#we were absolutely gone

[campbyler]

anyone else have the funny feeling that thea x suni is the big love story of this saga as well as mike and will? how did that drunken evening at the rainforest cafe go lads? 😂

HELP 😭 so sorry to disappoint but i am 22 and thea is 29 so we have a very sisterly relationship irl!! we both have similar age gaps w our own siblings so i have told her before that being around her makes my inner annoying little sister come out <- usually carrying the burden of Eldest Daughter so it’s nice to be the annoying and weird one for a change :-) we were also at a queer bar and Not the rainforest cafe (thea made a drunkposting joke and she does not remember why she typed that) but we got our sea creature themed accessories complimented by multiple women and i also kissed a girl and got her number so i would sayyyyyy it was a success and a very fun night overall 🥳🥳🥳

[egophiliac]

Hi it's just to let you know that the official romanization of Revaan's name is Raverne ! Also they have romanized Baul's name to Baur !

Twst coming back at us again with the least expected romanization! thank you everybody (oh god my inbox) (no it's great, I literally asked for this and the reactions have been INCREDIBLE, thank you all!)

I do like Raverne though, I think it's got a nice fancy sound to it! (I had kinda suspected it was going to be an R instead of an L, so the fact that it's SO close to Laverne except for that is hilarious to me personally.) and Dragoneye Duke is honestly probably the best translation for his title, I wasn't envying the localizers that one. :') Baur instead of Baul I was NOT expecting, but in retrospect I think his name's supposed to be a reference to the Bauru crocodile, so that actually makes way more sense!

someone else also said Meleanor has become Maleanor, which is the REALLY weird one to me, because I was so surprised it was written as Mel instead of Mal in the first place?! oh god no I can't decide which one I like better. 😭 (I wonder if they might change it to Mal...they have made romanization changes before) (like I remember House of Distraction being corrected to House of Destruction in Playful Land) (I did check and she's still Mel for now, but I dunno, they might Mal her up and some point and save me from having to make a decision about which one to use) (HECK I CAN'T DECIDE)

uhhhh thank you for letting me ramble about anime names, let's just say MONOGRAMMED SWEATERS FOR EVERYONE

[aroaceleovaldez]

It's honestly wild to me that ToA went through so much trouble to emphasize the fact that Will did not magically fix all of Nico's problems and was explicitly not Nico's only doctor.

Only for TSATS to have Will fix all of Nico's problems and have Nico be entirely reliant on him the entire book and literally helpless without him and LITERALLY have Nico's problems be magically removed.

[1doesnotsimplyhavejust1fandam]

One of my favorite aspects of the Buddie relationship is that they are both so okay with clinginess. Obviously Buck tends to be the one who is the clingier of the two, but neither of them have any reservations about this behavior. They see no problems with always wanting to be around each other. They are equally codependent.

Eddie is beaming fondly about Buck’s obsession with taking Christopher to the zoo all the time. Buck willingly forces Eddie, Chris, Taylor, and himself into an awkward dinner because he wants his girlfriend and best friend to get along, and Eddie allows it even though he kinda hates Taylor. Eddie doesn’t even flinch when his best friend shows up on his doorstep out of the blue after he just got out of the hospital from a lightning strike injury that killed him. Buck has zero issue with Eddie dropping Chris off with zero warning to get him out of bed and back to living life again.

Eddie sees Buck’s attachment issues as something to be treasured or protected, and clearly encourages Buck to be around constantly if the “this is Eddie’s house, I’m not really a guest” line is any indicator. And as for Buck, if Eddie ever found a new friend to hang with, he would immediately start crashing out, as evidenced by the ill-advised maiming he does of Eddie’s ankle because he’s so damn jealous of Tommy. They couldn’t possibly be more “what’s mine is yours, and what’s yours is mine” about each other, it’s just that ridiculous.

[shannonsketches]

I saw someone on reddit a while back say that Toriyama wasn't a very good storyteller because he's more interested in jokes and I haven't stopped thinking about it.

