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marley-manson · 3 months

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Hawkeye and Frank are the two most diametrically opposed characters on Mash. They clash politically, ideologically, emotionally, intellectually, and even physically on more than one occasion. There is virtually nothing they agree on. But they do have one significant similarity: both Hawkeye and Frank are notably, pointedly effeminate.

Hawkeye is the central protagonist, so he's written to be likeable, even admirable, especially in the first five seasons of the show when satire dominated rather than character drama. He's the character who makes the correct political points and voices the show's ideology, and male audience members are encouraged to identify with him and aspire to be like him. He's witty, he's smart, he's charismatic, he dodges consequences a lot, he's highly skilled in his work, and he has a strong personality and natural leadership qualities.

Frank is the main antagonist up until the end of season five. He's written for audiences to hate him, mock him, and occasionally be horrified by him. He's dull-witted, incompetent, awkward, easily led and manipulated, and always gets his comeuppance. Few audience members are likely to aspire to be more like Frank Burns.

And yet, while most likeable protagonist/detestable antagonist duos in American popular media would also be differentiated in terms of gender performance as a matter of course - the effeminate villain being a standard stock character, always set against a ruggedly masculine hero - Mash takes a different approach.

From his core personality as a sniveling, weak-willed follower, to the way other characters, including Hawkeye, routinely make fun of him by comparing him to a woman or insinuating that he's gay, Frank Burns certainly fits the part of weak, emasculated villain. What's more interesting, and much less commonly seen in Hollywood media, is that Hawkeye is portrayed as just as unmanly, and just as, if not more prone to having it pointed out in the show.

Often Hawkeye's jokes at Frank's expense include the implication that Hawkeye is attracted to him himself, and not necessarily as "the man." He jokes, "Guess it's a marriage, Frank. I know I can do better, but at my age, can I wait?" in Hawkeye, Get Your Gun; he switches from calling Frank one of his vampire brides to taking the feminine part in post-coital pillow talk after siphoning his blood in Germ Warfare; he kisses or tells Frank to kiss him in Major Fred C. Dobbs, For the Good of the Outfit, and Bulletin Board, etc.

Other times, the jokes Hawkeye makes about himself are virtually identical to the jokes made at Frank's expense - their respective attractions to Margaret as a potentially dominant sexual partner, eg, with both Frank and Hawkeye portrayed as eagerly submissive. For instance, in 5 O'Clock Charlie Hawkeye jokes about tying Frank to Margaret's tent, then dismisses the thought with, "He'd probably love it. I know I would." And Hawkeye/Trapper and Frank/Margaret are sometimes paralleled as dual couples, Hawkeye and Frank usually being framed as the more feminine partner in each.

And of course, unconnected to Frank, there are many, many more examples of Hawkeye's effeminacy, both in jokes and in personality traits.

Hawkeye is a self-professed coward who is loud and proud about how terrified he is to be stuck in a war zone. He's emotionally open and highly empathetic, always willing to listen to others' problems and discuss (or scream about) his own. He abhors institutional violence and faces every enemy combatant with his hands firmly in the air. When authority is thrust upon him he strives to relinquish it, and uses it as little as possible.

More shallowly, he has little interest in sports and exercise, derides masculine hobby magazines like Field and Stream and Popular Mechanics, is incapable of performing mechanical tasks to the exasperation of others at least four times (Comrades in Arms which explicitly frames this emasculating, In Love and War, Patent 4077, and Hey, Look Me Over), mocks traditional masculinity in many ways, and enjoys musical theatre and Hollywood gossip. And he makes and takes literally hundreds of jokes about being unmanly and having sex with men himself, many more than he makes at Frank's expense.

But while the jokes are at Frank's expense and meant to belittle him, they're rarely made at Hawkeye's expense, especially in the first five seasons. Hawkeye doesn't make the jokes out of self-deprecation, he makes them out of pride and a desire to differentiate himself from the army men he's surrounded by. He's almost always in on the jokes others make about him, rather than offended - Potter telling him to file a paternity suit against his rival in Hepatitis makes him laugh delightedly, and Trapper's remarks on his effeminacy, such as Miz Hawkeye in Hot Lips and Empty Arms, are sometimes lightly teasing but always a regular aspect of their dynamic that Hawkeye enjoys playing up. Frank doesn't make any jokes directly mocking Hawkeye's masculinity that I can recall, beyond vague "pervert" and "degenerate" remarks, which, while often historically homophobic, in the show's context tend to be treated as a reference to his heterosexual endeavours.

Frank's effeminacy is a point of mockery and derision, but Hawkeye's is a point of pride, and not intended to make him any less likeable to an audience. Antagonists don't get to score points off of Hawkeye by mocking his feminine traits, but Hawkeye makes fun of Frank regularly by mocking his feminine traits.

This difference in framing can partially be explained by the nature of their respective gender performances.

While Hawkeye and Frank are both effeminate, they're effeminate in many opposite ways. Frank is weak-willed while Hawkeye is strong-willed. Frank is unappealing to most women, while Hawkeye is something of a lady's man. Frank cannot face his fears to rise to a challenge, but Hawkeye can. But on the flipside, Frank refuses to admit to fear while Hawkeye openly proclaims it. Frank strives to attain authority while Hawkeye refuses it or takes it on only begrudgingly. Frank is obsessed with guns to a freudian extent while one of Hawkeye's most famous monologues of the show is a speech about refusing to carry one. Frank worships the concept of traditional masculinity even while he can't perform it himself, while Hawkeye mocks the concept and would refuse to perform it even if he could.

