COLORS!
when i can't sleep i think about colors in netflix shows apparently and this has been haunting me
(ha! a pun)
*BOOK SPOILERS AT END.*
the primary color scheme of this show is blue&green/orange&red. it's done very obviously and veery intentionally.
blue is, clearly, Lucy's Color.
not only is it the only color she wears, she is the only character who wears it, with the exception of about 1/3 of the guests at the fittes ball. we will return to that. we will not return to that because i forgot my theory for why that was. aesthetics, we'll say.
similar to lucy, orange is George's Color. it's more or less the only color he wears, but he not the only person who wears it. joplin wears a good amount of orange and red as well.
Lockwood's color scheme is, for the most part, black and white. He does wear ties in shades of red and blue, but they're dark and muted. (also the gray hoodie of despair.) this could be to paint him as a colorless, "hollow" person, but could also be a reflection of his black and white approach to ghosts: they are not people, they are evil, they should be destroyed and thinking about them beyond that is a waste of time. if the show is renewed, it would be interesting to see if his color scheme changes over time. (possibly hard to do with his very specific outfit of choice)
(ok but sidenote, love that he wears versions of "lucy's color" and "george's color" over his heart ok bye)
(george and lucy do also sometimes wear bits of each other's colors as well and that also makes me happy)
this black and white, law and order, unnuanced approach to ghosts is also reflected in barnes and deprac as a whole:
now Fittes:
Fittes is gray, yes. That is their official color. Perhaps to represent iron and silver. Perhaps to represent the nuance between the black and white of DEPRAC. perhaps because marissa had boring taste. who's to say.
Fittes House also has quite a bit of red/orange in it. The uniforms have stripes of orange along the side.
making orange George's color could be a reference to him as a former Fittes employee. OR it could represent something that he and Fittes have in common.
i find it an interesting choice, given that Rotwell's color is red. you would think they'd want to use blue or purple or green to differentiate themselves. could mean something. could also just be that fittes had a zealous branding team.
are these rotwell agents? maybe! i hope that's a lion on their collars, that would be hilarious.
(tangent: i have a theory that, if the show is renewed, red would be holly's color. HOWEVER, i think she would either start red--as a "seductress" in lucy's mind or to represent rotwell--and fade to pink to show her true self, OR she would start a demure, feminine pink and dress in more reds as she lets herself be brave and a little unhinged. i'd take it either way. i love my daughter holly)
related: jacobs was red and yellow. perhaps a rudimentary version of fittes orange? a knock-off of the rotwell red? the costume department having a good time at the expense of these children? hard to say.
ghosts themselves come in shades of white, black, blue, green, and red. so far this hasn't proven to mean anything...unless??
yeah i don't know. i have ideas but i don't think they're sane or rational.
why did i include ghost pictures. their colors don't have meaning to me. i couldn't find a pattern. i am so tired.
but anna, you might be saying. who cares? it doesn't actually mean anything. they're just colors assigned to characters and lucy, as the main character, gets to be special and monopolize blue. it's just a stylistic choice.
that's what i assumed. but then i saw THIS bad boy:
i might be grasping at straws. that center light might actually be white. maybe it's a Portal reference.
(tbh, it might actually be a Portal reference)
but knowing what i know about Fittes from the books...it gave me pause.
so what is it that these colors actually represent? it's not as simple as humans vs. ghosts, because the ghosts aren't all blue.
let's look closer at the dichotomy of george and lucy. in a way, they're two sides of the same coin when it comes to Visitors. where lockwood has no interest in ghosts other than eliminating them, george and lucy both want to know everything about them. lucy wants to know them as sentient beings, as people to help; george wants to know the what and why and how of it all, wants to end the problem, or at least understand it. they're the head and the heart of the agency. which leaves lockwood to be the hands. (insert sex joke here)
so, orange/red--george, joplin, fittes. even rotwell, though we don't see them. these are entities who are, for better or worse, trying to understand the problem, trying to get to the other side.
the opposite color, blue? it is the other side:
lucy is our liaison to the world of ghosts. she can hear them across the veil. the only one in blue. the only one with this connection. (other than marissa)
SO. A BLUE CIRCLE IN A RED/ORANGE CIRCLE. WHAT COULD IT MEAN.
