#just a dialogue parallel i noticed
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1x08 // 1x10
#just a dialogue parallel i noticed#sorry for the crappy gifs#just scrapped something together real quick#but oof i noticed this during the third rewatch#not sure how it makes me feel#but it sure makes me feel something#andor#andor series#andor season 1#cassian andor#narkina 5#one way out#kino loy#star wars#swedit#andoredit#mine
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im normal im normal I’m so so normal
#im not saying anything im just saying…..#the original parallel I noticed was Angel and Asa’s dialogue and then I was like. Wait A Second.#is there a point to this post? eh not really I’m just emotional today#chainsaw man#akiangel#asaden#angel devil#asa mitaka#aki hayakawa#denji hayakawa#oryginals#csm part 2 spoilers#csm spoilers#csm manga spoilers#csm 127#csm 127 spoilers#also the akiangel moment being a vertical page rly made this formatting difficult lmao#it’s fine the post still reads
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In his eyes...
#Trigun#Trigun Stampede#Vashwood#Nicholas D. Wolfwood#Vash the Stampede#I made this over a year ago and never got around to posting it#just a little parallel I had noticed and hadn't seen pointed out#someone else may have done this in the interim but I'm just posting some old stuff that I never posted#now that I'm back to using this blog some ^_^#made by wingfooted#used the dub dialogue bc the parallel is more clear given the nearly identical dialogue#but I think the spirit of the parallel exists in both
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mk1 nitara and scorpion // mk11 nightwolf and skarlet
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BEING A LIST OF THE THIRTEEN GREATEST RIVERDALE LINES, ON THE OCCASION OF THAT SHOW'S TERMINATION
As our much loved/hated show comes to an end, I feel compelled to record, for posterity, the greatest thirteen pieces of dialogue to spring from the pens of RAS and his henchmen. It was, of course, originally a top ten list, but I simply could not exclude a few of these treasures. Without further ado:
13.
“I dropped out in the 4th grade, to sell drugs, to support my nana.”
“That means you haven't known the triumphs and defeats, the epic highs and lows of high school football.”
Spoken by: an inmate of Leopold and Loeb Juvenile Detention Center, and Archie Andrews.
In: 3 x 2
Yeah, okay, this one had to be on the list. It’s funny, I’ll admit. It’s a great example of the overwrought semi-sincere melodrama that helped make this show so special. It’s low on the list largely because The Normies got their hands on it, so every time I hear someone make a reference I get all “do not cite the deep magic to me, witch.”
12.
“No! No! What are we supposed to do now? I’m horny as heck!”
Spoken by: Archie Andrews
In: 7 x 16
Season 7 is undeniably dreadful, and yet there are diamonds in the rough. The occasion is the failure of a projector, just as Archie and Reggie prepare to watch a pornographic film. The utter desperation with which KJ Apa delivers this line is exquisite. One is made to feel they are witnessing a genuine tragedy.
11.
“Tonight, they’re making an exception and debuting a cover of the song my parents claim they were listening to the night Jason and I were conceived.”
Spoken by: Cheryl Blossom.
In: 1 x 1
Really a fantastic line. A wonderful encapsulation of the casual absurdity of Cheryl’s character, and a foretaste of the lunacy we would plumb in later episodes and seasons.
10.
“In case you haven’t noticed, I’m weird. I’m a weirdo. I don’t fit in and I don’t want to fit in. Have you ever seen me without this stupid hat on? That’s weird.”
Spoken by: Jughead Jones
In: 1 x 10
A genuine classic. “High school football” before “high school football.” One is never entirely sure just how sincere the line is meant to be, both on a meta-level and in-universe. A perfect illumination of Jughead’s pretentiousness. It is made all the better by the occasional cuts to Lili Reinhard’s agonized face.
9.
“At the last dance, multiple students were murdered.”
Spoken by: Principal Holden Honey.
In: 4 x 2
Delivered as an explanation to Toni and Cheryl, as to why there would be no school dance this year. Principal Honey is in fact supremely rational in the cancellation of this dance. This being Riverdale, he is of course treated as an unreasonable tyrant.
8.
“Bro, I know all the secrets of this universe.”
Spoken by: Archie Andrews (evil version)
In: 6 x 5
Spoken as evil Archie reveals his evil plan to keep the parallel universes apart. KJ Apa’s delivery once again makes this line. He is comically sinister. Strangely, he sells it.
7.
“A Vughead kiss, right now, in the present might be precisely what it takes to save a future Bughead from imploding.”
Spoken by: Jughead Jones.
In: 2 x 14
One of those lines that both makes me laugh and makes me genuinely angry. This was a fairly early season, and this may have actually been the first line to get me asking, ‘did they genuinely write and deliver that?’ Extra points for use of the atrocious ‘Vughead’ portmanteau ship name rather than ‘Jeronica.’
6.
“I’m the ultimate wild card. I am the daughter of The Black Hood. The nightmare from next door. I’m training with the FBI and I’m coming for you, you psycho bitch.”
