#so great to see him onscreen again

[sensitivehandsomeactionman]

Jensen Ackles as Russell Shaw | Tracker 1.12

[shannonsketches]

he's so important to me

[matadorofheart]

sk8 fandom complaining abt adam existing in promotional art for the new stuff is like if one piece fans got mad every time we found out the next season has luffy in it

[tobiasdrake]

Here we go. It's time to talk about my personal fave. As I said before, this is my Main. In Dragon Ball fighting games, this is the character I seek out to play whenever the roster allows. Also arguably the character who's been done the most dirty by just about every form of Dragon Ball, manga included.

The vanguard of a brand new status quo and a brand new direction for what Dragon Ball would even be, washed away by the tides of a status quo resetting to zero.

We're here to talk about the champion of Satan City who carries the spirit of Dragon Ball in her heart: Videl.

(And that is one cookie to @jcogginsa who guessed it.)

Videl was a kid with a chip on her shoulder. I mean. How could you not be? Her father was the legendary world martial arts champion who famously defeated Cell seven years ago.

Don't pay attention to that. He just tripped for a moment. Once he got his second wind, he came right back and showed Cell what for! It was due entirely to Mr. Satan and nobody else that the Earth was spared from the apocalyptic horror that is Cell.

Look, he even said so himself.

Are you gonna call that man a liar? The man who defeated Cell!? I think we can trust Satan's word over yours.

This is the shadow that Videl grew up under. Raised in what had previously been called Orange City, but was renamed Satan City in honor of the world's greatest hero.

Or "Hercule City/Herculopolis" in the versions that edit out Satan's name.

As his daughter, Videl has a perspective on Satan that neither the world nor the audience gets to see: He's a womanizing playboy who cashes in on his world-savior fame for booty.

He also forbids his teenage daughter from dating by putting up the stipulation that any boy interested in her has to be stronger than him, the world champion - A stipulation naturally designed to weed out any possible suitors through intimidation. Wanna date Videl? FISTFIGHT THE MAN WHO DEFEATED CELL.

Oh, but he doesn't teach her a goddamn thing; At least, not anymore, as she does suggest there was once a time when he was her mentor. She's forced to study martial arts entirely on her own because her dad is utterly disinterested in her development in the art.

This is an angle on Satan we never get to see onscreen. Apparently he's pretty shitty about women. You know, I can believe that.

Videl, when we meet her, is trapped in an unenviable position as a martial artist. She hates what the fame of being a legend has done to her dad and wants to knock him down a peg, but she has no foundation to develop her abilities from. The one man who's supposed to be teaching her isn't doing it, and she's been passively discouraged from pursuing more esoteric martial arts because the world champion said that stuff's all fake.

Videl makes for a fascinating foil to Gohan, because they're both children living in the shadows of legendary fathers.

Gohan is expected to be Goku's successor, but wants to live a peaceful life of academia. Meanwhile, Videl is being denied the ability to become Mr. Satan's successor, but craves the opportunity to prove herself.

Nonetheless, both of these kids are prodigies. Videl has a wealth of potential. She doesn't even realize that, despite these limitations, she surpassed her father long ago. Despite being a self-taught teenager with zero comprehension of ki cultivation, Videl hones her skills and developers her art the only way that's available to her: By punching it out with armed robbers in the region.

Backpack Town isn't even her city! She's a one-woman SWAT team for the tri-state area.

As ambitious and driven as she is, Videl is also clever. The anime extrapolates the adventures of the Great Saiyaman into a several-episode arc as Gohan deftly avoids detection by Videl over and over again, but this has the knock-on effect of depriving Videl of one of her best moments.

Because she pegs him instantly. She was already suspicious of Gohan being the mysterious "Golden Warrior", when he tried to use his Super Saiyan form to disguise himself as a superhero.

Which also showed that she was open-minded about the other people who fought Cell. Satan says they were doing a bunch of tricks, but Videl's willing to consider the possibility that there exist people who can turn blond on command.

And then Gohan did this shit.

Because he was raised in the woods by the devil and Goku. Despite trying to keep a low profile, he has absolutely no idea what the baseline for ordinary human ability is.

So. Y'know.

That's pretty fucking suspicious.

Which brings us to Gohan's second outing as Great Saiyaman, and his first meeting with Videl under his new identity. Whereupon she, uh....

Plays him like a fucking sap. It's a great moment that doesn't get its due if it takes several episodes and misadventures for her to reach this point. Videl is exceptionally skilled in the field of paying attention to that time Gohan jumped thirty feet in the air and naturally drawing conclusions from it.

And also his voice and posture and other dead giveaways. Gohan sucks at secret identities.

He's just. So obviously Gohan. There's no way anyone would be fooled by this.

But she's not only adequate at seeing things with her eyes; She's also a legitimately brilliant martial artist in her own right. Due to her upbringing, she's had zero experience with ki cultivation for obvious reasons.

And yet she's talented enough and smart enough to pick up the basics of Bukujutsu in one day.

Oh, don't mind her; That's just Videl making a mockery of Tsuru-senryu by effortlessly devouring their signature technique. This is Goku's first Kamehameha all over again.

She may have started small but Videl learns fucking fast. She has all of the drive and the ambition that Gohan lacks. She wants to be part of this world, she has a ravenous hunger for self-improvement, she's clever and observant, and she picks up concepts insanely quickly.

Videl is fucking primed to be a key player in Dragon Ball's next generation.

...

So now we need to talk about what happened to Videl.

Videl has one major fight in the entire series: Her 25th Tenkaichi Budokai bout against Spopovich.

Which she absolutely dominates. She's stronger, better, and faster than Spopovich. Even the experienced martial artists agree that she's infinity times better than him in every way.

But there's something wrong with Spopovich. He's a decent martial artist, far from the top; He'd competed in the 24th Tenkaichi Budokai and made it through the qualifiers, but was eliminated in the first round. So, y'know, he had no chance in hell against Videl; She's already surpassed Mr. Satan, who won the 24th legitimately.

Uh, by virtue of none of the Kame-senryu or their rivals attending. Mr. Satan is top dog of the same weight class as Pamput from the 22nd.

But, despite being outclassed in every category, Spopovich is also a dead man walking.

He's similar to the Androids in a sense. Spopovich has no ki signature at all, nor does he get worn down by the damage he's taking. This is Vegeta vs. 18 and Piccolo vs. 17 all over again; He isn't feeling the pain from the hits she's landing on him, and so he's able to outlast.

But Spopovich isn't an Android. He's more like a zombie?

At one point, Videl cuts loose and breaks his goddamn neck. Because he's pushing her hard enough that she realizes she needs to go harder, but his body can't take harder. He isn't a match for her. He just. Isn't going down despite not being a match for her.

He can't take this level of force. But he and his ominously vacant absence of ki can put his head right back where it was and continue the fight, no problem. That's honestly scarier than if he'd regenerated.

Also despite not even having the barebones ki signature of a normal person, Spopovich can perform Bukujutsu and fire ki attacks.

Which a fighter of his meager ability shouldn't even be capable of.

All of this adds up to an unwinnable fight for Videl and the setup to... Something. This match has been criticized pretty heavily in the fandom because it gets pretty gruesome and doesn't have a payoff.

We've seen fights go fucking bad for our heroes before. Piccolo once broke all of Goku's arms and legs as well as shooting a hole in his chest, right here in this same arena.

But it's typically building to something. When our heroes get trashed, it's the lead-up to a reversal down the road. Maybe in the same fight. Maybe in a later one. And we seem to be heading in that direction?

After Spopovich and Yamu leave the tournament, we get VIdel a Senzu and she's right as rain.

Spopovich and Yamu steal energy from Gohan and fly off to Babidi's Ship so they can awaken Majin Buu. Kaioshin recruits the various protags to make that not be a thing that happens. And then. Something switches in the narrative flow of this arc.

You can feel it happen.

As our heroes prepare to pursue Spopovich and Yamu, Videl volunteers to join in as well. She's had her eyes opened to a whole new world or possibilities and is hungry to develop her abilities.

And. Then. One chapter later. It's suddenly decided that Videl will not be a part of this storyline after all, and she basically leaves the plot forever.

WHOOPS! Never mind! Didn't want this character here after all. Go home, Videl.

While her adversary Spopovich is unceremoniously unwritten from being a thing that exists.

Babidi just. Kills him. For no reason. Even though his job isn't done yet. Babidi's like, "Oh good, you collected a fraction of the energy we need; That's fine, you can be fired. I don't need anyone to finish the job."

We're just. We're not telling that story anymore. We already threw Videl in the trash; we don't need her nemesis. We're doing a different thing.

Also, because we still have too many characters in this scene, Dabra erases Krillin and PIccolo with magic spit that never comes up again or is meaningful in any way.

You'd think this would be, like, setting up something? Like. Having witnessed it ahead of time, Gohan's able to figure out something about the way Dabra's spit works. So when he fights Dabra in a climactic battle, he can turn this around.

Like when Goku was able to counter Tenshinhan's Taiyoken/Solar Flare in the 22nd Tenkaichi Budokai, because he'd seen it before and understood how it works. That's usually what Dragon Ball does with this sort of advance notice of opponent abilities.

But. No. The most this ever comes up again is that it momentarily costs Gohan one of his gloves. It's just here to winnow down the cast because Toriyama brought too many characters to this scene.

You can feel the burnout taking hold. As janky as the Android arc was, the Buu arc's level of jank is through the roof.

And that became it for Videl. Denied any sort of payoff for her one fight and instead relegated to background character, Videl never got a chance to live up to the intriguing potential she was introduced with. She was the face of a new direction for Dragon Ball, a direction that ended up strangled in its crib as the series reverted to old ideas and old formulae - strangling her along with it.

Videl is a character I look at and can't help but wonder what could have been. What could have been if Gohan got to keep his focus, and Videl got to remain a key player in a story about him? What could have been if we got to see Videl developing her skills at the same fever-pace that she learned Bukujutsu with? What could have been if she got that rematch with Spopovich she seemed to have been promised by the narrative, and then got to stay involved throughout the Buu arc?

