#while having no other “”mature“” relationships in his life to model his concept of adult relationships after

[yandere-daydreams]

In the Yan!Yuuji fic, is the implication that Reader was not with Sukuna consensually, as Yuuji seemed to believe????

that wasn't my intention, but it could definitely be read that way!!! sukuna and reader's relationship was supposed to be something more similar to,,, an on-again-off-again situationship ruined simply by the fact that sukuna was usually either 1) fucking off three towns over doing delinquent stuff or 2) operating at the usual 'sixteen year old boy' level of shitty. i plan to expand on it a little more if i ever write a continuation, but as that usually takes me a good year and a half to get around to, feel free to make whatever hcs you'd like in the meantime.

[lassieposting]

Fletcher for therapy please

Oh Fletcher would do great in therapy. Like, 10/10 client good job

It'd take him several years - and probably some prompting from Ghastly, whose opinion he respects - to get him to realise he should really go, largely because he's surrounded by a social circle that isn't very open to the concept.

When we meet Fletcher, he's a hurting teenage boy who badly wants approval from a role model. And while he does eventually get some good solid advice (as well as time and empathy) from Ghastly, that's only after he splits up with Val and feels like he has nowhere else to turn. Prior to this, he actually spends several years fruitlessly trying to win that approval from Skug. Which is a problem, because Skug isn't in the market for a surrogate son. He sees Fletcher primarily as a rival for Val's attention and secondarily as a nuisance, which leads to a situation where Fletcher is consistently trying to impress him and getting knocked back. And we see that Fletch remains selfconscious about Skug's opinion of him for years after he gives up trying to bond - he makes two really obvious attempts to reestablish their relationship on an even footing and remove himself from that subordinate clinger-on role (i.e. shaking hands as adults); he clearly expresses that he's not thought of or treated as part of the team; he knows he's Mickey to Skug's Doctor and Val's Rose. He's the tin dog.

And that's the thing: from what we see of Fletcher, he's actually very introspective. When he speaks to Ghastly, he's clearly done a lot of thinking about why and how his life has ended up the way it has. And he's done that all on his own, because who's going to listen to him?

So like. He's not going to ask Skug and Val to recommend a therapist. He knows exactly how they'd react. Skug is an incredibly macho manly man - Special Forces, law enforcement, and from a time before anyone knew or acknowledged that mental health was a thing - so he's fiercely adamant that he, traumatized as he is, doesn't need therapy (ha) and he's openly dismissive of the concept to Val. He'd laugh, or take the piss, or make a shitty little comment, and Val would laugh along with him because that's what they do.

But approval from Ghastly - who's equally macho, equally manly, but far more well adjusted - gives him the confidence to start thinking about it. And then after Moira tries to kill him, he actually makes an appointment.

A lot of Fletcher's issues come down to trust and abandonment. He has no dad. His mom died on him. He's been used and undervalued by Val and Skug and the rest of the gang for years. Val cheated on him. Reflectionie died on him as well. This is a boy for whom nobody has ever stuck around long term. A boy nobody has ever prioritised. And he has to learn to work through the negative impact that has on self-worth and self-esteem, and learn to stop Yes Man-ing Valkyrie and her friends and prioritise himself. And he wants a more normal life - Lardo makes him teach for some reason, I keep him with the Monster Hunters. So that means distancing himself from his ex and the people in her circle, even though he feels like they're all he has. He knows he'll never get to have that more normal life while he's hanging out with people who seem to attract trouble in various eldritch and evil forms. He has to learn boundaries - how to make and defend them. He has to learn to stop being drawn to girls he wants to save, and start looking for partners who are as mature and invested as he is. He has to completely relearn how to relate to others.

And like. He knows he needs these skills. He wants things to get better. So he goes to his sessions, he does his homework. He comes in with theories and suggestions and ideas.

His therapist loves him. Good job, Fletcher.

[dwellordream]

“…Courtly love is commonly cited as marking the nascence of the modern era’s notion of romantic love. Although Eleanor undoubtedly heard the troubadours’ songs as a child, the extent to which their new ideas on love and marriage shaped her own views cannot be known. Too little evidence from Eleanor’s early life survives to resolve much debated claims for her role in fostering the doctrines of courtly love disseminated by troubadours or claims that she influenced later notions of romantic love. Troubadour poetry was in its infancy in the years before she left for Paris, and its theme of a young knight’s adoration of his superior-ranking lady would not become a literary norm until the later twelfth century.

Nonetheless, because the adult Eleanor is so often associated with courtly love and outrageous claims have been made for her as its sponsor and propagator, the unfolding of this phenomenon during her formative years must be understood. Today it is hard to know what to make of courtly love that seemingly celebrated adulterous relationships between a married noble lady and her knightly admirer; nor can it be known what those living in a Christian society that classed adultery and fornication as serious crimes were to make of it. 

The troubadours’ love was full of contradictions: sensual yet spiritual, both ethically edifying and sinful, open and at the same time secret. The elevation of women in their songs conflicted with teachings of eleventh- and twelfth century Church reformers who portrayed all women as descendants of Eve, the temptress and source of sin, spreading wickedness and disorder in the world. Because troubadour love contradicted Church teachings on love, marriage, and sex, it was suspected of contamination by the heretical Cathars or even of Spanish Muslim influences. 

…Also responsible for blending clerics’ courtliness, knights’ prowess, and “courtly love” into a new standard for knightly behavior were authors of late twelfth-century vernacular romances. More numerous in northern France and the Anglo-Norman realm than in the south, the romance writers adapted the love portrayed in troubadour songs, making adoration of a noble lady a key characteristic of the perfect knight. Romance writers borrowed from troubadour lyrics language that applied a knight’s service to his lord to the language of devotion to his lady. 

…Unlike the knights of the romances written in the north, Occitan knights would continue to identify chivalry with purely warlike traits, rather than with exalted love for a lady, and the sponsors of singers of troubadour songs were more likely the husbands of noble ladies than the ladies themselves. Songs of the Périgord knight Bertrand de Born, writing for Eleanor’s sons, say nothing of knightly love for ladies, but extoll warfare and taunt those nobles who refrained from fighting. In the few poems that Bertrand authored with amorous topics, his treatment of love is decidedly unromantic. 

Courtly love’s language of knightly devotion to a lady cannot be regarded as an accurate portrayal of the position of women in the aristocratic society of Eleanor’s youth. While power for women of the Midi was possible, and some ruled lands in their own right or on behalf of absent spouses or minor offspring, many others found their fates entirely in the hands of fathers, husbands, or other kin. Indeed, property rights enjoyed by southern women in the eleventh century were weakening in the early and mid-twelfth century. 

While encouraging courteous conduct toward the ladies at princely courts, it is unlikely that the troubadour love lyrics brought significant betterment of their lives. Perhaps such songs were little more than moves in a complex game of flirtation. Once troubadour poetry reached the French and English royal courts, listeners there would find the depiction of adulterous love alarming, and such songs may have inclined Eleanor’s subjects to believe the worst of her. At the same time that poetry at the court of Eleanor’s grandfather was defining “courtly love”, it was also contributing to a new understanding of “chivalry” at Poitiers and at other princely courts. 

In Eleanor’s early childhood, the Old French and Occitan terms that would evolve into the modern “cavalry” and “chivalry” still applied primarily to skill with horses and weapons, the qualities of knights, military professionals fighting on horseback, men in those days often of non-noble rank. In the violence and chaos of the tenth and eleventh centuries, polite manners or moral behavior were little valued, although knights felt a strong sense of honor and shame, making them quick to avenge any affront that dishonored them. 

Desirable characteristics for knights described in the late eleventh-century epic poems, the chansons de gestes, center on prowess, including physical strength, mastery of fighting skills, and courage. Less attractive traits also characterized the epic heroes: pride, arrogance, disdain for lesser persons, and willingness to humiliate others. This individualistic ethos clashed with the Christian contemplative ideal, exemplified by the monastic life, and by the late eleventh century, churchmen were seeking to harness the warrior elite’s ferocity for spiritual ends. They tried to channel their fervor toward Christian goals, enforcing the Peace of God to defend the poor and weak and crusades to liberate the Holy Places. 

During Eleanor’s early years, first as a child at Poitiers and later as an adolescent bride at Paris, courtliness, or courtesy, was beginning to dilute the warrior ethos of chivalry. Courtliness stood for a new standard for the nobility of polite and principled conduct gaining ground in the late eleventh century, inspired by ancient Roman ideals. Cultured ecclesiastics had kept alive classical ideals of conduct advocating upright character, eloquent speech, good taste, and polished manners aimed at preparing Roman youths for the life of statesmen. Under the influence of churchmen at princely courts, this classical ideal began to take on new form among both clerical and lay courtiers. 

Soon the two concepts of knightly prowess and clerical courtliness were giving rise to a new standard of chivalric conduct that combined fighting skills with learning and courteous conduct. Over the twelfth century, a new definition of nobility was taking root as knights, originally rough soldiers, were exposed to courtly conduct in their lords’ households. As models for conduct followed by both landless knights and nobility of ancient lineage meshed together, they coalesced as a single class in people’s thinking. The terms “knight” and “noble” were becoming synonymous, and individuals of either status were expected to exemplify chivalry and courtesy as members of a single superior caste standing above the common people. 

This change in social structure would not be completed until Eleanor’s mature years at the end of the twelfth century and the beginning of the thirteenth century. Eleanor, growing up in William IX’s sophisticated court, a model for courts throughout southern France, saw at first-hand the elegant behavior characteristic of a courtly culture. There she would have witnessed women enjoying a more respected position than later at the French or English royal courts, where religious teachings demanding women’s deference toward males bore greater weight. Southern women freely joining the men in witty and flirtatious conversations would have shocked visitors from northern France or England, who feared the skill of ladies with words, their ability to apply verbal weaponry and sexual wiles for plotting and intriguing. 

Yet court life had less appealing aspects that young Eleanor could have observed. A competitive atmosphere permeated the princely courts, for courtiers flocked there to win the prince’s approval and patronage; and in their competition for favors, they resorted to scheming, slander, and flattery. As a girl, she would have heard scurrilous rumors at the ducal court spread by ambitious courtiers about their rivals of the sort that would circulate later at her two husbands’ courts about her own alleged sexual misconduct.”

- Ralph V. Turner, “Growing Up in the Ducal Court of Aquitaine, 1124–1137.” in Eleanor of Aquitaine: Queen of France, Queen of England

[rachelbethhines]

Tangled Salt Marathon - No Time Like the Past

While I wouldn’t call this the worst episode of the series, there are several others I dislike more, I would call this the most ill conceived story in the show. 

All the other bad episodes have potential but are let down by poor presentation, boring predictability, or sloppy planning. This one however, is fundamentally flawed in it’s very basic premise and so ranks in the bottom of most fans lists. Even people who are far more forgiving of season three and than I am, and are hardcore New Dream stans, still dislike this episode. That’s how bad it is. 

Summary: Rapunzel discovers Old Lady Crowley tossing out Cassandra's things. She is upset and demands that they be left alone. She then has Lance and Eugene help her save all of Cassandra's mementos and personal belongings, but she becomes saddened when Eugene reminds her that Cassandra turned her back on "her". Rapunzel takes a box of her things along with, unknowingly, a mysterious hourglass. As she examines it, she accidentally drops and smashes it and she and Pascal find themselves sent back into the past. They run into a teenage Eugene and Lance who keep calling Rapunzel "Sideburns". Rapunzel realizes that she and Pascal have inhabited the bodies of the Stabbington Brothers and decide to recruit the young thieves in getting the hourglass from the castle back.

Fun Fact! That Dummy is Rapunzel’s Doing 

Minor nitpick here, but Cass had nothing to do with putting Eugene’s face on her sparring dummy. Rapunzel voluntarily did that back in Under Raps. Cas never requested it nor even expressed any joy over receiving said ‘gift’. 

Basically the show is attributing one of Rapunzel’s mistakes/flaws to Cassandra in order to introduce a very nonsensical plot point later. So I need ya’ll to keep that in mind as we go along.  

Lets Talk About the Episode’s Ordering 

We don't have production codes for season three like we did for the previous two seasons. So we can’t know for sure what order everything was originally planned in, but I would argue that this episode should have came before Return of the King. 

For starters this is a “bottle” episode; it takes place mostly in the past and the only present day characters who show up are Eugene, Raps, Lance, and Crowely. As such you could potentially slot this episode in anywhere before Cassandra’s Revenge. You can’t really do that with most of the other episodes so it could have been easily moved around when airing. 

Therefore, I would argue that it should have been the first episode after Rapunzel’s Return for three key reasons. 

It would have given Edmund time to travel to Corona and give Raps time to start up big building projects like fixing Old Corona. In fact she’s already approving building plans for the capitol city at the start of the episode. Which could even explain why she took so long getting to the castle repairs if she was taking care of the stuff that the Saporians messed up else where.  

Rapunzel’s stance over wanting to keep Cassandra’s things makes more sense early on, both in universe and in a meta context. Raps would still have hope if Cass has only been gone for a month or two instead what would now be four or five months down the line. It also makes sense that Crowely wouldn’t wait around for that long. And from a meta standpoint, the audience would still be oblivious to what the heck Cass was up to and could theoretically side with Raps better; or at least empathize with her view point more, even while disagreeing with her. 

Events in this episode better explains Eugene’s decisions in Return of the King and gives the audience more context for certain stuff.  

So Why Is There a Random Magical Time Traveling Hourglass in the Storage Vault?

Slowly but surely the series has abandoned all pretense that there’s any logical world building in the show. Magical things just appear randomly now without any explanation whatsoever. Worse than that, things like the hourglass and map to the cursed tomb are treated as if they were always there, unlike the magical beings that they happened to run into in past seasons. 

The problem with this is a lack of consistency. You can’t have sceptics like Eugene and Varian if magic is so common and wide spread that anyone can run into it at anytime. Not to mention it diminishes the specialness and importance of the sundrop and moonstone if powerful magical items can be so easily found and stirred, undermining important plot points and the tension surrounding them. 

But most frustrating of all, is that this could have been easily fixed by just stating on screen at some point that magic attracts other magic. Meaning it’s only Rapunzel herself who routinely runs into these things and not just everybody and anybody. 

None of This Stuff Holds Any Meaning

Show don’t tell!

At several points through out season three, both Raps and Cass morn over Cassandra’s left behind things. They tell us constantly that these objects hold significant meaning to them, but I, the viewer, have no damn clue as to why. 

We were never shown on screen what was so special about these things other than the fact that it was junk Cass collected. There’s no story attacked to these assortment of objects nor any previous indication that Cassandra valued them beyond their usefulness. As such, any scenes involving her stuff fall emotionally flat. 

Eugene is the One in the Right Here. 

Eugene’s right. 

Any well adjust and mature adult will tell you he’s right. 

If someone doesn’t want a relationship with you, than that’s it. There is nothing you can do but to move on. It sucks, but its life. To ignore that is to ignore someone else’s boundaries and personal autonomy; while also devaluing yourself and you’re own needs. 

In a competent show this would be a set up for Rapunzel to learn something about letting go and taking care of oneself emotionally. 

But this isn’t a competent show. 

But Lobster is for Poor Folk

Food history time!

Lobster, and shellfish in general, have been considered low class food for centuries. Especially around costal areas like Corona. It’s easy to attain, cheap, and not regulated like hunting was in much of Europe. In America, specifically, lobster was fed to prisoners and there’s historical accounts of riots being started over it.  

Heck, less than forty years ago, no one lived on the coast but poor people. That’s why there’s historical communities of black people living on the southeastern islands in the US and why my father grew up in the swamps of Alabama during the 50s and 60s. 

The gentrification of coastal property and seafood, like lobster, is a very recent phenomenon in human history, starting in the late 70s early 80s with the booming tourism industry and increasing globalization.   

So while I understand that the joke here is meant to be reflective of our current understanding of lobster being a status symbol, in universe, it’s the equivalent of Eugene getting excited for chicken nuggets instead of his usual bowl of cereal because the story takes place before the 20th century.  

This means that these kids are so poor that fucking mcdonald’s fast food would be considered a rare treat compared to the slop they usually eat. Yet again what is meant to be a lighthearted joke turns suddenly dark when you stop to think about it for all of two seconds all because the writers are so flippant about their world and characters. 

This Wasn’t Planned Out, So the Timeline Doesn’t Add Up Anymore and Resources are Wasted

Remember the flashback in The Return of Strongbow?

Now I need you to remember that season three is two years later from season one and the movie. Eight years ago then, would be ten years ago now. 

The Eugene and Lance in the bottom picture is suppose to be roughly the same age as the Eugene and Lance in the top picture; give or take a few months. 

I know teenage boys can grow fast, but not that fast. 

Eugene at 16 looks the same as he does at 26. All because the writers were too lazy to preplan things out ahead of time. 

We should have seen the teen models with recasted voices back during that first flashback if they were going to tell this story later. Or the previous plot point should have been less than eight years ago. 

In fact the first flashback no longer makes any sense being so many years ago given Eugene’s engagement and recent breakup with Stalyan, and the later reveal that he was working for the Baron during the original movie. 

Sloppy planning like this not only makes for a confusing timeline but it also wastes limited resources. I like the new models, I like the actors cast for these younger roles, and I do like the concept of seeing more of Eugene’s past. But going through all of that trouble and money for what amounts to one throw away episode is mismanagement of the budget and work schedule.  

Baby Varian Is the Episode’s Only Saving Grace 

I know people are divided on the deign here. Some love it and some hate it, but that’s a personal taste thing. The actual scene itself is golden either way, because it’s such a funny eater egg. Fans on both sides made memes out of this for days. It’s legendary. 

Personally I’m more in the ‘love it’ camp, though I can see the issues people have with the design. My main defense of it is more the fact that we got kid designs for the other OCs in the show and it’s only fair Varian got one as well. The fact that he’s in smaller versions of the S1 clothes doesn’t bother me anymore than when Lance ran around for two seasons in the same outfit, including when he was a kid. 

So if I like it, then why am I talking about it a salt review? 

Cause the most memorable part of an episode shouldn’t be a throw away gag! 

People bring up baby Varian way more than they do about anything else in the episode, and no it’s not just because the character popular. It’s because most would like to forget what comes after this scene. 

Where is Quirin, by the Way?

Why is your six year old son running around the big city unsupervised?

This wouldn’t get talk about as much it wasn’t for the fact that Quirin being neglectful in season one was a motivating factor in his conflict with Varian. A conflict that was suppose to be resolved back in Rapunzel’s Return but we the audience have yet to visually see any difference in behavior since then.  

Quirin’s absence here in the past highlights his absence in the present day and reminds the audience aware that we’ve not been given a satisfying conclusion to one of the most important arcs in the series.  

