#thanks for your analysis

[cemeterycrawlerhurghh]

The color grading of the movies too! The outfits (especially the dwarves) had such beautiful colors but after post production and everything all the colors were so dull and murky.

LOTR Legolas VS. The Hobbit Legolas

Ok. so. I know i wasn't the only person who, when watching the hobbit, was very put off by Legolas' appearance. Elves are supposed to be eternally youthful and beautiful! So how, and why, does Legolas look so much different than he does in the original trilogy?

To me, it's not a matter of Orlando Bloom being 10 years older, because he still looks amazing (and always will that man is gorgeous), but it is infact a matter of COSTUME DESIGN.

Now you may be wondering, “Costume design? But the same people worked on both trilogies, it can't possibly be that different.” and you’d be right. The big details are consistent, with all the races of middle earth, across the Peter Jackson films. But it is the little details that sell something, and they were kind of botched in the Hobbit, specifically with the return of Orlando Bloom's Legolas

Lets start with a quick spot the difference:

whats stands out to the viewer immediately? the hair, for one, and then the eyes.

In the LOTR trilogy, the hair is much looser, and therefore, more free. it creates a sense of youth in a character that, because though he has a fair face, he is probably 2,000+ years old. There are multiple instances in which Legolas, and his compatriots, are in battle, and his hair gets fussy and frizzy and tangles. it's not perfectly done. He hasn't combed it 500 times until there aren't any bumps left. Because that's not realistic, and it's not his character.

The flyaways are what sell his youth, the messy little ear braids, random hairs flung over his shoulder, knots and waves from movement. Even when little baby hairs around the face fall down, all of this makes a character seem younger. and all of this was removed from the Hobbit version of Legolas.

His hair is combed back perfectly. It looks like he's put hairspray in it. His braids are tight, perfect, and lack any of the original fluidity. His hair doesn't have a single knot, even once he's done flipping and killing spiders and jumping over dwarves. This makes his character seem years, decades, or centuries older and more experienced than he was in the Lord of the Rings, which takes place like 80 years later!

The wigs, though they were beautiful, were not properly styled in order to retain the familiarity of the character we all know and love from the original trilogy. That's not the worst offense though. that goes to the eyes.

BECAUSE WTF IS THAT.

The costume department really failed here. In comparison with Lee Pace (Thranduil), Orlando Bloom's contacts were abysmal. I'm not sure what the aim was, but if it was to launch Legolas 10 miles behind the enemy lines of the Uncanny Valley, they succeeded.

I'm truly not sure why they didn't just keep his original brown eyes, since it is very difficult to get contacts to look right on such dark eyes, but I would have paid to be in the room when they made the decision to put this image out into the universe. The eyes are just so piercing that every time his character came on screen, it was one of the inly things i could focus on. its especially jarring because THRANDUIL'S CONTACTS LOOK FINE.

It just makes the character seem so plastic, and so much older and less kind than he was. but honestly, the hobbit kind of served as a character assassination for Legolas anyways. I have opinions on how he should have been portrayed, but that's a separate post.

Honestly, I'm just not sure what there is left to say here. everything that could be said about the eyes has been said, and we were universally creeped out by it, me thinks. so that's my excuse to move on the the actual OUTFIIIIIIITTTTSSSSSS but only quickly.

So technically, I'm nitpicking, but these things are important in my opinion! So I'll just make a little list to make it easier to explain and quicker because everyones exhausted at this point.

the clothes are too tight, and too restricting for a "warrior"

the cut in unflattering and cuts him straight across the body, which does nothing for him and makes him look frumpy? somehow?

they're also too clean. He's a warrior, not a councilman.

The collar of most of the clothing in the hobbit is too high and mature, and also restricts movement.

all of the restricted movement makes the character seem stockier and less agile than we know, and see, him to be.

Basically, he looks like he's wearing a costume. (P.S. it shouldn't look like that)

and also, NONE OF THE AFOREMENTIONED PROBLEMS are helped by the fact that the editing and quality of these movies makes even phenomenal costume designs, like that of the dwarves and of bilbo, look so, soooooo costumey. And also the makeup department is its own can of worms, mostly with everyone having zero flush, but oh well.

anyways. That's just me.

feel free to add anything i missed, or disagree, by all means! to me, i just found not only the character's demolished personality and strange appearance a little too much to be able to look past it and truly enjoy his presence in the movies, but i still love the movies.

[rayroseu]

I really appreciate the beauty of Malleus New Year's card. But most importantly, other than its gorgeousness, I also appreciate how it pays so much homage to his status and character, from the flowers, the clothes, and the setting. 🥹

We know that wisterias were prevalent in his Dorm Groovy SSR, this time its another flower which is the red plum blossom here😭❤️

In Chinese philosophy, the Plum tree’s blossom is a symbol of winter ending and a herald of spring. The tree’s pale pink blossoms are cherished because they bloom vibrantly and so bravely amidst the winter chill. They symbolise perseverance and hope, as well as, beauty thriving in adverse circumstances.

The way this flower's meaning is so matched with Malleus' character is so precious. We know he's "the herald of spring" because his birth brought forth a hope that the Draconias(or the faes in general) won't die out just yet (the ending of winter) and the fact that this flower blooms even in winter probably symbolizes the fact that when he was an egg, he was still perservering to live. This also applies to his life as he grows up. With the way even if his life is riddled with loneliness and exclusion, he makes an effort to go out and adjust himself with others, he doesn't give up even if his reality consistently places him in situation where his goals can never be achieved (that is, him being accepted socially and him being ignorant of human culture but still makes an effort to understand it), he just continues to be hopeful that someone/ some place will invite him, therefore his ability to thrive in adverse circumstances.

The way he slowly rises in this card makes me feel like it symbolizes how slow paced Malleus is "in going out/getting used to outside of his comfort zone", actually lol. He described his admission to NRC as him being nervous because its an unknown place but still hopeful for the experiences that he might get(acccording to the vignette of his GloMas SSR), just like him here rising from the snow and the way he lifts the veil which makes me think he wants to see the world outside of his country's point of view with his own eyes.

Japanese tradition holds that the Plum (or ‘ume’) is celebrated as a protective charm against evil, so the ume is traditionally planted in the northeast of the garden, the direction from which evil is believed to come.

I also read this symbolism which makes me tear up lmaooo 😭Because we know in Book 7, Briarland was invaded from northeast where the Silver Owls originated from 💀 The fact that the plum blossom is a protection flower and he's surrounded with it in this card makes me think that it symbolizes how protected he was during Briarland's era 😭and another thing to dissect from his slow rise from the snow with the fact the plum blossom signifies protection is probably the fact that he took so long to hatch despite many people caring for him.

Side note that in Malleus Bloom Birthday Groovy, it implied that he was born in daytime during a snowfall, and he was happy experiencing the winter, just like in this New Years card where he's smiling against the heavy snowfall 🥹

In Japan, plum blossoms symbolize good fortune, an auspicious flower, along with pine and bamboo, and the arrival of early spring. They are often used as the design for New Year’s greeting cards and other celebratory occasions. (And maybe this is just the likely reason why this flower is here in Malleus' card and I'm overthinking it above lol

Next thing I want to mention is his clothes, that attire reminds me of the formal outfit of a Japanese Emperor (From what I searched, its called sokutai, but what Malleus wears is much more simpler I guess, its a outfit derived from it which is called ikan.) This post is a great overview about these two outfits.

