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once-upon-an-animation · 4 months

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Alright PJO fandom. Let’s clear the air on something real quick.

So if you’ve watched the PJO premiere, I’m sure one of the major changes you noticed was Gabe, and how toned down his behavior is compared to the books. There is also a clear change in the dynamic between Gabe and Sally, with Sally being more assertive and snarky with him.

The fandom seems pretty split on this change. Some people hate it and feel that a dark yet important aspect of the narrative has been lost, some people are neutral about it and are wondering if the whole Poker Player Statue bit is getting removed, and some people welcome this change, saying that Sally is more cool, strong, and badass now, and that showing a woman staying in abusive relationship in hopes of protecting her kid is not okay for current audiences.

To the people who are saying that Sally is more cool, badass, and strong now…

…FUCK YOU.

And here’s why.

I cannot even begin to describe how awful and disgusting it is to imply that book-Sally was weaker, less cool, and less strong because she struggled to stand up to her abuser, struggled to balance the need to leave an abusive relationship and the desire to protect her kid, and found herself making difficult choices in an abusive household. I am baffled that people think that this is an okay thing to say in the year of 2023, going on to 2024.

Are all of you shitting me right now? Are you seriously fixing your fingers to imply that book-Sally is inferior to show-Sally because her story reflects an ugly truth about how hard it is for mothers to stand up to their abusers while trying to look out for their children? Are you all fucking joking?

I have never felt so angry to see so many people diminish what book-Sally went through, and claim that it would be bad to depict something like that on TV. I know what Sally goes through is triggering and not fun to watch, but it is the very fact that her story reflects an ugly truth about what many wives go through that I think her struggle with an abusive husband is so fucking important!

Yes, we don’t want to encourage victims to stay in abusive relationships. Yes, we don’t want to make women feel like the only way to be a good, loving mother is to endure bad situations for your kids. Yes, we want to make it clear to mothers that they, under no circumstances, are obligated to endure an abuser. HOWEVER, the ugly and unfortunate reality is that many mothers have such a strong desire to protect their kids that they will find themselves making this unfortunate choice, and that is not a truth we should shy away from. A depiction of difficult choices that victims feel like they have to make is not necessarily an endorsement of that choice, but rather, a realistic reflection of what people go through.

And I will be DAMNED if I sit here quietly and watch so many of you tread into victim-blamey territory, or imply that book-Sally is somehow inferior because she struggled with the courage to leave and accept the risk of Percy not having Gabe’s protective smell. I literally saw a comment on Reddit where someone was trying to defend the change, and they typed out the sentence “You know what’s not badass? Staying in an abusive relationship.”

As if most abuse victims have the full freedom, resources, and support to just pick up and leave whenever. As if every choice that an abuse victim makes isn’t being made in the context of danger, pressure, stress, anxiety, depression, fatigue, and so much more. As if an abused woman’s top priority should be to look “badass” instead of trying to take care of herself.

I am a proud Book-Sally defender, and I will happily fight anyone who dares to imply she isn’t as strong or badass as show-Sally because standing up to her abuser wasn’t easy for her. I am extremely disappointed in this fandom for this ugly language regarding book-Sally in comparison to show-Sally.

And quite frankly? All of you can kiss my ass.

#percy jackson #Percy Jackson and the Olympians #pjo tv show #pjo tv series #pjo tv spoilers #pjo tv adaptation #rick riordan #sally jackson #annabeth chase #pjo fandom

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daily-hanamura · 6 months

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If Rise is a proxy for the game trying to give Yu a thinly veiled "default romance", then her parallels with Yosuke and the way they interact with Yu make for a fascinating comparison

(aka follow me down this weird delusional rabbit hole. Strap in because this is going to be a long and very weird one.)

1. Similar patterns of flirting

Unlike Rise, Yosuke is of course a lot less intentional and a lot more oblivious to what he's actually doing, but his behaviour is actually very similar to Rise's in some ways.

For example, the both of them find an in with Yu through "being shown around" Inaba.

(actually there's a scene with naoto's first day at the school, where a few girls are trying to flirt with naoto using the same lines of showing him around, so that's fun.)

There's a difference in context here - Yosuke is playing that senpai-adjacent role for Yu, whereas Rise is asking Yu to play it for her (even though Inaba is Rise's hometown, and when you take her to souzai daigaku she says she's always wanted to go there).

But this difference is also important because...

Yosuke's type is someone he can look after. (Btw, this is an extremely common male response in Asia - that men like dating someone they can look after. Remember this because it'll come up again later.)

I think throughout the course of the game Yosuke is very much consistently someone that likes taking care of people - quite obviously he looks after Teddie, but he's also always looking out for Kanji and everyone else, actually.

But there's something that changes slightly between him and Yu - as their relationship develops, Yosuke becomes more willing to be the one being looked after, but by Yu especially! This is something that is picked up on by others in the group, such as when Kanji says that Yu tends to spoil Yosuke, or when Chie tells Yu that Yosuke is going to come begging him soon.

Neither Kanji nor Chie talk about how Yosuke asked them for help - because Yosuke, for the most part, is pretty resistant towards asking people for help... unless it's Yu. Yu is the exception in this regard, because where most people see Yosuke as being reliable, they also know that if Yosuke has issues, it's Yu that he turns to. And he does! In front of Yu, Yosuke lets himself be vulnerable, both in more serious settings but also in casual ones. Look at how Yosuke playfully ask Yu to "save him/them" (from Yukiko, Rise and Chie's cooking). It's a little dramatic. It's a little whiny. And it's all part of that role!

But this is exactly the kind of role that Rise is playing as well.

In Japanese culture, there is the concept of 甘え (amae), which is closely related to the (perhaps more commonly known) Chinese notion of 撒娇 (sājiāo). It's hard to explain this in English because it's not really a concept that exists in Western contexts in the same way, but I think it's important because Persona is ultimately a Japanese game, and so the cultural norms and contexts that inform the relationships there are important. It's been talked about in more detail by people smarter than me (see: Takeo Doi, 1971) but the tldr is that it refers to a kind of childishness employed as a means to seek indulgence from a loved one - it's a little bit affirmation, it's a little bit flirtation, but really, the point is looking for someone to care for them. And it works the same way for the other person as well - to indulge is to love! (Remember Yosuke's response of wanting someone he can look after? Yeah.)

When Rise drawls out the word "senpai" and whines a little, that's one example of her playing up that role so Yu would pamper her (actually I don't play in dub, so I'm not sure if she does this in EN too). But we see this with Ai as well, when Ai tells Yu to carry her shopping or buy her coffee. Ai is of course perfectly capable of doing both things, but the point is to have someone like you so much they do things for you.

Compare this to the way the others ask Yu for help - there's hesitation, and it's framed in a "if you have time, could you..." sort of manner and is markedly less playful. I think to some extent it's also their personalities, but that's kind of the point here.

I think it's important to caveat at this point that this "submissive" role during amae isn't, like, a fixed role that they assign themselves into in their relationship - critically, it's temporal, contextual and momentary. Yosuke and Rise are only playing up their childishness so they can get attention from Yu in that moment, but it in no way speaks to how they expect their relationship to function, because it's just brief instances of flirtation. For both Rise and Yosuke, their relationship with Yu is still primarily defined by their equalness and what they can do for Yu as well. It also goes both ways - Yu is also welcome to do the same with Rise and Yosuke! It's also very much a purposeful demonstration of vulnerability, because if you've read the signs wrongly, then it may not be perceived as flirting, just general annoyingness. Which is why...

I think they're both particularly sensitive about accidentally being a bother to Yu, and the way the both of them speak has these layers of boldness and shyness interspersed and folded into each other.

To put it another way, you can think of this indulgence as an extension of the love language of acts of service - and amae is essentially a way of pretending to be helpless to encourage that act of service. (this is an extremely dumbed down definition stripped of nuance)

The point here as Rise flirts with Yu in this manner... I think so does Yosuke, even if he's not totally conscious of it.

2. The shared fear of loneliness

Both Yosuke and Rise express this same fear - Yosuke's shadow reveals his fear of being alone so he actively surrounds himself with as many people as he can, while Rise reveals in her slink that she was a shy, lonely child and became an idol because she thought it would help her connect with people and make more friends. There's this powerful desire of acceptance on their part that forced them towards behaviour that they felt would make them desirable and liked - Yosuke makes jokes and buys food for his friends and tries to be a dependable big-brother type, and his shadow says he's only like that because he's terrified of being alone, while Rise's idol image is about being bright and enthusiastic and bubbly, but her vulnerable moments reveal her to be withdrawn and she says it was all an act.

I think there's a really interesting parallel here, because they both learn that it doesn't really work the way they hoped - the relationships that they had previously formed can be superficial (Yosuke talks about this point with Marie and Yu on the rooftop, while Rise learns that people only see Risette but not her), or temporary and easily forsaken (Yosuke doesn't really have anyone calling him back after his move, while Rise talks about how quickly people moved on from her).

Critically though, it's also in how they are resolved, and in both cases, Yu is the catalyst that helps them understand that not only is that desire normal and understandable, but that both that desire and their responses to it are all part of them. Yosuke's and Rise's cheerfulness and care are not any less meaningful just because of where that sentiment came from. There's no real Yosuke or real Rise, and while this is also a theme for the rest of the IT, I think it's with Yosuke and Rise especially that this particular thread of a fake self created to be accepted and help them make friends is especially pronounced.

(for Kanji, his violent, abrasive self was created to hide away and push people further away, while Naoto wasn't seeking acceptance amongst peers, but their individual ideal of whom they should be).

The distinction here is meaningful insofar as it then speaks to how Yosuke and Rise subsequently perceive Yu in relation to themselves and the rest of the team. For both of them, Yu was the first person where they actually felt Seen with, and in Rise's case, it's what sparked her attraction to him, with her starting to flirt aggressively with Yu after her rescue. I think that in Yosuke's case it's very much the same thing as well, which is how we have Yosuke calling Yu his 相棒 (aibou) shortly after the fight with Yosuke's shadow. I can't place exactly when Yosuke starts doing so, because it can be as early as Marie's slink rank 1 if you did it right after, but in their conversations after the fight at the liquor store, I think the foundation is already there.

