#like im writing a narrative

[deoidesign]

My comic is so pretty...

The hiatus is letting me take a little extra time on these episodes, and I'm definitely putting it to good use!!!

[blueskittlesart]

*sigh* thoughts on Nintendo's botw/totk timeline shenanigans and tomfoolery?

tbh. my maybe-unpopular opinion is that the timeline is only important when a game's place on the timeline seriously informs the way their narrative progresses. the problem is that before botw we almost NEVER got games where it didn't matter. it matters for skyward sword because it's the beginning, and it matters for tp/ww/alttp (and their respective sequels) because the choices the hero of time makes explicitly inform the narrative of those games in one way or another. it matters which timeline we're in for those games because these cycles we're seeing are close enough to oot's cycle that they're still feeling the effects of his choices. botw, however, takes place at minimum 10 thousand years after oot, so its place on the timeline actually functionally means nothing. botw is completely divorced from the hero of time & his story, so what he does is a nonissue in the context of botw link and zelda's story. thus, which timeline botw happens in is a nonissue. honestly I kind of liked the idea that it happened in all of them. i think there's a cool idea of inevitability that can be played with there. but the point is that the timeline exists to enhance and fill in the lore of games that need it, and botw/totk don't really need it because the devs finally realized they could make a game without the hero of time in it.

[ironunderstands]

Topaz appreciation post because she’s been rotating around my brain like a rotisserie chicken and I need y’all to get her like I do 

Genuinely, I believe her to be the most underrated limited 5 star in the game everything wise, because she is so damn interesting and nobody talks about it ever and it drives me nuts.

So, I’m going to make you understand why exactly I love her and what makes her so amazing in the first place.

Her lore 

Topaz’s lore is rather simple, at least compared to other characters in the game, but simple ≠ bad and her story serves her perfectly.

Long before Topaz was Topaz, she was a girl named Jelena, living in a desolate planet at the edge of the galaxy. The economy of this planet was based around mining and industry, which resulted in her home becoming more and more polluted as time went on. The wildlife almost completely disappeared, people had to wear masks to breathe, and it seemed like her planet was reaching a hopeless, dismal end.

Until the IPC came. They promised to fix everything, and heal her planet of its environment problems, in exchange for every person on the planet signing a contract of indentured servitude to the IPC. Seeing no other way out, Topaz’s home accepted, forever tying her and the rest of the planet to the IPC.

Topaz is was (and still is) incredibly talented and competent, excelling in science, economics, finances, math, etc. Her exceptional talents caused her mentor  and parental figure Dvorski, who works in the Strategic Investment Department to recommend her to Jade, one of his superiors. Presumably, this is how she started her climb up the corporate latter, eventually becoming the Topaz we know and love today. 

Throughout this, she maintained her friendly and headstrong attitude, and never abandoned her love for animals or the people in her life like Dvorski, a trait which will be important for later. 

So, I’ve established the basics, so what makes this interesting?

Topaz’s trauma and how it affects her character 

I feel like a lot of people ignore just how much trauma she really has, and how it affects the way she behaves in the present.

For starters, her love of animals. Sure, Numby is adorable and in general this is a rather fun trait for a character to have, it’s not something you would consider to be a sign of something darker. 

However, remember that Topaz’s planet almost lost all of the life on it, and she witnessed firsthand almost every creature she knew and loved either go extinct or become severely endangered. 

So, when you view her love for animals through this lense, it’s easy to see that she’s so attached to animals because Topaz almost lost them forever, and this trait manifests in a lot of the behavior she exhibits.

According to Topaz herself, her efficiency goes up 27% when Numby is with her, and it seems to be blatantly obvious that being around animals give her at the very least a peace of mind/sense of comfort. I mean in game she is Topaz and Numby for a reason, and her relationship with them is a core part of the way she behaves. When Topaz can’t ground herself, she has Numby to help her with that, which hurts even more considering she is likely going on these missions alone 90% of the time, meaning her literal only friend is a pet/animal. 

Considering Topaz’s biological parents never get mentioned, it’s not hard to assume she is orphaned or at the very least estranged from them, likely due to the disaster on her planet, leaving her only loved ones to be her pets and Dvorski. Losing one half of the only support system she has would be devastating for Topaz, which is likely why she brings Numby everywhere (also considering I don’t think she has mentioned him in the present, her pets might literally be the only things she has left). 

In her own home, Topaz collects a myriad of species from across the galaxy, as if to preserve them so at least even if they disappear on their home planets like hers did, they won’t go extinct entirely. 

Personally, I think her fixation around them cooperating and coexisting also reflects on how she feels about other people. If animals from completely different planets can get along, so can people. If she can convince creatures lacking in intellect work together, then she can do the same for ones that possess it, as ultimately Topaz is a massive people person, and believes what she’s doing is best for the galaxy. 

It’s almost like an experiment, with every little change to their ecosystems, every new organism added, every new abiotic feature taken or removed, Topaz can simulate what that might be like in reality. In a way she wants to take care of humans  like she does her pets, however instead of doing it through her own means, she uses the IPC and her power as a Stoneheart as a vector for that.

