#using the term audience for the lack of a better term

[minty-playhouse]

I'll never in a million years understand the whole "x fandom/shipper dni" because... someone who likes a ship or media you don't like engaging with your posts isn't gonna make that magically appear on your dash? And it also won't make all the fans of that thing suddenly flock to your blog/account?

For instance, I don't like Drawn Together. No shade to fans but the humor is a little too crude for me and the most annoying guy I ever met irl never shut up about how it was the best cartoon in the world so it really soured my opinion on the show as a whole.

But if DT's #1 fan found my blog and started spam liking/reblogging stuff from me it would literally change nothing in my life? Even if they start following nothing will change. They'll keep posting their DT stuff and I'll be none the wiser because it's in THEIR blog. Unless I'm following them back I'm not seeing their content on my dash.

I understand dni's when it's racists or transphobes or whatever because a blog is a very personal thing and the danger of a personal post reaching bad people is very real if you allow these people to start spreading your posts to their circle.

But someone liking a fandom/ship? Even if it's the most annoying fandom in the world, usually they are annoying among themselves! A random Homestuck blog isn't gonna go to a random Genshin blog and go "Hey by the way" just because of a liked/shared post.

[soupdreamer]

absolutely love how the ART gatsby marketing team is essentially doing the exact opposite of what the broadway/paper mill gatsby has been doing

[the-saucy-wave-equation]

coming to the conclusion that the kind of writing that my old PI wants is overly simplified because she's overworked and just not thinking straight a bunch of the time

[ikilledamanforthisurl]

yknow the most unbelievable thing about star trek isn't the aliens, isn't dodgy dialogue or cheesy aesthetics or bad CGI, but rather the fact that the Federation, self-proclaimed "paradise", operates a prison system

[hotvintagepoll]

Propaganda

María Félix (Doña Barbara, La Mujer sin Alma, Rio Escondido, La Cucaracha)—Maria Felix is still possibly the most well-known Mexican film actress. She turned down multiple-roles in Hollywood and a contract with Metro-Goldwyn-Meyer in order to take roles in Mexico, France, and Argentine throughout the 1940s, 50s, 60s. She was so famous and so respected as a dramatic actress that she inspired painters, novelists and poets in their own art--she was painted by Diego Rivera, Jose Orozco, Bridget Tichenor. The novelist Carlos Fuentes used her as inspiration for his protagonist in Zona Sagrada. She inspired an entire collection by Hermes. In the late 1960s Cartier made her a custom collection of reptile themed jewels. She considered herself to be powerful challenger of morality and femininity in Mexico & worldwide--she routinely played powerful women in roles with challenging moral choices and free sexuality. But even still, years after he death, she is celebrated with Google Doodles, and appearances in the movie Coco, and holidays for the anniversary of her death.

Julie Andrews (The Sound of Music, Mary Poppins)—Oh where to start .... I'm not sure I even know how. She's just perfection. And it's not fair I can't bring post 70s work into this, because she just gets better and better, and her drag performance in to die for. But in the era I CAN talk about, she shows she has THE RANGE. Beautiful, feisty, funny, holding her own against Christopher Plummer, Paul Newman, Rock Hudson. Oh she's luminous.

This is round 4 of the tournament. All other polls in this bracket can be found here. Please reblog with further support of your beloved hot sexy vintage woman.

[additional propaganda submitted under the cut.]

María Félix:

She's Thee Hot Vintage Movie Woman of México. She's absolutely gorgeous and always looks like she's about to step on you. you WILL be thankful if she does.

"María Félix is a woman -- such a woman -- with the audacity to defy the ideas machos have constructed of what a woman should be. She's free like the wind, she disperses the clouds, or illuminates them with the lightning flash of her gaze." - Octavio Paz

María Félix is one of the most iconic actresses of the Golden Era of Mexican Cinema. La Doña, as she was lovingly nicknamed, only had one son, and when her first marriage ended in divorce her ex-husband stole her only child, so she vowed that one day she’d be more influential than her ex and she’d get her son back. AND SHE DID! María Félix rejected a Hollywood acting role to start her acting career in Mexico on her own terms with El Peñón de las Ánimas (The Rock of Souls) starring alongside actor, and future third husband, Jorge Negrete. She quickly rose to incredible heights both in Mexico and abroad, later on rejecting a Hollywood starring role (Duel in the Sun) as she was already committed to the movie Enamorada at the planned filming time. Of this snubbing she said, quote: “I will never regret saying no to Hollywood, because my career in Europe was focused in [high] quality cinema. [My] india* roles are made in my country, and [my] queen roles are abroad.” (Translator notes: here the “india” role means interpreting a lower-class Mexican woman, usually thought of indigenous/native/mixed descent —which she had interpreted and reinvented throughout her acting career in Mexico— and what abroad was typically considered the Mexican woman stereotype, with the braids, long simple skirts, and sandals. This also references the expectation of her possibly helping Hollywood in perpetuating this stereotype for American audiences that lack the cultural and historical contexts of this type of role which would undermine her own efforts against this type of Mexican stereotypes while working in Europe) She was considered one of the most beautiful women in the world of her time by international magazines like Life, París Match, and Esquire, and was a muse to a vast number of songwriters (including her second husband Agustin Lara,), artists, designers, and writers. Muralist Diego Rivera described her as “a monstrously perfect being. She’s an exemplary being that drives all other human beings to put as much effort as possible to be like her”. Playwriter Jean Cocteau, who worked with her in the Spanish film La Corona Negra (The Black Crown) said the following about her, “María, that woman is so beautiful it hurts”. Haute Couture houses like Dior, Givenchy, Yves Saint Laurent, Balenciaga, Hérmes, among others, designed and dressed her throughout her life. She died on her birthday, April 8, 2002, at 88 years old, in Mexico City. She was celebrated by a parade from her home to the Fine Arts Palace in the the city’s Historic Downtown, where a multitude of people paid tribute to her. Her filmography includes 47 movies from 1942 until 1970, and only two television acting roles in 1970. She has 2 music albums, one recorded with her second husband, Agustín Lara, in 1964 titled La Voz de María y la inspiración de Agustín «The voice of María and the inspiration of Augustín», and her solo album Enamorada «In Love» in 1998. Her bespoke Cartier jewelry is exhibited alongside Elizabeth Taylor’s, Grace Kelly’s and Gloria Swanson’s. In 2018, Film Director Martin Scorsese presented a restored and remastered version of her film Enamorada in the Cannes Classics section of the Cannes Festival and Google dedicated a doodle for her 104th birthday. On august 2023 Barbie added her doll to the Tribute Collection.