Spoken by: Betty Cooper
In: 4 x 14
Just delicious. Another one of those lines that leaves you somewhat unsure whether or not the writers understood how genuinely hysterical it was. “The Nightmare from Next Door” sounds like an announcer hyping up a wrestler. Spoken with a raw sincerity by Lili Reinhart. Also points for the heavy homoeroticism between Betty and Donna.
5.
“For I am Cheryl Blossom, Queen of the Bees.”
Spoken by: Cheryl Blossom.
In: 5 x 16.
This one really doesn’t require any elaboration.
4.
“Elijah ascended…and I will, too.”
Spoken by: Edgar Evernever.
In: 4 x 5.
Admittedly, this one is only spectacular with context. But in context—the context being that Chad Michael Murray delivers this line while dressed like Evel Knievel and standing in a cartoon rocket right out of a Warner Bros cartoon—it becomes utterly magnificent.
3.
“It’s not queer baiting, it’s saving the world.”
Spoken by: Veronica Lodge.
In: 6 x 22.
It’s actually hard for me to decide whether this one is funnier with or without context. Without context it’s wonderful, but it possibly becomes even funnier when you know that the context is that Veronica needs to kiss Cheryl to transfer superpowers into her body so she can turn into a Scarlet Witch knock-off and stop a magic comet summoned by Sephiroth an English wizard who is also the Devil.
2.
“If there’s no wedding reception, it means the Gargoyle King has won.”
Spoken by: Kevin Keller.
In: 3 x 12.
One of my personal favorites. This is a perfect line because like #3, it requires no real elaboration. There is absolutely no context in which it isn’t hysterical.
1 .
“Word of my exploits serving Nick his comeuppance has seeped into the demimonde of mobsters and molls my father used to associate with, so the five families are sending their youngest and brightest, their ‘princes,’ as it were to, well, come court the rare Mafia Princess who can belly up to the bar with the big boys.
Spoken by: Veronica Lodge.
In: 2 x 20.
This is, in my opinion, the all-timer. Every word is perfect. The rapid-fire alliteration. The use of the word ‘demimonde.’ The entirely unnecessary addition of ‘as it were.’ This is borderline Dr. Seuss. The fact that Camila Mendes delivered it without cracking a smile should have won her an Emmy. No. An Oscar. This line is Riverdale.
#riverdale#veronica lodge#jughead jones#betty cooper#archie andrews#kevin keller#cheryl blossom#edgar evernever
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All the music you didn’t hear: The Good Omens soundtrack is lying to you. *Part 1*
The Bonkers Meta Series part 2: Electric Boogaloo.
I so rarely get a chance to misuse my experience in classical music, but here we are. When I realized on my most recent watch-through of the series that the David Arnold score was brilliant, but also really wonky in some parts and I couldn’t put my finger on why, @embracing-the-ineffable suggested I listen to the album soundtrack to compare.
And when I tell you what I found hidden in there, you’re going to need Eccles cakes...
1) The Song is the Clue
So right up top we have this banger. The 12th track on the album is the orchestral backdrop to the scene in the Job minisode where Aziraphale reveals Crowley’s crow/goats. The duration is 2:22 (the only track with multiples on the album), and if you look at the track by itself it doesn’t mean much. But the song just before it is actually from this fucking scene:
You know, the one where there’s a song that’s a clue to a mystery. Except Clue is capitalised, and Aziraphale pronounces it. I’ve seen guesses that this is a reference to the movie Clue, but I would put a lot of money on the fact that we are supposed to read the title of the song currently playing at that moment in the show *as a Clue*, which is super convenient, because the word Clue is capitalized in the track listing.
Seems like the overlords of Good Omens have a message for us :
The song is the Clue. It’s what God wants.
Cool cool cool. WHAT SONG?
2) Symmetry in all things
Before I straight up tell you, we have to go back and look at season 1.
Now I’m far from the first to notice tons of parallels between the story, details and even lines in both seasons. It got me thinking that maybe there are some fun synch-up parallels between the two season’s soundtracks, seeing as they are both 6 episodes long. Here’s the end of S1 and then S2
Oh that’s a bummer, I thought to myself.
They don’t even add up to the same number, or playtime, and neither of them is exactly 60 tracks. But do you want to hear a secret?
S2 is actually missing 3 tracks on the album.
And because there are 2 discs in S2 (cute), the numbers of the tracks start over again from 1. Remember how much God likes sevens? Check out where all the weirdness is happening in disc 2 (I’ve added the missing track listings in red to add context):
After checking each track with the show and listening side by side (for reasons that will become clear in another post) I can definitively say that there is something *very weird* going on at the end of episode 4.
First is track 7, Zombie dressing room, which seems to actually reach over two distinct scenes of the photo evidence in the dressing room and then Shax in hell even though it only has one title.
But *between* these two scenes we get an eerily silent wine date with Aziraphale & Crowley.