Lets Talk About Wasted Potential 

Like I said, I like the idea of exploring Eugene’s past. But we should have gotten that back in season two when it was more relevant. Part of why this episode fails is because Eugene has reached the end of his original character development. He’s now on an identity crisis arc which has nothing to do with this episode.  

But you know who still hasn’t finished developing? Rapunzel. 

Rapunzel has lots to still learn and viewing her past through outside eyes could have turned this story into something really special. Especially with the ‘inhabiting another body’ plot point. 

You have no end of options here, 

Have Raps inhabit Cassandra’s body for a day and gain insight into what motivates her. It could have been either before or after they met, both offers up possibilities. 

Have Raps inhabit Eugene’s body and experience what he had to deal with growing up and come to see his point of view. (This could have also worked with the Sabbingtons set up had the writers not been stupid.) 

And my personal favorite, send her back to right after Queen for a Day and have her stuck in either Varian’s or Ruddiger’s bodies. Force her to see what she did to him and have her acknowledge she was wrong. 

And those are just the most obvious choices, there’s other more out of left field things you can do that would still work with good writing. Like exploring Lady Caine’s past, inhabiting Arianna’s body and learning how to be a real queen, get dumped into actual young Gothel and lay out clues to the future Zhan Tiri plot, or possess one of the Brotherhood and experience the final days of the Dark Kingdom; the list just goes on and on and on. 

But I Thought You Didn’t Put Kids in Jail Frederic?

Remember that Raps and Pascal are possessing the Stabbingtons who are still teenagers here. They can’t be much older than Varian. 

This means that Varian isn’t some special case. Teens have received harsh and deadly punishments in the past for non-violent crimes like theft. 

Also teens are called kids still by the majority of the cast. They’re aren’t considered adults with the same rights as someone in say their twenties, yet they can be punished the same as an adult would. Which is horrendous in any time period. 

So in conclusion, Frederic is a fucking liar! 

Tangled the Series can’t decide if it’s in the far past or a reflection of the modern day. As such it winds up supporting the worst of both worlds. Barbaric practices like hanging for minor crimes and prison slave labor are treated as the norm and never called out for the horrific things that they are; treated as a joke even, but we’re suppose to accept that this world also somehow views adolescence through the lens of late 20th century sensibilities even as it forces minors to go through such atrocities. 

Like what are you trying to say show? What is your message on the transition of adolescence to adulthood regarding rights and responsibilities? And don’t tell me ‘it’s not that deep’ because this is suppose to be a coming of age show! That’s the entire premise of the series! 

So How Old Are Stan and Pete Again?

I was always under the impression that Pete was a newbie guard, closer to Cass and Eugene’s age than say Cap or Frederic. That’s why he screws up so much because he’s inexperienced, why he seemed to be the closest thing to a equal colleague Cass had in the guard when she was also just starting out, and why I assumed those braided girls from the movie were his sisters. 

I mean there was nothing on screen previously that would necessarily contradict this reveal, it just doesn’t feel right, that’s all. I guess he could be like 20 here and be 30 in the show. That would make him only a few years older than Eugene, but still doesn’t explain why he’s so useless a decade later. 

I’m fine with Stan being here though. I always thought of him being the older of the two. In fact I headcannon Willow as his mysterious wife that he talked about back in Monty’s episode during season one. (She’s Stan and Pete’s beard, and they’re totally in a open poly relationship. That’s why they’re allowed to stay in the royal guard despite being so incompetent cause they’re technically Ferderic’s in-laws and Rapunzel’s uncles. Just no one ever talks about it cause it’s a minor sandal for a princess to marry lower class and Willow’s hardly ever there.) 

And Why Does Xavier Have All Those Plot McGuffins? 

I know we’ll never get an answer, but at this point Xavier’s exposition fairy powers border upon ridiculousness. It’s just lazy and a waste of character. 

So How Does Time Travel Work In This?

There are three types of time travel stories in fiction. 

First is the ‘Changeable Past, Changeable Future’. You see this in Back to the Future. What you do in the past will change the future, i.e. your present. You may or may not remember that you did it, but be warned you could change things too much and break stuff. Like erasing yourself from existence, or ruining your love life ect. The only way to fix it is to go back in time again and change stuff again. But beware of paradoxes or you may destroy the universe altogether.  

The second is the ‘Alternate Timeline’, where changing things creates new realties and it’s a matter of finding the right reality again. The tv show Sliders is a great example of this. Each new timeline is a different dimension. What you do in one won’t effect your original point of origin, only that particular world. The challenge if often getting home again because the probable diverging timelines are infinite and the changes of getting back are a zillion to one. 

Third is the ‘Closed Time Loop’. No matter what you do nothing will change. The future is inevitable and whatever you do in the past was always meant to happen anyways. Gargoyles handles this really well. You can also have ‘fix points’ where certain important things are set in stone but small things can be changed like in several Doctor Who episodes. Braking a fix point breaks the universe once again, while paradoxes are often the solution rather than the threat. 

So which type of time travel is Tangled dealing with here? 

Scenes like the conversation regarding Pete’s and Stan’s mustache or the ones involving Eugene working on his smolder suggest a closed time loop. Yet the ending to this episode reveals a changed future. Further still the grandfather paradox revolving around the hourglass would make you think an alternate timeline yet, we’ve no indication that anything else changed other then Eugene’s opinions on Cass, and Raps shows no concern about getting back to her original point in time indicating that it actually isn’t another dimension.... so what is it then? 

You don’t have to have a tightly plotted time travel story to have an entertaining piece of media. Endgame is riddled with plot holes and contradicts itself constantly, but what it lacks in coherent plot it makes for with fun characters, emotional story beats, and good pacing that manages to balance the action with the drama while hiding the cracks just enough that you don’t lose immersion. 

Tangled however fails at even this because it gets the character beats so fundamentally wrong.  Like you may dislike where the characters ended up in Endgame, but can’t say that those developments didn’t match the characters’ previous storylines and logical trajectory. Tony finally becomes the selfless hero by committing the ultimate sacrifice, Steve learns self care as a mirror to Tony’s arc as they were always parallels to each other, Bruce learns to accept himself, Thor processes his grief and lets go of the role he was assigned at birth but never truly fit into, and Nat becomes the leader she was destined to be rather than the sidekick.  

What happens to the characters in this episode however makes no sense. 

This is Another Missed Opportunity to Explore Eugene’s Past

The other problem behind the episode is that we don’t actually learn anything new. If you’re going to promise a story focusing on Eugene’s past then I expect to actually glean some new insights. 

We still don’t know why he’s working with Baron or how he fell in/fell out with him, what his relationship with Stalyan is like, how he became so cynical; not just the general basics, like the orphanage, but that point in his life where decided that survival meant giving up his morals and ethics; where did he first learn his better ethics that he originally suppressed (cause it sure as heck wasn’t Rapunzel), and when did he and Lance become separated? 

This are questions that series decides to raise by making allusions to them and building conflicts off of them but never wants to explain the details of where they originated from. It’s super frustrating and wholly unnecessary.  If you didn’t think the story of Eugene’s past worth telling then why did up repeatedly bring it up Chris? 

Why Are You Surprised by This Rapunzel?

Rapunzel you know Eugene’s past. You know what he used to be like. You were literally there in the movie and saw him being an ass before this. You didn’t start to like him until he dropped his guard down in the flooded cave back when you both where about to die. 

You fell in love with him when he showed you his real self and he fell in love with you when you proved that you were accepting of that. You earned each others’ trust. This here; angrily yelling at him and judging him, when you’re already hiding who you really are from him both literally and figuratively, is a breaking of that trust. 

Who the fuck are you any more, Rapunzel? 

Cause you’re not the same character from the movie. You’re not even the same character from season one. But whoever hell you are now, it’s not an improvement I can tell ya that. 

So How Did The Hourglass Go From the Treasury to the Basement Storage, and How Would Raps Know It Was There At This Point and Time?

I’m guessing the implication here is that Crowley put Cass’s stuff in the vault, but like why the fuck would she do that? We’re not talking about a family attic here, but the royal safe. The most heavily guarded room in the castle with the kingdom’s most priceless treasures and antiques. Nothing Cass owned was that valuable.  

Rapunzel Is Full of Shit

Oh let me count the numerous ways in which this whole lecture is stupid. 

Rapunzel left Varian behind. Rapunzel left Varian behind multiple times, including that time he was thrown in jail. She was not a good friend, and no, this is not a case of her learning from her past because not once has she ever admitted that she was wrong to do that. So this scene just makes Raps look like a hypocrite. 

Eugene does not need to relrean a lesson on being a better a person. He did that during the movie and has progressed beyond that point. This ‘lesson’ is a waste of time and a misuse of the characters.

This reframes Rapunzel as being in the right during her argument with older Eugene at the beginning of the episode, even though she’s not. In fact this is such a counterintuitive plot point that it boggles the mind. Who structures a narrative this way? Why so blatantly point out how the main character is wrong if not to have her learn something? Why frame the story to make the person who’s personal conflict isn’t even the episode’s focus, into the one who needs to learn something? Especially if that something is already a lesson that they’ve learned on screen beforehand.

And why, oh good heavens why, would you teach children such a toxic message? Like on the surface it sounds like something you’d hear in a children's show, but the context of it is justifying harmful behavior where you selfishly ignore other people’s wishes and boundaries just to satisfy you’re own personal desires.  

And finally, Eugene and Lance do not work as a parallel to Raps and Cass. Cassandra is an adult who left of own free will. Lance is a teenager who was arrested due to Rapunzel’s own actions. Eugene isn’t the one who is responsible here, its Rapunzel. Who also left them both behind in her carelessness. Secondly, Eugene’s decisions are spurned by years of trauma and a healthy fear of dying, while Rapunzel’s is wrapped up in her own need to always be right and to keep her immature and fanciful outlook of the world intact. As harsh as it seems, what Eugene did was based off a predetermine agreement and presumably Lance would have acted the same way or been pressured to act the same way by Eugene. In short, Eugene’s cynical world view as a teen is not the source of his disagreement with Rapunzel but an adult perspective back by common sense and a respect of others choices. It makes no sense for present day Eugene to ‘learn’ anything from this misadventure that he didn’t already know and for Rapunzel to not learn anything that would actually tie the parallel together. 

Locking Another Teen Inside a Jail Cell With Another Adult as a Joke, Does Not Erase the Inappropriateness of Varian’s Story

The episode tries to add another joke about Shorty sneaking into the prison without the guard knowing, but that still doesn’t excuse the fact someone had to have tossed Lance in there with him on purpose. Otherwise Lance wouldn’t have assumed Shorty was a fellow prisoner if he or the guard that locked him up saw Shorty sneak in before then. 

Furthermore Lance’s nonchalant response suggests this is not an out of the ordinary occurrence. Nor do any of the other guard comment upon the irregularly of teens being jailed with an adult. Now add in the fact that the show fails to clarify that previous ‘cellmate’ line from Rapunzel’s Return and now gives us more confirmation that Varian was underfed and malnourished for a year with that gruel joke and you have a horrifying picture. 

Shorty might be non-threating, but that doesn’t mean Andrew, a known attempted murderer and manipulator, is too. Nor any other adult who previously was housed with a teen before then. This is still very much not okay and no amount of ‘jokes’ will suddenly make it right.  

Raps, Who is an Adult, Just Physically Threatened Two Teenaged Boys and It’s Played as a Joke.... 

How many times do I have to say it? Humor does not fix bad writing. I’m not laughing when a heroine at age 20, threatens a couple of kids for merely annoying her. Especially when said heroine has a history of abusing children; because let me repeat once again, neglect is abuse!

This is a Lie

No you wont. 

Rapunzel never tells Eugene what happens on screen. I suspect that if she ever did, they would no longer be together, because what she wound up doing here was a violation of trust and boundaries in the worst possible way.  

And This is Now a Time Paradox 

A Grandfather Paradox to be specific. How can Rapunzel be here in the past to break the hourglass if the hourglass that sent her here is broken? 

In a competent series this would be the point of a future conflict and not the actual resolution. It’s not a closed time loop because of the paradox and the changes we’ll see in the future. 

So either she’s in an alternate timeline/dimension and just doesn’t gives a shit; leaving the real Eugene, Lance, Cass, ect. to go on without her; or she’s just broke the universe and everything is slowly unraveling around her; galaxies are dying as she whines about being dumped, people in the future are being eased from existence, and God is cursing her name for ruining his creation, all the while she carries on oblivious to the destruction in her wake, as usual. 

That’s it. Those are you’re only two options now. Is everyone from here on a fake copy or is Rapunzel the damned destroyer of worlds? You decide. 

So This Confirms That the Stabbingtons are Indeed “Family”

Another reason why I place this before Return of the King; it explains why Eugene considers the Stabbingtons ‘family’. Though if it was Rapunzel he actually bonded with and not the real Sideburns, then how much of his feelings are real and how much of them were fabricated by her? How much agency did this episode steal from him?

So What Exactly Did We All Change?

Well the dummy no longer has Eugene’s face, but Cass’s painting of the three of them still has him ripped out of the photo, soo... Keeping in mind that Raps painted the dummy anyways and considering that Moonandra tries to kill him later on; I’m going to guess that Cass’s feelings weren’t actually altered. If anything their relationship might actually be worse now, cause Cassandra keeps acting like she’s never had friends and Eugene has taken up Rapunzel’s blind devotion. 

All that development in season one is just, poof, gone. Also it’s quite possible that the first movie as well has now it has been erased from existence as Eugene got his needed character development eight years too early. How the hell that’s suppose to work, I don’t know. 

Outside of the that we get no confirmation how anybody else was effected, even though a more brainwashed Eugene running around would undoubtedly have caused a butterfly effect. Don’t expect that to be explored anytime soon. 

Though, it would explain why he’s suddenly such a doormat in season three, if this was the second episode as theorized. 

No! This is the Wrong Lesson!!!

Let me explain narrative promises. 

Everyone, on some basic fundamental level, understands how stories work. We hear them recounted to us over and over again from the day we're born to the day we die. It’s integral to how we communicate as human beings. Everyone knows innately how to tell a story even if that person couldn’t tell you how stories or structured or what certain literary terms mean, but they do it every day just through speaking. And while most audiences can’t always pin point what upsets them about a story they can for sure notice when things are off and not satisfying to experience. 

Now that doesn’t mean that everyone can write an awarding winning novel, that study of a craft isn’t important, nor that every amateurish critique thrown at any given media is valid. But it does mean that people have come to expect certain storytelling practices and can pick up on narrative cues. We’ve familiarized ourselves with the language of film, novels, comics, ect, into order to comprehend what’s going on. 

Rules of writing are just following that established language so that the audience can keep up. You can break these rules, sure, but unless you know what you’re doing and have a good narrative reason to do so, then you can easily lose you’re audience. And if you’re making money off said audience that’s something you want to avoid. 

A narrative promise is a cue; a set up that lets the audience know that ‘hey this is important, pay attention to this cause it’ll come back into play later’. Now that the audience has been alerted to the plot point they expect fulfillment of the promise. If you break that promise, either through poor set up, lack of follow through, or by breaking an established convention of writing for no other reason then because you just wanted to, your audience is going to walk away unsatisfied. 

The argument at the beginning of the episode was a narrative promise. It was a cue that set up the interpersonal conflict of the main character. For add context, I know that this is a coming of age story. Convention would dictate that the protagonist would resolve this conflict by learning they were wrong. 

That’s not what happened here. 

Convention was subverted. It wasn’t the protagonist who grew and change, it was the person they were in conflict with who did. And it wasn’t subverted because of any greater narrative reason, or future pay off, or even as effort to be shallowly ‘clever’; it was subverted because the author just didn’t want to hold the main character accountable for anything. Because said character has now become his avatar for his wish fulfillment fantasy and having the main character admit fault would be to admit fault in ones own self. Rapunzel doesn’t feel like Rapunzel this season because she’s just Chris in a wig. 

The episode broke a narrative promise to the audience; both within the episode and in the greater premise of the story, because of ego. 

I don’t claim this episode is bad just because of personal taste nor because I find it morally repulsive (even though both those things are true), I call it bad because it exhibits bad writing. Plain and simple. 

Way To Undermine The Entire Point of the Original Movie, Show

Speaking of breaking narrative promises.... 

TTS is suppose to be a squeal to the original movie. It’s even in the title of the show; both of them. In one fell swoop, the series has managed to sabotage it’s very reason for existing, as it erases Eugene’s motivation and the inciting incident that kick started the film. 

 Way to fucking go. 

To further twist the knife, it diminishes the duel protagonist of said film in order to prop up a series original character, who isn't even present in the episode itself. 

I don’t mind Cassandra’s existence. I don’t even mind her being the new deuteragonist and one of the main villains; even though she wouldn’t have been my first pick to fulfill those roles given her lack of set up. But I do fucking mind it if she upstages other characters and/or derails their character arcs in the process. 

This is the Death of New Dream 

I was still in denial when this episode first aired. I honestly believed that this and The Return of the King was build up to a third “betrayal” where Eugene finally became fed up with Rapunzel’s bullshit and joined forces with Zhan Tiri. I thought the end of the series would have Rapunzel apologize to everyone she did wrong, Varian, Cass, and Eugene, in order to break ZT’s hold on them, and that true love’s kiss would reunite the sundrop and the moonstone and that would just tie everything together into a neat little bow and give us a truly daring character study of a Disney hero. 

Oh dear merciful heavens, was I ever wrong.  

How did we go from season one’s challenging and mature storyline, complete with Disney’s first real anti-villian, to this?! 

What the hell happened!? 

Rapunzel not only disrespects Eugene’s opinions, violates his privacy and trust as she manipulates him as a teen, and then brainwashes him to think like her (even if accidentally), but doesn’t even have good grace to tell him. She instead has the audacity to look all happy and self congratulatory because she got want she wanted. She, and the show at large, doesn’t care what evil thing she does to get the desired outcome Rapunzel wants. 

Rapunzel in this show is a spoiled brat. And the image of her and her now lobotomized boyfriend staring dead eyed at a picture of the creator’s previous waifu OC with plastic smiles on their faces, sums up this series perfectly. 

Conclusion 

This isn’t even the worst episode of the series guys. I don’t know if it would even make it onto a bottom five list. That’s how much crap I have to wade through when it comes to this show. This is however the most damaging episode to the franchise as a whole. 

Not even the most hardcore of New Dream fans want to acknowledge the existence of that final scene, and Rapunzel stans won’t defend her beyond, ’well she didn’t mean too, it’s the writing that’s bad.’ Yeah, the writing is bad, that’s why the character can’t and shouldn’t be defended, not here and not in other badly written episodes where she also does bad things and never makes up for it. 