The Sniper is an excellent case study of these contrasts. In this episode, Hawkeye is effeminate and at ease with it, while Frank is desperate to prove himself masculine. Frank and Margaret flirt with strong Freudian overtones while Frank shoots a gun while nearby Hawkeye flirts with with a nurse with a line about "tasting" her. Hawkeye connects with the nurse he's wooing by relating to how scared she is and huddling in fear with her, while Margaret demands that Frank prove his masculinity by going out and taking down the sniper himself. Frank carries a gun while trying to approach the sniper, while Hawkeye carries a white flag. Frank tries to make fun of Hawkeye for wanting to surrender, but he can't bring himself to approach the sniper while Hawkeye does.

This contrast of gender performance is a consistent aspect of Hawkeye and Frank's dynamic throughout the show, but The Sniper makes it a central theme so it's a useful example to show how their relationships to masculinity are a deliberate aspect of their dynamic.

And while Hawkeye makes fun of Frank's femininity, it's significant that he also regularly makes fun of Frank's masculinity - his love of guns (eg The Sniper), his sexual affairs (eg the exchange about Frank as a "fantastic performer" in Yankee Doodle Doctor), his numerous attempts to exert authority (eg Welcome to Korea), his desire for socially approved success (eg Hot Lips and Empty Arms), etc.

Both masculine and feminine sides of Frank are comprised of negative character traits, while Hawkeye embodies the best of both - emotional expression and healthy ways of coping by talking about his feelings; bravery but not machismo; intelligence and skill as a doctor rather than an officer; empathy and a willingness to listen; sexual prowess but largely through his love of foreplay rather than his dick game (which, in the context of the early 70s, is a somewhat feminine attribute that distinguishes him from a typical traditionally masculine man); etc.

Hawkeye demonstrates some of the most appealing and healthy qualities of both masculinity and femininity while Frank demonstrates, or strives to demonstrate, the more toxic qualities of both. Through including a few positive masculine traits in the mix, the narrative is able to depict Hawkeye as likeable, admirable, and desirable in his effeminacy while Frank is depicted as loathesome in his. Hawkeye gets one of many, many women in The Sniper by showing vulnerability, while Frank only appeals to Margaret, and Margaret is portrayed as borderline pathological in her sexual attraction to violent masculinity (the scene where Frank excites her with his gun, for example, also includes an electra complex joke, and there's a running rape kink gag in this episode as well).

Another aspect to consider when it comes to differentiating Hawkeye and Frank's respective femininities is hypocrisy. Similar to how Frank and Margaret's affair is mocked because they can't admit to it while Hawkeye and Trapper's affairs are glorified, part of what makes Frank's effeminacy so mock-worthy, while Hawkeye's feminine qualities are a source of pride and rebellion, is that Frank refuses to admit to them.

Frank desperately wants to be the ideal heroic army man and often play-acts the part, poorly. When Hawkeye mocks him by calling him a woman, for example, he's drawing attention to Frank's failure to live up to his own ideals. And when Hawkeye calls himself a woman, he's mocking those same ideals. The message is that Frank is pathetic not so much for failing to be traditionally masculine, but for wanting to be traditionally masculine at all.

Ultimately the ways Hawkeye and Frank perform masculinity and femininity are pointedly in opposition, from which masc and fem traits they embody, to how proudly they embody them. The show itself draws attention to these gendered similarities and differences between Frank and Hawkeye through a constant barrage of jokes, and even whole scenes and episodes. In this way the show portrays Frank as a hypocritical loser who wants to be masculine but fails to embody all but the worst traits, and Hawkeye as a cool, admirable guy who disdains the traditional pillars of masculinity and embraces his own effeminacy.

#mash #marley on mash #mash gen #mash gs #frank mash #hawkeye mash #since you guys liked that trapper gender meta a lot more than i thought you would here have another one #though this is written a little less formally lol #i have more examples of whole scenes that make these comparisons than just the sniper but i'm trying to keep this from being #even longer than it already is #but eg white gold is another good example wrt how they relate to flagg; yankee doodle doctor; army navy game; george; the gun; etc etc #(also it's interesting that when frank leaves hawkeye gets the pathetic loser portrayal more often... though i think that's a coincidence #the shift from early to late mash could be yet another essay on mash and gender lol)#long post

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cliveguy · 2 years

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i don't think people outside the uk / people who don't keep up with the situation for trans people in the uk actually understand how dire it is or how much influence jk rowling actually has over here. trans hate crimes have noticeably and substantially increased since she "came out" as a terf and there isn't a single mainstream news source that doesn't favour transphobia in "the trans debate." even our most left wing political party has outspoken transphobes, and the party actually in power is even worse. so seeing people bring up how much of an ally they are for knowing how to use 123movies whenever someone brings up not wanting anything to do with harry potter is more than irritating atp.

#um.txt #trans #harry potter #i and most trans ppl i know have felt the atmosphere here get increasingly hostile towards us its not fun #multiple trans groups and support systems i know here have had to go underground or completely shut down bc of harassment #a local group i was planning on joining shut down just as i started properly transitioning which was a little while after #jkr published that whole essay #also it annoys me when ppl who dont live here are like well IM trans and i like harry potter #okay well you dont actually have to deal with as much of jkr's influence lol

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somegrumpynerd · 2 months

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This little interaction made me so happy! Killer really fought through Dream to give Cross his necklace back

Asjlkhdkgkd I'm so glad you liked it!! I had fun putting a little story into that one ^^

And, because I am normal and don't think about these guys for hours every day, here's some backstory:

When Cross first joined, Killer actually took to him pretty quickly (Dust and Horror did not get warm welcomes). Which is to say he immediately started flocking to Cross to annoy him and compete with him on missions. Cross didn't have the benefit of knowing Killer already to see these were affectionate annoyances, so to him Killer was just some guy who had a problem and wouldn't leave him alone.

