School sketches cause i just found out the movie came out ONLY in japan🥰

Personally I find it really funny that based on what the twins said in the Book 2 finale re: having to tell their mom about what happened to Unalaq, it's literally canon that Unalaq's wife a) exists, b) is alive, and c) is just chilling in the Northern Water Tribe

She took one look at all the spirit fuckery her husband was getting up to and went "Well that's none of my business" and honestly I respect that

FUCK CANON ALL MY HOMIES HATE CANON

Next week on Akane Banashi, Zensho Arakawa doesn’t look where he’s going while getting out of that car and is promptly taken out by a stray cyclist speeding down the pavement. Crisis averted.

Gonna have to start a collection of Mission Impossible BTS photos that scramble my brain because what is this

does anybody else think that they dumbed ian and kev down a LOT as the seasons went on for comedic effect

Gotta sweep up all this Dust (Patreon)

look there is something So special in the way thawne smiles in his non-flash-centered arcs

My Tales of Arcadia red flags 🚩 TW: opinion

- if they call the series “the trollhunters saga” instead of tales of Arcadia

- if they refer to 3below as a spinoff rather than a continuation of trollhunters but call Wizards a sequel, the Tarrons are there for a reason!

- when they hyperfocus on Jim during conversations/scenes that don’t involve him in any way ( mainly his 2 scenes in 3below and his excessive amount of screentime in wizards when it’s a Douxie-centric show) I love Jim, but he had his own show to shine and tell his story, you can like a character without discrediting other shows bc of his absence!

- if they ship Douxie with any of the underage protagonists

- if they like #that subplot of that certain movie iykyk

🥺 

(*・ω・*)b♪

If I can like add to what my moot said, it's almost ironic considering Edo's character revolves around growing up too fast. Edo Phoenix is a traumatised child thrown into an industry filled with adults and was more or less prepared/has already thrown away his youth to fit into that scene. It reflects in everything about him, from his social awkwardness around the other characters his age to his snooty, I'm-better-than-you attitude he has early season 2. Which makes the sexualisation of him just real SAD

Ah okay Edo Phoenix rant incoming, read more below, but tldr; Ed's just a kid and life is a nightmare

I think it's just sad that the fandom treats Edo this way because idk. I found his story incredibly sad and tragic and one of the main points in this tragedy is that he's a kid that's in over his head.

Edo Phoenix is a smug genius who is a world champion and one of the biggest rising celebrities in the dueling scenes. He has an attitude, he's merciless and he crushes those underneath him just because he can. Early season 2 everything began and ended with his success which is why he did as Saiou said to begin with. Because Saiou told him his career depended on it. And to Edo, nothing means more than his career.

Why? Simple. D.D.

A lot of complains about D.D is that he didn't get enough screentime or he wasn't foreshadowed well enough but honestly, I think we found out enough about D.D from the context we were given. D.D is a cheat, a liar and a scumbag filled with delusions of grandeur with an obsession with his persona and success. He was willing to kill someone for success even without the Light's influence, and from there he began to build his image of a talented duelist and kind person, using and manipulating Edo to both evade capture for murdering Edo's dad but also to boost his image. He adopted Edo not because he cared for him, but because it would shape his image in a good way. He began painting this image of being a "Hero", and soon enough the media and the world as a result acknowledged him as such.

You can see in many ways how D.D's attitude towards the world rubs off on Edo. Comparing Edo's unpleasant attitude and obsession with being the hero early season 2 to D.D when he goes mask off says enough. D.D adopted this boy, exploited him to evade police detainment and then shaped him in his image all for his own personal goals. He believes he made Edo what he was. His success was carved by him and him alone. He created Edo, and he will destroy him, as he attempts to do in the finale.

Underneath D.D's influence and his grief of his father's death, Edo is an awkward, well meaning and naive kid. He puts on this persona of being a hero, and being more mature than his classmates but his eagerness to follow those he trusts without even questioning what he's being told to do (like Saiou, D.D, etc), his delinquent idea of what a vigilante is and his general lack of insight shows who he really is.