Anyways I’m finally caught up to where I left off, before the move, though sadly I don't think I’ll get this series done by the end of the month like I had originally hoped. But if you would like to help out I have a ko-fi you can drop a tip into if ya want. 

https://ko-fi.com/rachelbethhines

[infjparadox]

The types I know in real life - as an INFJ

The ISFJ father.  Growing up, he was a bit of a micro-manager, and both of us were so stubborn that our J clashed pretty hard, especially when he pushed me to complete scholarships and laborious things that would benefit my future.  He ALWAYS wanted to do some activity together (sports, outings, family gatherings, etc), and in my teen years, I just valued creative, independent pursuits (he didn’t understand the value in those hobbies at the time - now he’s my cheerleader).  Since graduating college, we’ve become good friends, although he still over-does and over-plans everything.  We share similar values regarding our interpersonal relationships and work, as well as a similar sense of humor, and I can get that intuitive conversation out of him by asking him to tell me stories about his childhood.   He’s a fantastic storyteller. 

The INFP mother.  My mother is a kind (but anxious) woman and a fantastic role model. She’s super creative, but also incredibly introverted.  I remember she’d often tell me to find a way to entertain myself growing up (probably driven mad by my intuitive inquisitions), and that led me to many of my independent hobbies, like drawing, music, and film. (And possibly resulted in a love language of quality time, lol I love attention).  As an adult, I can now claim her as my best friend.  We can talk for hours about the abstract, ideals, and emotions.  I tease her constantly, and we laugh ourselves to tears.  

The ENFJ sister.  Confident, idealistic, and a blogger type.  We don’t get along very well, but I blame it on her not being a very matured or healthy ENFJ (and she’s been diagnosed with OCD, so there’s that).  When she’s in a positive place, we joke that we have ESP because we always have similar thoughts / reactions to interactions (Ni) and we both enjoy a lot of the same hobbies and creative pursuits, but we value those experiences differently.  For example, she loves movies for the emotions and her ability to relate to the characters, while I love them for the storytelling, the script, the cinematography, the character arcs, etc.  She loves people and organizing parties / social events.  She’s also that person on Instagram sharing all the inspirational quotes.   

The ISFP boyfriend.  Charming, easygoing, and well-rounded. Appears as an extrovert to an outsider, but in reality, he just enjoys activities that engage the five senses and his close circle of friends. He’s the absolute best at living in the moment, and he knows how to pull me back to earth and to see the more rational, objective side of things.  Loves working with his hands, and has about 3 million hobbies, from skiing to biking to working on cars to making music to photography.  Sensitive to criticism, but loves playing the devil’s advocate.  Sometimes he can be incredibly impulsive, and other times, he’s hesitant to commit to future plans or big decisions (depends on what his Fi is telling him).  Values authenticity and independence above anything else.  Very capable of deep and stimulating conversation, but does better on lower rungs of the abstract ladder that are rooted in science, physics, conspiracy theories, politics, or something he can contribute facts and real world experience to.  Dislikes conflict and being put in a box.  Other than the INFP, the only other type who does not drain my energy tank.  I’m confident that we’ll be lifelong friends and soulmates, come what may.

The INFP friend.  We clicked instantly while studying abroad, and we were able to talk for hours about anything and everything, while respecting one another’s feelings.  Super easygoing.  He’s one of the best listeners I’ve ever met, and he always asks me questions that feed the conversation.  Musically inclined, authentic, and frustratingly neutral about some of the topics I care about so passionately.  He’s also one of the most aloof people I know -- and he absolutely sucks at communication.  But even though I haven’t talked to him in 7 months, I still consider him one of my platonic soulmates.  

The ENFP bff.  Another soulmate.  A total goofball, selfish at times, but also a martyr when it comes to those she loves.  She’s one of the few people who have truly attempted to understand everything about me and pry me open -- almost to the point that it’s uncomfortable.  Loves talking about emotions (extensively). Judges people based on their zodiac sign, but she’s also incredibly insightful, perceptive, and “street” wise (she learns a LOT from her experiences / mistakes).  She can be flighty though, and her goals change as swiftly as her attention span.  Gotta love her.

The ENTP bff.  A witty friend who will always offer me a stimulating conversation - whether it’s teaching me about historical fashion or exposing me to new concepts and ideas and political theories.  We can talk for three hours straight, but by then I’m incredibly brain-fried (and she could just keep going?!).  Up for a good natured debate whenever - less good natured when someone pisses her off.  I’m fairly certain I’m the only person she is completely honest with about her feelings (she struggles SO hard to open up).  She loves to travel and experience new things, as well as host parties and game nights.  She’s both a planner and a completely "in the spur of the moment” human being.  Hates willful ignorance and stupidity, and does not care about keeping the peace. I disliked her at first for her bluntness and arrogance, but now I love her to pieces.  Soulmate, for sure.

INTJ friend (long distance).  Very, very prickly to others, but warmed up to me instantly.  Arrogant, albeit extremely logical and intelligent.  Loves memes, biology, and good television.  Adores her girlfriend and gushes about her often (one of the rare instances where she’s a total fluff ball).  Kind of a dick, but also very funny and 100% there for companionable silence or intellectual conversation.  Enjoys being in a group of outcasts and detests most people.  We had a lot of weird things in common and joked about being long lost sisters, and I valued her promptness / dependability!  Her negativity kind of wore me out though (we were studying abroad, and she was homesick for most of it). 

The ENTJ boss.  I no longer work for her, but man, what a powerhouse.  Direct and blunt to a fault, but incredibly motivated and ambitious.  Will get things done, no matter what.  Big idea woman, not so great with the details and how her plans will actually (realistically) be implemented.  SO, so organized and anal, and yet somehow kind of a mess.  Surprises me when she’s emotionally vulnerable because she’s incredibly intimidating and intense.  Loves hosting parties and cooking for her coworkers / neighbors.  Those who are close to her know she has a good heart, but she can seem like a total b** to an outsider.

ISTP coworker.  She’s good at multitasking, and yet she runs late constantly.  Intelligent in the way she asks questions for clarity and a better understanding of a concept.  Calm, collected, and logical.  Creative and impressive in her projects (home remodel, upcycling crafts, etc).  Conversation is a bit surface-level at times and mostly centers around her day to day life experiences or family drama.  She’ll often ask me about my life and then tune me out because she quickly grows bored, as do many other sensors, rip T_T.  We’re a good team, though.

These are my personal experiences with / observations of particular individuals whose type I’m confident about, but they do not represent everyone of the same type.  If anything, I think this goes to show the range of personalities within a function stack.

[rosemary-is-in-pesterquest]

ooh! I have thoughts on Eridan!

okay so, to me, Eridan ties into this thing that homestuck has going on with a lot of its more morally grey characters... the question of how responsible young people are for their negative qualities and actions, and where the age threshold for personal responsibility is.

the characters in homestuck all straddle this line between being young enough to consider them victims of the forces that influence them, while also old enough to understand what they're doing and how it affects others... especially because a lot of these kids come off as really smart for their age, and very precocious. we've all been through phases in our lives that make us cringe, not because we're ashamed of something harmless, but because we recognize that we had absorbed something harmful, and took longer than we wish we had to unlearn it. it could be as simple as being kind of a jerk in a misguided attempt to seem cool, or as dramatic as actually hurting someone in an attempt to remedy one's own insecurities by putting down others to seem better by comparison... but how far can you push that before people aren't willing to forgive? before people abandon the notion that better guidance and more appropriate role models could reform someone? and it's especially interesting when you consider how old homestuck's core audience might've been when they first encountered this story, and how it affected their perception of the characters if they saw them as peers, rather than as children from an adult's perspective.

so to talk about Eridan, I wanna frame this in terms of his classpect, because it actually goes a long way towards contextualizing his behavior. Eridan is a prince of hope, meaning that he destroys hope or uses hope to destroy... and this can be seen in practically every conversation he has. if Eridan is contacting someone, it is because he expects something of them. advice, or consolation, or a solution to a problem he's having... it's always something. when he contacts Kanaya, he wants her to auspistize between him and Vriska. when he contacts Feferi, he wants her to give him encouragement, and maybe date him when he asks. and in every case, the way he demands these things by being rude, whiny, or self pitying, makes people reluctant or unwilling to give him what he expects. he destroys what he hopes to obtain.

it goes deeper than that though. Eridan has absorbed this ideology of sea dweller superiority from living on Alternia... and he actually takes it way farther than it even makes sense to. the aristocracy on Alternia use the lower class for all sorts of menial work that they feel entitled not to have to do themselves. they might have the ability to freely cull individual low bloods for any reason, but eradicating all land dwelling trolls would leave a lot of unpleasant yet necessary tasks with no one to do them. I don't think Eridan actually wants to live in a reality where sea dwellers have to pick up the slack of doing things like sanitation work, or construction or something... but another concept that is heavily tied to the hope aspect is delusion. Eridan is exaggerating. he's trying to agree with Alternia's ruthless class structure so hard that it's actually kind of absurd. but Feferi calls him on that... she says she thinks that he self sabotages on purpose. because he knows, at least in some capacity, that the consequences of getting what he "wants" would actually be really uncomfortable to live with.

so not only is Eridan's goal to destroy... it is also a false goal that he constantly undermines. and all of his waffling between grandstanding and self pity destroys his romantic prospects, which are what he actually seems to want the most.

if you look at the way Eridan pursues relationships, he actually makes a lot of logical sense, but not a lot of emotional sense. he's idealized the act of perfectly filling the relationship requirements of each quadrant. he wants Feferi to be his matesprit, which is purely based on the fact that she's high enough on the hemospectrum to be an appropriate match in terms of status. he wants Vriska to be his kismesis, and Kanaya to be their auspistice, and there are hints that Karkat might've been someone he was considering for moiraillegience, though it wasn't emphasized as much. and there you go! his goal is specific, but it's based more on ideals than on the actual needs and feelings of the people involved, and it's totally self centered... he always wants them to cater to his own needs. the reason why he gets as nihilistic as he does on the meteor, is because all of his endeavors to achieve these relationships are falling through. he feels like he has no hope of mending his existing connections, because he still only sees them in terms of people either giving him, or not giving him, what he wants. but the rest of their race is dead. as the last twelve trolls in existence, they only have each other as romantic options. and as Eridan gets more and more desperate, he gets more and more demanding, which is the exact quality that drives everyone away from him to begin with, and it culminates in him having a "if I can't have what I want then nobody can have any of their hopes either" meltdown.

to backtrack a bit, I wanna reconsider questions such as, when is a kid old enough to be held responsible for their own negative qualities? like... when are you comfortable with ceasing to blame environmental factors? when are they just a bad person? is it after they've refused a certain number of chances to make better choices? when do they reach an age, or level of bad behavior, that makes you think they can't be helped to reform from these negative qualities? where does an adult lose their patience for the idea that a kid is just a victim of their upbringing?

obviously Feferi is Eridan's peer, but these are basically the questions she grapples with when she talks to Eridan. it's like growing up next door to a kid whose parents have some aggressively wrong-headed political stances. as you grow, that kid might mirror their parents' way of thinking... and by the time the two of you are in your teens, it's hard to ignore how much of a jerk that kid is becoming. but you've seen them at every step of their development. you know where it comes from. maybe theirs is the dominant political belief in the community, even if your own parents aren't like that. maybe you wonder if you would've agreed with them if you grew up under their circumstances. you've felt the pressure, but you haven't lived in it like they have, and maybe if they just had the chance to grow up under different conditions, they wouldn't be this way. and you are aware that you could be an influence on them... maybe they need you to help them see another perspective. you always got along so well as kids. when did things even change? and that's kind of where I imagine Feferi is at when we're introduced to her and Eridan. it's a crossroads between believing that you might still matter enough to them to change their outlook, and the persistence of their ingrained beliefs. it's tiring to do that kind of work, over a long period of time, to minimal results. when is the appropriate time to give up? in this way, Feferi's own hopes for Eridan fade over time. she says at one point that she was mainly acting as his moirail so he wouldn't try to underfeed her lusus and kill the land dwellers that way. she's not sure how serious he is, and she can't take that risk. deep down, I'm pretty sure Eridan knew he was never actually going to commit a genocide... but his need to grandstand, and legitimate belief in his caste superiority, had convinced Feferi enough that she still felt obligated to manage him as though he was a real threat.

these characters are thirteen years old. they're right at the edge of childhood and adolescence... right at the age where children aren't quite so innocent. they want to assert themselves. they aren't mature, so there's a lot of responsibility that they still shouldn't be trusted with yet, but they've become aware enough to feel like that's demeaning, and to want to be taken seriously. in an effort to make people acknowledge them without looking down on them, they'll try just about anything. they don't have the experience to know what they're doing yet, so it doesn't always work in their favor, and that's frustrating. you can see bits and pieces of this in homestuck's characters. like with the way they try to paint themselves as an authority on something, or shit talk each other in order to emphasize their own strengths. it's a really interesting theme, because homestuck pushes some of these young characters really far in terms of how bad the things they've done can be, or how much their lived experiences have taught them that what they're doing is acceptable. they can be really self aware in some ways, and come off as really childish in others. it's hard to know what you'd do about them in real life... and your answer changes depending on your own age and perspective. it's a really cool gray area to poke around in, and homestuck is excellent at it.

wtf I like Eridan now

[spacecrone]

Sorry, Cassandra.

So, it's definite then

It's written in the stars, darlings

Everything must come to an end - Susanne Sundfør

I first learned about the climate crisis in 2008, as an undergrad at Hunter College, in a class called The History and Science of Climate Change. For the next decade I would struggle with how to process and act on the scientific paradigm shift climate change required: that human activity could disrupt the climate system and create a planetary ecosystem shift making Earth uninhabitable to human life. I became a climate justice activist and attempted to work directly on The Problem which was actually, as philosopher Timothy Morton writes, a hyperobject, something so systemic and enormous in size and scope as to be almost unintelligible to human awareness. I’ve cycled through probably every single response a person could have to this knowledge, despair, ecstasy, rage, hope. I’ve landed somewhere close to what I might call engaged bewilderment. For me, his particular locale has a soundtrack, and it’s Susanne Sundfør’s cinematic dance dystopia Ten Love Songs, an album that tells a story of love and loss in the Anthropocene. Sundfør is a sonic death doula for the Neoliberal project, with a uniquely Scandinavian version of bleak optimism. To truly grapple with this time of escalating transition, we need to really face what is, not what we hope or fear will be, but what is actually happening. A throbbing beat with shimmering synths around which to orient your dancing mortal envelope can’t hurt.

Susanne Sundfør’s Ten Love Songs was released a few days after Valentine’s Day in February of 2015, six months after I had been organizing Buddhists and meditators for the Peoples Climate March.  I was already a fan, having first heard her voice as part of her collaboration with dreamy synth-pop outfit m83 on the Oblivion soundtrack. Oblivion was visually striking but felt like a long music video. The soaring synths and Sundfør’s powerful voice drove the plot more than the acting, though I loved how Andrea Riseborough played the tragic character Vika, whose story could have been more central to the plot but was sidelined for a traditional Tom Cruise romantic centerpiece. But since the movie was almost proud of its style over investment in substance, the music stood out. The soundscapes were as expansive as the green-screened vistas of 2077  in the movie. It was just nostalgic enough while also feeling totally new, a paradox encapsulated in the name of m83’s similarly wistful and sweeping Hurry Up, We’re Dreaming.  I am not exempt from taking comfort in style that signifies a previous era, and I am also not alone in it. It’s a huge industry, and while the MAGA-style yearning for a previous era is one manifestation, maybe there are ways to acknowledge culture as cyclical in a way that doesn’t sacrifice traditional knowledge to some imagined myth of perpetual progress.

When Ten Love Songs came out the following year, I listened to it on repeat for days.  Sundfør seemed to have absorbed the music-driven sci-fi into a concept album, with m83 providing her with a whole new panopoly of sounds at her disposal. Like Oblivion,  Ten Love Songs told the story of a future dystopia with high speed chases, nihilistic pleasure-seeking and operatic decadence against a backdrop of technocratic inequality. It mixed electro-pop with chamber music and I listened to it on a Greyhound ride to Atlantic City in the middle of snowy February. I hadn’t felt like this since high school, that a full album was a sort of soundtrack to my own life, which I could experience as cinematic in some way while the music was playing. This situated me in my own story, of studying climate change as an undergrad and graduating into a financial collapse, working as a personal assistant to an author writing about ecological collapse and ritual use of psychedelics, to joining a Buddhist community and organizing spiritual activists around climate justice. 

Ten Love Songs is a breakup album, with lyrics telling of endings and running out of time. But it didn’t read to me as an album about a single human romantic relationship coming to an end. It felt like a series of vignettes about the planet and its ecosphere breaking up with us, all of us. People. Some songs like Accelerate, one of the album’s singles, throb in an anthem to nihilistic numbness and speeding up into a catastrophe that feels inevitable. Fade Away is a bit lighter, tonally and lyrically, (and if you listen, please note the exquisitely perfect placement of what sounds like a toaster “ding!”), but is still about fading away, falling apart. The way the songs seem to drive a narrative of anthropocenic collapse built on science fiction film scores, the combination of orchestra and techno-pop, absolutely draws on Sundfør’s experience collaborating with m83 for the Oblivion soundtrack, which itself combined Anthony Gonzalez’s love for the adult-scripted teen dramas of his own 80’s adolescence. In Ten Love Songs, Sundfør takes what she learned from this collaboration and scores not a movie but a life experience of living through ecological collapse and all of the heartbreak and desire that erupts in a time when everything seems so close to the knife’s edge.

I am reminded of another Scandinavian dance album that was extremely danceable yet harbored within it a sense of foreboding. The Visitors, ABBA’s eighth studio album, was considered their venture into more mature and complex music. The two couples who comprised the band had divorced the year before it was released, and the entire atmosphere of the album is paranoid, gloomy, and tense. The cover shows the four musicians, on opposite sides of a dark room, ignoring each other. Each song is melancholy and strange in its own way, unique for a pop ensemble like Abba. One song in particular showcases their ability to use an archetype of narrative tragedy and prophesy to tell the story of regret. Cassandra is sung from the perspective of those who didn’t heed the woman cursed by Zeus to foretell the future but never be believed. 

I have always considered myself a pretty big Abba fan, something my high school choir instructor thought was riotously funny. I was born in the 80’s and nobody in my family liked disco, so I seemed like something of an anachronism. But pop music, especially synth-oriented pop, has always felt like a brain massage to me. It could get my inner motor moving when I felt utterly collapsed in resignation to the scary chaos of my early life. But I only discovered the song Cassandra in 2017, while giving The Visitors a full listen. It felt like I had never heard the song before, though, as a fan I must have. But something about 2015 made the song stand out more. It starts with piano, soft tambourine, and the ambient sound of a harbor. It has a coastal Mediterranean vibe, as some Abba songs do, foreshadowing Cassandra’s removal from her home city, an event she foretold but could not get anyone to believe. It’s a farewell song of regret, echoing the regret the members of Abba felt about their own breakups. 