During that mission, Nightmare was calling a retreat when he put a hand to his chest and realised the heart locket was gone. Killer saw him looking all around frantically and had a good idea what was lost, since it was the one thing Cross would absolutely not part with since he joined. So, Killer ran back out towards the stars to look for it, because why learn self preservation now. It was the first thing to convince Cross that Killer actually was being (relatively) friendly, despite all the annoyances.

And also, a doodle of the afterwards of that picture

because it's probably the only time he's managed to get Killer to shut up lol

#Ask #blinddreams24 #Truce au #Thank you!!! I'm really genuinely so happy people like my silly little comic ^^#Sorry you got a whole dissertation in response I just like thinking about these two in particular lol #Cross's locket is very important to him he Does Not mess around when it comes to that thing #It also goes with my hc that Killer is lowkey touchstarved as hell #He has not had many hugs in his lifetime as Killer so the casual affection without having to taunt someone into a fight was game changing #Cross kind of became second in charge of watching for Killer's stages as they became friends #Also in Dream's defence he thought Killer was charging back in for round 2 #When he just scooped up a necklace and ran off Dream felt bad for shooting but it was partly on Killer for searching with a knife out #Oh my god this is like an essay I'm so sorry I can't shut up about these guys #UTDR #UTMV

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kaidanalenkosprmanager · 27 days

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THE BEST OF SHENKO 1/?

The end of the world has a way of reminding you of all the things you forgot to say do. Mass Effect: Legendary Edition (2021)

#mira makes gifs ✨#kaidan alenko #sophie shepard #EDI #shenko #fshenko #mass effect #mass effect legendary edition #dailygaming #OTP: you're real enough for me #i learned i am physically incapable of creating less than like 20 gifs at a time #but shenko stonks are up right now!!#gif’ing my favorite bisexuals gives me joy 🥹#even though ME2 is dry as shit for shenko content like it’s literally the sahara desert #like a whole ass 10 minutes max of cutscenes between shep and kaidan like come on #like 2 minutes in the prologue and like 8 minutes of cutscenes on horizon #and then an email and looking at the picture in your cabin before the suicide mission #i'm so sorry y'all ME2 shenko canon is absolute shit (besides kaidan being rightfully angry on horizon) which is why we ✨ignore it✨ 🥰#but i rant about ME2 VS treatment too much so i will not write another essay about it in the tags #i will say the EDI line isn't the exact quote from the game but i think about it a lot tbf #same with the quote i borrowed from anderson too lmao (which is also a tiny bit paraphrased)#i just love EDI asking shep for relationship advice when you get to follow shep and kaidan's relationship/struggles across 3 games #and anderson's quote about all the things you forgot to do in relation kahlee to is just *chef's kiss* when you think about shenko #like whether it starts in ME1 or ME3 shenko has some really fantastic moments across the series #two characters with strong morals who realize that they're falling in love and literally start to become each other's strength??#their soft place to land?? their support when they need it?? shenko will always have my heart #also the shenko quotes you get are the most fire thing in the world #you're real enough for me?? you make me feel human?? i want to be your strength- your soft place to land?? shenko you will always be famous #I FORGOT IM GONNA FIGHT LIKE HELL FOR THE CHANCE TO HOLD YOU AGAIN TOO LIKE??#but i’ll stop ranting now bc i do that wayyy to much in my tags lol. have a good day wherever you are! <3

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megabuild · 23 days

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im gonna be 100% honest with you man i'm not gonna post this in full because you are just going to open yourself up to getting clowned on again but i do need you to know this is my absolute favourite opening to any ask i've gotten ever.

#mine #for what it counts i think your base point was fair. the idea of discussing childhood in south africa in the 80s and not-#-mentioning apartheid at all does stick out to me as odd. however i think it is easily explained by-#-it being on a podcast w three white (afaik) men who despite encountering some serious topics generally keep it light.#but i do get what you mean.. i just dunno if id write up two whole essay lengths asks about it. on the no nuance site. LOL #anyway its 2am so sorry if this doesnt make sense i hope you have a good night.#also reblogs off sorry just cause like i said i don't want people to clown on this too much or start arguing 😭#i have had a week and a half i don't want to be the guy who accidentally starts mcytblr apartheid discourse

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vermillioncrown · 5 months

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snippet of tpac ch 11

who wants to see bruce being bullied? doesn't matter, here you go

...

“—per my last missive, Sir: if you want this equation to exist, then the principles of linear algebra must necessarily exist.” Korvin waves a thin stack of ruled paper—covered with sprawling formulas, symbols, bullet lists, and patchwork paragraphs on both sides—like he’s trying to banish a demon. That demon, in this instance, is “Batman being stubborn.”

Bruce looks taken aback, like something is happening outside of his set parameters. From how Dick tried to explain it: apparently, Bruce and Korvin have a whole “pen pals” routine going on, and it’s still thriving despite them sharing the same living quarters for the past few months?

Do they actually waste stamps on this? Where do they hide the envelopes?

(Dick raised his hands in surrender at that line of questioning.)

Tim knows Bruce is a creature of habit and standards of operation—of which he completely respects because it’s efficient—but his staunch adherence to routine is next-level neurotic. Normally, he'd be furious about being sidetracked.

Yet, Korvin’s thrown caution to the wind and got so mad over math, like the fussy nerd that he tries to hide being, that he’s directly confronting Bruce—full “David vs Goliath” vibes here. And he's winning.

