#the perfect shot actually

[babychosen]

she fits this character disturbingly well

[spokenfromtheheartandsoul]

oh but the clothing choices are SO interesting here.

right when mew finally seems to be letting ray in, mew starts dressing in a style that's awfully reminiscent of ray himself:

meanwhile, right when ray is finally getting to receive the type of affection from mew he's yearned for ages - ray's not dressed the way he usually does for nights out.

in fact if i didn't know any better, i might even say he's dressed up in an outfit that's awfully reminiscent of a style a certain someone picked out just for him:

what a coincidence, that right when mew's external appearance finally seems to imply he's ready to be on the same page as ray...........ray's external appearance has shifted to reflect the lingering influence of someone new.

[crabsnpersimmons]

This one goes out to all the slow burn enjoyers, the dense Y/Ns, and the soft robo jesters that suffer in silence!

Inspired by @bamsara's “Solar Lunacy” fic.

If you feel like reading my ramblings and want to experience more heartbreak for fictional jester blorbos, check under the cut where I detail all the planning behind the frames!

so i heard this song for the first time in a while and the opening lyrics immediately made me think of moon, so i was daydreaming some scenes and then i decided to thumbnail some ideas:

and it all went downhill from there as everything became a metaphor and a parallel to each other, which i will now go into detail on!

you thought the animatic itself was sad?

*writing muse laughs maniacally* IT'S ALL A METAPHOR

Frame 1. "turn down the lights" We start with a back view on Moon. The lights are out, the Moon is out, but we do not see his face. The music and the greyscale atmosphere are enough to establish the weight of the moment and the weight on Moon’s mind.

Frame 2. "turn down the bed" We cut to a shot of Moon's body, kneeling on the ground of the daycare, like a padded cell. Moon’s hands are twitching with the effects of the glitch, with purple sparks coming from his hands. We still do not see his face.

Frame 3. "turn down these voices inside my head" Cut to an extreme close up on the dark half of Moon’s face. Now we see his face, but only a portion of it. His left eye is wide open, red and glitching out. The voices in his head can refer to the glitch but also his repressed feelings. Or maybe it could be Sun's voice in their shared headspace.

Frame 4. "lay down with me" Y/N's hand enters the frame from the upper right corner, lowering down to meet Moon where he kneels on the ground. Only a corner of Moon's face appears on the bottom left corner of the frame, his starry nightcap beginning to cover his glitched left eye.

Frame 5. "tell me no lies" An full shot of Moon on the floor and Y/N standing in front of him with their hand stretched towards him. A light spills out from behind Y/N, creating a boundary between them.

Now we see more of Moon. It is only when Y/N enters the frame—enters his world—that Moon’s body is shown in its entirely. When Y/N is here, he is no longer fragmented. He is whole.

Frame 6. "just hold me close" pspspspsps Playfully, Moon extends his own hand, beckoning Y/N to come closer, to join him. His right hand crossed over his body as he uses the playful gesture to hide his true feelings—to put distance between him and Y/N. His hat continues to cover his glitching left eye. He doesn’t want to worry Y/N.

Frame 7. "don't patronize" In response, Y/N’s hand pats Moon on the head, returning his playfulness. Moon looks surprised by the action. Moon, notably, does not lower his hand—perhaps he has forgotten it or perhaps his invitation is still open.

Frames 8-9. "don't patronize me" Moon rotates his faceplate so Y/N’s hand is touching the side of his faceplate, a more intimate gesture than a head pat. However, his hat is in the way. At this angle, his starry nightcap fully covers his glitchy eye and the dark side of his face, hiding his defect and acting as a veil between him and Y/N. A self-imposed boundary. So close, yet thinly separated. It's better this way. It's safer this way.

The lyrics are broken up by Y/N's arm, both to illustrate how the song is sung ("patronize" is drawn out and "me" is briefly added in before the chorus starts) but also to show how Y/N interrupts Moon's resolve, highlighting the irony between the visuals and the lyrics. Demanding not to be patronized, yet Moon happily accepts this play at intimacy. Don't patronize me, I am weak for it.