We feel so full of promise at the dawn of a new relationship. Only after the split can we look back and say we saw the fissures in the bond. The signs were there. Why did we ignore them? This happens on an individual level but the Cassandra paradox is an archetype that climate scientists and journalists are very familiar with. This particular Abba song, and the Visitors album overall, uses this archetype to tell the story of a breakup in retrospect. With climate change, the warnings have been there, even before science discovered the rising carbon in the atmosphere. Indigenous peoples have been warning of ecological collapse since colonization began. Because of white supremacy and an unwavering belief in “progress,” perpetual economic and technological development and growth, warnings from any source but especially marginalized sources have been noise to those who benefit from that perpetual growth model and from white supremacy itself. Is there a way to undo the Cassandra curse and render warnings signal BEFORE some major event turns us all into the chorus from Abba’s song, singing “some of us wanted- but none of us could--  listen to words of warning?” Composer Pauline Oliveros called listening a radical act. It is especially so when we listen actively to the sounds and signals of those we would otherwise overlook.

When I look back at my life in the time that Sundfør’s Ten Love Songs and m83’s movie music seems nostalgic for, the late 1980’s in New Jersey,  I was a child with deeply dissociative and escapist tendencies, which helped me survive unresolved grief, loss, and chaos. I recognize my love for Abba’s hypnotic synth music as a surrendering to the precise and driving rhythm of an all-encompassing sound experience. I also see how my early life prepared me to be sensitized to the story climate science was telling when I finally discovered it in 2008. I had already grown up with Save the Whales assemblies and poster-making contests, with a heavy emphasis on cutting six-pack rings so that sea life would not be strangled to death. I knew what it was like to see something terrible happening all around you and to feel powerless to stop it, because of the way my parents seemed incapable of and unsupported in their acting out their own traumatic dysregulation. Wounds, unable to heal, sucking other people into the abyss. I escaped through reading science fiction, listening to music like Abba and Aphex Twin loud enough to rattle my bones. I wanted to overwhelm my own dysregulated nervous system. I dreamed of solitude on other planets, sweeping grey vistas, being the  protagonist of my own story where nothing ever hurt because ice ran through my veins and the fjords around me. My home planet was dying, and nobody could hear those of us screaming into the wind about it.

Ten Love Songs woke up that lost cosmic child who had banished herself to another solar system. Songs of decadence, songs of endings, songs of loss. Though that album was not overtly about climate change, Sundfør did talk about ecological collapse in interviews for her radically different follow-up album Music For People In Trouble. After the success of Ten Love Songs, Sundf��r chose to travel to places that she said “might not be around much longer” in order to chronicle the loss of the biosphere for her new album. It is more expressly and urgently about the current global political moment, but the seeds for those themes were present and in my opinion much more potent in the poppier album. But maybe that’s the escapist in me.

The old forms that brought us to this point are in need of end-of-life care. Capitalism, white supremacy, patriarchal theocratic nationalism, neoliberalism, they all need death doulas. Escapism makes sense in response to traumatic stimulus, and for many of us it may have helped us survive difficult circumstances. But if we are to face what it means to be alive on this planet at this moment, we might be here to be present to and help facilitate and ease the process of putting these systems to rest. And maybe this work is not at odds with a dance party. The ability to be visionary about shared alternatives to these dying systems is not inherently escapist, when we are willing to take the steps together to live into those new stories. What would happen if cursed Cassandras, instead of pleading with existing power structures to heed warnings that sound like noise to them, turned to each other to restore the civic body through listening, through bearing witness to each others unacknowledged and thwarted grief over losses unacknowledged by those same systems of coercive power?

Engaged bewilderment means my version of hope, informed by Rebecca Solnit’s work on the topic, comes from the acceptance that things will happen that I could never have imagined possible. Climate change is happening and there are certain scientific certainties built into that trajectory. Some of it is written in the stars. But as with any dynamic system change, we do not know exactly how it will all shake out. These unknowns can be sources of fear and despair, but there is also the possibility for agency, choice and experimentation. The trajectory of my individual life was always going to end in death. Does that make it a failure? Or does it render each choice and engagement of movement towards the unknown an ecstatic act? As the old forms collapse, no need to apologize to the oracles. At this point they are dancing, and hope you’ll join.

[phoenixglacier]

Today’s song analysis: Because Of You by Kelly Clarkson

(If you’re new to this place, hi. I don’t really focus on the song much. Sorry.)

I can’t remember how old I was exactly when I first heard this song. Primary school? I didn’t have the CD or anything, so I guess somehow I managed to grasp the entire song from listening to it playing overhead in the shopping centre.

(Quick note: If Kelly Clarkson herself has said anything about what this song means to her, I have no knowledge of it. I’m here sharing the story I got from this song personally, with no other source except listening to it.)

So. In terms of storyline, it’s pretty straightforward:

The Speaker is addressing their Parent. Their Parent was in an unhealthy, probably abusive relationship with another person. As a result of growing up with this happening to their Parent, the Speaker is unable to let down their walls and trust anyone else in their life now, and it’s highly disruptive to their ability to live.

I originally thought, as a child, that it was a straightforward song blaming the parent for getting into an abusive relationship at all. In a way, the Speaker blames the Parent for not taking care of themself better, because it had an automatic impact on the Speaker even as a bystander in the scene.

But that’s not all, is it?

I realise when I listen to it as a young adult: It’s not about the situation. The Speaker isn’t actually so naïve so as to blame their parent for something they aren’t at fault for. Instead, the Speaker blames them for not protecting them.

And here, I don’t mean ‘protecting them’ as in protecting them from attacks themself, I mean protecting them from the knowledge that was going on. The Speaker says “I was too young”. Allowing their child to witness the abuse at all was where the Parent failed. It’s not the fact that the Parent was in a scary-looking relationship — it’s the fact that the Parent showed them, again and again, how painful and terrible it was.

Imagine it like having a child see movie characters shoot each other, versus the extended dying scene where they see the character’s body die slowly with a pg-13 slapped on it. These scenes are pg-13 for a reason. /j

The Speaker says it explicitly: “I watched you die”

I’m not sure whether this is very clear, so let me interject with a slightly personal example.

So, a family unit that I’m very close to is going through a difficult time right now, a long-coming explosion that’s finally been catalysed by COVID-19. I’m close to the children, as well one of the parents. There’s no need to explain what the full situation is: currently the parent is trying their best to appease their partner for the sake of their children. It is, I think, a common statement for a person to say that they’ll stay in a marriage just for their children. 

Listen up: You are a parent. You have a responsibility to a child, who honestly should be the first and foremost thing in your mind, because you’re responsible for this human being in its entirety. 

So I don’t think that the motive itself is wrong, but it’s worth it for anyone who says that to take the time to step back and consider that statement. You want the best for your children, correct? Then think about your options, and whether staying in a damaging relationship is really ‘the best’ for your children.

It might be. But it’s not automatic. It just isn’t.

This isn’t the place for a whole spiel on my opinions of divorce, but let me start with this: If your children know that their parents are constantly hurting each other, are constantly walking on eggshells, and are constantly seeing their loved ones cry, then they’re already affected. This piles up, and if your children don’t learn that people can’t be trusted and distance themselves from others completely, then they’re going to learn that this is how a normal relationship works and grow up to be the next victim or abuser.

This parent in my story is trying their best not to involve the children, which makes me relieved that they at least know to try.

I always think open communication is good with children. Children don’t need to be sheltered from every little bad thought in the world, and it helps for children to have an accurate understanding of the world, and gives you better ground on getting your child to see your side of things (when my parents give me advice with an explanation, it definitely increases my chances of listening). But that doesn’t mean ‘treat your children as adults’ or even worse, ‘treat your children as your personal therapist’. Yes, children are fragile. Even adults are fragile. And you, as a parent, have the responsibility to make sure you don’t traumatise them.

Here’s another analogy: You know your child will fall down, physically, many times in their life, and sometimes it will be painful and potentially even leave lasting damage. You might be the type who lets your child fall down while they explore, because you don’t want to coddle them when they inevitably grow up and you can’t watch them twenty-four seven anymore. That’s fine. But if they’re a tiny infant and their clearly too fragile to take a fall — DON’T LET THEM FALL. You hold on tight to them because you know that while they’re gonna have to be exposed to falls one day, they’re literally not physically ready to handle that yet. If your infant falls, they might get severe head trauma or spinal cord injury or anything, and then you’ve just messed up at the very start of your parenting. And then when they’re a little bigger, and they can toddle around, do you let them fall off the top of the monkey bars? NO. Because no matter how old, some falls are just going to be too supremely bad, and you don’t want your child to end up in the hospital with broken bones if you can help it.

This is the same concept. Your children have a mental trajectory, just like they have a physical one. In the same way, it varies considerably from one child to the next. There’s no need to go around talking about how some children are ‘way more mature than others’ because, yeah, that happens. That still means it’s a continuum. To be honest, a child can be doing great discussing social movements with their friends and then not be able to take the emotional toll of coming home to a warzone every day. Adults are like this too. I promise you that thousands of people who watch Avengers totally won’t be able to take the emotional stress of an actual alien invasion. 

As a child, I was aware that my parents had very little money. It’s a little hard to grab an adjective, but I’d say I felt ‘negative’ that I couldn’t buy things like my friends could and my parents were rarely at home, as far as I was concerned. But I never fought with my parents on these money-related issues, because I understood the reasoning behind why I couldn’t have what I wanted. But I was also very secure, because my parents made it clear to me that they had it all under control. At stores, I could negotiate purchases with my parents, because I knew I couldn’t comprehend how much we could realistically spend, and I knew that my parents wouldn’t give into me if it would make our lives harder overall. They never gave me the opportunity to even consider that they might not be able to send me to university. This means I grew up pretty secure in terms of money, despite having significantly less than my peers at the time — not that I could spend a lot, but that I didn’t have to worry about it, as a child.

My parents were being honest about their expectations for how our situation would go. In a lot of situations, like unhealthy relationships, forget honesty when you can’t even see the future yourself. But you still need to shield your child a little. They’re still learning about life, love, relationships, confrontation, aggression, problem-solving, self-respect, self-protection, and more. What my parents taught me about money and spending carries on until today — I have zero concept of money apart from whether I have it, buy things only on impulse, but buy absolutely nothing. For the past several years, my parents have dragged me out on shopping trips trying to get me to buy new clothes, because I would never buy myself them until my old clothes wore out beyond repair. This is my money model, and it’s not the worst but it’s also not the best, and I have it because it’s the model I grew up with in my formative years.

So back to the song. The Speaker says they will be stronger. But this isn’t going to work. They’ve learned the desire to be loved from their Parent, so they can’t really close off their heart from danger completely, yet they can never truly open it up. Furthermore, they only have this one model of a relationship, so they’re left only with this vague idea of being ‘stronger’. And lastly, they have trauma from sharing the experience of what their parent went through. Oh, and one more thing, “I will not cry, because I know that’s weakness in your eyes.” Yeah.

[comicteaparty]

Webcomic Recommendations

Check out this plethora of webcomic recommendations archived from Comic Tea Party’s Webcomic Recommendations Channel!

Nutty (Court of Roses)

Children of Shadow: Ashes https://spiderforest.com/comics/children-of-shadow-ashes/ Genre: Anthro/Horror/Urban Fantasy Trigger Warnings: Rated Mature for blood, gore, and intense scenes Reasons: Some of the most lovely pencil work I've ever seen, well-rendered animal art and a compelling world!(edited)

Heirs of the Veil https://spiderforest.com/comics/heirs-of-the-veil/ Genre: Drama/Urban Fantasy Trigger Warnings: Rated PG-16+ for transphobia, dysphoria, mental illness, blood, trauma, body horror Reasons: Absolutely gorgeous artwork, really compelling illustrations of the lgbt experience

Aloe https://spiderforest.com/comics/aloe/ Genre: Adventure/Drama/Sci-Fi Trigger Warnings: Rated Teen for violence and blood Reasons: I'm normally not into sci-fi but this comic is so bright and colorful, I really love it a lot. Also the main character is non-binary!

Millennium https://spiderforest.com/comics/millennium/ Genre: Adventure/Fantasy/Sci-fi Trigger Warnings: Rated PG-13 for Mild Violence and Mild Language Reasons: Lovely art, fun characters, and an engaging space world! I love it so so much.

Sombulus https://spiderforest.com/comics/sombulus/ Genre: Adventure/Comedy/Fantast Trigger Warnings: Rated Young Adult, no warnings Reasons: An absolute blast, super fun story and characters, with a nice long archive too!

Arbalest https://spiderforest.com/comics/arbalest/ Genre: Fantasy/Horror Trigger Warnings: Rated Mature for partial nudity, blood/gore, sex, themes of abuse Reasons: A really compelling story in a non-traditional narrative style, and super spooky to boot.

And finally, to top this off, I'll drop in my own comic as well! Court of Roses https://spiderforest.com/comics/court-of-roses/ Genre: Adventure/Fantasy/Comedy Trigger Warnings: Rated Teen, for Fantasy Violence and Alcohol Use Reasons: Because this is my comic and it's my pride and joy and I love my bards a lot. :3

AntiBunny

Dead Winter http://deadwinter.cc/ Genre: Zombie Apocalypse Trigger Warnings: Violent Reasons: Well it's a straightforward zombie survival comic. What's impressive is how well the artist has studied comics as an art form and put thought and purpose into every panel.

HiddenElephant

http://welcome2earth.webcomic.ws/ Snarky alien crashes onto Earth. Not enough people are reading it in my opinion.

snuffysam (Super Galaxy Knights)

Super Galaxy Knights Deluxe R: http://sgkdr.thecomicseries.com/ Genre: Action, Comedy Trigger Warnings: Blood, Dismemberment Reasons: A recommendation for @Goobatron . It's my comic. The creator is me. Super Galaxy Knights is a story about Mizuki Sato, who goes on adventures through a strange world, making friends along the way. The dialogue is like... 70% banter, 30% total non-sequiturs. The art style uses 3D models, in like a weird cel-shaded style that's meant to be reminiscent of games like Wind Waker and Dragon Ball FighterZ. And there's also a bunch of animated panels/pages. There's also a ton of really strange characters. Like there's a dude whose power is that he always wins knife fights. There's a wizard who shrinks hot dogs and carries them around in capsules. Etc. One warning - the early pages are a bit rough-looking. Some have been redrawn recently, but others haven't yet, so it can be a bit jarring to go back and forth between styles.

Cap’n Lee (Flowerlark Studios)

Clockwork http://www.clockwork-comic.com/ Genre: Fantasy / Drama CW: Some language and violence Clockwork is a comic about Cog Kleinshmidt, a moody teenager with an uncanny talent for repairing machinery. He feels he’s a nobody, but is swept into the turbulent world of politics, and is forced to learn magic in a world where magic is strictly forbidden. The art in this comic is incredibly polished and lively, and the characters are all instantly endearing. The writing is also top-notch. The first time I read it, I was completely sucked in after only a few pages. It’s currently on hiatus while the creator prepares the next chapter, but it’s well worth the wait.(edited)

Moral_Gutpunch

Micheal Morbius: Freelance Vampire http://freelancevampire.thecomicseries.com/ Genre: Drama, comedy Trigger: mentions of death and violence, talk of abusive relationships, mention of rape. It's all in dialog. Micheal Morbius, from Marvel comics, struggles to adjust to a as normal a life as a vampire can have. He helps a friend get back on her feet, he goes through therapy, and he's visited by Spider-heroes, this time a new one. Meanwhile, a true monster lurks int he shadows. The art isn't good, but the story and dialog are worth it. It's my comic. I hope after I get a few more pages going people will enjoy the story. It's a story I've been wanting to write for ages and I figured I'm not going to write for Marvel anytime soon (yes, I checked copyright law, Marvel allows this). Dedicated to Stan Lee.

Pakky

The Boy Who Fell http://boywhofell.com/ Genre: Drama, Adventure, Action, Comedy TW: Violence, blood, fighting, ptsd, suicide, death Synopsis (from the website): The Boy Who Fell revolves around an innocent, softhearted and almost-spineless boy named Ren who suddenly finds himself in Hell after accidentally falling off a school rooftop. He is then forced to partake in a tournament full of powerful and vicious beings in order to attain his only way of going home: an all-powerful wish from the ruler of Hell himself. As the story progresses, lines between allies and enemies are blurred, dark pasts are revealed, political issues come to light and all the while, Ren slowly realizes that in order to survive this journey, he might have to give up the very things that make him human I love this webcomic and have been following this artist for over 10 years now and recommend their work to anyone who will listen haha! Super long running webcomic with a well developed storyline and world.

Shizamura 🌟 O Sarilho

Broken http://broken.spiderforest.com/ Genre: Horror Trigger Warnings: Military, death, monsters Reasons: Broken offers a very interesting twist on the concepts of fairies, presenting you with a fairy general on the battlefield fighting against corrupted abominations. The concepts and worldbuilding here are very interesting and the battle/action scenes are great. Often makes use of animation and some HTML/CSS for extra effect. Of Magic and Muses https://xiicomic.com/magic-and-muses/ Genre: Magical Girls, mystery Trigger Warnings: There's a big monster at some point? Reasons: It's a magical girl story! Except nobody knows what's happening, the powers the girls get are maybe not of a friendly nature and they wear armor? The escalation of events is suberb. It has a large (and growing) cast, but each character has their own unique personality, making them super easy to follow and love. Ghost Junk Sickness https://www.ghostjunksickness.com/ Genre: action, sci-fi Trigger Warnings: violence, limb loss, death Reasons: There's a lot to be said about this comic! I really like the characters, who are deeply flawed and charming and make a lot of mistakes (the main duo having an especially interesting, yet sorta problematic dynamic). The worldbuilding is interesting and quirky to match. The mysterious bounty The Ghost is a looming presence, and apparently we'll be learning more about them soon. Super exciting and fun action scenes too!

Desnik

https://monsterhead.net/ Genre: LGBT+ American rural occult fantasy Trigger Warnings: Animal death, mild body horror Reasons: The author/artist is an OC-loving member of the LGBT+ community, and her work deals with self-love in the face of weird circumstances. Love the colors, Carter is an appealing and relatable main character, and the worldbuilding is something I've never seen before.

LadyLazuli (Phantomarine)

http://www.phantomarine.com/ Genre: Fantasy, Supernatural Trigger Warnings: Death, Mild Body Horror, Mild Violence, Mild Language Reasons: ...This is my comic! (edited)

Phantomarine is a spooky-but-sweet fantasy webcomic about a ghostly princess and her perilous journey across a haunted sea, hoping to save her soul from a devious, shapeshifting death god known as the Red Tide King. Expect all manner of maritime mysteries – monstrous sea creatures, sacred lighthouses, strange afflictions, accursed marauders, feuding gods, grand sea battles, and a heaping helping of humor in-between.

eliushi [Keyspace]

https://tapas.io/series/KEYSPACE-A-Winged-Tale/ https://www.webtoons.com/en/challenge/keyspace-a-winged-tale/list?title_no=322364 Genre: YA Science Fantasy, LGBT+ Trigger warnings: Mild body horror/violence/monsters, death Reasons: My comic Blurb: Florence thought her idyllic life living with the winged beings would last forever. However, when her mother disappears from a mysterious expedition, she fears for the worst. Through exploring hidden laboratory tunnels beneath the forest, facing Machines from a century-long war against humans, and seeking guidance from the Lost people from a civilization gone by, Flo and her winged friends must piece together the past in order to save all those they love.