I can't imagine people who think like that practice critical analysis or creative endeavors, least of all creating comics, and I'm going to explain what I mean using one of my favorite panels from the manga:

Toriyama introduces two new villains who were only mentioned off-screen as being much stronger than Raditz. This one panel both introduces these characters and tells you right away:

The smaller of the two is the superior, based on his attire, the fact that he's in the foreground, and he's the one eating

The superior is callous, both because of his dialogue and the fact that he is the only one eating, despite his meal being larger than he is

The superior is monstrous based on what he is eating (my favorite set of details) -- at first glance some kind of insectoid creature, but upon closer inspection:

This is an intelligent, technologically advanced life-form that used both a gun and a ship

2. Neither Saiyan is damaged, telling us even advanced alien weaponry does not harm a Saiyan (but Vegeta's armor is scuffed while Nappa's isn't, implying there was a physical if not futile attempt to stop him)

3. The arm is still bleeding, implying this kill is relatively fresh

4. The gun is next to the body, implying that Vegeta sat down on this person and starting eating them right where they died

5. There is a second body in the background that is significantly smaller despite being very nearby, which may imply that Vegeta is eating the adult but did not spare the child -- and if you're really into parallels,

6. There is smoke in the background, Nappa is sitting on inorganic architecture, and the ship is on it's side, making the sixth most brutal detail that these two beings were fleeing from the saiyan attack on some kind of community, and not only did Vegeta not allow them to escape, he also punished them for trying to by EATING the one in charge.

Like what do you mean Toriyama isn't a good storyteller. This is a Debut Panel. He tells you how scary this new villain is without having to say anything at all.

[sforzesco]

The great general remained, and then saw a wonderful vision clearly shown him by the very God of the universe himself. In it he seemed to see the divine Meletius, chief of the church of the Antiochenes, investing him with an imperial robe, and covering his head with an imperial crown. The morning after the night in which he had seen the vision he told it to one of his intimate friends, who pointed out that the dream was plain and had nothing obscure or ambiguous about it.

Theodoret Ecclesiastical History 5.6

wahoo! Theodosius! so a repeating phrase in the gospel of Luke is 'do not be afraid,' but specifically: I'm most immediately referencing the annunciation of the shepherds (Luke 2:10) because I used this illustration for the last panel since it. sort of. connects to Valens, Theodosius' predecessor, who went from commoner to king at the will of his older brother. HOWEVER. because of that transformation. I cannot escape the 'do not be afraid' just a chapter before (Luke 1:30) that Gabriel gives to Mary because ascension to the imperial throne is an ugly, violent, and violating transformation. and. well.

Gabriel’s Entrance and Biblical Violence in Luke’s Annunciation Narrative, Michael Pope

also in general. prophetic dreams and visions. horrifying. it never goes well for anyone.

⭐ places I’m at! bsky / pixiv / pillowfort /cohost / cara.app / tip jar!

[nemesis-is-my-middle-name]

yknow what else abt s4 i had forgotten until i was going back to the transcripts for caps?

ARTHUR: [...] And I’ve been failing you lately, as well. I’m… I’m seeing that. Is that why you’ve been slipping away? Is that why you can’t see certain things? With Yellow, I was so… poor at shaping him, I was… I was so angry with him. I made him… feel small. Is it me that’s causing you to fail? Is it my lack of trust?

neither of them know what's wrong with john yet but it's obvious that something is wrong, and part of what arthur says to him at the farm is fear that it's his fault somehow. he can tell, and has been able to tell since addison, that something is up with him (this bizarre insistence on the order, the immediate shutdown of certain subjects, the prickliness at random times), but he's missing such a fundamental piece of the puzzle that john is standing there lying to his fucking face and arthur's like, maybe the problem is i'm not trusting him enough.

which is an echo of a similar sentiment from the nightmare, actually-

KELLIN: He’s lying about something. Is it Kayne? What isn’t he telling you? ARTHUR: I don’t know! KELLIN: Or maybe… just maybe… he’s slipping away.  ARTHUR: What? [...] KELLIN: Yellow. The King. John. Three separate entities. ARTHUR: Yellow is the King. KELLIN: Is he? If he was trapped inside of you, he’s clearly no longer a whole! And look at what you did to that. ARTHUR: What I did?  KELLIN/OTHER ARTHUR: What you ruined. (Whispers start to rise again.) You can hate me for saying this… [...] But I’m only saying what you’re saying to yourself, Arthur. Something is off about John. You know it. Because I know it.

i feel like since john got so defensive of yellow so quickly arthur keeps circling back to that sentiment every time he thinks about whatever's going on now. like all of the talk abt "failing" is just a distorted, reapplied version of what john has said abt yellow. he's so certain it's his fault somehow.

and part of that is probably just the Guilt™ but i feel like part of it is also, like, if it's his fault then he can fix it. if this is a repeat of what he fucked up with yellow, then he can course-correct and bring him back. if it's out of his control... then he's going to lose him, and there's nothing he can do about it. of those two options, of course he'd choose the first one every time.

