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sammyisradical · 2 months

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First ever tumblr post, ooh I'm currently in the middle of analyzing/taking notes on all of the 'alien' related things in Lilo and Stitch, and I figured I could start posting my rough drafts here before everything goes into powerpoint form. Since I organized the notes by character, we're starting off with my favorite silly guy: Gantu :3 Movie 1 (Lilo and Stitch): -Just wants to prove himself worth to the Grand Councilwoman, this poor man -'Does this, uh, look infected to you?' I'll be touching back on this with more evidence later, but I'm convinced that he's very focused on being clean/sanitary -His name is pronounced in 2 different ways; G-aun-tu and G-an-tu (though the correct pronunciation is G-an-tu) -He was retired from his job, not fired Movie 2 (Stitch! The Movie): -unlike when he was working for the Grand Councilwoman, there is a CLEAR distaste for Hämsterviel, and I feel like he's only there because he needs somebody to be loyal to/get approval from -From here on out, he is CONSTANTLY using 'trog' as an insult (mentioned in the 1st movie as a negative term) -When going to collect Jumba, he gets the door slammed in his face, THEN he rings the doorbell, how polite! -Gets called fat by Stitch, and UNDERSTANDS IT. He CAN speak the same language! -When he activates hyperdrive, he goes 'My turn this time!' indicating that he remembers what Stitch did in the 1st movie -The amount of NASTY eye brow raises and glares he gives Hämsterviel is insane, which further proves my point that he's just there for a job -Doesn't like bologna because it's too fatty, THIS MAN IS BODY CONCIOUS -He keeps apologizing for things. When he interrupts Jumba's joke, gets told he's messing with the punchline, he apologizes. Then, when Hämsterviel yells at him to stop apologizing for things, HE SAYS SORRY AGAIN -Egg salad enjoyer (real) TV Series (Lilo and Stitch: The Series): -Always, ALWAYS bothered with Hämsterviel calls, there's never a time where he's actually willing to go out to catch experiments -'I hate sticky!' and 'That can't be sanitary..' circles back to my point; HE LIKES BEING CLEAN -refers to his mother as 'mumu' -accidentally calls himself Captain, then corrects himself by adding 'formerly' right after -He can hula! He actively ignores Hämsterviel when he calls so he can keep having fun with his silly hobby -'I'm taking your tiny raviolis!' you think he's sick of sandwiches guys -Reuben called him daddykins and babe. Do with that what you will -HE LOOKS LIKE A WET CAT WHEN HE GETS YELLED AT -'San Francisco? Oh, double blitznak..' the writers really don't like San Francisco, and neither does Gantu -Going back to the point that he doesn't really want to work for Hämsterviel, he tries to talk himself out of going out in the rain to hunt an experiment; 'He doesn't need one little experiment,' 'how would he even know?' etc, etc.. -'As you say, aloha' is said while leaving, which means that he knows that 'aloha' can be used for a greeting and parting word That's all I've got so far, but I figured posting something would be fun :3

#captain gantu #lilo and stitch #character analysis #character notes

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thedivineerotic · 11 months

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The 4th House Experience Pt. 1:

(The Ugly Duckling)

Case Study: Lilo Pelekai

“Home is where the heart is.” - Anonymous

“Home is not where you live, it is where you belong.” - African Proverb

Out of all the water houses (4th, 8th and 12th), the 4th house is given the least amount of attention in online astrology circles, ironic considering that is the only one of the three houses to also serve as an angular house. It doesn’t share the dark, esoteric reputation that makes the 8th and 12th houses such popular houses, but just because it deals with relatively “lighter” topics such as family, the home, ancestry, roots and history doesn’t mean that it isn’t deep. As a matter of fact, one could argue that it is the deepest of the water houses seeing that it is the only one below the horizon. When I first delved into astrology, admittedly the 4th house was not one that garnered much of my attention and for a while I actually considered it one of the more boring of the astrology houses but upon further growth, study and reflection the depths of it became very apparent.

And they were presented perhaps no better than the little girl whose character won me over more than any Disney princess both as a kid and now.

The movie lilo and stitch ironically starts with Lilo swimming in the depths of the ocean. She rushes from the beach to make it to her hula dancing lesson. Upon getting there she is immediately singled out for being late, being wet and the seemingly strange explanation of why she had to feed the fish Pudge a peanut butter sandwich as he has control of the weather. Her instructor nor the other girls in the class understand the reasoning behind why her routine with Pudge the fish is so important and ostracize her, with the defacto leader of the small girls’ group Myrtle going as far as to call her “crazy.”

And immediately getting her ass beat because of it.

Unfortunately Lilo is ostracized by her peers, robbed of a sense of belonging from a very young age. Aside from her sister, her sole sense of belonging comes from her doll “Scrump” whose appearance scares the other girls and further causes her to feel like a misfit.

Later in the story we get the explanations to her seemingly strange behavior, we see that her Tuesday routine with Pudge and the importance of him controlling the weather comes because her parents died while driving in the rain. Her being nostalgic and an old soul sets her apart, her favorite artist being Elvis Presley. She latches onto “Scrump” because she is lonely and has no friends. She makes a wish on what she thinks is a shooting star and prays for a friend (wishes being an 11th house theme) and she is sent Stitch, an alien posing as a pet dog, fitting considering pets are a 6th house theme and the 4th house being 6 spaces from the 11th house. Although he too is different, something that uneases her older sister Nani almost immediately, and does not seem like a normal dog, Lilo embraces him from the very beginning, again speaking to Lilo’s nature to offer other misfits a sense of belonging like she herself doesn’t have.

The two misfits go on a series of adventures around the island, but even in that we can still see Lilo’s desperation to belong as she apologizes and still attempts to befriend the girls who have bullied her and treated both herself and Stitch as pariahs.