Shizamura 🌟 O Sarilho

O Sarilho https://www.sarilho.net/en Genre: Post-Apocaliptic/Sci-fi Trigger Warnings: War, military, death Reasons: I make it Short description: A small team goes on a mission to enemy territory to find the remains of an ancient satellite and they end up finding a lot more. There are computers and dams and electricity-worshipping future romans (edited)

GGY

Tile: Over 8 Miles https://tapas.io/episode/859067 Genre: Drama, Comedy, Slice of Life Reasons I make it: Cause its fun and I enjoy sharing the existence of my characters and their life outside my brain

Emma (Friends or Lovers?)

Dreamwalker Felix by KT and TK https://tapas.io/series/Dreamwalker-Felix and https://www.webtoons.com/en/challenge/dreamwalker-felix/list?title_no=182487 Genre: Fantasy/Supernatural Trigger Warnings: There's some body horror in there Reasons: The art is just beautiful, and it has tons of funny moments Friends or Lovers? by yours truly https://tapas.io/series/friendsorlovers and https://www.webtoons.com/en/challenge/friends-or-lovers/list?title_no=49520 Genre: Romance/school slice of life Trigger Warnings: Mentions and depictions of bullying Reasons: It's my comic, so I'll just quote a reader: "Your comic is more accurate to real teens in love in high school than most. It's really good stuff"

keii’ii (Heart of Keol)

Earth in a Pocket http://earthinapocket.spiderforest.com/ Genre: Retro Sci-fi, Iyashikei Trigger Warnings: none Reasons: This comic posted its final page very recently! It's a relatively short read; very gentle and hopeful without being cavity-causingly sweet. The creator has put together such a heartwarming story that I've been adoring for a while. One of my faves, now complete!

renieplayerone

O Human Star https://ohumanstar.com/ Genre: Scifi, Robots, Drama TW: Dysphoria, Depression Reasons: The characters are so well written and emotional, plus I love the simplistic color palette. They get across the journey of self-discovery in such an interesting way.(edited)

carcarchu

Arcane Flames https://tapas.io/series/Arcane-Flames Genre: Fantasy Trigger Warnings: death? Reasons: I've been following kutty sark for many years now and I've really been looking forward to this comic which I'm pleased to say even exceeded my expectations. Fantastic art and the tone of the story is just lovely, i adore al'vis

Eightfish (Puppeteer)

https://sfeertheory.com/ The art is incredible. Every character, even the background ones, is full of personality. I love a good underdog story, and Luca's speech in chapter three made me scream into my hands and tear up. I can't recommend it highly enough

Tantz Aerine (Without Moonlight)

http://secondcrimeanwar.thecomicseries.com/

The Second Crimean War is a powerful and fun story in an alternate 1990s decade in Ukraine. The art is black and white and improves in leaps and bounces as you move on in the story! The story itself draws you in from page one. There's suspense, there's (black) humor, there's atmosphere and adventure. Highly recommended if you like war/action/suspense.

varethane

Have you ever read Nasty Red Dogs? https://nastyreddogs.com/

oh golly, haha

yeah, it's a fun and twisted and surreal little tale, the early parts especially are like walking through a really bizarre dream that if you describe it, it ought to be called a nightmare, but at the moment you're in it, it doesn't FEEL like one lol

the creator also does a comic called Feast For A King, which I think is more well-known but I haven't read yet (will at some point tho): https://feastforaking.com/comic/

kelly-zine

Title: Zyra Slash Genre: Sci-Fi, Comedy, Slice-Of-Life TW: None (for right now at least, it just started!) Reasons: I love Alex and their characters so much! ZS is a project I’ve been following and chatting with them about for a long time and it’s amazing to see it come to fruition. I think you’ll like it too. (Note that it’s on hiatus at the moment!) https://www.webtoons.com/en/challenge/zyra-slash/list?title_no=373763

keii’ii (Heart of Keol)

Title: Ark https://www.arkcomic.com/ Genre: Fantasy, Drama, Anthro TW: violence (nothing heavy yet, but my Spider Senses are tingling) Reasons: A 1920s-inspired, extremely believable fantasy setting. Hints of racial tension and a possible war brewing on the horizon. It's pretty early in the story, so hop in and claim the front row seats for this gorgeously illustrated comic! (edited)

Joichi [Hybrid Dolls]

Tamberlane https://www.tamberlanecomic.com/ Genre: slice of life, heartwarming, Anthro It has a cast of colourful characters. Charming story of a clumsy bat named Belfry who adopts a little human. Various animal neighbors to love

Joichi [Hybrid Dolls]

I found one of the Chinese webcomics I use to follow, is now on Webtoons. They rename the title to: The Emperor's New Body because it's about body swapping and has interesting depth while some silly hijinks https://tapas.io/series/the-emperors-new-body(edited)

trinketfox

May as well rec my first ever favorite webcomic! Warrior U! https://warrior-u-thecomic.tumblr.com/ It's so expressive and funny that I've always wished it would become a show on cartoon network or something. Only the first few pages are still up on this tumblr since the official site is down, but all chapters are on the artist's gumroad!

It's an episodic comedy fantasy that goes from page-long gags to full episodes. Reccomended for it's humor and a really fun art style.

SteffieMusings

Nebula Beings https://tapas.io/series/Nebula-Beings Genre: Sci-Fi, Fantasy, Horror/Thriller Trigger Warnings: Violence, scary imagery (especially in chapter 7), talks/implied past abuse Reasons: It's a fun series and the two main characters learn to overcome challenges during their travels.(edited)

Eightfish (Puppeteer)

http://humoncomics.com/elftaken-1

Very short comic about the fae!

shadowhood {SunnyxRain}

For anyone who wants really strong character development/plot/art in general, I’m recommending Heir’s Game https://www.webtoons.com/en/drama/heirs-game/list?title_no=1445 For slapstick humor and characters with strong platonic bonds I give you Waffles and Pancakes https://www.webtoons.com/en/slice-of-life/waffles-and-pancakes/list?title_no=1310 And because why not, and if you like Victorian romance with a cute bickering couple, I give you Miss Abbott and the Doctor https://www.webtoons.com/en/romance/miss-abbott-and-the-doctor/list?title_no=707

LadyLazuli (Phantomarine)

Encephalon Genre: Sci-Fi, Horror Trigger Warnings: Blood, Gore, Strong Language A rescue crew sent to an abandoned space station comes face-to-face with a bio-computer experiment gone horribly wrong. A sci-fi webcomic with body-horror elements. Very creepy stuff! It's just getting started, but after seeing the rest of the story in thumbnail form (my IRL friend is the making it), it's going to AWESOME places. Please check it out! https://encephalon-comic.com/

Joichi [Hybrid Dolls]

This is: Mirror Mirror for 'Brain' short story contest entry. The 1st ep caught my eye and I'm invested in it https://www.webtoons.com/en/challenge/mirror-mirror-b/list?title_no=427186(edited)

carcarchu

https://www.lezhin.com/en/comic/freak Genre: fantasy Trigger Warnings: violence? Reasons: sakon's art is brilliant and incredibly consistent. season 1 is now available to read for free!

sagaholmgaard

Genre: Supernatural, urban fantasy, slice of life Trigger Warnings: Maybe abusive parents? idk i feel like it will be explored in the future Reasons: I love the art style and the latest chapter have some CHAOTIC ENERGY and im living for it!! https://tapas.io/series/bygonesbe

GGY

Just got back from hiatus! If y’all are interested in some slice of life + comedy drama I’d like to share my webcomic Over 8 Miles: https://tapas.io/series/O8M/ep39

carcarchu

Veni Vidi Vici https://vevivi.blog.fc2.com/blog-entry-1.html Genre: slice of life, comedy Reasons: reading this comic feels so comfy and it reminds me of being in roman studies class again. you can really see the love and care that Ruby has put into this comic and her passion for ancient rome is really on full display in this work

Joichi [Hybrid Dolls]

This is the comic books for Cafe Suada I used to read way back. It's a fun slice of life about a teahouse shop keeper rivals with a coffee shop manager https://tapas.io/series/Cafe-Suada The artist used some traditonal tea staining for the textures. The story inspired me to draw my own slice of life series(edited)

sierrabravo (Hans Vogel is Dead)

The Strange Tale of Oscar Zahn https://www.webtoons.com/en/fantasy/the-strange-tales-of-oscar-zahn/list?title_no=685&page=1 Genre: Paranatural Investigation with just a dash of Cosmic Horror Kinda spooky, some light/fantasy violence From the website: Follow the journey of the world's greatest paranormal investigator - Oscar Zahn. Friend to lost souls, enemy of evil, he may lack a body but that doesn't mean he's missing a heart! The art is INCREDIBLE, the tone is really fun with some neat Hellboy vibes, it's complete and it's a good binge read. I really enjoyed it!

carcarchu

Short story about a cat, make sure you've got tissues ready https://akimiya.tumblr.com/post/129049384624

boogeymadam

just caught up with wychwood and it's such a huge treat!! there's some amazingly fun worldbuilding, a lot of intrigue about how the protagonists came to have the powers they do, and the motives behind the things that made the world the way it is * _ * it's also got soooo many pretty derelict environments, cool creature design and fun training montages! http://wychwood.sevensmith.net/comic/1

Yung Skrimp (Carefree)

I started reading Cloven Hearth, it’s interesting and has a really cool art style

https://twitter.com/ruinationcomics/status/1254126660007399425?s=21(edited)

carcarchu

Hana and Mr. Arrogant https://www.ciayo.com/en/comic/hana-mr-arrogant Genre: romance Reasons: Easy breezy read, with nice art and a super likeable heroine! Nothing we've never seen before, but delivered with genuine heart that makes it stand out

LabsZach

This one esp, with the greenery shifting into dirt, roots, and mushrooms, and how it compliments the figures on it is just aces. https://www.webtoons.com/en/challenge/cloven-hearth/touch-of-the-divine/viewer?title_no=396780&episode_no=14

boogeymadam

recently binged malverav's comic Love and War and it is sooo satisfying, about 2 competitors in a medieval tournament involving jousting, archery and more! The banter between Svanhildur and Marinelle had me grinning a lot. Also, it's a wlw rivals-to-lovers romance aka a GREAT kinda love story!! (my favorite kind ) it's on tapas https://tapas.io/series/Love-and-War/info

carcarchu

cronaj's sports comment got me thinking about this and how damn good it is https://tapas.io/episode/968762 Genre: Sports, drama Reasons: it's insanely creative and the art is so intense, i found it extremely memorable and powerful to read(edited)

carcarchu

Came across this stunning webtoon today. It was originally published on taiwanese webtoon and the author has decided to tl into english to share with a wider audience https://www.webtoons.com/en/challenge/intertidal/list?title_no=371176 Really gorgeous traditionally drawn comic and a lovely poetic writing style

carcarchu

the winner of this year's eisners awards for best webcomic. definitely worth checking out! https://friedricecomic.com/

[visionaxry]

ELITE S3

SPOILER WARNING

Okay, was this season the best or am I so addicted to this show that every time it comes back I love it even more?

First and foremost. Polo deserved to rot in jail for the rest of his life, not to escape his agony by dying and get forgiveness from Guzmán. Just because he‘s dead he’s not any less of a murderer. Polo apologists can F off. You can like him as a character but do not excuse his actions. Marina’s murder was not an accident. Polo made a choice, and we saw how he wanted to hurt Ander the same way in S2. He could kill again... Well, at least now he won’t.

Now on to my favorite characters.

Rebeka continues to be the best. I’m glad she got more of a storyline this season. She’s definitely a character who you’d want to be best friends with. The scenes of her supporting Ander and coming out to him were beautiful. A lot of people - me included - wanted Rebe to be non-straight. When she admitted her feelings for Carla, I couldn’t believe we actually got the possibility of Rebeka and Carla ditching Samuel to be together. Sadly, I was right not to believe it. These «feelings» sank into oblivion just after they were revealed. We got no interaction (besides Rebe giving Carla drugs and apologizing about it), no longing looks, no development (even one-sided). Instead Rebeka was stuck in a forced romance with no chemistry, showcasing only jealousy over Samu towards Carla. As for Samu, he seemed to love Rebe as a friend, much like Marina loved him in S1. After all, Rebeka truly deserves someone who will reciprocate her feelings and a better crimeless life, which I really hope she will get in S4.

Samuel has done the impossible in S2 by becoming my favorite character. He used to embody “the good guy” trope which I hate, but he developed from this perfect-innocent-annoying character to a protagonist you can actually cheer for. Some people may argue that he’s still irritating and doesn’t deserve Carla. Nonetheless, I believe he balances off La Marquesa very well and I totally supported him on his quest for justice over two seasons.

Guzmán didn’t really shine that much in this season, yet he managed to returne into my top favorite characters. He still struggles to control his anger and grief, but he’s already more mature than he ever was, which is mostly visible in his behavior towards Nadia and Lucrecia.

Guzmán’s friendship with Samuel was the best this season, alongside Lú and Nadia’s, and I hope to see more of it next season.

Carla. The character I didn’t care about in S1, didn’t trust in S2, and finally loved in S3. Her story this season was heartbreaking, and getting more of her family dynamic helped to understand how her mind works. She’s used to being a kid acting as an adult, manipulating, simulating feelings, taking care of business and people who threaten her family’s image, because that’s the only model of behavior she’s ever had. That’s why her obtaining freedom from drugs, parents, and social expectations at the end couldn’t be more satisfying.

Lú and Ander. The only characters that made me cry this season. Two characters I like a lot, each with one flaw that I can’t forgive. Lú’s one being incest which is a choice not a part of love-is-love formula, and I hate the show for romanticizing it. And Ander’s - being friends with Polo.

Lú has always been an interesting character for me (resembling Blair from Gossip Girl). She obviously hid all her insecurities under a bitchy exterior, and I wanted to see more of her emotional side, which was given in her beautiful friendship with Nadia. Lú and Nadia are two sides of the same coin, and them becoming frenemies was long-overdue. Them supporting, comforting each other, and going to study abroad together was a dream come true. (Their friendship reminds me of Santana&Rachel from Glee, let’s hope this one’ll work out).

Lú was expected to be a hbic when the show came out, but eventually that slot was taken by Carla. Lú wasn’t really involved in the main plot until this season. That’s why her killing Polo was unexpected to say the least. Towards the end of the last episode I thought that whoever killed Polo must be someone who you wouldn’t even think of. Sweeping aside the obvious Guzmán and Samuel, I determined Ander, Nadia and Lú as my suspects. Still when Lú went after Polo with the bottle until the very killing I thought it was a decoy. Lú becoming a murderer was in fact an accident even though she probably went in with an intention to hurt him. Her feeling remorse was truly heartbreaking, and I hope we’ll see more of the aftermath this all had on her.

In such a murderous show it‘s valuable to have a different perspective on life and death through Ander’s character. His journey this season made the concepts of justice and resentment shine in another light.

The part of Ander’s story that I didn’t like was his romantic relationship and it wasn’t even his fault. That’s why we’re moving on to the character who disappointed me the most.

THE DOWNFALL OF OMAR

By this point Omar has collected so many flaws that I hate his character.

Let’s start from S2 when him being friendly with Lú was cute and all but also meant betraying his sister, who shall I mention has never done any harm to him, only helped and supported him.

Then he certainly crossed the line this season by cheating on Ander with Nadia’s boyfriend. Continuously. Nadia was quick to forgive Omar which was so infuriating. Not only did he not prevent his sister from falling for a liar, but he also kept sleeping with him. Furthermore, when confronted about it instead of apologizing he turned the situation on Nadia.

Needless to say, Ander did not deserve to be cheated on AND being lied to. Omar still hasn’t told he cheated. When Ander pushed him away by lying that he cheated, Omar seemed more concerned with where would he live now rather than the break up itself.

At this point Omar and Ander didn’t seem like a good match, and I was begging for them to break up. How happy was I when they actually did. It felt necessary and realistic for this relationship to come to an end. Unfortunately, I was early to celebrate. They had to go and ruin this perfect ending. I am mad Omar went back to Ander. I can’t believe this relationship will be dragged on for another season. I hate the fact that Omar will go to Las Encinas now. May I ask how could Omar even get a scholarship with his low grades???

There’re a few relationships left to discuss.

There was a lot of everybody-sleeping-with-everybody going on, but not much deep connections.

Guznadia and Carmuel didn’t get a lot of screen time, even though the few scenes they got were sweet.

Carla’s enslavement of a relationship was truly toxic and appalling.

Malick and Nadia’s relationship was hard to get on board with since the beginning and of course disappointing by the end in both the ship and Malick’s character.

Malick and Yeray were not captivating nor charming. Overall, S3 failed to introduce new characters especially compared to S2.

It was cool to see that the show didn’t abandon polyamory representation. Valerio, Polo and Cayetana getting together was unpredictable. I expected Valerio to get with Rebeka, and even her mom, but those rendezvous blew over like they never happened, and left Valerio to the psychos.

Do you know what would be even cooler than this threesome? A thruple consisting of actually likable characters. When will we get Rebeka with Samu and Carla? That would be quality representation.

With all my impressions laid out I have to say that this show is amazing. It keeps the audience in suspense with an intriguing plot while also developing numerous multidimensional characters and tackling serious societal issues and philosophical questions.

[metalgearkong]

The Mandalorian - Season 1 - Review

12/30/19 **Spoilers

Created by Jon Favreau & Dave Filoney

It’s a miracle that someone finally come up with something in the Star Wars universe of which fans are unanimously happy with. The Mandalorian is easily the best live-action Star Wars content since Return of the Jedi, and is some of the best Star Wars in any medium since the original trilogy concluded. This is a reasonably low budget and smaller Star Wars tale that draws inspiration from old Samurai and Western films, the very thing that inspired George Lucas to create his vision in the first place. The Mandalorian is deliberately paced, and has a focus on character over having a big entangling bombastic story. 

One of my favorite features is how grounded, dirty, and inelegant the show is within its own world. The Mandalorian himself, “Mando,” (Pedro Pascal) is far from a super human with flawless skills and incredible perfection. While he clearly has experience with blasters, gadgets, and hand-to-hand combat, virtually every action scene he’s in comes off as a real guy just doing the best he can. He almost always needs help from a side character, and survives by the skin of his teeth, with only a handful of standout moments when you see him in full control of his environment and enemies. It helped make the entire show feel relatible, realistic, and dramatic.