“I trust your work,” Bruce finally says, holding his hand out for the papers.

That only makes Korvin’s face twitch harder. “Sure. Why not. Everyone needs a bit of make-believe. Escapism in these trying times and shitass economy.”

“‘Shitass economy,’” Cass murmurs, of course latching onto the bit that everyone reacts to.

Babs sighs in disgust.

...

#verm bits #on tpac #phd-verse #i'm running my exprs i swear ok #literally logging my results like an old-timey scientist #and i have to bc i know how much time i'd waste making a script to perform my experiments and trying to optimize it #now is not the time #^^i also want to make it clear: tbf to bruce korvin would normally not yell at him (he'd be too terrified to)#(nor did korvin realize he was being condescending to bruce after the batplane incident)#but pen pals bruce&korvin are very different from actual interaction bc it's usually so far removed #think of the cognitive dissonance to actually receive an apology letter from fucking bruce wayne like wth lol #(and the whole experience is so surreal that the both of them just. keep going. bc why not.)#so they just start writing about whatever or digging into topics following up on a previous letter #and the last few letters bruce was pestering korvin about the anti-life equation and why he thinks it's dumb #to which korvin says ''may i refer you to prof gilbert strang who can maybe show you an intro to lin alg for free online. he is qualified''#but bruce is v stubborn and tackles other comments korvin made about the eq #until korvin's just done and here we are #after this they'll start talking about ytube video essays or something

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wavesoutbeingtossed · 13 days

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You said you’d come and get me but you were 25 and the shelf life of those fantasies has expired 😭

#the way she sings those lines is soooooooooooo #the tortured poets department #peter #one day I will write that essay lol #the whole waiting for your partner to get their shit together so you can love them and grow old together of it all 😭

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bradassholemajors · 6 months

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Wtf Is Shock Treatment’s Deal? (Or, Local Critic Discovers Escapism and Having Fun In The Midst of Late Stage Capitalistic Dread)

Watched Shock Treatment for the first time this week, and I am a changed man lol. Here are some disorganized thoughts:

I think something that makes Rocky Horror so special is that it can be as deep or not-deep as you want it to be. Like, if you want to think about the cultural implications of the themes portrayed (hedonism, gay & trans liberation, gender roles, the Invasion-of-the-Body-snatchers style infiltration of outside queer forces, the downfall of the safety contained within a collective identity), you can absolutely do that! There’s so much to be interpreted there!! But if you are just here to see Tim Curry looking incredibly sexy and violently thrust along to the Time Warp at a midnight showing with a bunch of cool strangers, that is absolutely awesome, too. Slay!! Take what you want.

BUT SHOCK TREATMENT MANNNN??? Shock Treatment is a whole different ballgame lol. Like, it is also a thematically rich goldmine, if you’re willing to squint a little— in terms of content included, not necessarily how it’s portrayed within the narrative. In the words of Barry Bostwick here, “it was a statement about the future that we weren't quite ready to explore. We didn't really even have the mental emotional vocabulary to understand what Richard [O’Brien, the creator] was trying to say.” I think this is spot-fucking-on!!! It’s absolutely frighteningly prescient, especially today in terms of the commodification of mental health. Like, woah. Janet being crowned “Miss Mental Health” felt like such a Gwyneth Paltrow moment. Cultural prophet Richard O’Brien saw the dark cloud of Betterhelp and wellness culture galloping over in the horizon in the distance of the American landscape, and he set out to warn us.

I still don’t quite understand what happened in the movie. I still don’t know what my takeaway was supposed to be. And I guess if you’re a little insane and love having fun doing thematic analysis with weird media (like me), taking Shock Treatment seriously may be right for you, lol. But thematically overall I think it’s safe to say: it’s a lot less coherent than its predecessor. It’s messy. It’s not interested in being flawless. It’s not interested in appealing to an audience. It’s barely interested in being a sequel. Shock Treatment is lowkey pointing and laughing in the face of those who showed up expecting a masterpiece— which admittedly was me, because I take Rocky Horror pretty seriously. (I put off watching Shock Treatment for a while bc I wasn’t sure about how it would affect the Rocky Horror Universe I had in my head.) If not for the internet reviews prepping me, I would have walked in completely expecting another nuanced perfect symphony of a movie to measure up to Rocky Horror’s magic.

But the thing was? Watching Shock Treatment, it ended up I did not really care!!!!! I was having the time of my life!!!!!

(more under the cut whoops)

Wtf was going on!!!!!!!!!!! Who knows!!!!!!!!!!!!!!!!! I still don’t quite know!!!!!!!!!!!!!!!!!! And I loved it!!!

This reaction of such joy, just letting myself vibe out made me think because when did I start getting surprised when watching a movie is more pleasurable than not??? Isn’t that the entire point of media??

I think with the modern commodification of media analysis and examining pop culture up close, I’d argue that Fun Media without a message is actually pretty hard to come by— at least in mainstream culture. Even stuff as sanitized as Disney movies are now digging into like generational trauma, appealing to what seems to be a collective search for depth (or at least the appearance of depth.) Modern neo-nazi brands of fascism wields power like never before, horrific images of violence follow everyone left and right. Sometimes it seems like this open secret, that everyone knows there’s this looming darkness at the forefront of our minds at all times.