But why is she so confident? What makes Topaz wholeheartedly believe that what she’s doing really is the best for the galaxy, even if we know it isn’t perfect, even if only ~80% of the planets she works on are “saved”?

Well, like always, it’s her trauma again.

Imagine you’re living on a planet slowly dying due to its people’s greed and ignorance, in which everything you know and love is falling apart, and absolutely nothing can be done about it. But you don’t need to imagine this, I mean this is a situation we are all going through, as it’s already what’s happening to our planet right now, so perhaps instead picture what it might be like to live here in a few decades if nothing changes. How miserable that would be, how upset you would be at those in power, how disappointed you would be in humanity for doing Nothing when we had so much time and already knew the consequences almost a century in advance (seriously we have known about climate change since like the 50s). 

So you give up hope and accept your fate, accept that everything is going down in flames and the humanity, the planet you know and love is going to be snuffed out forever.

Only to get saved when an outside influence comes to your assistance. Sure, they make everyone sign a contract binding their lives to them, but you wouldn’t have a life to give had they not helped. Besides, you owe it to every other thing that shares your planet with you, every plant, every animal, every organism has been utterly wiped out by human greed, so it’s only fair to pay them back, right? 

I mean it’s your whole world at stake, so how could you say no? How could you deem their terms unreasonable if clearly your own people didn’t deserve the responsibility they had over their own lives? If their situations could only be fixed by giving it to others who could guide them? By giving it to the IPC? The Preservation ?

This is the mindset Topaz grew up on and has known for her entire life. She has seen humanity utterly fail itself and is unwilling to allow that fate to befall others. She doesn’t trust other people to make the right decisions, she doesn’t think they know what’s best for them, because the people she was closest to, her very own people couldn’t do that, so how could she ever expect strangers to do the same? 

How could she ever give the leaders of these planets the benefit of the doubt, knowing that doing that for her own almost caused it to be wiped out completely? How could she see them as anything more than the selfish bastards who ruined everything? How could her heart not ache thinking there were people on the planets she helps who would be doomed to experience the fate that almost fell upon her had Topaz not stepped in. 

How could Topaz feel guilty over the planets that don’t succeed? The ones she can’t save? As after all, she thinks they were lost from the get go? Does it eat her up at night knowing she failed them? That she couldn’t prevent the folly of humanity this time, so the next planet she must work harder, be more stubborn, push back even more, so nobody ever experiences what she did instead?

I mean being an indentured servant hasn’t been that bad for her, she’s succeeded in every endeavor she’s set her mind to after all. Sure, she’s entirely alone, and sure, if the IPC no longer deems her or her people useful, they could cast them aside once again. 

But Topaz is smart, she climbed to the top of the latter, she’s been praised to hell and back, she’s known far and wide through the department for her efficiency and drive, surely she hasn’t done anything wrong?

Sure she’s heard whispers, rumors and projects of other departments, of the deep dark secrets of the company she owes her life too. Inwardly she wonders how those who follow the Preservation would even be willing to commit such atrocities, inwardly she hopes they are just rumors. The IPC saved her planet, so how could they destroy others? 

The Preservation’s power will protect all, will save them from their miserable existences. Nothing else matters in the process, no dissenter understands this as like Topaz does. She will save them, she will protect them, even if it means she is detested by everyone she encounters, it must be done. All for the Amber Lord.

I find it very compelling how despite the fact that Topaz has become a Stoneheart, she is still dressed in the fashion of an average IPC worker. As if she is an equal part of the puzzle as them. Equally useful, equally disposable, equally biased, equally ignorant, and equally foolish. 

I mean, how could she be anyway else?

Her future

Belabog was just as important for Topaz’s development as she was to it.

She was wrong. 

As stubborn as Topaz is, she is not arrogant, and when Bronya proved to her that the people of Belabog can and would fight for their future, Topaz did everything in her power to help them.

As that’s what she really cares about, people. 

I think Topaz the determination she has in Bronya and it shook her to her core. 

Because so far, the only way Topaz has seen real progress is from the hands of the IPC.

But Bronya doesn’t give into them, and she puts everything she has into saving her people. Moreover, Jarilo-VI follows the Preservation as well, but they don’t agree with the IPC’s method of it. 

Is the IPC wrong?

That is the question Topaz is faced with, what is the thing she has to grapple with once she leaves the planet. When they demote her for not getting the debt back immediately, does Topaz wonder why they were so concerned about that in the first place? Shouldn’t they be happy that a world blessed by their very own deity managed to pick itself up without their help? Isn’t that the point?

Does she think back to her previous projects, the planets she saved and the planets she failed, and wonder how it would have worked out without the IPCs involvement? 

Did Aventurine teasing her about “failing” the Jarilo-VI project confuse her, because they were still saved like Topaz wanted them to be in the first place? How could they ever be considered a failure?

She believes debts and payback are what holds planets together, but it only ever seemed to cause Belabog to fall apart.

This is the first time Topaz really is forced to reevaluate her priorities, to question if her methods are justifiable, if she’s really doing the right thing.