Ikan is the work clothes of nobles and government officials in the Imperial Court after the Heian period. Sokutai is a formal costume for those from the Emperor to the court nobles in and after Heian period (Heian costume). Ikan is called 'tonoi (nighttime) costume', whereas sokutai is called 'hino (daytime) costume'. (which probably references the fact that he's a night fae)

The point is, what Malleus wears in this card is a very traditional garment that only high ranking Japanese officials can wear. But what he wears isn't the clothes of an emperor yet, but just for a high ranking official, which is accurate to his status that he's still a crown prince not yet the king, because only Maleficia truly rules Briar Valley right now.

I love the decision that they made him wear such a prestigious outfit because the story of the New Years event is the characters working on customer service lol Its like his clothes is a reminder that he is still highly distinguished even if temporarily he's a worker.

Lastly the VEIL !!!!!! That's the thing that catched my eyes the most in this card lol I KNOW they're not referencing a wedding here because the veil don't look the same, but its so good not to mention that the one of the headress of a Japanese bride is called tsunokakushi and its description can be related with Malleus a lot lol.

The term is a compound of 角 (tsuno, "horn") + 隠し (kakushi, "hiding"). This derivation is listed in some sources as a reference to hiding a bride's "horns" of anger, jealousy, or other negative qualities, in order to present a more virtuous image for the wedding. However, this interpretation might be a folk etymology resulting from a shift in the reading and meaning.

The headdress and the veil aren't the same thing but I kinda feel like this is the idea they're going for considering the veil is 1) hiding his horns, 2) he's a character associated with being jealous, and most importantly, 3) only the person he is looking at can see his face (which is the point of most wedding veils/headdress, to hide the bride's face so that only her partner can see it).

But long veils, like the one Malleus is holding is also just a garment for a noble to hide their nobility. Which is this is probably the likely reason, considering he's using that veil to cover up his horns and his clothes, the most obvious features of his status.

Also, it could be just a fun reference to the fact that Maleficent in live action wore a long veil to hide her horns so that she wouldn't scare the humans lol

[metanarrates]

Hello. Sorry if this a stupid question u can ignore if u want.

How can someone get better at media analysis? Besides obviously reading a lot.

Im asking this bc im in a point where im aware of my own lack of tools to analyze stories, but i don't know where to get them or how to get better in general. How did you learn to analyze media? There's any specific book, essay, author, etc that you recommend? Somewhere to start?

I'm asking you because you are genuinely the person who has the best takes on this site. Thank you for you work!

it sounds like a cop-out answer but it's always felt like a skill I acquired mostly thru reading a ton, and by paying a lot of attention in high school literature classes. because of that I can't promise that I'm necessarily equipped to be a good teacher or that i know good resources. HOWEVER! let me run some potential advice to you based on the shit i get a lot of mileage out of

first off, a lot of literary analysis is about pattern recognition! not just pattern recognition in-text, but out-of-text as well. how does this work relate to its genre? real-world history? does it have parallels between real-life situations? that kind of thing.

which is a big concept to just describe off the bat, so let me break it down further!

in literature, there is the concept of something called literary devices - they are some of the basic building blocks in how a story is delivered mechanically and via subtext. have you ever heard of a motif? that is a literary device. it's a pattern established in the text in order to further the storytelling! and here is a list of a ton of common literary devices - I'd recommend reading the article. it breaks down a lot of commonly used ones in prose and poetry and explains their usage.

personally, I don't find all the literary devices I've learned about in school to be the most useful to my analytical hobbies online. motifs, themes, and metaphors are useful and dissecting them can bring a lot to the table, but a lot of other devices are mostly like fun bonus trivia for me to notice when reading. however, memorizing those terms and trying to notice them in the things you read does have a distinct benefit - it encourages you to start noticing patterns, and to start thinking of the mechanical way a story is built. sure, thinking about how the prose is constructed might not help you understand the story much more, but it does make you start thinking about how things like prose contribute to the greater feeling of a piece, or how the formatting of a piece contributes to its overall narrative. you'll start developing this habit of picking out little things about a text, which is useful.

other forms of in-text pattern recognition can be about things like characterization! how does a character react to a certain situation? is it consistent with how they usually behave? what might that tell you about how they think? do they have tells that show when they're not being trustworthy? does their viewpoint always match what is happening on screen? what ideas do they have about how the world works? how are they influenced by other people in their lives? by social contexts that might exist? by situations that have affected them? (on that note, how do situations affect other situations?)

another one is just straight-up noticing themes in a work. is there a certain idea that keeps getting brought up? what is the work trying to say about that idea? if it's being brought up often, it's probably worth paying attention to!

that goes for any pattern, actually. if you notice something, it's worth thinking about why it might be there. try considering things like potential subtext, or what a technique might be trying to convey to a reader. even if you can't explain why every element of a text is there, you'll often gain something by trying to think about why something exists in a story.

^ sometimes the answer to that question is not always "because it's intentional" or even "because it was a good choice for the storytelling." authors frequently make choices that suck shit (I am a known complainer about choices that suck shit.) that's also worth thinking about. english classes won't encourage this line of thinking, because they're trying to get you to approach texts with intentional thought instead of writing them off. I appreciate that goal, genuinely, but I do think it hampers people's enthusiasm for analysis if they're not also being encouraged to analyze why they think something doesn't work well in a story. sometimes something sucks and it makes new students mad if they're not allowed to talk about it sucking! I'll get into that later - knowing how and why something doesn't work is also a valuable skill. being an informed and analytical hater will get you far in life.

so that's in-work literary analysis. id also recommend annotating your pages/pdfs or keeping a notebook if you want to close-read a work. keeping track of your thoughts while reading even if they're not "clever" or whatever encourages you to pay attention to a text and to draw patterns. it's very useful!

now, for out-of-work literary analysis! it's worth synthesizing something within its context. what social settings did this work come from? was it commenting on something in real life? is it responding to some aspects of history or current events? how does it relate to its genre? does it deviate from genre trends, commentate on them, or overall conform to its genre? where did the literary techniques it's using come from - does it have any big stylistic influences? is it referencing any other texts?

and if you don't know the answer to a bunch of these questions and want to know, RESEARCH IS YOUR FRIEND! look up historical events and social movements if you're reading a work from a place or time you're not familiar with. if you don't know much about a genre, look into what are considered common genre elements! see if you can find anyone talking about artistic movements, or read the texts that a work might be referencing! all of these things will give you a far more holistic view of a work.

as for your own personal reaction to & understanding of a work... so I've given the advice before that it's good to think about your own personal reactions to a story, and what you enjoy or dislike about it. while this is true that a lot of this is a baseline jumping-off point on how I personally conduct analysis, it's incomplete advice. you should not just be thinking about what you enjoy or dislike - you should also be thinking about why it works or doesn't work for you. if you've gotten a better grasp on story mechanics by practicing the types of pattern recognition i recognized above, you can start digging into how those storytelling techniques have affected you. did you enjoy this part of a story? what made it work well? what techniques built tension, or delivered well on conflict? what about if you thought it sucked? what aspects of storytelling might have failed?