This is also the only instance where the red light of Moon's eyes glow and tint the surfaces around it. Visually, it makes it look like Moon is blushing (heavily inspired by @restinsodaroni's art). But also, in this moment of honesty, Moon's intrinsic light spills out, colouring the greyscale world. In this brief moment of honesty, Moon touches the world with his own colours, his own light.

(and this is also where i forgot to clean up the shading on Y/N's arm, but it's okay it doesn't need to be perfect it simply needs to be. And Moon will still love Y/N even if they are a continuity error.)

Frame 10. "'cause I can't make you love me if you don't" A parallel to a frame 4, Y/N retrieves their hand away and immediately Moon is reduced to the corner of his faceplate in the frame. Only now his glitched eye is fully covered by his hat.

The lyrics here (and in the next frame) in particular grow lighter to emphasize Moon's diminishing resolve and agency.

From here on out, the lyrics here are broken up, carrying on this theme of fragmentation. Y/N is pulling away, Moon is breaking up, the words are breaking up. Everything is coming apart.

Frame 11. "you can't make your heart feel something it won't" Y/N turns to leave. The lyrics, broken up as before, highlight the irony of the situation. Y/N, a human, can’t feel something they simply don’t feel. Whereas, Moon, the machine, feels something his code never intended him to feel.

Frame 12. "here in the dark in these final hours" Another full shot that parallels frame 5, as Y/N steps towards the light and Moon leans forward into the space Y/N once occupied. Y/N is leaving—that which makes him whole is leaving. And he is only capable of making it to the boundary where the light cuts into the darkness. The "final hours" suggest it might be the end of Y/N’s shift, or perhaps this scene takes place right before the glitch takes over—the final hours that Y/N has with the true Moon. Either way, time is running out—and only Moon knows it.

There is a contrasting display of body language here. Moon is on the floor leaning towards Y/N with his hand still left out. Whereas Y/N is turned away, walking away, and has already slipped their hand away and into their pocket. Y/N is closed off while Moon is limply open. Y/N is actively moving while Moon is on the floor, waiting, hoping, for that which he lacks the agency to reach for himself.

Frame 13. "I will lay down my heart" A close up on Moon’s hand, rising up again, perhaps to beckon Y/N back once more. This is a slight parallel to Y/N's hand reaching out to Moon. While Y/N can freely reach out and touch Moon, Moon cannot. He can't enter the light and more importantly he can't risk potentially harming his relationship with Y/N—be it through the glitch or by his feelings. He can only lay down his heart—put aside his feelings or hope that someone will pick up his pieces and make him whole.

Frame 14. "and I'll feel the power" Still on a close up on Moon’s hand, now clenched in slightly. This initially was going to have the glitch effects. However, I felt it more meaningful for it to be left without. Leave it up for interpretation why Moon pauses his hand. What is the power that he alone feels and stays his hand?

Frame 15. "but you won't, no, you won't" A parallel to frame 1, a view of on Moon's back with his hand stretched out towards the light, and Y/N walking into the light spilling through the open daycare door.

The placement of the lyrics suggest two different “you won’t”—Y/N who won’t realize Moon’s feelings, and Moon who won’t dare speak them into reality.

Another note on the parallel to frame 1, this time we also see Y/N's back, but it is notably different from our view of Moon's back. With Moon, we literally see inside him through the hole for his loop. However, Y/N is shrouded in shadow, just a solid, obscure silhouette against the bright light of a world Moon—and Sun for that matter—are closed off from. We don’t see into Y/N, just as the Daycare Attendant doesn't have any vantage point of Y/N's life beyond their time at the PizzaPlex. (The unfortunate reality of a being a character made for the purpose of being a vessel for the reader.)

