Please! >:(
FUCK IT! I want a Gomez and Morticia (Live-action) dance scene EXACTLY LIKE ONE IN HOTEL TRANSYLVANIA 3 SUMMER VACATION LIKE DRACULA AND ERICKA! I WANT THEM DOGDEING THE WEAPONS AND TRAPS ALL WHILE WORDING THINGS TO EACH OTHER LOOKING ALL SEXY!
you know what...
FUCK IT! I WANT THAT SCENE IN WEDNESDAY TOO! WHERE WEDNESDAY AND ENID HAVE TO DOGDE A BUNCH OF BOOBIE TRAPS (first Wednesday throws like rock or something to see what kind of traps their dealing with) AND ENID ASKS WHAT ARE THEY GOING TO DO AND WEDNESDAY JUSY TURN TO HER AND SAYS FOLLOW MY LEAD, PULLS HER CLOSER TO HER BY THE WAIST TAKES HER HANDS AND STARTS TO LEAD AND THEY DANCING AROUND DEATH! LITERALLY! AND OF COURSE, I WANT ENID TO BE SCARED LOOKING AROUND AND COWERING AND HIDING HER HEAD IN WEDNESDAY'S SHOULDER BECAUSE SHE'S TOO SCARED TO LOOK SO SHE JUST LOOKS DOWN AT HER FEET!
45 notes
·
View notes
I recently watched the trailer for OFMD season 2 and was suddenly struck by the tangible difference between OFMD and Good Omens. I'll start off by saying that I'm definitely more into GO than OFMD--though I've seen all of the episodes (so far) of each--but there is something about OFMD that I think really sets it apart from GO 2, which is that OFMD doesn't apologize for its queerness, whereas GO still does.
(It should go without saying, but this does not apply to Michael and David, whom I feel solidly fall under the category of being entirely unapologetic in portraying Aziraphale and Crowley and their relationship.)
But articles like this (which Neil actually had the cojones to share recently) that claim homophobia "doesn't exist" in Good Omens entirely miss the point, which is that it does exist in the world of GO--Shadwell calling Aziraphale a "southern pansy," for instance--and that Michael and David are showing these characters to be who they are in the face of homophobia in the form of religious repression. And while homophobia exists in OFMD as well, GO clings to a sense of nicety, of apologizing to the straight audience Neil is still aiming to reach, whereas OFMD does not care one bit about appealing to a straight audience.
OFMD is unafraid to tell a straight audience "This is not for you. You can enjoy it all you like, but we are not doing this for your approval." In OFMD, you have characters of every flavor of queerness who are just able to be who they are, without having a label affixed or checking a box (lesbians, enby folks, gay people, and so on). The actors are able to define the characters in their own unique ways--Jim with a beard drawn on with kohl, Wee John dressed as Divine in drag--so that being queer is not the main focus of who the characters are, but rather what allows them to be who they are, and the audience is trusted to understand that. I do not feel that this is the case with GO, and the result is constant fighting and policing over pronouns and identities, despite the fact that none of it would matter at all if people stopped relying on Neil to define the characters for them.
Yes, I know they're very different shows and characters. But watching the trailer for OFMD 2, I didn't feel like I had to worry about being disappointed, or that I had to search for the queer representation, because it was already there...
183 notes
·
View notes
Do you guys ever think about how many times CLAMP tiptoe around the word "death", in Clear Card? (you: what kind of question is that???)
Because it's an awful lot.
The actual verb 死ぬ (to die), the classical one, is never mentioned* to indicate "death", and I totally see the reasons why: mainly target and "world view" of the series (lord, if there's something I learned during these 8 years of observing the reactions from the JP fans is that the 世界観, the "world view" is EVERYTHING and if the authors dare doing something that goes against it, they won't forgive them. Especially for a series rooted deep in everybody's childhood).