sometimes the answer to this is highly subjective and personal. I'm slightly romance-averse because I am aromantic, so a lot of romance plots will simply bore me or actively annoy me. I try not to let that personal taste factor too much into serious critiques, though of course I will talk about why I find something boring and lament it wasn't done better lol. we're only human. just be aware of those personal taste quirks and factor them into analysis because it will help you be a bit more objective lol

but if it's not fully influenced by personal taste, you should get in the habit of building little theses about why a story affected you in a certain way. for example, "I felt bored and tired at this point in a plot, which may be due to poor pacing & handling of conflict." or "I felt excited at this point in the plot, because established tensions continued to get more complex and captured my interest." or "I liked this plot point because it iterated on an established theme in a way that brought interesting angles to how the story handled the theme." again, it's just a good way to think about how and why storytelling functions.

uh let's see what else. analysis is a collaborative activity! you can learn a lot from seeing how other people analyze! if you enjoy something a lot, try looking into scholarly articles on it, or youtube videos, or essays online! develop opinions also about how THOSE articles and essays etc conduct analysis, and why you might think those analyses are correct or incorrect! sometimes analyses suck shit and developing a counterargument will help you think harder about the topic in question! think about audience reactions and how those are created by the text! talk to friends! send asks to meta blogs you really like maybe sometimes

find angles of analysis that interest and excite you! if you're interested in feminist lenses on a work, or racial lenses, or philosophical lenses, look into how people conduct those sort of analyses on other works. (eg. search feminist analysis of hamlet, or something similar so you can learn how that style of analysis generally functions) and then try applying those lenses to the story you're looking at. a lot of analysts have a toolkit of lenses they tend to cycle through when approaching a new text - it might not be a bad idea to acquire a few favored lenses of your own.

also, most of my advice is literary advice, since you can broadly apply many skills you learn in literary analysis to any other form of storytelling, but if you're looking at another medium, like a game or cartoon, maybe look up some stuff about things like ludonarrative storytelling or visual storytelling! familiarizing yourself with the specific techniques common to a certain medium will only help you get better at understanding what you're seeing.

above all else, approach everything with intellectual curiosity and sincerity. even if you're sincerely curious about why something sucks, letting yourself gain information and potentially learning something new or being humbled in the process will help you grow. it's okay to not have all the answers, or to just be flat-out wrong sometimes. continuing to practice is a valuable intellectual pursuit even if it can mean feeling a tad stupid sometimes. don't be scared to ask questions. get comfortable sometimes with the fact that the answer you'll arrive at after a lot of thought and effort will be "I don't fully know." sometimes you don't know and that can be valuable in its own right!

thank you for the ask, and I hope you find this helpful!

[darkcandy-starfait]

no cause like

motifs and themes we've had for chara are like

golden flowers (the colour gold in general)

the soul

chocolate and sweets

knives

death, sacrifice and burial

save points (I WILL die on this hill) and erasing (raw game mechanics)

gardening and plants

autonomy, choice and control

scary faces

smiles (that double as scary faces)

...

And NOW the number 9, the highest number, where nothing can hurt you, where nothing can hurt anyone.

Here's to another 999 years of Chara lore!! I cannot believe we're getting Chara Undertale in the year of our lord 2024...

crumbles into a pathetic pile

[scullcrusher101xd]

where were they going

[pepstarvanmoon]

Someone please get El out of there

Is it not obvious what this is? Do you really not know what you should be doing? SAY THE DAMN WORDS.

Why do you think she’s doubting you? Can you really not tell?

Mike, sweetheart, your relationship balancing skills are a terror to your friends, family, and romantic partners.

This is why people found Midleven cuter in S1/2, because the day you made it official marked the beginning of El’s doubts in your feelings for her.

You cannot seem to grasp that El is your friend AND your girlfriend, and somehow treating El like a girlfriend equates to treating her like shit.

You cannot make this up. El needs WORDS because Mike’s ACTIONS actively make her feel unloved. She does not feel it, so she wants some kind of verbal/written affirmation because of how emotionally distant Mike feels.

(someone talented please edit Elmike to Hamilton’s Burn or send an existing edit my way, thank you ♡)

His actions do not align to her expectations of love, not that it’s a good idea to let TV define romance for you, but you’re allowed to want/expect certain things in a relationship, and El isn’t getting that.

And let’s not act like Mike isn’t good at making people feel loved/cared for. Will is in love with him for a reason. El loves him for a reason.

(It was difficult to pick scenes for this because I’ve read arguments for how these aren’t really romantic at all, but from 12/13-year old, “fresh out the lab” Eleven, it’s as romantic as romance gets imo)

El has been trying to convince herself that their relationship is better than it is, because once she admits to herself that it’s not working, what does she do?

Her day-to-day life isn’t that great. Sure, she has her new family in the Byers, but her dad recently passed away and she’s being bullied at school. She has no friends outside of Will, and while I’m sure their relationship is great (wasn’t explored that much tbh), he can’t keep her from feeling isolated, and his own trauma with bullying keeps him from standing up for her.

One good, unchanging thing she has is her relationship with Mike. He’s the one who took her in and housed her, he taught her what it meant to be a friend, and… I’m having a bit of trouble here lol. I was going to say:

Never used her for her powers (not true lol)

When she was burnt out, he never expected more from her (not true LOL)

Never treated her differently for her powers (for this one, he found her awesome in an awestruck way rather than a Brenner “I’m gonna exploit this” way, but when he thought she lied about Will/hurt Lucas he was on her ass lmao)

My girl has those ‘first love’ blinders on. I keep having to ask myself what she sees in him besides ‘first person to accept me + we kissed’ like besides the latter, Dustin was right there. A lot of the parts of Mike I enjoy don’t reveal themselves around El outside S1 (barely S2). He’s shown as caring and protective, but he’s like that for all of his friends?? Especially when they’re in danger so idk what’s different. I’d have to peruse the milkvan tag to get a hint, but I’ll probably get a better idea watching Sleeping Beauty.

I’m a firm believer that Mike kept it ambiguous because he didn’t want to admit what the real problem was to Will.

“I couldn’t tell El that I love her.” - simple as that. Must be something about Will that has him holding his tongue because after S3 I doubt he’d have that much trouble telling Lucas.

Are you embarrassed? If you thought it wasn’t that serious you wouldn’t have told Will that it was something you “can’t come back from”. Is love serious to you, Mike? Because you can’t love El in the way she wants, do you think you’re incapable of it? Do you feel wrong? Do you not want Will to know?

Hit a little too close to home, huh.

(and let’s not get into the "team, friends, best friends" scene they had together like what was the point in having them make contact a SECOND time.

They already established a connection between them. Mike could’ve asked to be a team after the "guess it's gonna be up to us again," and Will could’ve taken the painting offscreen (the focus shot of Will grabbing the painting gets me so bad like WHY), but instead they wanted them to blush and giggle over each other AGAIN before they got to the van.

Make it make non-Byler sense I'm begging.)

You’d think that’d be good enough, but Mike still feels conflicted and has to make it Will’s problem (actually, Will kinda made it his problem. The way they shot the triple take makes it seem like Will dragged Mike away for another talk because of how spacey he was being. Who knows.)

Tf do you mean you didn’t know what to say? “Maybe if I said that thing” so you DO know? It’s painfully cut and dry if you take emotions out of it. El wants Mike to say that he loves her, so to fix this, to come back from that fight, Mike has to say he loves her.