In English, 相棒 is translated as partner, which I guess is a fair translation that is captured by the sentiment of "partners in crime". It's a term that is also used in, say, buddy cop pairs (like Reno and Rude in FF7. It's also how Adachi refers to himself, as Dojima's aibou), but it's intended to capture that essence of someone that you trust above and beyond everyone else. Working on a case and your boss and colleagues say no? Doesn't matter, you aibou's got your back. It's the person that you share this absolute connection with, that knows you like you know them, maybe even knows you more than you know yourself.

But imo there's a bit of nuance that is lost, because there's also the weight of exclusivity inherent in the term - you can have a lot of friends, but only one aibou. It's one of the highest, most intense and exclusive relationship that you can have with someone... platonically.

Kick that platonic label off and we find that Yosuke and Rise are the only two that end up attached to Yu with that same, absolute intent, and hold this similar wish for some exclusive relationship with Yu. By helping them understand their loneliness and what the intimacy of being seen means, Yu has triggered the same reaction in both Yosuke and Rise - just coloured slightly differently, romantic for Rise and platonic for Yosuke. But Yosuke's route wasn't even intended to be necessarily platonic so

3. They're the two that ask Yu about his type the most

I think that with a heteronormative lens, it's easy to interpret Rise's question as one coming from romantic interest and flirtations, while Yosuke's questions are coming from patterns of locker room talk, but fuck that, I think they're both testing the waters of romantic interest and looking to see what Yu would say.

Of course, if Yu takes that one opportunity he has to say Yosuke is his type, Yosuke gets flustered and his hair-trigger nohomo reaction kicks in... but then he goes into a thing where he talks about how yeah, he'd make a pretty good boyfriend! He likes Yu's answer here, he even has the little flower animation of happiness!

In contrast, if Yu picked Kanji, the conversation derails into a thing about Kanji's manliness. Furthermore, considering that Yosuke's romance route was cut but all of the previous conversations and interactions remained, there's no reason not to think that Yosuke wasn't responding positively to Yu's affirmations, even if he didn't necessarily understand what they meant at that time.

In the same way, if Yu responds positively or goes along with Rise's questions, Rise is also noticeably happy about it.

Because at the end of the day, they're not actually asking because they want to know what it is - they're asking because they want to hear Yu say that they are Yu's type. And I think Yosuke is guilty of this, even though he hadn't realised it yet.

#p4 #p4g #persona 4 #persona 4 golden #hanamura yosuke #yosuke hanamura #debated posting this one because im not even sure if im making sense to myself anymore but if you see my vision i am here to shake your hand #going in with a proper post today because my headcanon is not only very weird but also very very long #he's good with his queue

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patricia-taxxon · 8 months

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heya! i just rewatched your sc2020 video…again… and then found out you're on tumblr and, of course, immediately went to look if you've posted anything about sj aswell and found that post from *checks notes* 1.5 months ago - so, i guess what im here to ask is, would you mind elaborating on that?

im unfamiliar with marble blast (im so sorry i do not have the brainpower to watch your essay on that...yet) so the comparison you make is not particularly useful to me :v

also for context, i did contribute to sj, specifically playtesting and programming, so i do have Opinions™ (that im gonna keep to myself due to lack of anon ask (not a bad thing! i understand why you have it off)) and i wonder if those happen to bleed through to the player experience or if your gripes with it are something different entirely.

well, firstly, i have developed such a deep seated hatred of the celeste community that i haven't opened the game in months and i've considered just deleting my spring collab video multiple times, I'm not finishing any more of my maps because I don't want to make anything for these people. so i didn't actually finish SJ, I did everything up to & including the easy half of the grandmaster lobby though, and my take is that even with the few miracles I found within the map list, it would not have inspired a video essay on the level of the spring collab one if I'd played it first. it's just not as interesting, and not as rewarding to study. it represents a horrible misattribution of priorities that permeates the entire community.

in that video, i confidently say that spring collab is ALWAYS interesting, because modding culture is interesting even if it's interesting for being a little bad or revealing something about the author's proclivities. strawberry jam represents a near unanimous drive to remove authorship and make levels that are impartially agreeable, to make Celeste 2. it's only interesting when the mapper does something interesting on purpose, like Paint, Pointless Machines, Undergrowth, Summit Down-Side or Flipside Cliffside. a path of least resistance emerged in the time between SC2020 and Strawberry Jam, and experiencing it in this quantity made me forget what I liked about this game or this modding scene in the first place. the volume of creative gimmicks and varied aesthetics is huge, but each one starts to feel identical after being ground through this particular jank-averse process. I still have strong opinions about every map in SC2020, even the ones that might seem unremarkable, I can only barely begin to quantify the entire fucking C tier of my SJ tierlist. it's diverse on the surface but the substance is homogenous, especially intermediate through expert.

also in my SC2020 video, I talked about a certain tension that arrives once you get to the expert lobby, where the mappers had to create uncommercial levels of difficulty that rubbed against a similar apparent drive to make the player feel like they're actually doing the challenge & not just watching it. strawberry jam arrives at this conflict far earlier, the INTERMEDIATE maps and onwards are the ones that seem to pull between making interesting challenges while also having the player be an agent in those challenges. they want the intermediate levels to feel hard, look cool, and the solution is to just make them ridiculously constrained so the only way is the ~satisfying~ way. that's why I won't make a video about strawberry jam, because many segments in my spring collab video already serve as criticism for strawberry jam. it made the same mistakes again, but worse, and with far less of the things that made me love spring collab in spite of its flaws.

here's my tierlist, if there are any questions i'll try and qualify any of these takes with what i can remember from playing it. however, for reasons stated previously I won't be playing more so this is probably gonna be it.

#patricia taxxon ask #cilantromixture #celeste #mini essay #long post

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floatingcatacombs · 4 months

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Go Nagai was insane for this one

12 Days of Aniblogging 2023, Day 8

I like to always have manga of dubious quality on tap for when I’m having trouble sleeping. Ideally, reading a few chapters will distract me, but I won’t want to stay up late shotgunning volumes. Devilman Lady was the ideal manga for this, and this is maybe the last time anyone will ever describe Devilman Lady as "ideal".

An extremely brief introduction is in order. If Osamu Tezuka is the godfather of manga, then Go Nagai is manga’s weird horny uncle. He’s arguably just as influential, the two of them just moved in different circles, each reifying entire genres. Nagai is more or less responsible for magical girls, super robot, and ecchi, and also spent a lot of time in the sphere of supernatural and post-apocalyptic manga. These are fundamentally genres of extremity and ridiculousness, and Nagai dials every one of his works up to 11 by the end, one way or another. Devilman is probably his most famous work over here, and it’s a stone-cold classic for a reason. Nagai has kept revisiting it over the years, with side stories, alternate universes, manga cameos, and even entirely new series that function as stealth sequels such as Violence Jack. But his most notable attempt is Devilman Lady, which is far more than a simple gender-swap of the original.

Devilman Lady is about swimming deep in filth. It’s easily the most disgust-provoking manga I’ve read, with pretty much every content warning under the sun applicable. This is a truly rotten and conspiratorial world that Nagai is depicting. Societal decay manifests in countless forms, including rape, child abuse, homophobia, militarism, and hatred towards immigrants. Anything that could be potentially understood as fanservice is placed right next to or directly within the atrocities at hand, and it's genuinely unclear how much Nagai intended that as commentary. His intentions throughout this whole manga are a bit of an enigma, but what's clear that he is firing on all cylinders.

This is an extremely zeitgeisty 90’s work, with intelligent design debates, the mapping of the human genome, new age paranoia, religious zealotry, and anxiety over pollution all playing out on the pages. Where it breaks from many of its contemporaries is a decisive rejection of the end of history. This is the kind of thing you write when you’re still reeling from the subway sarin gas attacks and your country's role in the Gulf War and subsequent militarization. It’s the perfect manga for capturing a time period when ten to twenty percent of Japan’s population were estimated to have belonged to a new religious movement.

The punchline to all of this is that he doesn’t know how to draw women.

By the back half of Devilman Lady, Nagai’s depictions of hellscapes and grotesque monsters reach near-Berserk levels of detail and technical competency. And yet his female protagonists are still drawn in a drastically simpler 70's style, only now with giant spheres grafted to their chests. Either humans and the infernal are two completely different skillsets, or this was a deliberate artistic decision, and both are difficult to swallow. Either way, we just have to accept the juxtapositions.

one of my favorite pages to show people devoid of context

The finale is just nuts. Go Nagai makes textual the homoeroticism and gender deviance of the original Devilman manga, as the world burns in both nuclear warfare and demonic hellfire. The story starts accelerating at an unfathomable pace, the most inscrutable double mobius reacharound yaoiyuri occurs, and the universe resets once or twice. It makes the endings of Jojo Part 6 and 7 look tame by comparison. There is no way to parse this like a normal manga with a plot and narrative. It is raw id.

This has been a year where I’ve tried to deliberately broaden my comfort zone by engaging with more potentially upsetting works if I think they'll have something interesting to say. This was like jumping into the deep end. Devilman Lady may very well be Go Nagai’s magnum opus. It’s not nearly as tight as the original manga, but it’s a glorious mess, just as radical to its own time as Devilman must have been in the 70s. It made for spectacular insomnia reading. And there’s no way in hell I can ever recommend it.

At age 19, Nagai went through a bout of diarrhea so bad that he convinced himself it was colon cancer, and that he was at death's door. He vowed to leave something behind for the world to remember him by, and began laboring away on manga. And for the last 60 years of his career, he’s written and drawn with the fervor of a man who’s about to shit himself to death. Maybe that’s the real secret.

#12 days of anime #devilman #devilman lady

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sokkastyles · 3 months

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Hi,

Hope you are doing well.

Thank you for the answer on the Final Agni Kai. I had some questions regarding one of your favorite topics TSR.