Later in their adventures we see them eating at Nani’s job. The 4th house is representative of the sign of Cancer, opposite of the 10th house which is representative of the sign of Capricorn. Nani displays many themes of the 10th house, tirelessly bouncing from job to job to provide for Lilo and although she initially wanted to fulfill Lilo’s wish and give her a companion, Stitch threatens her job search and the already flimsy structure of their house so much that she can’t afford the sympathy in gifting him a sense of belonging like Lilo can. She is just about to throw Stitch out of the house when Lilo brings up a quote from her deceased parents, Ohana.

“Ohana means family…”

Despite being a young girl, Lilo is very attached to the memory of her parents, keeping a picture of them underneath her pillow. She also keeps a physical book copy of the “The Ugly Duckling”. In it she explains the story of a baby duckling that is sad because “he’s been left behind by his family and nobody wants him. But they hear him crying and they find him and now he is happy because he knows where he belongs.”

The night when Stitch threatens to run away, he takes her copy of the Ugly Duckling with him. Lilo tries her best to convince him to stay, fearing losing the only friend other than Nani that she has ever had. When he still leaves, though disappointed she says that she will still never forget him as she “never forget anyone who leaves” before looking at the family picture with her parents again and tucking it back underneath her pillow.

The next morning Stitch comes back, trying to escape capture. Naturally she misses her friend and helps him to evade from Jumba and Pleakly trying to arrest him, even going so far as to sacrifice her doll “Scrump” to blow up in the latter’s face. Things unfortunately go too far when their literal house ends up being blown up. When Stitch finally reveals himself to be an alien, she feels betrayed, as if Stitch took advantage of her need for belonging with his need to escape (the 4th house and 9th house themes again being at odds as the 9th house is 8 spaces from the 4th house, the 8th house signifying deception and destruction). When she is taken instead of Stitch she feels defeated, fearing losing her older sister and her home of Hawaii, she officially belongs to nothing.

Someone that gave her a sense of belonging has left her behind once again.

Finally at the end, upon being rescued and securing Stitch as her pet and best friend for good, Lilo has finally found her sense of belonging. Despite being robbed of a life with her parents, her natural family, she is able to find a family, a tribe, one made up of her older sister along with fellow misfits and aliens just like her.

No one got left behind and no one got forgotten.

As a 4th Houser, depending on the conditions of the house, your sense of belonging has likely fluctuated throughout your life. No one knows to highs a sense of belonging brings and the low a sense of not belonging brings like you.

You may some severe abandonment issues and may have fought to be included, to feel you belong in circles where others were seemingly accepted easily. And if you have it, you fought hard not to loose it.

But in the end, you stop fighting to belong and another alien, or group of aliens, find you.

So even if people have left you in some circles, even if people have pushed you out of others, here's to finding and holding tight to your own “Ohana”.

And keeping onto those memories along the way!

Signed, The Divine Erotic (4th House Moon)

#lilo and stitch #lilo #nani #character analysis #film analysis #astrology #sidereal astrology #vedic astrology #4th house #4th house moon #4th house placements

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artist-issues · 1 year

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Okay it’s not like I was rewatching Lilo & Stitch for the seventeen-hundredth time or anything

But I think people forget how dangerous and scary and what an outright powerhouse Stitch is when he’s in his normal state.

Like. At the beginning, Jumba says, “‘He is bulletproof, fireproof, and can think faster than a supercomputer.”

But then during the movie we see him do things like dance and spaz out when the flash bulbs on cameras are in his face, or sink in water. And we just kind of forget that he’s supposed to be dangerous.

But Stitch escaped the entire galactic armada by smashing the console of his stolen police cruiser spaceship and hyper-drive jumping across galaxies to crash land on one of the smallest land masses on an isolated planet…while the guidance system was disabled. Do you know what that means? It means he did those calculations in his head. While being hounded and shot at by an entire army of enemies. And he managed to disable the mothership in the same move to prevent immediate pursuit.

Someone had to write that into the movie. Someone had to decide that specific method of escape. That was not an accident. this is just your friendly reminder that for most of the film, Stitch is holding back. He’s pretending to be a harmless Earth creature to avoid capture while he plots a way off of the tiny island. If not for Lilo reforming him, he’d be an unstoppable monster. I mean, he only gets near his one weakness, water, because he’s so interested in being part of her earth family.

Think about it. We see him:

- plummet several thousand feet and bounce off of three mountains. - hit the windshield of a moving spaceship.

- take the full blast of two fiery space engines, point-blank.

-catch a plasma core in his hands.

-get shot by a plasma cannon. - carry several hundred tons of weight between semi trucks and 20-foot-tall space aliens.

- form a bomb out of nothing but a doll and a roller skate.

I mean, early in the movie, they need to knock him unconscious, and the filmmakers don’t just hit him with one truck. That would be something you might expect from kids movies today. Just bonk the character with any old hard object and everyone will forget that he’s supposed to be bulletproof and all that jazz and just accept it. But no. Lilo & Stitch’s filmmakers say, “‘Oh, he’ll get knocked out—but it’s gonna take multiple semi trucks to do it.”

And the fact that he can do all of this and survive all of this makes his bond with Lilo and decision to be good that much more poignant. Because everything else he was designed for works with crazy efficiency. He’s indestructible, check. He’s powerful, check. He’s destructive, he’s mean, he’s cruel—check. So when he dances and plays and surfs in the only element that poses a threat to him and calls a little human crew his family, that’s a big deal.

Because he could just be straight up wrecking everything like the world is his Jenga tower and not even the G-Force they use to halt Godzilla could’ve stopped him.