Julie Andrews propaganda:

"She has such a simple but amazing beauty to her. Not to mention her amazing and melodic singing voice!"

"Roles like nannies and governesses can make us forget how attractive she was! A perfect combination of elegant and adorable, with the most incredible vocal range to boot!"

"Besides having one of the most amazing singing voices ever to grace the silver screen, Julie always had an understated beauty to her that wasn't always shown off on screen. But it's there nonetheless because her characters managed to pull some of the hottest men ever to grace the screen."

"The juxtaposition between carefree Maria and stern but fun Mary Poppins shows the power of the acting of this HOT VINTAGE MOVIE WOMAN"

"Charming, genteel, incredibly charismatic, beautiful, and has an angelic singing voice to boot. Her screen roles as Maria in The Sound of Music and Mary Poppins are absolutely iconic for a reason and she originated several well-known Broadway roles before those."

"the most beautiful woman 12 year old me had ever seen possibly"

"OMG OMG OMG she’s definitely been submitted before how could she NOT but!!!! I loveeee her so muchhhh rahhhh prebby!!!! cool!!!! mary poppins the beloved <33333 some people dislike it but I love jolly holiday so much because it IS a jolly holiday with Mary!!! no wonder that it’s Mary that we love!!!!!"

"I know many people who were taught in singing lessons "when in doubt, pronounce words how julie andrews would pronounce them." THATS CALLED INFLUENCE. THATS CALLED MOTHERING THOUSANDS."

[wilwheaton]

The grifters that make up the troll-industrial complex are not okay. "One can see the sheen of desperation in the world of self-identified conservatives who make a living by "triggering" the liberals. The usual dose of outrage bait isn't working as well any longer, so the right-wingers are escalating the provocations. Tucker Carlson, for example, gave a glow-up interview with manosphere "influencer" Andrew Tate, who is being held in Romania on charges of sex trafficking and rape. Daily Wire anti-trans provocateur Matt Walsh is selling plushies of himself clad only in a diaper, which he encourages people to give to children. Daily Wire founder Ben Shapiro, on the other hand, made a nearly hour-long video tantrum about "Barbie," complete with setting the dolls on fire. The clawing need to get attention from progressives seems to be driving these engagement farmers a little nuts, as they up the weird-and-evil ante, hoping to get those precious clicks and plays. [...] "The escalation of shock value tactics, on both the right and the pretending-not-to-be-right political classes, are likely rooted in the same cause: The slow motion collapse of Twitter, now rebranded "X," under the leadership of Tesla CEO Elon Musk. While these folks have various outlets, both in the media and social media, ultimately their business model of trolling depends heavily on Twitter. "Grifters need people to harass and a mainstream discourse to counter. As traffic takes a nosedive and Twitter becomes less a part of the conversation, it's going to be harder for these folks to make money," Melissa Ryan, a strategist who helps counter online disinformation, told Salon.

"They need us. We don't need them:" The fall of Twitter is making the trolls and grifters desperate

The clawing need to get attention from progressives seems to be driving these engagement farmers a little nuts, as they up the weird-and-evil ante, hoping to get those precious clicks and plays.

[...]

"What Musk has proven through his actions and his statements is that he's committed to serving the trolls and the fraudsters first and the ordinary good faith users second," explained Brian Hughes of American University, who is the co-founder of the Polarization and Extremism Research and Innovation Lab (PERIL). But, he noted, Musk is "blinded by his own ideology" and can't see how this is backfiring. "As normal people, for lack of a better term, continue to leave Twitter, that's actually going to cause probably a reduction in the use of the platform by these trolls and these fraudsters. They don't have their audience of targets that they need," he continued.

(bolding mine)

HAHAHAHAHAHA die mad about it, trolls. Full offense.

[guiltyasdave]

say you'll see me again

epilogue • series masterlist

pairing: Dave York x f!reader

word count: 789 (it's a smol one)

tags/warnings: explicit smut -> 18+ mdni, dbf!Dave, somewhat unhealthy relationship dynamics (in the past), daddy issues (reader’s dad sucks big time), able-bodied reader, no use of y/n, divorced Dave, angst, but also... nice things :)

a/n: co-written with my angel @joelscurls, i love you <3

this is me officially saying goodbye to these two babies and i'm extremely emotional about it. i loooooved writing this story, it has brought me so much joy, it's my favorite thing that i've created and they really mean the world to me.

this story has received so much love and i'm beyond grateful for everyone who has read, liked, commented or reblogged <3 i hope you like this ending as much as i do.

follow @guiltyasdavenotifs for updates and find jess’ masterlist here and my masterlist here :)

dividers by the lovely @saradika-graphics 🤍

No one’s there to cheer you on at your graduation ceremony, no one to sit in the audience and clap when your name is being called and you walk across the stage. You didn’t invite anyone. 

A small part of you, the part that still feels like the 12 year old girl who thought that her father would love her if she only tried hard enough, had hoped that somehow he would know anyway. Would show up to surprise you. 

It’s less of a surprise that he didn’t. 

When you accept the certificate with your name on it, it gives you a grim sense of satisfaction. You’ve done it on your own. On your own terms, with your own money.

Your father had all but thrown you out of the house after seeing you leave on the security camera footage mere hours after he’d declared that you were grounded. It’s been a challenge, adjusting to the lack of his financial aid, getting by entirely on your own. It also felt like freedom, like you were finally able to breathe. 

You swallow down the bitterness that stings in your chest and rises up your throat when you watch your classmates, your friends, surrounded by their families. Proud smiles, hands on shoulders, long hugs. Fueling a longing that’s been there for as long as you can remember. It wouldn’t have been like that with your father anyway. 

You’re better off like this, with the person who, despite his insistent claims, is the one who actually brought you to this moment: Yourself. 

The buildings of the town you were raised in are surrounding you, a familiar backdrop as you make your way down the street. You don’t know why you felt the need to come here. Maybe you had to visit one last time, after leaving in a panicked rush, too hurt to dare to look back. Maybe you can say goodbye now, and your mind will stop torturing you with questions of what could have been, daydreams of scenarios that you wished had turned out differently. Maybe you can clear out the remains of the battlefield that it turned into, and finally make peace with it. 