Aang's line, "I forgive you, that give you any ideas?" which he uses when Zuko and Katara take Appa seems wrong to me in many ways. It really feels like he desperately wants Katara to forgive Yon Rah, not even realizing that its just not possible for Katara to forgive Yon Rah. In a way, it really shows his discomfort with Katara's darker emotions, but she had been feeling that way since her mother died, along with the fact that she had no idea she could even confront him till Zuko gave her that information.

Do you think that a huge moment of growth for Aang would have to acknowledge this side of Katara as well?

I would like your thoughts on this.

Yeah, that "I forgive you" line is Aang being desperate. It's also really condescending and tone deaf to even compare his "forgiveness" in this scene to Katara forgiving Yon Rah.

I put forgiveness in quotes because Aang absolutely does NOT forgive Katara for taking Appa. He just knows he can't stop her at this point. The sarcastic tone and "that give you any ideas?" make him look pretty hypocritical because he is neither being forgiving nor understanding, he's just being flippant and dismissive.

It's also really clueless for Aang to make this comparison in the first place because, once again, Aang thinks the way to get Katara to listen to him is to compare her to a murderer. People talk a lot about how hurtful it was for him to compare Katara to Jet, when Katara was strongly against the things Jet did and was hurt by him personally. But let's talk for a minute about how Aang's new tactic is to literally compare her to her mom's murderer and compare her forgiving Yon Rah to him forgiving her for taking Appa without permission after she repeatedly tried to get Aang to listen to why she needed to go and he shut her down.

It takes a lot less for Aang to forgive Katara here than it would for Katara to forgive Yon Rah, so this kinda puts a damper on his whole "forgiveness is hard" theme. And even so, as I said above, he's not really forgiving her, he's just making a sarcastic comment while still judging her. Aang is not being the arbiter of forgiveness here that he pretends to be.

Let's also look at the conversation in context because I have more to say here.

Aang is flippant and dismissive - while also implying that Katara taking Appa is comparable to her mother's murder. And I'm not saying it wasn't probably hurtful to Aang that Katara would take Appa without his permission, especially considering what Appa means to him, but it's not comparable to cold blooded murder motivated by genocide. In any way. And, like, considering how they left things in the previous scene, with Katara telling Aang she had to go, what did Aang think Katara was going to do?

I'm pretty sure I've also mentioned before how this plot point is manufactured to make Katara look worse. However, in the previous episode, Sokka tried to take Appa without permission and the only reason he didn't was because Zuko pointed out that it was a stupid idea and he happened to have a war balloon stashed away, which he conveniently no longer has as of TSR. This is basically a case of moral luck, where a character's morality is judged based on plot contrivance.

(I've also said before that Aang not killing Ozai is down to moral luck, but that's another conversation.)

So Aang is flippant and condescending, and Katara seriously and very directly tells him that yes, she is going to take Appa. Mae Whitman's voice acting is phenomenal in this scene, btw. She sounds so sad, because I think she does feel that she is betraying Aang by doing this, but she tried to tell him why she needed to do it. She tried. He didn't listen.

Then she says "don't try to stop us," and Aang says he wasn't going to and that "this is a journey you have to take," but, again, it doesn't feel like he's saying this because he really believes it. It feels like he's saying it because he has realized at this point that he can't stop them from going, short of attacking them. But if he thought he could, he definitely would have continued to try to stop them.

Which brings me also to Zuko's sarcastic comment. Because Aang's the one who sets the tone for this conversation. Zuko simply responds in kind. Katara, by contrast, continues to speak in the same sad, hurt, but firm and direct tone, and thanks Aang for understanding. She thanks him. For understanding. When Aang is offering none of that to her.

I actually think Aang could learn more from Katara about forgiveness, given how much restraint she uses towards Aang here and the way he's treating her.

I think Zuko saw that, too, and that's why he responds angrily to Aang here. Not because he disagrees with Aang's beliefs but because Katara keeps quietly but firmly telling him what she's going to do and he keeps ignoring her and acting like she's being irrational.

I've said this before, too, but that would also be triggering for Zuko to watch this happening, considering how he's been gaslit by his family. Notice how he's quiet until the end of the conversation (and didn't say much in the conversation before that, either.) Aang's language, even if well-intentioned, would probably set off something in him and he's not wrong to defend Katara.

#katara #the southern raiders #zuko #aang critical #antikataang #zutara #not really but using the ship tags to be safe

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chirpsythismorning · 8 months

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Well, it looks like I've been shadowbanned by the Stranger Things subreddit for talking about the strikes.

This might not seem like that big of a deal, but considering the ST subreddit might very well be moderated by Netflix themselves in some capacity, has me pretty pissed off rn.

For some context, Netflix creating the ST sub has already been speculated since the sub's inception. The first season of the show didn't even start filming until November of 2015, however the subreddit for the show was created a month before that, in mid October of 2015.

It's not uncommon for Netflix to create social media accounts across the board for all of their content in order to promote it online, and so it makes sense that in the process of getting filming ready, marketing was going about creating social media accounts on every platform (their other official accounts on Facebook, Twitter and Instagram were also created months in advance of filming as well).

Also worth noting that there is a separate sub called Hawkins AV Club, which fans created themselves to talk about the show and other things related to it that they weren't able to on the main sub, most commonly leaks, which are prohibited on the main one (Netflix don't like leaks...).

Recently though, I noticed all the strike related posts were getting removed, with it being flagged as breaking rule three.

Rule three is pretty simple, in that all it really states is that users cannot post stuff unrelated to the show.

As far as I know, the main ST sub has never made an official post about how the strikes qualify as being unrelated to the show, so it's not like this is some widely understood specific point that has been elaborated on that fans have to follow. To me, it looks like this rule operates as a loophole for a moderator to remove strike posts and list it as 'breaking rule three', without having to acknowledge how fucked up that is.

And so I wanted to test this theory and decided to post the picture of Finn picketing at Paramount Studios in support of SAG-AFTRA the other day.

Right after posting, I added the comment, 'Also ST sub if you delete this, you're confirming you have a Netflix bias'.

For the first hour, the post remained public and so luckily I was able to get some comments on it from other users in the sub. A majority of the comments just acknowledged the picture of Finn and voiced their support, though there was at least one condescending comment speaking negatively against the writers and actors striking. But most importantly, I got a few comments from fans asking why I was insinuating that the post would get deleted aka my time to shine.

I replied by saying that I noticed all the strike related posts were being removed for 'breaking rule three' and how it was bogus because plenty of other unserious posts, that are even less related to the show, stay up all the time. And so, considering the speculation over the years that Netflix played a part in creating the sub and therefore likely still has a stake in moderating it in some capacity, means they are essentially blocking fans from discussing the strike.

I then went into how ST has one of the biggest fandoms for a TV series and how the sub reflects that with over 1 million users. There are plenty of other fandoms out there that are much more niche and small in comparison to ST's base, that have been able to come together and make a big difference by donating and spreading the word as a community, and how it's kind of embarrassing considering our size, that we have not been able to come together to show support for our writers and actors in a tangible way.

And that's when I speculated how I didn't think it was a coincidence that one of the biggest fandoms in the world isn't able to even merely talk about the strikes, in the one place that affords them the ability to come together in the masses, to potentially have the ability to play role in putting pressure on the studios in order to reach a fair deal sooner than later.

These strikes literally depend on the writers and actors not talking about their content in order to put pressure on the studios, and this sub basically operates in the exact opposite way. It allows free for all discussions about the show, but doesn't allow any discussions of the strikes.

Who benefits from that? Netflix. The studios.

The reality is the strikes have EVERYTHING to do with the show. Making posts about an actor protesting so that the writers and actors of said show can continue production in a way that is more just and humane, is about the show. Technically, in a reality where things are never resolved as a result of this strike and the studios being greedy, the show could literally cease to continue. So again, this strike has EVERYTHING to do with the show.

I then ended my comment by saying that despite my suspicions, I hoped that I was wrong and that my post would stay up.

Returning to the sub the following day, I found that my post was not only removed, but also all of my comments were. Everyone else's comments remained including the anti-strike one, and there was also the addition of a pinned moderator comment explaining why the post was removed ie Rule 3.

Now, I have had some of my posts removed on Reddit in the past. Byler posts for example tend to get removed pretty swiftly because the comments get nasty and so that's the moderators usual excuse for removing those, however they don't say it outright with a moderator comment, you usually have to message them directly to get the gist of why it was removed. I've also posted memes before with them being removed and being flagged as breaking rule three, however I have never seen an actual moderator pin the details of the rule. They usually just tag Rule 3 at the top, with it being implied that you have to go look into their FAQ to read up on the rules yourself.

The way they removed my post just came off soooooooooo corporate to me, where the moderator(s) didn't even acknowledge what I said, but basically just proved my point by taking advantage of their rule loophole, by listing off the irrelevant argument against it based on said rule, with no further elaboration on what I actually speculated.

Initially, I wanted to make a post about what happened on here, but I sort of just shined it on because I already assumed they were going to remove it, and so all they did was confirm my suspicions.

But then today I was on the sub and tried to comment on a recent post, only to see that when I tried to reread it after posting, my comment wasn't showing up.

To test if it was a me problem, I went to another subreddit I'm in, Shrek (naturally), and commented on a post. Low and behold it showed up and stayed there...

I then went back to the ST sub to comment on a different recent post and again it did not show up right after I posted it.

So apparently I am a threat to the ST sub to the point where they do not want me commenting on posts anymore, specifically after I posted about the strike and the subs intense measures to prevent it from being discussed at all. Like... ya'll just literally proved my point tenfold.

Now, I do think there very well could be several moderators that are not associated with Netflix at all that are in charge of moderating the main sub. That's actually very likely. However, whether Netflix was involved from the beginning or not, it's also very likely they are now, as the sub is MASSIVE and they probably don't want an account on that scale to be controlled entirely by fans. That would mean 1 million people having access to leaks or anything and everything. Not being able to moderate that would be a pain in the ass (and we're seeing how now in the case of a strike, they also benefit from preventing certain posts from being seen).