Why is it such an internal battle for him? If I were to take it at face value, I’d chalk it up to what he said in the van scene.

So your solution is to push your relationship to a point that has El crying and throwing all the loveless letters you sent to the floor? To tell her that she’s incredible and a superhero and that she should know how you feel about her because, despite the tears streaming down her face and her DIRECTLY asking you if you still love her, she must know how amazing she is too?

NEWSFLASH, Queerler! She’s learning just how much she doesn’t need you right now, so I guess it’s time to face your fears!

This isn’t what I meant, but go off ig (don’t, actually, this is awful for everyone involved).

No way you expect El to buy this. You’ve expressed this fear of "losing El" to Will, I’ll give you that, but nothing you’ve done IN FRONT OF EL has conveyed this. Your letters weren’t helping, and you being there in person only made it worse.

Eagerly awaiting the day Michael Wheeler stops lying.

Well, I guess he doesn’t lie ALL the time.

[rainbowsky]

Anonymous asked:

Big fan of your posts! What do you think of Huang Ziteng's [redacted]

Love to hear your thoughts!

Hi Anon. Thanks so much for your kind words, I am glad you're enjoying my blog! ☺️

I suppose you must be a bit surprised to see your name come up as anonymous, since your question was not submitted anonymously. It is because this particular ask put me in a bit of a dilemma and I decided to err on the side of caution. I don't want anyone getting offended by what I have to say about things like this.

The material in question

The content that you shared with me was indeed video footage of Huang Ziteng speaking on a livestream about GG and DD. I asked a dear friend who is fluent in Chinese to give me a rough overview since there was no translation, and this is what Shufu is saying:

They've been together for 6 years.

DD was the one who was more outward in the pursuit, but GG was expressing his love with his eyes, and it's impossible to say who was attracted first.

A bit of background about The Untamed, saying that an actor with the last name of Ma was already cast as Wei WuXian and only needed to sign the contract, but Ma was in a series that was popular at the time and decided he wanted more compensation. The production couldn't afford it, and switched to GG.

Turtles will have a lifetime of candies.

This video is also not new (based on other copies found online, it's at least as old as October of last year), and apparently this isn't the first time he's spoken fairly openly about them in a livestream.

My thoughts

I have somewhat mixed feelings about this, and I want to dig into a couple of issues because this really touches upon some of the core considerations of being a turtle.

1 ] Supporting closeted couples

GG and DD are closeted, at least when it comes to being in the public eye*. This isn't just because of their queerness, but it is also because they are celebrities and as such they're required to appear single.

*It is obvious they are out among their friends and close colleagues, but that is very different from being publicly out.

We need to consider audience expectations and the pressures of investors, brands and productions to be able to market stars on the perception of romantic availability. This is why stars in that industry tend to hide their relationships and even families and children.

As celebrities GG and DD are not able to be publicly out.

Being queer is undoubtedly also a complication. Even though many Chinese citizens are tolerant of homosexuality, especially the younger generation, many are only tolerant of it as long as it is not seen or discussed. It's highly likely coming out would result in a lot of backlash among audiences, even from people who aren't fans that dream of one day marrying them.

Chinese audiences can be absolutely savage towards anyone who takes up a certain type of public airspace. Anyone who sticks their head up too far for any reason stands a chance of having it chewed off.

That's quite apart from the political implications for them. The current government has had a very anti LGBTQ approach. GG and DD are not at liberty to be open about their sexual orientation if they want to be able to continue to enjoy a top spot in this heavily government-regulated industry, where they are frequently put in the position of being role models and ambassadors.

If they were to come out publicly about their relationship, or even just about being queer, it's very likely that a lot of queer people and queer allies would be inspired and emboldened by them.

While that might sound like a good thing to our Western ears, it's likely not so in the eyes of the government. This government treats LGBTQ people as potential political dissidents, which is why they crack down so much on opportunities for queer people to gather. Night clubs are shut down, queer organizations and agencies are shut down, Pride marches are no longer allowed.

The last thing they would want is for two of the top celebrities in the country to become poster boys for the queer rights movement. And this could easily happen whether GG and DD wanted it or not.

If they were seen as in any way leading or even just inspiring a politically subversive movement (as any movement that is critical of government policy is treated), it would not be good for them.

There is another, in some ways potentially more serious issue. This government has repeatedly characterized queer people as having a corrupting influence on youth. GG, and especially DD, are extremely popular among young people. If they were to come out about their relationship or about being queer, there is a possibility that in the eyes of the government they would instantly become 'corruptors of the youth', with all of the outcomes that one can imagine for such a corrupter.

In other words, it could be very unpleasant indeed.

Make no mistake about it, the government knows they are a couple. This government knows. But GG and DD are allowed to play the roles they play in the industry because they are useful to the government, because they are mouthpieces for political messaging, and because they keep a low profile with regard to their personal lives.

There's also the personal side to this.

As queer people, our identities and our personal lives frequently become a source of controversy and friction. Therefore our personal stories absolutely must be under our own control. We must always be the ones deciding how much about us is known, and who knows it.

All of this to say, this is not Huang Ziteng's story to tell, and as somebody who knows them personally and is publicly associated with them - having worked with them in the past - outing them like this to fans is extremely not okay. Unless he has their permission, he is seriously violating their privacy and potentially putting them at risk.

For this reason, I find it extremely difficult to imagine that GG in particular would have given him permission to speak openly about their relationship. He would have understood that it could make Huang Ziteng look bad, as there's no way for him to say or prove that he has their permission to discuss these things.

All other considerations aside, I just don't see GG being okay with that.

2 ] The issue of veracity

Turtles love Shufu. Of course we do. He gives us candy, and we all love candy. There are many turtles who starve and suffer without candy. Some of our favorite candies came directly from him. What's not to love?

The problem here is, there's absolutely no evidence or proof of anything that he says beyond what we already know as turtles. He isn't giving us any new evidence or proof of their relationship (and that's probably really good thing given what I just talked at length about above), and most crucially he has not given any fresh insight into them as a couple. Nothing that might show he really has an inside perspective on them.

There's absolutely nothing to say that he isn't simply parroting everything we say back to us, telling us what we want to hear.

For what purpose? Well, people can be a bit strange, especially when it comes to fame and attention and popularity. I've actually seen this with my own eyes IRL. Humans can behave in puzzling ways when in the proximity of people who are very famous and popular.

Personal opportunism aside, the world can be very cold and lonely, and people will often go to great lengths to feel special, to feel powerful and to feel loved.

I just finished talking about how much turtles tend to love Shufu. That alone is something that should give all of us pause when it comes to a situation like this. We are vulnerable to being taken advantage of by somebody in his position. We need to proceed with caution and understand the possibility that he could be just saying these things for his own purposes.

This actually happened with Cheng Yi. Remember she used to share a lot of cartoons and candies and other things related to GG and DD. It turns out that she tried to profit from impressionable c-turtles a while back, in ways that made them uncomfortable. We all need to be very careful who we trust. And I say this as someone who has a chronic problem with being too trusting and naive.

I am by no means saying that Huang Ziteng is lying, or that he is setting out to take advantage of turtles, I'm simply pointing out that we do not know where he's coming from or why he's doing what he's doing, and there are a lot of legitimate reasons to be concerned. We don't even know what his current relationship with them is, or if he actually has any recent information about them.