But I guess we'll never know.

[felassan]

Snippets. 🐺💜

Corinne Busche celebrates 5 years at BioWare! [source]

Devs Michelle Flamm and Gabe Graziani: "feels weird that 'the last game informer cover game is a game I worked on' is a thing I can say now" / "And all of the exclusive coverage we did with them is just... gone." [source, two]

Jon Renish: "It's just a coincidence but, the last cover for Game Informer is 'Dragon Age: The Veilguard', the last printed Prima strategy guide was 'Anthem'." [source]

John Epler: "christ. seeing game informer shutting down is awful. seeing them shut down literally three months after spending time with them is fucking me up. hope everyone lands on their feet. unbelievable." [source]

Jay Ingram (on GI): "Oh my gosh. It was always so exciting to see what the cover story of a month would be, and then even more so as a dev when you showcase games I've been privileged to work on. This is so sad. Thank you for everything. I wish you all the best. Truly the end of an era" [source]

Derek Wilks: "Seriously hate to see Game Informer go. They’ve been my go to for years. Always loved their magazines. They will be greatly missed. It’s a bittersweet honor to have our game as their last cover story. Wish they could have continued forever. 💔" [source]

User: "Will Briala make another appearance in the future (not necessarily in Veilguard)?" Trick Weekes: "Anyone who didn’t die onscreen could potentially show up again someday." [source]

[Here] is the link to costume builder Ladytoxie's SDCC V-log! Ladytoxie was invited to the DA:TV@SDCC Fandom party, at which they cosplayed Bellara. In the vlog, they discuss their Bellara cosplay, the process of creating it, their experience going by the BioWare booth at SDCC, and their Fandom party experience with the devs. The vlog also includes a bonus short interview with the devs from SDCC. In the vlog you can see that, along with the dragon screenshot, an alternative option for the background of the DA:TV photo booth pic was this tavern screenshot that we've seen. Ladytoxie also mentioned in the vlog that it's clear how much love and work the devs have put into the game [source]

^ The devs talked a bit about DA/the game & characters in the bonus interview. I'm not 100% sure if I heard all these details right, so apologies/correct me if I misheard, missed or misunderstood any of it (listening to the original source first-hand is of course always most advisable!!), but it sounded like: Corinne Busche feels most connected to Maevaris Tilani. Corinne Busche loves the qunari and would cosplay as Taash, as she loves the scale, armor and Rivaini gold. Her favorite companion is Emmrich. John Epler would cosplay as Lucanis, calling him so stylish and suave. It sounded like he said he wrote Bellara and a few other characters. Ashley Barlow would cosplay as Neve, saying that she has [awesome] dialogue, quick wit and is sassy. Parrish Ley would cosplay as Davrin. He said that Davrin has some awesome armor pieces, with the hands and feet being lots of interlocking pieces of metal. Parrish Ley is a big face and hands animator, so when he's animating Davrin's armor, his hands and feet get a lot of focus, so that he looks great in any pose from any angle. [source] <- Check out the vlog here!

User: "bioware, it is now the second of august." Dev Jess: "Soon 😄" [source] User: "On my knees groveling for more information on Taash" Jess: "soon :)" [source]

User: "Coming back to say Thank you so very much for Veilguard! Coming back to Thedas feels like Home!!". Derek Wilks: "It’s absolutely our pleasure. We’ve truly made something that we love, and hope you all love it too. 🧡" [source]

User on Fenris in DA2: "coolest character introduction ever". Derek Wilks: "So far 😊" [source]

[goodluckclove]

Some Loose Thoughts on Queer Rep (Specifically Aspec Rep)

(Just in advance I'm going to dunk on Alastor from Hazbin Hotel like a lil' bit, as a treat. Mainly the team that made him and what he represents, but still. If that's rage bait for you, I suggest maybe dipping out now)

I have a theory that queer media needs both queer characters and queer genre characters. The difference is very important.

I think a queer character would be a character in a story about their queerness. For some reason the only two characters I could think of are the guy from Love, Simon (What was his name again?) and the protagonist from Rubyfruit Jungle, which should express the weird and complicated relationship I have with this particular archetype.

Queer stories centered around queerness are definitely needed, but at the same time I feel like we're just starting to come to terms with the desperate need for the alternative, which are queer characters in genre media that contain overarching plots larger than their sexuality. Not separate, necessarily (Their queerness certainly influences things), but just beyond. This is more accessible for a variety of artists, which is also the reason why it can be a flop or a massive success.

We get more of this than ever for gay and sapphic characters, as well as some trans folks and occasionally non-binary. It's definitely way less seen in aspec characters, and even less respected. I started thinking this way because the internet is flooded with references to fucking Alastor from Hazbin Hotel as an aroace character and - like - god, I don't get it.

Like you can have your serial killer comfort character, that's fine. But latching onto him as representation for the entire aspec community when he was only confirmed to be aroace through a reference in a livestream and the weakest joke onscreen is pretty disheartening. It definitely reads like this part of his identity was added pretty late in his character development, and by a team of people that didn't seem to consider what the response and reaction would be and how they'd handle it.

I also wish the newest aspec icon in media wasn't created by a team so adamant on encouraging shipping culture above actually respecting the identity they've decided to provide representation for. Like I see it means a lot to people to have an aroace character doing something cool in a fun TV show that doesn't necessarily have anything to do with their identity. Then there's like four other people right behind that person who really wants that person to be romantic and fuck.

And like, yeah, aroace people can do that sometimes. It's a spectrum, I know. But can't we start with a baseline representation before providing proof of fluidity?

I just think we deserve better. Like a character who in the media is established to be aspec, and people are like "great" and move on to fight robots or do magic or whatever. And the person can be morally grey, or even a total dick, but like I'd personally prefer something with a little more depth than Hot Topic genericism.

Like don't get me wrong, I'll take some sort of eldritch horror as my representation, but...make him at all horrifying? Like everyone talks about how he has Eldritch powers, which I know to mean unfathomable and maddening. But I've seen everything he does in the canon of the show and it is both incredibly fathomable and makes me feel normal and sane. Yog-Sothoth this man is not.

But yeah, I don't think there's a solution here besides more aspec artists creating aspec characters in their work. That way people can still like Alastor if they want, but he's not like the only viable option in terms of representation in the media. Let me see lovingly-crafted cool guys and dipshits and chaos goblins and little babies and True Horrors, all of whom have varying degrees of distaste or indifference towards sex and romance.

Do it. We need it. Please.

[ao3cassandraic]

What does Aziraphale know and when does he know it? Part 4: The Aftermath

Prologue, Part 1, Part 2, and Part 3, for those who need them.

After Crowley strides out, Aziraphale has a lot going on in his head still, and it shows on his poor devastated angry (he is angry, just a bit) face.

Then the Metatron comes back in, and Zira has to turn sharply away to pull himself back into some kind of kayfabe. "How did he take it?" the Metatron asks cheerfully, despite already knowing because he was watching. Jehoshaphat, y'all, I thought s1!Gabriel was punchable -- I want to drop the Metatron into Earth-core magma like Gollum at this point!

Aziraphale's heroic efforts at kayfabe are pretty successful, on the whole, but it hurts to see him stiff as a board, arms at his sides, letting the Metatron (argh, so punchable) insult Crowley and laughing nervously. Then the Metatron starts forcing him out the door again with "Right, ready to start?" The presumptuous wretch doesn't even wait for a yes -- just assumes it!

Aziraphale, however, knows he never said yes, so he tries playing for -- anything, really, more information or some kind of choice (arc word! arc! word!) or anything at all. No dice; the Metatron highhandedly gives his bookshop (his. BOOK. SHOP.) to Muriel. Aziraphale now knows why the Metatron wanted Muriel to stay behind on Earth, and he also knows that the Metatron will stop at nothing and trample anyone to get what he wants. Not comforting knowledge, that.

And Aziraphale, having essentially no more choice (I repeat: arc word!), but still horribly torn because he never got to make a decision about the job offer, still doesn't have a Metatron-thwarting plan, and wants Crowley with all his mind and heart, blurts "I think I --" Then he drops back into kayfabe, following the extremely punchable Metatron out the door.

Crowley's still there, standing by the Bentley. All our hearts shatter. But the extremely punchable Metatron (have I mentioned that he is extremely punchable?) keeps Aziraphale moving along by dropping hints at answers to his continuing questions: whatever the Metatron's up to, it's something to do with the Great Plan.

Aziraphale asks. And now that he's firmly in the Metatron's clutches, the Metatron answers: it's the Second Coming.

Watch Aziraphale drop kayfabe (fortunately, the Metatron isn't looking at him) for a look of helpless dismay. A.Z. "entire collection of Bibles, wicked and otherwise" Fell knows what that means! Watch him re-establish kayfabe when the Metatron looks at him from the elevator. Watch him turn back toward Crowley to tell him (unnecessary -- Crowley knows from his visit Upstairs -- but Aziraphale doesn't know Crowley knows), then decide (with another of those pulling-himself-together deep breaths) that he must instead play along. Watch him kayfabe-smile at the Metatron and enter the elevator.

And watch kayfabe warring with devastation and guardianly determination in Aziraphale's face over the credits. My read -- you may have a different one -- is that determination wins, and the eventual smile is an "okay, now I have a plan" smile.

Watch out, Metatron. Aziraphale's gonna wreck you and I'm gonna enjoy it.

-------------------------------------------

This interpretation of the Final Fifteen Minutes is parsimonious. It works with what's there onscreen, not assuming much beyond that -- the only Caveat About Offscreen Shenanigans I left in was to note that we don't necessarily see the entire chinwag. Exactly zero of the twistier, more elaborate fan theories, you may have noticed, made it into this meta -- heck, we don't even have to assume we didn't see the entire chinwag! We might have! What we did see was enough to lead to these outcomes!

The Gaiman-Pratchett-Finnemore brain trust likes jigsaw-puzzle plots where everything has its place and little or nothing is wasted. That's a big reason I think a parsimonious interpretation is likely to be close to a true interpretation. It's all there; why get wild if there's no need to?