Frame 16. "'cause I can't make you love me" We finally cut to face Moon head-on, frozen in place with his hand stretched out, unable to cross the boundary into the light. His eyes have gone dark. Where we began by seeing bits and parts of Moon, and never seeing his full face—now we, the viewer, see the full Moon, open and vulnerable—unbeknownst to Y/N.

Frame 17. "if you don't" But in the dark, behind closed doors, there is no one to perceive him—no one to receive him. The light dwindles as the daycare doors are closed. Moon stays frozen where he kneels. It is no longer the glitch that plagues him, but a far deeper dread.

But a lone streak of light peaks through the gap in the daycare doors. Perhaps that is just enough. A silver lining. A frail hope. A single, ethereal thread out of darkness and into light.

Thanks for reading and watching!

We'll be back to our regularly scheduled fun and games shortly!

[just-puddding]

I've been thinking about this post by @oh-no-its-bird

Obito is perhaps the most well-adjusted fictional man to have ever existed, as it is widely known

[makiswirl]

can i just say. and this is probably a niche hill to die on. that i am so gobsmacked every time someone vaguely hints at the idea that jotaro doesn't care meaningfully for the other crusaders, usually particularly kakyoin and joseph, when those two actually tend to be the ones he reacts to being hurt the hardest

like he cares for his loved ones!!!! that literally plays into his character motives in every single part he shows up in!!! stop lying to me!!!!!!!

[fictionadventurer]

Still thinking about Disney's Pinocchio and living in fear that I may never see a movie that beautiful ever again.

[zylphiacrowley]

Erenwol week Day 1

He asked me to accompany him to Yyasulani for the second time… In truth I wasn't sure what to expect, given the state of things but the sudden and uncharacteristic outpouring of emotions as we stood in front of the ruins of his former home, it dawned on me; he didn't want to be alone this time.

Thank you @zeloinator for the prompt list! ~♥

[mistyheartrbs]

something else i thought was really interesting about i saw the tv glow was the way that there's never really talk about like...the pink opaque as fiction/the pink opaque as a creative work - which makes perfect sense since within the movie as a fable, the pink opaque is a metaphor and is moreover more real than "reality," but on the fandom-engagement level it stood out to me!

i'm again speaking from experiences about a generation removed from the 90s/early aughts era and i think there's very much something to be said of modern fandom and the way it's moved into this weird space of desiring validation/"canonicity" from showrunners, much to do with the ease of accessibility to those people. two kids in the jersey suburbs in the 1990s wouldn't be able to just reach out to the pink opaque writers the way that a contemporary audience can dm/reply to/etc. showrunners on social media etc now. but even so, it's a glaring sort of absence - when we see the pink opaque opening theme, the character names show up where you'd expect actor names (and where actor names do show up in the buffy theme, which was a major inspiration). we don't know how long it's been on the air or who created it or where "the county" even is (because it doesn't matter, because the suburbs are the same everywhere forever)

we know it's at least a pseudo-popular series - it runs for five seasons, and merch exists (the episode guide maddy has in the beginning) - but because the film is essentially a two-hander we don't see a wider world engaging with it. because isn't that how it always is? the story is what you make it.

and the streaming version in the third act pushes this even further - it's a different show entirely, again because isttvg is a fable, it's not a literal movie, and it pushes you against a literalist reading. it's different because owen/isabel is miserable and can't even take solace in this thing she loved anymore. it's different because if you watch something alone it's a world away from watching it with your friend. it's different because somebody ripped out its heart.

[tabooiart]

THIS thing ^ says hewwo. UNIRONICALLY.

[gay-strawberry]

so i watched og 1979 alien and

[caterpillarinacave]

the most accidentally hilarious moment in NATM 3 is as the tablet is dying and Larry is cradling Dexter while the audience has this clear view of Ahkmenrah, a teenager who was murdered thousands of years ago, is very, very, slowly collapsing to the floor as his body reverts to a decayed mummified corpse. And nobody acknowledges it.