So I know a lot of turtles are going to be extremely excited about the idea that someone who knows them personally is openly confirming their relationship. However, I would urge caution on this.

The way I see it there are three possibilities:

He is directly aware of their relationship, and was sharing this information with their permission. Of course anything is possible, but given all of the issues I just discussed above, I find it highly, highly unlikely. They already have the fake rumor house and their own social media accounts and various other ways of feeding us. I find it unlikely that they would authorize friends and colleagues to out them publicly.

He is saying all of this without their permission, and doing so for his own reasons, whether that be emotional validation or personal gain or some other purpose. Unfortunately we have to accept that this is a very real possibility.

He is a turtle himself, whether he has direct knowledge about their relationship or not, and is excited to talk about them with other turtles, and everything he is saying is just the ramblings of any turtle - without any actual validation, just like any other turtle.

Which of these possibilities am I leaning toward? For now I'm sitting somewhere between option two and option three - much more leaning to two. I'm going to reserve judgment for now, but I'm starting to look a little bit more carefully at past candies from him and thinking they might need to be reevaluated.

In other words, I'm starting to have doubts about him and his motives, although I am keeping an open mind. I will need more information before I can really make a decision on where I stand.

I would like to conclude by saying to everyone - don't be cynical, don't view everyone as a grifter or an opportunist, but also don't be naive and gullible. Things are rarely what we assume, whether we are assuming well or ill.

The truth usually falls somewhere between, in the grey area between the extremes.

Maybe one day we will get the answers to some of these questions, but for now we really don't have much information to go on. It's up to each turtle to chart their own path, I just hope we will all exercise critical thinking and discernment.

Final thoughts

Someone like this coming along and saying a bunch of stuff does not change a single thing for me as a turtle. I have no way of knowing whether he is speaking based on his own personal experience and close relationship with them, or whether he is speaking as a turtle who has been at some remove from them since filming.

I long ago stopped needing any validation of GG and DD's relationship. I trust my own judgment, so this kind of confirmation isn't really something I seek out or feel any kind of way about at all. I already believe BJYXSZD.

I feel like that insulates me somewhat from being swept away by something like this, and makes it possible for me to look at it with a skeptical eye.

If we analyze what he's saying, he sounds like somebody who has been watching the BTS. This is exactly the sort of thing I've seen many turtles say over the years. And if you examine his statements, for example, "It's impossible to say who was attracted first," a comment like that makes my spidey senses tingle.

If he was close enough to them to know the details of their relationship, and especially if he was close enough to be given permission to share those details, surely he would have some insight into such things, or at least some personal flourish to add.

So for reasons I already stated, I'm not able to take this at face value and just trust he is acting in good faith and out of complete honesty as someone who is in their close inner circle. If anything this throws everything he's previously shared into doubt for me, and makes me wary of his motives.

Like I said, every turtle has to chart their own path, and develop our own perspectives based on the available information.

It's not like we have to decide one way or the other, either. It's always an interesting thought exercise to explore a variety of different perspectives and possibilities, and keep our minds open. Since we are unlikely to ever get confirmation one way or the other, there's no point in jumping to conclusions.

In any case, I will be keeping my eye on him.

My friend said the most interesting thing about this livestream is what he says about GG and the role of WWX. I have to agree. Production talked during promo about GG being first choice for WWX, so this statement from Huang Ziteng is very interesting (and likely impossible to verify).

Standard disclaimer: this is my personal opinion based on my own experience and perspective. There may be people who will disagree with what I have to say and that is their right, but I won't tolerate any hostility. We can agree or disagree on friendly terms. Anyone who is unable to be friendly and civil in their disagreement is asked not to respond to this post.

[johnskleats]

Azula would have lost the Final Agni Kai no matter what. Here's why:

Azula is insecure. That's why she takes cheap shots. She did it with Katara, and she did it with Aang in CoD, AND she did it with Iroh striking him with lightning. One could even argue that her behavior in CoD foreshadows some of what happens in the Agni Kai, where in CoD, Katara fights Azula, and Zuko saves her, whereas in the Final Agni Kai, Zuko fights Azula and saves Katara. It's a little mismatch of dynamics.

Azula cheating (constantly), is a staple of dishonorable behavior, which I think is interesting.

We see her "play with her food" like a cat, with the Dai Lee and other opponents she encounters. She tricks them and manipulates them and there's no threat. Killing Aang with lightning was SUPREMELY stupid on her part, and she wouldn't have done it unless she was cornered. She didn't even stick around to make sure he was dead or have any of them followed-- because she was scared. Zuko NEVER flees in fights out of fear. He doubles down like a lunatic and tries to get himself killed instead. Azula is not willing to risk her life, and that's why she's a worse fighter. The insecurity gets to her head and she psychs herself out

Azula has a lot of fire power (lol), but Zuko has the heart and commitment to see actions through to the end. That's why he would have won, had Azula not cheated.

By the end, they were evenly matched in firepower anyway. They did the Raging Line of Flames Competing Colors thing and met in the middle, and stayed there. That's how animation tells us about their ability.

Azula's seat of power in her firebending is spite and fear. She's not even mad, bro.

Zuko's seat of power, at the end, is light and life and love. One is a powder keg that runs out after you blow it up once, and the other is like an oil fire in a parking lot. There's essentially infinite fuel there.

Zuko would have certainly outlasted her. And did, if you think about it. Because she panicked.

Azula's entire persona is a mask, just as Zuko's bravado and pettiness in the first season was a mask. (Funny, that he can only be himself when he's hidden the scar with the blue spirit mask, therefore freeing himself of the shame and the mark that brands him as a villain)

They show us that Azula's mask is not only slipping, but cracking, crumbling in the mirror scene. That's why it's there: to show the audience that all of her running has finally caught up with her.

This world that Azula created has been a sham from the beginning. Castles in the sky to make up for what she lacks: love.

Which is why she would never win against Zuko if they both reached their full potential, as they did during the comet.

[cry-ptidd]

Despite the fact that the beginning made us believe that Alucard and Seras as a bond would be at the core of the story, they ended up interacting meaningfully way too little. So I would definitely have changed that.

It's another chance to show some kind of development for Dracula himself this way. Because when he turns people into vampires, he either isolates them like an undead Bluebeard with the three sisters, or instantly abandons them and let them fend for themselves so he can move on with new thrills, like he did with Lucy. That surprised Van Helsing himself, because he thought Dracula would come back for her, and even guarded her tomb for that scenario (and left a note in case he gets killed), but he never showed up. Lucy ended up having to wander around confused, catching children and giving them awkward bites that doctors thought were from rats. And then even when he does the whole binding "flesh of my flesh, blood of my blood, kin of my kin" with Mina, once again he left her and declared her duty now is to turn Jonathan and the men into his jackals. And that when he needs her as a companion and helper he will call her mentally so she'll cross a land and sea for him. For his deadbeat ass. If you want me to see any change from the past then I would like him to be with Seras meaningfully instead of having her deal with being a vampire on her own and a frankly inexperienced woman.

(And while this is Dracula-based, in my defense the manga started it, if they didn't want me to look at the story under that lens they should have made Alucard and the Hellsings OCs.)