There’s really no music or even sound here besides the dialogue and room tone (until after the cheers), and it seems like a very intentionally silent version of a ritz date from season 1.
My best guess is that we are supposed to divide that track into two tracks of 7, before and after the date to get a second track 7. Or maybe the silent one is missing music?
The third track number 7 is the weirdest one. It’s this scene here, when Nina parks her bike, and Aziraphale parks the car at the end of S2E4.
If you take a close listen to the music, it’s a jaunty little piece, with an oom-pah base in 3 ⁄ 4 time. The thing is, this music does not exist in any Good Omens album. Please feel free to correct me, but I’ve tried to find any part of any song that this could even be a reprise of, and I Shazammed it to be sure it wasn’t anything else. This song does not exist anywhere except in this scene. (It quickly morphs into a reprise of the original theme once Nina leaves Aziraphale).
It’s an invisible song.
So we have 3 tracks at the end of S2E4: a long one, a silent one and an invisible one. Only one of which is numbered 7, but that all fit into that place in the track listing.
Which, when we add the two extras to the original total of fifty-nine we get... sixty-one! Hey wait a minute.
How are we going to get to 62?
3) The real missing track.
So the real reason we had to go back to the S1 album was because it contains the missing track that God is talking about. Let’s compare the last tracks on each album.
I’ve highlighted the mismatch between the in-show music and the album in S2, which means I had to add A Nightingale Sang in Berkeley Square back into the S2 album because guess what, it’s not in the S2 album. Even though it plays in the show.
You want to know how not in the album it is? Amazon had to track it in the show as a season 1 song. They had to give Tori Amos credit for her song on Good Omens in the X-ray bonus features because that’s how not in the album this song is.
So my fellow beings, if the song is the Clue, then It’s what God Wants.
And if God wants a happily ever after with Aziraphale and Crowley on their own side, then by Job, I think Neil is going to give it to her.
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And there's more where that came from! Part 2 coming shortly.
#good omens meta#art director talks good omens#go season 2#good omens 2#go2#good omens prime#good omens season two#go meta#good omens season 2#go3#good omens 2 meta#crowley x aziraphale#aziraphale#anthony j crowley#good omens spoilers
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『01』 呪術廻戦: jujutsu kaisen recs
五条悟: gojo satoru
i know you still think about the times we had by @saetoru
satoru will always comes when you call him, he just never thought you’d stop calling.
notes: satoru is so desperate and pathetic here it is just delicious; has the right amount of angst to cause tension but a good ending to soothe my poor heart; traditional rich boy and disapproving mother/father scenario but implemented relatively well; miscommunication and feelings of inadequacy; reader realizing the extent to which satoru loves them
pretty eyes by @quirklessidiot
in which the right eye is mine and the left eye is yours and when we meet for the first time, you see your own eyes staring back at you.
notes: takes tragic star-crossed lovers to a whole new level; riddled with parallels and symbolism; idea of illness and loving someone at their worst; right person, wrong time at its finest; fate being unnecessarily cruel; surprising moments of humor
minazuki by @quirklessidiot
In which Y/N L/N is placed under a union she has no choice but to partake for the sake of her survival.
notes: this series needs to be scientifically studied; it is just that good; halfway in and i fell in love with the reader instead of gojo; strong and somewhat morally grey characters; dark themes around femininity in a patriarchal society but concept was executed flawlessly
21: only by @tenjiiku
“What do you want, Satoru?”
You do not use his last name or any honorific to address him despite his age. He was older than you by a few years — but certainly did not act the part — so you do not think he deserves your respect. Your host father told you he does — something about his being from a prominent private school as an educator, which you cannot possibly fathom being the truth — but only in front of you is Satoru Gojo an inane, odd man with a need for clean, dry-cleaned clothes that, for some strange reason he has conjectured in his equally baffling mind, that only you can provide.
He smiles at you, placing his cheek in his hand.
“You.”
notes: this fic embodies the duality between gojo and satoru; he is easy-going until he isn’t and you realize he actually has a considerable amount of depth; the plot twist did it for me; satoru being a loud-mouthed tease but secretly harboring feelings
soulswap by @orphxus (impxria)
this is where the evening splits in half,
love or death.
grab an end, pull hard,
& make a wish.
notes: short but realistically describes everything wrong with jujutsu society; poetic voice; gojo being serious for once; disillusionment and tragic hero archetype; being the strongest yet being unable to save anybody; geto would read this fic and feel seen
両面宿儺: ryomen sukuna
nocuous by @quirklessidiot
“It’s ironic, isn’t it? I knew how this was going to end but I’m still terribly hurt by it.”
notes: the heian era setting is so complex and established even through dialogue and subtle description; reader strikes me as older and able to deal with sukuna’s chaotic nature; sukuna being an absolute menace is sending me; tragic angst but almost didn’t notice it due to how beautifully the images are presented
avīci by @rotpeach
Several years ago, Satoru Gojo was involved in the exorcism of a uniquely stubborn curse. The official report states that one of Ryomen Sukuna's fingers was recovered from the scene, and nothing else.