* (Actually, it is used in chapter 43 in a funny skit with Kero, Suppy and Nakuru, where Kero says "I thought I would die!!!" because he's too embarrassed by the SyaoSaku scene he had to forcefully witness hidden in Sakura's bag 😂but it's a foolish scene)
I think the first time where they actually start to dangle it in our faces is in chapter 28, when they make Momo scream in panic: "If you rewind that far, the repercussions will be immesurable!!" and then Kaito confirming right after "Time magic shortens the caster's lifespan". 命を削る indeed means "to shorten one's lifespan", and what else does that mean, if not that he's killing himself little by little, by using time magic? Sure, magicians have a longer lifespan, but...
Another instance where they make us "sniff" the smell of death but they don't serve the actual meal is in chapter 33, when Kaito goes out in the garden to counter the attack coming from the Association. He condescendingly says 力不足と己の身が滅ぶのを恐れて, mocking them for not including time magic in their collective attack because they're afraid their power won't be enough and they'll literally wreck their bodies in the process. Kaito doesn't straight up say "they're afraid to die", but the verb 滅ぶ means "to perish, to be ruined, to be destroyed" and we all saw what effects time magic had on Kaito's body. He's basically calling them p*ssies, yes.
And excuse me, but the most apparent one....when Kaito (or the Clan) says multiple times "Her soul will break", should Akiho write on herself more power than her body can sustain....isn't that just a very generous way to avoid saying "Akiho WILL DIE" to not scare the young readers away? Because, think about it...if her soul breaks...what is left of her? What is left of Akiho, as we know her? Yes, just a shell, a corpse for use and consumption of the Association/Clan, exactly.
And what to say about the scene of chapter 41 when Nadeshiko is trying to mom-talk Kaito into reason and the guy answers "I guess it's because I'm getting closer to become the same kind of entity as you", meaning, a ghost??? Hence, he's basically saying "I'm about to die"? I always snicker when I read that part because I'm like "OH COME ON, CLAMP, MAKE HIM SAY THE WORD" 😂
Another instance where the characters dance around the concept of death is in chapter 51, when Momo gets to have this very mom-son talk with Kaito (yes, exactly, Kaito set into motion several mother figures throughout the story - Lilie, Momo, Nadeshiko herself - that should tell you SOMETHING). Momo is trying to make him understand that he's literally betted his life away when he made the contract with her, so that should give him an idea of how important this mission is to him, and for whom he's doing this for. She says "When you made the contract with me, you revealed your true name. We could say I hold your heart as magician in the palm of my hand". Here Momo is basically already mentioning the concept I've been saying time and time again when Kaito revealed his true name to Akiho in chapter 80: in CLAMP works, revealing your true name to someone is like placing the most vulnerable part of yourself in their hands. The "imagery" Momo suggests here is actually pretty disturbing: the word 心臓 (heart) is the one commonly used to indicate the actual organ, more than "heart as core of the emotions", and so what she's suggesting is that at any moment, without notice, she might close that hand and crush his heart, basically killing him. Of course Momo would never do that, but she wants to remind him of what damned situation he's put himself in, how far he went for the person he still isn't ready to recognize at this point of the story.
I think the closer they went to say the "forbidden word" was when Lilie in chapter 72 explained to Sakura the extent of her premonitory dreams: "I know things that will happen shortly ahead...things way far ahead in the future...and even things that will happen when I'll be gone".
Another instance where they TOTALLY dance around the real situation (that is, Kaito should've been dead-dead-dead by then) is in chapter 80 when Eriol explains to Akiho what Kaito had been doing: I'm not sure if it's Eriol who sugarcoated it in his speech, or Akiho herself while recounting it to Sakura, but she says "He messed with lots (of dangerous magic), so his condition wasn't supposed to be that good", another polite way to say "he should've been dead by now". In fact, what's keeping him alive is literally the fact that the pocket watch (and therefore, his time) is frozen for now.
