#the numerous dialogue parallels?

[nabi-unveiled]

It's official. I've lost my mind.

Because there's sizzling and boiling sounds during all kinds of critical moments. And there's sweet coffee that's only drunk at the office or shared with Sei until Hagiwara doesn't want it anymore. And there's all kinds of additional water imagery that I didn't write about the first time. And SO MUCH MORE. But let's stick with the sizzle for now.

Does food sizzle when grilled? Yes. But the show doesn't HAVE to include the sound, and it often doesn't. The sound comes in. It drops out. It plays sometimes when there is no food at all.

Sei has sizzling sounds when the emails begin getting more intimate.

It's there when Sei talks about Hagiwara's question with Fujisawa.

Until the sound drops (at least getting soft enough I can't hear).

There's sizzling while Hagiwara hears that others are getting married.

That seems to get louder when internally admitting his frustration.

There's something like a sizzling noise when Sei gets a little more vulnerable, but the sound is only on Hagiwara's side at this point. I still argue the museum was NOT the start for him.

There's boiling sounds as they continue their email conversations while eating separately.

This becomes sizzling sounds when they talk and eat together.

The sizzling in this scene fades in and out as specific points are being made. Sometimes Hagiwara puts on the meat. Sometimes it's Sei.

There's this statement (no sound) that I'm not certain how to take because Kaori obviously does mind that he's getting sizzle elsewhere.

But it DOES parallel. Kaori is not overly controlling of Hagiwara whereas Fujisawa exerts control over Sei.

Even if Sei willingly complies. That's a different essay though.

Things really begin boiling when Hagiwara goes to Ayako's house and Kaori's secret is exposed. Leaving Hagiwara bubbling with feelings.

But once the pot boiled over (note: it's a rain sound here)...

There's no more sizzle.

[broken-clover]

I can't help but find Amane compelling. For a lot of reasons, really, but his use of gender as a character motif gives him a surprising amount of texture the more you look at him (Especially for a series that admittedly veers into gender stereotypes a lot, but that's neither here nor there).

Which I guess seems obvious at first glance. I've often seen him lumped in with a lot of other 'trap' (ugh) characters, but in a way it's sort of funny, because it couldn't be more wrong as a takeaway. At a glance, yes, Amane is an androgynous man who wears dresses and makeup. Thing is, though, the point of it isn't to trick anyone- Amane is entirely comfortable in his gender and how he presents, and his choice of wearing 'feminine' things is entirely out of passion.

His visual appearance might offer confusion, but his personality doesn't offer the same sort. For someone that presents himself so gracefully and beautifully, Amane is outright described as

speak(ing) in a rather crude tone at times, and has a manly personality

While I don't know about 'crude' in particular, he has a tendency to speak very directly, and takes pride in his masculinity. His moveset is filled with references to super sentai series, which are often associated with young boys and filled with stereotypically 'boyish' motifs, like martial arts and giant robots. He makes no effort to obscure his gender identity, he perceives himself as a man, and corrects people who mistake him for a woman. But, clearly, being mistaken for one doesn't bother him, as he still happily partakes in his art form and makes no attempt to dress more 'masculine' for sake of having people perceive him as such.

(Even in terms of his non-dance hobbies, Amane leans toward 'feminine' things. He makes candies and is seemingly the only parental figure toward his numerous adoptive children, whom he loves and cares for in the sort of nurturing way that one might more typically associate with motherhood than with fatherhood.)

Amane's use of dance as a motif also leans heavily into this concept. Art forms like dancing often get written off as 'girly' with the unspoken implication that something with that descriptor is less important or even easier in comparison to stereotypically male-oriented hobbies. But dancing, especially in the professional world, takes an unbelievable amount of physical and mental training in order to do well and create a visually captivating performance. Amane's design being based on an onnagata kabuki actor, or a man who plays female roles, also ties into this. Though it sounds simple on paper, onnagata techniques can take years to master, and include learning a wide range of techniques, from makeup styling to posture to vocal training. The fact that Amane is a seasoned professional dancer means that he would be fully aware of all this. While he may employ those techniques on stage, he does not use them in casual interaction. In Amane's perception, he is a man, and having a ladylike appearance does not do anything to the contrary. He is merely himself, perfectly comfortable with both identity and presentation.

Likewise, it feels like these themes are deliberately contrasted with a more stereotypically masculine character in Bang Shishigami. Blazblue has multiple 'hypermasculine' characters such as Azrael and Kagura, but Bang seems to be the one the narrative most frequently draws a parallel to, as they encounter one another multiple times- And, fittingly, both are themed around very stereotypically Japanese motifs, kabuki and ninjutsu. While both seem to embody very traditional themes visually, Bang is a character that adheres more to those traditionalist traits in terms of personality, styling himself as a manly, physically impressive hero who tries to win a woman's heart through acts of valor. When Amane encounters him, as the first dialogue in the first game he debuts in, Bang confronts him not because he has any real business with the man or has mistaken him for a troublemaker, but because Bang finds him 'strange.'

"What kind of attire is that for a man to wear around...!? It screams 'frail' and 'weak'! I can hardly believe my eyes..."

Amane, just as a concept, confuses him and contradicts his idea of what a 'proper' man should be. It's something that Amane even calls him out for later

"Never you mind! It is a crime for a man to look so...so...so beautifully feminine! I shall smack some guts and conviction back into you as a representative of Ikarugan masculinity!" "Whoa whoa, don't you think you're being just a little prejudiced?"

Obviously, Amane sees nothing wrong with how he presents. He sees nothing wrong with a man being beautiful the same way that Bang does.

Though the gag reels are non-canonical, the 'Contest of Manliness' from Chronophantasma seems almost designed to highlight the concept. Amane enlists in the contest to display his sense of endurance, making it to the finals to the surprise and shock of Bang, who views him as a 'gentle-mannered pretty boy,' at one point bringing up a similar point from their encounter in the arcade route

"Despite your appearance, you are actually quite tough..."

Even in combat, he displays this sense of duality. He battles using fans, his scarf, and a parasol, all more stereotypically ladylike implements compared to something like a sword or firearms. He can hit has hard as any other male character, but his movements are graceful and agile, with a sense of elegant poise. It isn't that he is powerful *despite* his feminine presentation. His power is his own. It is simply a matter of what medium he uses to comfortably express that power, regardless if some might view it as weird.

Amane is not a man trying to 'trick' anyone into thinking he's a woman. Amane is Amane. He is a very pretty man who likes to dance, and he is very manly while doing so, and is also very pretty while kicking ass, thank you very much.

[lime202]

Poor Stanley. One disembodied voice was already enough, now there are two of them? (I’m not the only one who found parallels between the Narrator and the Doctor, right?)

Yes the words are all real dialogue (snippets/shortened for convenience). Could switch them with how similar in energy they are.

EDIT: Typed Speech (and following thoughts)

Doctor: The subject scrambles for advantage. They appear lost and disoriented. Heavy breathing is indicative of fear, and rightly so. Let's test the response to said fear when pushed into action...

Narrator: Oh, dear me, what's the matter Stanley? Is it that you have no idea where you are going or what you're supposed to be doing right now?

Doctor: Don't fight. Fighting only makes it work quicker… You know, I never thought I'd see another like you. A human. Certainly not an employee like you.

Narrator: You want to control this world; that's fine. But I'm going to destroy it first, so you cant.

Doctor: Please, do keep making this enjoyable for me. I'll be taking notes.

Narrator: You really believe there's an answer! How many times will you replay this bit?

Doctor: You realize the futility of this, don't you?

[Narrator and Doctor's laugher depicted in unison.]

— — —

Following thoughts are just quickly noting some of the parallels/coincidences between the two games:

Cole journal entry 3 -> mention of employee named Stanley, cataloguing employees numerically (427, 431, 432…) ~ documenting experiments (1170, 1188, 1222…), doctor and narrator both being creators, the silent protagonists, themes of ego, then existential horror/dread masked with normalcy

[sophfandoms53]

Hi, same ‘how can I make this about Striker’ anon from before. I dont know how to feel about the ‘Satan is Striker’s father theory’ because on 1 hand I guess it could work??? But also it just doesnt sit that right with me, like I feel like if Striker was literally half sin he’d act/be more powerful than he was shown to be so far. My numerous ideas for his backstory basically change by the daily because I think about him too much but I only gave credence to the ‘Striker’s half royalty’ idea once and even then I wrote it in a way where Striker didnt know about it/had zero idea that was the case to begin with.

Not to mention that him being half-royalty would technically be a way to dismiss his (very valid) arguments about the upper class but maybe thats just me imagining the worse case scenario. For all I know it could be the most well-executed plot point ever.