This also aligns with what Michael Sheen has said (do please read this not-mine meta, it's lovely) about angels and goodness and making choices. I, too, want Aziraphale to have made the hard, hurting, noble choice at last, even if he was partly railroaded into it.

(Anyone who doesn't care for fan theories should stop reading now, with my effusive gratitude for making it this far.)

That said, the explosion of fan theories about the Final Fifteen Minutes also demonstrates that this interpretation is narratively accommodating. It doesn't have to assume poisoned or drugged coffee, but it doesn't preclude that. It doesn't require a body swap, but it allows it -- all that really has to change is the estimation of who's doing how much kayfabe when. It doesn't need some massive season-spanning conspiracy arc, but if there is one, it can make that work.

Neil knows fandom, none better. He knows we love our meta and our theories. So I have no trouble believing he wrote us a narratively accommodating finale so we could get our book-length Tumblr posts on. Appreciate it, and you, Neil.

[ghibli-collector]

Another interesting article about the new Ghibli film Boy and the Heron with great insights into Miyazaki’s relationship with Joe Hisaishi and Toshio Suzuki making films over the years. Again it has a few spoilers

What’s it like to work with Hayao Miyazaki? Go behind the scenes.

News of Hayao Miyazaki’s retirement can’t ever be trusted.

The Japanese animation master’s repeated claims that he’ll give up filmmaking are a response to the strain that creating each of his largely hand-drawn universes entails. At least that’s what Toshio Suzuki, a founder of Studio Ghibli and Miyazaki’s right-hand man for the past 40 years, believes.

"Every time he finishes a film, he’s so exhausted he can’t think about the next project,” Suzuki explains. "He’s used up his energy physically and mentally. He needs some time to clear his mind. And to have a blank canvas to come up with new ideas.”

A decade after 2013’s "The Wind Rises” was heralded as Miyazaki’s final film, the 82-year-old auteur’s newest feature, "The Boy and the Heron,” is being released in the United States after major success in Japan over the summer, where it opened without any traditional publicity.

Though the director hasn’t given any interviews about "The Boy and the Heron,” Suzuki, 75, who is also a veteran producer, and Joe Hisaishi, 72, the longtime composer on Miyazaki’s movies, describe in separate video interviews the master’s working process and how their collaborations have evolved — or not — over the years.

Suzuki is casually dressed and speaking, via an interpreter, from Japan, where he sits next to a pillow emblazoned with Totoro, the bearlike troll that serves as the studio’s logo. He says the new fantasy film is Miyazaki’s most personal yet. Set in the final days of World War II, the tale follows 11-year-old Mahito, who, after losing his mother in a fire, moves to the countryside, where a magical realm beckons him.

"At the start of this project, Miyazaki came to me and asked me, ‘This is going to be about my story, is that going to be OK?’ I just nodded,” Suzuki recalls with the matter-of-factness of someone who’s learned it would be futile to stand in the way of the director.

For a long time, he says, Miyazaki worried that if he made a movie about a young male, inspiration would inevitably be drawn from his own childhood, which he felt might not make for an interesting narrative. Growing up, Miyazaki had trouble communicating with people and expressed himself instead by drawing pictures.

"I noticed that with this film, where he portrayed himself as a protagonist, he included a lot of humorous moments in order to cover up that the boy, based on himself, is very sensitive and pessimistic,” Suzuki says. "That was interesting to see.”

If Miyazaki is the boy, Suzuki adds, then he himself is the heron, a mischievous flying entity in the story that pushes the young hero to keep going. Director Isao Takahata, Studio Ghibli’s third foundational musketeer, who died in 2018, is represented onscreen by Granduncle, a wise but weathered figure who controls the fantastical world Mahito ventures into.

Suzuki first met Miyazaki in the late 1970s, when the animator was making his first feature, "Lupin III: The Castle of Cagliostro,” an amusing caper. Back then, Suzuki was a journalist hoping to interview him.

But Miyazaki, who was working on a storyboard, had no interest in talking and ignored him. "Out of kindness, I thought it was a good thing to introduce his works to my readers, and for him to be very cranky and disrespectful, I was very angry,” Suzuki remembers.

He stuck around the studio for two more days of silence. On the third, Miyazaki asked him if he knew a term for a car overtaking another during a chase. Suzuki’s reply, a specific Japanese expression for such action, finally broke the ice and kick-started their long-term relationship.

"Miyazaki still remembers that first meeting, too,” Suzuki says. "He thought that I was a person not to be trusted. And that’s why he was very cautious about talking to me.”

Over the years, Suzuki has become increasingly indispensable for Miyazaki. "He always tells me, ‘Suzuki-san, can you remember the important things for me?’ And then he feels that he can forget about all the important things not concerning his films. I have to remember them for him,” Suzuki says.

Best friends more than mere collaborators, Miyazaki and Suzuki talk every day, even if there’s nothing urgent to discuss, and make it a rule to meet in person on Mondays and Thursdays. "What we talk about is very trivial most times, I guess he feels lonely or misses me, but it’s always him who calls me. I never call him,” Suzuki says, adding with a laugh, "Sometimes he even calls me in the middle of the night, like at 3 a.m., and the first thing he says is, ‘Were you awake?’ And obviously I was not. I’m in bed!”

In contrast, Hisaishi, the composer who first worked with Miyazaki on the 1984 feature "Nausicaa of the Valley of the Wind,” has a strictly professional relationship with him.

"We don’t see each other in private,” Hisaishi, wearing an elegant sweater, says through a translator. "We don’t eat together. We don’t drink together. We only meet to discuss things for work.” That emotional distance, he adds, is what has made their partnership over 11 films so creatively fruitful.

"People think that if you really know a person’s full character then you can have a good working relationship, but that doesn’t necessarily hold true,” Hisaishi says. "What is most important to me is to compose music. The most important thing in life to Miyazaki is to draw pictures. We are both focused on those most important things in our lives.”

On "The Boy and the Heron,” Miyazaki didn’t provide Hisaishi with any instruction. The musician watched the film only when it was nearly completed but still with no sound or dialogue. At that point Miyazaki simply said to Hisaishi, "I just leave it up to you.”

"I feel he was just thinking that he could rely on me and expected me to come up with something,” Hisaishi says. "I feel like I was very much trusted to do this.”

For all of their previous collaborations, Miyazaki would bring on Hisaishi to discuss once three out of the four or five parts of the storyboard for a new film were ready. That the process changed this time was possible only because of their shared history.

"It’s as if we’ve been Olympic athletes making a film once every four years for 40 years,” Hisaishi says. "It’s been a long time of training and performing. When I look back I’m amazed that I could write music for these very different films.”

In his contemporary classical work, Hisaishi had been working on minimalist compositions with repeating patterns, and he took that approach to the new film.

While he maintains they are just colleagues, every January for the past 15 years, Hisaishi has composed a small tune, recorded it on a piano and sent it to Miyazaki as a birthday present. This tradition has now become the seasoned musician’s lucky charm.

"After about three times I thought, ‘This has probably run its course,’” Hisaishi recalls. "I didn’t send one the following year. That whole year I wasn’t able to work very well. It was sort of a jinx that I had not sent him something, so I started sending him the music again for his birthday,” he adds with a laugh.

Both Hisaishi and Suzuki say their interactions with Miyazaki have not changed much over the decades. On the contrary, the men have become staunch creatures of habit.

Asked why his profound connection with Miyazaki has endured so long, Suzuki says: "I don’t necessarily agree, but he once told me, ‘I’ve never met someone so similar to me. You are the last person that I will meet like that.’”

BY CARLOS AGUILAR

THE NEW YORK TIMES

[mikaila-orchard]

Anduin still gets more respect and dignity than Sylvanas ever did and I'm still mad about it.

Aight, the new WoW trailer stirred up some old animosity that I have to get out lest it fester.

The problem I've had with Anduin for the past few years is something that isn't even strictly his fault, and is just symptomatic of how shitty the writing staff is. In theory, Anduin is an interesting bit of flavor for the Alliance. Someone who was raised in a very turbulent time in the Alliance's history, gone through some shit when he was too early to handle it and is plagued with self doubt because of it. All of this complimented by Velen's vision of Anduin's future going down two very different roads.

Alas, the problem is in execution. Because what we are left with in practice is a character who goes through comparatively less than other legacy characters (Thrall being raised as a slave, Jaina losing her home and loved ones regularly and Sylvanas with fucking everything) but who, by the time Shadowlands rolls around, insists that he is the one suffering the most and everyone else needs to get over themselves. And that wouldn't be so bad (hell, in Shadows Rising, it's kinda treated as a genuine character flaw) but that's not the case because WoW treats Anduin like the moral barometer of the franchise for many years now.

There are multiple examples of this throughout, but the biggest culprit is all across BFA and Shadowlands, where Anduin is made to understand the hardships that Sylvanas and the Forsaken have suffered, most of it by the Alliance's hands, and just shuts it down with "Everyone suffers, stop hiding behind your trauma and rise above it," and because BFA is framing him as the hero and Sylvanas as the villain he gets away with it. In the fucking Sylvanas book, he has the gall to say Sylvanas had a better life than him because she knew her mother and calls her selfish for committing suicide. And of course the book frames Anduin as being in the right about all of this because they decided Sylvanas holding him captive was the time they would even allow to let her reach out to someone and hope they understand her. The deck was always stacked against Sylvanas and in Anduin's favor in terms of audience sympathy.

But then, what happens in Shadowlands? He gets dominated by Zovaal, stabs the Archon (doesn't even kill her), maybe kills a bunch of unnamed npcs off screen, and fights his friends. Not a single tally to add to his body count while he was a puppet. And when he is freed from Zovaal's control, he doesn't lose his support system, he doesn't lose the respect of his loved ones or his people, and he's not put under pressure to just be okay again.

AND YET!

He still goes on this self imposed exile of his, and has been on it for over half a decade at this point, because he is just too haunted by everything he's 'seen and done'. Things that we as the audience don't really see. So in practice, the justification for all this on screen angst is so painfully weak. And yes, there's no wrong way to respond to trauma and there never will be, and Anduin's trauma responses are far from unrealistic.