Belabog didn’t break her, it didn’t topple her worldview and turn everything on its head, but it did plant some seeds of doubt in her brain, seeds of doubt that will grow into a new mindset.��

HOYOVERSE IF YOU ARE LISTENING HOYOVERSE, GIVE HER THE MENTAL BREAKDOWN + PRIORITY REEVALUATION ARC SHE DESERVES!!! DO THAT AND MY LIFE IS YOURS PLEASE.

Like you don’t get it you don’t get it what do you mean they set all this up and they might not go anywhere with it. Please hoyo please please please let her break away from the IPC’s condition and warped perspective, please let her truly follow the Preservation, please make her turn away from them, please make her an emanator of Preservation after she does this. Topaz stoneheart form, Topaz emanator form. Please please please let her save the crew let her save her subordinates let her save the people she failed previously let her save Aventurine and Ratio let her save Numby let her save herself.

Her instability 

I have already somewhat touched on this in point #3, but Topaz just cannot exist in the state she is now permanently.

Like a radioactive element she’s going to slowly decay over time until she ends up in a more stable form, and who that will hurt in the process, and how long that will take, we will have to see.

Hypocrisy is not something that can exist for long within characters, as due to its inherent contradictions, it messes with the way they are characterized until they are eventually forced to either eliminate it themselves or have the story do it for them.

Topaz is a hypocrite, desiring to do good and help people, but she ends up hurting them in the process. 

However, she has only just begun to realize this, and as more and more of the IPC’s atrocities get revealed, it gets harder and harder for both the audience and her herself to justify her behavior as we witness the extent of their crimes.

So how has she remained this stable for so long?

Well, the IPC has done everything in their power to keep her that way. From a young age she was involved with them, as they not only saved her planet, but her only known parental figure worked in the Strategic Investment Department. Soon, he recommended her to Jade due to Topaz’s exceptional talent, and presumably the other Stoneheart quickly picked her up and took her under her wing, causing Jelena to rise fast within the ranks and become one herself.

The IPC has been Topaz’s only frame of reference for how things should be done, her only perspective on write and wrong for so long. The only hints she gets of other points of view are that of the people who destroyed her planet, her own people. Unintentional or not, Topaz has been made to feel her whole life like the IPC are heroes and the common people are foolish and greedy and evil, and only now has that worldview started to crumble piece by piece.

Sure, we have always known how terrible the IPC was, a perception that has only gotten more and more true over time. However, Topaz is not the audience, and in universe the IPC presents themselves in a very positive light.

Think of the Myriad Celestia trailer and how it portrays the IPC; that’s quite literally how they want to be viewed in game, how they market themselves to other people. If Topaz has only ever known them to be that great, shining, progressive company who vows to follow the Preservation and improve the universe, how could even begin to criticize them? After all, she had never known any other perspective. Even when she did fail in the past, Topaz viewed it as a strike on her own record and an unfortunate situation in general, not as a demonstration of the IPC’s misdeeds. 

The IPC is good, the IPC saves people, the IPC follows the Preservation, Topaz is a good person, Topaz does good things, Topaz helps people, Topaz saves people, there is nothing wrong, there won’t ever be anything wrong.

Until Belabog

They don’t want to cooperate with the IPC. To roll over and let themselves be gutted for all they are worth. 

Well that’s fine, that’s happened before, at least that’s how Topaz justifies it to herself. She thinks of their massive debt, it must be paid after all, otherwise how could the galaxy remain stable?

But the weapons the IPC gave Jarilo-VI were never used in its defense. The thing they owe the IPC for never ended up being valuable. Belabog stood on its own, without the help of IPC in its defense.

They saved themselves.

As if it couldn’t get worse, they did it with the power of the Preservation.

And it didn’t come from the IPC, it came from them.

The Interastral Peace Corporation, who claim to be followers of the Preservation, standing against people who really do have their blessing and being proved wrong.

Do you know how that would feel to Topaz.

She’s wrong, and she’s proven wrong by the very deity she claims to follow, she believes she follows.

So Topaz makes her choice.

Stick with the IPC’s plan, or stand with the people of Belabog 

And she stands with them.

Topaz’s character never changes. I hate when people act like she switched up on them and changed her whole worldview, but in reality that was the most in character thing Topaz has ever done in her entire life.

Because she cares about people, so when the opportunity presents itself, she will always stand with them. 

This is the first time Topaz goes against the IPC’s wishes, and it won’t be the last.

She made her choice, she demonstrated who and what she truly cares about, and that will only drive a wedge between her and the IPC further and further until she snaps.

I find it funny how Topaz is a fire type character, when the song core to Belabog’s themes is “Wildfire” 

However, maybe it isn’t just about them. I think it’s about the Preservation, about what the game in general is trying to tell its players.

How fighting for your right to exist will hurt, but it is not impossible, and that pain will be the only way to enact change.

Well, Topaz,

you made your choice

go fight against your fate 

Thank you so much for reading! I really enjoyed making this and I hope you at least understand why I think Topaz is such a compelling character. I need an arc centered on her in the future and if I don’t get one then trust me things will be dealt with. She will get her just desserts.

[akascow]

theres just smth about lawrence gordon the ONCOLOGIST (cancer doctor) trapped in a room with adam stanheight the SMOKER who literally says gimme that sweet sweet cancer in the movie

im losing my marbles brb

[wickmitz]

— THE ELECTRIC-FEVER REMEDY.

