Magenta or Green When Alastor Desires to be Seen
After rewatching the pilot and the scenes where Alastor is singing, I realized his palette swaps may be emotionally/situationally dependent. At first I thought, “Yeah, this is just a callback to the pilot where he sang with Charlie,” but I think it’s deeper than that.
In both instances of singing with the Morningstars, Alastor is seen to have a palette change.
When he has the duet with Vox, he stays in his original color palette for the entire number.
Once is coincidence and twice is a pattern. When the color green is so engrained in Alastor's abilities, it's difficult not to notice.
When he’s in the presence of someone he considers powerful, he puts in that extra effort to change appearances. If it was only for production sake, he could have remained in his usual red outfit with a different background color to push him forward like in Stayed Gone. Even then he was still on a red background most of the time.
Both of these performances take place within the Hotel, which has become Alastor’s domain. Even then, at the end of Stayed Gone, he was in his radio tower in the Hotel. There were no special effects and Alastor only showed off his demon form.
When Alastor feels like he needs to posture, he changes his color. In the pilot, he demonstrates his strength by changing everyone’s outfits, manipulating the environment and summoning demons under his control. That really means that Vox isn’t shit but an annoyance to him. And I think that's hilarious.
Alastor at the end of his breakdown is enshrouded in green.
When he gets upset with Husk, the chains are green. When he makes deals with both Vaggie and Charlie a green outline is around their hands, within the walls, spreading in the cracks of his face.
Almost like a poison dart frog, Alastor wants to be seen as a danger. He wants to be a warning sign. Always caring for his image, he desires to take attention away from his possible weaknesses. He was reborn as a deer in Hell which is something I and many others head canon that he's insecure about. His perceived lack of strength as a creature commonly considered prey is definitely a factor in how he portrays himself.
Alastor's deep rooted insecurities led him to begin antagonizing Lucifer. He's held under strict contract with his deal and his power has been stifled. Alastor's dignity has been stripped away under these constraints, he's forced to follow orders when he yearns to be the one in control.
When Alastor is in that green and magenta state, he is posturing. This is his attempt at taking back his agency, showing that despite his situation and probably poor choice to have signed a deal with a currently unknown entity more powerful than him, he is still strong. He is the infamous Radio Demon, a sinner full of natural magical talent who took down countless Overlords within his first few weeks in Hell.
(Unless that happened due to his deal rather than his own ability and he postures to make up for that to get people believe that he is all powerful.)
Alastor only feels the need to do this in the presence of those who he considers a threat -- no matter how reluctant he may be to admit whether they are or not. To him, other Overlords, especially Vox, are considered low on his list. His first targets when he arrived in Hell were Overlords
Meanwhile, the Morningstars are a whole different ball game. Two holy entities that are ranked higher than him on the food chain are most definitely threats, so he tries to act unbothered and remain confident in his abilities.
For someone so adamant about hiding his emotions with a smile, he's certainly created a whole load of flashing tells for others to key in on his wavering mental state. Alastor is not as fortified in will as he claims.
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my knight-monk agenda strikes again, but this was less of a 'I read something that made me experience several emotions and a strike of inspiration at once,' and more of a 'wouldn't it be fucked up if the bejeweled skeleton saints came to life and and started. eating people. or something. in revenge. medieval catholic horror, or an older horror of not being buried right. zombies, even. a complete bastardization of holy visuals. zombies.'
it's a far away idea, but I still wanted to play around with font layouts. like, if I DID make it into a full comic: these would be visual vibes, perhaps.
it's also a little bit about the kind of intimacy that these kinds of spaces provide, or in the case of this monk: the heavy trauma of war and the death of your brother, the escape to a secluded monastery, spiritual brotherhood to make up for your dead brother, but your role as a physician keeps pulling you back to this violence you want to escape. physician, heal thyself, only you have a holy calling to serve those in need, so instead: physician, open up your wounds again. saint jude, patron saint of lost causes, give us a fucking hand here, man. amen.
Homosexuality in the Renaissance: Behavior, Identity, and Artistic Expression, James M. Saslow
and this one is about earlier history than the medieval period that this comic is set in, but the monk character is sort of an exploration of earlier themes. a little bit. I like overlapping eras with each other, I've done it before and I'll do it again. this character is an exploration of some other stuff too, but mostly this book was interesting to read
From Monastery to Hospital: Christian Monasticism and the Transformation of Health Care in Late Antiquity, Andrew T Crislip
bsky ⭐ pixiv ⭐ pillowfort ⭐ cohost
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hey guys. I don't normally reblog info on this blog but I do want to remind everybody reading to learn about palestine, sudan and drc, as well as many other peoples currently under genocide.
here are four mastelists with information, sources and donation links and please save them and use them. use the hashtags and read some more. don't buy tech unless necessary and participate in the boycott initiated by the BDS
here's a more recent donation links post
and a post with recommendations for what you can do if you aren't able to donate
tens of millions of people are under genocide and ethnic cleansing. the absolute least we can do is learn and talk about it. if you can, do more than that.
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Fun fact: The section of the stomach closest to the esophageal sphincter is named the “cardia” (as in cardiac) because it’s the closest part of the stomach to the heart.
The bottom portion of the esophagus passes directly by the heart. But the stomach itself is separated from the heart by the diaphragm, which separates the digestive organs and the respiratory organs into different body cavities.
But even with the diaphragm in between, endoscopy footage shows that our heartbeats are clearly visible through the stomach wall in the “cardia” area.
Do with this information what you will ;)
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Finding hilariously ironic how most of Sanji's perv jokes end up being extremely trans-coded to some extent only because the joke is longer than it should be.
The "guy with a woman's body" joke has been a thing for ages now, but it usually ends after the "haha I have booobs" joke. Sanji extends it to "I want to stay in this body forever. It feels right. I don't want to give it back". Which could still be read as some perverted stuff, but I don't think any man would agree with that. No matter how much of a pervert he is. Because usually being perceived as a woman is something they refuse to go through although they like being in possession sexually of a woman's body (a type of excitement Sanji actually shows, not by being that much aroused by it but being comfortable with it? Which is... A different approach to the joke).
Sanji has made the typical "going into the girl's changing room/bathroom" joke a couple of times, but in Egghead he goes all the way to be extremely frustrated about not being able to do so? And it is obviously different than wanting to keep Nami's body forever. It can still be seen as frustration for not being able to see girls naked. But. But. The fact that the length of the joke increases? The fact that it's way longer than it should be for an average "haha boobs" joke? You know what I mean.
Not to mention his whole arc during the time-skip and how a simple (both transphobic and misogynistic, by the way) joke, goes all the way to show us that Sanji is indeed comfortable in more feminine clothes and environment, until he's pretty much forced to snap out of his fantasy to go back to the crew. But he wasn't having a bad time at all. And it is intended to be a joke, but it's... Longer than it should be to be considered only a joke and to not pay attention to it.
This isn't meant to be an analysis of any kind because if it were I would've worded it differently and would've mentioned how his childhood is also extremely trans-coded, but we all already know that. I just find it extremely funny how all of these jokes that intend to be directed at straight perv men are actually too long to not be taken into consideration as something deeper than a joke. But, aha, yeah, these are just jokes and definitely not proof of Sanji's perception of gender and his issues with it.
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