[petrichoraline]

belt move: success WE ARE EP.4

[bleachbleachbleach]

Bleach is great because when you tell people (through both oral and written communication) to include their slides in the slide deck, and that they should be able to copy/paste them directly in from either Google Slides or PPT—or, if they prefer, they can compose them directly in the group slides—and you still get multiple people emailing you with PDFs… of their slides… instead of thinking “I cannot fathom a reason on earth why you’d think this was the best way to do this” you can think

“Which shinigami definitely do it like this”

[rolandkaros]

forever hilarious to me that tennis is promoted as this prestigious highbrow big-brain sport when most tennis fans these days are like. yeah this is my favorite player. yeah i don't know why they're like that. yes they are stupid. no i will not choose somebody else.

[thatgoddamngingerundercut]

BTS Memories 2016: Making of Blood Sweat & Tears MV Suga and Jimin

[unordinary-diary]

Blyke and John: Parallel Characters

I’ve written multiple entries about this,

[x] [x] [x]

But I’m back to make a comprehensive analysis about the glaring similarities between these two. I’ll try not to repeat myself here.

‼️SPOILER WARNING for the whole series‼️ but this mostly focuses on the story before John’s suspension.

Firstly, this scene:

ch. 121

This conversation takes place near the beginning of the Joker arc. It’s after John targets Zeke, after he targets Juni, and the day before he goes after Seraphina’s kidnappers. The timing is important.

“If someone hit your best friend, would you let it slide?”

That question is supposed to remind us what John does to people who hurt Seraphina: hunting them down and sending them to the hospital. Blyke shooting a destructive beam really close to John was an example of a trait they share: they both blow up violently when people mistreat their friends.

John’s downward spiral carries strong themes of hypocrisy. He’s angry at the world, he’s angry at himself, and as a coping mechanism, he chooses to believe that everyone else is as bad as he is. That means that most of the traits he hates others for are the same things he hates about himself. In this scene, Blyke is unintentionally calling out this hypocrisy: “What I did is no different from what you do”.

But Blyke’s just trying to connect with John here, he has no idea what John’s been doing. And John, of course, doesn’t give a shit about what Blyke has to say. This line was here for the audience to notice.

They’re both so similar, but their similarity immediately causes tension between them because, well, John was on the wrong end of Blyke’s protectiveness.

I really love the way this was written— there are so many flashbacks to this scene, but they remember it differently. John remembers the part that hurt him— he’d describe it as “the time that jackass shot a beam at me”. Blyke remembers the part that hurt him, or rather, hurt Remi: “the time that jackass hit Remi for no reason”.

Blyke and John are both hotheaded characters with strong ideals. They’re similar enough that Seraphina points it out:

(ch. 80)

As Blyke grows as a character, he becomes more like John: sticking up for low tiers and speaking out against the injustice in the world. But while Blyke is doing that more, John is going in the opposite direction, until they are fully opposed to each other.

Speaking of Blyke’s character arc, it took me a few rereads to actually understand what part of him changed. His kindness, selflessness, bravery— all of those things were there from the start. Blyke’s character arc was about becoming more aware of his surroundings, and how his carelessness can harm others. Blyke was never malicious, but after X-Rei and integrating more with the school, he becomes aware of people suffering around him and how he unintentionally contributes to it. He becomes less reckless, privy to the flaws in the system he grew up not questioning, and uses his power more responsibly. He even comes up with a more controlled way to wield his ability. The part of Blyke that changes is his maturity.

Part of John’s character arc is also about being careful. It’s not as close of a parallel as other things are, but one of the things that John works on during his redemption arc is holding back. Both of them learn self-control throughout the series, and for John, that means acting early before his emotions spiral out of hand.

Adding onto my first point about the two of them wanting to protect their friends— the fact that they can’t do that makes them both angry and desperate. For most of the story, the “block” that prevents John from protecting Seraphina is in his head. It’s his own trauma that holds him back. The block that prevents Blyke from protecting his friends is, guess what? Also John’s trauma! Parallels abound.

