was as Spongebob Squarepants always loved to be himself.

And there will never ever be another show like it.

[ifishouldvanish]

Font Recs/Typography Tips

@weatheredlaw was looking for some font recs and I was kinda planning on doing a font rec/typography tutorial post thing anyways, so here goes:

(I got carried away!)

1. A NOTE ABOUT ORGANIZING FONTS

Okay so... first of all-- I highly recommend using FontBase to manage your font files (It’s free and it’s available for Mac, Windows, and even Linux). The reason being, that as you install more and more fonts on your computer, the font menu in Photoshop will start to load really slowly. Which gets really frustrating really fast. 

FontBase lets you organize your fonts into neat lil folders and activate/deactivate them as needed with a click, so you can keep the Font Menu Bloat at bay. There’s also a premium version (aptly called ‘Awesome’) that costs $3 a month and has some nifty extra features, but that’s neither her nor there. Yes, I throw three of my hard-earned dollars at them every month.

Also? If you have a work computer and a home computer, you can install FontBase on both systems and point it to a Dropbox or Google Cloud folder so that your font collection always stays in sync across both devices. 👌✨

2. WHERE TO FIND FONTS

Google Fonts So... Google Fonts is technically a webfont CDN, but all of the actual font files are available for free download from their Github repo. Alternatively, you can use FontBase to sync them directly to your computer. Which is nifty.

What I like about the Google Fonts library is 1) there’s some really NICE, high-quality font families available, and 2) it’s easily searchable. 

So pop on over, play with the search filters, and if you find something you like, grab it off the Git Repo or sync it via FontBase.

League of Moveable Type It’s a free, open-source font foundry. How cool is that? The selection is pretty small, but there’s a lot of typographic staples to be found, and the quality is top notch 👌✨

Free Design Resources FDR is a great site for all kinds of design resources, but their font offerings are the most impressive. Particularly, it’s a great place to look for handwriting, script, or any other kind of ‘display’ fonts. 99% of them are demo versions of not-free fonts, but really that just means they don’t include special characters, which lbr you probably don’t need anyway.

Creative Market So as the name suggests, Creative Market is a marketplace for design resources. AKA the stuff ain’t free. HOWEVER, every week, they offer six products for free download-- a mix of fonts, textures, photo packs, etc. So create an account (it’s free) and keep an eye out for the weekly freebies.

Design Cuts This is another site that isn’t really free, though they do have a small selection of free stuff. I figured it’s worth mentioning because a lot of the fonts and textures I use, I buy from here. Every month (or two weeks? Or something?) they compile a bundle of about 20 products (be it typefaces, texture packs, or filters/actions/etc) and offer it at a massive discount (usually $30). Their stuff is always really great quality, so if they release a bundle that feels worthwhile to me, I bite. (As of this writing, they actually have bundle of some textures, fonts, and other assets available for $2)

3. A PRIMER ON DIFFERENT KINDS OF TYPEFACES

So most people are probably already aware of the categories of Serif, Sans Serif, and Display fonts. But you can split Serif and Sans Serifs up into further categories.

Here are four kinds of Serifs: Humanist, Transitional, Modern, and Slab.

The most immediate difference between these types of serifs is the stroke widths.

If you look at the modern/didone serif Bodoni, the horizontal strokes are hairline thin, and the vertical strokes are very thick. Modern/Didone typefaces are characterized by this extreme contrast in their stroke widths, and typically have a perfectly vertical axis (meaning the narrowest parts of the strokes are at the exact top and bottom of the letterform, as illustrated by the green dotted line). These features give them a bold, modern, and stylish feel.

The humanist serif Minion has the least contrast in its stroke widths, and has a diagonal stress (again, see the green dotted line). These features make them easy on the eyes and well-suited for paragraphs of text and small font sizes. Humanist typefaces most closely resemble calligraphy, and thus have an elegant, classic feel.

Transitional serifs are, well... transitional. They have more stroke width contrast than humanist serifs, but not quite enough to be considered modern/didone, and may or may not have an angled stress. Their ‘voice’ is more neutral, academic, and timeless.

Slabs Serifs, as the name suggests, are kinda blocky. The stroke widths are generally very solid and consistent, and the actual serifs (or ‘feet’) are... y’know. Fat blocks. It makes these typefaces feel more casual, more down-to-earth, approachable, and perhaps playful? A lil rebellious, even?

So with that out of the way, here are some different types of Sans Serifs: (There’s a point to all of this, I swear.)

Unlike Humanist Serifs, Humanist Sans Serifs actually have the most contrast in their stroke widths. In the above image, this is most apparent on the lowercase ‘a’. Again, this feature makes humanist sans serifs easy on the eyes and optimal for paragraphs of text. Compared to other sans serifs, they tend to have a more casual and approachable personality.