#I feel like we forget this kind of thing about Toothless too but on a lesser note #stitch #lilo and stitch #lilo & stitch #l&s #experiment 626 #disney #disney fan #meta #analysis #animated #2002 #movie #chris sanders #dean deblois

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malucofiliz · 2 months

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Nome:Lilo-Fazendo Um Desejo

Custo: 1 | Lor: 2 | Raridade: Rara

Força: 1 | Força de vontade: 1

Tipos: Clássico-Herói

Habilidades:

Cometários

tudo é baixo menos o Lor, e não pode virar Tinta, ou seja, ou essa carta setor-na um dos primeiros saques ou ela é inútil

Resumo breve: carta eficiente somente para ganhar Lor

#lilo and stitch #lilo e stitch #disney #lorcana #lorcana disney #disney lorcana #análise #analysis #opinião #opinion #card #card games #card game #cards #lilo #maluco feliz

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wonderfulworldofmichaelford · 2 years

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On my recent super-popular post about how Lilo & Stitch has no villains, there’s one comment that reoccurs the most (aside from the one about how the real villains are colonialism or the United States government):

So you know what? Let’s do it. Here we go with

Psycho Analysis: Dr. Jacques von Hamsterwheel

"It's Hämster-viel!”

Oh, sorry. My bad. Let’s try that again:

Psycho Analysis: Dr. Jacques von Hämsterviel

(WARNING! This analysis contains SPOILERS!)

This diminutive bastard certainly looks like a harmless little critter, but don’t let looks fool you; he is the unholy union of that French asshole from Monty Python and the Holy Grail and Dr. Habitrale from the video game Stitch: Experiment 626 and is every bit the card-carrying villain Jumba is. However, while Jumba is all talk when it comes to being evil due to being a genuinely nice and extremely gay alien, Hämsterviel is just completely without redeeming qualities (and even worse, he’s heterosexual). He’s a nasty, miserable little bully, and quite frankly is just what the series needed.

Oh, and he was only in the DTV sequels and series, not the first movie. That’s why he wasn’t in the original post, guys. I was talking about the original film.

Motivation/Goals: This guy, in true evil scientist fashion, wants to conquer the galaxy. To this end he sends out Gantu to do his dirty work and acquire the 625 experiments who aren’t Stitch. If you’re looking for depth, Hämsterviel is not your guy.

Performance: No, that’s not John Cleese there; that is Jeff Bennet, the professional voice actor you might know as the titular character of Johnny Bravo, Petrie in the DTV Land Before Time sequels, Dexter’s dad on Dexter’s Laboratory, Brooklyn on Gargoyles, the one and only Candlejack from Freaka

...Sorry, don’t know what happened there. Anyway, as you can see from just that tiny sampling of his career, the dude is insanely talented and is able to pull off a lot of voices. Is it any wonder he’s killing it in this performance as an evil alien “hamster” with an ego as big as he is small?

Final Fate: Hämsterviel was a fool to think he could stand up to the power of family. Lilo, Stitch, and everyone else (including Gantu and Reuben) team up and beat his ass, sending him right back to jail… only this time, there’s no one who’ll be willing to bust him out. For a so-called evil genius, he really didn’t think this through very well.

Final Thoughts & Score: I think it is really easy to just write Hämsterviel off as an unnecessary addition to a franchise that didn’t need a cartoonish villain to cause conflict, and who sullies the tone and message of the original film. This just goes to show that sometimes doing what is easy is fucking stupid, because Hämsterviel rules.

Okay, he’s not the greatest or most complex villain who has ever existed. In fact, he’s fairly simplistic, but considering he’s the villain of a “Monster of the week” show that is a lighthearted continuation of a slightly heavier sci-fi drama, this is acceptable. He has enough quirks and characterizations that he is immensely fun to watch and, what’s more, watch him eat a big serving of humble pie nearly every episode. He’s like Rita Repulsa, except less sexy.

And honestly, I think even if the series is lighter and goofier with him in it, he provides a nice balance while reaffirming the core found family values of the series by acting as the antithesis to Lilo’s family. Hämsterviel is just completely, irredeemably evil; he refuses to change, and even when he’s finally defeated and hauled off in Leroy & Stitch, he hasn’t changed his tune. His cruel, abrasive attitude caused him to belittle and backstab Gantu and Reuben so much that both of them ended up betraying them, and the guy also threw Jumba under the bus. He’s just horrible, and he fails almost every single time. And do you know why? Because he ain’t got the power of family, baby!

Yes, Hämsterviel showcases the sort of miserable, unpleasant failure you’ll become if you’re a self-absorbed, self-reliant prick who thinks you’re above such silly things as “Companionship” and “love” and whatever. Even if Lilo’s family is a bit messy and at odds sometimes, they all love and care about each other to the point where, when given their life dreams and scatter across the galaxy, they decide that being a big stupid family together on Earth is way cooler and more important, and you know what? They’re right, because they save the world and send Hämsterviel to the space pokey. He is literally the only kind of villain who could possibly work in the series: An arrogant jackoff who is incapable of even understanding what it means to have a family.

As far as fun, Saturday morning cartoon-style villains go, Hämsterviel is a fun little villain, and definitely one of the most memorable parts of the sequels. I almost thought about giving him a 7, but honestly I think he’s iconic enough to get an 8/10. I think he can stand aside some of the great Disney villains as a fun comedic villain.

Oh, and did you know he actually had a cameo in the first film?

Maybe I should have mentioned him in my original post after all...

#Psycho analysis #Lilo & Stitch #Stitch #Dr. Jacques von Hamsterviel #Hamsterviel #Hamsterwheel #Jeff Bennet

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twistedtummies2 · 2 years

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Good & Evil - Heroic Antagonists

Welcome to Good & Evil: A Study of Heroes & Villains. I’m discussing different forms of heroic and villainous characters, different types of protagonists and antagonists, and providing examples of them each from various sources. Yesterday, I discussed the concept of the Villain Protagonist. This time, I will be discussing the polar opposite of that: the Heroic Antagonist. If the Villain is the Hero of Their Own Story, as the saying goes, then it stands to reason the opposite is generally also true: the Hero is the Villain of Someone Else’s Story. Heroic Antagonists are, once again, exactly what they sound like: they are the antagonist of the tale, but they are also the good guy of the piece. Just as long as there have been Villain Protagonists, so, too, have there been Heroic Antagonists, but if you think having a Villain Protagonist automatically equates to there being a Heroic Antagonist, you’d be quite wrong. I used “Medea” as an example of an early Villain Protagonist story in my previous entry: Medea, herself, is undeniably the villain of her own story, but the main antagonist - her cheating husband, Jason, who abandons her and scorns her despite all she’s done for him and despite being father to her children - is hardly the most “heroic” character out there, at least by most modern standards.