I agree with ALL OF THIS. You put it perfectly. And now I will go into a rant of analyzing Alucard and Seras because of this.

Mini Essay of Alucard, Seras and fledglings

At the beginning of the manga we have small bits of Alucard teaching Seras, like the shooting range,

Her third eye, (amazing shot on the second page btw)

Then him just telling her to go apeshit and aim for a ghoul's head, which he interprets as her coming to terms with her new unlife instead of the violent, bloodlust-filled high that newly turned vampires seem to get in the story. (The difference being that when Seras comes to, she's disgusted with herself. The second time, because she's not skewered by bayonets.)

And then he acts like she's got it all. The only other time I can recall him helping her is when he reminded her of her third eye against Zorin. As much as I adore Alucard he's fucking idiot of a teacher.

Seras is just like Lucy — he turns her on a whim (you can't tell me Seras is the ONLY human he found that has determination and survival instincts) then lets her roam around. The only reason Seras isn't as confused and wild as Lucy is because Alucard HAS to teach her — and even then he does the bare minimum so she doesn't die. When Seras is attacked by Anderson, he doesn't even try to shield her physically and lets her fight on her own so he can have a dick measuring contest with Anderson. Then, when THAT goes array, his solution is to make her drink his blood — which is both very respectable imo and quite smart, as she then would be powerful enough to at least flee and wouldn't be shackled by him. Except he'd still let a 20 something newly undead woman into the unknown — no fucking wonder Seras sticks by his side. That poor girl is scared shitless and had her whole world flipped upside down in like 20 minutes one night. Then he gets mad because he doesn't understand emotions beside pride, bloodlust and anger and whatnot. Though he still praises Seras when she's not around to hear it.

Though, anon, I have to tremendously thank you for this ask, because now I understand why Alucard's such a fucking deadbeat with Seras. He's just so damn irresponsible with every one of his fledglings and everyone whose lives he ruined. As Dracula, he underestimated humans and overestimated vampires– he was so used to having dominion over his land that he thought that anyone would bow to him and, if he infected them with vampirism, obey him without hesitation or resistance. Then, he got beaten and had his worldview and pride knocked down a couple pegs, and then seemed to try and nourish relationships a bit more— as long as they proved worthy in his eyes.

Alucard's vision of "teaching" Seras is extremely minimal, and he gets mad when he doesn't get results within one month of practice, or when she doesn't embrace her monstrosity yet (something I bet Mina did that annoyed him immensely too, considering that's why he got got). It's, however unintentionally, an excellent way to analyze Alucard's way of interacting with others: when it comes to genuine emotional intimacy, he seems to know fuck all. That might also explain why Dracula treated Jonathan the way he did– curiosity, fierce possessiveness, then biting and leaving him to the sisters to most likely become a vampire too so he can keep him.

We needed way more interactions between Seras and Alucard. They're connected in a way that only him and Integra are; she depends on him for everything basically. And he has no idea how to deal with her because she has the opposite of his way of seeing things: she wants to stay with him because she seems to genuinely enjoy his presence and finds him to be a person of comfort instead of just her master, she only uses violence if she has to (and even then it comes with reluctance), and comes to see those with that power-battle-glory mentality as kind of childish. She cherishes relationships and the people in her life instead of seeing them as a hierarchy of who to obey, live next to, and who to kill.

I think Seras shouldn't have gone along with the whole "master" shtick from the beginning. She's a normal late 90s young woman, ain't no way she didn't find having to use that honorific at least a BIT weird. I would've adored if we got more everyday interactions in the beginning where he has to remind her what to call him and she's just generally very awkward in her new environment despite her abilities. It would've been great to get more attached to the characters and would also have quite some comedic potential.

Another thing I would've loved to see is her possibly flustering or throwing off Alucard by being just nice. He lives in a world of kill or be killed and might makes right and whatnot, with a fierce militaristic mindset and respects hierarchy above all (even his view of humans has the "worthy ones" and the "unworthy ones"); to see her being not only kind to him, but see her actively try to connect and bond with him in some ways would probably surprise him. It's not something you'd do to achieve a significant goal or her trying to get a favor or her obeying his commands like the servant she's supposed to be; Seras just seeing him as part of her close circle and someone she trusts (an entire essay could be written on this idea alone, might do it later) and wants to see happy and someone to be with would be JARRING to him.

Even during the whole hunt for Millenium deal. We could've gotten them having alone time or her seeking out Alucard because the idea of a war really stresses her out. We had an abominable lack of Alucard's emotional reactions when it comes to other characters aside from the end where he wept for Anderson and when he said his goodbyes to Integra. Seras of all characters really deserved to get some reacting from him. Because the moment he bit Seras, no matter how he envisioned it to go, he had someone he was responsible to care for.

[autisticakaashitruther]

All the times I've put the ball up for you... have you ever run into a block? Ever?

[taiturner]

"I think everyone’s first impression of Travis when they saw him on screen, people got an emotionless guy who doesn’t care about anyone and can’t show human emotion. And I was super happy when those were the comments coming out, even though it seemed negative, because that’s exactly what seemed important to me was this guy is going to hold it to his chest, any sort of emotion he has, and you’re barely ever going to see him give you a glimmer of it. I thought about when I was that age, and then I thought about the time period on top of that, and when I was that age, I already didn’t want to give people anything that felt like someone could come back at me with. It’s that protective, 'I don’t want to give someone something they’re going to use against me.'"

"So Travis has those walls built up, but on top of that, the way that he creates those walls is different than mine, where in 1996, it would be misogynistic comments coming at you, attacking you, rather than quiet. It’s not just quiet. He retaliates. That was really important, and the writing is what gave me that. As an actor, it’s our job to justify and figure out why. Why a writer put this in, why is this here, why is it important. That’s how I tried to build how he created his walls. I just read the script and went, ‘Where do they see him? Where is he on the spectrum of hiding himself?’ And I tried to draw from myself, but also from the writing, but also from the time period. It was really just a balance, because even as the episodes go, the writers allowed for Travis to have moments that changed the way that he was perceived and how much he gave people and how much he emoted. I’m glad the negative qualities came out in the sense that he does have toxic behavior that he throws out there quite often."

“It was a big point to me when I was trying to play Travis; none of these people really talked to him before this. There’s gotta be a really reserved quality, a defense mechanism quality to him because these people never cared about a single thing he said, but now all of a sudden they’re expecting him to act how they want him to act, so there’s a defense, there’s an anger in that. That was something I really wanted to explore. His anger, we definitely explore.”

lgbtq meme: (3/5) headcanon lgbtq+ characters — nonbinary TRAVIS MARTINEZ ft. Kevin Alves interview with Yellowjackets Buzz

[passing-traveler]

"Pretty"

[thestarswhim]

So this tweet made a real good point and got me thinking about this scene:

As mentioned in their tweet, "you don't 'beg for mercy' for a job," and here he sounds so scared and desperate, like he's had to do this A LOT before with the directors and it's so... sad.

(more under the cut)

Before he finds out the truth about Eden, he believed they saved him from his former life and gave him new opportunities to continue his dreams, but do you think having to needlessly beg to keep your position as literally being the face of Eden out of fear you'll be replaced and thrown right back out to your old life is a so called dream come true?