You had wished to be able to hate David. Hate him for not wanting you, hate him for pushing you away. Hate him for the way he changed you, for showing you a connection that you haven’t been able to feel with anyone else. But you never could. 

It’s not hard to understand in hindsight, why making you leave seemed like the right thing to do for him. Looking back, you think that it actually was. Though that never made losing him hurt any less. 

If anything, you wish you could hate him because the fact that he did the right thing makes you want him more. 

The door shuts behind you and your eyes adjust to the dim light of the bar. Your shoes are sticky against the ground. It’s a far cry from the country club you used to go to. But you’re also a far cry from the girl who used to go there. No black little designer dress on your body, no expensive heels clicking against the floor. And no fear. No fear of being ignored, no fear of being talked down to, no fear of having to make yourself small. 

You’re free to be yourself, now. 

You walk towards the counter, hop up on one of the stools. It scratches against the wooden floor, mixing with the faint sound of rock music playing from a speaker in the corner. 

There’s movement beside you, the silhouette of a man caught in the corner of your eye. The drum of his fingertips against the counter. 

“Evening.” 

The wave of a memory builds up in your mind within moments, flooding your every thought. The smooth rumble of his voice. The shape of his face when you turn towards him. The strong nose, the hard line of his jaw, the permanent pout on his lips that you can still feel against yours when you try really hard to remember. The deep brown shade of his eyes that still means safety to you. 

When thinking about him, you had always pictured him somewhere new, somewhere you couldn’t reach him. It seems silly, now that he’s right here, like a piece falling into place. Of course he’s here.

Your lips pull up into a smile. No shyness, no worries of doing something that you shouldn’t. 

“Hi.”

“I’ve never seen you around here before,” he echoes back the first words you’ve ever spoken to him. He remembers, just like you. Just like he said he would. Your smile grows wider. 

You’re free to be yourself, now. 

...i'm trying really hard not to cry right now. if you enjoyed this, please consider letting me know <3

[an-actual-attack-helicopter]

i can't get over this. i have to analyze it.

if ya didn't notice, uh...massive fucking parallel here. there is no way it wasn't on purpose bro. tdp loves to use parallels to make points to the audience.

then...what was the point here? well, it does illustrate that viren and aaravos are similar in that they are both fathers. aaravos even states that he understood viren's love for claudia because of his experience with leola.

so, i wonder if perhaps this parallel does not serve to make a point, but to pose a question to the audience: why would aaravos kill someone just like him? and why would he manipulate viren's daughter even though if someone did that to leola he would be furious? how can aaravos be so heartless, despite being able to relate so much to viren?

those are good questions, so much so that they are difficult to answer. it is hard to imagine someone having such a lack of shits to give about someone like themself. but i am going to try.

maybe aaravos suffers from a sort of tunnel-vision, for lack of a better term. ever since leola's passing, his entire purpose has been revenge. he doesn't care what happens, he just wants to show the cosmic council that they fucked around and found out.

BUT I HAVE A COUNTERPOINT FOR MYSELF: how the hell would someone who lives for so long to manage to avoid considering his impact on people like viren and claudia?

GUESS WHAT? I HAVE A COUNTERPOINT-COUNTERPOINT: that is honestly sometimes what trauma can do to you. i mean, it's a really extreme case but like. the depression just gets so bad that you just don't give a fuck about the world anymore. you are in too much pain yourself to care that you're hurting people. you choose to feel nothing over feeling your pain and still being a good person. i'm not justifying this by any means, btw. it's just how the ball rolls, sometimes. dont ask how i know all this lmfao

but all that is just my guess of what is going on inside his head. i think this is one of the few times that my history of depression actually gives my arguments more credibility lol

[ofswordsandpens]

I've enjoyed episode 3 the most so far, but I think the show is still struggling to find a good balance between taking itself seriously and the absurdist humor that RR writes with. My main takeaways:

The Fight Scenes (or Lack Thereof?)

It seems very peculiar to me that the show is just speed running through its battle scenes. Again, it feels very much like the product of Disney trying to sanitize anything that's too extreme?

The trio fleeing from the kindly ones in the book ended with Percy taking control of the bus and then crashing it. It explodes. They lose all of their stuff (money, food). In the show, they simply bail out the back window. No true panic. No tension. Just, okay :) we're leaving now :)

The Medusa Scene. I'll speak more to this later, but in terms of the fight we get to see... well we get to see nothing. Apparently this fight required us to view it through the lens of the invisibility cap (ie. not at all),

I understand this show is intended for a younger audience, but the books are as well. Even the movies, which are pg, came up with better ways to show things without necessarily showing things. As a result, it feels like anything that might induce the slightest bit of tension or fear are sanded down and its honestly doing such a disservice to the books and the audience.

Medusa

I actually really liked this portrayal of Medusa. The 1950s housewife vibe landed well for me. And I loved the actress's voice -- very soft and soothing but always sounding as if she were just about to cry.

Also, I really liked her dialogue. Her digs at Athena and Poseidon were perfectly tragic.

That being said, I really prefer the trio's arrival to the emporium in the book. In the books, they've been wandering the woods and are lost and exhausted and hungry because of the battle/bus crash where they've lost all of their stuff. It almost feels like the emporium popping up "out of nowhere" was more of it finding them.

Meanwhile in the show, Grover finds it through scent on a satyr path and they immediately know its Medusa, which imo takes out so much of the fun of it all??? In the books, they dont know. Grover's just like, freaking the ever living fuck out, and clearly Percy and Annabeth have let him take sole custody of the shared brain cell, cause they're more concerned about getting some food than anything else

Just... RIP dumbass shenanigans

And honestly, I'm not really sure what necessitated the change here in the show (of them not being tricked). It would have been one thing if they were going to change Medusa entirely to not wanting to harm them at all, but imo, I think its arguable/evident that show Medusa was looking for an excuse to petrify Annabeth and Grover (at minimum) regardless of anything.

Honestly, I would have had the show loosely play it out as: book arrival (they dont know its Medusa), keep the dumbass energy and banter, the trio figures out it Medusa while they're eating, Medusa is the more sympathetic version we see in the show, regardless it still ends with the battle.