The Mandalorian takes place a few years after Return of the Jedi and the collapse of the Galactic Empire. Jedi are still a thing of misinformation and myth. The galaxy has become a wild west, and the Force isn’t even a concept most people know about. Although I do find it odd that Mandalorians wouldn’t have some knowledge of the Force or Jedi as the two factions have quite the history together over the past thousand years. It’s a nit pick but it gives the Jedi an heir of mystery and sorcery once again. It also contributes to the low key nature of this show where magic and spectacle are nearly non-existent. The Mandalorian doesn’t seem as concerned with bringing in huge masses of audiences, although it does draw in multiple demographics, more on that later. It’s a huge relief that something in Star Wars can feel so adult and be taken seriously, and it gives me a lot of hope for the future.

The Empire itself in The Mandalorian are resigned to an underground organization, with its only high profile leader seeming to be Grand Moff Gideon (possibly operating completely independently) played by Giancarlo Esposito. They still have their share of soldiers, vehicles, and weapons ordinance, but this is no longer a galaxy ruled or patrolled heavily by the “Imps.” One of my favorite things about this show is that we get a ton of stormtroopers and scout troopers as guys in dirty armor, which are unmodified from how they look in the original trilogy. I’ve been so sick of the fake CGI that brought clone troopers and battle droids to life in the movies and other shows. Some scenes give troopers a lot of humanity and personality as well. However the show perpetuates my issue with Star Wars as a whole where rank-and-file enemy troops prove to be little or no consequence as they can’t hit anything they shoot--and die themselves in one hit. I want stormtroopers one day to actually mean something and pose a threat to a protagonist.

The true star, however, happens to be the “Child,” the most brilliant creation of the show. Most of The Mandalorian is about a lone warrior shooting guns and fighting through dangerous situations, but the Child brings in entire audiences that may not have been interested in this very macho kind of show to begin with. The best part is, he’s a natural addition to the story and lore. The Child isn’t just an adorable shoe-in to give women and kids something to go “aaaw” at. The Child is an infant member of Yoda’s race, a race the creators intentionally never gave any detail on ever in Star Wars history. It sparks tons of intrigue as to where the race is from, how it develops, and its natural strong connection to the Force. It’s one of the greatest mysteries of the show and aside from the Child’s cute antics, it kept me hooked. 

Mando himself is your typical stoic gunslinger type who makes his living on bounty hunting. While he doesn’t have much uniqueness at first, you slowly learn more about him and the Mandalorian clan he is part of. Pedro Pascal gives a great physical performance, as his face is hidden by the helmet he is sworn never to take off in front of another living thing. The Mandalorians themselves seem to be a creed of people who were once regarded as great warriors, but are now nearly extinct. It’s yet another mystery to the show that I crave to learn more and more about. The heart and soul of this show is truly the relationship between the Child and Mando, two people who couldn’t be more opposite, and I think the memes infecting the entire internet speak for themselves.

We run into a lot of great side characters as well, usually one stand out per episode. These sidekicks are usually played by famous comedians or actors, and it was a fun game of “who’s that” every week it came on. These people Mando comes across are usually former solders or people who fall into the Chaotic Neutral category of washed up past their prime. The best of these is IG-11, the same model as IG-88 briefly seen in Empire Strikes Back and several Legends material. We finally get to see this kind of droid in action and why it’s so great. IG-11 is brought to life by excellent CGI, and what I’m guessing is a lot of robotic work as well. He’s voiced by none other than Taika Waititi and he gives a hilarious and poignant personality to the hunter droid. 

My other favorites include Carl Weathers as a bounty hunting guild leader, Nick Nolte as a lonely but helpful Ugnaught engineer, and Gina Carano as Cara Dune, a former Rebel shock trooper. Each of these characters are contrasted to Mando’s. He gets help one way or another from these people, and it helps flesh out his character seeing how he reacts to what they do and say. Mando goes through a great but subtle arch throughout the show, as we see him go from what appears to be a cold blooded killer, to someone who cares again about the people around him. Again, it’s nothing new or original, but it’s executed very well. The side characters aren’t just celebrities of the week either. Many of them come back in later episodes to help Mando and the Child, and I hope they continue to appear in future seasons.

Not only does The Mandalorian pay excellent homage to the original trilogy, but also combines elements from both the prequel and sequel trilogies as well. Small things like technology and droids (mostly background elements) help solidify the entire Star Wars canon in very subtle and realistic ways. It’s a great transitional time in the universe between the Empire and the First Order, and I can’t wait to see how this show continues to exist and influence the world its in. The only weakness I could say is that many of the episodes don’t go through a lot of change in terms of plot, and are more excuses for character introductions and character development. The show is so well executed, however, this isn’t a huge problem because nearly every minute has something to appreciate and enjoy. I love the mature tone and pace, and hope that never changes.

The Mandalorian may be a sign that Star Wars should transform itself to being small scaled. It seems like just about everything that can be done with the Jedi has been done, and I don’t know how you can throw more twists into Force using and blowing up giant super weapons. The Mandalorian was created with so much love and care, I want all Star Wars content to follow this same philosophy. Forget the big movies with huge lineages and chosen one prophecies, I want to take a fine toothed comb to the underbelly of the Star Wars universe. Keep it character focused, keep it low key. I can’t wait to see what future seasons of this show hold, and I pray that it maintains its quality and pace its established here.

8.5/10

[dawnpil]

ok so hear me out i think to some extent we’re wrong about eunwoo’s glass case

at the start i think we’re 100% correct that it’s about his feeling trapped and put on display:

the shot is from far away, it’s very theatrical and staged, it feels impersonal and like a display at an art museum, and you can clearly see he’s enclosed in the case. everything’s about how beautiful he is, not about his personality or talents or astro. 

but i think this set transitions over the course of the mv until it’s a representation of how he knows he has his members’ support and with a concept that they worked on and really enjoy he feels much more comfortable in his role as visual. i’ll explain. 

each element of the scene represent one of the members; the thing that started me thinking about this is the connection between the amber lighting around the sides and mj’s amber-tinted scene, but to me the amber is representative of sanha. 

not only are the lights focused that amber we see in eunwoo’s scene but he’s surrounded by glass and closed in by the fence--to me, he has one of the strongest connections to eunwoo’s glass case, as there’s the lighting and the fence and all the glasses, and the fact that he deposits a living creature in an enclosure of glass. as the growing maknae who’s becoming an adult, he may feel similarly scrutinized and pressured to perform. his growth in an exceptionally transitory stage in life has been documented and watched and he’s grown up being watched, so it’s a different sort of display but one that links him to eunwoo nonetheless. and it’s him growing up and becoming an adult that’s allowed astro to transition to more mature, if still bright and fresh, concepts, so he may be struggling to transition from being the cute kid in hide and seek and breathless to a more serious adult persona. because it’s he who allowed the gradual change, he may feel more closely watched to see how he’ll handle it. 

next there’s bin, who’s associated with the color pink. reds and pinks, actually, but pink is prevalent throughout all of his scenes.

these pink flowers are the same ones found in eunwoo’s case, but in the case they’re hanging, later on, and eunwoo is surrounded by them--surrounded by bin’s influence and support. 

jinjin’s second rap takes place in the same set as both the choreo and the display of the glass case, but with a particularly interesting shot:

it emphasizes the pillars, the front two of which aren’t seen at all in the grey-lit choreo scenes, and it’s only after this and the color switch that we see all four pillars in the choreo, but they’re always there for eunwoo’s case. jinjin, as the leader, is a main support system for astro, and pillars are a common symbol of support--it’s that connection that made me think of all of their symbols as being representative of support. he’s always been strong and steady for all of the members, so of course he’d be there to support eunwoo no matter what, and it shows. 

after this we get mj, and while the amber tint is interesting it’s not ultimately what’s important about his scene. 

flowers! behind glass! just like eunwoo’s case, and where i really think we hit the transition from eunwoo’s feelings of being trapped on display to the case and the flowers representing their concepts. to me this scene is mj looking at a selection of concepts and being satisfied with them, and we see the same flowers and pink fluorescent lights in eunwoo’s case. his influence and his support are found in the concept as a whole and in his role as the eldest, and no matter how goofy mj is he’s also really smart and really wise, and i definitely think his experience has been a help to eunwoo. particularly because mj seeks out the spotlight, as opposed to being thrust into it like eunwoo is; he could help eunwoo see what there is to like about the attention and how to be more comfortable in it, which may also be represented in mj’s satisfaction and how pleased he looks with the flowers. his work has paid off and eunwoo feels more at ease, so he can feel successful.  

out of order but because i feel it’s most important we have rocky’s rap and his phone booth and one of the more interesting aspects of the color: 

behind him you can see the turquoise lighting that’s prevalent in the opening shot, in the later ones with the case, and, interestingly enough, in the lighting switch in the choreo. the color is associated strongly with rocky, as this is the only scene to feature only cool colors and therefore it stands out dramatically to me. it makes you take a second look at it to understand it, and that’s when you notice the turquoise; that particular lighting choice actually slipped my notice as connected the first time i watched it, because it’s in the background and subtle. like, perhaps, rocky’s support of eunwoo--quiet and not really recognized, but essential, whether that’s rocky’s helping eunwoo with his dance or helping him with his feelings of being trapped as the visual. 

this is highlighted by the lighting switch in the dance, as the change from the more washed-out feel comes after rocky pulls eunwoo up and into a hug. 

the switch in colors happens with them still embracing, and particularly the placement of eunwoo’s hand on rocky’s neck keeps him in place, like eunwoo needs the reassurance rocky can provide. interestingly, in the dance everyone else sits up on their own but rocky helps eunwoo, like eunwoo felt as though he was falling behind and rocky was the one to reach out and help him keep up. the color switch could have been to anything but it was to rocky’s color, in rocky’s embrace, putting their relationship center stage and acknowledging how important it is. 

then we get the first wide shot of the choreo, and finally we see all of the pillars, really starting the transition to the opening scene’s appearance. it’s the same lighting and the same pillars, like rocky’s support opened a floodgate for the others and we’re starting to see all of their influences in one place. 

after this we get more shots of eunwoo in his glass case, but they’re close-ups. 

for a while i actually thought there wasn’t glass behind him anymore, that he wasn’t fully surrounded, but you can see the reflection of the flowers behind him. however, the proximity of the camera to him, and the fact that he dances a little bit rather than sitting still and posing, changes the nature of his role in the case. he’s allowed to have personality, to be a fully-rounded individual rather than a beautiful model, and it’s obvious he’s more comfortable in this role. he’s still on display, because he’ll always be the visual and it’s unlikely that people will stop commenting on his looks first, but he’s surrounded by the comfort of his members’ support and a concept that he enjoys and feels part of. rocky’s helped him catch up, and he feels like his part in the group isn’t just a pretty face; he can be goofy and comfortable and also sing and dance beautifully and he gets to show these sides of him more. if he has to be on display, at least he can be fully himself and be more than just a visual. that’s character development, babey! 

[bersanosaurus]

The 8 Stages of Development

Prenatal

Summary

In this development, the prenatal development has a three trimester, it is when a woman experiencing morning sickness, enlargement of breast, and fatigue. The woman’s abdomen enlarge during the second trimester, and during third trimester the woman gains weight and may experience breast discharge in preparation for nursing. The milestone in prenatal development are; Germinal phase 0-2 weeks sperm and ovum unite forming zygote, second is Embryonic phase 3-8 weeks wherein the zygote burrows into the lining of the uterus , and in the third one is fetal (phase 9 weeks- birth) the fetus grows from 1 inch long and ¼ ounce. Male fetuses is more active than their female counterparts.

 Reflection

I learned that it is not easy to be a mother by bearing a child for 9 months, but what is difficult is rearing a child and to follow him up in his different stages of life. It’s difficult to take care of yourself when you’re having a baby because you need to avoid from the food or beverages that may harm your baby such as too much intake of caffeine, alcohol, and medications that can be harmful to the growth of the baby. A mother should always be cautious of her doings and his husband should also take care of them both.

Infancy

Summary

Infancy is the Process of Skills Development. Synapses, Synaptogenesis, Pruning, and Myelination are part of the Brain and Nervous system. Three types of reflexes are Rooting, Babinski, and Moro. Gross is the legs ability while the Fine Motor Skills are the hands ability. Malnutrition can impair the baby’s brain. Macronutrient results from a diet that contains few calories while Micronutrient malnutrition is cause by diet that has sufficient calories but lacks nutrients. Health and Immunization is important to avoid disease. Sudden Infant Death Syndrome is a disease when infant dies suddenly and unexpectedly. Two strategies to take a process is Habituation wherein a subject is used to stimulus and its opposite, dishabituation that responds to somewhat familiar. Theorists who claim that perceptual abilities are inborn is Nativists while those who argue that perceptual abilities are learned is Empiricists.

 Reflection

I learned that in this development the infant will adjust and adapt to the new environment. Infants begin to discover how to interact with their environment and realize their actions. The infant have reflexes such as; survival and primitive. Survival reflexes are; rooting, breathing, papillary, eye blink and sucking while the primitive reflexes may be observed as swimming, stepping, Babinski, and startling. In this development, infants will learn how to discriminate between non-speech sounds and speech sounds and an infant can also show preference for human voices. Motor developments allow the infant to accomplish the raising of heads and chest followed by sitting, crawling, standing and eventually walking.

Early Childhood

Summary

This development focuses on the Physical and Cognitive Changes of a child. Changes are not as dramatic as the beginning of walking, but the child acquire skills that increase its independence and exploratory ability. Brain growth, synapse formation, and myelination is not as fast compared to infancy. Corpus callosum connectes the right and left hemispheres of the cerebral cortex. A process in which brain functions are divided between hemispheres of the cerebral cortex is called Lateralization. Handedness is another neurological milestone of this period. Rates of growth are slower and declines appetite. A factor in early childhood illnesseses are stress such as colds and flu. Grammar explosion is a period when grammatical features of a child’s speech more similar to adult speech. Fast mapping is linking new words and connects it to the real world. Intelligence Quotient is a general term for any kind of score from a test.

Reflection

I learned that in this development newborn grows into a young person who can take care of his or her own body and interact effectively with others. In this stage, a child has mastered many skills such including sitting, walking, toilet training, using a spoon, scribbling, and can catch and throw a ball. Physical changes in early childhood are accompanied by rapid changes in the child’s cognitive and language development. Children will learn how to use their senses to attend to their environment and they begin to develop a sense of cause and effect from their actions and the responses of caregivers.

Middle Childhood

Summary

This development is about Physical and Cognitive changes of a child’s life. In this period, muscle coordination continues to improve and the child develops skills,strength, and speed. Girls are ahead of boys in their overall rate of growth. Girls have slightly more body fat and muscle compared to boys. In mascular maturation, girls are coordinated but slower and weaker than boys. Selective attentions is the ability to focus cognitive activity of a problem or situation. Spatial perception is the ability to identify relationships between objects in space. Children are more active in this age because they engage in sports, in result the rates of accidental injuries arised. This could lead into a Traumatic brain injury where the brain function have lost its consciousness. The types of obesity are obese, severely obese, and overweight. In this stage the child also develops the ability to use inductive and deductive logic.

Reflection

I learned that this development focuses on play activities, gender roles, and family relationships. Social and linguistic skills are also observed in this development. This period ranges from six to to eleven years and there will be changes in cognitive. Children in this stage is exposed to peer and social influences. The children learns how to use his/her vocabulary and grammar, make social comparisons, interpret their behaviors and ability in relation to their social environment. Self conscious emotions develop as children begin to understand the concept of personal responsibility by learning to interpret the feelings of the people around them.

Adolescence

Summary

This development is the transitional period between childhood and adulthood. Puberty and sexual behavior may come first to our mind when we think about Adolescence. In this period, we are able to make realistic plans and facilitate planning and logic. An adolescent grow 3 to 6 inches a year for several years, girls reach height sooner compared to boys because their bones grow and their joints develop more rapidly. Prefrontal cortex is part of the frontal lobe that is responsible for executive processing and it matures during this period because it contributes advance of the development. Puberty is the term for the physical changes which culminate in sexual maturity. Two types of physical development are; Primary and secondary sex characteristics. Dieting is different from an eating disorder, in which eating eating behavior go far beyond most people’s everyday experience with trying to lost weight. Anorexia nervosa and Bulimia nervosa are the two types of eating disorder. Depression and Suicide is also common in this period.

Reflection

I learned that this development is where the individuals establish their identities. This development is associated with emotional strain as individuals and forced to model themselves into who they think they are and what they hope to become when they grow up. Adolescence occurs between the ages of 12 to 19 years. Hormonal changes also develops in this stage. The pituitary gland releases growth hormones which stimulate the release of a wide variety of other homes by different glands in the body. Spermarche in boys and menarche in girls are directly related to pubertal changes. I also learned that boys increase muscles while girls accumulate more fat.

Early Adulthood

Summary

In this development, we will learn about the Physical and Cognitive Changes of an adult. Two types of aging are Primary in which the changes are biological, universally shared, and inevitable while Secondary aging are due to environmental changes, poor health habits, and disease. Young adults perform better compared to middle-aged every physical measure because they have more muscle tissue, maximum bone calcium, rain mass, better eyesight, hearing,sense of smells, and immune system. In this period, diseases such as gonorrhea, syphilis, genital herpes, and HIV are common. Intimate partner abuse is a physical act that intends to intimidate or harm an intimate partner while Sexual violence is to force a person to engage in a sexual act against the person’s will. Four types of Personality disorders are; Antisocial, Paranoid, Histrionic, Narcissistic, and Borderline. Personality disorder is a pattern of behavior the leads to difficulty in social, educational, and occupational functioning.

Reflection

I learned that this development is a stage between 20-30 years when grown ups are independent and can explore things that they want. In this stage, grown ups are more emotionally stable which is considered as a sign of maturing. They can already decide on their own in pursuing a career at least a career direction. They already know how to manage a household, estimate the expenses, and to keep a home maintained. They may be involved in a long term relationships or with various groups in the community. I also learned that they can already establish their identity about their likes, dislikes, preferences, and philosophies in life.

Middle Adulthood

Summary

In this development, poor health habits begin to catch up with us. Two types of aging; Primary and Secondary aging. In this stage, the processing speed among middle-aged adults are declined. Adults have less ability to control attention compared to young-adults. In middle years, Erectile dysfunction or the inability to achieve an erection begins to increase because of decline in testosterone. Middle-aged woman are experiencing menopausal stages such as Premenopausal, Perimenopausal, and Postmenopausal stage. Another change is a loss of calcium from bones which is the Osteoporosis. In the middle years, loss of visual acuity and hearing are common. Consequences of addiction for middle-aged is the alcoholism, in which defined as psychological and physical dependence on alcohol, this can damage brain, memory, and language functions. In this period, family role involves not only giving assistance in both directions in the generational chain but also shouldering the primary responsibility for maintaining relations.