If Satan isn’t Striker’s father than once we actually see the Envy Ring we’re gonna get ‘Leviathan is Striker’s father’ theories instead because they’re both snake-based. If Striker IS half royalty, than I could imagine it to be some sort of goetia, maybe, but half deadly sin? Next Striker ep appearance would need to have him pull off the most insane shit ever that a imp cant do for me to consider it plausible

I’m responding to this so late but omg anon yes you’re so right.

I feel like the only way the twist of Striker being a half blueblood could work would be if he straight up didn’t know about it and/or if they suddenly give him more power and strength that we’ve never seen from any other imp, like you mentioned. But again regardless of him knowing or not, like you also said, it completely negates his entire character and everything Striker’s said up to this point about royals and how they treat those lower than them.

Which only continues to be validated to the point where Blitz is now echoing his sentiments in canon. So like ??? It wouldn’t make sense for the show to suddenly invalidate Striker’s points after directly paralleling his words with Blitz’s.

Striker’s entire existence is to be a dark reflection of Blitz anyway. They’re two sides of the same coin. Striker is who Blitz would be if he let himself drown in his sorrows and his grief. If he let his anger control him. If he let himself do things alone. For as much as Blitz pushes people away he cares too much about others to truly let himself be alone.

As far as we know - Striker has always been alone. Or at least we know he’s been alone since he lost everything. Which is honestly the big thing people are missing when they talk about the Striker is Satan’s son theory - the entire scene where Striker voices his grievances to Stolas about his experience with royals.

This is the scene that tells us everything. And if it was meant to foreshadow something as huge as Striker being a literal sin’s child then the dialogue choice and the BODY LANGUAGE of Striker during this monologue would be insanely different.

The emphasis this scene gives to his claims of having to live a hard life, losing everything, and being talked over. That is Striker talking about his experience.

His feelings. His loss. His anger.

He is SO angry. Too angry for it all to just be about being a bastard son.

I’ve watched, analyzed, and thought SO MUCH about this moment right before he cuts Stolas’ ropes.

The pure disgust and anger on his face. The way he shakes. His eye twitches. He grinds his teeth. He growls. He’s pissed.

This is insanely personal to him. This is part of him. This is who he is. This disdain runs through his veins. He’s made it part of his identity. He was so scorned that he just cannot let it go.

This is not just anger about a royal parent or a loss of status.

This is anger from a man who was failed by Hell’s system and has not healed from it. He has not allowed himself to heal and he refuses to.

This is Striker’s way of taking back control that he once lost.

And not even mentioning the fact that Striker’s canonically a WANTED MAN in TWO Rings.

Wrath (y’know Satan’s ring) AND Pride.

Considering royalty in this universe is all about status and reputation, you’d think a sin wouldn’t want their kid just having their face plastered everywhere like that?? Cuz it’s embarrassing?? Just wanted to point that out😭

[doshmanziari]

Without a doubt, and by far, the most marginalizing development I've seen within media analysis over the past decade is a shift towards the production of long, flashy videos which tend to require the same for a dialogue to occur. Literally nothing which has been written about Elden Ring, for example, since its release has enjoyed even a fraction of the visibility as a one-hour-and-forty-minutes video by Joseph Smith, or another of similar length by NeverKnowsBest. I don't know when exactly the shift started to happen most obviously -- maybe 2016 or 2017 -- but, today, circumstances are such that pretty much the only way to get real discursive traction on your thoughts about a piece of media is to make a colossus of a video.

Although worried and worrying discourse has complemented the unveiling of newer public A.I. technologies, we've already done a perfectly fine job of out-dating other forms of media communication by way of the aforementioned analytic format; just as, of course, earlier methods of industrial production rendered a whole variety of professions or emphases as outmoded. If you don't have the relevant editing tools at your disposal and/or don't want to spend hundreds of hours cropping footage and making it fit with music and your own narration, well -- too bad! And even then, of course, there's no guarantee that your video will reach your desired scale of an audience. I've found dozens of such videos on YT channels with only a few thousand views, if that; and on each channel it's clear that the people finally gave up after the monumental task of assembling these videos had no equivalent payoff.

Personally, I do still believe in the primacy of the text (or the spoken word, with no competing stimuli); in text as the primary form of critical engagement. More than that -- if I'm going to read a non-fiction work, I want the paged book, and not a digital version. Now, this preference is just that: a preference. And it surely is a preference a good number of people share. I find that a paged book lends itself better to my own retention of the material; and I really enjoy making my notes on the book's paper with a pen. But I don't believe that the construction of multimedia behemoths should be a baseline requirement for discourse.

I wonder if we will, in the near future, start to see some resurgence of the valuation of unembellished textual analysis complementing a more general fatigue with Internet-derived overstimulation. I've already run across numerous channels with fairly sizable communities where there is an appreciation for the "simplicity" of the formats: a person in a room just talking to the camera. I think a lot of people like engaging analysis where the only barrier of significance is devising a good script. To be sure, this is a formidable barrier in itself. I find writing long-form pieces to be the most difficult of any of my creative practices (which include drawing, painting, and music composition). But if writing on media were my main passion or goal in life, I'd feel fairly crushed to know that these projects now required me to put in perhaps quadruple the amount of time to make a blip on the radar of engagement.

EDIT: Thinking on this -- I wonder if there's a parallel to be found in the realm of supplementing one's work with excess-entertainment via social media engagement; e.g., daily Instagram videos. "Excess-entertainment" refers to material that's being made not because everyone who's making it wants to make it, but because each person is now beholden to an abstractly instituted algorithm of engagement -- an algorithm reinforced by audiences who, also under algorithmic influence, will wonder what's going on if a week goes by without something from a Content Creator.

Most artists who I've talked to regarding their Instagram videos say they would be only too happy if they never had to do another upload showing them adding paint or linework to a work-in-progress with lo-fi beats. Similarly, I wonder how many people making these mega-videos actually want to make them, and if we're not rather seeing the production of this material under a mutual, and mutually untrue, assumption of necessity, and the demands of a largely imaginary audience; and how long they'll be able to keep the act up, given the certainly enormous time investments they require (while noting that I am sure the more successful people hire others to do most of the editing for them).

[brybryby]

I completely agree that Miles Upshore is queer, and Waylon is on the spectrum as well! If you have your friends analysis still plzzzzz link! I crave the content!!!

HI HI THANK YOU FOR THE ASK! 💜

I wish I had his analysis still!!! aarrrrgh it's been so long ;-; But I can try to relay some of the points he made (and add some of my own)!

This gets pretty lengthy so be prepared :')

I also added external links but they’re only there if you want to read more about the point I’m making! Feel free to skip them!

also // TW for mentions of SA

Miles

Story-wise, my friend found it interesting that Miles was the perfect host for the Walrider. Wernicke and Alan Turing were friends/lovers who worked on the technology that culminated into Project Walrider, so there's already a sense that the Walrider was founded on Wernicke and Turing's love for each other.

So, before I move on, I'll talk a bit about Alan Turing. In college, I had professors praise him for being the “Founder of Modern Computing”, cracking Nazi code, and also for being an advocate for gay rights.

More details here:

Out of every prominent scientist during the Cold War Era, Alan Turing was selected to play a role in Outlast's stories. And he didn't just happen to be openly gay—JT Petty purposefully made this significant to Wernicke's character. Not to mention, Wernicke made allusions to Frankenstein, allowing us to inspect the parallels between Wernicke & the Walrider with Frankenstein & Frankenstein's monster. When it comes to gothic & queer literature, Frankenstein is on the forefront of it, and I'm confident that JT Petty would be familiar with that (since he's a writer who's well-versed in horror/gothic art).

With Frankenstein, there's this idea to create life without heterosexual means (under the impression of cis-heteronormativity). Frankenstein's monster was also a sexualized creature—supposedly a representation of the “ideal man”—described as “beautiful”. Additionally, the novel was a critique of patriarchal norms through elements of sexualities. These aren't too different from Wernicke & the Walrider. The Walrider is arguably created through homosexual means in its abstract (Wernicke & Turing). This particular version of the Walrider that possesses Billy & Miles is stated to be the “masterpiece” by Simon Peacock—its appearance is also fairly sexual. And similarly, Outlast critiques patriarchal norms through its grotesque visuals of “masculinity”.

Frankenstein queer analysis:

Frankenstein sexual suppression analysis:

With all these story elements, there's certainly a queerness about the Walrider AND Outlast, which the devs openly embrace.