WHAT COULD FITTES POSSIBLY BE UP TO.
in conclusion, i'm tired as fuck, i think i just ranted about a basic color scheme for too long, and i think there was no reason to try and figure this out.
this might have just been a reason to ramble about how these two complement each other and they're best friends and i love them.
in conclusion: colors!
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REPLICA PLAYLIST
MUSIC UNDER CUT
I have been receiving requests for any songs that inspired Replica, so here, have my personal playlist. Sorry it’s not Spotify/Soundcloud but they don’t have some of these songs available so uh… guess you’re stuck with YouTube vids. For fun I'll include my personal titles for them (which might give a few hints of what to expect in the future/end).
Replica Main Theme - “Die for You” by Grabbitz
Like Father Like Son Like Brother (Omega and Shelldon) - "As Above So Below" by Alistair Lindsay
Mikey's Theme / The 1st Vision - "Suzume no Tojimari" by Nanoka Hara
Military (Mad) Dogs / Central Park Colony - "Imperium" by Madeon
Shanghai - "Icarus" by Madeon
Boom Goes the Donnie-mite (Mikey/Donnie vs the Sweeper) - "The Red Zone" by Mitsuoto Suzuki
The Day the Sky Bled Red - "7 Seconds Till the End" by Nobuo Uematsu
Going Out Like a Boss (Raph and Leo) - "Agape" by Nicholas Britell
Remembering the Right Way (Mikey and Leo) - "The Souls of Many" - by Alistair Lindsay
Mystic Hands / The 2nd Vision - "Am I Dreaming" by Metro Boomin x A$AP
Book 2 Trailer - "Sea Dragon" by Covet
7 Years Later - "Iron" by Woodkid
Leo's Theme / Attack on the Labor Camp - "Ego Death" by Polyphia
Omega's Theme - "Touch" by Daft Punk
Flat Lines (Omega Alone) - "Die Toteninsel Emptiness" by 1000 Eyes
Spear - "Monsters" by Tommee Profitt
Final Protocol - "The Kraken" by Katie Dey
Rise / Epilogue - "Close in the Distance" by Masayoshi Soken & Tom Mills
I will admit, it's a little embarrassing since you can easily see the patterns of what I've been listening to for the past year or two. I swear I listen to more than just videogame OSTs, these songs just jive well with the story and I often find lyrics distracting when brainstorming scenes. Regardless, the music I listen to is such an important part of my creative process and some of these songs really defined the scenes I now have locked in my head. So I figured it was only fair to give them the credit they're due.
I will continue to add to this playlist, and will note in comic updates when one of these songs is applicable!
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BNHA 423
So, I can't say I feel much of anything reading this weeks leaks.
I'm not shocked that Shigaraki died, nor would I be surprised if his death is taken back next chapter and he gets brought back to life in some way.
The thing is despite people saying Shigaraki dying messes with the themes of the story the themes have always been more then a little shaky. IDK if it's just a difference in culture, but Hori has a way of setting something up as being a big deal/theme and then doing something that completely contradicts it.
It's really no surprise he might have killed off most of the villains including Shigaraki despite setting the story up in a way where saving villains seemed to be a theme. He did the same thing with self-sacrifice being portrayed as bad, but later showing it as good.
I will say I don't necessarily agree with how some people are framing Shigaraki's death as throwing abuse victims under the bus. I do get the frustration because Hori did focus a lot of how Shigaraki was used by AfO and in a lot of stories that would be used to absolve him of guilt for all the destruction he caused. But Hori never had Shigaraki change his mind. His last words are him continuing to wish he could have destroyed more and wanting Izuku to relay to Spinner he never stopped fighting for destruction.
I think if this had been a more thought out and focused story you really could make it a great tragedy. It feels unfair that he couldn't be saved, that despite Izuku's effort, at the end of the day Shigaraki wasn't able to break away from the destruction he was manipulated and groomed into believing.