So this transition from Rocky Horror to Shock Treatment felt actually sort of powerful to me. Rocky Horror’s generation-long reverberations of shamelessly depicting sensual revelry are so powerful; it’s bold even for today! (Of course, we all know transvestite isn’t a term commonly used today, but looking at it through the lens of its time, it becomes clear what a miracle the movie is. Knowing what it must have meant to queer people at the time it became a phenomenon— giving them a real space to be themselves in a hostile world criminalizing who they were, in a time of oppressive pressure to stay silent — that is the type of brave blatant acceptance hard to come by in any era.) Rocky Horror is something I don’t know if will ever happen again, and its sequel seems to concur.

Shock Treatment has been called a cash grab but I beg to differ. If you’ve seen it, no offense: but does this seem marketable to you??? It seems like it’s a Richard O’Brien project (already wacky) that went through several levels of development hell and heavy modifications through the creative process. Said with the utmost respect… it may have got away from them a bit. Put lovingly, Shock Treatment lowkey kinda sucks a little at times. It’s silly, it’s got a huge cast and musical fun galore. It’s serving B-movie realness. I don’t say this to bash on it, I say this with a bemused respect— I think the existence of Shock Treatment is as much a miracle as Rocky Horror (aren’t all creations???)

So in the first iteration, we have advocacy and fighting for freedom for those long silenced… but also, Shock Treatment seems to allow the creators to just let themselves have fun. Aren’t they both revolutions in their own right? Does everything have to be lasting cultural milestones or does our enjoyment matter in the moment? I’d argue we need both as human beings to thrive. It comes back to that Rocky-Horror-experience philosophy I covered where you’re taking what you feel you need most from the media you consume: a message or a celebration of just being here.

In conclusion, sometimes shit doesn’t have to be that deep. More movies should just say “fuck it, we ball” and give you the most absolutely incoherent fun time of your life. I love not taking things seriously, and I love creators willing to not take their work seriously. Perhaps Richard O’Brien also had a premonition with Shock Treatment in the sense of how he just had fun with it! Maybe we need less attempts at masterpieces and more attempts at just creation for the joy of it— or both, because joyful creation makes masterpieces!!! I’d love to see more creators of every skill level and every background, known and not known, say fuck you to capitalism and expectation and marketability and just say, we’re gonna do it anyhow, anyhow!!!

#this got away from me #just like #shock treatment #may have for #richard o brien #media studies #hey janet. i’ve got something to say #this is so incoherent but I’m okay with that ❤️ love and light ❤️❤️#written while I was so so sleep deprived pls only discuss if you are nice and kind abt it lol #love me writing a whole essay on how cool it is to not take things seriously - taking it Very Very Seriously #mamma mia #<- this is also abt her in a. way #Farley flavors call me

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suckishima · 5 months

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man i love this sequence so much—and tbh their dynamic in general which i feel like we don't talk about enough

on paper they seem like such opposites—and they kind of are—with tanaka being a mood maker and morale stabilizer for the team, he's loud and boisterous and never holds back what he's feeling ("dial down my feelings?? what does that even mean??"), while tsukki barely speaks on the court, openly admits to disliking loud and excitable people, and seems to calculatedly hide his emotions away. you would think they wouldn't like each other and wouldn't work well together, but i think every interaction we see between them is a positive one

we see them kinda partner up to roast other teams or their own teammates, but also tanaka is one of the few senpai that tsukki seems comfortable openly making fun of directly. but then tanaka doesn't even ever seem mad by tsukki's taunts—occasionally he'll even pass judgement on how successful tsukki was with his comebacks. and tanaka will just throw a jab back easily, which tsukki doesn't really seem bothered by either—tanaka never gets under tsukki's skin the way kageyama does, for example

and then we get a great little sequence like this one that's deliberately pointing out their differences and then using them to emphasize something more, and it's just so effective??

what tanaka goes through in the first set of the inarizaki match of feeling like he's not doing enough and having it shoved in his face that he'll never be the best, is like a speedrun version of what tsukki has been going through since he was in middle school when he found out his brother was lying about being the ace. there are these little subtle callbacks too—with the dichotomy of being lame vs cool (yamaguchi calling tsukki lame for not trying and tsukki thinking yamaguchi is cool for saying so), and furudate even uses the same visual metaphor of a never-ending staircase

it took tsukki years to realize he might be looking at things in a destructive way, and then months more after that until he actually saw the merit of trying—and then even here we can see that he doesn't find any of this easy. and tanaka basically does all of that in thirty minutes or so.

and while tsukki seems perturbed by this, he isn't mad at all. you can feel the respect tsukki is veiling behind his words in the first panel of the page when he calls him "ridiculously mentally tough." it's "frightening" to him because it's something that doesn't come naturally to him personally, when it obviously does for tanaka

of course it's important to note that the situations are completely different in terms of the catalyst for those feelings, tanaka didn't have some world-shattering event he's been struggling with since he was a pre-teen (that we know of). he just had an off day. but what i like is that the emphasis here isn't really about the circumstances, it's about their attitudes, how they each react to feeling down about themselves

and i just love the way furudate put this page in here. we just had this awesome sequence of tanaka scoring a well earned set point by doing a move he's been practicing for months after he spent all match feeling inadequate—sounds a lot like tsukishima winning set 2 vs shiratorizawa with a stuff block that was preceded by months of extra practices from him, but the reader (rightfully) isn't thinking about tsukki at all. until furudate gives us this conversation and we're reminded (not specifically or directly of tsukki's moment but) that this feeling is something other players, other people go through too. like, furudate didn't have to put this page in here, the chapter and tanaka's moment would have been just as epic without it, but i feel like it just adds this extra little emotional grounding to it

it just, it feels so human. getting down, being hard on yourself, feeling or even knowing you'll never be the best, everyone can relate—it's a storyline we've seen in haikyuu before but furudate always manages to make it feel not only fresh but satisfying because of how they present it to us with a new lens every time. tanaka and tsukki are so opposing in their character and actions that it makes their moments feel different and new, so it's just as cathartic for the reader every time, even though the underlying message is the same

whether it's hard or not, it's always cooler to try

#..i wrote an essay again... i always think i have one (1) thought and it turns out a thought is worth 1k words #fun fact ive been collecting screenshots of tsukki and tanakas interactions this whole reread to eventually do *shrug* something with lol #tanaka #tsukki #hq #hq meta #what more do you need #2021 reread #x #long post #if only i could write my fic at these speeds lmao #ugh and this post touches on a ton of themes im trying to integrate into current fic too and its just been. not working lol