There's also many parallels between Frankenstein's monster and Miles. In the United States (and westernized countries in general), there are societal standards that function around cis-heteronormativity. Think of the traditional American nuclear family: A husband/father who's the breadwinner and patriarch, a loving wife/mother who cooks and stays at home to take care of the kids—they're mostly white, Christian, and American citizens. [WARNING: TRIALS SPOILERS AHEAD] The ideal American man is further illustrated in Officer Coyle's dialogue: “If only they were upstanding citizens like myself. Pay your taxes, do your job, fuck your wife, put a little something in the plate at service. America don't ask much.” Miles is arguably the antithesis of this, which is likely the reason he doesn't have any close friends/family—he was likely rejected by society. Frankenstein's monster follows a similar arc: he is also rejected by society and seeks refuge in seclusion. (The concept of “rejection by society” is inherent in queerness.)

With these parallels, it makes sense for Miles to be the ideal host for the Walrider. Additionally, Miles embodies queerness that isn't strictly homosexual—I mean his whole background/lifestyle is already, by definition, “queer”—but questions regarding his sexuality arise when inspecting other details of his character.

My friend pointed out the whole “Manhandler Hairspray for the Active Man” detail in Miles' apartment. There are a lot of homosexual undertones in the label, and it's hard not to think otherwise. “Manhandler” and “Active” are terms which indicate the “top” role in gay culture. I mean, it's possible that Miles is just embodying the “metrosexual” identity (basically straight men who embody characteristics associated with homosexuality) but metrosexuality is rooted in consumerism, which doesn't exactly align with Miles' character since he is openly critical of capitalism. I think the hairspray hints at queerness (or at least gender non-conformity).

Article on “metrosexuality”:

https://www.nytimes.com/2003/06/22/style/metrosexuals-come-out.html

The most revolutionary detail that my friend pointed out was the fact that Miles went out of his way to roast the ever-living shit out of everyone he came across at Mount Massive, begging the question: why is he so fixated on the appearances of other men? This could stem from his own insecurities of being rejected by society or insecurities of his own vanity (considering the hairspray he uses and the fact that he goes jogging…and if he's just trying to be healthy through exercise then he needs to explain his self-destructive alcoholism…idk…jogging for mental health? It’s open to interpretation…WAIT I mean he could just be keep up his physical fitness also with all the investigating he has to do anyways fjshshkdhd). It was just interesting that Miles was so fixated on physical appearances that it makes me wonder if he'd make similar comments about women—I don't believe he would and I'll explain below.

I know that we need to take Red Barrels' tweets with a grain of salt—they're known for deleting tweets that detail misinformation about the protagonists—but I find this tweet particularly interesting. I may be looking too much into it, especially since it's just a tweet and not presented in the games/comics, but it certainly is reflective of Red Barrels' values of respecting women and not viewing women as sexual objects, along with the notion of dismantling cis-heteropatriarchy/chivalry. It certainly doesn't mean he's not straight, but he doesn't particularly view women as sexual objects either (and I know that straight men are capable of not viewing women as sexual objects). Food for thought.

Some extra stuff:

Anti-conservatism and punk ideology (which Miles explicitly embodies) are pillars of queer culture in the political sphere.

The Germanic folklore, which the Walrider is based off of, exhibits notions of sexuality (though, probably not in the best light).

[TRIALS SPOILER] Wernicke’s dream therapy is associated with Dr. Easterman’s queerness—Easterman would be distracted by Wernicke’s handsomeness (and they both explicitly critique heterosexual relationships). Again, this supports the Walrider’s themes of sexuality.

Waylon

As for WAYLON, even though there isn't concrete evidence in the games to intentionally indicate queerness, that isn't to say he is entirely heterosexual (because assuming he's heterosexual is yet another product of the “ideal American man” image in a cis-heteronormative society, and Outlast's narratives are about dismantling this notion). In fact, now that you bring it up, I agree that Waylon can be considered on the queer spectrum/under the queer umbrella.

Regarding the “dismantling the ideal American man in a cis-heteronormative society” concept…the devs, artists, writer(s), actors, and contributors to the games' development are not only open/accepting of things outside of society's norms/expectations, but many are social activists. Chimwemwe Miller (VA for Chris Walker) is outspoken about being Black, Black history, and racism—he also narrated an audiobook which discussed racism, colonialism, & imperialism. Erika Rosenbaum (VA for Lynn Langermann) organized provisions for refugees and is active in environmental causes and feminism—she also spoke out during the #MeToo movement. Shawn Baichoo (VA for Miles, Waylon, & Blake) is also vocal about feminism/racism and was a huge advocate for his character Wrench's bisexuality from Watch Dogs 2, which became confirmed in a later installment of the Watch Dogs franchise.

I bring this up because Red Barrels actually entertains the idea of Waylon x Eddie (in the hypothetical that Eddie wasn't an antagonist like he was in the game…so like, erasing his problematic features baha…this deserves an analysis of its own) without mentioning sexuality or anything like that. Obviously, this can be seen as a way to entertain the fanbase, but I think it's worth mentioning that Waylon isn't opposed to homosexuality. After all, Waylon never makes homophobic remarks in his notes nor comments on male sexuality—he's just fearful of being assaulted (as anyone would be, regardless of gender/sexuality). He would, in fact, engage in a homosexual relationship according to this hypothetical.

(Note: the term “insane” is a harmful descriptor in this context, which is why I wrote “wasn’t an antagonist like he was in the game”)

So yea! I definitely think there's queerness with Waylon's character. And I don't exactly mean this to be “representation” because there's a lot of responsibility that comes with that, but ultimately I think it adds to what the franchise and the devs are trying to do—normalize queerness and dismantle the notion of the “ideal American man in a cis-heteronormative society” (and if you've studied socioeconomics/social theory, you know that this notion is a product of capitalism, which is another important theme in the franchise).

Here are some resources about the intersectionalities of cis-heteropatriarchy, capitalism, & queerness if you'd like to read more about it :)

(this one below is quite lengthy, but goes VERY DEEP)

All in all, my interpretation is that the franchise operates on the idea that “queerness” is normal or innate, but social structures are what label it otherwise. I've seen a lot of discussion surrounding Outlast characters' queerness, and it's interesting to me that the antagonists' sexualities get more attention amongst casual players than the protagonists' sexualities (and I think I can understand why, it's just a lot to unpack).

Just as many of the antagonists can be read as queer, the protagonists should arguably be read through the same lens. I truly do think Miles and Waylon (and even Lynn and Blake!) deserve to be inspected under queer lens. Doing so aligns with the franchise's philosophy/narratives. Also the idea of “queer characters taking down capitalism” is super empowering (and actually very identifiable hehe).

(Sorry, I think I projected a lot of my own personal values and biases into this post LOL hhhjdsfh feel free to critique anything I've written!)

This is my first time inspecting Waylon through a queer lens, so thank you for the ask!! I had a lot of fun writing this up :D

[seouldramaspot]

Exploring the Enchanting World of "Goblin" (Guardian: The Lonely and Great God)

Goblin, officially known as "Guardian: The Lonely and Great God", is a South Korean television drama that has captured the hearts of millions since its debut in December 2016. Created by Kim Eun-sook and directed by Lee Eung-bok, this fantasy romance series has left an indelible mark on the world of K-drama with its unique storyline, captivating characters, and stunning cinematography.

In terms of genre, "Goblin" falls into several categories, including fantasy, romance, melodrama, and supernatural. It blends elements of romance and fantasy with a touch of humor and poignant storytelling.

Plot Overview

The series follows the story of Kim Shin, played by the charismatic Gong Yoo, a 939-year-old goblin who has lived an immortal life. Kim Shin was once an unbeatable general in Goryeo's military who was betrayed and killed by a jealous young king. Cursed with immortality, he lives through the centuries awaiting a human bride who can pull out the sword embedded in his chest, ending his eternal life. Enter Ji Eun-tak, portrayed by the talented Kim Go-eun, a high school student with a tragic past who has the rare ability to see ghosts. Eun-tak is revealed to be the "Goblin's bride," and her presence brings new meaning to Shin's existence. Their lives intertwine in a fateful, romantic, and often humorous journey that transcends time and destiny.

Key Characters and Their Dynamics

1. Kim Shin (Gong Yoo): As the titular Goblin, Gong Yoo delivers a masterful performance, embodying both the gravitas of an ancient warrior and the charm of a man experiencing life anew. His character is both tragic and endearing, seeking solace and redemption through love.

2. Ji Eun-tak (Kim Go-eun): Kim Go-eun's portrayal of Eun-tak is heartfelt and genuine. Despite her hardships, Eun-tak remains optimistic and resilient. Her relationship with Kim Shin evolves from a chance encounter to a profound love story that defies the bounds of time.

3. Grim Reaper (Lee Dong-wook): The Grim Reaper, whose true identity and past are revealed gradually, adds depth to the narrative. His friendship with Kim Shin and his own love story with Sunny, Eun-tak’s boss, provide parallel plots that enrich the series.