meanwhile john's just watching arthur assemble all these unrelated clues into this disastrous tower of lies like Well Well, If It Isn't The Consequences Of My Actions,

[doesntseeyourbeauty]

it’s been a hot minute since i *actually* posted buttttttt i got to see djo and post animal last night in pdx as an early birthday gift - it was one of the best shows and i am SO grateful to have gone and to have the best older brother

here are a few photos i took for yall to see 🤍

[astranauticus]

DOUDOU - Tong Tong (嗵嗵）Translation

嗵嗵

Tong Tong

神明神明张开嘴

God, oh god, please open your mouth

让我知道我是谁

So that I may know who I am

它把我向天上推

It pushes me up, towards the sky

略过尘与灰

Over all the soot and dust

不得不停歇不停歇

Can't ever rest, ever rest

黑夜在背上飞

The night flies over my back

来狂欢吧狂欢吧

Come and rave, let's rave

永远不下坠

And never fall

太阳太阳请你告诉我

Sun, oh sun, please tell me

为什么为什么

Why, oh why

遗憾那么多

Must there be so many regrets?

夜幕夜幕请你告诉我

Night, oh night, please tell me

该怎么做怎么做

What can be done, can be done

灵魂才不会破

To keep the soul from breaking?

嗵一声落下

"Tong!" it falls

果实嗵一声落下

"Tong!" the fruit falls

嗦嗦嗦嗦嗦嗦嗦

suosuosuosuosuo

我的脚下开了花

Flowers bloom beneath my feet

嗵一声落下

"Tong!" they fall

骨头嗵一声落下

"Tong!" the bones fall

可以了可以了

That's it, that's it

可以变回孩子了

we can become children again

神明神明张开嘴

God, oh god, please open your mouth

让我知道我是谁

So that I may know who I am

它把我向天上推

It pushes me up, towards the sky

略过尘与灰

Over all the soot and dust

不得不停歇不停歇

Can't ever rest, ever rest

黑夜在背上飞

The night flies over my back

来狂欢吧狂欢吧

Come and rave, let's rave

永远不下坠

And never fall

太阳太阳请你告诉我

Sun, oh sun, please tell me

为什么为什么

Why, oh why

遗憾那么多

Must there be so many regrets?

夜幕夜幕请你告诉我

Night, oh night, please tell me

该怎么做怎么做

What can be done, can be done

灵魂才不会破

To keep the soul from breaking?

嗵一声落下（壳中藏心惶惶）

"Tong!" it falls (in my chest, my heart is full of fear)

嗵一声开花（抬头见那天光）

"Tong!" the flowers bloom (look up to see the light from the sky)

嗵一声落下（浮生空空荡荡）

"Tong!" it falls (our short lives, empty and hollow)

变回孩子了（风带着我流浪）

Becoming children again (I wander on with the wind)

神明神明张开嘴

God, oh god, please open your mouth

让我知道我是谁

So that I may know who I am

它把我向天上推

It pushes me up, towards the sky

略过尘与灰

Over all the soot and dust

不得不停歇不停歇

Can't ever rest, ever rest

黑夜在背上飞

The night flies over my back

来狂欢吧狂欢吧

Come and rave, let's rave

（就安心吧安心吧）

(Rest your heart, rest your heart)

永远不下坠

And never fall

飞过麦穗

Fly over the grain fields

飞过霓虹光辉

Fly over the neon lights

飞过墓碑

Fly over the headstones

飞过瓦砾堆

Fly over the tile stacks

[airenyah]

I get you about the hetero vibes of JD. Like there are CPs who act like they have been married for years and I am inclined to believe that and there are CPs who are just happy their job is to flirt with their homies and they lean into it. The latter is JD to me. Like no matter how much they would flirt, I won't believe they are actually together. I can belive they are best friends, even soulmates but not a couple

yep, exactly! i mean, JD also act like they've been married for years in a way, but as i mentioned in my other reply, it just feels like more of an inside joke and feels much more platonic than romantic

and they most definitely have fun flirting with each other. i think it's as entertaining for them as it is for us. especially for joong. i think it's a well known fact that no matter how insane you think you are about JD, you can be sure that joong is more insane about JD than you are. and i fully support him in that <3

[almond-tofu-chan]

in literally just one year weve lost:

Yozora Mel

Omegα

A-Chan

Hizaki Gamma

Minato Aqua

Amelia Watson

Sakamata Chloe

Ceres Fauna

jesus fucking christ, never ask a holofan what happened in 2024. heres hoping we dont lose anyone else before the year ends, or i dont know if my heart can take it ;-;

[sporesgalaxy]

what ever man. i dont even care. <- lying

[fandomfan315]

Jon - "Well, let me know if you see any good cows-"

Martin - "Obviously I'm going to tell you if I see any good cows"

[Ep 160: The Eye Opens, ~7:55]

I don't recall if I've posted much Magnus Archive content here but <3 I do enjoy it like a dessert sometimes. Anyways I'm obsessed w their dynamic this was so married of the two SKNFSNFN

[imagitory]

Yes, I know, I'm shocked too -- but once again, it seems, I have to talk about Disney's Wish. Truthfully, this entire analysis was one I never set out to write, but I felt like I had to after having a really good conversation with my mum about this deleted scene featuring Asha's grandpa, Sabino; the sentiment expressed by some Disney fans that its inclusion would've helped fix the film; and even the purported perspective that the development team was deeply unhappy about the corporate decision to cut it.

So first off -- do I think this scene is that magical missing piece that would've fixed Wish? Not exactly. I do think that Sabino putting the idea of wishes being worth fighting for into words for Asha that she even could've reprised later while fighting Magnifico could've been very powerful. Just imagine how much stronger the story would've been if Asha had used Sabino's song to rally the town against Magnifico -- not only creating the payoff of Asha making her dear Saba's wish of inspiring people as well as her own wish to make things in Rosas better come true, but ALSO bringing Magnifico's worst fears of rebellion against his rule to life in an ironic twist! But even if including this scene could've improved the film, I don't think it would've fixed everything wrong with its story and characters. It did, however, inspire that really fun conversation with my mum, and we realized together what this scene at least partially provides that the finished film didn't --

A reason to care about the wishes Magnifico hoards away.

When I was in college, I took a screenwriting class, and one of the most important lessons the professor taught us was to give your main character(s) a strong desire and then give your audience three strong, disparate reasons to root for your character in reaching their goal. This way, if one of the reasons doesn't resonate with a member of your audience, maybe another one will. The more reasons you give your character to want to succeed, the more people in your audience are likely to feel for your character's position and support them in their actions.

Let's use Disney-Pixar's absolute masterpiece Finding Nemo as an example, just for kicks. Marlin wants to save his son, Nemo, after he gets captured and taken away by human scuba divers. The audience wants Marlin to succeed because his reasons include --

Love. Marlin loves his son very much and is very protective of him, partly because Nemo has a disability that Marlin worries puts him at particular risk being on his own.

Past trauma. As seen in the prologue of the film, Marlin lost the entire rest of his family to a horrific barracuda attack that also resulted in injuring Nemo while he was still an egg, so Nemo is the only family Marlin has left.

Guilt. Marlin feels responsible for what happened to Nemo, because they were in the midst of a fight about Marlin's helicopter parenting when Nemo put himself so close to the human boat and got captured.

The thought process behind this writing trick is that you want your audience to care about what your character is working toward. This is how you get an audience really emotionally invested in their struggles and story, and it also helps define who the character is as a person, understanding not just what they want, but seeing the lengths they'll go to in order to chase that desire. And this is what Wish seems to understand symbolically, but not enough to use this knowledge while shaping its screenplay or characters.

In the finale of the film, all of the people in Rosas whose wishes were taken can still gather enough "stardust" or "magic" or "dreaming whatever" to defeat Magnifico without them. The magic is inside of them, even without the contents of the bubbles Magnifico took from them -- because our wishes, dreams, and ambitions come from who we are, as people. They're a piece of us -- they're informed by who we are -- our happy memories, our past scars, our personalities and hobbies and values. What makes dreams coming true so beautiful is seeing someone become a more complete version of themselves through it!

And yet...what do we learn about any of these characters that tie into these wishes and why it's so important their wishes be returned and/or granted? What visually communicates that these wishes are so integral to these people's personalities and souls that they're a pale shadow of who they used to be without them? What emotional justification is there for anyone to care if Rosas's citizens achieve these flights of fancy? Are there any real stakes or grave consequences if those wishes aren't granted?