Transitional Sans Serifs will have little to no stroke width contrast. They maintain their readability at small sizes, and their ‘voice’ is very neutral, which makes them easy to use in a wide variety of designs. There’s a reason Helvetica is the go-to for many a graphic designer: it, along with many other Grotesks/Gothics, almost never feels out of place. They’re the chameleons of fonts. They’re versatile. Invisible. Carbon-neutral.

Geometric Sans Serifs, as the name suggests, are typefaces whose letterforms are based on geometry. O's and C's that are (mostly) perfectly circular, V's, W's and M's with sharp, consistent angles. They generally have very consistent stroke widths, but the harsh angles make them poorly suited to paragraphs of text. They feel modern, technical, and stylish.

4. CHOOSING THE RIGHT FONT

(We are now arriving at the point.)

Here are some questions to ask yourself before choosing a font:

How much text do I have?

If you have a lot of text, you’ll want something that’s easy on the eyes for reading. Aim for things with mild stroke contrasts and favor things with a diagonal axis. Basically, you can’t go wrong with a humanist typeface here-- be it serif or sans serif.

Now, for graphics and gifs, you’ll probably have a lot of text almost... never. But if you’re ever designing something that does (like a magazine spread, or a brochure), it’s something to consider.

How much space do I have?

Let’s say you’re giffing a scene and you gotta cram a long caption onto a tiny 278px wide gif. You could just make the font size super tiny, sure. OR, you could look for a font with a narrow character width. A nice, robust type family will usually include Condensed or even Super and Ultra Condensed versions of the font, which will be much better suited to that purpose.

In these cases, you’ll probably want to avoid geometric sans serifs since those circular forms are very wide, relatively speaking. But some geometric type families (such as Futura) do have Condensed varieties: 

How large or small does the text need to be? (or do I want it to be?)

When your text is large, you can kinda go nuts and do whatever without worrying about anything getting hard to read. But there are two things to consider when you’re using a small font size, be it out of necessity or For the Aesthetique™--

stroke width contrast: At small font sizes, typefaces with consistent stroke widths are going to maintain their readability best-- so steer clear of Modern/Didone serifs, and tread carefully around Transitional Serifs. If you’re itching to use a Serif, you’ll want to look for a humanist/traditional/old style one. If you’re super attached to a modern/didone serif for a design (as I often am) understand you’re gonna have to compromise a bit and use a larger font size for it.

For sans serifs, both Transitional and Modern types will have nice, solid strokes that won’t get lost at small sizes.

x-height: A typeface's x-height refers literally to the height of the lowercase 'x'. But in more practical terms, it's the ratio of the heights of lowercase vs uppercase letters. If you plan on using all caps, this won't matter much (if at all), but if you will be using lowercase letters, a typeface with a more generous x-height will be easier to read at small sizes than a typeface with a small one.

Generally, Transitional/Grotesk/Gothic Sans-serifs will have the most generous x-heights (for example, see Helvetica). But x-heights vary a lot even within subcategories of typefaces, so be mindful of them!

Speaking of all these metrics... one of the things that makes the Premium version of FontBase well worth my $3 a month? The Super Search feature:

I can just... highlight segments of those histogram chart things on the right to filter out fonts that don’t have the contrast, weight, character width, or x-height I’m looking for. Like magic. #blessed

What ‘voice’ do I want to project?

I mentioned earlier how different styles of typefaces have different ‘personalities’. If you’re not sure whether to go with a Humanist or a Transitional Serif, remember that humanist ones tend to feel more elegant, more classic, more intimate. That Transitional ones tend to feel more objective, more confident, more business-like. Which makes more sense for your design?

After you’ve narrowed down your options with the above considerations, then you can start to be really subjective. Follow your heart. Pick whichever one has that certain je ne sais quoi. Or the one that has the ‘Q’ with the coolest tail. The one that just makes you feel a certain kinda way. Because it’s art. It’s design. Have fun with it.

5. SOME OF MY PERSONAL FAVORITE FONTS

So... my taste in typefaces is pretty conservative. I don’t really use handwriting, script, or display fonts. When I do, I tend to use them just the one (1) time and forget about their existence immediately afterward. ¯\_(ツ)_/¯

Most of these are tried and true Classics you may have already heard of, and some of them might even be default fonts bundled with your operating system. If not, be very careful looking for them, because it would be a terrible, horrible shame if you were to get your hands on one of the many freely available bootlegs of some of these typefaces... :/

With all these lined up together, you can get a better sense of how varied the x-heights can be from one typeface to another. For a particularly stark example, see Mrs Eaves vs Playfair Display, or Montserrat vs Neutra Text.

SooOoOoOoo... that’s a wrap? I guess?

Congratulations 🎉 you now know way more than I’m guessing you wanted to about typography.

[incarnateirony]

Re: Primordial or Universal Concepts in Supernatural

Let it be said I’m going to try to cover this as... unilaterally and streamlined as I can. I’ve just come to realize, recently, that ideas like void, oblivion, or godhood tend to sit in an area of abstract that people haven’t really sat down and thought about. Most people remember their parents reading the bible about god splitting the waters and making light and darkness, and that’s it, that’s their comprehension of mythology on nothingness. Which is... fair. 