4. Sunny (Yoo In-na): Sunny, a quirky and beautiful restaurant owner, becomes entwined in the supernatural world due to her connection with the Grim Reaper. Her character adds warmth and complexity to the storyline.

Themes and Visuals

"Goblin" is a rich tapestry of themes such as love, redemption, and the human condition. The drama explores existential questions about life and death, fate, and the pursuit of happiness. The use of poetic dialogue and philosophical musings sets it apart from conventional dramas.

Visually, "Goblin" is a feast for the eyes. The series is renowned for its breathtaking cinematography, blending the beauty of natural landscapes with intricate urban settings. The visual effects, particularly the scenes involving the goblin's supernatural powers, are both seamless and mesmerizing.

Cultural Impact and Legacy

"Goblin" has become a cultural phenomenon, not just in South Korea but globally. Its unique blend of romance, fantasy, and humor has struck a chord with audiences. The drama's OST (Original Soundtrack) also gained massive popularity, with songs like "Stay With Me" by Chanyeol and Punch becoming instant hits. The chemistry between Gong Yoo and Kim Go-eun is palpable, and their performances have been widely praised. The series has won numerous awards and continues to be a favorite among K-drama enthusiasts.

The soundtrack of the Korean drama series "Goblin" (also known as "Guardian: The Lonely and Great God"), which starred Gong Yoo and Kim Go Eun, is widely celebrated and has significantly contributed to the show's success. The OST (original soundtrack) is known for its emotional depth, beautiful melodies, and poignant lyrics, complementing the series' themes of love, fate, and immortality. Here are some notable songs from the soundtrack:

"Stay With Me" by Chanyeol and Punch:

This song is arguably the most popular track from the series. Its haunting melody and emotional lyrics capture the essence of the relationship between the main characters. The combination of Chanyeol's deep voice and Punch's ethereal vocals creates a memorable and moving piece.

"Beautiful" by Crush:

"Beautiful" is another standout track that highlights the poignant moments of the drama. Its simple yet powerful melody and heartfelt lyrics make it a perfect backdrop for the tender and bittersweet scenes between the characters.

"Hush" by Lasse Lindh:

This song adds a touch of indie charm to the soundtrack. Its soothing tune and delicate vocals enhance the emotional atmosphere of the series, particularly in scenes that explore the quieter, more introspective moments of the characters.

"I Will Go to You Like the First Snow" by Ailee:

Ailee's powerful and emotive voice shines in this song, which became a massive hit. The lyrics express the longing and enduring love that are central themes in "Goblin." This track often accompanies some of the most dramatic and emotional scenes in the series.

"Round and Round" by Heize and Han Soo Ji:

This song features a mystical and haunting quality that perfectly matches the supernatural elements of "Goblin." Its atmospheric sound and evocative lyrics make it a memorable part of the OST.

"Who Are You" by Sam Kim:

This track has a soulful and reflective vibe, adding depth to the soundtrack. Sam Kim's smooth vocals and the song's introspective lyrics resonate with the character's journeys and their search for identity and purpose.

The "Goblin" OST is renowned not only for its musical quality but also for how well it integrates with the storyline, enhancing the viewing experience. Each song is carefully selected to reflect the emotions and themes of the drama, making the soundtrack a beloved aspect of the series for fans.

Goblin" is more than just a television series; it's an experience that lingers long after the final episode. Its compelling narrative, unforgettable characters, and stunning visuals make it a must-watch. Whether you're a seasoned K-drama fan or new to the genre, "Goblin" offers a magical journey that is both heart-wrenching and heartwarming.

Honest Comment: When I first saw this series I was like "hmm not my genre" because of the look of the series but when I watched it I was amaze because of the act of the actors especially Kim Go Eun she is amazing, she executes her character very well. I love the cinematic of the series you can feel the vibe , the emotions and everything you can feel about it. I love the plot of the series. There is one episode that made me cry like a baby I can feel the emotions of Kim Go Eun character her feeling towards to her partner and the plot with the Grim Reaper he is one of my favorite the story, the emotions, and the facial expression it is like he is talking to me, but I will not forget Gong Yoo's character he did his character so well that no one could replace it. This series makes my heart happy and sad especially when I hear their songs it can touch you heart. Big thumbs up for this Series. This will always be my top tier korean drama series.

[fearsmagazine]

COMPANION - Review

DISTRIBUTOR: New Line Cinema

SYNOPSIS: A weekend getaway at Sergey's secluded cabin takes a dark turn for a group of friends. The trip descends into chaos when Sergey tries to assault Iris, and she fights back. Upon Iris's frantic return to the cabin, a shocking truth is revealed: one of the guests is a companion robot whose programming has been compromised, and she is the pawn in someone’s, or "someones’," sinister plan.

REVIEW: Drew Hancock's COMPANION tells a classic cautionary tale of humans tampering with nature, echoing the theme of "Pandora's Box" found in numerous science fiction and horror stories throughout the decades. In COMPANION, humans exploit a hack to reprogram a "companion robot," intending to carry out their sinister plan, but the situation quickly escalates out of their control. This narrative draws parallels with tales of the Golem and the works of Isaac Asimov, where meddling with the natural order unleashes unintended and often disastrous consequences. It also has shades of Wes Craven’s 1986 film “Deadly Friend,” which was written by Bruce Joel Rubin and featured Kristy Swanson.

Drew Hancock's COMPANION is a dark comedy set 15 minutes in the future, where self-driving cars and companion robots are commonplace. The film features exceptional character arcs and clever social commentary, taking viewers on a roller-coaster ride of OMG and WTF moments.

The character-driven plot explores relationships from multiple angles, with each character experiencing a destructive arc that spirals out of control toward a fitting demise. Iris' tale of awakening and survival is particularly captivating, while Josh's descent into darkness is so compelling that the viewer becomes entangled in his charms and emotional web of deceit.

Hancock masterfully builds tension and suspense, keeping his cards close to his vest until the fantastic climax. The story hooks the audience from the start and maintains a relentless pace until the very end, with flawless internal logic. It is a classical morality tale, peppered with dark comedy, dressed with sci-fi and horror elements, and enhanced with accents of a thriller.

The film's framing, editing, location, and sets work together to create a tense and energetic atmosphere, even during dialogue-heavy scenes. The effective use of special and visual effects enhances the sci-fi and more violent elements without overshadowing the narrative. Hrishikesh Hirway's score further heightens the drama and tension, while also complementing the film's dark comedic moments.

The movie COMPANION boasts a stellar cast, with standout performances by Sophie Thatcher and Jack Quaid. Quaid's charm and comedic timing, evident in his roles in "The Boys" and his voice work in shows like "My Adventures with Superman," shine through, particularly during scenes where his character's darker side emerges. Thatcher bewitchingly portrays her character's emotional awakening. Harvey Guillén and Lukas Gage deliver excellent performances as a couple harboring a secret, with Gage showcasing his versatility in a role that differs from his previous work. The entire cast excels in delivering the film's dark comedic elements.

COMPANION is a brilliantly written and directed cinematic gem with a captivating story and a fantastic cast. The film's energy, pacing and limited locations make it a prime candidate for a Broadway musical adaptation, similar to films such as "Death Becomes Her" and the 2007 film "Teeth" that were and are currently in performance. Drew Hancock's wit and vision deliver a hilarious and thrilling ride, and I eagerly await his next project.

CAST: Sophie Thatcher, Jack Quaid, Lukas Gage, Megan Suri, Harvey Guillén, and Rupert Friend. CREW: Director/Screenplay - Drew Hancock; Producers - Raphael Margules, J.D. Lifshitz, Zach Cregger and Roy Lee; Cinematographer - Eli Born; Score - Hrishikesh Hirway; Editors - Brett W. Bachman & Josh Ethier; Costume Designer - Vanessa Porter; Prosthetic Makeup Designer - Jeremy Selenfriend; Special Effects Supervisor - Eugene Hitt; Visual Effects - Ingenuity Studios & Tower 33. OFFICIAL: www.findyourcompanion.com FACEBOOK: www.facebook.com/WarnerBrosPictures TWITTER: x.com/WBPictures TRAILER: https://youtu.be/lnF6ArlFKuw RELEASE DATE: In theaters January 31st, 2025

**Until we can all head back into the theaters our “COVID Reel Value” will be similar to how you rate a film on digital platforms - 👍 (Like), 👌 (It’s just okay), or 👎 (Dislike)

Reviewed by Joseph B Mauceri

[eldritchtouched]

Miquella and death/souls

So, in the cut stuff, he is associated with abundance and abundance and rot are positioned as opposites in unity (there being an abundance and rot twinblade), I have to wonder if he's now instead tied into the dead.

Lilies in the West/Anglosphere are often used as a funeral flower. In the Victorian-era flower language, they are often used in relation to death. If you read up on the symbolism, it's the point at which the soul and the body separate.