So I think that either Netflix created the account themselves from the beginning and have recruited a handful of regular hardcore fans over the years to help moderate it, or they hopped on after a bunch of complications with leaks getting posted to hundreds of thousands of fans during s2-3, taking control at some point from the original moderator, only to join the mix of other moderators that already existed and are basically none the wiser.

In the case of either of those, they can play off that they are an unofficial ST reddit, all because they have a few fan moderators, when it's clear that is not the case.

Anyways, the ST sub has a Netflix (studio) bias and everything that's posted on there is likely moderated by someone that works for Netflix. So, keep that in mind.

#byler #stranger things #reddit rambles #wga strike #sag-aftra #st cast #st tumblr: is this st related or am I cross tagging?#no but fr #I understand that the sub is intended to make posts about the show #i get that that rule can be useful so that there aren't a bunch of posts that literally have nothing to do with the show clogging the sub #however it also allows them the affordance of arguing that a strike entirely tied to the shows ability to even continue is somehow unrelate #you're telling me that an actor is protesting for THIS show...#THIS SHOW that cannot continue until a fair deal is made #has nothing to do with this show...?#like? make it make sense?

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multidimensionalguidance · 2 months

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SR Chart in-depth Analysis Part 1 🗝️

I thought it would be a good idea to write down an interpretation of how my SR chart might develop during this year, forget about it, and then revisit it during and/or at the end of the year! A fun experiment for me, even though I can honestly say that I've already been seeing the way it has been activating.

Note: please keep in mind I use sidereal and whole house system.

Libra ASC: this was the first thing that stood out to me when I saw the chart. I was already feeling an "upcoming glow up" vibe, and confirming it was hilarious. Even though Libra and Venusians in general are not just about appearance, they value aesthetics A LOT. I've already received comments on how my skin is looking amazing, and overall, just a lot of attention from others being thrown towards my appearance. So, aside from that more obvious aspect, I would say that this rising sign makes one feel more keen to developing and/or creating relationships of all kinds, meaning, that it is expected to become a tad more social during this year. Romantic relationships, creativity, arts, a need to be more diplomatic or neutral, and communication with others will become themes I will engage with a lot.

To give dept to this house, I pay attention to the where Libra sits in my natal chart and where it goes on the SR chart, also, where the lord of the SR ASC sits (strength, aspects, etc.) in the chart.

Example: Libra sits in my 12th house, and becomes the rising sign for SR chart. This tells me that a lot of my subconscious patterns will become more noticeable, particularly for relationships, and that those matters that are usually hidden about me are now put on the spotlight. Now, it's very interesting that the lord of my SR ASC moves to the 12th house, so its like there will still be things that are still kept hidden. Knowing me, I will be content with spending time alone and/or in foreign places, so I don't mind. Venus is debilitated, and I'm assuming that keeping to myself will partly occur from difficulties with possible insecurities, being overly critical or focused on self reflecting. Themes of feeling unworthy, and healing it. A great amount of attention being placed towards looks could definitely make one feel uncomfortable or unsure of why you're receiving it so much, and if it has to do with superficial reasons it can makes you feel unseen, as if others ignore your depth.

Scorpio stellium 2nd house: a focus on transformations occuring around money, resources, values, face area, food or products consumed, luxury, comfort, sensuality, and romance. I would expect a highlight and plenty of motivation to pursue all of these topics, since the Sun sits there conjunct Mars. Scorpios move quietly and under the radar, so there will be lots of secrecy on how I will exercise my power/drive, and also on communications around how I'm making money or managing my finances. Money from others moving directly into my pockets from foreign matters, contracts, writing/communication (9H ruled by Mercury), networking, social media, creative pursuits, romantic partner (11H ruled by Sun), somehow losses that turn into gains, expenditure, spirituality, and foreign residence (12H ruled by Mercury). In general, major important upgrades to the way I relate to Venusian matters.

Sagittarius 3rd house: even if houses are empty in a natal or SR chart they still hold meaningful information, but will of course be felt less in comparison to the houses that have planets. I see that my mindset, near environment, and communication will be a lot about/with foreigners, spiritual topics, traveling, and philosophy. The ruler sits in the 7th house, so it will also be mixed with my romantic life (with a foreigner), business, contracts, and other type of close relationships.

Capricorn 4th house: I don't usually pay much attention to Pluto unless its close to ASC or inner planet (Sun, Moon, Venus) but I will now for the sake of giving more context. There could be a major change of residence occuring or renovations of some sort. Home environment could be a bit chaotic or under frequent changes. Part of Fortune also sits there, so all of those transformations might actually be aligned with blessings or for a better outcome. The ruler sits in the 5th house with the moon, so it will definitely make me feel anxious and emotionally restricted or numbed. Luckily, I've had enough experience with Saturnian energy, so I know how to work through it until I find balance.

Aquarius 5th house: as I already mentioned above, with Moon and Saturn conjunct here it is likely that I will be feeling as if my emotions are harder to access which could cause anxiety, creative blockages, frustrations, or depression. Definitely will incorporate lots of yoga, nature, and emotional regulating activities during this year to keep that on check.

Pisces 6th house: with Rahu sitting there, I could see that my attention will gravitate around how I incorporate work, daily routine, health, and exercise with spirituality, creative endeavors, and abstract thinking. I had already experience gut health issues and almost all of those topics shortly after my birthday, so I can see how wherever Rahu is placed in a SR chart, there is a lot of movement for good or worse. With the ruler of 6H going into the 5H, I could see how work and health matters could exacerbate my emotional challenges.

Aries 7th house: Jupiter is siting here, and even though it is retrograde, the functionality of the planet doesn't suddenly stop occuring. It makes Jupiter have a more inward expression if anything. There will most likely be expansion or growth of romantic suitors (specifically male, since its in Aries), contracts, business, relationships of all type of relationships being upgraded somehow, and in general lots of luck with interpersonal skills. Those with whom I develop close relationships will become like teacher, or enjoy providing protection to me. The ruler sits in the 2nd house conjunct with the Sun, so others will either expand my resources or simply have an influence in it. Since its with the sun, it should be beneficial or empowering.

Alllllriiiight, I shall stop here for now and release the 2nd part at another moment!

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ms-scarletwings · 9 months

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That Speculative Analysis About Irkens No One (Originally) Asked For: Part III

Hey! Huge thanks to everyone who took an interest in the first two parts of this fun I got into about Jhonen Vasquez’s funny green guys. I didn’t really expect to kind of rebound back into this old flame the way I have been lately and it’s actually a pleasant surprise that other fans have been getting something out of it and enabling my latest thinkworms.

Check out the part one of this extended analysis here, for broad tids and bits about Planet Irk and the mention of its inhabitants being basically cyborgs.

Part Two, takes on Irken physiology and focusing on their tissue differences from humans, here.

So alright, I’ve been holding this one in since the very start. Previously, I brushed the topic of the control brains, and I’ve sorta gestured acknowledgement toward the Irken obsession with height. Now, I’m really ready to get some thought goo flowing all over and in the crevices of the matter of Irk’s power structure, and, perhaps the one social W that this marauding pack of space imperialists get to claim.

Bearing no further ado, let’s talk about the Tallest. Can we talk about the Tallest? Please Mac, I’ve been dying to talk about the Tallest with you all day.

I’ve said once and now repeated twice that I think the canon implied that the homeworld of our favorite invaders is dummy thicc; consequentially, it’s left a lasting ripple on the evolution of their species as well.

Planetary gravity has a ton of invisible effects on the skeletons of large fauna, to the point where it’s the main thing that you, filthy Earth creature, can shake your own fist at it for taking a huge slice of the blame behind the prevalence of back pain in upright hominins. All that downward tug can really wear a spine down good over the years. In fact, would you believe that astronauts actually grow a smidge taller in Zero-G environments? Legit. So… use your brain and consider what we could have ended up looking like with our same bone structure, but many times that compression.

You take that mental path, and suddenly, height outcomes may not seem like such an arbitrary measure of general survival fitness after all. Especially in the days before the Irkens represented an intergalactic super power. It may seem counterproductive in their modern intelligent society, but no doubt this aesthetic affinity is something that runs much deeper ingrained than practical programming. Respecting tallness is something Irk takes on dogmatic intuition- to the fault of barely being able to comprehend the notion of another species being both tall AND intellectually primitive.

Nevertheless, I pose that the connection may also be more than traditionalism, and not so vestigial after all. My reasoning suggests that The Almighty Tallest are in fact, not randomly born… they’re planned and made by the real overlords sitting atop the pyramid. And even so, they have existed in the species long, LONG before the PAK even did.

• Caste Polymorphism & Bug Stuff

The insectoid inspirations of Zim’s kin are something so obvious they really need no recapping, yet, I’m pining to make a more specific comparison. Some people like to go for wasps or bees, but if you ask me, the roving militarism of the armada is begging for the ant metaphor if anything.

And I got a hell of a species to whip out that you’ve probably never heard of.

A quick context breakdown- Polymorphism is another one of those long biology terms for a pretty simple concept: when one species has different distinct forms or types of forms that appear in its population. And it’s not talking about continuous spectrum differences like height alone. It’s talking about when animals/plants can have one gene with different possible phenotypical presentations. One good example (in humans no less) is the existence of different blood type groups. One of my absolute favorite cases, by the by, is in Side-Blotched Lizards. The females are samey and look pretty generic, but the males deadass come in 3 completely differentiated color variants, all of which are playing a perpetual game of rock paper scissors with the other two for breeding success.

And this kind of phenomenon of course gets way less subtle in the insect world. Everyone here probably knows the simplified version of what a colony critter’s caste system looks like, with sterile female workers, breeding done males, and one big fat queen at the top, pumping out replacements for the other two. This is the part where I tell you it’s a hell of a lot more complicated, weird, and varied than that, actually.

Consider army ants, as I see them, the most Irk-ish of real world animals. Some fun facts on the most notorious handful of species below:

+ Nomadic by nature, they do not build any form of permanent hill or nest, and instead make temporary pit stops inbetween periods where the entire colony swarms along the forest floor in search of resources.