This is not to say that’s never the case. Take, for instance, the video game “Assassin’s Creed: Rogue.” The story focuses on one Shay Cormac, who is a member of the heroic Assassins - a secret society - at the start of the story. However, by the end of the game, Shay has turned his coat, and become a member of the villainous Templars, the Assassins’ arch-rivals. By making the main protagonist follow the path of a villain, albeit a sympathetic one, this inevitably causes Shay’s former allies to become his antagonists: chiefest among them is his best friend, Liam O’Brien. At the start of the game, Liam and Shay are practically brothers, but by the end of the story, Shay is forced to kill his own friend, in order to prove his loyalty to his new cause. Liam, meanwhile, remains steadfastly true to the beliefs of the Assassins, and despite the betrayal he feels at Liam’s hands…when Liam says he did it to try and help the world, Llam’s final words are, “I hope that world is a good one.”

For me, the quintessential Heroic Antagonist - the one I think of immediately when I ponder the phrase or archetype - is Tom Hanks’ character in the film “Catch Me If You Can,” called Carl Hanratty. Carl is a good guy doing a good thing: he’s a federal agent who is out to capture an elusive criminal. Carl understands that the world isn’t black and white: he sympathizes with the person he’s chasing, at times, and in the end, the two of them actually become friends. The criminal he’s after - Leonardo DiCaprio as Frank Abagnale, Jr. - is, in turn, not really a villain so much as an anti-hero. For Carl, catching Frank is just a job he has to do, and it’s not always one he does happily. And while the two of them cause trouble for each other, in the end, not only does Carl help Frank turn over a new leaf, but the pair go from rivals and nemeses to partners.

It wouldn’t feel right if I didn’t give Twisted Wonderland some attention, in my mind. Ironically, though, the character I’ve chosen to discuss is NOT one of the many, MANY lads based on the classic Disney Villains of yore. Instead, I decided to credit Neige LeBlanche: the character based on Snow White. While the main antagonist of Chapter 5 in the game is the Evil Queen character, Vil Schoenheit, Neige actually counts as an antagonist, too: the whole chapter revolves around a song and dance contest, which Vil and the protagonists of the story are desperate to win. Neige is their competition, and he’s in it to win. However, Neige is not depicted as a spoiled brat, nor as an uppity know-it-all, nor any other kinds of really negative personality types. Neige is, in fact, a very earnest, sweet, and honestly not exceptionally bright young man who holds no ill will towards anybody. He just likes having a good time with his friends, and genuinely likes Vil. There’s not a mean or evil bone in Neige’s body: he is ultimately only an antagonistic presence because the protagonists need to try and defeat him in the contest.

Cobra Bubbles from the Disney movie “Lilo and Stitch” may not be the MAIN antagonist of his respective movie, but he is, nevertheless, an interesting example. Cobra is a former Men-in-Black-style government agent who has, somehow, become a social worker. Throughout the film, his whole deal is trying to make sure Lilo is well taken care of by her sister, Nani; the threat Cobra poses is separating the sisters and sending Lilo away if he feels Nani can’t do the job properly. There is no ill will in Cobra’s actions or desires: he legitimately wants to do what’s good for Lilo, and he understands Nani’s position. It’s not a job he LIKES doing, he’s not out to try and hurt anybody, and as the film goes on, we see more and more that he truly is a good person just doing what he thinks is best. He’s not misguided or in any way rotten: he’s only the antagonist because he threatens the precious state of “Ohana” the family has managed to maintain.

A very recent example is The Chief from the Netflix version of “Carmen Sandiego.” In earlier versions of the franchise, the Chief was a supporting Hero figure, with Carmen as a (usually) Sympathetic Villain. This is not the case in the Netflix show, where Carmen is reimagined as the Misunderstood Hero, trying to stop the Villains of VILE. The Chief and her team, the ACME Detective Agency, remain the de-facto heroes of the story, however, but they are also the secondary antagonists after VILE and its agents. However, the Chief herself is not in any way an evil character: she doesn’t want to harm Carmen, or necessarily even bring her to justice. She wants the same thing Carmen wants, to stop VILE in their tracks. The Chief becomes the antagonist simply because she misinterprets Carmen’s actions.

Heroic Antagonists may not get as many kudos as Villain Protagonists, but they are, in my opinion, no less interesting. In stories where a Villain Protagonist is present and facing a Heroic Antagonist, the Heroic Antagonist’s role is usually fairly straightforward: it’s the usual “Hero vs. Villain” game, just now we’re seeing it from the opposite side of the spectrum. There’s nothing wrong with that, of course, but just as Villain Protagonists will not always face Heroic Antagonists, these types of characters will not always face Villains either. What’s intriguing about Heroic Antagonists is that they effectively go against the grain of what most Heroic archetypes stand for: while most Heroes provide hope of some kind, acting as beacons in a dark world, Heroic Antagonists are usually there to create tension and suspense. We know they’re out to do what’s best, but because they stand in opposition of whatever our main character may be, they become characters we almost dread showing up. Usually, however, their good qualities do shine through, and remind us once again that there are two sides to every story…and when a story reaches a happy conclusion, you can be sure these Antagonists will be the ones who help to make it happen.

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tinysillylemonman · 2 years

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I’m making this a separate post because I’ve actually been thinking about this a lot, sorry if it’s messy or confusing.