Reflection

I learned that this development is risky for the adult because they need to take care of their health. They need to maintain their diet to avoid diseases such as arthritis and hypertention. Middle-aged woman are experiencing menopausal in this stage where they can feel hot flashes because their estrogen and progesterone levels are erratic. I realized that in this stage the middle-aged adults who provide assistance to their parents and also to their adult children are called Multigenerational caregivers and sometimes they can also feel burdened because aside from it is stressful it can also affect the caregivers health.

Late Adulthood

Summary

In this development, age-related declines in health, mobility, and cognitive functioning. Gerontology, is the scientific study of aging. Gerontologists thought that old age is about decline and loss. Three older adults are; Young old, old old, and oldest old. Disability is a limitation in an individual’s ability to perform certain roles and tasks. Activities of daily living are self-help tasks and Instrumental activities of daily living are more intellectually demanding. Conditions in this age are hypertension followed by arthritis. Some may live a long life because it is inherited from their genes. In this period, there is a decline in density of dendrites and slowers their synaptic speed. Vision and hearing arises and threats the health in late adulthood. Ability to taste does not seem to decline over the years because taste buds are continually replaced but the elders flavors seem blander and leads them to prefer more intense flavor.

Reflection

I learned that during late adulthood, their skin continues lose its elasticity and their reaction time slows, muscle strength diminishes, hearing and vision decline, and their immune system weakens. Changes in the bodies and minds of older adults are due to reduction of size of their brain as well as loss of brain plasticity. I learned that older adults have a hard time remembering things and attending to information. Their memory tends to remain stable but their working memory declines. In this stage, the older adults might also develop a disease which is the Alzheimer’s disease in which it involves loss of mental functions.

[invertedgoogle]

Noragami Analysis: Ebisu and Iwami; Guideposts and Familial Relationships

This post is a continuation/elaboration of my last one on Ebisu’s theme of crying, but instead of focusing on a central motif, this one branches out into more related elements in the plot. Please bear with me if some things are repeated!

We know Ebisu’s (more widely believed) origin story of him being thrown away by his parents Izanagi and Izanami because he was born without bones/arms and legs. Yet, self-destructive tendencies aside, Ebisu is a comparatively well-adjusted god in Noragami. His maturity, ability to function well as a god and overall benevolence make him an ideal role model for Yato on his journey to become a god of fortune. @echodrops has an entire essay written on how Ebisu is such a good father figure to Yato- please go check it out (along with the other essays) it’s incredible and thoroughly researched.

So how does Ebisu, himself abandoned by his birth parents, manage to become who he is in the present day?

(More under cut)

We’ve been shown instances of gods taking fatherly/motherly roles towards their shinki (Yato, Bishamon, Arahabaki) and plenty of domestic spousal relationships between gods and shinki (Kazuma and Bishamon, Kofuku and Daikoku). But we don’t usually come across the parent-child dynamic between shinki and gods (note the order), which we’ve only seen with the gods who reincarnate and are raised by shinki: Takemikazuchi and Ebisu.

It’s shown that Ebisu values (or in the very least, shows understanding of) familial kinship.

Whether he’s saying this to Izanami as his supposed ‘biological’ mother or to the Olive Ken lady he looks up to as a mother (and who Izanami takes the form of to him), it’s clear that he does long for the mother he never had growing up.

And get this: besides fishing and commerce, Ebisu is also a patron deity of expectant mothers.

He gets prayers from people who want children (unlike his own mother), and sees how happy humans can be with families. He’d want to know how it might have been if his parents hadn’t thrown him away (still, I doubt that things would have been as rosy as he may imagine- just ask Kagutsuchi).

While the previous Ebisu’s mother figure had been a human woman (who will eventually age and die), he’s had a consistent father figure throughout his incarnations: Iwami.

As turbulent Ebisu’s existence is with his high reincarnation rate, Iwami is a dependable constant for Ebisu who will never change. And some part of this dependability is what Ebisu would want from a guardian: the kind his own parents had never shown him. While Izanagi and Izanami had abandoned him, Ebisu can trust Iwami to be there to guide his next incarnations even if he dies. (inserting a bit of headcanoning here, but adult Ebisu’s bluntness really looks like he takes after Iwami)

But before I go into anything specific about the Ebisu and Iwami dynamic, let’s run through the fundamentals of the Noragami world: what gods’ natures are and what shinki/guideposts are for.

In Noragami, gods are born from human wishes: no matter how big or small. The nature of those gods then depends on that wish, and it is sculpted specifically to enable them to fulfil the wish. However, gods have no innate concept of right and wrong and are therefore “justified” in doing anything their nature dictates them to do.

This would have been disastrous for the mortal world if it were not for shinki keeping the god they serve in check. Because shinki were once human, they can guide their gods to act in ways more acceptable to humans. We can call this the “nurture” to the god’s “nature”.

A guidepost is given an additional task besides their usual duties as shinki, and it’s Ebisu himself who introduces to us to guideposts.

A guidepost's responsibility is to show their gods the way and protect their name. Well, what exactly is the way? Isn’t it a bit vague? But that’s the whole point. There are infinite ways a god can be true to their nature. If we look at Yato for instance, his recurrent urge (and perhaps nature) to “cut things up” has manifested itself in killing people for centuries under Father’s instructions. 

It’s Yukine who points out that he can use this to “slice and rip chaos itself into shreds” after he consults him. He isn’t changing who Yato's nature to cut things: all he’s doing is interpreting it for him to better suit what he wants.

There are as many ways to be a guidepost as there are ways to be a god, because each guidepost interprets ‘protecting their god’s name’ differently. That’s how we go from Kazuma, who will do anything to protect Bishamon, to Kiun, who would kill Takemikazuchi to save his master’s good name. That’s why it’s important for a god to have a guidepost after their own heart: so they can be led the way they want to go (and also why having someone else choosing a god’s guidepost for them has such a serious impact).

When it comes to bringing up a god, Iwami’s certainly had much more expertise over the average guidepost/shinki. Be it trial and error over millennia or just old-age wisdom on Iwami’s part, Ebisu receives a pretty comprehensive education on being a god from Iwami.

Because we’ve seen Ebisu before and after reincarnation, we can compare the effects of his inborn “nature” and Iwami’s “nurture” on him. An example would be this (this is still a bit rickety logic-wise, but I thought it might be worth some discussion): one of adult Ebisu’s defining characteristics is his strong will that drives him to extreme lengths to make humans happy, even if it means sacrificing himself.

But from what we see from our newest Ebisu, patience... doesn’t look as “in his nature” as he says.

And if you squint, there's something interesting about Iwami’s lectures to restless, impatient teenagers:

Ebisu doesn’t seem to apply the virtue to himself (as an adult, he never does learn to tie his shoes or take care of himself, with Kunimi around) but we see this strong will reflected in his efforts to tame ayakashi. A lot of determination goes into putting himself through intense pain and eventual death just for a shot at reducing human suffering. Iwami teaches Ebisu to persevere so he won’t give up on what he wants to accomplish.

And think about a guidepost’s responsibility to nurture a god’s potential, teach them to know right and wrong, give them advice they need, especially the way it’s done for a god who is a child/young man for half the time... these duties are eerily similar to those of a parent's. 

Everything Iwami does is to supplement Ebisu’s nature: equipping him with all he needs to achieve his goals. However, for how instrumental he is to Ebisu’s upbringing, a crucial duty Iwami fails to do for Ebisu is being a proper guidepost: actually giving him his purpose as a god. 

Iwami’s line of thought as a guidepost is very passive: in fact, it’s so passive that the important instructions he gives to Ebisu are never from himself. 

These panels sum up Iwami’s philosophy. Seeing that Iwami had been a very old man for his time when he died, he’d want someone as young and (technically) full of life as Ebisu to live his life being free to do what he wants, without interference from someone who has already lived theirs. So fearing that his words might force Ebisu down a path he wouldn’t have taken otherwise, he passes down instructions to Ebisu only if they are “as per his previous incarnation’s wishes”, which in a way ‘preserves’ Ebisu’s wish across reincarnations. He thinks of influencing Ebisu’s decisions as a sin, and only dares to support him through complementary means: behaving more as his servant than an advisor.

Despite having to keep a healthy distance to avoid appropriating a god, a guidepost’s role is still, at its core, active. In Yato’s aforementioned dilemma, it’s Yukine who thinks up of a different path when Yato is at a loss and helps him figure it out together.

It’s easier to think of guideposts as actual tour guides. While a guide who drags you astray from your intended destination isn’t helpful, neither is a guide who assumes that you’re the one who knows better. Nobody needs a guide if they already know how to get where they want to go.

Iwami’s reservedness extends to the point where he doesn’t share about himself with Ebisu even when directly prompted to:

Ebisu wants to know about who he was, what he did, and how others saw him, but he doesn’t want the answers delivered through books and journals.

He wants to hear it from others so he, in turn, can get to know them better through conversation with them.

Ebisu just wants Iwami to talk to him.

For all of his devotion to his master, why does Iwami remove himself from Ebisu like this?

His explanation to Ebisu is that he doesn’t want to change his fate, but can we suspect more to that alibi? There’s a scene in the earlier chapters where High Sentinel Oushi guilt trips Ebisu’s shinki into betraying him:

The context here refers to the physical pain of Ebisu feels when his shinki are killed, but honestly, for the most time in Ebisu’s household, who's really the one going through “the pain of a child passing on before him”?

To Iwami, every Ebisu is the little boy he’s raised from childhood (how does that tiny Chibisu up there not remind you of “dad! dad! look!”). Iwami’s there to meet Ebisu when he’s newly reincarnated; he watches him grow, then watches him die. And once Ebisu reincarnates, he can’t even remember his name. 

It’s painful enough for a child to have a parent forget who they are or to have their parent pass away, but the exact opposite happens in Ebisu’s house. It’s Iwami who has his “child” forget him, who has his “child” die before he does.

And after Iwami outlives so many Ebisus, he has to raise him again and relive the nightmare. Ebisu has the ‘luxury’ (if you can call it that) of forgetting Iwami; Iwami doesn’t. The worst part is that Iwami exists to remember everything about the past Ebisu for the next one.

If Iwami keeps building close relationships with every Ebisu he serves, it’s only going to make his inevitable deaths and reincarnations more painful to bear. For the sake of carrying Ebisu’s wishes across incarnations, Iwami has to detach himself from his master so he won’t fall apart from the emotional toll that comes with it.

Iwami probably doesn’t even have the heart to directly tell Ebisu about his past incarnations and their wish to tame ayakashi. Instead, he’s always told Ebisu to read his predecessors’ journals, which inevitably include information on the subject. And precisely because Ebisu isn’t shown an alternative way to be the god Ebisu (and especially since his journals are all the pointers he has about who he supposedly was as an adult), he ends up thinking that taming ayakashi and carrying out his previous self’s wishes is the only way to be Ebisu. After that, Iwami can rationalise that it had been Ebisu himself who made the choice and that he is now obligated to help Ebisu to achieve it.

While Iwami has his own reasons for not sharing too much with Ebisu, Ebisu reads this silence as coldness towards him, that he’s not important enough to Iwami to be allowed to know him better. The flashback of Ebisu with the books shows Iwami facing Ebisu, but in Ebisu’s mind, it’s as good as though Iwami had turned away from him there and then: remaining both physically and emotionally removed. Iwami is abandoning Ebisu to himself.

No matter the incarnation, Ebisu still bonds much quicker with Iwami than other shinki, even Kunimi, his current guidepost. It’s clear who Ebisu’s favourite is.

Ebisu constantly looks to Iwami for guidance, but Iwami keeps silent, thinking it would be best if Ebisu lives his own life without input from him. The flaw in this approach is that its result hurts both Ebisu, who doesn’t want to die, and Iwami, who doesn’t want Ebisu to die either.

This vicious circle keeps them trapped in lives they are unhappy in. Unless Ebisu is shown a different path by Iwami, he can’t change from the one his predecessors took. And unless Ebisu changes what he wants to do, Iwami can’t show him anything else but what his predecessors have always done. 

The circle has long-term effects too: with each passing incarnation, Ebisu feels even more pressured to follow in his predecessor’s footsteps, and Iwami has to keep withdrawing himself from Ebisu, all while receiving the reinforced impression that Ebisu does wants to continue this self-destructive work.

By telling Ebisu to live and act on his own wish, Yato has already dealt a significant blow to the circle. But reforming only Ebisu’s mentality isn’t enough to permanently get rid of it; Iwami’s mindset must also change.

Up till now, Iwami’s been “protecting Ebisu’s name” by supporting whatever Ebisu decides to do, letting him finish what he had started in his previous lives. But after Kazuma’s confrontation, Iwami finally acts on a desire to protect the current Ebisu, not just Ebisu's “wishes” anymore. 

Father’s defeat is as important to Ebisu as it is to every other character.  Notice that when Kazuma tries to get Iwami to give him something helpful to stop Father, he tells Iwami “the root cause is clear", and that he could put an end to Ebisu’s fate of living short lives by helping destroy Father.

From the flashbacks, Ebisu has been tailing Father's work ever since he retrieved the first Koto no Ha (the flashback where baby Ebisu discovers a mask is from the Heian era, which approximately when Father starts using masks). Father has been using his masks to wreak havoc in the mortal world, but because Ebisu is right behind him learning how to tame them (even if it’s from scratch), Father has a form of check and balance, no matter how crude or underdeveloped it may be. Though Ebisu himself doesn’t yield much success in actually taming ayakashi, his accumulated knowledge about it alone can help other characters take Father down.

There are many reasons why Ebisu follows his predecessors’ wishes that stem from inertia, but Father has been the active reason why Ebisu cannot afford to stop taming ayakashi. 

What’s especially tragic about this set of panels is that Iwami’s wish for the young Ebisu had always been for him “to be whatever his heart desires”. Instead, in his efforts to preserve Ebisu’s ‘wish’ across incarnations, he’s ended up achieving the exact opposite.

And that’s why Iwami agrees to help Kazuma, even if it means breaking an old promise to Ebisu. Change starting to happen: from someone who had been afraid of deviating from the previous Ebisu’s wishes, Iwami now hopes to save the current Ebisu from having to die continuously by betraying his predecessor.

Once the sorcerer is stopped, Ebisu’s fate won’t be limited to taming ayakashi, and he'll be able to be a god of fortune without having to die for it. Iwami will finally be allowed to raise a single Ebisu, one who will no longer die young and forget him. And Ebisu could really use a father who can show that he cares for him.

(sorry this is so long I got pretty carried away with this lmao)

[magnaflourious-nerdity]