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sojourner-between-worlds · 5 months

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I normally don't vague post about other people (and I'm not really here, even) but someone in the tag suggested that Jack would make a better Team Leader than Yusei and it made me realize something, in part, about why people think that Yusei is boring.

tl;dr: Yusei isn't boring; he was written as the MC in the wrong genre.

See, Shonen protagonists typically have the following personality traits: loud, brash, hot-headed, sometimes abrasive. Yusei is none of those things, and Jack is ALL of them. Which, I'm sure, is what led that person to say that Jack would make the better leader and what leads so many people (who are mostly only fans of Shonen anime) to say that Yusei is boring. He doesn't fit their expectations of what a Shonen protag is supposed to look like, therefore he's boring.

But the thing is, if you popped him into, say, a Slice of Life, he'd be perfectly at home (well...except for the Trademark YGO Hair anyway) and well-loved by the fan base. I can say this with fair certainty because I've at least never seen anyone say that Natsume Takashi (Natsume's Book of Friends) is boring in any way, and honestly the two of them have very similar temperaments. The difference is, obviously, the genre of their respective stories.

Slice of Life allows for its protags to be softer-spoken, more reserved; Shonen often does not.

It's time people stopped saying that Yusei is boring and just admit that they like loud, brash characters as opposed to quiet ones, and that Yusei just doesn't fit what they expect from a Shonen protagonist.

He's not boring; he was just written for the wrong genre.

#not to mention that sol actually allows for exploration of trauma but that's another story lol #oh also for the record: jack would NOT make a better team leader #loud brash hotheaded and abrasive are NOT traits that make a good team leader #i could make a whole post solely about that but i won't haha #it doesn't mean i dont like jack btw #i love jack!#...but that doesn't mean i think he would make a good leader #anyway #yugioh 5ds #yusei fudo #also before someone comes for my head and starts listing off shonen with reserved mcs #i'm sure not ALL of them fit the description above #i haven't seen every shonen every made #what i CAN say is that of the ones i've seen the mcs usually fit at least TWO of the four traits listed #this also isn't anything against shonen! i like a good shonen once in a while!#i'm just saying there are differences in genre here (which. should be obvious. but this is tumblr. so gotta cover my bases lol)#and different genres have different character tropes #and yusei as the mc does not fit those character tropes #so for people who love that character trope then yeah a character who doesn't fit it isn't going to be interesting to you personally #okay at this point i have an additional essay in the tags so i'm done lol

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filibusterfrog · 2 years

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Do you have any tips for drawing the human body? I want to draw outfit concepts for a character of mine but I can’t get the pose right or the anatomy correct :/

ya, other than copy from irl and photos for years and years to git gud, imo its good to draw the initial gestural sketch as quickly as possible and build from there so that the pose can remain energetic. if you start getting caught up on details before youve drawn the whole body mistakes will be harder to fix, so build it in steps like so 1) gestural sketch of the entire pose 2) refine sketch, fix anatomical mistakes as you go 2.5) refine again if you want 3) details

make sure to use long, confident sweeping lines to start with and then you can get smaller as you go

#croaks #kind of ot so im putting this in the tags #art is about grinding but youve gotta make it fun for yourself or you wont learn btw #i will actually defend 'just practice' as advice but thats a whole essay in the making lol #anyway anatomy is hard and takes a long time to get better at

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mochiwrites · 1 year

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(tma) From a fanon standpoint, I completely understand why people ship jonmartin, but from a canon standpoint they don't really have many moments together? I'll admit I'm not completely through season 5, but the ship wiki didn't even mention season 5, so I'm just curious how the ship got so much hype?

anon in the nicest way possible... did we listen to the same podcast?

because holy FUCK there's a ton of important moments that they have together?? excluding s5. I won't touch on that season all that much since a) you're still in the middle of it and b) we're talking early game jmart.

we're gonna start with the Q&A bits. also I feel like I should preface. I'm still relatively new to the fandom (have only been here since end of september) and I may not know as much as someone who's been here longer. but with that out of the way, let's discuss jmart! putting this under a read more because this is gonna be an essay! (spoilers ahead for seasons 1-4)

the first thing we need to make explicitly clear is that the magnus archives is not a romance. it is a horror first and foremost.

but also in the same breath, we need to talk about how jmart even came to be. martin's crush on jon was planned from the very start, and through the series we start to see jon reciprocate martin's feelings. this was specifically addressed for the first time in the season 4 Q&A. to quote jonny exactly, "yes he reciprocates it -- it's a romance -- at least I have written it as a romance."

the incredibly important thing to note with tma is that the romance (with the exception of s5) is going to take a back seat in the story, because as said before, fundamentally tma is a horror podcast.

HOWEVER -- this doesn't mean that jon and martin don't have important scenes together. because they do. it isn't so much about the number of scenes they have together but more so the quality and importance of moments they have.