+ Army ants are aggressively predatory and forage in the style of legion-like “raids” that overwhelm their prey with sheer numbers and speed.

+ These raids often take shape by way of linear traffic columns that guide the direction of the swarm. This is because the ants have poor vision, relying on following the paths of the scent trails of the workers that are spearheading the legion.

+ Eciton burchellii, in particular, demonstrates a stark example of polymorphism by way of a rigid caste hierarchy. I.e., The non-reproductive colony members are divided into 4 sized tiers of worker. From smallest to largest there are minors, medias, porters (sub-majors), and soldiers (majors).

And let me tell you… the difference between the Soldier (major) caste and the rest of that batch is a pretty surprising gap.

This is what ONE major-type ant looks like hanging out with colony mates from the lower worker castes.

Oh wait, getting ahead of myself. Ahem… sorry, I meant THIS is the image I was referring to:

Not only is that obviously the bossiest bitch of the bunch, but she has some pretty cool features unique to her status… The more spidery looking body shape and those absolutely wicked mandibles being a standout.

You know what drop I already had coming, so I’ll cut to the chase.

It’s clear that the Almighty Tallest are NOT the Irken equivalent of a hive queen. They are not drones, either. Besides the glaring fact that they are non-reproductive individuals, the role they serve in Irken society has very little if anything to do with running the day-to-day lives and functions of the larger population.

Instead, we have always seen them (and would have seen them more in the unmade episodes such as The Trial) involved more with the military front of the empire. Tallest Miyuki’s one known planned appearance would have featured her overseeing the military research happening on the Vortian base. Tallest Spork’s brief entrance (and exit) was planned to take place on Devastis, where he addressed those who were being evaluated to join the elite ranks of the armada. And our very own iconic duo have,

also,

never even once been seen on their home planet since their introduction. Their first appearance? Conventia. Ever since? Aboard the Massive, where they directly command and supervise the operations of the active invasions.

Why, the Almighty Tallest in all cases… these aren’t emperors at all, they’re generals! Sure, they have power, they have reverence, but even they must obey the final judgement of a Control brain at the end of the day. The same brains that grant them their status in the first place. Note, in real ants, the mechanics of how exactly any one egg is differentiated into its decided caste, from worker to queen, and all between, is… to say the very least, really fucking complicated. And all over the place. Broadly speaking, it’s a mix between genetic potential and nutrition during development. In some species this determination is near entirely up to the whims of DNA, and in others, it does come heavily down to how many protein shakes the colony decided to give their brood that day.

For the purposes of this hypothetical, I’m going to assume the people of Irk fall somewhere in between those two polar options. Now, being a futuristic network of coordinated supercomputers using cloning tech, the control brains have a more precise handle on the gene pool/diversity of their underlings than anything possible with natural breeding.

Let’s also assume they record and monitor the current population of each potential class of irken (they literally assign and code the PAKs’ occupational roles themselves). With each batch of smeets, they can predetermine certain percentages aside with the potential to fill whatever roles need replacing and expansion… keeping the genetic height markers attached for those downline to understand who should be looking down on who. Ergo, not ANY Irken can one day become the almighty tallest, but within each generation of smeets produced, there are potential candidates hidden among the upper ranks of would-be soldiers.

This way, the sudden death of the current armada commander would not disable current operations or throw the offensive lines into utter chaos for years on end. The Control brains need only select out the cream of the crop from their “proto-Tallest” and then cue their body (via diet or hormones) to switch the proper genes on, get a new growth spurt going, and complete the metamorphosis into their true potential.

As for why they seemed to break a historical precedent and jump for a two-for-one special in Zim’s generation… yeah, I’m not sure about that really. There could be a link between that and the very sudden death of the two previous tallests in a row, but ¯\_(ツ)_/¯. It could just be a remarkable coincidence that Red and Purple were decided to be equally viable successors. Or, Operation Impending Doom could have been deemed an ambitious enough endeavor to warrant the appointing of two regents at once, given the scale of Irk’s expanded army for the purpose.

So, that’s it, then? The Irken species became so reliant of their technological advancement that they have casted aside and replaced every bit of their natural life cycle and order some

computer deemed inefficient? Substituted the seat of their leadership and even their ability to procreate with the soulless calculations of their AI programs?

:y Well, yes, but actually no.

• Long Live the Cyberocracy!

When I said in part one that Irk was on track to eventually make the jump from cyborg citizens to an entirely mechanical or digitized lifeform, I was doing a ponderous thinking thing. I was supposed to just be speculating, and then I find out the most mind blowing revelation while doing the research for this bad boy- those alien bastards already did it. The madlads/madlasses… So, living Irkens DO actually run the show around here, hiding in plain sight this whole time.

I am still desperately searching for confirmation of the rumors I heard that Vasquez himself has said what I’m about to share, and I deeply appreciate anyone who can give me that as well. Even if this turns out to only be fanon, I’m still in love with this interpretation anyway: Within the Control Brains are the preserved consciousness of Irkens who have achieved this evolutionary end stage. WHO are they exactly is… honestly anyone’s guess. The important part being that they no longer have need of their meat suits to survive any longer and now exist as these hulks of nerve and metal.

Be this what it looks like to me, and it would be certain that this is actually the most coveted and honorary fate of any single Irken- immortalized and given a status on par with deification over the most powerful imperium the cosmos has ever known. Perhaps this was the path of particularly accomplished Tallests of the past, who had their paks integrated into the core of a fledgeling new control interface. What better way to commemorate those who have fallen in the highest level of glory? A single “brain” could in fact even be the summation of multiple beings, making example of the greatest the species has to offer and what all should be striving for. Conversely, the greatest punishment of their kind is the opposite- to be forever deceased, forever forgotten, forever excluded from this collective transcendence:

Damnatio Memoriae.

(But like… in a kids’ show)

There’s no clear estimate on how many control brains exist in the franchise, there are at least four that we have seen on screen, one on Devastis and the others within Judgementia. Probs safe to assume there’s at least one permanently built into the infrastructure of any planet of key enough importance to the Empire. Interestingly, lost scripts and show canon make numerous references to them still having gendered pronouns and voices when addressed individually.

Though, now that I think of it, that’s also really interesting that the same is true for the worker castes, too.

• Putting the “Trans” in Transirkenism 👉😎👉

When a worldbuild goes so far as to explicitly confirm a completely sexless, alien race of neuter cyborgs, the existence of a human-like gender binary starts to beg for some kind of explanation. You can’t just “suspension of disbelief” it aside the same as you can the fact that English is the most popular first language across the Galaxy.

Oh, lookie, it’s one of my favorite things to think about when toying around with postbiological concepts/philosophy. I knew there were even more reasons transhumanism always seemed like such a cool sci-fi trope, from the endless possibilities in imagining the badass super powers, to the worlds of knowledge, and to the absolute social equalization that would all be unlocked in a cybernetic future. Well, that future is already comfortably in the hands of Irk, and whether intentionally or not, it has apparently brought them to the threshold of not just a postorganic, but also a post-gender society too.

A feminine and masculine variation does still exist in the form of small aesthetic differences- voice, antennae shape, pronoun usage, and eyelashes- but is now so far disconnected from the original associated sex roles that the distinction might as well be no more than a cosmetic preference. While “female” irkens are seen much, much more rarely than their counterparts, neither gender is treated differently from the other, and both have been spotted in occupations all the way up to invader elite and the Almighty Tallest.

This is a blending, of course, far beyond the insect-like caste system that itself did survive to the modern day, and that shows some truly impressive progress from what I imagine they were doing before.

Army ants, like all eusocial insects, are matriarchal; as in, where the females run the colony from top to bottom, while the males lead short runs of being mutilated by the workers, mating with the queen, and then dying shortly after.

In this headcannon narrative, it was almost certainly the male-associated gender Irkens who were liberated by the technological jump.

And that’s all sum purdy neat food for thought, huh ! ?

#iz headcanons #invader zim #irkens #xenobiology #iz analysis #iz #nicktoons #long post #new world army ants #cool bug facts #scarlet talks about things #more like becomes possessed by them #YOU WANT THE SCOOPSIES YOU GET POTATOES #we hyperfixating #lord help me #thanks for coming to this ted talk #you know for kids!

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joequiinn · 1 month

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Cirice | E.M. x Death!OC blurb

Eddie wakes up in the Upside Down, undead and trapped. A Reaper of Death begins to take a particular interest in the undead man who doesn’t belong...

[ for context: ramblings pt one | ramblings pt two ]

I make absolutely no promises that this will go anywhere because I am the slowest and most forgetful writer on the planet, but I thought maybe I would just post a lil blurb experimentally? Get some thoughts since I'm not very good at editing my own work? Also uuuh Death is an OC now instead of a reader insert because it became too complicated to write once I realized the scope of my ideas soooo... (@ali-r3n in case you were interested 👀)

Word Count: 1.2k

Can't you see that you're lost? Can't you see that you're lost without me?

Waking from the dead in the Upside Down was not on Eddie’s 1986 bingo card. Hell, if someone had suggested the concept of the Upside Down to him only a week ago, he would have looked at them like they were crazy. Places like this weren’t real. Shit like this didn’t happen. Especially not to Eddie Munson.

But this was very fucking real, and it did happen to Eddie Munson.

Eddie willingly ran into danger, into the arms of death for the sake of Hawkins, a town that never gave him anything, a town that came to hate his guts. This sacrifice was Eddie’s final act to save his friends, to save Hawkins. To save the damn world.

So, why the hell was he… alive?

Was he alive? Despite the obvious smattering of bites and lacerations that adorned his body, Eddie felt no pain, no lingering aches. It sure felt like his chest was rising and falling with breath, like he still had blood pumping through his veins. And yet… something felt very, very wrong. An unsettled air hung around Eddie, his mind wrapped up in an unidentifiable sense of dread. Something wasn’t right.

The Upside Down hadn’t been quite so frightening when he had friends by his side. But now, it felt colder, harsher, cavernous and empty. Every direction Eddie looked seemed like an endless dark, hissing and whispering with the promise of something evil. The Upside Down felt less like a sad replica of Hawkins and felt more like a dark, endless void.