But as Supernatural delves deeper and deeper into the primordial: God, Amara, The Shadow, The Empty, and Beyond -- so much as what seemed like a perfectly Reasonable(TM) statement from me about Dreaming In Nothing really seemed to blow out a valve on some people and I had to step back and go, Why Is That? I mean, our show already covers universes that aren’t even remotely attached to our center one (French Mistake vs MainVerse, as opposed to Endverse or AUverse which are timeline divergent), but I think people have had a hard time stacking up some mythological concepts our team is employing.

And it’s not just Random Speculation Of Intertext I Like that they’re employing. Some are in name, some are in direct concept, some are in... episode titles. Be it directly in “Ouroboros”, or more abstractly in Optimism vs Nihilism. 

I may employ a few reference visuals and will definitely pull corresponding quotes from dogma(s), but let it be said -- these ideas are not even necessarily unique. I am not going to deep dive into the specifics of these beyond what is needed, because while I’d love to say “it’s obvious they’re using pure hermetics” from my angle, as a hermeticist, with recent titles and themes -- they might not be. They might be mixing and matching and just employing sweeping Omnimyth structure, such as The Hero With 1000 Faces but in mytharc form rather than just hero journey. (Also, read Campbell’s work, cuz reasons.)

THAT SAID.

I’ll carry away immediately into an aside that it was once kinda the swaggy thing to consider Hermeticism as “optimism” and gnosticism as “pessimism,” and they were parallel but not identical philosophies to discussing the origins of the universe. Both philosophies basically go on that the soul can only escape material bondage through deep and special, personal intuitive knowledge. There’s no one path through any of these, they both have respective denominations -- they are more philosophy than hard dogma and are designed for debate and, in some facets, scientific testing and comparison. That said, there’s some paradoxes, which is why I’m not gonna sit here needling any specific vein. 

And you know, they touch on other ideas -- Qabbalism, for example; a great many creator myths, and so forth. Most of these resonate from an idea. Once there was nothing, and now there’s something, so we have to figure out how the fuck we got to all this Something out of Nothing. And I mean even if you say “big bang,” a related question in this philosophy is okay, but why was there the infinitely compressed boomy dot and why did it bang, because if there was nothing, how did nothing bang.

You see the catch-22. 

SO LET’S TALK ABOUT NOTHING.

I’m going to use the Qabbalistic concepts, but these are in heavy discussion, only slightly divergent, in a variety of these discussions. Change the label as you will, there’s really only so many ways to discuss Nothing.

When we see The Empty in the show, we see black space. Which is fair. We, the viewers, are in a three dimensional world viewing light pouring out of our TV screen, and not in an indefinable void of any concepts, much less space.

Both of these fields use the Qabbalistic tree of life as their way to sort of like, grok how things go from nothing to everything, but even the tree means Something is there. We’ll get to the tree in a bit.

Before it all though, there is Ain. It’s negative existence, an absolute nothingness, sometimes called The Prime Cause or the Originless Origin of all manifestation. It’s not knowable or describable and anything you can say about it is not. In fact, that word pasta is itself still too defined. You feel me?

But once you creep past that, you talk about the Ain Soph. Ain means “Not.” Soph means “End.” Ain Soph is nothing but it’s an infinite nothing, infinite space, and eternity. That is to say, it’s gained some sort of cohesive definition while still being nothing. It’s called the Old One Of All Old Ones and is a total absolute primal darkness. Darkness being relative, of course, because we haven’t comprehended actual things like dark and light, but we’re getting close enough it applies. But it’s sort of a unified form of nothing-everything.

After that you hit the Ain Soph Aur. Aur just means “Light.” And once you hit the Aur, you’ve hit infinite light.

Once we start breaking free of the infinite-nothing-never-was-always-void-never, we discuss Ain Soph Aur as retracted into a point. There’s somehow substance in the nothing. This brings forth the Crown of the Tree of Life, where pretty much all other points in the universe descend. 

Here, it splits off into pillars. To the left, the female form, judgment. The negative. Not negative like evil; negative like... magnetism. Atomic structure. Then you have Mercy, the male form, on the right, or the “atomic positive”. Between them is a neutral pillar of mildness and balance, and this makes the cap of your tree. There’s a hidden, or if you will, “unofficial” point called the abyss, which is a realm of ideals. Beneath the abyss is what starts to be considered “reality.” It’s the universe coming together and taking form in its many dimensions, thoughts, feelings, experiences, shapes and forms. Above that, you’re in sort of... primitive state of Ideas(TM).

Now, again, I’m using Qabbalism as a base, I’m not saying this is like... specifically nail on head what the powers that be used. 