Eden even made a trailer for a movie about his life to fame, showing how everyone was rejecting him as a person, which they definitely made it more simplified like I KNOW he was getting way worse treatment than what was shown.

My main point is that despite believing in Eden's motives (before knowing the truth), he still wasn't truly happy deep down. He was STILL getting rejected and slandered by society, and he knew that deep down, so it's not surprising how the possibility of him losing his job made him have a whole breakdown and do the things he did to try and cope.

He quite literally has no one to lean to and hasn't had anyone since showing up to Eden besides the directors (because he probably believed they were treating him fairly and with respect), but... yeah.

He wanted to make a difference, to give hope to hybrids, and he thought he was doing just that. Despite the way the directors and everyone thought of him, despite how alone he felt, he still thought he was achieving his dreams and sharing that onto others

and yet... he was being used this entire time. None of it was true, all the hard work and the things he went through was for nothing.

Everything that Eden has done, and he was the face of it all... it's just devastating.

[loren91]

Once again their dynamic is the best thing that's ever been shown on screen. Wille, as usual, is being emotionally honest with his heart on his sleeve. Openly admitting to Simon that he's been dreaming about them. It would have been so easy for Simon to tease Wille about this and say ‘So you dreamt about me huh?’ But Simon, the sweet, considerate, lovely boy that he is, chooses to validate Wille's choice of words, rather than make fun of him for it.

The official translation doesn't really do Simon justice in my opinion.

"Det var inte riktigt så här jag hade drömt att det skulle va." "Hur har du drömt att det ska va?"

"This wasn't really how I'd dreamed it would be." "How did you dream it would be?"

There's a clear punctuation on 'ska va?'. It's not a casual question. He's asking for Wille to elaborate on his dreams, with the obvious intention of making the conversation flirty. He's not surprised at the "I can show you", he expected it. He wants to make Wille's dream come true. And Wille thrives in this affirmation 💜

[doonalli]

The Dummies, Midori, The Banquet, and what it truly means to "be human"

And here we are at the finale. if you haven't seen my previous analyses on the Dummies I recommend you read them before reading this one since i am going in assuming you have. But if not here they are in order; Why Anzu is Important Hayasaka and how humans change Kurumada and trust in your allies Ranmaru: Doubts in Humanity, and Humanity in Doubts Mai and Humanity in Autonomy Hinako; Humanity in Affection and Connection

With that said, let's start talking about the Banquet, Midori and what that says about the dummies' humanity.

At first the Banquet seems like a strange choice for the finale of the chapter, after all, we just went through a whole chapter about proving the humanity of the dummies, yet here they are all killed of one after the other here for the sake of Gin, a human. It comes off as a bit jarring, even seeming like YTTD is going back on its message a bit.

But I’m here to argue that isn’t the case, that the Banquet not only doesn’t conflict with the messaging of the chapter and the game as a whole, but instead works to push it even further to culminate in a perfect ending.

And to start with that, let's talk about one of the key players in the banquet, Midori. In a way Midori is everything it means to not be human, and he himself revels in this inhumanity. Midori has thrown away his own humanity, and this is shown to us in so many different ways, but the main one is the way he treats his own body.

What's particularly interesting about Midori is how unclear the line between what's real and what's fake is when it comes to him, from his relationships with the participants during their pasts, to the constant lies and half truths the tells over the chapter, to his death itself, it's hard to get a grasp on the reality of the situation when it comes to him.

And this of course extends to Midori himself, as he is presented as a mystery ever since Alice told Keiji about his murder, and in the way we don’t quite know if he is human or not until the banquet itself, and even then we don’t know exactly how much of his body is human.

During the Banquet Midori reveals that he has slowly been replacing parts of his body with doll parts, 

And to Midori this is equal to no longer being human, this mentality can only be achieved if you equate humanity to what you physically are, and it's through this that Midori acts as the opposite of what the dummies all stand for,

Where the dummies stand for Humanity not being tied to the physical truth, Midori stands for the opposite notion, that the physical truth stands above all. In his eyes humanity is a weakness, and we see that in how he treats them and the traits that prove humanity.

And so Midori tries to escape it, to escape his own humanity, no need for allies or connections or doubts or fears, all those "human" traits when you can just stand above it all, as some unstoppable force.

Midori is the perfect example of this because he constantly rubs it in your face just how inhuman he is, he does so when he starts spinning his head and when he rocket punches Yabusame and literally asks

And he furthers this mentality with his actions too, because Midori is denying his own humanity, he denies his fear of death, he constantly berates and betrays his allies like Maple or Hinako, he denies others of their choices and autonomy, laughing at their despair and refusing to connect, and even his “affection” for Sou is a twisted, messed up version of what affection is. All of it to dehumanise himself and others.

It's honestly hard to call Midori human after it all, and that's just what Midori wants. That's why Maple’s last act of defiance near the end of the chapter was so important, because it shows us and to Midori that that's all it is, a facade.

Just one small moment where Midori wasn’t in control and that's all it took to show us that he isn’t invincible, and with that the image of a fearless unstoppable force is shattered, and it shows us that he isn’t as above humanity as he thinks he is.

It's important that this happens here because it allows the cast to fight back during the next section, both himself and his ideals.

Midori’s mentality of humanity being defined by what you physically are goes head to head with the Dummies in the banquet, and that's what it's about, it's a battle between Midori, and the Dummies, who are trying to prove their own humanity, with all the ups and downs that come with it.

The banquet itself plays into this too, the hint system draws a straight, clear cut answer on who is a doll and who is a human, using exclusively what they are physically.

And the cast isn’t exempt from doing this too, with many of the first discussions being centred around “who is human?”, whether it be figuring out what the lights mean, questioning whether Midori himself is human, or questioning who among the Dummies is a human.

And it's only when Mai’s hands are revealed to be Midori’s human hands, that the lines start to blur. 

Does Mai having human hands make her "more human"? What if they aren't even hers? Plenty of people use body parts from others in real life too right? It gets you thinking about the line between human and doll and just how fragile and unclear it can be.

And sure we designate Midori as the human here, but later we find out we were wrong, because trying to designate a human through physical traits is wrong. But before that…

After picking a coffin and killing either Hayasaka or Kurumada the next hint reveals a human, Sara tells Midori that he must be afraid as hypothetically there is a 50% chance he dies, but Midori denies he is afraid of dying and picks the coffin anyways, revealing it to be Hinako

This just blurs the lines even more, since up to this point we thought all the dummies were dolls, yet a human was able to sneak in there entirely undetected. Can you really say they're that different if you didn't even realise it at first?

And importantly, as we discuss who Hinako really was, we confirm her humanity, but not through any physical traits like many people tried to do during the banquet, but through a painting and the connection between Alice and the real Hinako.

During the next section we figure out the truth about Midori, and about how he has more doll parts than human, spinning his head all the way around to prove it. Obviously this isn’t something that any human could do, but more importantly it shows us Midori’s inhumanity in an undeniable way, it's so flashy, bold and in your face, that you’d be hard pressed to call him human.

When Sara then stands firm and states that this proves Midori is a doll and Gin is a human she is agreeing to the line that Midori drew and separates Humans and Dolls even further. This goes as far as to picking a red coffin, picking a doll, just to keep Gin the human safe, Midori even calls Sara out on it if she is really alright with picking one of the dummies, and notably Sara’s internal monologue doesn’t question that fact, but instead wondering why Midori is so confident, and why he doesn’t seem to be scared.