[nerdyqueerr]

The Ulysses Dies At Dawn research project thesis is COMPLETE. Lets fucking do this

[themanwhowouldbefruit]

[averlym]

fairest of the fair

[axolotlclown]

So I finished Moominvalley season 4 and here is my review:

Of course, spoilers ahead! It's long. It's detailed. It's a bit much, and I spent hours writing it.

I greatly disliked this season, not just from one particular angle. When Moominvalley first came out, it was advertised as the first narrative-style adaptation. This would imply one concrete story that ran throughout the show. They said the story would take time and required patience, but there was a larger narrative story. What was that story exactly? In the beginning, each character was established with certain flaws that they needed to grow from.

For Moomintroll, throughout season 1, we see him struggle with his father's expectations. He never quite makes his own decisions—either doing what he's told or what other people in his life would do. In the last episode of the season, Midwinter Ancestor, Moomintroll is told by Too-Tikky to not open the closet door. Going against her wishes, he does so anyway. This is the first instance of Moomintroll making a decision for himself. In the end, it was a bad decision, and he regretted it, but it still was a big moment. We understand the importance of this journey when he changes out the picture by his bedside table. It was a baby photo with his parents; now, it's a photo of Moomintroll fully grown. This was meant to denote a journey of independence.

We see him continue with this struggle in season 2. The Hobgoblin's hat adds to the internalized identity crisis. During the lighthouse arc, Moomintroll is mostly doing his own thing, somewhat. Although, I think that cutting out his glade from the book sort of hurt this theme of independence. I hoped that they would revisit that somehow, but they never did. In season 3, Lonely Mountain, we see a sort of regression with Moomintroll. (Ignore how this affected Snufkin, I'll come back to this later.) When Moomintroll unpacks his things, we see a collection of items that represent Moomintroll's past. One of these items was the old baby picture. Aside from this episode, we don't see any notable growth from Moomintroll this season.

In season 4, we watch Moomintroll fall right back into his father's shadow. He continues to struggle to carve his own path. The set up for Comet in Moominland was promising, but ultimately did not deliver. When Moomintroll goes against his friends to make a decision for himself, it turns out to be a bad decision that he regrets later, and someone else has to guide him out of the situation.

Moomintroll ends from the same place he started as a character. All growth is erased and ignored. While this is the most egregious example—with him being the protagonist—he is not the only character that this happens with.

Snufkin probably upsets me the most, as he had so much potential to be the most interesting character in the series. In season 1, The Spring Tune, we see where Snufkin is starting as far as his strengths and flaws go. What particularly intrigued me was his relationship to attachment. We see that Snufkin ultimately fears abandonment, and he copes with this in conflicting ways. He wants to be with Moomintroll out of fear of being left behind, but he is afraid that he feels this way. He tries to create distance between him and Moomintroll in an attempt to ease what he experiences as pain. This is demonstrated further in the next episode, The Last Dragon in the World, when he frees the dragon. We see his struggle with responsibility and commitment in Snufkin and the Park Keeper.

In season 2, The Hobgoblin's Hat, Snufkin is explaining to Moomintroll what the King's Ruby is. The ruby functions as a metaphor for love throughout the season. Moomintroll imagines that the Hobgoblin must love this ruby, while Snufkin argues that he only wants to possess it. While both may be correct in their own ways, they fail to understand each other. As a result, Snufkin decides to leave Moomintroll out of fear of being possessed himself under the false pretense that he is helping with the hat (he did not). We never visit this plot point again.

Snufkin has some large developments in season 3. In the Lonely Mountain, we see Snufkin break down his walls and let Moomintroll in. He acknowledges his responsibility to him and his longing to see him. Unfortunately, this aspect of his character is completely abandoned in season 4.

Back to season 1, Snufkin and the Park Keeper, we get a flashback in which Snufkin is enjoying a party with Moomintroll until he is overwhelmed by the presence of others. He winds up abandoning Moomintroll and the valley. He does this again in season 2, The Hobgoblin's Hat, as discussed above. In season 3, Snufkin and the Fairground, Snufkin chooses not to abandon his responsibility to Moomintroll or the valley. When faced with an uncomfortable challenge, he chooses to stay and support Moomintroll.

In season 4, The Great Cold, when faced with a crowded challenge, Snufkin abandons Moomintroll again. While he appears later in the episode, it felt disingenuous to me. The original problem had already been solved. In Comet in Moominvalley, Snufkin does not abandon Moomintroll. In fact, he makes an active effort to stay by his side. But it feels strange, almost undeserved? We saw so little of Snufkin this season, and when we did, he spent his screen time backtracking his progress.

In season 3, Lonely Mountain, Snufkin has a small monologue about listening to the campfire as the sparks dance and fly. Well, the whole episode was about listening. Anyway, that was a call back to the season 1 episode, The Invisible Child, in which Too-Tikky tells Moomintroll that there are many lost souls in Moominvalley that needed to be heard. The screen then cut to Snufkin leaving the valley. It would have been really cool to find out what that meant!