Now, Qabbalism or not, general creation myth or not, I really don’t believe they’ve hardily stuck through and through top to bottom of running Supernatural on a tree of life path. That would be insanity to suggest in retrograde. A good deal of its existing concepts before inclusion of these primal ideas, in our show, plug well INTO it in retcon or retrograde, but we know pretty much for a fact that when Kripke threw down his little draft about two dudes and a car, he wasn’t really thinking about The Concept Of True God And Oblivion. So I’m going to spare that waterfall of fuckery, perhaps for another day.

But we do know several things about SPNVerse:

There is a definite point of Empty/Nothing

There is a point that Empty starts getting feisty, but is itself separate from the creator

There is a creator represented by light and a “destroyer” represented by darkness, each gendered to these old ideologies.

 I mean, we can banter sexism and the ilk, but that actually comes with a very human perspective understanding and a bit of a struggle of understanding that destruction is not necessarily evil and creation is not necessarily good, but both are necessary forces. Now how well Supernatural handled that in execution is another thing entirely, but I’m not here to cover the social aspect of that in this meta -- I’m just here to sort of help with a confusion I’ve witnessed in recent commentary I’ve dropped.

There are many ways this gets listed depending on what... ideology you’re applying to this tree. Hell, there’s Egyptian versions.

Tumblr’s probably gonna shrink that illegibly but if you can’t squint it out, you’ll notice the top is the concealed, source of power, infinite potential and subjective realm, and so on. And that’s already being past the respective Ain Soph of nothing and into the Realm of Light.

TL, DR, basically, the rules of operation that you know in your material, living existence or within your universe are not necessarily employed in the above. Height, depth, width, emotion, feeling, these are all thoughts of this universe. And in theory, there may be other nodes of light that have their own outpouring.

This, in example, might be employed in concepts like The French Mistakeverse which, even according to the angel there, lacked heaven, god, or any of the rules within the SPNverse. It came from another, slightly shittier cascade of light and thought its own thinkie thoughts until it reached that point in an otherwise atheistic universe wherein Sam was something named a Padaleski when he got thrown into it. The rules and terms and conditions of that universe have, in the very least, not followed down the same path on the tree. On the other hand, the tree has shadows, parallels, or different spheres that have different levels of or parallel existences; or of course divergences in timeline in what is otherwise the same cascade of reality.

Again, to not diverge too heavily into a singular train of thought I’m going to cut that off there, but hopefully the concept I’m trying to deliver is clear:

Endverse and AUverse in theory are very likely on a similar waterfall of existence but

French Mistake and Scoobynatural and others like it are likely not.

It is reasonably arguable that Scoobynatural is almost a node within that plane, similar to Gabriel creating a sphere of his own when doing his trickster fuckery. In which case, I point to French Mistake, which was a universe unto itself.

PEDANTICS ASIDE, 

I bring you to why I’m talking about this to begin with.

Now, it was a conversation of headcanons and potential-canon thoughts that brought this up, but something that seems to hold fairly canonically sound, if in subtext: The Dream.

When Chuck was mortally wounded by Amara, the universe started... dying. Now, the real question is, if there is a world without god within it, why can it exist while another will fade if its god dies?

Well, first of all, that depends on the concept of an incarnate god; is the French Mistake’s god more of an abstract? Was there an early dream wherein the universe is only vaguely conscious, similar to ours which quantum scientists are testing its reactability as we speak, wherein it behaves differently while observed than not but doesn’t necessarily have angels in togas and trenchcoats popping around in direct view as much as our wavelengths being literal like, forces of the universe most of the time? And what defines consciousness? BIG question in both science and a lot of philosophy.

Before we digress into that, however, let’s talk about the concept of the incarnate god -- I’ll do so in shorthand as to not turn this into some sort of Initiation Class(TM) but essentially, considering it’s canonically sound that Chuck probably wasn’t walkin’ around like a Dude before there were humans for his angels to possess, and we’ve heard the rise of humans over neanderthals, what does that leave us but the awareness that this is an incarnate, and more directly engaged concept monitoring its realm?

And of course, the idea of the dream. 

To give some context, I had posted this as an “endgame potential thought,”

“The Everybody Dies BUT” Ending:

The Empty eventually comes for Cas. Also, so as to not auto-revive him, they’ve also killed off Jack, and the Empty claimed him anyway. Be it by battle or long life, Sam and Dean also perish, and are also escorted to the Empty by Billie. However, due to their strong connections, nephilim, profound bond or whatever else, they find each other in oblivion – in this liminal space before God and Amara and Creation – and create their own dream among each other. No angels, no god, or at least none without their version of doing it Right™. A new world – a better one – paradise.

This, I realized, confused people -- and as above, rightfully so to people not really realizing the concept of Nothing is completely outside of the universal construct. I had tried to shorthand it in that blurb, but it kinda whiffed over heads and really, I get why.  I’m actually going to use this exchange to see if, now with some context, I can better trade off and fill it out without top-to-bottom trying to Qabbalah through the whole SPNverse:

Other questions came shortly after in asks: 

In your "Everybody dies BUT" Ending, when you say TFW 2.0 creates their own paradise, do you mean like they create a dream, like a collective heaven of their own, concious design, where they can be in peace together? Or do you mean it as they go cosmic entity mode, and create a version of the world that they consider perfect, basically becoming God(s)?