But compared to Sylvanas, Anduin is giving a great deal more respect and dignity by the narrative for, comparatively, much less. Sylvanas was enslaved and forced to murder her countrymen (onscreen too, we MADE HER DO THAT in warcraft 3) and when she was finally freed, she had no support system besides her rangers and Nathanos, she was feared by her former homeland who only accepted her help out of desperation and was hated and distrusted by enemies and allies alike way before she might have done anything to deserve it. The game even leans into the idea that the Sylvanas who suffered all this trauma isn't the real Sylvanas and we just needed to restore her soul to have the pure pious ranger general back (barf). And she still has to toil away in superhell because the writers were too chickenshit to fully backpedal on the deliberate character assassination the sexual predator on staff forced upon her.

"Oh, but M'Kay! That's the writers fault, not Anduin's! You can't blame him for all that."

Maybe not but a lot of the issue here comes from the fact that so long as the people who enabled this inequity of care remains on staff (IE fucking GOLDEN) this won't stop. So what choice do I have but to loathe the byproduct of this fuckery when it's being shoved in my face like this? What other way could I possibly interpret this disparity other than as misogyny?

[txttletale]

(Other than the really weird bit about "Male presenting Doctor") what were your thoughts about the specials?

pretty mixed bag, pretty messy, but good overall. i think they were very obviously a nostalgia trip for people around my age lol and it worked! i loved seeing tennant and tate back onscreen together, their chemistry hasn't aged a bit, and honestly just watching doctor who that wasn't written by chris chibnall was a breath of fresh air. they weren't boring, like seasons 11 and 12 were, and they didn't go too far off the other end into nonsense like flux did. characters want things again! the show can let itself just be silly! i was literally cheering out loud when donna and the doctor were just saying random scifi gobbledegook at each other for like a solid several minutes during the star beast.

the structure of the specials kind of baffles me. i love wild blue yonder--i think it's definitively the best of the specials as a standalone, it's absolutely fantastic, creepy and atmospheric and bringing things around to RTD's strength, which is well-written characters interacting with each other and letting good actors just act. but at the same time i dont understand why it exists? it feels like...idk. imagine if you watched the star wars original trilogy but instead of the empire strikes back the middle film was just a feature length film about luke and han surviving on an ice planet with no reference to anything that happens in the last film except the two characters' relationship. and then the next film was still return of the jedi, unchanged. it felt like that

i liked all the weird campy silliness of the star beast and the giggle, and they were both very fun! neil patrick harris gave a fantastic performance, there are a lot of very memorable sequences from the giggle, but it's very very all over the place. so many threads get kind of picked up and go nowhere. the toymaker's haunted house dimension goes nowhere. RTD's eyerolling social media commetnary goes nowhere (thank god tbh but yknow im illustrating something here). even the toymaker kind of goes nowhere, after ncuti gatwa shows up he's bascially an afterthought who loses by dropping a ball. obvious parallels to david tennant's first episode with that ball scene could be made, but just... aren't. it feels like load-bearing sectikons of the plot and themes were cut out to make room for a backdoor pilot for the stupid fucking UNIT spinoff

oh and it goes without saying i fucking hate all the UNIT wank in the star beast and the giggle. i hope space nine eleven 2 happens to their stupid fucking avengers tower i cannot stand kate stewart who is constantly a murderous bonehead (in the giggle alone she gets two pepole killed by not listening to the doctor and assuming that this teleporting godlike entity could be restrainted by Two Guys) who is both in and out of universe just a boring nepo baby with no merit of her own

um. i still dont know what happened with the regeneration. i think the implication is that when david tennant dies hell time travel back to become ncuti gatwa inside himself--at least the rehab dialogue seems to make that implication. but it's not really explained or explored? baffling. i do think that fourteen getting to settle down and live a peaceful life with his friends is cute.

oh yeah and the ask said other than that but goddd there was some good stuff in the star beast and honestly with the state of the UK media i will take any perspective on trans people that includes baseline human erespect but some of those lines made me cringe so bad. anyway overall i am cautiously optimistic for the future of the show--oh ncuti was fucking great did i mention that i instantly bnought him as the doctor he owned the scene, the moment he was there it was clear he was the protagonist, and i liked the church on ruby road well enough too--i am cautiously optimistic but i worry that a big UNIT-shaped tumor will devour huge chunks of it and it'll be annoying. also russel t davies is like 60 and i just dont want to hear what he has to say about twitter so im not looking forward to dot and bubble

[markantonys]

there was a great interview with sharon gilham (costume designer) where she gave an intriguing tease about a new character in s3! (this bit starts around the 45-minute mark)

they are "something else"

"not like anything from season 2 or anything you've seen before"

they required a major collaboration between the costume & makeup departments

she paraphrased rafe as describing them as "a really really important, really highly complex character who's coming for one scene only in episode 7 or 8" [that was more that she couldn't remember the episode number, not that rafe wasn't sure at the time what episode they would be in; she did specify that it was at the end of the season because she was saying they were almost out of budget and had this dropped on them lmao so the episode in question does definitely seem to be 7 or 8]

i don't know what to think! lots of people are speculating the finn which fits the first few points, but i'm skeptical because i wouldn't qualify them as "really important, highly complex" characters (and it did definitely sound like one specific character, not a group of characters, though we could have mat meet just one finn). same goes for other creature-y characters like shaidar haran - not that important or complex of a character, unless they plan to bulk him up a lot compared to the books, which is possible. it's also possible sharon/rafe meant visually complex rather than complex characterization-wise, but even with that, i personally wouldn't consider the finn or shaidar haran to be as important as she made it sound like this character is. maybe the gholam could fit the parameters of important & (visually) complex?

i'm also skeptical of mordeth because mashadar was just its own thing not tied to a person in s1 and i kinda doubt they'd introduce him now, but maybe some kind of mordeth-inspired padan fain powerup is possible? or a slayer TAR powerup where he becomes freaky-looking? but the phrasing implies to me that this is a new character who isn't in any other scene in s3, rather than an existing character who gets a powerup to look different.

tuon is a possibility, but would her aesthetic really be THAT different from the high blood we saw in s2? i don't know, maybe it would! another seanchan possibility is the empress herself; it would be so sick if tuon was in multiple scenes in the tanchico plotline and we get to know her not realizing who she is, and then at the very end of the season she goes home and we find out she's the daughter of the seanchan empress. the literal empress would be a good candidate for looking like nothing we'd ever seen before because she'd surely have to be the most over-the-top person in the world. and Mama Tuon could maybe fit the bill of a "really important" character if they bring some of tuon's backstory onscreen and give her a storyline within the court of the nine moons in s4 before heading back to the westlands in s5, thus giving her mom a significant role and making a lot more out of the mommy issues that were hinted at in the books, but even in that scenario it feels like a stretch to consider Mama Tuon THAT important (but again, we just can't know how they might decide to bulk up characters; no one would've ever considered liandrin important based on the books!)

the only other possibility i'm thinking of is a new forsaken, with my strongest guesses being sammael or graendal (since they were both namedropped in s3, and there's also an alleged sammael audition script), and a smaller guess of asmodean (i'd assume we would see him in more than one scene in s3). but here we also run into the question of, how different would they be from the forsaken we've already seen? plus, would they require a "major" collaboration with the makeup department? sammael maaaaybe, depending on how they do his scar.

any standard westland character (aes sedai, political leader or noble, aiel, etc) i wouldn't think would have particularly wild aesthetics, so i'm discounting all those (like cadsuane), but you never know.

i'm sure there's about a hundred other possibilities i'm not thinking of right now! what do you guys think?

[shannonsketches]

like why did they change where Vegeta was when Cell announced the cell games in the anime

why did they make this vegeta starting shit with yamcha instead of chillin in the lab with his family? why did they take Bulma out of the lab? Why'd they say she was Out while Dr Brief was repairing 16? Why did they change Bulma working on advanced robotics to running in late with her baby?

it's the same scene except: - Bulma's actively at work being a scientist - Vegeta's not being rude to her (or anyone else!) - Vegeta waits for Trunks instead of leaving the room - Cell interrupted the airwaves, which means Trunks and Vegeta were just hanging out with Bulma and Dr B while they were working

Those are all Great Character Details!! That the anime rails against!!

[impishtubist]

Okay idk what you think of modern au but consider:

Sirius is a big shot actor. He's cast in a movie, and they just fast an unknown, just-started-out kid to play his kid onscreen — Kid is, say, twelve. It's all going great, the kid is doing a wonderful job, they're having a great relationship on and off screen, really nothing amiss. Sirius does wonder how he manages to somehow always miss the kid's father every time he's around — he has met the grandparents and the family friend who's always around with the kid but not the dad, wtf. Also, everyone comments on how well Sirius and the kid work together and look, they even have the same expressions and gestures, isn't it fun? But Kid did say they learned to act by watching Sirius' movies, so it's probably just a coincidence. Even if there's something weirdly familiar about the kid, Sirius has met so many people, it's probably just that, you know?

Enter the end-of-shooting party, where Sirius finally meets the kid's dad. And promptly recognises Remus, who used to be a waiter in big celebrity parties years ago, and whom Sirius hooked up a few times... Say, twelve years ago.

(Remus has been panicking for years about big-shot-actor-with-lot-of-money taking his baby away from him, and it has NOT gotten any better when he learned who his kid's co-star is. His brain has a constant background noise of "fuuuuuuuuuuuuuuuuuuuuuck".)

(Kid has literally 0 idea of what's going on, they're just happy to be here.)

(I do imagine Kid is a girl bc #girldads)

(Also I give them two months of co-parenting before Sirius puts another baby in Remus.)

!!!!!

I am not usually one for modern AUs but I love this idea, yes!!! And now I need fic of it! I love hot shot actor Sirius being good with kids, being good with this kid in particular, and then meeting Remus again and remembering the timing of their hookup and how Remus just ghosted him......it's DELICIOUS. And yes they are girl dads!!! And Sirius makes it 2 months before putting another baby in Remus!!!