SEASON ONE

take for example the first real interaction we see between jon and martin. martin has just experienced a traumatic event and brought the physical evidence of said event right to his boss' face (the same boss that ridicules him and bashes his work). he fully expects jon to disregard everything that martin has just told him. but then. but then! jon is surprisingly understanding and almost soft with him. it's a reaction martin certainly wasn't expecting and you can hear it in his voice.

and then we get to the prentiss attack and we see jon and martin on the same level. we see them having this heart to heart discussion about why they're at the institute etc etc.

it's the first time we see them actually understanding one another, the first time we see jon and martin as themselves and not just the archivist and his assistant. we see them as human beings rather than their professions. they're put on the same level and I think that's incredibly important to high light here.

to finally top it all of with season one, we have the interview between jon and martin. jon is trying to slip back into his role, back into the position of the archivist, but martin isn't letting him. not entirely. one of the first few things out of his mouth are the words "are you okay?" and he's the ONLY one to ask jon about this. I checked. and then you see martin apologizing to jon for leaving him, and you can hear the struggle in jon's voice as he tries for something soft before attempting to slip into something more professional.

but the biggest piece to take away from these interactions is how martin cares. it's how he views jon right from the start and deems him someone to worry about. and when we end season one we find that there is no longer a a hierarchy between the two of them (besides occupational titles ofc), they are on the same level.

SEASON TWO

so we end season with jon and martin landing on the same level of respect for one another. they're fresh out of a traumatizing situation and back to work! aaaaand jon falls into a very deep pit of paranoia.

we have martin attempting to steer jon toward taking care of himself, inviting him to lunch, making him tea, etc etc. we see jon questioning if it's just a ploy for martin to get jon to lower his guard so he can kill him. but we see jon start to look at martin in a new light, which is important to note. we know that they begin to spend more time together as other characters comment on it.

this is most likely the point where jon started to develop a bit of his own crush really. because a) he's seeing martin in a completely different way than he did previously and b) martin is something consistent in how he never stops caring about jon, pushing him to take care of himself. it's kind of the point in the story where martin begins to take his place as jon's anchor.

and then jon finds martin's lovely little note. and he freaks out. he reads this note from martin that says "they can't find out I'm lying" and it's not. something jon wants to believe. he doesn't want to think that martin has been lying to him.

and when it comes time for him to confront martin about his lying, he doesn't handle it well. he finds out that trevor herbert is alive and oh would you look at that! martin was the one who told him that trevor was dead! and oh. martin lied to him.

and jon takes it personally! he finds out from martin that it was misunderstanding, and when martin calls him out, he snaps, "because you keep lying to me, martin!" it rings almost like jon is telling martin that he trusted him.

he forces the truth about martin's CV from him, and when he finds out that that's what martin was talking about in his note, he's relieved. he's so relieved that he smiles. martin is trustworthy. martin is safe. martin secures his position as jon's anchor.

SEASON THREE & FOUR

season 3 is the season that I like to call the pining season. it's pretty much the middle of the story, where both jon and martin are fully aware of their feelings. sure they may not have many scenes together, it's the fact that the scenes they do have together are important. and you can feel jmart's presence through both s3 & s4 whether they're in the same scene together or not. they're always thinking about one another.

martin's biggest thing throughout both seasons is a plea for jon to be safe.

jon's in need of an anchor to keep him connected to humanity in s3. and he is encouraged to seek out martin. in s4, jon echoes martin in his pleas for martin to be alright.

and of course you have a big moment in s3 where jon first returns to the archives after being kidnapped by the circus and martin is the one he runs into. and they have this conversation, one that is almost shy but still very much genuine. jon expresses concern for martin after hearing he's been reading statements, and martin worries over jon after his kidnapping.

then we get to season 4!!!!! and GOD WHAT A SEASON FOR JMART. obviously I don't have to touch on the whole scene with the two of them in the lonely. I don't have to touch on jon running to martin right after he finds a way to escape the institute so he could suggest that they run away together.

what I AM going to touch on is their presence in the season. season 4 is probably the season we see the least of jon and martin interacting with one another. HOWEVER, their presence is very strongly felt. martin is basically always on jon's mind in one way or another, and the same with martin. we may not see much of martin but his presence is absolutely there through jon. it feels like he's there because jon is always reaching for him in some way.

season 4 is where we see jon at his most vulnerable with martin. and we know for a fact that jon is martin's main motivator to accept peter's deal.

and then we have the coffin scene. jon thinks "ah yes my rib is a good anchor for finding my way out of the buried. this cannot go wrong in any way whatsoever." but the only reason daisy and jon even get out of the coffin is because of martin. he piles those tapes on top to pull jon out and it works. it was never the rib. it was the tapes. it was martin.

so admittedly, no jmart may not have as many moments as a canon couple would in say a tv show. but the magnus archives is a podcast. and it is a horror podcast. the romance between jon and martin has always taken a back seat for the main storyline. think of it as an A plot and B plot. the A plot is the main story, the B plot is jmart's relationship.

it's the fact that the scenes they have together are impactful on their characters and the trajectory of their character arcs. we as the listeners don't get the privilege to see every moment of their day to day life. so we need to make inferences, we need to fill in the gaps. it's on us to read between the lines and find the answer based on what's given to us in canon. canon does give us quite a bit to latch onto with jmart, we just have to pick it apart to find it.

and it’s not about the number of moments. it’s the quality of them.

but to answer your question in a simple matter, I think jmart gets so much hype because well... not to sound like a broken record, but tma is a horror story. it is a tragedy. yet despite that, there is love. there is love within a story of death and loss and the worst of "humanity". jon and martin's relationship is such a fundamental part of the story (even if it isn't the main focus). it's the fact that their love transcends the horrors and despite what jon and martin go through, they find some kind of comfort within one another.