In that way I can understand the anger of some fans, because the story is essentially a tragedy framed as a simply triumphant narrative. It always felt like it wanted to have some deep meaning, and always seemed on the verge of it, but never stuck the landing. The one thing I've always been left wondering is: what is Hori trying to say with this story?, and IDK if the ending, given what's on the page right now will really give me an answer.
If anything I think perhaps Hori was trying to say to much at once. I'm sure a lot of it gets lost in translation and cultural differences, still part of me thinks he bit off more then he could reasonably flesh out. Thinking back many writing choices feel like he had an idea or passing thought and added it because it was cool or thought he'd have time to do more with it latter but due to shitty writing conditions couldn't implement properly.
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There are so many places in the Villeneuve Dune adaptations where he just...takes all the narrative pieces that Frank Herbert laid out and subtly rearranges them into something that tells the story better--that creates dramatic tension where you need it, communicates the themes and message of the book more clearly, or corrects something in the text that contradicts or undermines what Herbert said he was trying to say.
The fedaykin are probably my favorite example of this. I just re-read a little part of the book and got smacked in the face with how different they are.
(under the cut for book spoilers and length)
The fedaykin in the book are Paul's personal followers, sort of his personal guard. They show up after his legend has already started growing (the word doesn't appear in the book until chapter 40) and they are people who have specifically dedicated themselves to fighting for him, and right from the moment they're introduced there is a kind of implied fanaticism to their militancy that's a bit uncomfortable to read. They're the most ardent believers in Paul's messianic status and willing to die for him. (They are also, as far as you can tell from the text, all men.)
In the book, as far as I can remember (I could be forgetting some small detail but I don't think so) there is no mention of armed resistance to colonialism on Arrakis before Paul shows up. As far as we know, he created it. ETA: Okay I actually went back and checked on this and while we hear about the Fremen being "a thorn in the side" of the Harkonnens and we know that they are good fighters, we don't see anything other than possibly one bit of industrial sabotage. The book is very clear that the organized military force we see in the second half was armed and trained by Paul. This is exacerbated by the two-year time jump in the book, which means we never see how Paul goes from being a newly deposed ex-colonial overlord running for his life to someone who has his own private militia of people ready to give their lives for him.
The movie completely flips all these dynamics on their head in ways that add up to a radical change in meaning.
The fedaykin in the movie are an already-existing guerrilla resistance movement on Arrakis that formed long before Paul showed up. Literally the first thing we learn about the Fremen, less that two minutes into the first movie, is that they are fighting back against the colonization and exploitation of their home and have been for decades.
The movie fedaykin also start out being the most skeptical of the prophecy about Paul, which is a great choice from both a political and a character standpoint. Of course they're skeptical. If you're part of a small guerrilla force repeatedly going up against a much bigger and stronger imperial army...you have to believe in your own agency. You have to believe that it is possible to win, and that this tiny little chip in the armor of a giant terrifying military machine that you are making right now will make a difference in the end. These are the people who are directly on the front lines of resisting oppression. They are doing it with their own sweat, blood and ingenuity, and they are not about to wait around for some messiah who may never come.
From a character standpoint, this is really the best possible environment you could put Paul Atreides in if you want to keep him humble. He doesn't get any automatic respect handed to him due to title or birthright or religious belief. He has to prove himself--not as any kind of savior but as a good fighter and a reliable member of a collective political project. And he does. This is an environment that really draws out his best qualities. He's a skilled fighter; he's brave (sometimes recklessly so); he's intensely loyal to and protective of people he cares about. He is not too proud to learn from others and work hard in an egalitarian environment where he gets no special treatment or extra glory. The longer he spends with the fedaykin the more his allegiance shifts from Atreides to Fremen, and the more skeptical he himself becomes about the prophecy. This sets up the conflict with Jessica, which comes to a head before she leaves for the south. And his political sincerity--that he genuinely comes to believe that these people deserve liberation from all colonial forces and his only role should be to help where he can--is what makes the tragedy work. Because in the end we know he will betray all these values and become the exact thing he said he didn't want to be.