Miquella and Trina's signature flower is the lily.

Miquella's lilies, when not planted artificially (the ones in Leyndell are in planters) or carried by his following (they can be farmed from some Cleanrot knights and Haligtree soldiers and knights) are often found near graveyards. In Elphael, the largest profusion of lilies is found in the graveyard. In Altus, there is a Wormface in the basin which is in front of a gravestone and the item there is another lily. Near the Unsightly Catacombs and Perfumer's Ruins is another massive patch of lilies. The Castle Redmane lily is in its graveyard. Another lily in Caelid is by a group of Those Who Live in Death and the statue pointing to the Wardead Catacombs.

Trina's lilies have less of that death association, but it's not wholly absent. There is a massive chunk of them under the Village of the Albinaurics, in the swamp itself. There are a cluster by the Apostate Derelict and the jellyfish (souls of reincarnated children) there are the only farm for Trina's lilies. There are a bunch of Trina's lilies in Siofra and Nokron primarily near the Ancestral Followers (who worship and call upon spirits). You also find the first Fevor cookbook to make sleep pots in a graveyard.

Sleep is also associated with death. Importantly, almost nobody sleeps in the Lands Between naturally, even if most things have sleep animations of some kind. This is a parallel to Hypnos and Thanatos, who are brothers. Miquella has some of the stronger ties with Godwyn, who ended up dying. Importantly, Miquella also tries to put the dead to true rest (Golden Epitaph) or else tries to bring their soul back (Castle Sol).

Elphael is also weird. There's a statue of a figure that repeatedly shows up. This figure is surrounded by souls in some depictions, namely in the giant room where all the Scarlet Rot water is. In the prayer room in Elphael, the figure is overlooking the altar, which is a repurposed coffin. Likewise, near the Haligtree's roots are numerous coffins.

(I'd also note the parallels of how those side figures look- they resemble the naked bodies on the Mohgwyn Sacred Spear and the statues in Nokron. Given that Mohg and Miquella were both likely in Nokron at some point, that is curious.)

Miquella's body is currently in an ancient mausoleum underground. You have to go through a large amount of the structure and it's full of ancient graves in the second half. It leads to a sort of juxtaposition between new life (blood is associated with life in Elden Ring) and death imagery (all the ancient graves).

Miquella is also tied to souls. Miquella is heavily implied to be Torrent's former master, and Torrent is a ghost horse. The spirit calling bell Ranni gives the player was originally owned by Torrent's former master. Both characters who give you these items are also disembodied spirits- Melina lacks a body entirely, while Ranni is a soul possessing a doll after she shed her body.

Hewg and Roderika's dialogue and parallels are also quite interesting. Hewg mentions owing a debt to a spirit tuner and the spirit tuner was like Roderika- crestfallen and couldn't "swing a blade." Likewise, we have a young spirit tuner and someone monstrous working together quite excellently- with the monstrous one assuming things are too good to be true and that the spirit tuner would want nothing to do with them. Interestingly, it is Roderika who wants Hewg's help.

(Gloveworts, which are used to upgrade spirits, are another kind of lily- lily of the valley. Per Wikipedia, it's an old term for it due to being used in making hand salves.)

Then you add in the speculation about the DLC being in the Land of the Dead, and how Miquella split his soul from his body to get there, and I am quite curious about it. (It would also explain why he had to strip himself of being Golden to get there- the Golden Order's whole defining thing is immortality.)

I also wonder if that would mean the story is actually a reversal of imagery with Hades and Persephone in relation to Mohg. That is, if there is that parallel, Miquella is Hades as a lord of the dead, while Mohg's associated with blood (which is associated with growth and new life in Elden Ring). It could also explain why the Haligtree failed- if Miquella is supposed to instead be a god of the dead, then him trying to grow something out like that might not work 'properly.'

[furinana]

Collecting info and discussing the nuances of Massacre Flynn

Similarities between Bonds Flynn and Massacre Flynn

Both recognize Walter and Jonathan

Both are available on YHVH's dungeon on battles

Both help you threaten for more while fundraising

Both fight against YHVH in a separate party from yours

Same skill set

Differences between Bonds Flynn and Massacre Flynn - Similarly to Nanashi's "Dagda", Massacre Flynn says similar battle voice clips as he does in Bonds but with an ominous tone. - Massacre Flynn accompanies Nanashi everywhere in Tokyo (all domains, sidequests and even Twisted Tokyo). Bonds Flynn is only available in YHVH's dungeon. - Massacre Flynn is invisible in the overworld. Bonds Flynn's physical 3d appearance is shown. - Massacre Flynn has no extra dialogue outside of the battles and the main story. Bonds Flynn can be talked to. - Bonds Flynn protects Nanashi from enemies in the overworld. Massacre Flynn does not. - Bonds Flynn gives money and items he collected to Nanashi. Massacre Flynn does not. - Bonds Flynn is able to break free from Krishna's control, uses the Masakado's katana on him, and comes out alive. Massacre Flynn does not and dies (gets revived by Dagda). - Bonds Flynn's memories about Issachar return when you show him the fishing hook. Massacre Flynn is unable to remember him. - Bonds Flynn fights with Jonathan, Walter and Isabeau in his party against YHVH. Massacre Flynn fights with Satan. (the only way to have Isabeau as Nanashi's partner in this fight is to choose her as your Goddess in Massacre) - Bonds Flynn considers Nanashi a friend. Massacre Flynn considers their relationship of a master-servant one.

Now let's bring characterization on a deeper level (i'll be providing answers based on my own interpretations). 1- Why Massacre Flynn only remembers Walter and Jonathan? The evidence is shown to us numerous times through Flynn's visions, flashbacks from Stephen thrown at Nanashi and possible scenarios from the White:

From the cast, the foursome group comprised of Flynn-Walter-Jonathan-Nanashi (including their past lives) have the souls with the most self-determination and have been interconnected through many cycles. In other words, their memories go beyond their current identity and state of being. 2- Is Massacre Flynn based on Nanashi's image of him or Dagda's? Also, why did Flynn's personality change in Massacre but the partner stays the same regardless of the route? Krishna put shackles on Flynn's soul and Nanashi ultimately broke it by killing Flynn inside Vishnu.

Nanashi's Goddess is revived from scratch (hence they were a manifestation from Nanashi's mind) while Flynn's recovery on the other hand was paralleled to a spare tool being patched (you could say it was far more similar to Nanashi's own revival in the start of the game).

Dagda's words in this scene are "might as well have another Godslayer" as if Flynn being usable was out of convenience and not as part of his original plan.

While Nanashi is still able to switch between light and dark dialogue options in Bonds, such duality in Massacre only takes place when you fight your previous allies and you're given the choice to feel merciful; it's not possible to deduce Nanashi's range of feelings towards Massacre Flynn specifically.

On that matter, Dagda does not directly refer to your Goddess even once, in contrast to giving orders to Flynn right as he started breathing again. Observe the sequence of Dagda directing to whom Flynn should go to and Flynn acknowledging Dagda first before doing so with Nanashi:

For Massacre Flynn, Nanashi is considered an extension of Dagda. Which gives us the parallel on the other end of Nanashi being thought of as an extension of Akira in Bonds. This actually opens a possibility that destroys the idea that many people think when watching the route unfold: Dagda did NOT brainwash Flynn.

Flynn's brainwashing comes from the spell Krishna, the well known ailment attacker, put him in. By you killing his former master, by consequence the shackled Flynn replaces Krishna with Dagda/Nanashi instead.

What Dagda did was take the opportunity and run with it.

But now you may ask, why does this matter if the ending result is the same?

It matters because it makes the themes behind Dagda and the Massacre route more cohesive specially with a certain lore element in mind. For the lore element, I'm talking about the Krishna prequel background that is only officially available in Japanese sources. You can read a summary of it through the artbook interview in English here.

A friend also translated the actual novel if you're interested.

To make things short, this background explains in more depth the circumstances behind the first meeting between a past form of Krishna and a past life of Flynn (hundreds of years prior to SMTIV). The soul of Flynn having his former master killed also happened in this past life and because of Krishna himself.

So having that in mind: In Massacre, Dagda nonchalantly takes Flynn, the unsuccessful tool with his will twisted by Krishna, as his own and looks down on it as if he's scoffing at Krishna's failure compared to his superior Godslayer. This also makes you reflect on Dagda not letting Nanashi choose Krishna but siding with Law or Chaos were still obtainable endings (even if by lesser forms).

Dagda has no respect for forced contracts. He is undoubtedly a sly and the-end-justifies-the-means advocator but he constantly repeats his point that a deity forcing their contractor/vessel will produce a severely weaker result than using words to make them side with you. It's also why Danu's Nozomi would be considered stronger than Inanna's Toki.