Only the two of you know the truth.
notes: gore, gore, and even more gore; boy was this fic a wild ride; imagine a work that condenses the ugliest and most revolting parts of human nature yet presents them so elegantly you start questioning the blurred lines of morality; cannibalism, violence, and love triangles; japanese mythology & folklore; heian period references; cursed spirit reader tries to grapple with the idea of self after being created for the sole purpose of serving others; themes of existentialism, identity crisis, obsession
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things i noticed/thoughts about most recent rewatches of dps (plus laserdisk deleted scenes):
whenever theres a group scene i've started watching the characters that the story isn't focusing on to see what they do and i've been having a fun time with that. pitts and cameron specifically seem to almost always be doing something interesting in the background.
hopkins!!!! my favorite minor character who somehow got character development despite having like 2 lines!!!! the last guy to stand on the desk but he did it!!!
sometimes i do like to think about what the rest of the students thought about the dead poets society, esp in alternate timeline neil lives dps keeps meeting universe. like yeah theres this guy in their class whose one of the most credited students in the school and we think he maybe started a cult. idk though. but that group runs out into the woods every few days to do god knows what and one of them keeps talking about "dead poets honor" whatever that means and holy shit welton star student neil perry started a cult.
i watched the movie with headphones. and maybe it's because ive seen this movie Far too many times and mabe i'm listening too hard but it was Really obvious sometimes when audio was added in post production. llke in the sweaty toothed madman scene when you can hear laughing and to be fair the camera is behind their heads. but it does Not look like anyone's laughing. my favorite is at the end of the phone call to chris scene where knox is like i'm gonna seize the day!! and runs up the stairs and the poets are cheering him on and neil is sort of yelling "carpe!!!!" and i could be wrong but i'm like 75% certain that the person singing is Also rsl so now neil is just speaking two times at once somehow. anyways it didn't ruin the experience for me or anything it was maybe just a little bit funny to notice but very sorry if this did ruin anyone's viewing.
people talk a lot about how rsl and ethan hawke really made their characters what they are but i have to add dylan kussman to that list. I get the impression that older versions of the movie didn't really give as much depth to cameron and watching dylan kussmans performance is like. he Knew who his character was so fucking well and it shows!! like the deleted scene of them getting clubs assigned. like i could tell So Much about cameron from that scene
for how little she actually appeared, there is an emphasis put on the fact that neil's mom smokes pretty frequently. and i think that's interesting considering neil is one of two poets shown actively smoking. neil's mom doesn't appear for very long in the movie but during that time it definitely seems like the movie is intentionally making parallels between the two, particularly in the last argument with neil's father. neil and his mother are both sitting for almost the whole time, which contrasts with his father who is standing. they are both almost powerless in this scene. they stand up at almost the same time. anyways there's a couple different possibilities for what this could mean? that i've though of? 1. to show that neil's mother is in a similar situation to the one neil is in in regards to neil's father and 2. maybe a stretch here but the theory that neil inherited his mental illness at least partially from his mother. i'm pretty sure 1 was fully intentional on the directors part, not entirely sure about 2 though
unmanned flying desket scene: it's probably cause he and ethan wrote the scene themselves but the way rsl talks in this scene feels more like the way he talks in general than the rest of the script. like briefly neil perry is talking in rsl's voice. one of my absolute favorite scenes though the sarcastic dialogue is so good.
the light of knowledge at the first shot of the film vs. todd standing on his desk at the last shot of the film paralel
#there was a whole additional part of this post that was about knox and charlies relationship with their parents#but it ended up being half of what i wrote here and i still had more to add so i'm making that a separate post#that should be posted in a few days i'm not a fast writer#neil perry#richard cameron#gerard pitts#todd anderson#dead poets society#dps
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I noticed that when you have a romance with Astarion (and probably when there is no romance, he still talks about it), he admits that in the first dacade of his slavery he found a darling boy and that he was in love so much that he was ready to run away from Cazador, instead of hurting that sweet man and when he got caught he was punished by being locked in a coffin for a whole year.
So why, when we talk about relationships after Act 2 (while having the highest level of approval), he says that he doesn’t know who we are to each other? He says the player, Gale, in my case, is not a target, not a victim, not a one-night stand but he still cannot name the feeling or a form of their relationships. And this is a little surprising and sad, and a little disappointing.
Astarion knows exactly what love is and what it means to make sacrifices for the sake of someone you love, just like Gale (by the way, here is another parallel between them), only Gale was punished quite recently, while Astarion was punished quite a long time ago. So why can’t he say what kid of relationships we are having if he knows the taste of love?
I can imagine how offensive it would be for Gale to hear such an answer over and over again. After all, Gale also knows what love is and what it means to be punished for loving someone so deeply and doing forbidden things for the sake of this love. I think it would be very painful for Gale and I would like him and Astarion to discuss this topic one day. And so that Astarion understands how much he hurt Gale with such words. Not being able to say what they are to each other even knowing pretty well what love is, I mean.