His abandonment issues never really get addressed. Refusing to let Snufkin meet his father was just baiting the audience. It was also just bad writing! What's his deal—where's his lore?? Who made him like this? Why is he so afraid of intimacy? Why are basic fundamental questions about this main character being left unanswered?

It really is disappointing. Every adaptation (and the books, if we're being honest) treat Snufkin like a stoic hero. He doesn't want to be looked up to, yet he's always painted as a character that you should. This is the first adaptation that gave him flaws. He felt like a character that needed growth and time. He was never given either.

I won't spend so much time on Snorkmaiden, even though she was robbed, too. She never grew to be more independent apart from Moomintroll. In the same vein as Moomintroll and Snufkin, her character ends exactly the way she started. All of her character growth vanished in seasons 3 and 4. I love this version of Snorkmaiden. I certainly prefer it to her other portrayals. But the writers screwed her over so bad, it's heartbreaking.

None of the characters actually learn or change. Everyone sort of becomes a static character, which makes any semblance of a plot impossible to write. For the fun of it, I will try to decode a plot, anyway.

So, you're not crazy. Moomintroll and Snufkin were set up to be endgame. There was a way to make Moomintroll and Snorkmaiden endgame in a satisfying way, but the writers chose against it. It's a very suspicious backtracking that reeks of queerbaiting, but let me explain the narrative romance angles first.

I feel unsatisfied with the ending Moomintroll and Snorkmaiden got. Throughout seasons 1 and 2, they would frequently lie for each other's approval, and jealousy was a common player. They would ignore each other when someone more interesting came along. Ultimately, what led to the break up in season 2, Farwell Snorkmaiden, was the understanding that Snorkmaiden was just more mature than Moomintroll. In her own way, she was ready for a serious committed relationship, and Moomintroll was not.

However, there was never a formal conversation of them getting back together. They just sort of were? And all of the problems in their relationship were never resolved. They still lied to each other and ignored one another for something shinier all the time. It was irritating. These two became no better than Sniff in the end. I'm standing on business with that.

I'm also not convinced that Moomintroll and Snorkmaiden can have a healthy relationship after the finale. They will definitely break up again. They haven't resolved any of the issues that led to their original break.

Okay, so Moomintroll and Snufkin. Let's chat about that for a while. The first three episodes establish Moomintroll, Snufkin, and their relationship together (in that order). We, as viewers, are led to believe that their relationship (either romantic or platonic) is the key to understanding the story. Throughout seasons 1 and 2, every single motif for love (lanterns, fires, the ruby, etc.) that is introduced is done with Moomintroll and Snufkin. Regardless, different expressions of love and intimacy were the focal point of the show. That was almost completely abandoned in seasons 3 and 4. While turning the focus on the greater community could have added depth, it ultimately detracted from the close personal relationships that were driving the narrative.

So, the Groke. She does not just represent fear, she is a reflection of each character's own fears. I loved this! I thought it was a really cool concept, and the ways that she was portrayed in seasons 1 and 2 were excellent. Here's the thing. In her introduction in season 1, Night of the Groke, we are also introduced to lanterns/fires as a motif about love. The Groke is chasing love and craves acceptance. It's not quite something you can catch, and trying to is a failed endeavor. Brilliant episode. We saw what Snufkin's greatest fear was earlier in the season (loving Moomintroll), but we needed to pay more attention to see Moomintroll's fear. I think it was complex. On one hand, with the lanterns, Moomintroll could also be afraid to love Snufkin. However, as we saw at the end of Moomintroll and the Seahorses, he needs to learn independence before he can love someone. This was also reinforced through Snorkmaiden in Farwell Snorkmaiden. The fires and lanterns were constant reoccurring motifs (not just for Moomintroll and Snufkin, though that's where the focus is right now). Rewatch the season 3 episode, Lonely Mountain, and that one monologue that Snufkin gives will start to make sense.

By abandoning these important motifs, the Groke's conclusion feels unfinished. It just felt wrong. In the end, she did just represent fear. This completely erased the layer of depth that she had to start.

For Moomintroll to learn to be more independent and self-reliant, he needed to learn from Snufkin. For Snufkin to learn to accept love and responsibility, he needed to learn from Moomintroll. They were the keys to each other's growth. When they were together, the plot moved. When they weren't, the episodes felt like filler for the most part.

Also, small detail, despite the change in one photo (the baby photo to grown Moomintroll) the photo with Moomintroll and Snufkin never changed. Which narratively makes no sense.

The writers originally set this up for them to be romantically involved. Which, given the context of their dynamic in the books and comics, makes sense. It's not as much of a stretch as people are trying to gaslight themselves into believing. These characters were originally heavily queer coded. However, the original text is sort of a tragedy. No matter what happened, Moomintroll and Snufkin could never truly be together—no matter how much they tried. This mirrored Tove Jansson's relationship to her first fiance Atos Wirtanen as well as her relationship to her own queerness. However, it looked like Moominvalley wanted something different. Queer people had enough tragic stories told already. This one would tell queer kids that it was going to be okay, and that they were going to find love. Tove Jansson's original message about love and freedom was finally going to be understood.