To which I replied,

Perhaps people aren’t used to abstract thought wherein the question is, what’s the difference?

What makes a cosmic being beyond being the one to have a thought to create a thing? By nature it is their dream, it is their world and it is thus both subject to them and dependent on them, so chicken or the egg, ouroboros and full cycle, legitimately, what is the difference of one dream or the other?

But again, curse of knowledge/perspective, I realize I kind of missed the mark on that explanation, as was further evidenced by this follow-up ask:

I guess even in abstract terms the definition and perspective between what's real or what's not varies,just like the concept of perfection.I think everyone sees aspects that would represent differences between dream and reality in a some way,but it's always different. For instance,for me the SPN heaven is real in terms of it's existence,but it's also a dream,because it's a reflection of what a individual wanted to be real.It's real,but also a dream,it all varies on the layer you're analysing. 

Fair, of course, but as we were addressing this conceptual point, which is -- as shown above, difficult to detail, I replied:

You’re still thinking within the universe.

Heaven, and hell, exist within the universe.

Other universes exist. Some are parallel but varied timelines. Some are French Mistakes with different rules. Some are cartoons. These do not all function under the same rule set.

Heaven is part of the universe that Chuck made. At one point, he existed in oblivion, for whatever reason; we do not know whence he and Amara or even Death among them (chicken or the egg as Death put it) came. They simply were, as far as we can comprehend, as they predate time within the universe. Because Chuck created the universe. Ergo they all existed before the universe.

It requires a form of nonlinear thinking to parse it. But at some point, Chuck Made Everything When There Was Only Nothing. That world can fade out if Chuck dies, even inside the world. Just like, if someone was to die while dreaming, their dream would end as well. Many parts of your dream imagine themselves from your subconscious. Other parts you can become lucid in and start to control and take command of. Many elements run simply on what you know, or the depths of your mind manifests. Such is the nature of a dream.

Heaven isn’t to be treated as separate because it’s within that universe. Now, what Sam and Dean and Cas and maybe Jack might dream of as paradise might not be what Heaven is. Heaven, after all, was only part of Chuck’s vision of creation.

That first primordial spark that made Chuck’s early intangible dream that blossomed into everything he wanted above and below, that’s the universe.

If, as per The Post In Question, TFW started from that same oblivion point… what divides them from Chuck? “Power”? What is power when it is a dream reliant on YOU? You are the power.

And then came this follow-up ask:

I think I see your point.But just to understand your stand on this better,when you say suggest that power would be irrelevant in a situation were power is basically the ability to dream,that makes sense if that's the true source,or at least the initial source,of Gods powers.But what if there was something else,if he, Amara and Death had,for wathever reason,came into being with more power than just creativity?Could a being that came into existence without those powers obtain them,in your opinion?

This is the point in which I dug in my heels, but I now recognize did so unclearly:

I think this opinion requires that the authors are completely bypassing any and all myth regarding the concept of oblivion in multiple legends, and that people are having a hard time wrapping their heads around what ideas like Nothingness actually mean. Black Space is ironically too much. The idea of void predates… I dunno, time, space, height, depth, width, light, dark, that’s why it’s actually void. Most creation principles dawn from the idea that somehow, some way, a spark of thought dawned. What that spark is called, how it manifests, that’s where everybody bickers. But things like “uber power scale” are completely irrelevant when you’re talking about starting points of literal nothing, and that’s ironically the concept of things like the Ouroboros.

You see, the reason I dug my heels in, however, is not pure stubbornness. If we are operating outside of the laws of any mechanical or existing universe in which presence and power is defined, the power and presence within that universe is moot. Once a creature enters that universe it brings with it the weight of its general principle, but within the Empty, all things are relative. If this were not true, the Empty “would have thrown Cas so deep into the Empty that you can’t bother me,” but “except you can’t, or you would have already.”

“Pretty smart, pretty smart, tough guy.”

What we have is the Ain having something from the Aur thrown in and essentially becoming the Ain Soph, there is now Something in the Nothing and the Nothing just wants it to fuck off and leave it alone so it can resume being Nothing. It’s now vaguely aware again, of Things(TM). Of worlds and dreams and people and things, when everything else was just so peaceful Not Existing. 

If we defer back to Qabbalah again, this is a breech of something called the Tzimtzum. The tzimtzum is basically the act of when “God” “contracted” into the infinite point of light to barf out space and made its polar parts, it was considered creating “conceptual space” in which these finite and seemingly independent realms could like. Exist. But it made a bunch of empty space around it. Again, space being relative, when talking about Nothing, but doing it in a way we can discuss it. But here we are, putzing around in this place that doesn’t even exists and thus wants to be left the fuck alone. God is even called “Ha Makom” or “The place” in this structure. So there’s The Nothing and The Place. The Place is God’s universe basically. 