Before, I didn’t really care about this, I thought Astarion never fell in love, but it turned out he did. Of course, love and infatuation are different concepts, but still.
I also miss the dialogue between Astarion and Gale after the visit to Mystra. Like, you’re lovers, wouldn’t Astarion be interested in asking what this ex wanted from Gale and what they talked about?
#bg3 gale#bg3 astarion#baldur's gate 3#bg3#astarion x gale#astarion ancunin#gale of waterdeep#gale dekarios#astarion#galestarion#bloodweave
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Somehow I have made it this long without realizing that none of the screen adoptions of Dune so much as mention the Butlerian Jihad. Like I guess it's burned into my brain so hard I sort of assumed it was part and parcel of the universe. Don't get me wrong, I think that's probably the first thing you learn if you want to dive deeper into the setting, but it still hits me like if the LotR movies showed us the big flaming eyeball tower and was like ‘Oh, that's why there are bad things, but don't worry, that's just background stuff.’ Yeah, you can understand the movie, but if the story is just like Frodo vs. The Witch King you are losing out on any of the conversation about the corruptive allure of power or theological undertones. So without further ado let's pretend this is for the benefit of interested new fans roped in by the movies and not part of my desperate attempt to silence the howling specters of literary analysis that live in my blood.
The Butlerian Jihad is an event set ~10k years prior to the events of Dune in which humanity won their freedom from the machines that they had enslaved themselves to. As a result, it is a religious taboo to create a machine that thinks like a human. That's frankly the bulk of the information presented by Frank Herbert in the text without dipping into books 7+, but whether or not those are canon is frankly an enormous can of worms, which really makes sense when you consider the size of the worms. But boy howdy, Frank loved his subtext and parallelism. Everyone has a foil character, every theme is hit from multiple angles, and Villinueve has been doing an excellent job of capturing a lot of that in repeated imagery and dialogue. The Butlerian Jihad happens off camera, but it's themes are absolutely critical to the big picture.
The Butlerian Jihad was a holy war. It was not merely a rebellion against the machines, it was a crusade against them. The prohibition against thinking machines isn't just a law, it's in the pan-universal Bible. Absolute psychopath Pieter DeVries himself claps back at the Baron for insinuating he might have a use for a computer, and this is a guy who has been hired specifically for his preternatural absence of morals. Let's hold onto that idea for a minute.
Probably my favorite scene in the first book is the one where planetologist Liet-Kynes is dying out in the desert. As the last of his strength fades to dehydration he hallucinates conversations he had with his father concerning terraforming Arakkis for human habitability. He's told that the means are not complicated. There is already enough water on the planet, the Little Makers just have it all trapped deep underground as part of the sandworm reproductive cycle. You just need to isolate enough water to start irrigating plant life, and once it's established that'll keep the water on the surface on its own. The hard part is making sure everyone on the planet is environmentally conscious enough to foster a developing ecosystem. Nobody can drink any of that water while it's being collected, because they'll just introduce it back into the water cycle where the Little Makers are. It's going to take generations, so that sort of water discipline is going to have to go above and beyond a social convention. People need to be willing to die before they'll take a sip and compromise the plan. Ghost Dad Kynes concludes that the only mechanism in the human experience to enforce this consensus is religion.
In the context of this whole parallelism thing, you have probably noticed that the Butlerian Jihad is not the only holy war in the narrative. Paul sees a new jihad as the only way of creating a future where humans can flourish. Now you might be saying ‘Wait now, Machines. I thought the point of Paul’s holy war was to avenge Leto and disempower established power structures by taking away the control of the spice!’ And you’d be right. The thing is, without getting into spoiler territory, Dune Messiah is not going to be about how everything just gets so much better now that Paul has destroyed the economy, government, and untold billions of human lives. This isn’t the endgame. Dude can see the future and the way he does it involves looking into the past. Paul lives in a society defined by a holy war and his goal is to redefine society.
Putting it all together you can see what I mean about the Butlerian Jihad being essential to the themes even though the story never shows us a thinking machine or a narrative beat where the absence of computers changes the outcome. It helps us see the big picture. I’ve seen a lot of dialogue lately on whether Paul is a tragic hero or a consummate villain and I’m not here to answer that, but I am here to underline the critical detail. Paul intends to be seen as a tyrant. Just like Kynes’ hallucination says, religion is the lever to make a value stick around forever. He wants to traumatize humanity to hate chosen ones and emperors the same way the machines traumatized humanity to change them forever. The Water of Life ritual doesn’t invert his values, it lets him realize these visions of war are the means, not the ends. He is absolutely not happy about it, but this is Paul’s terrible purpose.
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Hello!! I'm not new to writing but I am absolutely new to writing fanfiction and have been extremely nervous to even start doing that, do have any suggestions on where to start so I don't make it accidentally it's own story just using someone else's character names? ( I mean that in a sense of accidentally altering their personalities and other components that would be really important) Because chances are I probably won't notice while doing it and probably think it's fine. I'm really really bad at not noticing mistakes until it's too late to fix them but I have a fic idea that I think would be really cool and I don't know how to go about it without doing it terribly.