Also, I do mourn the book battle. The panic and absurdity is just handled better imo. Annabeth shoving them off the bench, Grover flopping all over the place with the shoes but actively getting a good few hits in, Percy having to use to the reflection to behead her... the #TeamWork was emphasized a little more there to me.

Characterization

I think the show is absolutely nailing certain parts of the characters.

They've gotten Percy's anger and his derision towards the gods down. But, I think they're actually underscoring some of his, idk, sincerity? His kindness? It was the line "she met a pinecone's fate" that just rang off to me. While undoubtedly funny, it's just such a stark difference from his reaction to Thalia's story in the books, where he was unsettled by her fate and felt a sincere sympathy for her. The line in the show I assume is meant to criticize the gods, but still, it feels like it comes at the expense of the sensitivity that he has.

They've gotten Annabeth's bluntness, intelligence, pride, and superiority down cold. No question about it. But I feel like they just need to let her be more of a 12yo kid?

Like. In canon she and Percy banter and argue over the silliest of things. She plays hacky sack with Grover and Percy. She blushes and hyperventilates when Luke interacts with her. Episode 3 is like the first time we've gotten to see her do something remotely childish (buying all that candy) and I'm just dying for more of that!! She's not the "mom" of the group and she has her canon dumbass moments. I'm hoping more of this is captured moving forward. They've gotten a good start on the banter, but let Annabeth be more silly! Cause she is!

(Absolutely none of my personal qualms about the characterization are Walker or Leah's fault. They've done amazing. It's the writing/directing I'm side-eyeing).

OH! And I'm sorry but Percy being like "Annabeth we're going to bury medusa with your hat on" would have never ever flown with Annabeth. In no world.

But Grover eating them up at the end? Iconic. Good for him.

[blossomthepinkbunny]

Hazbins bad character design

I feel like there is a definitive lack of varitey when it comes to the designs in HH as well as a problem of characters' designs not fitting them or what the show wants us to assume about them.

I've said it before and I'll say it again (like lots of other ppl already) but the designs in HH specifically mostly don't work. They're fine if you look at them disconnected from the show. Maybe as just random characters who don't really have to carry a show visually. But they don't work if you actually put them into context and into the background of Hazbin Hotel.

Obviously this stuff is very objective and if you do like the designs thats fine (which I shouldn't even have to say). Also I didn't study art or character design and I don't think you have to to be good at it/be able to form opinions on it and this is mostly just me compiling what I don't like while using some basic knowledge on how shapes, colours etc work.

(rant under the cut)

One problem I really have is, that as soon as you have a design there are immediate assumptions about the character. In the sense that if person A is very muscular and fights against person B, who is maybe slimmer or less buff, you would probably immediately assume that person A wins, atleast in physical combat. Whereas person B would probably be the assumed winner in a stretching or flexibility competition. Often characters are designed with these assumptions in mind. Muscle, height, weight, age, clothes etc. give way into assuming stuff about people, their condition, lifestyle or personality.

The expectations that are set up by the design choices are usually either picked to genuinely represent something about a character or to be subverted and shock/confuse the audience.

Like how a lot of fighting types in Pokémon will either be more muscular or have other details relating to certain fighting styles/sports and the fairy types are usually pinkish, fluffy and cutesy. Because these elements are something typically associated with these types and when we look at them we can pretty easily tell which type they're supposed to be.

Otherwise, Monster girl from Invincible is drawn as a twelve year old girl, so it subverts expectations when she turns into a big green monster and generally doesn't stray away from violence, because it's something you wouldn't have assumed about her from her appearance.

In Hazbin Hotel most of the time the character designs don't necessarily fit what they're supposed to be and they also don't use the other design choices as subversion (the one that would probably count here is Nifty with looking and acting very childlike usually but then also acting violent/crazy sometimes).

The first thing would probably be that characters don't look their age mostly.

Charlie and Valeria (Vaggie, but I really don't wanna keep calling her that so she gets a new name) look fine as they're supposed to be around 20. Rosie and Carmilla also look alright for what we can assume their ages are supposed to be. But Alastor is in his 30s or 40s (what it says on the fandom wiki) and he looks around 20 as well. The same thing goes for Lucifer. He looks so young that he could also count as just Charlies brother or friend rather than her dad, because he doesn't look like he could be the dad of a 20 year old. This makes the song "Hell's Greatest Dad" a bit awkward because these men are singing/competing about who is better as Charlies father but they don't look a day older than her. Husk also looks way too young for someone in his 60s-70s (again from the wiki).

The body types being all the same also doesn't help.

Mimzy and Adam are pretty much the only more relevant characters who aren't like all the others in terms of body shape. All the other relevant women in the show have a tiny waist and either big boobs/big hips or just a slimmer build in general. All the men have thin waists and then broader shoulders.

And for some characters it makes sense. Like Angel is really flexible and his more lanky body fits with being a spider. But why are Lucifer and Valentino like that? Other than the fact that Viv doesn't like drawing muscles there is really no reason for them too being build like every other skinny man there. Valentino is supposed to be intimidating not just by how he acts but physically too. He seemingly has a bit more muscle than others but his arms are still super thin and look like they could snap if I look at them wrong. I'm not trying to say that abusers all have to be buff, but simply from a design perspective the scenes with him would be a lot more effective if we saw him actually have a big physical advantage over Angel and others, even when he isn't necessarily threatening them. As soon as he comes on screen, we could see him as a much more intimidating presence, especially when all the other characters look like sticks. Or they could make it so, that he hides his muscles under his coat and when we get the reveal of him actually removing it, it's more shocking and immediately makes the situation more tense.

Lucifer could've had a more confident frame as well. He's the king of hell and the strongest being in hell, so just for the diversity I would give him some muscles too. Husk is also super skinny and for someone who only sits around and drinks alcohol all day, he should definitely have a beer belly (please I swear to god I wanna see more men with bellies, Mammon was great). Also for Valeria and Lute and pretty much all the Angels I don't get why they wouldn't be more buff either. Valeria is a fighter, she's Charlies bodyguard but she looks like all of the other women there. It's stated that Angels fight so wild because they don't know they could get hurt. And while I know that the Angels can really only get hurt by angelic weapons, having this whole reveal that they can be injured would've definitely suprised me more, if they actually looked like they couldn't be injured in the first place. But then again, Valeria looks like her arms would break as soon as a breeze hits them too hard. In some episodes her thighs look a bit more muscular, but not notably and she also doesn't fight using her legs (like Carmilla) so only her thighs being bigger sort of doesn't make sense. In general, she or Lute don't show any difference to the women who aren't physical fighters. And obviously just to have a more interesting show to look at, including different body types would do a great job at making these characters stand apart from eachother more.