God, in this structure of naming, actually wouldn’t be Chuck as we know it. Chuck would quite-likely be the male pole with Amara the female, but again, we can’t swear up and down how closely they held to this. It would more be whatever thought hiccupped and made the PrimordialTwins that had their bickering match in season 11, which kind of made the non-space they started having their slap fight in. 

Also, realistically, there seems to be a level of retcon in this, as in theory “sealing out the darkness” could also correspond to this idea itself, and there’s a variety of terms one could sling around in treating Amara as herself conceptually outside of this space. The original intent/application could genuinely be either/or, and that’s the fun part of dealing in this level of philosophical fuckery. And the Tzimtzum did lots of cool things, like made not just spiritual and physical worlds but yes, even the very concept of Free Will is on the list of things it made space to exist.

One could also argue no retcon needed, as even if the primordial aspect of Amara was sealed away, the Mark used to do so still waterfalled her concepts and impact through the rest of the known universe via Lucifer, Cain, Dean, and whatever else that shifted along the way. Without the mark, Lucifer wouldn’t have fallen and made demons, and hell wouldn’t exist, still realizing “destruction” or “severity” into the universe. Wherein if she were ironically imprisoned within the realm of light, as it is more metaphorical light at that point, somewhere in the area of Ideas rather than Physical Reality And The Known Universe, it all applies and once that Abyss is crossed is where the Mark instead impacted reality in her stead.

The hermetic God is really Both Of These, not to be confused with the idea of the Christian God, more easily directly encapsulated in Chuck. One simply does not exist without the other. And there’s a billion reads on these in philosophy, some weirder than others and really, the application of these is light enough we need to ask if there were even retcons, much less trying to badly staple over our Favored Denomination Of Thought(TM). Supernatural handled it as brother and sister, one egg if you will. Many versions treat it as a hermaphroditic concept that split in two somehow. Others... get even weirder, we’re not gonna go there because frankly, the show didn’t even really try. We got brother and sister. It is what it is.

So while this post is somewhat in explanation of what I realized sounded like a madhouse theory to people not used to thinking abstractly over what is admittedly a headcanon/hopeful ending concept, it is also -- perhaps oddly to some people -- how I’ve taken to compute most of the ongoing mythology within the Dabb era, naturally as per my base... like... life? And study and teachings?

And frankly probably adds up a hell of a lot better than just assuming it’s a leveled-up power-game, which while from the bottom it looks like such, in the full scale, the top and the bottom are not so unlevel from each other, for -- “as above, so below,” the cardinal concept of the Ouroboros (14.14).

If the Nothing did not Become Infinite, nothing might Be. But if the Infinite Nothing did not then retract itself into a point, then Nothing Could Exist. In retracting to a Point, something existed. That Point births an origin, and all attributes that become the recognized universe and reality, to which there are poles and balance of arguable levels of sentience, and from which all things flow, including -- in this essay-ass meta thing -- Chuck’s creation(s). 

Heaven, hell, probably even purgatory, those are all parts of Chuck’s respective dream, that moment Something In Nothing pulled its shit together and started having Thinkie Thoughts. Maybe in French Mistakeverse it became a Big Bang. Maybe it even was in SPNVerse considering the mention of evolution. But the simple fact is, it all came from Somewhere In Nothing.

Which does, yes, roll back to my little idea about a possible ending I’d like to see on a list of a few, but also might help recognize what I mean when I say things like “power scales are pretty relative and abstract at these points” and so forth. 

Hindsight edit: @drsilverfish may enjoy.

[inke-ri]

So I actually liked vld season 7

Some of it anyway. I still have some beef with it. Normally I don’t really post my thoughts but I wanna get it out of my chest c: gonna stick just to the Good Things on this post since it got out of hand!

Warning: LONG POST and since I’m on mobile idk how to put it under a read more!

*** [Good Things]

So many good things honestly.

• FIRST OF ALL: THE MUSIC! THE ANIMATION! THE BACKGROUNDS! THE CHOREOGRAPHY!! More than any plot these workers deserve so much credit <333

• Everything about episode 1. From learning of the beginning of Keith’s and Shiro’s friendship to the shenanigans with the yelmore. As a med student though, I wish they would explain a bit more about this mysterious disease he had and why is it apparently “gone” now.

• Cosmo. Everything about this space pupper. I love that he’s being included far more than the other pets because it was always pretty clear to me he’s very protective of keith and doesn’t appear to like leaving his owner’s side. ALSO I LOVE HOW BIG HE IS. HE’S BIGGER THAN PIDGE IN SOME SHOTS.

• I’m digging the Generals’ new outfits. Noice.