Here's a random pic I took this afternoon, I dunno just the way you describe scenes I figured you'd enjoy the atmosphere of it?
1. this picture is stunning, my god, it's giving me chills. so beautiful, thank you for sharing 👁️👁️
2, i think dialogue is probably one of the biggest components of characterisation, so linking back to canon dialogue can be a really helpful and easy way of keeping your characterisation in check. quite literally an exercise in "would he fucking say that?"
you've probably noticed how much i love using canonical lines from the show like this, even though i'm usually taking them out of their original context. as a reader, hearing dialogue in MS/DT's voices can be very grounding, and as a writer, it can keep you in line as you write their conversations.
i also like trying to create a parallel between events and decisions in my fic vs the canon. something tiny: in ATWS chapter 3, crowley orders takeaway and convinces aziraphale to get something too. in my initial plan, he was going to say no and wave crowley away/be a bit holier than thou, but when i made the takeaway food bbq ribs (like the ox rib), i realised it was literally aziracrow 101 for crowley to tempt him successfully into things, especially food. so i made aziraphale say yes, and simply act put out about it.
you'd think these kinds of parallels would be more important on a grander scale, but i like comparing every little decision to the canon, even if it's only for a moment, to think about how they'd act in that situation. it could be an entirely different universe but they can still be the same characters who make the same decisions as an angel and demon would.
3. a lot of people would say that it doesn't matter, that you can write whatever you want even if it's wholly out of character and just has their names attached to it. even though that's not the kind of fan fiction i like to read and write, it's still valid, and the most important thing is that you're having fun and being creative. basically, don't sweat it if it's not perfect.
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hey there! what's your opinion on zukaang? (either romantically or platonically) ((if romantically, of course imagine them to be aged-up)). i was just wondering because you seemed to have noticed that there are a lot of parallels the show makes between them
sorry if you've answered this before, i just didn't see a zukaang tag on your blog and that's why i'm asking
Don't care for the ship, but can totally see how it'd work. It IS one of the most important dynamics in the whole show after all - and that's why I LOVE their friendship, and get really emotional when they hug in the finale.
Also the entire episode of them meeting the dragons is the funniest fucking thing. Aang calling Zuko sifu hotman, demanding a dance, and saying "I don't care what other people say, you're pretty smart" - leading to Zuko looking all happy before getting grumpy again once he realizes "Wait, that means everyone said I'm dumb as fuck."
Zuko grabbing that goddamn dragon egg even though it's clearly a trap, encouraging Aang and saying he's talented, saying he was his motivation for firebending. Them fighting over that freaking flame, "Still think we can take them?" "I never said that!", doing the same for the dragons then Zuko getting embarrassed as hell having to tell everyone about it.
And finally, this iconic dialogue in which I felt a spiritual bond with Zuko:
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i just realized that i never actually made a whole analysis on 4-4N?? i technically did in first art post i made of the level last november, but the actual original post had it and i. cant find the rambles on it anymore 💀 so i decided i might as well start fresh and share my thoughts without keymashing every two sentences (unskippable cutscene under the cut <3)
i like to think that the “you can be my muse, ill write these songs for you” line from att is a parallel of sorts, in murmurs being from nicoles perspective instead. i mean cole is the whole reason she even picked up her guitar again, and she doesnt play it just because shes inspired since she even thinks about playing FOR him judging by her dialogue which is. crying rn im still not over that because GIRL
with the whole thing about night shifts "being part of the story but not really" im kinda bothered about murmurs being a night shift since what happened might not be brought up later in the story 😭 if it somehow does tho, im thinking of a buildup to a hypothetical 2-XN where its mostly from nicoles perspective
like being a parallel to 2-X with her being the lead singer and the instrumental having her signature acoustic instead. or partly acoustic with coles edm, since most night shifts are supposed to harder counterparts and i dont know how an acoustic boss fight would work lol (actually mental image of nicole beating us up with her guitar that would be funny)
the line "at least i hope you will be" at the very end of att is mostly sung by her, and from what i can gather it seems like shes pretty hesitant or just unsure that cole is the one who could help her get through her addiction. i also noticed that the after clear dialogue has cole (indirectly) talking about nicole being his inspiration instead of having to rely on caffeine, though nicole doesnt say the same thing about her smoking, and im gonna be honest if there was a 2-XN i would love to see her admit it too 😭😭😭
lmao this basically turned into a 2-X ramble but anyways im going back to crying over midterms i just wanted to post this before i forget again wbhwbhuwubhw
#rhythm doctor#chiimo art shenanigans#cocole#i havent done lineless in a reaalllly long time so i thought id give it a go for this drawing#i didnt intend the background to be like that because i was just gonna have them in a white void™️#and a red string of fate thing but with the heartbeat line#but then the guitar background literally gave me a eureka moment its so funny to just come up with things on the spot lmao
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im doing a homestuck reread because its feb break and its been so long since i last dived in that i feel like its worth going back to read and see what i get out of it this time.