Another thing I noticed in Episode 80 is this:

Notice that when Seraphina says “I’d take that over strength any day,” John is looking at the camera. He’s avoiding Sera’s gaze. Seraphina is saying she prefers honesty over strength. John is very strong, and very dishonest, but Seraphina thinks the opposite because John is so dishonest. John appears to be reflecting on this disconnect.

In relation to this analysis, Seraphina is actually pointing out a major difference between Blyke and John. Beyond that, she’s praising Blyke’s traits, (less strong but very open) above John’s traits, (strong as fuck but a liar with his pants on fire). Furthermore, John really cares what Seraphina thinks of him. Knowing that she would think less of him is the main reason why he spent so much time and effort preventing her from catching his lies.

This leads into my main point here: Blyke is the “goody-two-shoes” version of John. Or, more accurately, the person that John wants to be. Blyke has a clean track record and doesn’t really get into trouble. He is respected and left alone by the school without being hated and feared, he de-escalates conflicts without taking things too far, he doesn’t lose control, he’s someone Seraphina thinks highly of, hell, even his grades are better! Blyke represents everything that John wants to be, and the person that he could have been if he’d gone down a different path.

But, crucially, John is also what Blyke wants to be. Well, not wholly, but his ability? His strength? It’s one of the things John hates about himself, but Blyke wants that strength so desperately that he risks his life for it over and over again.

They’re both desperate to be like each other, even when they hate each other the most. Neither of them have any idea how alike they already are.

I don’t know what Season 3 holds in store for us, but I do hope that John realizes that Blyke embodies who he wants to be, because mutual jealousy would be a very interesting dynamic to explore in my opinion. I also hope that it ends up being something they can bond over, by helping each other accomplish their personal goals. (Blyke being another helper in John’s character arc, and John helping Blyke train.)

A side note: John beat up Blyke four separate times. That’s more than any other character, which is interesting because John’s main rival is supposed to be Arlo. For reference, John has beaten Arlo twice, three times if you count the time when Seraphina intervened, and he only beat him unconscious once. But John beat Blyke to the point of passing out all four times, the worst of which being a shot clean through his chest. (shoulder? Unclear. S1 finale).

It’s odd, isn’t it? Out of everyone, Blyke is the one who John physically hurt the most. John’s only grudge against him is an old memory from episode 33, of an event that didn’t actually harm him. John’s grudge against Arlo is much more serious and again— that’s his main rival. So why is it that he’s so much more violent towards Blyke?

The problem here is that I’ve been thinking about these fights as “John picking on Blyke”. And that’s… kind of true? But while Blyke didn’t start any of these fights, they were all consensual in a way. He didn’t seek to fight John, nor was he ever happy about fighting John, but he was always a willing participant.

(138, 153, 206, & 211)

In three out of these four fights, John didn’t even expect to be fighting Blyke going into it. This is significant because while Arlo is John’s main rival, John absolutely fills that role for Blyke. Blyke’s own agency is what leads to most of these events. The reason, narratively speaking, why they fight so much is not for John’s character, but for Blyke.

For John, his reason for fighting Blyke so much is not narrative but moreso symbolic. John is angry at everyone and everything, but ultimately the person he hates the most is himself. It’s only fitting that the character most like him would bear the brunt of his wrath.

As John is having his positive character arc (suspension and post-suspension), he is becoming more like Blyke, and the two of them reach a point where they’re even more similar than they were at the start of the series.

In the Rowden amusement park, John does start to realize how similar they are:

(249)

Additionally, I want to draw your attention to the parallels between this scene:

Blyke and John’s argument in chapter 249

(which the image limit won’t let me add, scroll until you see red hair.)

And this scene:

Argument in ch. 121 (it’s at the beginning)

Two sides of the same coin.

Furthermore, in the S2 finale, Blyke is shown being taken to Keon. There is an implication that by Season 3, Blyke and John will share Keon-related trauma as well. Despite my pessimistic predictions, I do hope that this is a similarity that can bring them together rather than tear them apart.