Why do we care if this one lady wishes she could fly, or this other one wants to make dresses? What do we care if this one person wants to sail a ship and travel the world? This one guy wants to climb a mountain or something, but...so what? We don't know any of them from Adam! The film tells us that these wishes are really important to these people, but we don't get any emotional reasons to be invested in whether or not these people's individual wishes come true.

Even characters we do meet like Simon -- what about him made him want to be a knight? Where did that wish come from, in his character? Was it fueled by misguided patriotism? A desire for glory? Being bullied as a child and wanting to prevent others from going through the same thing? We have no idea! Imagine how much more Simon's "betrayal" scene would've hurt if we'd gotten to know Simon as this dreamy, idealistic person who grew up reading fairy tales about knights bravely protecting their kingdom and being heralded for it, only for that wish to be twisted by Magnifico to make Simon serve his king blindly with no free will of his own. Imagine how much more interesting of a character Simon would've been if there had been real context behind that wish he'd made and given up, and how much more interesting his relationships with his friends could've been as a result.

What about Asha's mother? Her wish is treated as incredibly important in the film, since Asha tries to steal it from Magnifico like she did Sabino's and Asha and her family react with such upset when Magnifico crushes it, and yet we never once learn what the wish even was. Even when the wish is reformed and returned to Asha's mother, we STILL never learn what it was and by extension what it meant to her mom and why it was a bad thing that it got crushed. Why should we believe this wish of Asha's mum's is so important if we never even learn what it is? Because the film said it's important? In the immortal words of Will Turner,

(source)

Just look at Joe Gardner in Pixar's Soul. Would you care so much about him wanting to get back to the world of the living if you didn't learn through the film that he'd been dreaming of playing jazz since he was a child and had finally landed this big gig with a jazz band after years of rejection and his own mother never supporting his dream right before dying? Would Joe have connected with 22 the way he had over the course of the story if it weren't for not only his goal, but the character, passions, and world view that fueled his pursuit of that goal in the first place?

My mum, while we had this discussion of ours, put forward her own experience. When she was a young woman, she dreamed of having a family of her own: a husband, 2.5 kids, a house with a white picket fence where people could gather together. Over time, though, Mum kind of resigned herself to the reality that it probably wasn't going to happen -- she was pretty solidly focused on her career, she hadn't had much luck in her long-term relationships, and she'd gotten to an age that having her own children was incredibly unlikely. This doesn't mean my mum lost that desire for family -- it's still a part of her, and it informs who she is as a person. She's always taken care of the many cats she's had over the years as if they were her children. She made and has kept life-long friendships with people who've become like siblings to her. She even ended up becoming something like a mother figure for her ex-boyfriend's daughter from a previous marriage, while she and that boyfriend were together. And when I was conceived (pretty miraculously too!), my mum never hesitated for a moment about whether or not she wanted me. Even if my father had chosen not to stand by her and me, she would've pursued that dream of motherhood she'd thought was lost to her all the same.

THIS is what the deleted Sabino scene has that the finished film doesn't, though still in a bite-size amount. The reason the filmmakers give us for why we should care about Sabino's wish (and, one could argue, the town's wishes) is that when his wish is returned to him, it allows Sabino to connect more deeply with his granddaughter and his daughter-in-law through the music he's so passionate about.

The reason we the audience should care about Sabino's wish is the connection he makes with others.

We still don't know where that wish came from in Sabino's character or back-story, and the theme of connection through one's dreams is something that certainly could've been explored more if it had been kept...but for the first time, through this deleted scene, the filmmakers gave us a reason to care about that little magic bubble besides just telling us that they represent a heart's deepest desire and we should want everyone's wishes to come true because wishes are good. (Which honestly has a lot of problems -- the film never even bothers to explore any scenarios where wishes could truly be dangerous or morally wrong to grant, such as a wish to rule this particular kingdom or that this one person will marry you, regardless of their opinion on the matter.)

The song Sabino sings in this scene says that if a wish is powerful enough to fill your heart and make it "close to breaking," then it's one "worth making." But to tell a story worth telling and create characters worth rooting for, you need to show -- not just verbally explain -- why your audience should care.

[mandarino-o]

sorry that i keep rbing posts that contradict each other i just agree with both points🙏🏻

[blueskittlesart]

that truly is so deranged. I'm an animation major and even when we were doing crit for finals, some of which were entire short films, it didn't take 20 minutes a person

i genuinely feel kind of bad for her bc she’s very young and i assume it’s her first year teaching but i’m like one more bad class away from sending her an email and being like “i genuinely mean no offense but you cannot be doing this”