Sara is being pushed even further into believing Midori isn’t really human anymore at this point, Questioning if their logic was even correct. Until…

The surviving dummies inspire Sara through their words, and with that, prove their own humanities in their own separate ways, showing Sara and the player that their lives have purpose, have value, and that they are truly human.

On the surface it seems like Sara is simply making a choice to sacrifice the dolls for the sake of a human, and the tragedy of that is the fact these scenes show the truest form of their humanity. There is a reason these scenes are such a focal point in my analysis of each of those characters (Mai, Kurumada, and Hayasaka) and it's because it shows that they are able to make their own choices, for the sake of their allies, despite their contradictory emotions, and that's something that's inherently human. 

We see this when characters like Mishima, Kai, and Kanna all do something similar, and it all just works to prove that fact the dummies aren’t separate from the humans.

So why does this happen? Well to me it shows that despite their efforts, Sara still couldn’t shake her bias, playing right into what the Banquet and Midori want, by dehumanising the dummies.

But it isn’t over and the dummies still have a chance to show their humanity.

Tragically, Sara misses, not knowing at this point that Midori isn’t even in one of the glowing coffins, and Midori now has a free shot that's basically guaranteed to hit Gin, but Midori gives her a chance to talk to Gin, and that confidence ends up being his undoing.

While talking to Gin he mentions Keiji, reminding Sara of her wish she got from signing the consent form. She demands Midori to change it, and after some arguing, he does. Only he picks the #2 coffin, killing Anzu, and it's here where we reach our lowest point, where Sara herself admits that she undeniably sacrificed a doll for the sake of a human.

However it's always darkest before the dawn, and that's true here too, this is the Dummies’ last chance to prove themselves, and they won’t go down without a fight.

Through a discussion the cast figures out that Hinako swapped coffins with Midori before the banquet even began, meaning he is actually in a non-glowing coffin, and through this they are given an actual chance to fight back, because, as Sara rightfully called out, this proves Midori is afraid of death.

Despite his claims otherwise, Midori is scared of death, and because of that he swapped coffins with Hinako out of a fear he’d die outwise.

Midori claims that this doesn’t matter though as no matter what all 3 of the non glowing coffins have dolls inside, meaning the hit will be red no matter what. 

Regardless Sara presses the hint and it ends up blue, meaning that there is a human inside, much to everyone’s surprise.

The fact that Midori believed so strongly that the coffins would end up red only for it to be blue just blurs the lines between these two options even more. The fact that the contents in this coffin are unknown is just the first step in this counterattack.

Before that however, Ranmaru’s coffin is picked, sending Sara to give up, but Q-taro tells her that it's not what she thinks, as Midori is revealed to be struggling with his next choice.

This goes into the war of words against Midori, and the thing about this one is that compared to the other war of words our goal here is to confuse Midori as much as possible. First we refute his claim that Keiji isn’t in the coffin, despite it being blue. Then when he brings up the victim videos we tell him that the Hinako in the video isn’t even the Hinako of the dummies. He reasons out Maple must have told Keiji about the Banquet, and reveals that the coffins designate between human and doll through the collars, as both dolls and humans would be ashes after being cremated.

All these contradictions are designed to blur the lines between red and blue, real and fake, human and doll.

The way Midori doubts a human is in the blue coffin, or the way we bring up how not all the dummies are dolls of people who died, or how he admits that the coffins don’t even tell the content apart by physical traits but instead by the collar put on them.

And by the end we’ve blurred the lines so much that Midori thinks the coffin contains his collar, despite his own claim that he himself would be counted as a doll. All due to Q-taro's trick.

As if Hinako being a Human among the dolls wasn't enough, there has been a doll among the humans the whole time, and no one could tell, not even Midori, who dies before he ever learns the truth.

The fact that a doll of someone could so easily fit in just shows how vague the lines really are. We see just how much a doll can seem like a human, how they can feel and learn and grow like any human, how they laugh and cry and shout like any human. And at that point... was there ever really even a line at all? And this all culminates in the final act of the Banquet, Midori and Sara’s last choices. Midori is now doubting himself,

struggling between the 2 options he has to target, struggling with his conflicting feelings,

 and Sara thinks to herself that Midori has no allies to rely on now,

because he denied that connection, and killed them all himself.

She tells him to choose, to make his own choices now,

and he does, he picks the non glowing coffin… Missing Gin and ultimately dooming himself.

Sara ends up making her choice, choosing Midori’s coffin, and as the drill goes through Midori, he realises just how scared of death he is, but it's too late for him.

We prove his mentality of humanity being decided by physical traits is wrong in this moment, because here, in his final moments, Midori is undeniably human, and even he can’t run away from that.

"I'm a human. Which is why I don't wanna die..."

Unlike somebody such as Rio, who also spent his last moments as a human, Midori doesn’t deserve any sympathy, because he did that to himself. Just like how he denied that connection to his allies like Hinako, and killed them, Midori essentially killed his humanity, or at least tried to, so when he’s backed into a corner he doesn’t get to rely on his allies, and while we’ve proven that his mentality of humanity isn’t right, Midori himself he only realises this right as he is about to die, when it's far too late to go back now.

Through the Banquet and its final choice we prove to not only Midori, but to the cast and ourselves that humanity can’t be defined with just the physical truth, and that's what victory means for the dummies, because if someone who actively threw away his own humanity, with all his rocket punches and spinning head can still struggle with contradictory feelings, can try to rely on his allies, can still be forced to make his own choice, and can truly fear death, then humanity  just can’t be defined by something as simple as how much of your body is a doll, and the lines that seemed to divide that, ceases to exist at all.

================================================================================================ Afterword: So that's it. This set of analyses is finally done. Some of you all might have noticed that this is being released exactly one year after my first Anzu analysis, and I just wanted to thank everyone for reading this with me, the fact that there are people who like and agree with what I have to say is still unbelieveable.

I started this series because I thought the dummies were an underappreciated part of YTTD and 3-1 was underappreciated in general. To me this chapter is just incredible, my favourite bit of fiction ever, and I just wanted to put it into words why I love it so much, and as I wrote this series I only grew to love it more!

I hope I was able to share that love to whoever took the time to read any of my posts, its been an incredible time, thank you so much! and i hope you're able to love it a bit more too.

Sorry this one took so long to come out, I've been working on a few projects that i'll hopefully be able to drop soon, and if you're a fan of the dummies I think you'll like what I have in store.

Lastly I want to thank Crazy Sunshine for being such an incredible friend and for helping me so much with the latter half of these analyses, they were improved so much with their help!!!!

And I'll try to be more consistent with these posts but uhh i said that before and that hasn't exactly worked out, regardless this isn't the end, i have a few asks to catch up on still and i am not even remotely close to saying all there is to say about this incredible chapter, so I hope you'll be there when it drops. I hope you've enjoyed this era of my blog and moreso I hope you look forward to the future.

Thank you for reading!!! I hope you enjoyed! and I hope I got you thinking about this incredible chapter even just a little bit more.

[sunny-knight]

KINGERS GAMBIT - CHAPTER 1

“Why couldn’t we just play in the tent-“

(Work In Progress and Behind The Scenes stuff in my Shitpost account!)