Instead, not only was this potentially beautiful story abandoned, it was mocked. In the season 4 episode, Midsummer Meddling, there was a scene I found quite shocking. Sniff had convinced himself that he was to fall in love with somebody. One of his "love interests" was a male scarecrow. This is the only openly queer semblance of romance that we got and it was played off as a joke. In the final season. They didn't even backtrack Moomintroll and Snufkin, they just completely ignored everything that was set up.

In the final episode, Comet in Moominland, there was an incredibly brief exchange between Moomintroll and Snufkin about who looked up to who. This would have been a fantastic place to give these characters some sort of conclusion, but we don't get that. In all of the 45 minute special, the characters are never prioritized. In the whole season, even. Really, not a single character got a satisfying conclusion, but Moomintroll and Snufkin were the most important.

This is a powerful and historic piece of queer media. Tove Jansson's queer legacy was so iconic that she was directly cited as an influence in the legalization of same sex marriage in Finland. Her work proved to further the queer community. Despite sodomy laws and fear of incarceration, Jansson continued to do what she could to tell her own queer story. That is what Moomin is. That is its legacy.

I was prepared to defend Gutsy if Snufmin didn't go canon. At the end of the day, it's usually TV execs threatening to pull the whole show off the air. The show was too costly to risk any interesting writing. However, the writers didn't recover, and some of the writing just felt downright melicious at times.

Anyway, if you love slice-of-life content, you probably loved this season and the show's conclusion. It is such a shame that the creators promised something completely different from what the show turned out to be. It's no surprise that viewers are disappointed.

I do have one more thing to say ☝️😀. This is going to hurt Moomin's mission to expand to the US. It's been very obvious that they have been trying to expand to North America. Brave and bold writing would have caught the attention of new viewers. Instead, few Americans are going to recommend this show to others. Aside from that, the next logical move is to make an American adaptation. Good luck trying to find a competent YA cartoon creator that won't threaten to walk off the project if they can't have Snufmin. That being said, they'll have better luck making that canon here anyway. (Everybody say, "thank you Rebecca Sugar and Pendleton Ward.")

Well, in the end, I don't think the fight to make Snufmin a real, transparent queer story ends with Moominvalley. I can say, though, that the prioritization of profit over respect and love for others is not at all what Tove Jansson would have wanted.

Seasons 1 and 2 were peak, and season 3, episode 8, was batshit insane. That is all.

[athina-blaine]

kabru's relationship with his eyes makes for suuuuuch a fantastic trans allegory (an aspect of your body alienating you from your community, being compelled to understand the perspective of someone who also has a complicated relationship with their body in the hopes that you'll better understand your own, people straight up misunderstanding biology) it makes me kind of insane because now I feel like I can't dig into any complicated feelings he might have about his body in relation to his gender without feeling like im just ... double dipping?? like fifjpejgh ryoko kui straight up already told that story in a way that exquisitely fucks??

[aquickstart]

ok sure i'll talk about farleigh start. i'll talk about his tragedy of never being enough as it were and then having to deal with fucking oliver. sure. disclaimer: it's about class (and race) and the horrible reality of the rich. the horrible reality of living as farleigh.

another disclaimer: i'm white! and poc definitely pick up on everything i'm talking about here as it is, and better. i was and am specifically interested in farleigh vs. oliver but it's impossible to examine without considering race. definitely let me know if anything abt this sucks!

farleigh and oliver are similar. it's annoying because every intruder that is not himself is annoying, partly because felix's attention swaying from farleigh is dangerous; there is always a threat of being discarded, even if no precedent existed. the potential is terrifying.

but you'd think he's seen this before, every summer (if venetia is telling the truth) or at least often enough to learn to recognize it fast, so he should know this will pass. part of it is i think still the deep anxiety, and i think he hated every boy that was there before, and it is sort of routine.

but definitely a huge factor in farleigh's annoyance is the fact that he's a biracial (black for cattons, that's all they see) man in a white rich household. he's alert and exhausted all the time. of course he's angry at oliver, regardless of whether he's the first to crash at saltburn for the summer or the fifty-first.

but the important thing is this.

farleigh is very jealous of and angry and pissed at oliver because farleigh sees all the similarities between them. outsider, in financial trouble, whatever it is, in need of cattons; and yet oliver is preferred. and farleigh seems to be the only one to really consider it. felix does not pick up on the hint when farleigh brings up the birthday party vs. his mother. felix's clumsy "different or... anything like that" is as much about race as it is about class, of course. the "we've done all that we can" bit is felix absolving himself of guilt because surely they had, surely the mysterious collective cattons that he's not really part of had tried all they could do. to him, farleigh is different from oliver, because farleigh has been helped. felix is rich and white and twofold uncomfortable with farleigh, even if he's nice about it, even if he genuinely enjoys his company; he doesn't look too close at farleigh because he feels too guilty to come too close. and farleigh can't do anything about it. he can't nice himself into it. the fucking tragedy of him is that he's never enough in the world of the ultra-rich white, even if (especially because!) he's born into it.