Vulnerability washed over Eddie like a chill. As he took in his ominous surroundings, he felt like a small, lost boy, a child abandoned in a sick and dangerous world, helpless to find his way.

From where he was, presumably, left to rot by the demobats, Eddie carefully looked all around himself, afraid that he might see something terrible. Or worse, something terrible might see him. The Upside Down was void of any activity, any commotion, any life. It was haunting to see it oh so quiet.

Eddie looked down at himself, at his ripped up and tattered clothes. He could see his skin beneath the fabric absolutely littered with deep cuts, damaged and sure to scar terribly. He wondered how bad his face looked in comparison. Again, it struck Eddie as odd and deeply unsettling that he felt no pain. As he studied his hands, he realized just how ashen and washed out he looked - nearly the same color as the dead bodies he’d seen in shitty horror movies. An uncomfortable pang hit in his chest at that realization.

But he was breathing, he was still alive. He had to be, considering that he was consciously sitting here at this very moment. He had to be, right?

And yet, something within Eddie knew that he was no longer what he used to be.

-.-. .. .-. .. -.-. . -.-. .. .-. .. -.-. . -.-. .. .-. .. -.-. . -.-. .. .-. .. -.-. .

This place should not have existed. This pocket between worlds - this disruption to the cycle of life and death - went against all logic, even the flimsy logic of the afterlife. This tattered, disgusting, offensive mockery of the living world was strange and unbelievable - all creatures of the dead despised this place, were appalled by it.

But despite all that, Death was drawn like a moth to a flame.

This false world and its impossible wonders called to her as if in yearning; its sadness and misery spoke to her cravings. If she had a soul, it would feel a longing for this pathetic world.

Time passed differently for psychopomps. As beings beyond life and death, time was never relevant to their eternal existence. Psychopomps led the fallen to the afterlife, they hunted the living, they killed purely for the fun of it - what place did the passage of time have in any of that?

There were many Deaths of the same name, the same title. Perhaps they followed different paths, perhaps they had varying focuses, but the constant still remained - they were all Death. Of course, one might encounter variation - some referred to themselves as Reapers, others as Banshees, maybe Bone-Men, or even the Devil. But many had always been simply Death.

The particular psychopomp drawn to the world between worlds never referred to herself as anything other than Death. She never thought much on her existence, how she came into being, what her purpose was. She didn’t remember anything prior to this existence. She didn’t know if there was anything to remember. There were all sorts of legends scattered about the underworld and the afterlife, tales told by demons and reapers alike - there was a widely held, but not so far proven, belief that they were all something before becoming Death, but no one knew what exactly that something was.

Once this Lady of Death began exploring the impossible pocket between worlds, she found herself pondering her existence a little more often. Considering that this strange place shouldn’t have existed in the first place, it made her wonder what other paradoxical things could happen, what other unfeasible things could be true. Death wasn’t the only one drawn to this place, of course, as a variety of other harbingers of death also began to visit this uncanny mimicry of the living world. However, she did find it to be a remarkably good place to think, something that she didn’t exactly get many opportunities for - no, as a reaper, there was little time to pause and be left alone with one's own thoughts.

Death found herself often visiting this Undead World, as she took to calling it, taking the opportunities to contemplate the cycles of life and death, of infinite life and infinite death. And once she began to visit the Undead World, Death found it to be utterly fascinating.

First came the boy. A tormented child, trapped in the throes of unknown dangers, suffering day and night at the hands of demons beyond his greatest nightmares. Unfortunately, he got out.

Next came the girl, not quite a woman, undergoing absolute agony upon her arrival to the Undead World. Death hadn’t seen her in quite some time, so who’s to say whether she lived or died.

Perhaps that was why Death kept returning - between its many stretches of quiet, the Undead World would momentarily come back to life with utter chaos and woe before quieting down yet again.

Those moments of chaos, however, were mouthwatering.

Recently, the latest bit of excitement to come to the Undead World was absolutely fascinating - a whole party of mortals entered the world willingly, found their way into this place that had no right to exist. When that happened, it was almost as if the Undead World sent out a signal, calling out to Death to announce the latest arrivals. She wasn’t the only demonic creature to pay the world a visit, desperate to see the torment that would unfold.

And yes, it was glorious, the violence, the mortal foolishness and determination. Of course, curiosity came when it appeared that the mortals defeated the creatures that dwelled in the Undead World.

What did mortals want with a forsaken world like this? Why come willingly, why fight the native creatures of this disgusting place? The lives of mortals were an amusement to behold; humans were full of surprises, and Death relished in it.

She shouldn’t have cared why the humans came, shouldn’t have even paused to consider the circumstances. But the curiosity was overwhelming, her need to know almost consuming, so vastly out of character for her.

And then, she found her potential answer in a body left behind, a body that appeared dead, but wasn’t quite so...

#eddie munson #eddie munson x reader #eddie munson x oc #stranger things #eddie x death #will this fic go anywhere or will i simply abandon it :)#em

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coraniaid · 3 months

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OK, some final belated thoughts on Season 3 before I move on to something new.

At this point, it doesn’t seem very controversial to suggest that the show often handles Faith’s killing of Allan Finch less than perfectly. In particular, I think it’s a real shame that the writers either forgot (or just didn’t care?) that Giles himself once accidentally killed a man, especially as they did remember this fact last season, when it was Buffy who thought she’d killed a man.

(And though I defended – and will continue to defend – Buffy’s actions re:Ted when I talked about the eponymous episode of Season 2 in the rewatch last year, I do think they are harder to defend than what Faith did to Finch in Bad Girls. Yes, Buffy had grounds to think Ted was a threat to her, but she also thought he was a human, and she hit him anyway. She didn’t hurt him by mistake. In the heat of the moment, Faith really did believe that Finch was a vampire, which – in the setting of the show, in the immediate context of the episode – was a pretty reasonable assumption to make. Lunging at an armed stranger in a dark alley probably wasn’t a very smart move on the part of the late Mr Finch.)

So it’s a little jarring when, in Consequences, Angel starts to give Faith the big “I too, know what it’s like to deliberately kill people for fun: it was addictive and I loved doing it” speech. Faith’s dismissive reaction – “sounds like you need some help. A professional, maybe.”-- is, on the evidence so far, surely entirely justified. At this point in the show, it is Giles, and not Angel, who Faith is most similar to. It feels rather like the writers are trying to force a comparison that – at least for now – simply isn’t there.

Especially since the way Consequences is written it seems clear we’re meant to think that this speech is somehow “getting through to” Faith until Wesley’s ill-timed interruption. Only … why would it be? Angel’s problem – a love of murder for the sake of murder – and his solution to that problem – getting cursed with a human soul – are both entirely meaningless to Faith, who already has a soul and has not in fact demonstrated any interest in murder for the sake of murder. (And who might be claiming not to feel bad about Finch’s death, but must be on some level if Buffy’s intervention on her behalf makes any sense.)

Faith is not Angel. Not yet, anyway.

(That being said, there is another reading of the show where Angel isn’t getting through to Faith at all, but only convincing her that she needs to try to become more like him, especially if she’s going to win over Buffy. I’m not at all sure that this is the reading intended by the writers, but I think it fits the evidence a lot better than the other reading at this point. You can quite easily read Faith’s arc in the last third of the season as a deliberate – and not quite unsuccessful – attempt to remold herself in Angel’s image: to become somebody who really wouldn’t care about killing a human being by mistake, and who might even enjoy doing it. And I do think that Angel’s second big attempt at connecting with Faith a year later, for all that it treads a lot of the same ground, makes a lot more sense in context.)

On the other hand, I think the show should get a little more credit for the conscious Buffy and Faith parallels than I sometimes see it given.

Just as sometimes people point out that the show presents Angel behaving in some rather disturbing ways in Season 2 (“falling in love” with a teenage girl after driving past her school and catching a glimpse of her, for instance) without acknowledging that the show is – at least intermittently – very aware of this, I think people who defend Faith by saying that Buffy has also killed things that look and act like people are missing the fact that this is a tension the show is very conscious about. I think Buffy’s many nights spent indiscriminately slaying demons and vampires is something the show definitely wants us to think about. By this point of the show, we’re clearly not meant to be entirely okay with all the death Buffy herself is responsible for..

(Sometimes I see the suggestion that Buffy is different from Faith because she only kills vampires and demons who are an imminent threat to human life or trying to hurt people, but that is simply not true. Buffy patrols cemeteries in the middle of night – cemeteries notably lacking in casual passersby – looking for newly risen vampires to stake before they know what’s happening. She attacks demons on sight – or at least, she does until the show decides some demons are okay, which is something that only starts to happen this season. In the original conception of the show – from the era of the Master and Luke and the Anointed One – we’re just not meant to think that proactively killing vampires could ever be a problem.)

When Buffy confronts Faith for the last time in Graduation Day she asks her something.

“What's the matter? All that killing and you’re afraid to die?”

How are we to interpret this question under the old rules of the show? At this point of the story, Faith has killed exactly two human beings: Allan Finch (by accident!) and Professor Worth (admittedly not at all by accident). At the risk of being a Faith apologist (which, well, I guess is what I am, but...), the phrase “all that killing” hardly applies here, does it?

… unless, that is, you count all the various vampires and demons that we’ve seen Faith kill recently (including the demon in Enemies who tried to sell her the Books of Ascension, a demon whose killing definitely appears to bother Faith at the time and to disgust Buffy when she finds the body). Faith certainly has killed enough of them for the phrase “all that killing” to apply. Bur crucially, so has Buffy herself. (She’s killed far more of them, in fact. As Faith told her at the start of the season, she’s been doing this the longest.)