While we're on the topic of diversity, another obvious thing that makes the characters redundant and borig (sometimes ugly too) is the reused colour pallette. Colour coding is probably one of the easiest things when talking about character designs and it's something atleast Helluva Boss understands.

What effect warm/cold tones have or what feelings we associate with different colours is a great way to bring stuff about characters across without being too on the nose. Obviously colour can also be used to either connect characters or to make them very distinct. Shape language also plays into that of course. In Inside Out the emotions are mostly characterized by their respective colour and by their distinct shapes.

Joy = yellow (bright colour often associated with the sun/light)

Sadness = blue (cold colour often associated with tears/rain)

Anger = red (very strong colour with aggressive association with fire or when someone turns red because of anger)

Fear = purple (light colour here, mix between red and blue as fear often falls into a more angry or sad feeling)

Disgust = green (colour of most dirt or puke or other stuff people usually see as gross)

Or in a show like Bluey, where different patterns, shapes and colours show the breed of the dog and also how characters might be related to eachother (same breed/mix of breed = usually related).

Or how colours can be used as lighting effects to create cool shots when the colour pallette changes all of a sudden. In JJBA these changes happen often when someone is in distress or unsure of themselves. Also in tense moments to make them seem more exciting and interesting.

Hazbin Hotel has very limited range when it comes to the colours of the main cast. All of them feature some form of red and that usually in combination with black or white (if they aren't just purely red like Alastor or Rosie). This makes them not stand out from eachother and creates very similar colour pallettes which get boring once you've seen them repeated over and over again. It also makes the visual connection between characters who are actually related (like Charlie and Lucifer) a lot less strong because so many characters share similarities already.

Also they just hurt to look at sometimes because the background is mostly red as well and with a lot of them being very overly detailed. People have also spoken before about the show being pretty inaccessible for colour blind/vision impared people due to these issues with the colour.

And now you might say that it's hell and therefore it makes sense for all of them and the background to be red. But firstly, I don't think that there is a definitive source which decides that hell is red and can only be shown/interpreted as red. And also there is another show, also set in hell which actually does a much better job at that and actually shows different colours in hell. Like in Helluva Boss the rings are all colour coded.

And I know, that HH plays in the pride ring fully, but imagine how cool it would've been to see sinners have colours similar to the sin(s) they committed. This could lead to them looking distinct from eachother and the background and would also lead to us being able to assume stuff about them, if we're familiar with the colour coding. In "Hell's Greatest Dad" they do a fun colour change with different light and it's really refreshing and I just wanted to see more variety like that (of course I kinda get that the colour changing isn't really part of the shows design but it was pretty cool to see in that song).

There also is the issue with characters that are supposed to be animal-like sinners not looking like the animal they apparently take inspiration from. The thing is that the animal/object parts don't necessarily have to be visible to understand a character. But in the show, how sinners look in hell is often influenced by their life on earth. Vox's head being a TV is because he was a Tv-show host when he was alive. Nifty also is supposedly a bug, which makes sense because she hates bugs and probably hated them in real life too. But that is where it would be great to actually have Nifty resemble a bug, instead she has no features of one and just looks like a regular humanoid sinner. The same thing happens with Alastor being a deer, Valeria a moth, Charlie goat-like and Angel a spider (also Mimzy is apparently based off of a chicken). Like I said, the animal inspiration isn't essential to the characters, but emphasizing these design elements could help the characters stand out instead of them all just looking like sort of human characters. Sir pentious and Husk work the best in terms of presenting their animal inspiration (though pretty much everything else about Husks design sucks ass).

And then there are complaints about the characters that are supposed to be people of colour not having any features that resemble their race. It's just a bit weird when a mostly humanoid sinner doesn't really seem to resemble how the person looked in real life. Black characters have really desaturated and sometimes just straight up grey skin in HH. Alastor is probably the most egregious in that regard, but also Emily has just light blueish gray skin and no textured hair or other black features like the nose or lips or palms. Velvette and Sera have darker skin but also no other features (except for when we see Velvette's natural hair texture in like one shot at the end of the season). I know there are other things wrong with how Voodoo is presented in HH or with Mimzy's design often being seen as a jewish caricature, but I don't wanna focus on that fully, because I feel like there are people better suited for talking about that (black people or jewish people ofc).

In general HH is a show with pretty bad designs (imo). That's actually a thing I prefer about Helluva Boss, because there the designs are mostly okay or actually sometimes pretty good. Striker is probably my favourite design in both shows (he reminds me of Dillon and that's cool).

I like Mammon, Asmodeus, Octavia and Loona as well. I would still probably change a bunch if I were to redesing the HB cast but they overall look more solid than the HH cast.

This was another post which pretty quickly became an excuse to talk about other media I enjoy. I might do that more often, because comparing elements of HH or HB to other stuff makes it kinda easier to articulate my feelings. Also just because I enjoy talking about other stuff too.

[silvyavan]

Some of yall ain't ready to hear this (partly because I'm sleep deprived) but Asta is literally disabled in the Canon premise and it IS contextually important.

Asta, being manaless, is literally not able to do many things which in BC universe can be considered basic household skills or if he can, the way he has to do it would culturally be seen as a more roundabout and tiring way of doing it.

Broom Flying is a literal main form of transportation in Clover, similar to a bike and Asta cannot fucking use that. My midget king had to fucken experiment with his sword to turn it into a mobility aid to fly like everyone else. Hell, we get it in the first episode that any form of chore that Asta does "normally" (as per the audience) is something that Yuno can do in quick succession due to his magic. Is magic picky on what you can do with it in terms of household duties? Yeah, but every magic has SOME form of relevance in the household.

Antimagic can't count because its only useful against malicious mages or traps which, all in all, can't really offer a lot of flexibility. Hell, Asta could only figure out how to fly outside of Black form 2 whole ass years after he got his grimoire. And even then, NONE of Asta's swords are creation or healing spells, so Magic Knights technically IS the only place he can utilise his grimoire in.

Communication devices and other mana tools, chores that, by magic standards, need magic to be done efficiently and quickly, even FOOD (Heart Kingdoms coconut water being only sweet if you have high mana).