Lastly, regarding the partners staying with the same personality as in Bonds:

Once again, whichever partner you ressurect, it's explicitly stated they come from Nanashi's memories. Nanashi went through life or death situations with his partners, in which all of them showed moments of trust and loyalty in their own specific way, to which got manifested in their subsequent Goddess roles.

I dove further about this aspect in this post.

Due to Krishna's interference, Flynn already turned subservient prior to being Dagda's Godslayer (and by extention, Nanashi's) while Nanashi's memories are used as the base behind his partner's resurrection, so the original personality is present on the Goddess.

[scorchedthesnake]

Where This All Began

Originally posted here, May 10, 2011.

Read the many fond reviews now appearing of Sleep No More, the immersive theatrical mashup of Macbeth and Hitchcock staged in Chelsea by the British company Punchdrunk, and you will find a third player frequently mentioned alongside the Bard and the Master of Suspense. Stanley Kubrick's name is often also counted among the forebears of Sleep No More, and while some reviewers reference The Shining, most invoke his name on account of the masks worn by Sleep No More audiences, which seem to be a touchstone for Kubrick's final film, Eyes Wide Shut. It is not an inappropriate connection to make. After all, from behind Sleep No More's masks, one can witness, among other things, an orgy.

But from my perspective this is an altogether too simplistic account of the ties between a set of works with numerous shared themes, among them dreaming, obsession and voyeurism. Neither orgies nor Venetian masks were truly at the core of Eyes Wide Shut, though that was surely the most significant impression the challenging, critically beleaguered film left behind in the imagination at large. And while these elements of Sleep No More's production are surely a deliberate nod to Kubrick’s film, I am inclined to suspect a much more interesting, complicated and elucidating relationship, most likely unintentional, between Sleep No More and Eyes Wide Shut, or more specifically the text on which Eyes Wide Shut is based, Arthur Schnitzler's 1925 Traumnovelle. 

Schnitzler's work seems fated to be known in the English-speaking world mostly in the form of adaptations. His most famous play, Der Reigen, is produced today under the name La Ronde, as it first became widely known through Max Ophüls' 1950 film. A more recent stage variant starring Nicole Kidman, The Blue Room, had less of an impact. Similarly, Traumnovelle broke out to British and American audiences by way of Kubrick's version. A contemporary of Freud and a physician, Schnitzler was both sexually adventurous and methodically taxonomical, and his work known for its psychological complexity and his sexual frankness.

Kubrick took some liberties with Schnitzler's text. Some help to restate the story from early twentieth century Vienna into contemporary New York. Other changes weaken the structural order of a novella that Schnitzler himself often called Doppelnovelle, as it was intended to contain two stories in delicate parallel; one mostly a vivid dream, the other real but so unbelievable, so uncanny and mysterious that it may just as well have been a dream itself. The conflict in Kubrick's film is set in motion by Alice's confession to Bill that she lusted after a sailor she had seen fleetingly while on vacation; this episode is in the original text, but Fridolin (adapted into Bill) also had a temptation, a young girl he met on the beach during this same trip to Denmark. "Denmark" of course ends up being the password to the masked ball, not "Fidelio" as in the film. Kubrick freely interprets what Fridolin sees at the 'orgy', though it is likely in line with visions that Schnitzler's language could merely hint at. Alice's dream however, though full of her endless sexual betrayals, is absent the capture and enslavement of her husband, prefigured in the novella's opening lines as their young daughter reads a passage from The Thousand and One Nights, as well as the crucifixion and torture of Fridolin, which make Albertine's version much more potent as a countersubject.

Yet in both the novella and the film, the episodes of dreaming, whether while sleeping or in the waking state, are bracketed by interludes of confession. These dialogues are instances of compulsory narration: Fridolin/Bill and Albertine/Alice each must in turn recount the experiences of their various adventures: at the ball (the Ziegfeld's Christmas party); in their bedroom remembering their vacation (in the novella, their Denmark trip, and their engagement years before); Albertine/Alice's dream, and ultimately, Fridolin/Bill also retells the entirety of what he witnessed at the masked ball, what led him to it, and what he did while trying to force that experience to make sense: "Ich will dir alles erzählen," "I'll tell you everything."

It is on account of this structure that the usefulness of Traumnovelle / Eyes Wide Shut as intertextual relatives to Sleep No More becomes clear. Like the âventiure of medieval epic, the dream sequences are departures from the bourgeois family's equivalent of the court: security, stability, childrearing, profession. Schnitzler, for his part, accentuates this with particular attention to the contact of Fridolin's and Albertine's hands. Their hands touch and intertwine in all of their scenes together, until their jealousies and admissions finally become, as Fridolin states, "ein Schwert zwischen uns," a sword between them, and something else to grasp at. They then go their own ways in 'dreams' of infidelity. For Fridolin in particular the contact points of his hands are representative of his attempt to gain traction and knowledge within his waking dream. 

As a point of comparison, Sleep No More is often described as being like witnessing someone else's dream. It is, like Traumnovelle, the experience of inhabiting a sequence of coinciding dreams. The audience member is initiated into the dream-realm of the McKittrick through a maze of dark corridors that lead into the bar. Here however one is already in the performance per se. Characters, albeit less alien ones, circulate and interact with the audience, who, ordering drinks and waiting for their cards to be called, enjoy one final act of speaking before plunging into the ensuing hours of muteness and voyeurism. 

Once inside, key points of traction come largely through the hands. One pores through documents and artifacts, one tries doorhandles and knobs, and, occasionally, one of the dream-figures takes you by the hand and leads you deeper into the dream. When this concludes, the audience is led back to the bar, where one simply must talk about what has just been seen. It is a compulsory confession, as reunited parties of visitors compare what each witnessed, nervously and often questioningly recalling strange, confusing scenes, knowing full well that if they are not confessed and mutually confirmed, they will slip into unknowledge and oblivion. Every visitor's account is fragmentary and incomplete. Even the collective recollection the production's structure encourages is not enough to account for the enormity and mystery of the space one has only just begun to explore. It is hard to not be reminded of the conclusion reached by Fridolin and Albertine about what they have undergone: 

"... Ich ahne, dass die Wirklichkeit einer Nacht, ja dass nicht einmal die eines ganzen Menschenlebens zugleich auch seine innerste Wahrheit bedeutet." "Und kein Traum [...] ist völlig Traum." (in Eyes Wide Shut: The reality of one night, let alone that of a whole lifetime can never be the whole truth. [...] And no dream is ever just a dream.)

Sleep No More is driven by a comparable degree of pervasive ambiguity. It is telling, perhaps, that the production has relied so heavily, and so successfully, on word-of-mouth in lieu of conventional marketing. As something that defies traditional description and explanation, it seems to want its fans to be stammering and incoherent, and altogether glad to bring new visitors in with high, but curiously inarticulate expectations of what they are about to experience.

If Sleep No More, like Eyes Wide Shut and Traumnovelle before it, is a dreamscape with indeterminate boundaries with waking, then its name is perfectly appropriate. This title derives from Act II, Scene 2 of Macbeth, after Duncan has been murdered:

MACBETH Methought I heard a voice cry, "Sleep no more! Macbeth does murder sleep" – the innocent sleep, Sleep that knits up the raveled sleave of care, The death of each day's life, sore labor's bath, Balm of hurt minds, great nature's second course, Chief nourisher in life's feast LADY MACBETH What do you mean? MACBETH Still it cried, "Sleep no more!" to all the house. "Glamis hath murdered sleep, and therefore Cawdor Shall sleep no more. Macbeth shall sleep no more."

Sleep, so commonly metaphor or metonym for death, is made to be the locus of peace, calm and life. Macbeth betrays the uses of sleep, and so the Macbeths are repaid with the ultimate corruption of their sleep with ghostly visitations, madness and death. Schnitzler, alternatively, approaches sleep as the avatar of sexuality, but it is still the gateway to a realm of betrayal. The treacheries in his text occur in dreams, where they are only barely confined and threatening to burst out. 

But there, confession brings the couple back together. After their adventures, they again clasp hands and are grateful for being awakened: "Nun sind wir wohl erwacht - für lange," says Albertine ("now we're awake," in Kubrick's film, "and hopefully for a long time to come." At the novella's conclusion, Schnitzler identifies dreams as an agent of isolation only temporarily overcome, and as certain to reemerge as each coming night: "So lagen sie beide schweigend, beide wohl auch ein wenig schlummernd und einander traumlos nah" - "and so they lay silent, both surely slumbering and dreamlessly near the other." The admonition to not look too far into the future is both fitting and haunting. The command to ‘sleep no more’ is the damnation of Macbeth and an impossible prescription for the temptations of Fridolin and Albertine, and Bill and Alice. For the Sleep No More audience, it is intended as an omen.