I think they get a lot of hype because in the face of death and grief humans reach for love. for hope. and that is what jmart is in the story. they are each other's anchors, they are each other's reasons. and while it may not be at the forefront of the story line, we as the listeners know that their love for each other is the driving force behind their actions.

they get a lot of hype because they are human. and they love. sure they started off in a rocky way, but they grew close -- they learned about each other, began to care about each other. and through all of the horror they became each other's reasons for carrying on.

in a story full of despair and death, why wouldn't you latch on to that little spark of hope? of love?

#mochi speaks #tma #jmart #jonmartin #the magnus archives #jonathan sims #martin blackwood #SORRY I DIDNT MEAN TO WRITE A WHOLE ESSAY #no I kinda did actually #you claimed they didn't have a lot of moments together #and I had to prove that it's more about the quality #because god damn were the jmart moments impactful as fuck #ANYWAYS HOPE THAT ANSWERED YOUR QUESTION LOL #I want to again preface I've only been in the fandom since the end of september

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self-indulgent-paw-patrol · 1 month

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Y'all want my hot take on why we didn't have a Marshall movie for the second movie, but this time not focusing my answer on Skye?

THEY WERE AFRAID OF AUDIENCE REACTION.

No, really.

Marshall is a fan favorite, NOT ONLY AMONG KIDS - they gotta please the kids parents and relatives too, it's the parents and relatives who will spend their fortunes on buying Paw Patrol merchandise for their kids and throwing birthday parties with custom "I'm the Paw Patrol kid's dad/mom" matching shirts.

THEY KNOW IT'S NOT ONLY KIDS WATCHING THEIR SHOW AND MOVIES, heck they're all adults working there and you need TO LOVE kids stuff to create and/or work on GOOD kids animations. And EVEN MORE NOW after the Mighty Movie, they KNOW two things:

1- The younger kids might not care MUCH, but the older ones will and the percentage of adults that follow the show will as well: Everyone who loves Marshall will NOT be satisfied with just anything.

Usually the people who work on movies are not all the same from the show, so both things can run and get produced without interfering with each other. The people working in the movies are bound to know how the audience is reacting to the show in order to get things done okay in the movies as well, or at least do whatever they can do under what orders they receive.

They know people have been unhappy about Marshall being put more in the sidelines, they know people are unhappy with how they're following orders to give Skye more spotlight in the show which means she's been doing rescues that usually would be more suited for Marshall. It's like she's pushing Marshall to the sidelines. I don't even remember when was the last time I saw Marshall work as EMT and I don't remember last time I even saw his Ambulance in the show (I'm currently at the beginning of 7th season). They might even know how people miss Marshall's interactions with other pups, especially with Chase, as in the beginning they were portrayed as best friends, playing together, doing things together, and now it's like they're all just coworkers. My guess on that is because they're avoiding situations that can be used for shipping characters XD Given the whole issue with ideologies and whatnot now, I wouldn't be surprised they're avoiding anything remotely close to that.

They know people are unhappy and wish for Marshall to get his spotlight back.

2- THEY KNOW WE'RE UNHAPPY WITH HOW MARSHALL HAS BEEN PORTRAYED IN BOTH MOVIES SO FAR. Especially the whole issue about his clumsiness, which is barely hinted at in the movies, even if we see a lot about it in the show. Not to mention how it's treated mostly as "natural clumsiness", things that could have happened to literally ANY of the other pups, not because of his "clumsy condition". I mean, tripping while dancing, yeah, that's normal. Getting startled when a hologram shows up in your face? Any of them could have gotten startled outta their fur at that. Chase literally spawning by his side when you had just seen him all the way across the room not even half a second ago? I'D HAVE SCREAMED AND THROWN THAT FIREBALL OUT AND AWAY DUE TO SUCH JUMPSCARE TOO.

He didn't do MUCH in the movies at all, maybe just taking over the matters when Chase had his panic attacks in the first movie. Which also makes sense, we gotta admit that: Police AND FIREFIGHTERS are usually the ones who are more suited to do crowd control and deal with people. I'm not even going about how Marshall would take over, it's just that he's the more suited to go substitute Chase in ANY CASE. It's not just because they're close friends.

But aside from that? The main focus were Chase for the first movie, and Skye for the second. Marshall was along for the ride, as well as all other pups, but fans are ESPECIALLY UPSET literally because they felt Marshall was supposed to have the spotlight for the Mighty Movie and it turned out it just wasn't going to be about him XD He didn't do muuuuuch, he barely had not even a fraction of his signature clumsy moments.

And after how people complained after the first movie, they weren't going to do anything about Marshall just yet anyway. Now fans are even more pissed and I'm here holding my bucket of popcorn watching this circus catch on fire and waiting for our beloved firepup to come for the rescue.

Sort of literally XD

At least we know we're gonna get a third movie by 2026. Now it's a game of wait and see what it'll be like.

#HI HELLO HERE I COME AGAIN #Idk if this will become habit but yes I like to go off about these kinda things #You want my thoughts on something you'll probably get a whole essay on it #People said I should make Youtube videos like that but I don't have a nice background to put my webcams to proper use XD #Unless you wanna know the main reason why I relate SO MUCH to Rocky lol #Then you'd see it #Paw Patrol #Paw Patrol The Movie #Paw Patrol The Mighty Movie #Marshall #Paw Patrol Marshall #Chase #Paw Patrol Chase #Skye #Paw Patrol Skye

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