anyways im sure that with the number of people doing homestuck textual analysis out there somebody's already noticed this and had more interesting things to say about it but i DO think its interesting that dave is essentially a tutorial character for john+the readers early on (this is a snippet from their second ever pesterlog)
like you have dave telling john how very basic aspects of his inventory system works. obviously this is narratively useful at this point to tell the readers (who were literally inputting commands for what to do next) how the systems work, and its also common to express world-building and explanation via character dialogue.
but its also interesting that dave later splits into davesprite, who is literally a game construct that comes with some tutorial information programmed in for the Literal in universe game of Sburb.
something something metatextual layers blah blah unintentional foreshadowing. idk what it means i just think is a neat lil parallel.
#uhhh i should have a tag for this so people can blacklist#lets doooo#stripe hs reread 2024#homestuck#john egbert#dave strider#davesprite
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"Your choices do(n't) matter" -> Deltarune to Undertale
I have been wanting to make a post for a long time, but I have a free hour on my hand and a mind full of Deltarune soo allow me to draw my favorite parallels about how Undertale and Deltarune both tackle the concept of choice, and how they are distinct but both still tell a necessary story.
Also, if you are reading this post, I am assuming you have played through Undertale and Deltarune Chapters 1 and 2, because this post will have spoilers for both. Without further ado…
Undertale’s approach when it comes to choice is one that directly targets and addresses the player. Much of the characters’ dialogue with Frisk often address them as “the human”, which, depending on your stance, could be a comment meant to speak to Frisk as a character, or to you, the player, as a human being.
In fact, as much as I adore Frisk as a character all of their own, they aren’t necessarily given any defining personality traits. They are, in the purest of senses, meant to directly be an in-game representation for the whims and desires of the player. “They” act, “they” fight, “they” flee, but it’s always you, the player, making the decisions. This isn’t necessarily a unique concept, but it’s the way that this is applied that makes this particular idea special in Undertale.
Obviously, the most noticeable instance of this is when Sans calls the player out towards the end of the game, explaining that those little levels and numbers that we, as the player, loved seeing go up, were affecting the world that we had just spent the last few hours immersing ourselves in. There is a direct effect of our choices on this universe. It is a pre-established place, and it will continue without us, the player, making an impact. In fact, in the neutral and genocide routes, you are actively making this universe a worse place! It puts the player in the position to act as themselves and make a decision about how they want to impact this virtual world. In essence, the decisions made by Frisk and you, the player, are presented as one in the same. Frisk isn’t necessarily seen as a vessel for your intentions, but rather, as your intentions themselves.
This created a unique meta-narrative when it came to the idea of how we, as players, consume media in universes. It presented the idea that universes made by creators aren’t just things to pick up and put down, but that each game world has their own story that continues onwards, with or without input. You aren’t seen as some great hero, but rather a nuisance at best, a mass murderer at worst. This was the way that Undertale addressed the idea of stories in their universe: you, the player, were seen as synonymous with Frisk, the character.
Deltarune took a different approach to this. Of course, it becomes instantly recognizable to players that “our choices don’t matter”, which is told to us almost immediately in the game. There are some sections of the game where the decisions you make don't directly influence the storyline, which differs from the narrative set by Undertale. It takes this idea of “choice” that we had pre-established going into the Deltarune experience by Toby Fox’s other works and toys with it.
Kris is their own individual. Kris has had a hard time making friends. Kris has a brother at college, and is a known town citizen. Kris is greeted by neighbors, classmates, and teachers. Kris loves chocolate and pies, shows anger at Spamton’s demise, and has a tendency to make some scary jokes (as referenced by Noelle). They are their own person. This is when Undertale and Deltarune start to split on the concept of choice.
Frisk was seen as the culmination of the player themselves, but Kris isn’t the player. This is what makes the ending of Chapter 1 particularly shocking– the idea that Kris could directly address us, the players, and our influence on them, by removing their soul. They don’t want to be the culmination of our actions. They want to be Kris.
This is where the idea of choices is twisted from our prior conceptions. Just like in Undertale, our choices in Deltarune are either praised or criticized depending on how we interact with the world we are given. However, in Undertale, we are judged as players by the characters aware of our influence. In Deltarune, we are judged in a far more intimate setting: directly by the person we are instructing to do our bidding. Because, at the end of the day, our choices do matter in Deltarune. They just matter on a smaller scale. They matter to Kris.
In this way, both games address the way our choices are impactful; they just happen to do so in two, unique settings. I think this is what makes both Undertale and Deltarune so interesting– they have a similar concept, but they completely flip the script on what that concept means, and how it applies to universes.