Even the poorest peasant in the boonies has mana. Asta does Not.

And even if he could get stronger and adapt antimagic to straight up anything, Devil Binding ritual and recent arc in Hino shows us that, physically, there are some limits he can't break. Actual, BIOLOGICAL, burnout and lack of professional tutelage/help reasons.

It also puts a lot of his social/inter-political challenges in a bigger depth and with more nuanced realism.

The nobles refuse to acknowledge him as a possible candidate for being the Wizard King because they see him as physically incapable of holding up the mantle, much less actually being one. The court throws him under the bus because its much easier and comfortable for them to sacrifice one orphan who can't even use mana than to make a massive rift between the population and the military when the kingdom is vulnerable, since they believe they wouldn't be losing anything. Hell, most of the captains don't even acknowledge him as an asset until Asta straight up busts his ass/arms with massive feats.

It also adds more value to his relationship with the Black Bulls and Yuno. Yuno DOES acknowledge Asta as a rival, and a very serious one too. His lack of mana isn't a reason for Yuno to be condescending or dismissive of him.

Black Bulls are also, in some part, similar to him and as such, inspiring them to be better as well (Noelle's mana control difficulties, Finral's spell execution and energy consumption issues, Henry's curse, everyone's literal trauma holding them back).

[dragon-ascent]

A short telling of your mermaid self, and the dragon who’s fascinated by you.

★彡fem terms used for reader, Zhongli is a lil silly (and in love)

You don't know how long it's been since the dragon started paying you visits, but everyday he arrives without fail to listen to you sing.

He is quite the large creature, with scales as brown as wood, and eyes as golden as the evening sun. When he arrives, he curls up comfortably by the pond where you dwell. He hums softly as you sing, his eyes closed for most of it. When he's decided it is time for him to depart, he always opens his eyes, fixes you with a watchful gaze for a few moments, and then takes to the skies.

He's quite non-threatening, for a dragon, so you're comfortable drifting to the edge of the water to get a closer look one day. You smile up at him as he opens his eyes and blinks slowly, head slightly tilted in curiosity.

"Hello!" you say amicably. "Thank you for always being my devoted audience member!"

The dragon doesn't respond; maybe he doesn't understand you? You wait a few moments, gazing into his golden eyes, before wondering if you should just continue singing.

Then, out comes the dragon's tongue. He licks your face once, twice, thrice, huffing softly.

"Oh!" You giggle, as he continues to lick you affectionately. "That tickles!"

The dragon huffs again and retracts his tongue. Then, he stretches out and a gleaming golden light illuminates him. You watch on in surprise as his illuminated form grows smaller and smaller...until in the dragon's place is a man a little taller than you are.

Like the dragon, his eyes are golden. His long brown hair flows softly with the breeze, and his beautiful brown silk hanfu shimmers under the light. A pair of gilded horns sits elegantly atop his head, much like a crown.

He is beautiful, but...oh no...he's going to tell you off, isn't he? He doesn't like the songs you're singing today, so he's going to turn you into his dinner! And that's why he'd licked you - he had been taste-testing you!

But he smiles and says gently, "Pardon me, lovely maiden. My name is Zhongli. I felt I had to personally convey how much I adore your singing."

"Oh!" you exclaim, your ears heating up. Is it because of the compliment, or the sheer attractiveness of this man? Perhaps both. "Well - thank you, kind sir. Though I must admit you'll find much better singers in the deep sea. I am but a shallow-water mermaid, and I am as simple as they come."

The man smiles softly, kneeling down. "I beg to differ, my dear."

Now your cheeks heat up - along with the rest of you. This dragon-turned-man seems genuinely interested in your company. "Is that why you transformed into a human? You wanted to talk to me?"

"Yes. I assumed this form would be more...friendly, for lack of a better word. I didn't wish to scare you."

You bite your lip. How foolish was your initial assumption! "I really thought you were going to eat me..."

"Ah," says Zhongli. "I apologise for giving you that impression. In any case, I am not particularly fond of seafood." He sees the look on your face and immediately shakes his head. "Not- not that I consider you as seafood...oh dear...please forgive me." He bows deeply.

"Pffft..."

"Hm?" Zhongli rises from his bow to see you stifling laughter.

"Hehehe...you're silly!" you croon, elbows propped up on the edge of the ground.

The man blinks, at first unsure how to take that. But when he sees your brilliant smile, your eyes crinkled like crescent moons as you laugh at his plight, he cannot help but crack a smile as well. Oddly, his heart skips a beat. "Yes, perhaps I am."

[exitwound]

Maybe think about why you care so much about calling gerard way a woman to the extent that you equate it as the only correct way to engage with their work, as if art as well as support for the trans community can’t have value by itself, as if that isn’t the point, not their literal personal internal experience of gender that’s no one’s business, the same way trying to decide if anyone is trans is not your business if that person doesn’t want to tell you or talk about it with you, because it’s gender essentialist, and why it’s so baffling to you that a celebrity in general but especially gerard way might want to avoid labels or this specific type of intrusive categorization , as they have explicitly stated as well as created music that is about the same thing. And shouldnt we live in a world where someone can present gnc, and talk about experiences with gender and with femininity in honest ways, without people not just obsessing over whether that means they’re “really a woman” but outright deciding, and acting like they are. That’s a narrow fucking definition of womanhood. And shouldn't we value that authenticity from people who don’t want to choose a label as much as we do from people who identify in ways they do choose to label, (labels or the lack of btw have never been individual terms but tools for relating or not relating ourselves to the world in specific ways,) Isn’t that a better more open and beautiful mode of creating relationships to each other? Why does gerard need to be a woman to you? Why are you so obsessed with this? Why is transness and queerness and gender nonconformity itself, to you, some kind of item, an object or artifact for distribution upon others — and it is not in fact “creating cisnormativity” to accept the way a person wants to relate their identity to an audience. There are lots of trans women and transfeminine people who are doing everything gerard way is doing for transness and much more. If you want to call someone a woman go call a woman a woman. If you want to celebrate trans joy go celebrate trans joy. Please by all means do I will celebrate with you I am celebrating with you and I am doing it while listening to my chemical romance. So what’s the point in acting like this. I really don't get it. But it concerns me because this isn't the only time I've witnessed this kind of attitude and although its well-intentioned and "playful" its ultimately weird, ultimately harmful. So honestly, if this really feels "low-stakes" to you it might be because you've never dealt with the kinds of situations where the stakes exist, or considered the perspective of someone who has a different relationship to the stakes of your argument than you do.