A really, really, really sad kid who knows nothing but deep, unrelenting grief and hard work. As a result, he's become a stupid kid pretending to be an adult.

Which is why the fanon interpretation of him makes me so SAD.

After Carlos gets saved and all is kinda good before shit hits the fan a.fucking.gain, can we get interesting storylines with the other characters? Marjan and Paul are now pretty much glorified extras and I would love them to be actual characters again

a series of unhinged otto-related moments from prophecy of the throne bc that game is a goldmine for interactions

season 4 is not a good season to be a steve fan it actually made me like him less

there’s one version of an f/m/m triangle that crops up so often I’m surprised there isn’t at least a tvtropes/vernacular name for it. Miyokichi/Kiku/Shin. Molly/Fitz/Fool. Asuka/Shinji/Kaworu. Futaba/Taichi/Touma. not-really-but-you-could-shove-it-in-here Luthien/Beren/Finrod. Utena/Touga/Saionji is a twisted spun-on-its-head version of it. Specifically comprising:

masculine male character A: either is the protagonist or a character on to which male viewers can project.

female character B: a secondary character and A’s official love interest, often kept apart from A by story/circumstance/gender roles. Shows some resentment of the trials she’s put through by the story in being A’s lover such as being shoved to the side, cut out of his life, or put in danger.

less masculine male character C: another major character, A’s devoted sidekick, feminine and/or conspicuously cold toward women or sexuality, somewhat ill-used by A but not resentful about it, as a contrast to B.

The dynamic is used pretty equally by female and male creators, though probably with different purposes. Outside the story, there’s a clear explanation for how the roles are divided: men are main, women are peripheral. Obviously the female love interest has to be on the margins of the story. Obviously the male main character has to have an ally in-story who can bounce dialogue back. Any human person has to have a best friend (for men, has to be male) and a lover (for men, has to be female). The major character male bestie and the minor character female gf is the minimum character dynamic you need to sustain the main character as a believable construction.

Except within the story, the dynamic begs far too many questions. On B’s part: her other half and love interest uses her for sex once every few chapters and dumps her to go off on another plot-relevant adventure. She’s kept in the dark, talked down to, pushed away, and distrusted. Her place at her sweetie’s side is occupied by Some Dude and no matter how much she puts into their relationship, she’s always going to be a prize for after the mission. Why does she stay with him? What could possibly attract her about this bestubbled grunt machine whose passion for the sword outmatches anything she’s given him?

On C’s part: he gets used as an emotional support crutch, designed to service his best friend’s every need at the expense of his own goals or story. He’s a housewife, he’s a domestic, he does every thankless story task with a smile because he has to provide the exposition/set up the plot/set the plan in action that carries the main male character to victory. He doesn’t have a love interest of his own, meanwhile the most important person in his life is obsessed with a woman he barely speaks to. Why should he care so much about someone who only takes? Why is he committed to this one-way friendship? What does he think of taking the backseat, providing support, submerging his own will for the sake of a person instead of an ideology?

On A’s part: if he’s a red-blooded heterosexual male character who pursues a woman as is acceptable, why does he dig himself so deep in with his designated ally? Through dialogue and because he has to in order to show the audience, he exposes his heart and soul to C and keeps him in his pocket for as long as we are watching, so why then does he cast him aside so easily? He invests the most time and energy into his relationship with C, cultivating love and loyalty there, but he draws the line so firmly in the sand that the audience is sure he’ll never, ever step aside for one minute to follow the friend. Why does he choose a man for his emotional battery? Why doesn’t he communicate with his supposed partner? Why does he choose to use B and C for sex and solace respectively, and why don’t they ever mix?

The gender dynamics wrap around to simple: women aren’t up to being equal partners to a cool guy, so you need a male wife to do everything for you and appreciate the protagonist’s sick abilities. romance with a man is perverse and impossible, so you need a female love interest to prove that the protagonist isn’t gay and fulfil the audience’s needs. But in-between all of that you could ask some interesting questions of the spoke character, A, the male protagonist whose actions are taken as normal. the question being: bro. what’s wrong with you