Here’s the link to the original post (I hope it works)

https://tinysillylemonman.tumblr.com/post/692858162945064960/what-would-everyone-favorite-disney-movie-be

The original tags:

# I feel like hunter would also like Lilo and Stitch

# like. stitch was seen as the creature that his

maker made # a monster made for destruction.

and the monster did that job well # his maker

was proud of him for the destruction he caused.

but then stitch finds people who don't only care

about him because of his # destructive

capabilities # he finds a girl who is willing to

look past his destructive outside and see that

he is something worthy of love and a family

# and even though his past is still chasing him.

he's not abandoned by lilo # and eventually he

finds a family with them # idk I feel like hunter

would begrudgingly watch the movie with Luz

and end up crying because wow that blue alien

is just like him # also the fact that stitch has no

biological family to come and get him when he

says that he's lost # because he is the only one

of his kind

So, adding onto the tags ( I kinda just explained the movie in them). Hunter was created for the use of destruction (hunting witches/wild witches) and seen by the coven as an extension of Belos, he was used to dirty work for him. We don’t really know much about grimwalkers but I assume that they were seen as something supposed to serve their creator’s will (like how Stitch was created to cause destruction, which was what his creator wanted him to do).

But then Hunter meets Luz and then other people (Amity, Willow, Darius, Gus) who don’t really care about what he can do for them, they just see him/come to see him as another kid. Especially with Amity’s thing about using everything as an opportunity to justify your existence and finding people who will care about you for you.

In Labyrinth Runners we can guess that Willow got Hunter away from the coven scouts and Adrien while he was knocked out, she still wanted the best for him despite the fact that his past (the coven) was chasing him. Luz even swaps places with him in Clouds on the Horizon to ensure that he doesn’t get hurt by Kikimora (which is a lot like the scene where Lilo is taken by the Commander guy while Stitch is left on Earth).

And, the ugly duck thing. Stitch goes outside and says “I’m lost” because he’s hoping that he’ll be taken in by a family just like him. But then he’s told that he has no biological family, he is the only one of his kind. Hunter is also the only one of his kind, the last Golden Guard and the only grimwalker to exist currently. He has no “real” family to turn to so he goes to Hexside, the place where he had felt safe for the first time. And just like Stitch, he finds himself a new found family who cares about him despite his past (and hopefully despite him being a grimwalker). He starts to realize, and I hope he continues to realize in s3, that it doesn’t matter that he’s not like everyone else. Because they care about him despite that.

Ok oops I went on a while other rant I hope this makes sense. I really didn’t expect to write a whole essay on why Hunter and Stitch are so similar but here we are.

#anyways I don’t think anyone but me cares about this and I kinda derailed the original post but oh well #the owl house #toh #toh hunter #lilo and stitch #hunter the owl house #analysis #maybe #toh analysis #it’s more like an insane rambling

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sakuraswordly · 3 months

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Source:

#lilo and stitch #lilo pelekai #lilo & stitch #disney #Disney #design analysis

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yumeka-sxf · 9 months

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An analysis on Anya (an Anya-lysis!)

As promised in my Twiyor season 1 wrap up post, it's time for me to give Anya time in the analysis spotlight – an "Anya-lysis" if you will! (yes, I've been waiting to make that pun!)

*I apologize in advance for the length of this post. I felt that splitting it into two would have hindered the flow of the analysis, so I kept it as one long post. But I promise it's not as long as it seems...the high number of images make it seem longer!*

Before I get into my analysis, I wanted to preface this post with a fantastic quote from @incomingalbatross, who perfectly describes the unique role Anya has in the series.

"Realizing that Spy X Family really is The Anya Show to me, and not just because "oh look, cute baby child" but because Anya is the center of the story. She has so many secrets resting on those tiny shoulders. She is juggling so many agendas. She's the one who knows everything and her choices drive the plot—she chose Twilight, she chose Yor, she chose Bond—and even when you look at the other characters and their relationships she IS the star they orbit around! Twilight and Yor's relationship is built on their shared care for Anya! And more than that, at the core of it all, Anya's goals are the ones we're invested in.

The center of this story isn't the superspy trying to do his job, or the assassin trying to do hers. It's the little girl who said "FAMILY" and pulled the building-blocks of one close around her with all her tiny strength, and everyone else in this story keeps being moved and changed and redirected by the force of Anya's attachments to her family.

And at the same time she is SO SMALL"

While Twilight may be the protagonist, and Yor the deuteragonist, Anya is definitely the main character in Spy x Family. Not only would there be no "family" without her bringing Twilight and Yor together, but her status as the main character is quite unique among shonen series, or even media in general.

Typically in stories where a little kid (like, below the age of 10) is the main character, either the majority of other major characters are also little kids, or the kid's main purpose is to be a cute comic-relief foil for the adults. But while there are kids Anya's age in SxF, the other important characters in the plot, namely Twilight and Yor, are not. So rather than the typical scenario of the main kid character constantly being surrounded by and working off their fellow kid characters, Anya is more often interacting with her adult parents. And it's not just for cutesy moments and comic relief – the true heart of SxF is about a fake family that could any minute be destroyed, with only little Anya being aware of this grim reality and doing everything she can to keep things together...all without the ability to be truthful with anyone, not with the adults or her fellow kids. While her parents are each secretly fighting for their own vision of world peace, Anya is too…the "world peace" of the family she doesn't want to lose. It really is a one-of-a-kind scenario for a little kid character.

But having such a special main character role doesn't necessitate a well-written character. But in Anya's case, she definitely is. In fact, I think she's the most well-written little kid character I've ever seen.

Too often in media little kids are portrayed as being overly cutesy, overly bratty/whiny, and/or act much older than they should. A key factor in making a little kid character believable is that you can't just make them cute and/or emotionally immature...they have to also be weird. Anyone who's spent time with little kids knows all the weird stuff they say and do because of their less restricted child brains and ignorance about the world. A good example of this is Lilo from Lilo and Stitch (another well-portrayed kid character). The movie does a good job showing all the weird habits Lilo has, like the bizarre origins of her favorite doll, the freaky voodoo stuff she does to the local bullies, and how she totally buys the fact that Stitch is a dog. Likewise, Anya has tons of little endearing weirdnesses, starting with her wanting a spy dad and assassin mom simply because she thinks it's "cool," to the funny lingo she develops like "ooting" (odekeke) and "ohayou-masu" ("happy morning," a.k.a, an adorably incorrect way of saying "good morning"), to thinking it's acceptable to give George a leaf as a parting gift (then wanting it back later), to her comical remarks whenever she thinks Loid and Yor are being "flirty."