B99 and The Good Place

YES. THANK YOU!!!! I LOVE THE GOOD PLACE AND BROOKLYN 99 SO MUCH. AND NOBODY EVER WANTS TO TALK TO/WITH ME ABOUT TGP. I made my friend watch it with me just so I could talk about it with someone lol. Also because it's just a genuinely good show. (Next up I'm gonna make her finish iZombie with me too, haha.)SO! For B99Favorite Main Character:Its gotta be either Rosa or Jake. You know I'm in love with both Andy Samburg and Stephanie Beatriz. (especially Stephanie Beatriz, *dreamy sigh*)Fun fact! My favorite side character is Kevin. Whether it's in B99, The Good Place, or on the Thrilling Adventure Hour, I love the deadpan humor of Marc Evan Jackson. He is, after all, a naughty bitch ;p. Favorite Female Character:Oh, for sure this goes to Rosa Diaz. I love her so much and Stephanie Beatriz plays her to absolute perfection. it's so cool to be able to see such a badass lady cop on TV, who both plays to and subverts the typical Strong Silent Badass™ trope. Rosa is from a cooler world than any of us.OTP:I know it's a boring answer, but it's gotta be Jake and Amy. From the jump their relationship was built on mutual (if, admittedly at first, somewhat begrudging) respect and trust. They were friends, which is so rewarding to see. There have been couples like that on TV before, but usually it's all a lot of 'will they, wont they- which can be fun too if done right, like seasons 1 and 2 did -but it's refreshing to see it played in such a different way. Jake just straight up told her and didn't expect anything to come from it. He didn't pressure her to like him back and he didn't even hate on Teddy (until he got all weird and creepy in later seasons, and even then he was polite) while he was dating her. He respects her and treats her well and I will forever remember the scene where he tells everyone why/how he decided to propose to her, it was perfect and truely sweet. Jake and Amy make each other better. He helped her to loosen up a little and compromise without getting rid of her take- charge, eager-to-please attitude or her independance, and in turn she made him into a (slightly) more mature person. Amy helped turn Jake into a (somewhat) functional adult, but she didn't force him to lose his fun, childish side either. They genuinely care for each other in a way that you dont often get to see on TV between Het Couples. Like the episode where Amy takes the Sargent's exam and Jake says he always knew Amy would be his boss one day? HE RESPECTS HER SO MUCH. Almost any other sitcom would have Jake's arc for that episode be about him feeling insecure at the thought of his future wife being his boss, but B99 didn't and I love them for it. Their love is so sweet and believable. I even teared up a little during the wedding scene because I'm an absolute sap like that. I also really, really like the chemistry between Rosa and her potential new girlfriend Alicia (as played by the also amazingly beautiful and talented Gina Rodriguez.) They had immediate chemistry- which I'm huge on -and Alicia seems like a genuinely cool and sweet woman. Anyone who can make Rosa lose her composure in front of people she cares about has gotta be something special. I'm hoping in the next season NBC will let them bring Gina Rodriguez back and she and Rosa will become TV's gayest and most dynamic power couple. That would be pretty sweet. Sorry that this has turned into Rosa and Jake fest. But if it helps, Holt and Kevin are definitely couple goals too and I'm glad Kevin'sgetting so much more screen time. I agree with Jake: I also want them to be my two gay dads. Not that I dont love my dad, I'm just welcoming in the extra role models, lol. Lord k ow I probably need it.NoTP:I love that the show steered away from it, because I wasn't really much a fan of the Boyle/Diaz Dynamic of season 1. But, I do honestly love them as bros together. It's another trope the show subverts since Charles is the one who's super in touch with his emotions and helps out Rosa in her relationships when she has trouble expressing hers. I just... I really love relation/friendships built on trust and respect. It's my jam.Favorite Other Pairings:I know she's not your fave but I do like Gina and Rosa together, they have a fun, snarky vibe together and Gina does genuinely care for Rosa and respect her opinions, way more than she does with most other people. Except maybe Holt. Also Amy and Rosa. I love episodes where the two of them team up together. Basically, what I'm saying here is that I just want Rosa to date ALL the girls on the show, haha.Least Favorite Character:I hate to say it, but I want a huge fan of Pimento? Like, he was dangerous and rude and I know he went through a lot of trauma undercover, but dude needed some help, and I mean just that, really. He needs to be in therapy for his PTSD because it's affecting his relationships and his whole life.I'm not too big a fan of Hitchcock either, just because like... Okay, so, Scully is dumb and occasionally rude, but at least he tries to be nice most of the time and even tries to contribute; Hitchcock is... kind of a jerk most of the time? I know that's the point, but still... like, fix yourself my dude.Also, I do really love to hate The Vulture. He's insufferable, but his dynamic with the team and their hate for him is so much fun to watch. Of course when I say least favorite, I still like these characters, it's just that if I had to pick, it would be these three.Favorite Season/Episode:I actually really like this past season a lot. Like, so much happened! ROSA CAME OUT! JAKE AND AMY GOT MARRIED! HOLT AND KEVIN GOT QUALITY SCREEN TIME AS A COUPLE! It was pretty amazing.I love the episode where Rosa came out to her parents. It was so sweet ♡ and I think it's really important that it ended in such a medium place. Like, that happens to people sometimes other TV shows, sometimes parents dont either accept you wholeheartedly or kick you out and denounce you. Sometimes, you just get stuck in a crappy in between place (note: not deflection btw, my parents are cool with my identity, but I has happened to people I know and it sucks watching them try and get through it without sacrificing the relationship between them and their parent[s]). And we never get to see that because TV likes to focus on the extremes. And Rosa found out that you can find your own family if you need too. Which, as you know, I am always up for in my media. Found family tropes for everyone!Who Would I Date:I mean... look how many times the words Jake and Rosa have come up in this post. In your heart of hearts you know the answer to this question.Rosa (whom I have to separate from her actress because I love them both, and for different reasons) would be a little hard to date for me, just because she's so closed off and sometimes ya girl needs some validation of affection. But she's so...so cool. She does the right thing, even if she'd rather hit the problem in the face with an axe, and I know she's a police officer but it still counts, damnit. She has all these layers to her, like the dancing and the gymnastics and stuff. She doesn't reject traditional femininity, it just doesn't appeal to her. Also I bet she'd make anyone feel hella safe. She's... honestly the best word I can come up with right now is dreamy. Rosa Diaz is a Dreamboat with a capital D, and I'm sorry, but if you dont think so you're wrong.Jake is kind of the polar opposite. The only thing I would see becoming a hypothetical issue in the hypothetical relationship is that I can also be immature and messy and garbage at being an adult. We'd be too similar and it wouldn't help anyone, unlike with Jake and Amy. But he's so sweet and caring and funny. He's a genuinely great guy who respects everyone who deserves it, and sometimes even people who don't. Plus he's definitely a good cuddler and I like being the big spoon, so that would work out well for us.----------------------As for The Good Place:(WARNING! Spoilers for The Good Place are below, so if you're asking me but haven't seen it yet, I highly recommend skipping this until you do watch it, because I don't want to spoil anything for you. It's that good.Favorite Main Character:How, actually, do you choose on this? How?!? I love them all so much, truly. Chidi is a nervous smol (though also very tol) beanpole. Eleanor is always a Mood™ and she shows so much growth over the course of just 2 seasons (same with Michael, but that'smore over the course of 1 season. I'llgive him a pass though because it was entertaining as hell when he finally realized the concept of mortality). Jason became so much more lovable and sweet in season 2. Janet is my favorite omniscient NonBinary robot ever. And Tahani is, to quote Eleanor directly, "A sexy, tan rapunzel. The dream." Plus, she really knows how to go all out with something, which is fun. I loved how into her role as Rhonda Mumps she got. Plus, watching her tell off her parents was so good.I think I'm gonna have to go with Either Chidi Eleanor or Janet. That's as much as I can narrow it down though, because I am weak.Favorite Female Character: Well, since Janet is not a girl, but instead- as mentioned above -an omniscient NonBinary robot person, I'll go with Eleanor. I think I just really relate to her character. Which means I should probably shape up my life, lol. But it's so nice to see a smart, funny, unladylike and kinda sleazy character, who ultimately has that heart of gold and a desire for self-improvement played like this by a woman as a main character. She's like the likeable, morally gray sidekick in so many romcoms, but she gets to be the focus for once. I dig it. Also, I tend to flock towards bi-coded characters. Have you seen Eleanor's collection of flannels (Janet could literally get her anything to wear, but mah girl craves that bi aesthetic)? Any of her interactions with Tahani? That girl is bi af, if not pan. OTP:Oh, for sure it's Teleanor (Elhani?). Like, the chemistry between Jameela Jamil and Kristen Bell is so thick. They're so good together! And I swear if I dont get a flashback to attempt #218 at some point I will cry. 2nd OTP is Chidi/Eleanor because a) they're super cute together, B) they make each other better, and C) LOOK MA, ITS AN INTERRACIAL COUPLE AS THE MAIN FOCUS OF A SITCOM WHERE THE POC IS A DUDE! I've heard tell of it in legends but never seen it before in real life! I joke, but seriously, it is neat to see.Runner up: J² (aka Janet & Jason). What can I say? I'm a sucker for cute, oddball couples who shouldn't work but ultimately do.NoTP:I wasn't very keen on Tahani/Jason. Like, it was a fun distraction, and it did lead to the scene where Tahani tells her parents she ate a cheeto, and it also gave us some much needed Janet screen time/character arc stuff, but they just didn't work for me as a couple. I think, though, that that was kind of the point? Like, they needed to make that mutual mistake together so they could get to where they needed to be. Jason grew up a bit and learned to problem solve and Tahani gained confidence and the personal growth she needed to tell off her douchey parents.Favorite Other Pairings: Is it weird to say Shawn/Michael? I feel like it is, but I would still read it. Also maybe Janet/Eleanor. That could be fun.Least Favorite Character:This is slightly less tough than the questions above, but if it came down to it and I had to pick, I'd probably say it's pretty much just amounts to a few of the characters that the show designed for me to hate.Figuratively, everyone in Tahani's family is a garbage human being. And not in like, the fun, likeable way that say Eleanor or Jason were 'garbage people,' but in the awful, 'I would gladly punch you in the face' kind of way instead. Same goes for Eleanor's parents and her roommates (Though the one who remained her friend after she switched up everything in the season finale was okish in S2, what little I saw of her). It's super weird, but I actually do like the demons for the most part. Shawn is amazing to watch, which I, in large part, chalk up to Marc Evan Jackson's performance. And I even liked Vicky and Trevor, in that same, The Vulture from B99 sort of way. So literal demons are more likeable than the characters mentioned above, which should tell you something.Favorite Season/Episode:Season 1 was amazing and that first Cliffhanger twist was wild and awesome and I didn't figure it out until about 30 seconds before Eleanor did because it was so good, but it wasn't just a twist for the sake of it either, like, the season was built around it and makes sense with it, which is really cool to see in a sitcom. HOWEVER, all things being equal and with that said, Season 2 was EVEN BETTER SOMEHOW?!?! they ditched the formula and changed it all up! It's a sitcom! They never do that! And they only spent like what, 1 to 2ish episodes replaying the new attempts? And they focused on some of the Bad Place characters too while they were doing it, so it didn't get boring. That could have so easily happened too, if it hadn't been handled as well as it was by the writers. But it was handled well and they kept changing things up and giving us more info on the characters lives and their deaths and all that good juicy character development stuff I love so much and it was so, so worth watching.Episode wise, season two had my favorite episodes too, starting with the big neighborhood-ending party and all the way up to the finale (the episodes before then were also great, obviously, but that run towards the end had me captivated so thoroughly I almost called in sick to work to finish them, haha.)The stuff where they infiltrate The Bad Place was golden. If I had, had, had to pick a single episode... yeah, nope, I'm still not able to because it comes up a tie between the one where they leave the neighborhood behind or the finale. There was so much good character stuff, and lots of little found family type moments and Mindy even got a little bit of a reward at the end! (Side note: something deep inside of me loves Mindy St. Claire so much and wishes I could have more of her confidence and fuck it attitude). The demons were hilarious and Judge Gen was a delight to watch! This show is just so good, it makes me want to cry a little. Just a bit. I'm so excited for season 3!! Less than a month left yeah! ♡Who Would I Date:It would probably come down to either Janet, or Eleanor. Tahani has potential, but she's too...aristocratic to actually date for me, I think. Chidi would be an amazing partner, but I feel like we're both such anxious people that it would quickly become an unmanageable tornado of stress and bad decision making, lol.Janet would be cool because she's weird and fun and chipper and so sweet, plus she has all the knowledge in the universe which is neat. I do love a smart cookie. And with Janet since I'm more demi/ace-ish and since she doesn't have sex parts, that would take a weight off my mind I think. So check off 'would date a self-aware, omniscient robot' on my list of weird character traits.Eleanor would also be a good candidate too because she's relatively down to earth and laid back, as well as being fun and relatable and just... kind of a cool chick. Plus, I know deep down she actually does care about things and is a decent human being, which is sort of a must in a partner, lol. The only drawback is that we might make each other worse because we'd probably let each other get away with a lot, so it might be somewhat counterproductive to the point of the show, haha. ----------------------Thank you so much for asking these! And for letting me rant and rave over my two favorite sitcoms in what has, apparently, turned out to be a fucking essay on 'Things I love about Brooklyn 99 and The Good Place'. Sorry I got so verbose about it. I'm also sorry that I, as a person, always fail so completely at making choices and narrowing things down, lol. But this was fun! Hopefully you've seen TGP, I'd absolutely hate, hate, hate to spoil such an excellent and surprising show for someone. Assuming you have, I'm gonna run over and ask you about this one too. In fact consider this an open invitation: if you need someone to talk to about B99 or TGP, consider me your gal!

[hulili]

Smart Toys for Every Age

If you’ve ever marveled at the look of concentration on the face of a child who tries to fit a square block into a square hole or catch a ball in mid-air, you know that playtime isn’t just about fun and games. It’s serious business — and toys are the tools of the trade.

Here is an age-wise guide to how kids play, and to the toys that entertain and help kids understand the world, learn social and emotional skills, and stimulate a developing brain.

Babies: How They Play

Play in the first year of life is all about exploration. Babies use their five senses to learn about the interesting new world around them: Does an object feel hard or soft? Sticky or rough? What does it do if I drop it? Or put it in my mouth? Most play consists of “tasting” or mouthing an object and shaking, banging, or dropping it.

When your baby develops new motor skills, play becomes more coordinated and complex. For example:

At about 4 months old, babies begin to reach for and grasp objects, like a rattle.

By 6 or 7 months, they can transfer that rattle between hands.

At around 9 months, a newly developed pincer grasp makes it easier for babies to pick up smaller objects, like blocks and other small age-appropriate toys.

During this time, play is usually a solitary activity, but playing side-by-side with other babies and imitating activities is common by year’s end.

For now, you are your baby’s favorite playmate. Have you ever danced a puppet in front of your baby’s face, only to have him grab it and pull it toward his mouth? Or has he ever squealed in anticipation and delight when you creep toward him, saying, “I’m gonna get you!”

These interactions help your baby learn about language, social relations, and cause-and-effect. Once babies begin to understand how things in the environment relate to each other and how they taste, smell, feel, and sound, babies are ready for the next stage of development: figuring out how they work.

Smart Toys for Babies

Nursery mobile. Objects dancing above a baby’s head while lying in a crib stimulate vision and develop attention span.

Mirror. Initially, your baby will be fascinated with the changing face and expressions looking back from the mirror. Over time, your baby will realize that the drooling, smiling baby staring back is actually a reflection. Once this happens, babies become aware of themselves, which leads to more self-discovery as they learn about body parts and where they are.

Ring stack. This classic toy features a cone that fits different sized colored rings. At first, babies enjoy holding and mouthing the rings. Later, they practice fine motor skills by fitting the rings onto the cone. Toddlers also learn about colors and numbers when you count the multicolored rings as you stack them.

Push-pull toys. These help with balance and large-muscle development as your little one goes from a couch surfer to a walker. The more babies push and pull, the more they work the muscles necessary to turn them into runners and climbers. Later, in the toddler years, kids can use them to help control their increasing speed.

Toddlers: How They Play

Toddlers are becoming aware of the function of objects. They like to stack blocks, babble into a toy phone, or drink from a “big kid” cup. The concept of pretend play starts now. Your little one might tuck a baby doll into bed at night or make “choo choo” noises while pushing a toy train.

This lays the groundwork for preschool play, when using the oven timer in a play kitchen or ringing the bell in a pretend fire truck signifies your child’s growing understanding that each item serves a purpose.

Your toddler also will begin to differentiate colors and shapes. So choose toys that are bright, colorful, and fun for little hands to hold. By age 2, most toddlers can kick a ball, scribble with a crayon, and build towers four or more blocks tall. By age 3, they can do simple puzzles and pedal a tricycle.

Expect to see a lot of repetition, as that’s how little ones master new skills and learn they have some control over the world around them.

Smart Toys for Toddlers

Balls. Whether they’re bounced, rolled, caught, or thrown, balls encourage gross motor skills, hand–eye coordination, and dexterity.

Shape-sorting toys. Pegboard puzzles, nesting cups or blocks, and buckets with holes for different shaped blocks challenge hand-eye coordination and problem-solving skills.

Mechanical toys. Pop-up toys and “busy” boxes with knobs, buttons, and levers encourage fine motor skills and problem solving, and teach cause-and-effect.

Role-play toys. Play kitchens, doctor’s kits, and golf sets help children learn how the world works by imitating the actions of you and other influential adults. Dolls and stuffed animals encourage pretend play (a tea party for teddy bears, perhaps?) and aid social and emotional development by teaching tots how to express emotions and take care of something they love.

Preschoolers: How They Play

Babies explore objects with the five senses. Toddlers start figuring out how they work. Now, as preschoolers, they’ll use toys and other objects for their intended purpose, yet also will imagine a world of other possibilities for them. A blanket thrown over a coffee table becomes a secret clubhouse. Modeling clay can be used to make pizza pies that you’re asked to “taste.”

For a preschooler, the world becomes a magical place without limits — and preschoolers are the masters and creators of it all. Many kids this age think they have magical powers and can battle “monsters” and win, or turn into a princess, fairy, or other whimsical creature.

Often, your preschooler will pull you into a fantasy and expect you to play along. It’s also during this time that imaginary friends may “appear.” This type of fantasy play is crucial to kids’ development because it helps them work on their fears, anxieties, hopes, and dreams.

The world is also a stage, so expect to hear lots of “mommy, daddy, watch!” as your preschooler learns one new trick after another and seeks your approval and support for new accomplishments. The desire to connect with others extends to friends as preschoolers begin to learn the give-and-take of cooperative play and sharing.

Pretend play becomes more elaborate. Kids’ knowledge of the world is more advanced, so don’t be surprised if your preschooler knows exactly how to work electronic gadgets or make electrical toys (like a radio-controlled car or a video game) work.

Play itself becomes more physical. Why just walk when you can hop, jump, or skip?

Smart Toys for Preschoolers

Arts and crafts. As fine motor skills improve, activities like holding a crayon, drawing pictures of family members, and using a pair of safety scissors to cut and paste strengthen coordination, encourage creativity, and foster self-esteem.

Blocks and construction sets. Building a tower (and figuring out how to stop it from toppling over) encourages problem-solving skills and hand–eye coordination. Preschoolers use their imaginations to create buildings, vehicles, animals, and more from simple construction sets.

Puzzles. Jigsaw puzzles help with coordination and dexterity, and teach about spatial relationships (where things are in relation to other things) and logical thinking.

Big Kids: How They Play

Elementary school-age kids are accomplished in ways they never were before. They’ve grasped an understanding of the world around them and are now moving toward mastering skills that once challenged them, like catching a football or braiding a friend’s hair.

This also is the time where talents and interests take hold — a 4-year-old who enjoyed story time may grow to love reading; a 5-year-old who listened to music might want to play piano.

Physical abilities, like large and fine motor skills, are being refined. Children learn to ride two-wheel bicycles and glide on skateboards. Arts and crafts become more intricate, and a child might spend hours weaving friendship bracelets or drawing comic strips.

Peer relationships take on more importance, and your child might be more interested in playing with classmates than with you. But remember that even as your child matures, you are still the most important playmate — so try to carve out some one-on-one time. Family game nights are one way to get everyone together.

And now’s the time to try new adventures, such off-road biking, that kids couldn’t do when they were younger and need your supervision to do safely now.

Smart Toys for Big Kids

Jump rope. By skipping rope with friends, kids learn to take turns and get along with peers. All that jumping, and the coordination it requires, encourages large motor development and problem-solving skills.

Card and board games. Card games like “war” or “crazy eights” and board games like checkers or chess teach about strategy, turn-taking, negotiating rules, and fair play. Encourage cooperation and help your child learn to manage the emotions that come with winning as well as losing.

Musical instruments. Learning to play the piano, violin, guitar, or another instrument encourages listening and fine motor skills and helps build attention skills.

Science toys. Chemistry sets, binoculars, telescopes, or other toys that promote discovery and problem-solving help improve math and science skills, and help develop imagination.

The Perfect Toy: You

A baby staring at a mobile; a toddler stacking blocks; a pre-schooler painting with watercolors — all are activities that can be done independently.

But don’t underestimate your role. After all, it’s you who put up the mobile, turned it on, and encouraged your baby to follow. It’s you who first showed your baby how to stack those blocks. And when you sit side-by-side with your kids and paint, color, or read a story, you give them the attention they need to build their self-esteem and feel loved and secure.

Toys are a tool to help kids develop, but it’s parents who nurture that growth.

Next, I recommend a remote control toy↓2.4G Remote Control Shark Toy

【Crazy Fun in 2020】With extremely high simulation of appearance and movements, this RC shark (13.5” x 5.25”) has become one of the hottest water toys for kids in 2020. Now you can have a real life-like shark come alive and swim in water tank, bathtub or swimming pool freely during the quarantine. It will be a big hit for the whole family.

【2.4G Remote Control & 4-Channel】 Unlimited 2.4GHz remote control technology provides forward, backward, left, and right controls as well as variable speed and auto mode control, with 40m wireless distance. Simple button design and easy to control. The transmitter is powered by 2 x AAA battery (NOT INCLUDED).

【Full Function with Dual Motors】 Streamlined figure with flexible mechanical tail joints, double paddles design and each configured with a motor, and strict sealing technology… all the features ensure enough power for the shark to swing to right and left freely just like in the reality, bringing unlimited reverie and fun to children.

【USB Charging】 Built-in rechargeable 3.7V 320mAh li-po battery and comes with an USB charging cable. The shark can swim 20min on a fully charged battery (which takes 30 minutes).

【Crazy Gift Idea】 This simulated remote control shark toy is made of safe and environmentally friendly high-quality ABS material. Smooth curves and burr-free, ideal choice for birthday gift, children party favor, after-school fun, Christmas presents, home party supplies or outdoor-fun. Recommend toys for boys age 5+.

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