farleigh is very pissed at oliver because farleigh also sees all the differences between them. you know who can be nice poor white enough to fit in? fucking oliver. felix says "just be yourself, they'll love you" when oliver first moves in. farleigh was also probably told the same thing, and felix also probably believed that farleigh could just be himself, but even if the cattons were magically not racist at all (impossible), it wouldn't make a difference to farleigh. he would still self-censor, keep in check, be in dangerous waters (because racism is not just about the individual, but about the system). we see that he'd won himself leeway by years of trial and error by the way he speaks to the family, but it's still within the boundaries of acceptable, built by the cattons. he's part of them because they allow it, and farleigh is very, very aware.

the annoying thing is oliver can be himself. like, truly, genuinely, he can just be. and farleigh can't help but envy that.

as a side note, oliver is obviously jealous of farleigh in the beginning as well, because regardless of the reality of farleigh's situation, he was born into it, and hence, at least in oliver's mind, has his position solidified. oliver's whole thing is unquenchable thirst and hunger for whatever and everything the cattons have (including themselves!). he wishes to have been a catton from birth. to oliver, at first, there's nothing farleigh can really do to lose it. and until he figures out the cattons completely, he can't help but envy that.

but i think farleigh senses something different about oliver early on. at least on the level of the text, we have "you're almost passing [for] a real, human boy", which is so important because farleigh is the first to point out oliver's weirdness. the next to do so is venetia in the bath scene calling him a freak, but it's too late. farleigh is too early.

and i like to think he clocks oliver too early because he sees the jagged edges that he recognizes in himself. i think that one other thing that farleigh envies is oliver's freedom to let go. freedom to let go is very similar to freedom to be, but not quite the same.

to be is about perception: farleigh knows he cannot fall out of line, but would like to, and oliver does not have to worry about it at all (i mean, he does, because oliver also performs for felix, but farleigh doesn't know that).

to let go is about the self: farleigh is too scared to even want what oliver eventually does, to even consider the possibility. oliver can let himself want. oliver can let himself act. oliver just can do things and want things. i'm not sure farleigh can.

and so in this scene, when oliver's wants and actions have landed him nowhere with farleigh, felix, venetia, the cattons, of course farleigh gloats. he can let himself do that, because if the cattons are slowly discarding him, farleigh can allow himself this one small victory. he's relieved because despite the dangerous similarities, oliver is, thankfully, not really the same as farleigh, right?

but like. this movie is a love letter to all things gothic. oliver is a white man. he prevails. the brief performance that oliver put on did eventually end up more effective than farleigh's lifetime of constraint. my heart fucking breaks for him to be honest.

the issue that remains is the fact of farleigh's survival. i like to think that oliver came to respect him. oliver is smart, but farleigh is clever. he picks up on everything oliver does (to refer back to the karaoke scene, farleigh immediately retaliates in the cleverest way, in the moment), and he's the only one to do so consistently (venetia, again, for example, comes close, but too late; oliver doesn't like that, there's nothing to work with). hence, stay with me for a little longer, the paradox: farleigh survives because he was never enough for the cattons, but he is very worthy of oliver's attention. in his own freaky way, oliver wants him. look at that.

so. farleigh. farleigh might come back. he always comes back. and i think oliver wants to try harder next time.

[bogkeep]

saw some lego dinosaurs today :3

[perenians]

sorry but. jason was, in the end, just another unlucky person that died at the joker’s hands. we can talk about how his last moments were heroic (throwing himself at the bomb to protect sheila) or about how his search for love was what got him killed (bruce’s perceived rejection pushing him to go looking for sheila in the first place), but it doesn’t change that his death wasn’t something epic. it didn’t matter.

[n4rval]

hi I just wanted to say your tags on the gaster poll posts are so correct yessss (always enjoy your takes just in general). thank you for being one of the seemingly very few people out there who also believes there's no way the timeline works for gaster and alphys to have been colleagues. however, him haunting her benevolently is something I'm 1000% here for <3 (also I hope your finals went well and you get to have a nice relaxing break!)

HII HELLO HI im glad you like them!!! knowing you read these motivates me to keep being Absolutely Very Normal About Him on the internet

personally it's less of a believing thing and more of a come on it's written right there thing, but since we're here.

behold! dingus timeline. (and the hottest of takes with freshly baked personal headcanons otherwise what am i doing)

Not a skeleton?

Isn't 201X too early?

Indeed, not a skeleton, but rather, some guy. Something about how monster's bodies are manifestations of their SOUL, and him oddly resembling a strange looking man does well to represent his insatiable curiosity and love for creating. (things humans are known for in a better light)

On the other hand, you will be pleased with how fascinated he is by "FLESHLINGS AND THEIR CALCIUM DEPOSITS".

And then they fucking died.

201X is the year the first human fell into the underground, and shortly after, the royal family has moved to New Home. This means some decent exploration of the cavern has already been made. Scientists could very well already have been working on optimizing life underground, with special attention to the large and ever growing new capital.

My idea? As this idiot has been aiding exploration with his antics, Gerson was the one to appoint him to Asgore. Something about his talent with turning garbage into non-garbage. With a little patience and getting familiar with his odd manerisms, it was not too long until he got to be the prince's weird godfather.

Cracking already?