Another realistic aspect of Anya's character is the fact that she's not super-smiley and overly cheerful/bubbly like many other main character kids. Not that she doesn't smile and can't be cheerful, but her default expression is a look of uncertainty or wide-eyed cluelessness, which makes sense considering her upbringing (I'm talking about her default expression in canon, not in merch or other marketing as characters tend to always smile in these even if that's not their usual expression – just look at Yuri's merch!) Most of the time when other characters are talking, she looks perplexed, like she isn't sure what's going on but she's really trying to learn/understand.

These expressions make more sense to me than a child who smiles all the time, because she's at an age where she still doesn't understand the right emotions to feel at the right time. A fantastic example of this is when she punches Damian – her face is totally blank! No anger, no fear, no embarrassment...because she still hasn't learned the proper emotions to feel in a situation like this.

All she knew was what Yor told her and that she was bothered by Damian's attitude. In fact, the iconic smug smile that she shows in that scene is the result of her not knowing how to properly react when faced with bullying (cry, get angry, etc).

Similarly, she has a very bored expression when all the kids are upset about George's plight, as if she doesn't really get what all the to-do is about. This also creates good contrast to how the other Eden kids from their rich families were probably forced to grow up fast, and thus act more like 8-10-year olds than the 6-year olds they're supposed to be. Meanwhile Anya, who's supposedly younger than them, stands out with her more childlike mannerisms.

This all makes sense not just because she's still a little kid, but because her view of emotions has been skewed by the fact that she can read people's minds. So she has to not only learn the socially proper way to react to people's actions and words, but also when she should, or should not, react to what's on their mind. I believe this is why she has such a wide variety of expressions compared to the other characters – her mind reading has forced her to experience way more emotions at such an impressionable age, though not always with enough context and guidance to identify when they're socially acceptable to express.

There are way too many examples of Anya's incredible range of expressions, so I'll just have to pick a few!

Put all this together – her childlike reactions to situations, but with a twist because she can read minds, plus her endless array of comical faces, and you have one of the funniest characters I've ever seen.

Because Anya has such a wide variety of expressions, and her default expression is that of uncertainty, there's a lot more meaning when she does smile. The shining smile she has when Loid praises her for getting a stella, when she plays with Bond for the first time, and when she meets up with Becky after their shopping trip, have a lot more significance because that's not an emotion she expresses all the time. Since happy/cheerful isn't her default mood, the emotional impact of scenes where she does smile is all the more stronger.

Likewise, considering her age, Anya isn't much of a crier either. Having a kid character burst into tears and throw temper tantrums is common, but the amount of notable times Anya has exhibited this behavior is relatively few. She did have a tantrum early on when Loid stopped her from going into his room and when she demanded that Bond be her dog…but those are the only notable cases in my opinion. She has shed tears here and there, but again, not a significant number of times. Similar to the scenes where she smiles, when she does cry (in a non-comical way), like when she's reminded about her mother at the Eden interview or when she's finally reunited with Yor after the bus hijacking, it has a lot more meaning.

Another common trait for little kid characters is that they're usually a representation of total purity and innocence. While Anya doesn't have the same dark ulterior motives and immoral occupations that the adults have, she's not shown to be a complete angel either. Even though good intentions are what drive her, she can be a manipulator, mischievous, and even cocky at times, like when she insists on being called' "Starlight Anya" after getting her first stella, when she was being overly competitive with Damian after the bus hijacking, when she was joking around on the bus after finding out the bombs were fake, and when she almost attacked Bond after he chewed up Penguinman. But all of these examples only serve to make her a more fleshed out character as opposed to just being the cutesy, happy series mascot all time.

Obviously because of her mind reading powers, she manipulates the adults around her all the time, but again, there's never any malice involved…it's clearly the result of a little kid doing everything in her power to keep the happy family she's created. And due to her mind reading ability, she's learned to be much more proactive than reactive – she knows what people are going to do before they do it, and what their intentions are without them saying it. This has allowed her to become resourceful way beyond her years, which has led to her saving the lives of both Twilight and Yor on more than one occasion.

One emotion Anya does have an abundance of is empathy. Typically children don't start to develop empathy – the ability to understand and relate to the intentions and feelings of others – until a bit past Anya's age. But because of Anya's ability to read minds, it makes sense that this part of her development would take priority over something like proper speech and school smarts. Her empathy extends to all the adults around her, her fellow kids, and even animals. While a lot of her empathetic actions stem from her need to help keep Twilight's and Yor's identities secret and thus maintain the peace of the Forger family, there are many examples where this isn't the case and she's simply acting out of nothing but concern for others: comforting the Eden cow because she understood it was scared, worrying about the well being of the Project Apple dogs, leaping into action when she heard someone drowning, and comforting Damian when she knew he was scared during the bus hijacking.

Even when identity reveals aren't at stake, she still comforts Twilight and Yor when they need it, like when she thought Twilight had a nightmare after his backstory reveal, and when she knew Yor was concerned about Loid's relationship with Fiona.

The bus hijacking was a prime example of Anya being empathetic, but not to an unrealistic degree. She empathized with Billy enough to diffuse the situation, but not on a deeper level because, again, she's a little kid. She understood he was upset, but she didn't have outpouring sympathy or deep, introspective thoughts about his situation – that's something an adult would do, not a little kid who's still learning what emotions to feel at what times. What she eventually does is something that makes perfect sense both for her personality and age. With some great resourcefulness on her part, she was able to figure out what she had to say to manipulate Billy the right way, but at the same time she was playing it by ear and basically clueless as to the depth of the matter, yet mustered up all the courage she could…typical Anya.