Because not to be dramatic, but these stakes are the same stakes relevant to the literal record numbers of legislation currently being passed in the US using bioessentialism and gender essentialism to install systems of state-controlled gender-enforcing and forced gendering of trans and non-trans gnc children in schools and in healthcare. What you're doing is, if on a small scale, still contributing to the same conceptualization of gender as these laws, and as the people who passed them, even if you're well intentioned and hate the laws, even if your beliefs are reversed, the framework is the same, and that framework is going to empower the dominant culture, not yours. That's how power works. Which is why it's stupid. It's literally just stupid. And it hurts trans people who have had experiences in the real world where people are just as intrusive as you are being about trying to interpret their gender, and you’re no different for trying to clock people. If you don't know the stakes of your words, you should learn them before you use those words. Just because you're in a bubble of people who agree with you and think this is just about being either "right" or "wrong" about gerard way's gender and wanting to be "right" doesn't dismiss you from the meaning of the actual words you are saying and the ideologies informing your beliefs, whether or not you're aware of them, because the rest of us aren't trying to be right, we're not living in a this-or-that world in the first place. Personally I don't know them. I've appreciated & engaged with what they have said about their experiences with gender as well as their art while also respecting their statements about not liking labels, and treated their silence on their own identity as intentional, because I like knowing what words, and the absences of words, mean

[monarchisms]

im merely curious because of what you mentioned previously, but what do you think is different between the watcher service vs dropout? i /do/ think there is one, but i can't put my finger on it

as of right now, there are two major differences in my eyes: legacy and diversity

the first point, i had to think on for longer because though i'm familiar with dropout because my friends are into their content, my own perspective is lacking. so, i did some minor research to fact check stuff

dropout, i feel, is an exception to the rule in regards to internet-based companies making their own website/streaming services. until recently, they have existed as collegehumor since fucking 1999. they have lots of prior experiences to reflect on, and a long-term audience that often gives them feedback they're receptive to. their older content staying on youtube alongside some new ongoing stuff still being uploaded there is a nice plus. ryan and shane got popular through unsolved comparatively much sooner in 2016, as did steven in that same year with worth it, watcher currently is only 4 years old, so their foundation is more shaky right now

what also helped alongside that was that the transition wasn't as jarring as watcher's announcement. their subscription price on launch in september 2018 was $3.99 a month up until december, when they eased into tiered subs, which must've helped a lot. afaik, watcher tv has no mobile app (yet?), and many fans outside the US are region-locked without a vpn or something similar. with watcher and dropout in its current day each being $5.99, this leads into...

the second point: diversity. dropout launched mobile versions of their service 3 months after the official launch. watcher is exclusive to one official platform, as mentioned before, but in my opinion, what hurts watcher the most is series diversity. they have like, one series going on for a few weeks or months before another starts, so if someone paid them the fee, it'd be for something they might not even be interested in. likely, they'd binge the series they enjoy and unsub until the next season comes out. dropout has the advantages of both legacy series under the collegehumor name readily available, and their unscripted ongoing series coming out concurrently with a fixed schedule so than something new would be coming out i think every weekday at this point. it's reall more bang for your buck

all of this is why i said watcher "wanted to be dropout so bad" yesterday. they've created Yet Another streaming service with a price and catalogue that doesn't justify its existence. this could've been a more focused patreon. this could've been a youtube membership. this could've been a secret third thing. this could've been anything else than what we got, and it would've had the potential to be better.

tl;dr- this is watcher right now:

[aeithalian]

On Apollo and fatal flaws

Vague question for my fellow apollogists out there: what do we think Apollo's fatal flaw is? I write this realizing that, in all five books of the series, all told from Apollo's point of view, we never actually have it explicitly stated, either from Apollo's knowledge and refusal to share (which, strangely, seems to me like something he would tell us), or from him not actually knowing, either.

Simply stated, a fatal flaw is any kind of weakness of a hero, god or mortal, that can be exploited and can cause the downfall of that character. That being said, we already know some that generally scope out the larger range of what they can be:

Percy: excessive personal loyalty

Annabeth: hubris/pride

Nico: holding grudges

Thalia: ambition

Leo: feeling inferior

Piper: low self-esteem

Luke: wrath

Jason: hesitation and excessive deliberation

And we are certain that immortals have flaws like these, too. Although it isn't explicitly stated in canon what Zeus' fatal flaw is, it's exceedingly obvious that it's paranoia and hunger for power, as well as his sexual infidelity.

I feel like we can easily knock some flaws off the list already:

Holding grudges is off the list for the main reason that, if there's one thing Apollo oozes, it's forgiveness, and the fact that he is always ready to give second chances to people who have wronged him and the world (Lityerses, Luguselwa, Meg, etc.)

For the same reason, I'm going to knock off wrath. Yes, he has moments of rage, but so does everybody else! It's human nature, and, as stated before, it's usually overshadowed by Apollo's choice to let go of that anger and choose forgiveness instead.

Ambition is an interesting one, but it's not at all something that really comes up in the series to the point where it ends up being powerful enough to be his fatal flaw. He rarely seeks power he didn't already have before, especially when you consider he is Zeus' most powerful son, and one of the most powerful gods period. Why would he need more power? Unless, of course, you choose to point out that one time he tried to overthrow Zeus, but I'd argue he was acting more out of a place of 'hey please be better at your job' than 'I want your title and position', which actually falls more under Poseidon's motivations in that myth.

Interestingly, there's a certain aspect of Apollo's character in the myths that totally screws the pooch in terms of this discussion, and that's the fact that Apollo, throughout the stories of Ancient Greece, is a typical example of perfection. Literally, he's written to be virtually flawless, the paragon of young men, and (in the context of Ancient Greek culture) doesn't have many moments of rage, selfishness, or paranoia, or at least, not as many as other gods (looking at you, Artemis).

HOWEVER, as much as the myths seemingly act like he doesn't have a glaringly obvious flaw, we as a part of Apollo's inner circle/audience know he's got one - I mean, look at him! It's in there somewhere, nobody's perfect, and I don't think anybody's pretending as such for Apollo. What irks me is that we know Apollo is not lacking in general character flaws, but there is one, beyond a doubt, that shapes his inner core irreversibly. And we don't know it.