#this is basically a love letter to toby fox's way of#adding themes to his games#deltarune#undertale#frisk undertale#kris dreemurr#kris deltarune#frisk deltarune#undertale theory#deltarune theory#utdr#undertale meta#deltarune meta#undertale analysis#deltarune analysis
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Okay okay okay, this might sound just a tiny bit unhinged but I am convinced that the LCDP writers have seen and been influenced by Hannibal, owing to the parallels between the Hannibal/Will and Sergio/Raquel relationships (focusing especially on a scene in the show that really mirrors one in Hannibal).
So, let's look at the text. First up, Hannibal, 3x11
Hannibal: The building of a new body and the othering of himself, the splitting of his personality, all seem active and deliberate. He craves change.
Will: He didn't murder those families. He changed them.
Hannibal: Don't you crave change, Will?
Second, LCDP, 2x8
El Profesor: Yo estoy haciendo una inyección de liquidez. Pero no a la banca. La estoy haciendo aquí, en la economía real, de este grupo de desgraciados, que es lo que somos, Raquel. Para escapar de todo esto. Tu no quieres escapar?
('I'm injecting liquidity. But not to the banks. I'm doing it here, in the real economy, for this group of wretches, Raquel, which is what we are. To escape from all of this. Don't you want to escape?')
And, ok, they're not the only two stories in existence where one character begs the other to see things from their point of view, you might say. You're clutching at straws here, Nay, because Hannibal is your current obsession, and LCDP was the one that came before.
But it's not just the dialogue. And it's not just this one scene.
If we're looking very literally at these two scenes, you'll notice that one half of our pair is imprisoned, but even that's not just surface level. Both imprisoned parties should not, by rights, be there, if they'd behaved in a remotely rational way leading up to that point. Hannibal allowed himself to be imprisoned for Will, even though he should have killed him long ago to protect himself. Raquel, likewise, could and should have handed Sergio over to the police many, many episodes ago, but she didn't, because like Hannibal, she couldn't bring herself to hurt him.
However, the real parallel isn't between Hannibal and Raquel - Sergio/Hannibal and Raquel/Will are the parallel characters leading up to these scenes, and besides looking at who is currently imprisoned, the clearest parallels within the scenes too.
Both of these relationships are deeply manipulative and physically violent, but the person who is initially causing harm gets tripped up by their own feelings, opening a window for their intended victim to exercise power over them instead. And, although in each relationship there is a clear manipulator at first, even in their beginnings, they are equals, and natural enemies (even though they might not realise it at first).
That's not to say the characters are the same - Hannibal's manipulation is driven by curiosity, and Sergio's is driven by ideals. But the outcomes are surprisingly similar nonetheless - they realise their goals, and then they regret them. They both lose the trust of the person they have unwittingly fallen in love with, and as Will and Raquel see Hannibal and Sergio, respectively, for the people they really are, they want (or think they want) to exact revenge on them. Raquel ties Sergio up and interrogates him, threatens him, hurts him, and Will tries to have Hannibal killed, and works to prove that it's Hannibal who's the serial killer, not him. But both Will and Raquel, of course, are not quite able to bring their righteous violence to its logical conclusion. Raquel fails to turn Sergio into the police, despite the fact that she's in charge of catching him, and Will gets tangled in his own line as he tries to reel Hannibal in, finding Hannibal himself far more magnetic than the justice of catching him. Both of them want to hurt their manipulative counterpart, but they've fallen for them too (and for both of them, I think this adds to their fury at Hannibal/Sergio).
And then we reach these two scenes I referenced at the top of the post. In both shows, they appear towards the end (at least, the assumed end at the time - LCDP, of course, got three more seasons later on, and Hannibal was [is?!] supposed to have more too). In both shows, Will and Raquel have experienced a loss of some kind, a really significant loss, tied to their identity, that is the fault of Hannibal/Sergio - Raquel has lost her job and integrity as an inspector; Will's family has nearly been killed and are emotionally lost to him - and yet they are both running towards the cause of that loss. Raquel, of course, is ostensibly trying to catch Sergio by herself, and Will has come to yell at Hannibal. But there's a calm in both scenes that wouldn't be there if all the wronged party felt was anger - after a fight Raquel lets Sergio talk to her without interruption, just as Will allows Hannibal to talk back to him, to ask him questions. And then our two manipulators - both of whom, I might add, have almost thrown everything away for the people who were supposed to be collateral damage - make this final plea in the dialogue above.
They're very different people, Sergio and Hannibal, but the plea is, at it's core, the same. The world, they say, The world doesn't look the way you were taught to see it, and you don't fit into it the way you thought either.
It's a plea for acceptance, because if Will and Raquel can accept the world and themselves the way Hannibal and Sergio see them, then they are, by extension, accepting them. It's a please, god, just say you want to run away with me.
And, in both instances, it works.
#hannibal#nbc hannibal#hannibal nbc#la casa de papel#money heist#lcdp#hannigram#serquel#hannibal lecter#will graham#sergio marquina#raquel murillo#el profesor#meta#mine#hannibal meta#lcdp meta
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