So I think we’re meant to understand Buffy’s question in the Season 3 finale as part of a conversation with herself that started in the Season 1 finale Prophecy Girl and will continue all the way to the Season 5 finale The Gift (and arguably beyond). That’s why Faith exists in the narrative in the first place, after all. Not to be a version of Angel, but to be a version of Buffy. A reflection, a mirror, a shadow. Somebody Buffy was, and is, and might have been. It’s what Faith has been arguing all season (“anything I have to answer for, you do too”, she insisted to Buffy in Consequences), and something that – to people other than Faith – Buffy has already admitted (“She had it rough,” she told Willow in Doppelgangland, “Different circumstances, that could be me.”).

So let’s talk a bit about some other versions of Buffy, and try to place this question in its proper context.

The Buffy of Prophecy Girl told her Watcher that she was still a child (“Giles, I’m sixteen years old…”) and that she didn’t want to die. Her reaction to learning what would happen to her if she faced her destiny was to beg her mother to take her out of harm's way ("Mom, let's go away ... anywhere ... Mom, please"). Years later, the adult Buffy of The Gift will tell that same Watcher that she doesn’t see the point of going on in a world without her mother, a world where “everything gets stripped away”. Later still, she’ll tell her sister that living is “the hardest thing in the world” and then voluntarily jump to her own death rather than lose another family member. “Death is [her] gift”, as that season will keep reminding her.

And halfway between these moments, in the Season 3 finale, we have a Buffy who is only on the cusp of becoming an adult. A Buffy who has died once, but “only for a minute”. A Buffy who just sent her mother away from danger because she couldn’t save the world while worrying about her, where the younger Buffy had instead pleaded with her mother to protect her.

This Buffy looks at her fellow Slayer – at somebody who she knows she could have been herself, at somebody who is not just her narrative shadow but a living reminder of the fact she’s died once and it maybe wasn’t quite that bad, at somebody like her who kills vampires and monsters and maybe enjoys doing it a little too much – and it’s easy to imagine her confronting her tearful younger self in the school library again, hearing the prophecy that her calling as a Slayer will end with her own death.

“What’s the matter?”, the older Buffy asks her younger self bluntly. “All that killing and you’re afraid to die?”

#btvs #buffy rewatch 2023

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vigilskeep · 1 year

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Thoughts on Anders going from being very outgoing and flirty fun in the dlc to being a bit more introverted and careful in da2? Is it bc he and Justice has merged, his mental health degrading, or his new "freedom" turned into a new kind of prison?or anything else? Or all of them? God I love the anders meta

lots of thoughts! most prominently, i think anders has literally become a whole other separate person as well as himself, on account of being possessed. i do very much consider anders to also be justice throughout da2, not just when he starts glowing. imo that shows in, like, all their dialogue. i mean, let’s reverse the question: why is anders-justice’s dialogue in da2 so outgoing and flirty when justice is so serious and literal in awakening? because now anders is also there. so why is anders-justice more serious and literal than awakening anders? because justice is also there. here’s some quick comparisons of location comments from justice to anders-justice:

that’s justice, right? he’s in there! i’m not saying anders isn’t there, too, it sounds a lot more like anders in tone because it’s coming through anders, but these are just the ones i picked as being obviously justice-y when you make the comparison. you can see it in a lot of the companion banters, too. for example, justice finds it very difficult to agree to disagree or laugh off a challenge in the way anders used to be able to, which i think comes through most obviously with fenris and merrill, but a lot of the others, too. awakening justice often has several connected banters in succession; once he gets a thought into his head, once something distresses him abt one of his companions, he can’t let it go or leave it alone, because he’s still figuring out how to navigate the fact that people are complex and incongruous and so is the world they live in. he thinks everything is black and white and if he just explains enough then everyone can understand. which is far more like da2 anders-justice than something like this:

in da2 making these kinds of comparisons between others and himself is still his go-to method of trying to convince people, it’s a very anders move, but the way he backs off here is not something justice or anders-justice is capable of. awakening anders tries to let everything glance off him. having justice kind of cripples his ability to use that defence mechanism. i mean, that’s half the point of the whole possession. letting justice possess him was about taking the injustices done to the mages seriously and doing something about it. but it also makes him incapable of playing it off as a joke like he used to, he has to take everything personally

another example of justice in da2 anders-justice dialogue is the way he believes in atonement and retribution, that actions must have consequences even if he’s not always certain how it should actually happen in the real world and he struggles to understand real world context. justice has related conversations with nathaniel and sigrun about their criminal pasts, but for quick comparison’s sake, here’s banters with velanna and isabela:

a lot to say here but my point is not to make judgements, mainly just to compile evidence that justice is always a part of him? and the personality change really makes complete sense when you look at it from that angle. how would that not change how you act. anders-justice saying things that awakening anders would never have said is no less surprising imo than anders-justice saying things justice would never have said (and anders-justice does sound like awakening anders way more than people give him credit for)

otherwise, the mental health Situation is definitely also part of it. he’s not doing well. lirene says she’s never seen him smile. but i also think it’s a mistake to think awakening anders is even comparatively a paragon of mental health because, oh boy! he’s manic he’s so so angry right under the surface he’s fresh out of a year in solitary confinement. he NEEDS you to like him and to not take him seriously because people thinking he’s charming and harmless is literally the only reason he’s alive but also it would kill him to purposefully be what an authority figure who controls whether he lives or dies wants out of him so he’s settled for being funny with increasing desperation. you could make a whole other post out of this. my point is i just think it’s a misread of anders to be like “oh he was completely fine and normal in awakening and then it really went downhill between that and da2 and that’s why he’s not as funny now”. if that makes sense? the funnymanning was the symptoms all along i am afraid

#all open 2 discussion theres a lot to be said i am just pasting some thoughts together #anders #long post #i would apologise for the long response but its such a big question the long response is required #justice #zevsurana academics

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wumblr · 2 months

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once again it is time to post the LLNL energy consumption sankey diagram because i have seen at least three people this week making the error of thinking residential use and personal choice contributes any more than 12% of the energy budget

if residential energy use was 0%, if no one ever consumed any energy at home, we would still lose 67 quadrillion british thermal units to waste heat. the largest gains to be had by far are in recapturing lost energy, a topic that curiously no one discusses. fully two thirds of the energy we produce does not power anything

every discussion we have on this topic that is focused on residential use and personal choice amounts to obsessing over 8 quads of the budget to the exclusion of the other 92 of them. (if you look closely, residential use is twice as efficient as overall loss to waste. i almost got that wrong, and assumed residential use also loses two thirds to waste.) if all residential use was perfectly efficient, with no loss to waste, we would regain 4 quads. if overall usage was 6% more efficient... again, we would regain 4 quads!

if you want to talk about cars that's a different story, but this diagram does not separate out personal cars from industrial and commercial trucks, which makes it a bit less useful for that context. here's a pie chart from 2009 about it

cars also use 8 quads of the budget (29% of 27.5), but note that that includes commercial use like cabs and deliveries, and note that your commute is a cost you incur, when your commute emissions really ought to be your employer's responsiblity, since you wouldn't be driving there every day if they hadn't hired you. this is one of the only ways to turn a profit: abdicating responsibility for waste

i know everyone knows this and i've seen it said many times, that individual and personal choices will always pale vastly in comparison to industrial use, but the specific ratio by which commercial, industrial, and transportation use, and loss to waste, outnumber anything you do at home... is 12:1

please, please focus with me on the problems of scale instead of repeating the useful idiot dialogue that has been scripted for us

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yonpote · 5 months

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i really want to write a full analysis comparing dnp to that one stupid lil gay furry indie rock album with the dogs on the cover but that requires way more research than i thought... so for now here is a lyrical analysis of "Twin Fantasy (Those Boys)", the final song off the album Twin Fantasy (Face to Face) by Car Seat Headrest, and comparison to dnp wrt to their careers and lives.

youtube

the original context of this album and this chorus is that the narrator is reflecting on a tumultuous past relationship, at first viewing this romance through rose-tinted glasses (the dark, inside, fantasy) before finally being able to see the truth (the sun, outside, reality.) the pain of looking at the sun is the pain of revisiting the narrator's past. often times we use pain as an indicator that we are experiencing reality (pinching yourself to make sure you're not dreaming.)

these lines repeat throughout the song, yknow like a chorus...

the past few years of dnp's careers and lives have been very much on the reflective and introspective side. for them, the "fantasy" is the explosion of their careers, their success as creators, the audience who has stuck with them. of course all of this is true, but at the same time, the reality is that during the absolute height of their careers, they were in the closet, had repressed mental health issues, had overworked themselves, and had their boundaries frequently overstepped. and they have been reflecting on both sides of this coin.

the story and memories the narrator has retold will never disappear. the fond memories of the relationship will always be there, both figuratively and literally as they have been recorded in song form.

this is true for dnp as well. the memories that they share, both with each other and with the audience, won't go away. we will always have pinof 1. we will always have videos of them being silly and goofing off and just having fun with each other. and even when they have deleted stuff in the past, they are no longer trying to take any of it down and even reference deleted videos and old posts as they no longer have anything to hide in showing them.

dude im not even gonna analyze these lyrics i just wanted to add them here cuz like just fuckin read them what the hell is this gay shit this is so dnp (and also its the same concepts as seen above)

edit: i lied i am going to expand my thoughts on these lyrics

dnp have basically built their careers on having fun. they've taken jobs and sponsorships they didnt want necessarily, they were workaholic closet cases, but like. they always made sure to have a good time. you can especially see this in the very early videos as well as on the gaming channel, where they felt ever so slightly less pressure to put up a front. they LOVE creating stuff together, they love hanging out with each other, theres absolutely no denying this! theyre not kissing and theyre not fucking i mean who knows lmao but instead of interpretting that literally, its more like. thats not the point, that was never the point. are there shippers amongst us? yes fer sure, but that isnt what pulled us all in. what pulled us in was their connection, their dynamic, and how much fun they have on camera together!!!!!!! these two brothers lovers boys and their smooth-cocked youthful adventures!

the cover of twin fantasy is a very simple drawing of two anthropomorphic dogs in an embrace, their arms seeming to be conjoined, and the eye of one dog overlapping with the similarly drawn nose of the other dog.

dan and phil. are so symbiotic. how much of this do i have to explain... from the very start, from their first meeting. yes there are the superficial similarities (tall gay british emos who like the same media) but anyone can have those similarities. dnp knew immediately that there was a connection that they shared that was different from anyone else's. there was some sort of inescapable pull toward each other, call it fate or soul-bonding or autism, they simply could not keep away from each other even if they wanted to.

alright THIS. OK THISSSSSS.

ok ok so there are two versions of this entire album, and in the rerecording (which is what we're analyzing) some lyrics have been changed. this part is spoken word, and is completely different from the original. in the og (mirror to mirror) version, it seems the narrator is lamenting this awakening into reality, and breaking the fantasy for him is dark and twisted. in this new version, the narrator is no longer talking about himself in third person. he is Actually breaking the fantasy now, literally breaking the fourth wall, and directly addressing the person whom this album was written about. the contract is up, the names have been changed, aka, they no longer have to be tied down by this dark history. in the real world, the songwriter and this ex are still friends (or have become friends again?) and said ex even drew the art for the album that came after this rerecording. this story that the narrator had put out into the world, they no longer allow it to chain down what could happen in the future.