Where is @lizlemonbennet she needs to see this

[thefrogdalorian]

The Best of Both Worlds - Chapter Two

Din Djarin x Female Reader Modern!AU

❁ Series Masterlist ❁ My Masterlist ❁ Read on AO3 ❁

Word Count: 4508 Rating: Teen Summary: The character of The Mandalorian is known and loved by millions. But there is another, much softer side to the man who portrays him that Din Djarin is determined to keep hidden from the world, despite the challenges that presents for him and his beloved son, Grogu. Content Warnings: Past child abuse (impacts of Grogu's early childhood trauma is explored but what happened to him is not described in detail) and vomit (Grogu pukes but also not described in detail) - both things are as graphic as in canon. Author's Note: Woo you finally get to meet Din in this universe! Really hope you like how I wrote him and I did his and Grogu's bond justice. Thank you for the kind words about this story, I'm so excited for you to see where it goes. If you'd like to be added to my taglist for this one, please let me know! Also HUGE thanks to @suresnips for being my beta and doing a great job at spotting when I miss words and skip to the next sentence because my brain runs at 2938mph!!

2. He Is My Only Priority [Din's Pov]

If a single one of the millions of viewers who knew him only as a formidable warrior were able see him now, Din Djarin mused, they would never believe that he could possibly be the person behind the tough character with a fearsome reputation that they knew and loved. Mando was famous to millions the world over for his strength and dogged resilience… but the man who portrayed him onscreen was currently wiping up bright blue puke from his son’s stained brown shirt, tutting at him affectionately as he did so. 

Grogu had attacked a packet of cookies that had been momentarily left unattended on the table while Din was off taking a call and the little boy had, as usual, overindulged. It was a common theme with Grogu, as far as food was concerned. Din suspected it was something to do with the traumatic start to Grogu’s life, but he preferred not to dwell on that. It devastated him to imagine how much this tiny, helpless child had suffered before that fateful day when Din had crossed paths with him. Now though, for the rest of his life, Din knew that Grogu would want for nothing. 

Din did not like to dwell on the day, which hopefully lay far in the future, when he would no longer be around to take care of Grogu. But Din comforted himself with the knowledge that he had more than enough funds to provide for his boy, for everything he could ever possibly need or want. And Din would give it to him happily.

Din knew that circumstances in his son’s early life had taken their toll and left lasting consequences that, as a parent, Din had to deal with every single day. Grogu had failed to meet several milestones, including speaking, that he should have for his age. Grogu had just turned three recently, but he had not yet uttered his first words. He struggled walking and moving as a normal child should, too. Grogu hated busy places and loud, bright environments. He would cry hysterically, so Din rarely took him anywhere, unless it was quiet and they had a quick way to get out.

But there were also so many moments that being a father to Grogu was the most joyous, incredible thing that Din had ever experienced. Although Grogu could not speak and did not always return gestures, the times when his big brown eyes would peer into Din’s filled him with a sense of pride that was almost overwhelming. To have that reassurance that Grogu was happy meant everything to Din. Even if the only thing Grogu did was stare at Din with his big brown eyes, with a slight smile on his face as he turned his favourite shiny ball in his hands over and over again, it meant everything to Din. 

As Din wandered to the sink to wash the cloth that he had grabbed to tend to Grogu’s mess, he pondered – with a smirk – over knowing that if fans of the show could see him now, their illusion of the gritty, aloof warrior would shatter. They would instead see a completely different side to the man beneath the Beskar. A gentle, caring side that would never align with Mando’s fearsome reputation. It was strangely satisfying to Din to know that no one would ever get to see these two sides of him. There were only three people on this Earth who knew that Din Djarin was The Mandalorian: the show’s creators, and the leader of Din’s tribe. But Din had a strictly professional relationship with them. Sure, the creators had seen Din helmetless in some early meetings for the show, but they would never get to witness such a private moment between Din and his son. Likewise, while the leader of the tribe knew about Grogu and his fighting, Din was often separated from her by many miles. When they did cross paths, it was like a cordial encounter with a distant relative. Friendly but not too familiar.

Apart from the show’s creators and the golden-haired woman who was the leader of Din’s tribe, everyone else either knew him as Din, or Mando. Like most things in his life, Din was meticulous that the two versions of himself would never overlap and be known by a single individual. 

Caring for Grogu was a key part of the reason why Din had fought for such a strict stipulation in his contract that his identity remain a secret. Fear of what people would think of him and protection from the often rabid nature of Star Wars fans was partially what had motivated Din’s insistence in concealing his identity, that was true. But there were other reasons why Din had fought so hard to maintain his privacy. Most of them were related to the small boy Din had assumed all responsibility for on that fateful day when their paths had crossed.

Agonising over whether to accept the role had been difficult for Din. Even more so after he had been forced to fight to maintain his privacy, by offering to accept the job on the condition that he would remain anonymous. 

Of course, the multinational, mega-corporation that Din had been forced to negotiate with had not liked the proposal one bit, but he knew that he was in an incredibly strong bargaining position. After all, there was no one else on this planet that would be able to portray The Mandalorian as effectively as Din Djarin would be able to. He knew that, Disney knew that. It was why they had even approached him in the first place. So, they folded and Din’s identity remained a complete secret, known to only a handful of people. Even his co-stars had no idea about who he was, which was lucky considering how much of a loudmouth one co-star in particular was.

Yet it was not the sole reason that Din had pursued such a strict stipulation. The ancient Mandalorian Creed that Din followed viewed secrecy as a strength, a key to a survival of their traditions for so many centuries. 

Din’s way of life was one that was becoming increasingly rare: there were not many people left who followed the Way as strictly as he and his covert did. But Din’s adherence to it was absolute. The gratitude that he felt for the people who had taken him in as a child and raised him as one of their own was a debt that, truthfully, he felt as though could never adequately repay. So living by his covert’s rules was the least he could do. It was far from a burden to Din.

But above preserving his ego from any harsh comments that may come his way, or maintaining the secrecy of his tribe and the Creed they followed… the primary reason that Din had been so insistent about the anonymity clause in his contract before he agreed to sign on to play The Mandalorian, was the desire to keep his son out of the spotlight. 

Grogu was not Din’s biological son, from looking at the two of them side-by-side, that much was obvious. Although they shared similar dark, curly hair, Grogu’s was much curlier and he had a complexion darker than Din’s own olive skin. It was a deeper bronze and contrasted sharply with the child’s grey locks. Din was not entirely sure why Grogu’s hair had taken on such a hue, he supposed once again that it had to do with trauma from the first part of Grogu’s life, before he met Din. 

It was precisely for that reason, Grogu’s welfare, that Din refused to invite any kind of intrusion into the little boy’s life by leading a life in the public eye, where strangers could scrutinise the pair and the way they lived their life. Besides, Din liked it this way, his anonymity clause allowed him to live a largely peaceful life, outside of the times he was required on set. The studios that The Mandalorian was filmed in were in the peaceful English countryside, convenient enough to be close by to the country’s capital but without treading inside the sprawling city’s boundaries. 

Din had stipulated a small, quaint cottage next to peaceful, lush farmland not too far away from the studios as part of his contract. It was an ideal base for Din and Grogu between filming days. Plus, its location allowed him to explore the countryside and maintain his own training regime – portraying a Mandalorian onscreen was an incredibly demanding and physical role, after all. The studio had tried to set him up with trainers but Din had let them go after only one session. No one understood what it meant, physically, to be a Mandalorian more than Din Djarin did. He had more than proved that when he easily outworked the so-called professionals that had been hired to force him into a punishing regime. They were no match for Din, with all of his years of experience working various physically demanding jobs.

It was that training regime that Din was preparing to follow as he put Grogu down for a nap. It seemed after the incident with the cookies, Grogu was thoroughly worn out. So Din placed him down for a nap in the plushie covered cot in his room, which overlooked the picturesque English countryside. 

Filming for the third season of the show was really beginning to ramp up and there were numerous action scenes and stunts that Din had to carefully prepare for. For a man in his mid-thirties, he was remarkably fit, with a strong, muscular physique that was pronounced but not overly buff. Din sighed as he attached the various pieces of armour to himself, in preparation for a session on the treadmill in the little outbuilding that had been transformed into a home gym to allow him to workout in private.

Din stared at his reflection in the mirror, as he entered the gym, cradling his helmet in his hand. He marvelled at how different he looked in the armour. It was surreal to him that he could shift from a stressed, tired father who had to mop up his son’s puke, to looking like an intimidating warrior in such a short space of time. 

Of course, it was that intimidating aspect of his culture that The Mandalorian had originally intended to focus on. It was pitched as a show about a lone bounty hunter traversing the galaxy, but with Din’s input it had turned into something more profound. Din had passionately argued that Mandalorians should have a moral obligation to leave the places they visited better than they found them, it was a practice he adhered to with the way he followed his Creed. The Mandalorian’s signature phrase “This is the Way,” had also been included at Din’s own suggestion. If anything, Din had left The Mandalorian better than how he had found it. After the writers had met Din, they had been encouraged to transform the show from the hollow violence-oriented show that it had been pitched as into something with a little more humanity. It was precisely that humanity of the character that most viewers had fallen in love with. 

Sometimes, it was hard to tell where the character of The Mandalorian ended and Din Djarin began. Mando was Din’s personality and fighting skills, only exaggerated to an extreme amount. After all, there was far more that came with being a Mandalorian than collecting bounties and hunting down bad guys. Looking after family was extremely important to Mandalorians and formed a fundamental part of their Creed. Din took that vow extremely seriously, as evidenced by the care he took towards his son. Grogu was always going to be the number one priority in his life.

As Din ran on the treadmill, pushing the limits despite the heavy armour and helmet that he was wearing, his mind wandered to his and Grogu’s story so far. Din had never seriously considered that it would be possible for him to be a father. It was not something that he had ever foreseen for himself. He had lost both of his parents at such a young age that for the first chunk of his life, attachment of any kind had terrified him. He had done his best to keep himself to himself, travelling between jobs with his head down, minding his own business and just anticipating his next pay day. Din had held down many jobs over the years – nightclub bouncer, security guard, personal protection for the elites, stuntman (which was the job that ultimately got him the contacts for the role of The Mandalorian) and he had even liaised with the intelligence services of various nations. 