There are a lot more examples like this of Anya's sense of empathy, too many to list. But the bottom line is, although Anya does use her powers to manipulate people to benefit her own situation and those she cares about (who can blame her?) it's clear that even at such a young age, she's a genuinely good girl who wants to help others and do good in the world, even if she's too young to realize it yet. Not unlike her parents, really. I think we'll be searching a long time before we find another 1st-grade aged character as awesome as Anya.

#spy x family #spy family #sxf #spyxfamily #anya forger #sxf analysis #sxf spoilers #sxf manga spoilers

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imagitory · 10 days

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@andrewmoocow Personally I find them to be misguided. There is a very well-done analysis video I've cited before that talks about the animation and why it ends up looking like AI, and I think it really addresses this argument better than I could --

youtube

-- but TL;DR, the animation looks "fake" largely because of stylistic decisions (l.e. turning off motion blur with the thought it would look "more like 2D") that weren't well thought-out. And I actually think the film's writing issues run into the same problem.

Because here's the thing -- writing high fantasy is not as easy as it looks. I can testify to this because I myself am writing a draft for a high fantasy novel right now.

All these years, Disney has been in an advantageous position with their animated films largely being adaptations of previous works, since they're already given a lot of the parameters a writer needs to build a world, plot, and characters. In a Snow White adaptation, for instance, you need a vain queen, an innocent princess, a prince, seven dwarfs, a magic mirror, and a poisoned apple, as well as a fairy tale world where these things fit comfortably. And since so much mainstream fantasy is largely inspired by medieval Europe, that aesthetic remains very familiar with audiences to the point that you need a lot less explanation for things. We don't really need an explanation for the political landscape of Cinderella because we see "fairy tale kingdom" and immediately know it's an absolute monarchy led by generally amiable rulers. We're not surprised when fairies appear in Sleeping Beauty, or when a magical sword predicts who should be king in The Sword in the Stone, or when Tiana and Naveen are turned into frogs in The Princess and the Frog, or when trolls appear in Frozen -- all of these magical conventions fit within the usual fantasy aesthetic and really don't need any explanation or backstory. I'd hazard to say that most people -- aside from those nitpicky critic types who get all hung up on how many servants are in Beast's castle just because they saw a bunch of extra silverware in the Be Our Guest sequence -- just don't bother questioning these things. And the original material also gives some shape and form to the adaptation's story, characters, and overall feel. It doesn't matter how close the finished product matches the original idea or even how familiar the audience is with that original material -- it still provides a jump-off point and sense of focus for the writer(s), the same way fanfiction (even an AU fanfic) can, in contrast to original content.

All right, well, what about those Disney projects that aren't fantasy? Well, in the case of stories like Treasure Planet, Robin Hood, and Mulan, they're still based off preexisting properties that people will find familiar enough that the writers can focus more on the adaptation's unique additions and not focus on detailed backstories and explanations about how the world and societies depicted in the story work. It's a lot easier to just focus on the fantastical elements like the space tech, talking animals, or Mushu and the ancestors if the rest of the story and cast are relatively easy to understand. Even in the case of original stories like The Lion King (which admittedly was largely inspired by Shakespeare's Hamlet, but I digress), Lilo and Stitch, and Lady and the Tramp, they still exist in a non-magical world that closely resembles ours, with only superficial changes like animals being able to talk or the existence of aliens. Even quasi-historical settings like The Great Mouse Detective and Atlantis: The Lost Empire look enough like our real-world equivalent that their settings are largely recognizable to us.

In just about all Disney animated films, the screenwriters didn't have to world-build that much. They didn't have to put the character development and plot on hold to explain the rules of the universe these stories take place in that often -- not unlike how writers like Rick Riordan didn't have to explain as much about the country his hero Percy Jackson lives in, because his books are an urban fantasy where our real world is just "plused up" with magical elements. We don't need to know if gravity works on the story's characters the way it does for us. We don't need to be told about the political landscape, history, or terrain of our location. We don't need to ask whether dying is something our characters can come back from.

Wish, on the other hand, is an original story in a high fantasy setting that doesn't resemble our world. People might try to claim it takes place in the Iberian Peninsula, but come on -- Rosas is a completely fictional country in a world that has magic we don't know the rules of and countries that faintly resemble cultures from our world, but we don't know the histories of or how similar they actually are to their real-world inspiration. We also have a cast of characters we've never met in any other media and a story and messages that we know nothing about beforehand. This means that we have no preexisting framework going in for what's possible and impossible in this world; no frame of reference about who these characters are and what their histories are; and no parameters that the plot, characters, and themes must fit inside, whether based on the fantastical story being adapted or a real-world setting that's a lot like ours. And I don't think that Disney really thought through just how challenging it can sometimes be to tell this kind of a story without stuffing the script with a lot of "tell" and not "show," which, as just about any film person can tell you, is the exact opposite of what you generally want. In film scripts, you want to show your audience a lot more than you tell them -- this not only takes full advantage of the visual medium and communicates your point in a much more natural and artistic way, but it also lets your audience think for itself and come to its own conclusions.

Now of course, can you write a high fantasy original story that's easy to follow and evokes a lot of emotion in your audience? Of course! But it does take time and a lot of careful and creative world-building. J.R.R. Tolkien was the king of such things. George R. R. Martin has done it. Neil Gaiman has done it. Ursula K. Le Guin has done it. Even the writer of the Nimona graphic novel, ND Stevenson, did a good job of it! But I think it's quite clear that Wish's script was not in the works that long -- development of the original idea started back in 2018, yes, but it wasn't until January 2022 that it was announced Jennifer Lee was writing it and Julia Michaels was brought on to write the songs, so the film's current trajectory likely wasn't pinpointed until then. And if the film was released in November 2023, then that means Wish's script was finished in under two years. Although there are successful Disney scripts that I daresay needed only that much time (Frozen, for instance, was quite rushed, by all accounts), once again, those scripts were done for stories with some sort of preexisting framework that allowed the writers to skip explaining certain visual or contextual short-hand in favor of focusing on their own creative flourishes in character and story. They were written with a tighter focus on the plot and its players without the need to build a complete stage under them.