And sometimes I wonder if the "unhappiness" or "grief" that Yelan foresaw for Sakura, in the eventuality she couldn't gain control of her own powers, included....death too....NAAAAAAAHHHH
(well, I mean, who didn't think of THAT when they made Kaito say that he could see Nadeshiko because he was close to dying?? Well knowing that Sakura could suddenly see her too?? they did that on purpose jfc)
31 notes
·
View notes
"Don't interfere with Gojo's fight, you'll only be a burden" 🤡 anyways I think we all agree this was a terrible fight with a terribly executed ending. It feels like bad writing, with Gege unsealing Gojo and not knowing what to do with him having a bunch of characters waiting to progress and be developed. Just unnecessary, like what did the fight accomplish? Gojo straight up forgetting about Megumi and being like "oh nvm, i was never gonna win anywyay" just feels OOC.
One of the most anticipated fights in the whole manga and it was kinda trash. I hope the plot moves along now. Like you said, I want to see the students fighting Sukuna and Kenjaku, also give me the parent Kenjaku reveal moment with Yuji, Gege, and some KenJin flashbacks. Perhaps add in a little "Jin is actually alive". As compensation.
Also waiting on that Sukuna/Yuji fight. Please Gege let that one be good.
I don't know if it's because Gege lost passion for the story, but there would've been dozens of better options on how to do the fight besides "students sit on their ass and watch the live stream of their teacher's death". F in chat, guys! No, don't interfere, that would be too interesting and feel way too natural.
I really don't want to be this harsh, but everything since Gojo's unsealing has just been very questionable writing decisions. I like the Culling Game actually, I enjoyed it more than Shibuya, even when we were focusing on characters I didn't care as much about. It didn't have the constant threat of death I expected, but it was still good and I especially liked all the new lore and character exploration. Execution of Yuki's death was meh and there could've been done more with the fight, but it still moved me. Tsumiki turning out to be a piece of cardboard was my first real disappointment, but I could've looked past that if her and Yorozu's death would've been executed better. And after that it was just kinda...bad.
Angel agrees to unseal Gojo without explanation despite refusing to do that earlier. Backdoor has no drawbacks, Gojo is just out now. He's kinda weird post-Prison Realm and definitely different from before with changed priorities, but we don't get anything concrete about him or his time in containment that would give more depth to this. He just feels kinda detached. And then one month timeskip. I still remember when people said we would get flashbacks during the fight to explain what the characters were up to. But nope, nothing. Who knows if the main characters have an actual plan, Gojo definitely doesn't seem prepared. We get vague hints at Gojo using his time in the Prison Realm to adjust his domain, but we don't hear his perspective on that (would've been too interesting), we are just told about how he must feel by other characters. It's such basic things that could have made this fight more engaging and moving, but we barely get anything. On top of that it is stretched over 14 chapters and 4 months for no reason. Just make it hit harder from the beginning and shorten it that way. Kenjaku and Yuki were powerhouses and they didn't need this much time. Also the constant Gojover teasers got old very fast.
However, Gojo did manage to strip Sukuna off his domain and Mahoraga, so that will make things a little bit easier for the others. Sukuna can't just vaporize everyone with Malevolent Shrine anymore.
With the Kenjaku vs Gojo fight not happening, I am more confident though that we will get more focus on Kenjaku & Yuuji and explore their relationship and past. Feels like there will be more time dedicated to them, although that also depends on how Yuuji vs Sukuna goes. I am very excited for what's to come either way.
44 notes
·
View notes
Ok I’m just going to say it: that ending was somewhat abrupt. There is no explanation for why Stede suddenly decided to give up his dream of being a pirate. One episode ago he was reveling in it and then suddenly he’s an innkeeper - and the change literally isn’t even acknowledged. Like, Zhang asks them to team up with her and we never even see them say no!! In fact, it’s implied they said yes until suddenly the ship is leaving with out them. And then that’s it, show over???
Which worries me, if there’s going to be a Season 3. Because the difference between Stede’s dreams and Ed’s dreams still hasn’t been addressed, not really. The show and the characters just keep dancing around it. So if there is a Season 3, I’m worried for what that means for them and this implied happily-ever-after. They jumped to the happy ending without doing the work to get there and if there’s a third season, that happy ending is inevitably going to fall apart.
27 notes
·
View notes