They sounded like the most thrilling jobs in the world and indeed to outsiders, Din supposed they were. But after the day he had crossed paths with Grogu, he had found that there was no job comparable to that of being a father. Looking after the little boy, watching him thrive and blossom into an adorable child after everything he had been through was truly the greatest privilege of Din’s life. It mattered to him far more than fame, fortune or anything else the world could offer him. Din would go to the ends of the earth for Grogu. 

That fateful day, in that terribly dark attic, when Din pulled back the blanket over the white pram and found Grogu’s big, brown eyes peering up at him with nothing in them except sheer terror, Din had made a promise to himself that he would never again allow anyone or anything to make Grogu feel so afraid ever again, for as long as he lived. So far, Din thought that he had done a pretty good job. Even if he occasionally spoiled the child – how could he ever say no to those big brown eyes? – it was a small price to pay to know that Grogu was safe and happy.

Indeed, for the first few months, Din had not understood much at all about the child he had strode purposefully out of that house with. Din had no idea who he was, or where Grogu came from, if his parents were even still alive. For a while, Din had not even known Grogu’s name. All Din had known for certain was the unlikely bond the two of them shared. It went beyond words or description, the overwhelming affection and protectiveness he felt for the little boy was more than he had ever felt for another being in his entire life, certainly since the deaths of his parents. 

Din had not wanted to do anything to jeopardise that, keeping Grogu hidden when he went to his various jobs. But there came a point when Din knew this was untenable. Sooner or later, they would slip up and someone would find out about Grogu. Perhaps they would even take the little boy from him. That was a risk that Din could not afford to take. 

It wasn’t until Din realised that and finally felt secure enough to show Grogu to the leader of his covert that things had started to move quickly. Journeying to the last known location of where the tribe had been hiding, deep in the Mojave desert in a collection of caves, had been daunting to Din. He had been unsure of how the leader would respond to an outsider in Grogu. But fortunately, she had been nothing but welcoming and accepting of the small boy who seemed to have an incredible ability to effortlessly charm everyone he encountered.

The golden-haired woman who led Din’s covert had insisted that Din take Grogu to the local authorities. A sympathetic woman with bright blue and white hair that contrasted with her coppery skin, called Ahsoka Tano, had vowed to take on Din’s case and assured Din that she would do her best to ensure that Din and Grogu would be reunited. 

Ahsoka had believed every word of Din’s story, no matter how far-fetched it had appeared. Din had felt tremendous relief as they sat there together in the office. Despite the formality of the setting, Ahsoka had made Din feel instantly relaxed. Din had taken on groups of dangerous men as though it was second nature, but sitting there in the office as the story of how he happened across the child was cross-referenced had been perhaps the most terrifying ordeal of them all. 

Ahsoka had told Din that his son’s name was Grogu and that he had also lost his parents when he was young. Grogu had been sent to some distant relatives, who had taken good care of him until tragedy had befallen them too. Details were murky, but it seemed that Grogu had then passed around various shady establishments, in the hands of various nefarious characters. That was, until Din encountered him as part of his line of work at that particular time – liaising with local law enforcement to run a sting on a drug ring. But there were no real firm details of Grogu’s life from the time between the relatives who had taken him in being brutally murdered and when he met Din.

Then the two of them had been shown to a playroom, with a two-way mirror, where a collection of social workers and law enforcement would observe the two of them interacting. The entire ordeal made Din nervous, but he just concentrated on playing with the shiny ball – which was Grogu’s favourite toy – and tried to forget about the professionals observing the two of them, unseen, no doubt making their notes. Din’s hands had been trembling, so nervous was he that Grogu would be taken away from him.

When Din left the room, he was told that everything appeared to be in order thus far and Grogu should be allowed to return to him. But first they had to conduct some checks to verify Din’s story and ensure that Grogu would come to no harm if Din officially adopted him.

Standing there in the office, watching as an emergency foster parent named Luke Skywalker left with Grogu, Din had cried in public for the first time in his life. He had been unable to stop the genuine tears streaming down his cheeks as the little boy who had changed everything for him left. Din did not know whether he would ever see him again, though he had promised Grogu that he would in the brief moment they had been allowed to spend together before Grogu was taken away. 

It was a memory that was almost bringing Din to tears now, as he set the treadmill to a lower speed and walked to end his workout. As his long legs stretched and his feet thudded rhythmically against the moving surface, his heart ached as he remembered how shattered and broken he had felt in that moment. How he had feared that he would never feel true happiness again.

The period between Grogu leaving had been perhaps the toughest time in Din’s adult life. He had just felt as though he was getting to know who Grogu really was, their bond had reached new depths. Cruelly, immediately after feeling as though he was really getting to know Grogu and even finally learning the name of the boy who had changed so much in Din’s life, the child had been snatched away from him. He had to keep going though, for Grogu. 

After months of wandering around aimlessly, Din had finally received a call with an update. Grogu was to be returned to his care. Despite the suddenness of the news – Din did not even have proper lodgings or consistent employment – there had not been a second thought in Din’s mind about taking Grogu back. Din returned to the office where mere months ago, he had feared his life had been as good as over. 

Din had been stunned when he was summoned back to the office, having expected to see Skywalker himself, it was in fact a colleague of Ahsoka’s, called Artoo, who had handed Grogu back to a grateful Din. It was an overwhelming experience and there had been many tears shed and cuddles that night, when Din had finally been able to take Grogu home.

Although Din’s life was in a period of uncertainty, Grogu’s return had coincided with the negotiations for him to appear as The Mandalorian. Getting Grogu back had lit a new fire in his belly, both to secure the job and to ensure his son’s protection with the anonymity clause. It had not been an easy process, with much adjustment and many stressful hours of negotiations. But when negotiations had finally ended with an agreement which adhered to Din’s terms, it had been an incredible feeling. 

After the contract with Disney had been finalised with Din’s demands honoured, a strict set of rules had been agreed upon for everyone working on the show. Din would don his armour before arriving at the studio and the only two people in the studio who were aware of his true identity were the show’s creators. The cast were fully aware that the actor portraying The Mandalorian wished to maintain his anonymity. It didn’t stop them from trying, though. A certain curly-haired co-star named Peli Motto, who Din enjoyed spending time with despite how extroverted she was, had done her best to catch him out. But she was no match for the decades Din had spent hiding his identity, fading into the background like a wallflower.

Aside from his castmates' curiosity, Din had constantly shied away from his role of The Mandalorian. He didn’t have social media and had only recently mastered texting. Aside from that, although he preferred to stay at home, if he did venture out and happen across a Mandalorian shirt, the embarrassment Din felt was almost paralysing. Din was terrified each time that they would somehow be onto him and realise perhaps through how he walked or his build that he was in fact the man behind the character they loved so much.

The most Din had ever done in terms of publicly acknowledging to himself as The Mandalorian, was when he had visited the local children’s hospital in full armour to spread some joy to the sick children there. It had been a little act of kindness that had been suggested to him by the creators of the show. To the doctors, nurses, patients and their parents, the visit from Mando was done by a kindhearted, enthusiastic fan of the show. Din had been terrified of repercussions when pictures had appeared in the local paper, even though his visit had been cleared through official channels. His visit had also apparently gone viral on social media, not that Din had seen any of it. Peli had delighted in telling him about it, though, even reading out some of the more salacious comments about how hot he looked in the armour.

The public had been amazed that such a realistic-looking costume could be made, fans had been begging for the man to reveal how he had crafted such an incredibly realistic cosplay. Of course, the truth could never be revealed. Din never planned to reveal his identity, no amount of money could ever tempt him – and he had been offered life changing sums, numerous times in fact.

But the way the kids' faces lit up on that day at the hospital weighed on Din’s mind a lot. That was worth more to him than any amount of money. Some of them had been very ill, he had known that their prognoses were not good. But the sheer joy that Din was able to evoke in others just by dressing in his armour had opened his eyes to the impact that this character was having in the outside world, outside of the self-imposed isolation that Din kept himself in. It gave him an idea, one related to a conversation that had on set earlier in the day.

Din knew the reason his mind had turned to such memories. As he made his way back in the house, after his work out he lingered in the kitchen, warring with himself whether he should open it. 

An envelope lay unopened on the kitchen table, next to where Din had been attending to his son’s blue-cookie-induced wardrobe malfunction earlier in the afternoon. It was an invitation to a fan convention that had been enthusiastically pressed into his hand by his curly-haired co-star on set the previous day.

Peli Motto had boundless enthusiasm and energy. Although she portrayed a minor character in the show, she was nevertheless a fan favourite and she loved interacting with the large, passionate fan base that the Mandalorian had. Peli had been bemused that her character had received such a great reception – of course there was always going to be a vocal group of haters on social media, but for the most part people loved the kooky mechanic from Tatooine – but she had been immensely grateful for it. The amount the fans had loved her had encouraged the shows’ writers to gradually include her in a greater number of scenes. Perhaps that was why Peli always felt so compelled to visit these conventions and give back to the fans. Din could think of nothing worse. Whereas Peli was most comfortable in a room full of people, Din was far more shy and reserved, his personality mirrored Mando’s in that way.

But something was telling Din Djarin to open that envelope, his official invitation to the convention. Although he had no plans to go, Din’s curiosity got the better of him and he reached for the envelope.

The elaborate font was printed on glossy paper and Din found his eyes scanning the words:

GalaxyCon

London, UK

14th, 15th, 16th & 17th June 2024

Dear Mando,

We would be delighted if you would join us for some out of this world fun at our 17th annual ForceCon at the Dockside Convention Centre in London, England this June!

Please find attached your badges for entry. They will be upgraded once you arrive. We are running several panels about The Mandalorian and we would be honoured if you would attend them as a special guest! If you are interested, please contact our Invited Guest Assistant Cara Dune on 073790848.

We hope to see you there!