And everyone was devastated, mainly the close family. Not only that, but amidst your mourning, the one couple responsible for your unrealistically high standards for romance just divorced. Is love even real anymore. You eat ants with your cereal and your work consists mainly of convenience improvements and absolutely nothing groundbreaking. What's the point of breaking that pesky barrier again? Child murder? Come on.

That's the Wingdings PATIENCE and BRAVERY encountered in their adventure. Dear god, you're lame. Aren't you some kind of genius? Get yourself together! And together he got his self, now, he has children to look after. Surely there must be some other way. He must stop coming up with new flavours for chips and find some other way.

... Dear god, the King is going to kill them.

BONES and DT

Listen. He's old. You got your wrinkles, he's got his cracking. What? You meant to point out some major event of injury must have been responsible for his current state of deformity? Well, he's old AND heartbroken. That's a direct blow to the SOUL, okay.

Jokes aside (kind of), doing any lasting damage to a monster is quite difficult given their magic forms can easily be healed through, well, magic. They can, however, eventually "fall" (wink wink) and dust away with age - which cannot, however, be fixed with magic.

With a little determination however ...

Something about the anomaly.

He found it, the other way. It was the bones all along, the so needed sustainance for channelling such a high concentration of that power. Well, not necessarily, but a boney structure will endure much more and last much longer than a meaty one. Also, it looks so cool.

You know this guy, he gets first dibs on any and all dubious substances that might or might not deal the last hit to the nail on his coffin dust urn(?). And when it all works out (dubious), he might as well play a little. What kind of things can he make? With the material properties of these calcified remains infused with his own magic, animated with determination.

Some new, powerful magic tricks?

A new kind of monster, maybe?

DARK, DARKER, YET DARKER.

There is a lot of interesting things one can do with isolated DT, aside from making bones rattle with life - for example, peeking onto the complex layers and ramifications of what composes reality. This is when the already kooky scientist grows a little mad; manic, if you will. This is the Wingdings sans was familiar with.

Time travel this, resets that, blah blah blah alpha timeline, the anomaly, the angel, the anomaly again, all things that only make sense to him and his illegible mess on the black board. The lack of detail is killing him, he needs to know what it is - what it does, why it does, how it does. Not to stop it, no, there is no stopping it.

Rather, an overwhelming need to understand it.

He falls somewhere in recent history, details of it left ambiguous. The shattering, combined with the amount of DT running in his magical... mathematical physiology, rendered all of his self but an espectator of his reality; confined to the code and unable to do anything but watch, powerless before the nature of his very being, like a corrupted program.

It is all rather frustrating, besides the burden that is coming to terms with simply not existing anymore, watching was pretty much all this research was and now ever will be. That is, until something interacts with him. It is different from the tragic prince, whom no matter how much DT he's accumulated, he is just as confined to this world's rules as other elements. Not this one, not the force from beyond. Not "YOU".

He makes it a mission to reach out, despite the limits of the code, to give away bits and pieces of him and see if you bite. But not too much, he's seen how you tend to exhaust a world for knowledge, something he can oddly sympathize with. I mean, what will you do once you find everything? One cannot fully know a person.

Maybe in another world, prophetized by a cute, little white dog. A much better world for everyone, without so much as war or disease, his greatest creation yet. And he could invite you to it, to experience bewilderment, to be reminded of wonder. If it could even help you, wherever you are, to deem your own world worth of partaking ... then the experiment was a success.

[dubiousdisco]

now that lex luthor is an anime twink in the animation maybe we can get more clex content and let the load bearing smallville clex fans rest their backs for awhile

[grassoftunnel]

Too Too Abstract Ushiromiya Kinzo Not To Be Respected

Kinzo being the person he was who dgaf about his legal family at all gives so much opportunity for people to project on him. Like because he gives them so little (even if that little is just being terrifying and violent and cruel, when not completely apathetic).

When the series is all said and done he’s less a character and more an abstracted memory (or at least this way of reading the story makes me feel better about the ways that it lets him off very light…or tries to do historical revisionism ijbol 😭 that man dgaf about those people! He had places in his heart for Genji, Nanjo, Lion, the Beatrices and that is IT!).

We don’t get an unambiguous look into his interiority. On the face of it, he was a brilliant man, magnetic, dazzling, romantic and passionate, a genius who achieved the redemption of the Ushiromiya fortune and reached miracles through sheer force of will. He speaks beautifully and projects an impressive aura that drags everyone around him into his own gravity. He is fiercely dedicated to his own philosophy, and completely unknowable to the people under his thrall. The ultimate Byronic hero. He even ends the story, utterly contented, without any regrets, having gotten every single thing that he wanted out of life. But our story doesn’t concern itself with that.

In our story he is nothing more than an illusion, he’s been dead for years, and gone mentally for longer than that, the characters we do get to know never really knew him. But his ghost is present in every shadow, eternally looming over the mansion, the island, and written into the wounds he left on their hearts. But that ghost is no longer him. We have only the damning facts of his life and the distorted, irreconcilable fragments of his memory in the minds of the people he left behind.

Whatever power he held in life, in our game he is a piece to the very last. Existing only as what others wanted and needed him to be, cosigned to the fate he tried to force on the Beatrices.