DAN AND PHIL. OK WAIT ACK OK so like circling back to what i was saying earlier about THEIR fantasy and reality, i mentioned how their reality was dark compared to the fantasy that they showed to us on youtube. and now they have shown us that reality. BUT AGAIN. they refuse to let that tie them down!!!! yes it took a few years of recuperation but they are creating stuff together again! AND AGAIN! the version of them that can exist outside of everything, is in their old videos. we can always go back! they will always be there for us (both dnp and the audience) to revisit. in theory i mean things get deleted but ykwim tho... the contract is up. they are no longer obligated by their management or by publishing or by radio to censor themselves or hide any aspect of themselves. the names have been changed. dan rebranded in 2017, but phil also very subtly and very slowly rebranded in his own way. the gaming channel literally came back from the dead, got a facelift, and yeah itll always be the same ole dnp banting and jesting but from the very first return video the energy is SO MUCH DIFFERENT and i PROMISE it is not just bc they are out as gay although OBV thats a huge part of it but they are just. happier! and more themselves! and its so visible in their faces and body language and tone and EVERYTHINGGGGG.

but listen, remember, these are only lyrics now. theres a version of them that exists outside of everything. and that version is in the old videos. yes they were closeted and overworked and mentally struggling, but they were still happy there too. and they never ever discount how happy those videos have made US. they know how much all of their older content means to us bc it means so much to them too. "you are as important to us as we are to you."

i'll end this with the last line, that repeats over and over before the song finally ends. this line can be interpretted so many ways imo, but i just think it generally ties together my entire thesis. thank you for reading my deranged gay rambling <3

when i come back, you'll still be here.

#mytext #myrambles #phan #i should start a tag for this thing ive been going on abt specifically.#reflections #there :) ill tag all my old posts abt this topic later cuz i do wanna revisit it #dnp

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meraki-yao · 7 months

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RWRB Deleted Scenes: The Extend Paris Café Scene

The current café scene works in the movie, and damn it’s cute (I can never listen to “He is” without laughing) but as a scene, it has significantly less of a feeling of conclusion compared to other scenes. It works as it is, but it can also easily continue

Again we have no idea about this scene and we wouldn’t even know that there’s more if it weren’t for Matthew posting this photo

Observation and comparison: in the scene in the movie, they just have two cups of coffee on their table; in the photo, they have glasses of I think red wine (which, by the way, is in the book) and they each have a meal. Henry/Nick’s shaking hands with an older lady who looks like the cook, but in the photo they’re clearly discussing the scene and not in character: Nick’s looking at Matthew. So this is strictly a behind the scene photo unlike a “shooting” photo, such as the kissing tree photo Matthew posted, where the boys were kissing so they were clearly shooting already

This was apparently their first day of shooting and I want to scream at how amazing their chemistry is

Then there’s this photo that I presume they took just after shooting outside of the café

According to Matthew, the red mark on the corner of Henry/Nick’s forehead is not a bruise but a lipstick mark

Taylor/Alex is probably not wearing lipstick or at least not this shade of red, and given the point in their relationship it also doesn’t make sense for Alex to leave a mark somewhere so visible and for Henry to allow it

I read this speculation/theory on Weibo (yes I check the fandom over there out occasionally, no I don’t have the link, the Weibo system is complicated and I can’t be bothered to learn it) where they suspected that the old lady recognized Henry and kissed him on the forehead as a sign of respect or adoration or something, which might echo Henry talking about everyone recognizing him in the next scene

I didn’t really agree because, what the hell, straight-up kissing the prince like that has got to be against either etiquette or protocols, but then a few days later I saw a video of the actual Prince William visiting a café during one of his projects, and an ex-football star who was there and greeted him and kissed him on the cheek, so… eh I guess that question’s out of the way

I also questioned why would a cook in Paris show such affection to Henry, the prince of the UK, but then I think this could be explained by Henry’s popularity in universe. He is after all, “the Prince of England’s Hearts”, which isn’t something explored in the book: in the movie, Henry isn’t only a prince, he’s also a popular public figure in general. This point was not established in the book. So maybe it’s that.

But also, it’s possible that Henry knows this café and the owner, and they’re familiar, hence the affection? That would go against the point of “strangers knowing his name” but social logic wise seems to make more sense

Where is Alex in all of this? Obviously, he’s still there, sitting opposite Henry, but in the photo Taylor’s facing away from the camera and just looking at his dish so there’s nothing we can get from that. Is he just watching all of this unfold?

Where does this scene end? I’m guessing, and this is just me guessing with barely any evidence to support myself: their dishes are served -> whatever happens with the cook -> maybe Alex and Henry talk about what just happened –> they start eating -> cut to walk in the garden

This is all speculation, we literally have no context for the scene and everything I’ve just written is quite possible over-analysing tiny clues, but we won’t know anything until PRIME RELEASES THE DAMN FULL PARIS SCENE

#rwrb #red white and royal blue #rwrb movie #firstprince #nicholas galitzine #taylor zakhar perez #henry fox mountchristen windsor #henry hanover stuart fox #alex claremont diaz #rwrb thoughts #rwrb deleted scenes #rwrb paris #i need the entire paris scene #so much was cut #how long was it was supposed to be????#and yes I'm writing the other one about Paris that I said I would write about #my rwrb list #matthew michael lopez

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chaoticstanley · 11 months

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Beetlebabes dni (seriously fuck off)

So, my current hyperfixation is Beetlejuice, movie, cartoon, and musical. But I have all the Beetlejuice cartoons on file so as I was watching, I decided to redesign Lydia and Beej in the show’s style for my own fic I’m working on. I added silhouettes of the show’s designs as a comparison. And I finalized my OC as a bonus. So here’s some info about Bj and Lydia. I’ll explain my OC some other time.

Beetlejuice:

I used all iterations of him as inspiration, but in terms of visual, it’s mostly the musical and cartoon. Gave him his green hair and also a mullet cause... Idk I think it looks good. But in terms of personality, it’s a nice combo of all three. He’s a lot more nastier and violent than his toon counterpart, but still retains some of the sensitivity showed in the show. For example, he’s still protective of Lydia, but instead of simply putting beetles in a bully’s hair, he’ll genuinely traumatize them with a scare or straight up try and kill them. He’s still a handsy and overtly sexual being like in the movie/musical. Instead of responding to emotional rejection (outside of flirtatious contexts) with a depressive episode like the show, he gets very angry and vengeful. He’s petty, selfish and a conniving ass like all three iterations. But he’s not as dumb as his toon counterpart. He’s irrational and acts before he thinks sure, but when it comes to being a trickster, he’s more thoughtful and malicious like the movie version.

His relationship with Lydia is a big brother/little sister type. She’s one of the very select few who’s ever gotten past his walls. He’s protective of her and always encourages her interests in the gross, rude, and dead. But he’s less affectionate than the show/musical. He’s not a big fan of pda and just barely tolerates her occasional hug. He and Lydia are the type of friends that exchange insults and petty barbs as a way of showing how they care.

A brief note on his most common alter ego, Bettyjuice. I modernized her into an egirl because the aesthetic is perfect with all the stripes. She’s pretty much the same as the show; gross, rude, and impulsive. But I made her too pretty unfortunately. I kept leaning towards cute with certain attributes like the added beanie and her adorable tummy, so that’ll probably be tweaked in the future, but we’ll see. I do like this design a lot even though it’s not gross enough.

Lydia:

Again, all iterations were an inspiration. Her Netherworld design is just a more aged up version of the original poncho, but I added a touch more purple at the forefront to reflect her personality. And her normal design is more muted just as a contrast to the Netherworld to make it seem mundane in comparison. In terms of personality, she’s got the character development of the musical. She’s still deadpanned and sarcastic like the movie/musical, but she’s much softer and more sweet like her toon counterpart. She’s a little more mature now that she’s 18, but not by much cause she’s still a young, developing girl. She only has a few friends her age since most of her peers at school are put off by her goth aesthetic and macabre interests. It also doesn’t help that she hangs around a weird egirl who likes to throw bugs at people (Bettyjuice of course). She does have two friends, Becca and Pamela (loosely based off Bertha and Prudence) and of course, her family. She still loves the Maitlands and hangs out with them a bunch. She has a better relationship with Charles Deetz now that she’s a little older. The one she has conflict the most is Deelia, but there’s still clear love there. She fully accepts Deelia as her mother now, while, of course, still keeping Emily Deetz in her heart as well. But they tend to bicker and argue the most because of their different worldviews, but much less so than before now that Lydia regularly spends time in the Nethworld.

But of course, Lydia’s best friend is Beetlejuice. They pull pranks, get into mischief, and regularly get revenge on Lydia’s main bully Claire Brewster.

But yeah, that’s it. I’ll explain my OC later, but I’m too tired rn. I’m working on some more art for Beetlejuice, but the main inspo is the cartoon since it has a lot more to work with in terms of story and world building.

#beetlejuice #lydia deetz #beetlejuice the animated series #beetlejuice the musical #toonjuice #toonlydia #oc

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