– ForceCon Team

Din had no intention of actually taking up the offer to attend a panel or to liaise with the woman, who was certain to be incredibly sycophantic, as those interacting with famous names occasionally could be. But he reasoned that it couldn’t hurt to go along in his armour as just another fan, with the regular badges. Din planned to take some photos, meet some kids. He would only stay for a couple of hours and then he would be on his way again. What was the worst that could happen?

It wasn’t like fan conventions could possibly be life-altering experiences, anyway.

Next Chapter

Taglist: @toxic-seduction

[violetganache42]

Highlights from tonight's watch party filled with framing, whodunnits, and mystery galore (Sorry about your laptop problems and all our lag complaints, WriteBackAtYa):

"No":

Scrooge and the triplets making an appearance

Mortimer's voice

Mickey being a people pleaser

WriteBackAtYa commenting how we love saying our favorite characters' names whenever they appear onscreen

Me: "PLUS INTEREST?!"

"Duckman of Aquatraz":

Story Blossom: "Would've been awesome if Webby kissed a shark in the new series" spamtoon: "its okay because huey kissed a worm"

ACAB!!!

Even in the original series, Louie is always trying to talk his way out of shit

The idea of Glomgold walking into court blasting Queen's "We Are The Champions" in a similar vein as the "All I Do Is Win" scene

"WHY, BEAKLEY?!"

Duckburg's court and its judge fucking suck

"NOT THE PAINTING!"

Scrooge effortlessly defeating the prisoners in arm wrestling

MORE SCROOGE AND WEBBY MOMENTS 😭💖

Mad Dog being a mama's boy

This whole episode showcasing how prisoners are people too

melcat33: "Mad Dog was like 'this is my comfort millionaire'"

The Scrooge x Mad Dog ship setting sail

This episode also reminding us on why the legal system sucks

Glomgold taking the time to hang up a painting of Scrooge

"McMystery at McDuck McManor!":

Donald fleeing to his car like:

"Literally the oldest person he knows?"

The entire table read of this episode from Disney Channel Fan Fest 2018

Scrooge being a sulking Grumpy Gills. XD

DJ Daft Duck

Godfrey and I being on the same wavelength yet again (To quote Godfrey, "Insert 'Perception Check' by Tom Cardy")

Scrooge being SO against celebrating his birthday that he straight up lagged and froze the Discord stream (Dude, WTF?)

THE BUTLER DID IT

Mist Opportunity

"I hate this already."/"OH, YEAH. :)"/"You can't get that helmet off, can you?"/"OH, NO. :'("

Black Arts Beagle is best Beagle Boy

DT-87

The stream lagging on the part where Scrooge walks into a sliding glass door 😭 (I know it's because of WriteBackAtYa's laptop, but for the sake of levity, let's say it was Scrooge's doing again and he did it because that part fucking embarrasses him.)

Mark saying Glomgold sucks at the whole "trying to kill Scrooge" thing (Rare Mark Beaks W)

THE DUKE IS BACK

"Since when did I have to become the adult in the room? I'M NOT CUT OUT TO BE THE ADULT!"

Huey doing a Scrooge impression

"Don't kill me! I barely lived! #YOLO #FOMO #AHHH"

Duckworth's reaction to seeing the axe fall down to the floor

Duckworth and Beakley's beef with each other

"Clock Cleaners":

Snoozer male stork

Learning A New Hope was paired with "Duck Dodgers in the 24th 1/2 Century" for its screenings

Realizing we were watching the edited version of the short where Donald says "Aw, nuts."

The return of Max's real mother

The Great Mouse Detective:

Me sharing which DT/DWD character would be who in a GMD-themed AU way before the movie started

Us getting excited at hearing Alan Young's voice

Cheerful music playing right after a sad moment (Hiram getting kidnapped) = Last Crash ending vibes

A new server emoji of Mark Beaks getting shot point blank for dabbing

Tokuvivor: "The world's smallest violin" Caroline: "Let me play you a song on the world's smallest violin" Me: "Basil, this is serious."

Learning Vincent Price is in this movie

Sharing a GMD Lorcana card during "The World's Greatest Criminal Mind"

"Flaversham."/"Whatever."

teleportzz: "literally every man in this is so gay so far" puffywuffy8904: "or are they just european" Story Blossom: "Or are they gay AND european?"

Basil's face when Toby sat on Olivia's command

OLIVIA SAYING UNCLE BASIL 😭💖

Hiram and Olivia reminding Puffy and I of Scrooge and Webby (I AM GETTING FUCKING EMOTIONAL ABOUT IT AS WE SPEAK.)

Ratigan upon learning Fidget's list is missing:

Basil x Dawson being the movie's equivalent of DWD91!Drakepad

Story Blossom pointing out how Miss Kitty is basically Goldie

The bar fight scene in a nutshell:

"There is no Queen of England."

Ratigan's royalty drip

WriteBackAtYa: "He's supreme like a taco from Taco Bell"

Basil trying to imprison Ratigan: "Officer, arrest that man!"

The entire Big Ben scene and how well the 2D and CGI animations blended together

Learning that the ballroom scene from Beauty and the Beast was the first Disney and Pixar collaboration

According to melcat33, Basil not skipping leg day saved his life

puffywuffy8904: "and they were roomates" Me: "Oh, my God. They were roommates."

Ratigan's "Goodbye So Soon" diddy playing during the end credits

[tobiasdrake]

Digimon Adventure 01x03 - The Blue Wolf! Garurumon! / Garurumon

Previously on Digimon Adventure: Prank phone calls sure do hit different when the emergency line operator is the one doing them.

Good news is, we have like a day's worth of food. Bad news is, we're still in this awful place File Island and don't know how to go home. Or even where we can physically be that won't piss off territorial wildlife. Man, when I signed up for an Isekai, I was promised elf waifus and unearned combat supremacy; I want to speak with this place's manager!

We open on Taichi standing on the edge of a cliff, staring into emo distance. He's trying to make sense of the rules of this death world. Why did only Agumon evolve? Why did he lose his evolution and revert to Agumon again?

Agumon has no answers for him. As noted last episode, the Partner Digimon don't understand how this works either. We're all figuring this shit out together.

Dub Tai makes the wild-ass claim that they've already searched the whole island, which is a bald-faced lie given that exploring File Island will take up much of this arc. Then he just brags about how Greymon is super badass, rather than contemplating how evolution works.

Tai does also ask Agumon why he can't remain as Greymon, but he's more macho about it and kind of mean. "I like you better as Greymon," he says with actual words from his mouth. Agumon apologetically explains that "Even superheroes need a rest."

No time to keep thinking about this, nature has discovered us once again. Monochromon, an Adult-stage Digimon, smashes through some nearby rocks. Tentomon assures us that Monochromon are docile. The narrator agrees, but adds that they have a foul temper.

As a second Monochromon emerges from the other side of the group, the kids quickly decide to skedaddle out of the way. The Monochromon aren't here for us, we're just in the crossfire. Nature can be like that sometimes.

Tentomon speculates that this is a territorial dispute. Makes sense, and also not our problem so we book. Fleeing from this violence, Takeru trips and falls, but Yamato stops to help him, giving the brothers a nice moment.

Once we've run as far as we can from the territory duel, Mimi gets tired. She offhandedly complains that all this walking is going to thicken her calves, prompting Agumon to chime in that thick calves are good 'cause you can kick dirt with them. Palmon argues that leafy feat are better. Mimi is unswayed by both of these arguments.

Dub Mimi adds a bit about shopping malls; "I don't walk this much unless I'm at a mall, and as you can see, we're nowhere near one!" However, the thrust of her complaint remains that she's tired and sore from all this walking. Agumon inexplicably suggests she'd feel better if she took off her shoes and walked in bare feet. Palmon doubles down, saying she loves the feel of dirt between her toes. Mimi is not impressed.

Meanwhile, Koushiro and Sora discuss the strangely colored sunset of File Island. Even the sky in this place is weird. In any case, the sunset brings a more pressing concern: It's going to get dark soon. We're about to spend our first night on File Island.

Tentomon notices the smell of water in the air, so he takes to the sky to scout out and discovers a lake nearby. A freshwater drinking source is a huge discovery in a survival situation, so we should head that way!

It takes very little time to reach a survival consensus. Everyone is tired and hungry. We'll make camp at the lake and figure things out in the morning.

Well, consensus except for Dub Matt. Yamato likes the idea of stopping to rest for reasons that are clearly visible onscreen with him and require no elaboration. Matt, however, decides to be contrarian and barks that "We should keep walking and stop all the complaining!" Harsh, Matt.

Lake's full of telephone poles and shit but honestly we are past caring that File Island is weird. As we approach the lake, the group takes a moment to agree that this is a great spot to camp out for the night.

Mimi's nervous, though. She asks Taichi to clarify that camping means they have to sleep outdoors, which he confirms.

However, a new option suddenly presents itself courtesy of File Island being so weird. As if directly responding to their presence, a trolley sitting on a little island connected to the mainland by a manmade stone bridge suddenly turns on and calls their attention to it.

As they race for the trolley, Dub Tai inexplicably calls out, "Mimi, wait up!" as he leaps through the doors, despite being the first kid to set foot on it.

Having thoroughly failed their Don't Get In A Stranger's Car check, they take a moment investigating the trolley. Taichi and Koushiro confirm that nobody's here. Taichi's extremely bothered by this whole thing. Jou agrees, wondering aloud if the trolley's going to start moving by itself, but Taichi waves him off; There aren't any tracks for the trolley to go down.

Dub Tai agrees with Joe, but thinks it might actually be good if the trolley suddenly kidnaps them all. It might take them home. Dub Tai somehow manages to be worse at Stranger Danger than any of the Japanese crew. To be fair, he's not alone; Dub Mimi said that too.

Well, it's decided. We'll sleep in the trolley tonight. Just like that, the group sets to work on foraging for food and supplies. Last episode, the Digimon said they're good at foraging; Now they get to show off their skills, gathering various fruits and berries. Mimi tries to help, but Palmon stops her from accidentally picking poisonous mushrooms.

Jou and Sora gather firewood while Koushiro and Takeru catch fish to cook. Taichi and Yamato prepare the fire and just like that, we're camping.