• LANCE DEFENDING PIDGE. Yes yes yes. I love how much he cares for her. I really wish she had become his love interest instead of Allura. Still! They had quite a few sweet moments c:

• Space mice are back to helping the team too heck yes

• “The Feud” is both kinda endearing but also my least favorite episode of the series. Since this part is about the good things: Everything about Lotor. Zarkon calling Lotor names. It was so DOTU I loved it so much

• THE DRUID IS BACK!! I loved that the druid was back. I really really wish they had expanded on WHY the druids are like that and HOW do they get their powers. They appear Galra. Are they a breed Haggar experimented on? They seem to almost idolize her. Gimme more info on the quiznaking Druids season 8 plEASE

• KEITHS WEIRD QUINTESSENCE POWERS VOLTRON PLEASE -PLEASE- EXPLAIN - as a side note I 110% believe the purple quintessence coming from Keith’s hands in when he unlocks Black’s wings in season 6 is that very power of his, not Shiro’s spirit or whatever

• Keith’s and Krolia’s goodbye. It was so emotional. I love that Keith has the maturity to understand that she has to leave- not because of a “mission” but because so many Blades she was shown to CARE FOR were gone. For all the “greater good” the Blades were about, they did seem to care. I love how gentle Krolia was with Kolivan too. I wonder if Kolivan is the Shiro to Krolia’s Keith.

• I originally had mixed feelings about the Floating In Space episode because both Keith and Allura felt OOC at first. But y'know what? I’ve come to like it. Keith had been acting like the Perfect Leader™ since he came back, as if his issues had all faded away when he and Black really became a team. But truth is, they weren’t. Keith was responsible for his team now, and they were floating in space, nearly dying, and the paladins were talking about QUITTING. Keith didn’t do his job well enough. Keith failed, failed them and FAILED as a leader, or so he felt: he let them down JUST LIKE IN SEASON 4 and now they’d all die. He was tired and not thinking properly so OF COURSE his basic instinct flared up: “leave them so they wont kick me out first”. As someone who likes the idea of keith and allura together, I really didn’t get Keith’s sudden outburst against Alfor, but… He might have done it to push Allura’s buttons. He KNOWS her, he KNOWS she’s the one who would argue the most (like in s4), so he instinctively tries to get her off him already- and because he knows her so well he goes for something that he knows is a low blow. Thing is, that made Allura’s own hurt feelings flare up (and the rest of the team’s). Allura might have understood where he was coming from in s4, but she was clearly sad that he still chose the Marmora over them. Even if she GETS it, it still HURTS. The whole team HURT. And now Keith was trying to push them away AGAIN. They were PISSED. They had trusted him 100% even though he abandoned them and now he was leaving again?!

BUT THEN!! DEVELOPMENT!! This time team Voltron WILL NOT let Keith go. Will NOT kick him out no matter how hard Keith tries to make them do it (thanks Hunk!!). And that helps Keith to FINALLY admit how much he cares and allows him to put them right up there with Shiro and Krolia when it comes to people HE wont give up on, people he now KNOWS wont give up on him. He may have called them “friends” but.. Keith isn’t that good with expressing how much he cares. He’s always a little hesitant when it comes to sharing his feelings (you’re LIKE a brother to me vs you’re MY BROTHER). He does mean family. He’s just being Keith :)

• I actually genuinely liked the Earth two-parter. I never thought Sam could carry an episode like that but damn. U go babe. I loved Colleen too. AND VERONICA YEA GIRL

• Kincaid and Griffin OWN MY HEART I SWEAR-

• Bless non-evil-Galra-Prince AJ LoCascio. Even though I got whiplash in some scenes like “wait he sounds like Lotor wtq” most of the times I didn’t even notice. So glad they decided to keep him around! He has a superb voice.

• Katie reuniting with her family!! LANCE reuniting with his family!! “uncle lance” yes pls ;w;

• Hunk’s flashbacks ;-; I feel so bad for the baby I’m so glad his family is safe now. I loved seeing how cooking isn’t really just for food when it comes to Hunk, I love that his mom and aunt (i’m assuming??) actually let us viewers understand that every time hunk cooks he’s more interested in sharing company and spending time together. Just. Yes <3

• Iverson apologizing to Keith + petting Cosmo heck yea. Griffin and Keith ignoring their differences, nice.

• KEITH COMFORTING HUNK. He might not be as comfortable saying emotional words like “love” or “family” to the team as he is around Shiro and Krolia (understandably), but you can see he cares just as much. Also YES let him be hugged more. He clearly loves it.

• All those conformations of paladins!! Keith/Pidge/Allura -> Pidge and Keith. Yes!! Keith and Hunk! Lance and Hunk!! A+ hell yea

• All the shoutouts to previous seasons!! The reflective shields from S6ep1. Keith understanding sign language this time!! Pidge distracting the guards by being silly (but in a very Pidge way) while Keith goes around like in season 1!!!

• Really nice touch of having Allura give up the crystal in her tiara to save Shiro. Their friendship is so precious <3 Also bonus points since this was likely what allowed Shiro to sense Atlas’ quintessence- the new arm still DOES have a connection to his brain so, like, so does the crystal :’D

• Speaking of Atlas, I’m neutral on it? So long as it doesn’t keep showing up as a robot I’m good. I just don’t get why it gets defense upgrade when it turns into a robot? Regardless though, it seems wayyy too big and clumsy. So hopefully it’ll remain just a ship in most eps.