Thankfully, though, we've got five books of content that might help us come to a conclusion.

The Hidden Oracle, being the beginning of the story and the beginning of Apollo's character development, is where we would get an inkling of what Apollo wants us to think his fatal flaw is. To us, Apollo appears vain, self-centered, and, frankly annoying. And he does these things on purpose. Or at least, he tells us these things.

That's the thing: if you look past all the fluff Apollo spits out to the audience throughout the first majority of the book, before his children are taken into the forest, you'd find that his dialogue, aka how the other characters of the story hear and see him, doesn't really reflect that. Most of the annoying, self-centered brattiness is only on the page, and not as obvious in his personal interactions (not saying they're not there, but it's so much worse in his internal monologue). So, what does this tell us?

That those aren't his fatal flaws. He's very good at pretending that they are, probably because, as I've read several other metas very cleverly explain, that this is what gods are supposed to be, and, Apollo, in his desperation be his father's golden child again (or, also to avoid his wrath, take that how you will) has built up a very elaborate mask for thousands of years, because that is what he is not. He's trying to be glossed over in the vast sea that is the gods, and it's not really working because, well, he got turned into a mortal. Again.

As we pass through books 2 and 3, we're still not quite past the whole "pretending to be petty and self-serving because this is what I am supposed to be as dictated by the laws of my immortal people and my father". That, almost certainly, doesn't come until the latter half of The Burning Maze. So it's further safe to assume that our best guess as to his fatal flaw probably coincides with his more honest moments with the audience, eg. books 4 and 5.

Now, I know a popular common answer to this whole question is that it's his ego and his pride. But here's the thing: as we move on to the second half of the series, we get an interesting revealing of Apollo's perception of himself. To put it plainly: Apollo is not a narcissist, as much as he pretends to be (see the above points). Honestly, he might actually hate himself and what he's become as he learns to take a more critical view of himself as the series goes on. Drawn in direct antithesis to his moments in the first two books, when he tells us that he assumes that anybody he meets is willing to help him, after the peak of his development (marked by his promise and Jason's subsequent death), this isn't the case. That's why I'm pretty okay with putting pride and ego towards the bottom of my list of possible fatal flaws for him.

Honestly, if I didn't know any better as we reach the end of the series, I'd say Apollo's fatal flaw might fall somewhere closer to poor self-esteem, insecurity and self-doubt, but for some reason, that doesn't quite fit. I'd argue that a lot of those feelings probably stem from being stuck in the inadequate body of a mortal with a tiny fraction of his usual power - of course he's going to feel like that. That, and it's almost the direct opposite of what his flaw is perceived to be by other sources, so it feels like too large a leap to me.

I'm deliberating from my point, which is this: I still have no clue what his fatal flaw is.

It's not:

narcissism

pride

OR on the other side of the spectrum:

low-self esteem

self-doubt

OR the list of things we knocked off earlier:

holding grudges

wrath

ambition

And when you compare to other characters he might also be like, I would argue he's a totally different animal. The only character I could see a similarity with is Percy. But, again, it's just not the same. Percy's flaw, excessive personal loyalty, still doesn't really fit because, while I'd argue that Apollo's never really put in a situation where he's had to choose to save the life a mortal friend over his task of restoring the Oracles, I do believe he has a strong sense of duty. No, I don't think he would sacrifice Meg's life to do that job, but it's not something we see him forced to pick between (that I can think of, at least). I like to think that, on one hand, Percy would flat-out refuse to do his duty to save the life of a friend out of principle, whereas Apollo might find a clever loophole to save the friend, do the duty, and end up doing harm to himself. If anything, while Percy would be ready to burn the world to save a friend, Apollo would be ready to burn himself first.

That, I think, is our biggest indicator. Apollo loves his friends and the world. He wears his heart on his sleeve, this is something the Triumvirate exploits to no end.

Athena tells Percy something in the PJO series (the Titan's Curse, I think?) and says that the most dangerous fatal flaws are the ones that are good in moderation. And, of course, Apollo is a main character, so naturally his fatal flaw will fall under this category.

I think Apollo's fatal flaw is of the same breed as Percy's, but isn't really the same creature. I'm sure there's a more eloquent way to put this, but it seems to me that his fatal flaw has something to do with his tendency to be self-sacrificing, easily forgiving, and empathetic. He's been stabbed in the back several times and every time chooses instead to show trust and camaraderie, to see the best in people, and give them another chance to prove themselves: with Meg, Crest, Lityerses, Luguselwa, Meg's adoptive siblings, and many, many more. That seems very dangerous in the wrong situation, yes? Especially someone in Apollo's position - there are plenty of bad people who would be ready to take advantage of this.

And what is a story if not the hero learning to overcome their fatal flaw? And, really what is the Trials of Apollo all about? How do we end? What choices does Apollo make for the future at the conclusion of the Tower of Nero that directly contradict his overwhelming urge to choose forgiveness and let others try again?

The Tower of Nero, Chapter 36

At the end of any good epic story, the hero learns to overcome their weaknesses and flaws and do the right thing regardless. For Apollo, this comes when he refuses to forgive one person: Zeus. Apollo ends his pentalogy with coming to an understanding of himself and his relationship with his father, learning to overcome that tendency see the best in everyone, and realize that not everyone can choose to change for the better like Apollo has.

EDIT: a masterlist of my other metas

[pseudophan]

sometimes I think that Dan and Phil have “settled down” for lack of a better word into their own sphere of having control and doing whatever content they feel like specifically for the audience that has stuck around all these years which is true to a certain extent for niche little things on the gaming channel but if dnpcrafts and all the other recent ventures have proved they still have the sauce creatively and they’re still pretty relevant in terms of pop culture (seem to be recognized/beloved by both people from the old YouTube and new online platforms) and I genuinely believe that this year they’ll do something to launch them back into the spotlight spotlight and will gain widespread recognition/praise even if it’s something they contribute to behind the scenes idk I’m just so proud of them they could continue to play silly games and address the lore forever and it would keep us veteran phannies happy I just feel like they totally have the ability to still be something more whatever that means yk

i think they might accidentally catapult themselves back into relevancy at this rate. every time they do something now there's more people perking up like oh? those two are back? and so now if they do come out with a bigger project or just anything New And Exciting i think it has the potential for reaching more people than they're necessarily planning on, if that makes sense