When he sees Takeru struggling with figuring out how to eat a whole fish like this, Yamato offers to de-bone it for him. Taichi interrupts and tells Takeru to just start at the head and bite; Takeru accepts that advice and gives it a try.

In the dub, T.K. complains that his mom wouldn't like this. He's only supposed to eat fish sticks, and he's not supposed to eat with his fingers. Matt assures T.K. that he won't tattle, and Tai chimes in to tell him he's "hanging with the big boys now" which seems to settle his nerves.

From there, Taichi approaches Sora, who's filling up a bamboo shaft with water from the lake. He's noticed that Takeru refers to Yamato as "Onii-chan" and he's curious about it. Sora's as lost as he is about it.

Dub Tai already gets that Matt and T.K. are brothers, and instead complains that Matt "doesn't treat T.K. like a brother, only like he's a bother." Rude. Sora agrees, but suggests he's still learning how to be a big brother.

Jou returns from having a short walk around, stargazing. He's been trying to use the night sky to figure out where the hell File Island is, but the sky is wrong. Not just wrong for Japan; It's just wrong. Neither the North Star nor the Southern Cross can be found. So we are neither in the Northern Hemisphere nor the Southern. What does that leave?

Sora quickly corroborates, observing that she can't find any familiar constellations either.

Dub Joe is less thorough than Jou. He doesn't look for the Southern Cross, instead settling on the idea that we must be in the Southern Hemisphere if he can't find the North Star. Mystery solved.

Before long, it's officially time for bed. Time to spend our first night on File Island. Koushiro wants to establish a night watch rotation, which Taichi and Jou quickly agree to.

Taichi suggests that the girls shouldn't have to keep watch. Upon hearing this, Yamato jumps to his feet to demand that Takeru be excluded too. Takeru volunteers to take a turn anyway, but Yamato tells him no; Takeru should just sleep.

The dub cuts Tai's line about wanting Sora and Mimi excluded from the rotation, which leaves Matt issuing demands on T.K.'s behalf out of nowhere. This still works for the scene's intent.

Mimi points out that they have no bedding to sleep with. Getting an idea, Taichi goes straight for Gabumon, trying to steal his pelt away from him. He's only playing around, and he lets go as soon as Gabumon freaks out and runs.

Dub Tai somehow makes this about Mimi, playing her up like a predator in the night who's going to come for Gabumon in the night and cut off his tail.

Yamato angrily shoves Taichi away from Gabumon and the two nearly come to blows before the others tell them to quit it. Jou interrupts, calling the group's attention together so they can set up the shifts. With Sora, Mimi, and Takeru all excluded, the rotation he comes up with is:

Taichi

Yamato

Koushiro

Jou

Sora and Mimi remain excluded from the list even in the dub, so I guess Joe's the sexist one in this version. :P

As the kids prepare for bed in the trolley, they proceed to make unbelievably poor use of all that seating area. Everyone has to sleep in a sitting position but like there is so much space y'all.

Mimi's upset because she's used to sleeping in a bed. Dub Mimi instead is mad that she has to share sleeping space with other people. Rude.

Going to bed, we're made privy to each of their last thoughts as they drift off. Sora hopes they aren't attacked in the night. Mimi wants to take a bath. Koushiro expects it will be a long day for the group tomorrow. Jou wants this all to have been a dream.

In the dub, T.K. bids everyone good night with, "Don't let the Monochromon bite," giving Sora a specific monster anxiety to worry about. Mimi's feet are still sore. Izzy speculates that the aliens he's still on about put the trolley here to help them. Joe worries about getting "monster cooties", actual quote.

Yamato's staked out his own bench to rest on. He orders Gabumon to go keep Takeru warm. Gabumon teases him about loving his brother and Yamato storms off in a fit of embarrassment.

As the group drifts off to sleep, things start to go to shit almost immediately. The other shoe finally begins to drop during Taichi's shift, as he steps on a strange red leaf on his way to wash his face. Nothing comes of it, however. Not yet.

While Taichi's washing his face to stay awake during his shift, Yamato exits the trolley to get away from everyone. He apologizes to Taichi for their earlier fight, and confides that Takeru's closer to Taichi than to him because of his overprotective behavior; Calling back to the earlier incident with the cooked fish.

Dub Matt, meanwhile, continues being a total jerk. He still apologizes but, rather than opening up about his feelings, Matt aggressively blames "having to watch T.K." for his behavior. Nice, bro.

Taichi asks Yamato to explain the nature of their relationship for him. Yamato explains that they're brothers from a broken home; Their parents divorced and the brothers were split between them, which is why they have different last names.

The dub hasn't been playing coy about this the way the original did, so Tai instead has to ask, "Do you two even live in the same house!?" out of nowhere to provoke Matt's explanation. Matt answers that they're half-brothers so that's why they see each other so rarely.

Having had his fill of emotional honesty, Yamato splits with Taichi and goes to play his harmonica by the lake shore. He's shortly joined by Gabumon, doing a startlingly poor job of being Takeru's blanket.

That's when it happens.

Okay, fucko, I can handle being stepped on but that is a bridge too far. Local wildlife mad now.

I blame Taichi for this. 100%. That fin wasn't exactly hard to spot.

This is the Adult-stage Seadramon, the first of a particular kind of Digimon. The "dramon" lineage is a pun on the word "dragon". Any time you meet a -dramon, that's a dragon Digimon. Seadramon is, of course, the Sea Dragon Digimon.

Seadramon honestly wants nothing to do with this. His first reaction to his rude awakening is to try and peace out. Unfortunately, his tail is embedded in the island, so he ends up dragging it around with him.

Tentomon explains that Seadramon is normally pretty docile. He only attacks if he feels threatened. As long as we haven't threatened him, we should be fine. As Tentomon says this, he hops directly onto Seadramon's tail like an idiot.

Really playing up how much this impending fight is absolutely, 100% our fault. We screwed up. Seadramon is trying to defend himself against us.

This context doesn't make it into the dub. Instead, Tentomon assures the others that they'll be fine as long as Seadramon doesn't realize they're here; However, by stepping on Seadramon's tail like that, he reveals their presence to the dangerous predator.

Wrenching his tail free of the island, Seadramon retaliates by submerging himself and pushing the island further out into the lake until it collides with those telephone poles we saw earlier and can't budge any further.

Seeing Takeru in trouble, Yamato doesn't even hesitate to throw himself in the water and swim halfway across the dragon-occupied lake to reach his brother. Gabumon hesitates for a moment, not wanting to get his fur wet, but pursues Yamato anyway.

As Seadraman renews his assault on the island, the Child-stage Digimon try to fend him off, but their attacks are useless against an Adult-stage Digimon as usual. Taichi tries to get Agumon to evolve, but he can't; Agumon doesn't know why. As previously established, the Digimon don't understand this whole thing any better than the kids do.

Dub Agumon is lost too, but at least offers speculation. He thinks his body might still be tired from his fight with Shellmon. Valid theory.

Takeru falls in the water trying to get to Yamato, but Gomamon gives him a ride. Trusting Gomamon to take care of Takeru, Yamato and Gabumon throw themselves into the Seadramon fight.

Gabumon's signature move is Petit Fire. Like Baby Flame, this conveys the idea that it's a junior attack fitting of a Child-stage Digimon. The dub calls it Blue Blaster. Like the other Child attacks, Petit Fire is useless against Seadramon, who flicks Gabumon away with little difficulty.

Wrapping his tail around Yamato, Seadramon goes in for the kill.

The dub uses careful language to avoid explicitly saying that Seadramon is going to kill Matt, but nonetheless conveys the same idea. Tentomon calls Seadramon a "bubble brain" but explains that "once he finds his prey, he won't let go".

Takeru, Patamon, and Gabumon briefly discuss what they can do. Takeru wants Patamon to help, but Patamon is powerless so he turns to Gabumon. Gabumon's hesitation strikes again; He wants to help Yamato but he isn't strong enough to intervene.

However, as he watches Seadramon choke the life out of Yamato, Gabumon thinks about his harmonica music and how much he wants to hear it again. He dwells on that music and how badly he wants to hear Yamato play, then lets out a bloodcurdling scream and begins his Adult-stage evolution.

None of this emotional conflict makes it into the dub. English Gabumon agrees to go save Matt immediately, calling out that he's on his way and assertively saying, "What's a little stinky fur compared to a friend like him?"

Either way, Gabumon SHINKAAAAAA!!!

Gabumon's Adult-stage is Garurumon, another onomatopoeia name. He's named for the sound of a wolf growling. "Garururururu...."

While Garurumon and Seadramon fight, Tentomon explains that Garurumon's fur is as strong as the legendary metal mythril. The kids don't know what that is, so Koushiro asks for clarification. This puts Tentomon on the spot, who has to admit that he doesn't know what mythril is either. Taichi wonders aloud if they should really be trusting Tentomon's word when he's explaining the Digimon lore.

Dub Tentomon only equates Garurumon's fur to steel, and adds that he's a "growling torpedo". Izzy understands what that means and declares Garurumon to be invincible, forcing Tentomon to backpedal and say it's only local heresay, nothing concrete. Tai then accuses him of "exaggerating with another one of your wild fish tales again". Uh, another?

For once, we get some focus on the antagonist's special moves too. Seadramon is a wild animal so he doesn't talk, but Tentomon explains this to be his signature move Ice Arrow. Fitting for a sea dragon, he has frost breath.

Garurumon matches it with his Fox Fire. The dub calls this Howling Blaster.

Y'all, he just wanted to sleep.

Gomamon's Marching Fishes bring us back to land, but the sun comes up and nobody's rested. Exhausted, conversation turns to Gabumon's evolution.

Sora suggests that Gabumon was able to evolve this time because it was Yamato in danger. Taichi remembers Agumon evolving to protect him and corroborates that theory. The kids are beginning to develop an understanding of how evolution functions.

Once that's settled, the kids find spaces in the grass to snooze; Everyone's too tired to even care anymore where they rest their heads.

We close this episode on Yamato playing Takeru and Gabumon to sleep.

...I guess technically it is his turn to take watch.