I felt an acute terror during my second visit to Sleep No More, when in a private moment with Banquo, he pulled a huge sword from beneath his mattress and thrust it into my hands. My terror was less the fear that he would strike me with it, or ask me to use it, but instead arose from a sudden sadness. The sword was not real, neither heavy nor sharp. This whole experience was not real, and nothing I could imagine coming of the encounter with the performer would happen other than what was scripted. Rather, I knew for certain in that moment that I was having "merely" the brilliantly executed approximation of a dream. "Ein Schwert zwischen uns," I immediately thought, and felt yanked back into drab, sober reality. Unlike Fridolin, my grasp on this theatrical, not psychical, sword reminded me that this is, in fact, just delightful artifice. But it is also not paradoxical that this moment, perhaps the most powerful so far in my exploration of the McKittrick Hotel, accounts for why I think so highly of this production. Ordinarily, the fourth wall is the front of the stage and the edge of your seat. Here, I find myself reaching the boundary of reality and performance only fleetingly, and in the most surprising and captivating of ways.

[battyaboutbooksreviews]

🦇 Breaking the Ice Book Review 🦇

❓ #QOTD What's your favorite sports romance? ❓ 🦇 NHL hot shot, Nick Hawkeye Hawke has 4 months to recuperate from a potentially career-ending injury. All he has to do is take it easy and keep things low-key. So, looking after his grandmother's beloved second-hand romance bookshop and working very closely with the ruthlessly efficient Samantha Evans is just what he needs right? Wrong! Career-driven Sam has impulsively decided to swap her highly stressful corporate job for a slower pace in her favorite bookshop at the exact time her biological clock has started to tick. And she wants absolutely none of that. But when your boss is a hot hockey superstar and you can’t stop daydreaming of him being your baby daddy, forced proximity takes on a whole new meaning. With temptation around every bookshelf, Nick and Sam find themselves skating on thin ice until they put themselves firmly in the friend zone. But the more they try to resist their slow burn, the more they want each other. How long can they stay in the zone until one of them breaks the ice?

💜 If you're looking for a sweet, excruciatingly slow-burn romance, this is for you. Let's break it down:

✨ Characters: Though I love a curvy FMC who knows what she wants in life and is ready to get it, Sam fell flat for me. She's sweet and flawed, but we're not given much outside of her baby craze, accounting acumen, and love for romance novels. The problem repeats with Nick; he plays hockey, has numerous older brothers, and loves cowboy romances. Nick's celebrity is used more as a plot piece than anything else. Beyond that, there's not much depth to these characters. They never even grieve over Birdie, the reason they're brought together in the first place. Every other man in this story is a cliche, irksome and misogynistic without real reason. The strongest character, Sam's sister, only appears in phone calls and one short visit, but even she's limited to an advice-giving older sister (with the kids Sam so desperately wants) who pushes Sam forward. However, I did love the parallel between Sam's first scene while getting ready in the morning to a scene later, when she's not over-analyzing or criticizing her appearance. Great show of character development (but what was Nick's, besides his sudden, unexpected desire to have a baby with Sam?).

✨ Plot and Pacing: Sam's focus is split: find a potential baby daddy and bide time until her old boss begs her to take her job back. Nick's focus should have been to recuperate, but that's abandoned quickly in exchange for helping Sam (be with another man) in any way he can. The fact that their priorities both shift so quickly should have told both characters their paths have changed. Instead, they both get a eureka moment after their split apart; a rom-com cliche. The pacing drags during the story's first half, then rushes forward in a dizzying blur, neglecting to allow readers to linger in the relationship.

✨ Romance: The story starts with the potential for enemies-to-friends-to-lovers, but the "enemies" part of that equation is quickly abandoned. I'm not sure what the point of starting with animosity was at all. Nick immediately falls for Sam, but his focus seems to be more on her curves than anything else. The slow burn drags, adding tension, but once the romance finally picks up, it's rushed, failing to provide any real heat. While their relationship is SWEET (trading beloved authors, Nick taking care of Sam), it starts focusing more on the physical than mental or emotional. For all their witty banter, they never really talk.

✨ Tone/Prose: There are moments when the dialogue is awkward, pulling readers out of the story while adding a layer of immaturity to the characters. The dialogue between Sam and the men at her office is especially cringe-worthy. Also, why were the phone calls between Sam and her sister in italics? Why? Those scenes gave us insight into Sam's mental state while giving the story small time jumps, but the formatting was weird and unnecessary.

💙 I never want to hear the phrase "cheeping eggs" ever again. Though I understand Sam's focus on a her ticking biological clock as a plot device to force her out of her comfort zone and into a journey of self-discovery, it's overdone and exhausting. Though it adds to the rom-com's comedy element, it makes Sam nearly one-dimensional. While I'm sure that's bound to be a turn-off for a great number of readers, I'm more irked by the story's queer element. Sam is given the chance to explore her sexuality, but Nick quickly laughs off the possibility that she's bisexual and makes a joke of it. If the story was really about self-discovery, that scene wouldn't have been so quickly discounted for laughs or used to push the characters into a romantic moment.

🦇 Recommended for fans of Hannah Grace and Elle Kennedy, though the "sports" portion of this sports romance really takes the backburner.

✨ The Vibes ✨ 🐣 Forced Proximity 🏒 He Falls First 🐣 Body Positivity 🏒 Friends to Lovers 🐣 Self-Acceptance 🏒 Contemporary Sports Romance 🐣 Slow Burn

[balteus]

fuck okay in sorta relation to last post i think people generally don't pick up on a lot of dare i say,,, humor of elden ring. it's kinda subtle and a little lost in translation i think but with ranni, radahn and gideon it's especially apparent i think. it's a sort of humor of irony and subversion of opposites that reminds me a lot of old plays.

radahn: is a war general, most powerful demigod (alongside malenia). reveres combat and physical strength. widely respected. also is a strategic and intellectual genius. also has a huge soft spot for small animals. in fact it's his love for animals that motivated him in becoming what he is. he has numerous parallels to ds1 artorias. he's miyazaki's favorite elden ring boss.

ranni: literally giving you the cold shoulder 24\7. shown as a coldblooded (heh) killer who kick-started everything that went wrong. but if you show the slightest amount of devotion to her and a willingness to listen she shows just how starved for closeness she is. she falls in love with you if you listen to her ramble at a save spot. this affects the ending cutscene with her. fromsoft NEVER does this, which shows just how much she actually cares for you even if she doesn't want to let you know. seluvis outright describes her as a gentle girl who uses her perceived coldness to protect herself. i love her sm.

gideon: my beloathed. this mainly pulls from his dialogue regarding his adopted daughter, nepheli loux. it's similar to ranni except gideon is actually an asshole. he will say something that will make you think "oh, does he actually care? does he hold fatherly feelings for her?" and in the next sentence he'll not only manage to destroy that little bit of good will but also dig himself a deeper grave. i honestly still think about how he raised nepheli promising her that she'll be able to help the oppressed and downtrodden only to himself take part in that oppression. also the implication that he knew her biological father personally and that he was entrusted with care of her while hoarah was away. what's going on here. i wanna study him under a spyglass.

[misty-wisp]

hey hey I've recently jumped back into the omori fandom after a year and its been a fun romp through your tsumi to batsu fics! Sunny and omori are my two favorites here :)

I especially love how you portray omori as a character when a good number of fanfics (+fandom) just deem the guy as "evil version of sunny who doesn't feel anything except for hatred for sunny and there isn't an nuance with him even though he's an manifestation of sunny's coping and a reflection of sunny's thoughts" or "12 year old brat with a knife"

like??? I know that during the omori boss fight he pulls out the most vile shit a 12 year old manifestation of your self hatred can pull out and in the bad ending theres an interpretation that omori took over sunnys body and jumps but did you not see what happens after the bossfight??

Omori hugs sunny after his fight boss no matter the ending and its really powerful in the good ending especially since it's sunny beginning to forgive himself and let go

And yet the people focus in the bossfight dialogue instead of the hug that happens after

Of course, there's the entirety of blackspace to consider and numerous basil deaths which is something to add for the evil knife kid.

On the more positive side of things

Omori leaving notes for sunny to take care of himself, telling him to be nice to his mom, and taking control of the body so sunny won't starve like he most likely did for 4 years-

*clenches hand, clenches hands clenches hand clench-* Yes Yes YES YES THAT'S MY BOY

Sunny realizing that omori isn't someone who runs away but instead hides and starts to look for him....I smell a Thing (TM) between sunny who runs away from his trauma and omori locking away bad memories, hiding it in the backstage (blackspace) as the mainshow (headspace) plays

Honestly, I don't think you really intended that to be taken this way but still

Omori going "good morning" when sunny asks an uncomfortable question, man has impeccable timing

Then-! Then-! The flower tending scenes!