There's another layer of meaning to all this that I don't know if the filmmakers were even aware of. ETA: rescinding my doubt cause based on some of Villeneuve's other projects I'm pretty sure he could work it out. Given the time period (1960s) and Herbert's propensity for using Arabic or Arabic-inspired words for aspects of Fremen culture, it seems very likely that the made-up word fedaykin was taken from fedayeen, a real Arabic word that was frequently used untranslated in American news media at the time, usually to refer to Palestinian armed resistance groups.
Fedayeen is usually translated into English as fighter, guerrilla, militant or something similar. The translation of fedaykin that Herbert provides in Dune is "death commando"...which is a whole bucket of yikes in my opinion, but it's not entirely absurd if we're assuming that this fake word and the real word fedayeen function in the same way. A more literal translation of fedayeen is "self-sacrificer," as in willing, intentional self-sacrifice for a political cause, up to and including sacrificing your life.
If you apply this logic to Dune, it means that Villeneuve has actually shifted the meaning of this word in-universe, from fighters who are willing to sacrifice themselves for Paul to fighters who are willing to sacrifice themselves for their people. And the fedaykin are no longer a group created for Paul but a group that Paul counts himself as part of, one member among equals. Which is just WILDLY different from what's in the book. And so much better in my opinion.
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assign yourself a new role
i know people can find states of consciousness a bit confusing, so here's a super simple exercise you can do to locate (and then be and persist in) your ideal self.
imagine somebody comes to you and says you can be anybody, instantly. you think--in terms of manifestation--well, i want to manifest my SP, so i guess that means i want to be SP's girlfriend?
ok, but what does that mean? what does that look like for you? what does that feel like?
well, i want my SP lovingly obsessed with me, spoiling me, blowing up my phone 24/7, buying me flowers and gifts and a ring, taking me on all sorts of fancy dates and trips, racing home to me at the end of the work day...
ok, so your new identity is "obsessed over, spoiled girlfriend."
i want you to imagine, now, you're on a movie set, and the director comes to you and says, "your job is to be THE obsessed over, spoiled girlfriend. i'm not giving you any lines, though. i'm not telling you how to dress or how to act. you gotta adlib, you gotta do it now, and you gotta keep doing it. that's it. that's the task."
you say ok, and you feel a switch go off within you, right?
you're no longer the person who's obsessively manifesting an SP. no. your SP is chasing you. you cannot get this man to stop texting you. you're thinking, "oh my god. he is such a simp for me, it's almost funny. he'll do anything he can to spend every second with me." you get home from shopping and--he left flowers on your doorstep? and a note? holy shit. your SP wrote you a love poem?!!?! and bought you tickets to ITALY?!
you probably feel...different...in your body, too. energetically. much more secure, powerful, maybe even sensual, a bit savage. focused on yourself and your goals, other areas of your life like friendships and work. all that neediness and yearning and pain just--dissipated. you're no longer the desirer. you're the desired.
feels good, doesn't it?
well, you just shifted your state.
that all took place in imagination, but it felt real because...spoiler alert...it is real.
you're not imagining to become.
you imagine and you are.
instantly.
so you continue imagining. not because you want to "get" your SP (though you will, by law), but because "obsessed over, spoiled girlfriend" is the identity you've chosen, and you love being her. it feels right to you, natural, effortless, authentic. feels like who you are, like your truth.
(also, you don't want to get fired by the movie director, who is the most badass person alive...oh, right, that's you, too).
this applies to anything, and doesn't need to be a singular identity. you can be "obsessed over, spoiled girlfriend" and "rich as fuck powerhouse crossfit champion of the world" and "the most sought after dog walker in all the land" and "baker extraordinaire" and "bestselling author with a three-book deal." these are all just states of consciousness, and your ideal self is all you assume you are, all wrapped in one.
have FUN.
be because it feels good, because it's true, because it's you.
your world will--because it must--re-shape itself around you.
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