• I did love the smaller earth fighters tho! Blonde + Freckles Whose Name I Can’t Spell Sorry grew on me. Also, ships’ designs are awesome. Honestly so long as Earth Team doesn’t end up in the LIONS I’d be happy. I feel like they might though. Oh well.

• LANCE. JUST HOW MUCH LANCE MATURED. THIS WAS ONE OF MY FAVORITE THINGS ABOUT THIS SEASON. He barely joked around this time!! He really showed how he supports the team. I LOVE to see Keith depending on and trusting Lance to be his second in command. THAT’S what I always wanted for the two of them. - Bonus: I loved how Keith fell back for a second on his old habits by going all “don’t miss the shot” or whatever cause really that’s exactly what their rivalry was about. Early Series Lance would get back at him without batting an eye. But he remained focused and alert! Lance’s development is more subtle but this is EXACTLY the same point Keith was when Kuron started calling him worthless. Keith had GROWN, and those things didn’t bother him anymore. Likewise, Lance has GROWN. He’s an adult who takes things seriously now and doesn’t waste time with silly bickering. Just. Yes. While lowkey, this is just as satisfying to me because unlike Keith we actually SAW all the stages of Lance’s growth. (We didn’t see all the conversations Keith and Krolia had on the space whale). Just. Lance. Bless him.

• I still prefer Sendak’s season 1 design. That said, he was a marvelous villain- more than any other he really represented all that was evil in the Galra Empire so I enjoyed him. Zarkon was into the lions for personal reasons, Haggar is more about the Altean thing, Lotor didn’t really care for Voltron since he built Sincline. So yea. I didn’t expect him to be the main villain but I don’t mind.

• Speaking of which, loved the Sendak/Shiro fight! It really felt like all that encompassed the Paladins vs all that encompassed the Galra. And even though I actually didn’t like that Keith was the one to deal the final blow, Keith IS a mix of Galra/Paladin who has good intentions. So… like Lance said early in the season. He’s the future.

• not so sure what to think of the final EP and that weird robot but eh. Assuming it’s from Honerva, I DID like how it showed that Honerva IS different than Haggar… And more dangerous. This was literally a Haggar Robeast but upgraded, because YEA Honerva is much better than her quintessence-cursed counterpart.

• THE FAMILIES!! Shay!! Y'know I’m not usually a multishipper - actually I’ve never done it before - but I love both hunay and hunelle. I’m totally ok with hunelle in an AU and hunay in voltron canon (Hunk clearly cares for her so much that even though I prefer Romelle I can’t go against that precious bean teary smile when Shay showed up.). Besides!! Platonic hunelle is really precious too. ALSO ALSO KOLIVAN AND KROLIA and Krolia is wearing a Leader's version of the BoM suit?? NICE

• Matt is back and looks more handsome than ever! I love the ponytail. I love his design. And his colors. And his new girlfriend?? If I remember correctly from the Naxzela episode the helmeted alien sounded like a girl. ALSO ARE THOSE PUPS BESIDES OLIA HER KIDS?? PRECIOUS PUPPERS

• ROMELLE. we need more of her gdi-

• IS THE ALTEAN MERLA OH GOD LET IT BE MERLA I’M BEGGING YOU-

• Lastly, another of my favorite bits: Piloting the Lions through their bond. It just goes so well with my headcanon that the quintessence of the pilot actually MERGES with the quintessence of the pilot, so much that when they’re connected like that even if the body dies the mind still goes on. The difference for me between this season and what Shiro went through is that the paladins still have their bodies to ground them and help them keep control, while Shiro was just… Lost in the astral plane, barely able to separate his consciousness from the Lion’s (so much that this only happened twice when the paladins were purposely trying to connect with his quintessence/spirit in the astral plane). It’s not as “romantic” as the whole ‘black SAVED SHIRO’ but I really think his time in the Black Lion was really unsettling: not being Shiro and not being Black, but some weird mix of the two (his sarcastic confusion towards lance early in the season also supports this: he wasn’t HIMSELF anymore. Thinking like a normal person and not like a robot is WEIRD for him). It’s a headcanon though but it’s mine and I will fight you on this (actually no pls don’t fight me).

*** Overall!! While not my favorite season (that’s 2 and 6), season 7 wasn’t BAD. Maybe I just had lower expectations since I spoiled myself out of anxiety. It wont be like s2 and s6 where I’ll binge watch the eps over and over again, but it’s pretty comfortable with s1 and s3 in “eh it was fine, ok, I like it”.

[That said, there WERE quite a few things that pissed me off about this season, but everyone is so negative rn and quite a few people already covered part of those reasons, so I wanted to post about good things!! I’ll probably do another post on the Bad Things of this season.]