Omori taking good care of his friends flowers while the white tulips being neglected.

It turns the tables around the usual sunny being unable to forgive himself to omori unable to forgive himself (or rather believing he doesn't deserve forgiveness in this case)

"The lilies looked especially perfect, he noticed" ouhgough goughgough big sister mari

"The tulips. They’re all withering away. While the rest of the flowers were full of color, glistening in the sunlight (moonlight?) the tulips remained a dead brown, practically twigs.

'Don't mind those,' Omori said, stopping in his tracks. 'They don't need any tending to.'" OUCH OUCH OUCH OUCH MY HEART

White tulips signalifying forgiveness, Sunny taking care of them which silently conveys that he forgives Omori which is verbally confirmed, the both of them being represented by white tulips--!

Omori suddenly breaking the photo of mari without knowing why he did so- I feel like this guy has to slowly work on not erasing the 'truth' during this fic ey?

I know that photo of Mari was most likely headspace Mari but I like to think that it was an irl Mari picture

In my heart, they're friends your honor

OH MY GOSH THANK YOU THIS IS SO SWEET???? genuinely i never thought my au would bring someone this much joy omg 😭 tysm

i love how you caught all those little details too--funnily enough i don't think anyone's fully caught that the tulips weren't tended to because omori doesn't forgive himself(+thinks he doesn't deserve forgiveness) hehehehehe

also anon i am literally in love with how you found a parallel regarding how sunny used to run away from his problems and how omori does that now 😭 i don't remember if i was intentionally implying that??? but i most certainly am now omg

recently i haven't been into omori as much as before but wow i feel so much more motivated to get back to writing my fic...genuinely tysm this means a lot to hear!!!

[feng-huli]

The Blood of Youth sequel predictions and analysis

To preface this, I have not read the novel and am going mainly based on my knowledge of season one. Thus, there are spoilers at least for season one (and possibly season two, if my suspicions are correct).

This will probably be a bit unhinged and won’t focus on the main cast outside of the parallels there may be between them and the characters that I’m focusing on. The characters I’ve selected are the ones that I suspect of playing a larger role in the second season.

1. Marquis Lanyue

If he isn’t revealed to be a villain, I’ll be shocked. The way his supposed lack of ambition is pointed out numerous times is remarkably suspicious. He has a big scary sword that was hyped up but barely used. He outright threatens one nephew, only helps another because he decided he wants to protect the healer taking care of him, and is pretty antagonistic in his internal dialogue towards the other nephew. There is definitely something weird going on between him and Prince Chi early on that seemed to fizzle out at some point, right around when Marquis Lanyue started helping out his other nephews. Anyways, this might be a crazy guess, but I kinda wonder if he’s going to work with Ye Ya the Night Crow to reanimate Prince Chi (at least, I think the Night Crow is still alive, unless I missed something). As a less crazy guess, I think he’ll be the main or major villain.

2. Mu Chunfeng

He has some interesting parallels to Marquis Lanyue that may become more prominent in the next season. Both characters are defined by their lack of ambition, but in Mu Chunfeng’s case, it seems more genuine. He actively goes on a quest to make sure his older brother can inherit the responsibility of leading the wealthy Mu family, which otherwise wouldn’t happen due to the older brother’s implied medical condition that renders him unable to produce heirs. This shows Mu Chunfeng’s disinterest in seizing power rather than the telling that accompanies the question of whether Marquis Lanyue is ambitious. Both Marquis Lanyue and Mu Chunfeng form an attachment to the healer Hua Jin, albeit of differing natures (father-daughter vs student-master). Mu Chunfeng, like Marquis Lanyue, also has a powerful sword that is hyped up but barely used. It should be noted that Emperor Mingde, who isn’t known for his ability to trust the right people, directly accused Mu Chunfeng of having ulterior motives. Anyways, my more measured prediction is that Mu Chunfeng’s older brother will die. For a more intense prediction, I think Hua Jin will end up dying, likely by accident, culminating in a battle between Mu Chunfeng and Marquis Lanyue.

3. Xiao Chong

The main thing with him is that it’s easy to forget that he’s very much a player of the game of thrones, so to speak. With all that Xiao Se does to earn his trust later in the show, it can distract from how Xiao Chong was making alliances with Wushuang City and how he was able to safely waltz in and out of a conversation with the fearsome Dark River. Even now that he’s risen to the throne, Xiao Chong will likely continue pulling strings. The point of the first season was that Xiao Se wouldn’t make a good emperor, but I do wonder if his arc in the second season will put him into conflict with Xiao Chong.

4. Bo Yong

This one is a bit of a stretch, I admit. His actor was one of the first I saw sharing the news about the sequel, but even before that I had some suspicions about his significance. In the scene where Jade Deity hides Jin Yan from the Director, he is notably absent. Could he have ratted Jade Deity out to the Director? He seems to have been involved in the plot to sneak Wuxin into the palace, which the Director appears to have known about. Anyways, given the events of the first season, the Five Eunuchs need their ranks replaced. Ling Jun and Bo Yong seem to be the most likely candidates, and will likely be involved in any palace drama.

5. Jin Yan

Honestly, I’m terrified for Jin Yan’s safety. Xiao Se and Jade Deity kinda have mirror arcs. Jade Deity longs for the Martial Arts World, and Xiao Se validates that. Xiao Se needs to learn what loyalty to his friends means, and Jade Deity shows him that. This, I think, is the reason Jin Yan needed to survive the first season. However, hints were dropped throughout that key episode that he’s done far worse things than some fun treason, and I have my doubts that the plot will continue to be so merciful to him. If he does die, the most heartbreaking and likely possibility is that it will be by Jade Deity’s own sword, as he is currently responsible for Jin Yan’s actions. If anyone else kills Jin Yan, that sword would definitely get covered in vengeful blood—given how many people Jade Deity has already lost, losing Jin Yan would surely cause him to snap. Less likely but still tragic, perhaps Jade Deity dies protecting him or has the injury Jin Xuan gave him act up, in which case Jin Yan may go mad with grief. Or maybe they travel together and live happily ever after… which could actually fit Jin Yan’s arc. He initially lacks meaningful connections, where he isn’t being manipulated/used. Jade Deity counters that as risking everything to protect Jin Yan. It is possible that Jin Yan could have a positive arc where he turns his greed towards building genuine relationships.

Well, it was certainly fun organizing my thoughts about parallels between the characters and exploring ideas related to the sequel. I’ve been resisting thinking of the future of The Blood of Youth for so long, but the announcement of season two has opened the floodgates to some surprisingly clear water.

[cultven]

(not attacking op) BUT IM SICK AND TIRED OF PEOPLE CALLING HANNIGRAM QUEERBAITING

so here is a list of some of the things that make will and hannibal cannon gay lovers:

• They had an emotionally adopted daughter, one Hannibal explicitly quoted them to be fathers to

• “You are obsessed with Will Graham.” “I am intrigued.” “Obsessively.” 

• “Stay with me.” “Where else would I go?”

• Will realizing Hannibal doesn’t want anyone else in his life but the two of them

• The complex emotions and dialogue of Mizumono

• Will sailed across the ocean on a fucking fishing boat because he needed to find Hannibal

• At the beginning of season 3, Will using Abigail’s memory in his mind as an outlet to justifying his feelings towards Hannibal

• When Chiyoh asked Will how he knew Hannibal, he answered with “One could argue intimately.”

• Jack acknowledging Will is the only one to understand and accept Hannibal for who he is.

• Will protecting Hannibal and admitting he wanted to run away with Hannibal, despite knowing his truth.

• Chilton explicitly speaking about Hannibal and Will’s “flirtation”.

• “Hannibal will slip away. Will you slip away with him?” “Part of me will always want to.”

• Hannibal and Will’s conversation in the Uffizi Gallery in Florence, Italy.

• Hannibal sacrificing his freedom, throwing away years upon years of alibis just to make sure Will always knew where to find Hannibal, whether he liked it or not

• Murder husbands.

• (Bedelia to Will) “My relationship with Hannibal isn't as passionate as yours… Is your wife aware how intimately you and Hannibal know each other?”

• Hannibal’s numerous love analogies to Will (Specifically Achilles and Patroclus parallels)

And to end on a strong note;

• “Is Hannibal in love with me?” “…Yes.”

(Just because a relationship in media is not based purely on physical contact and explicit romance does not mean it was not a relationship.)

pls add to this list im begging

"that show is queerbaiting" maybe you just aren't evolved enough to appreciate those freaks being homoerotic but i am