The reason some people want to cry "AI!" when they look at Wish's writing is that they're looking at a script that makes the rookie writing mistake of exposition-dumping in an attempt to make its audience care, rather than evoking emotion. That kind of exposition-dumping is something that most novelists usually have to trim and rewrite in future drafts of their work: it's a mistake done while the writer is trying to world-build enough that their audience understands all of these original rules, societies, locations, and characters they're not familiar with. This exposition is then often trimmed down before publishing, and when adapted for the screen it's often trimmed even further or even completely rewritten, in favor of more visual methods of conveying the same information. The Wonderful Wizard of Oz writes about Dorothy traveling down the Yellow Brick Road and about the long journey that takes her and her friends through a lot of side adventures on their way to the Emerald City: it's the famous film adaptation that cuts out the Kalidahs and puts the whole trip to jaunty music for the characters to sing and dance to. Wish could've communicated to us the importance of the wishes to their owners through more visual means, but instead feels the need to reiterate this idea over and over through written dialogue. And again, this is a common mistake by writers when they're inexperienced in creating completely original content, as opposed to spin-offs, sequels, or adaptations of other people's work.

AI writing is generally known for repetitive phrasing and sentence structure, lack of accuracy, and lack of a personal touch. As much as I'll agree that there are a lot of character and world-building choices in Wish that don't make sense, I don't think that's the same thing. There clearly was a story someone (or multiple people) wanted to tell about a person hoarding the precious ideas of other people away, even if it means those ideas can never be shared with the world -- it just wasn't a story that ended up being told that well. And I think this is why Wish is almost worth seeing -- it serves as a good example of why certain writing decisions work better than others and how writing for fantasy projects and/or "family entertainment" is an art form that's worthy of respect when it's done right.

To sum up my stance on the matter -- I think Disney just bit off way more than it could chew and then didn't give its writers enough time to properly digest it.

#disney #disney wish #wish (2023)#wish critical #analysis #opinion #oh boy here i go #personal

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sammyisradical · 1 month

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Continuation of my Gantu notes! Wahoo, I watched more episodes of the TV series, and instead of waiting to pile all of my notes up together, I'm just adding on! -Master of 12 martial arts, how fun! (including Galaxian Jujitsu), and when trying to learn how to kickbox, he insists on learning from a TV ad instead of just buying the tape -HE DOES NOT WANT TO BE EVIL. When he gets told in Ep. 12 that he used to be evil before his memory was wiped, he goes through HOOPS to make sure he doesn't go back to that -He likes painting pottery! -Flat out ignores Hämsterviel to watch his show (Look At This), which just further supports the fact that he does NOT want to be working for him, he's just doing it so he has a purpose -Actively reads the newspaper and doesn't like it when Reuben takes it apart -HE HAS EARS!! They just aren't visible -His fake human names that he's give himself include 'Ace Jackson' and 'John Bob Joe Smith' -Karaoke enjoyer! Wahoo! -HE WEARS BUNNY SLIPPERS! -There's canonically a lasered on image of Reuben on his ass. -Genuinely concerned that Reuben is offended when he refers to Stitch as 'trog,' since Reuben falls under the 'trog' category as well -According to him, he had an authoritarian father and no friends when he was younger -HE GETS SO SAD WHEN REUBEN YELLS AT HIM AND CALLS HIM A BORING FAILURE. HE TRUSTED REUBEN WITH HIS TRAUMA AND HE GOT HURT FOR IT. -He either gets into places by ripping off the roof, or ringing the doorbell, no in-between

#captain gantu #lilo and stitch #gantu #jumba jookiba #pleakley #analysis #silly little guy #lilo pelekai #reuben #disney

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dont-leafmealone · 1 year

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Sokka loves Jurassic Park and Pirates of the Caribbean; aside from that, though, he mostly likes biopics, but only the really good ones, and the gems of DreamWorks animation such as Spirit: Stallion of the Cimarron and The Prince of Egypt. The occasional antique whodunit may also tickle his fancy.

Katara likes The Hunger Games, though she (correctly) insists the books are way better. She shares Sokka's love for Jurassic Park, and would join the war on dinosaurs (on the side of the dinosaurs). She also has a secret love for the American Girl movies.

Toph likes anything with a sufficient amount of action scenes, and loves Aardman/DreamWorks' Chicken Run. She refuses to watch anything "gushy" but has a soft spot for Lilo & Stitch.

Suki's favorite movies are the Addams Family duology and The Princess Bride. Her views on The Hunger Games align with Katara's, and she enjoys the Pirates original trilogy.

Jet has a weird taste that it's probably better not to get into the specifics of as a result of being turned loose without supervision at a young age and just watching whatever was available.

Zuko doesn't watch "movies". He watches Films™. And he is insufferable. It annoys him to no end that everyone else is better at media analysis than him.

Azula also watches Films™ and manages to be more pretentious about it than Zuko.

Ty Lee seems like the chick-flicks and rom-coms type — and yeah, she likes those, but she's more likely to be found watching in-depth videos on astrology and spirituality, or gymnastic and circus performances. She also loves PIXAR and old musicals.

Mai enjoys old movies; silent films especially, though she'll often put on old foreign films in their original language for practice in whatever language she's learning. She also enjoys The Stand (the '94 miniseries) and Hitchcock's Rear Window and Dial M for Murder.

Aang's taste can be boiled down to exciting and meaningful. In short, he loves Iron Giant, and for good reason.

#atla #atla headcanons #again I'm not tagging all those characters #avatar the last airbender #I don't watch a ton of movies so mostly I just went off of vibes and the stuff I have watched #modern au #the gaang #zuko #jet #dangerous ladies

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artist-issues · 2 years

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Just saw a couple video essays on Lilo & Stitch where self-acceptance is mentioned. And like. There is NO “self acceptance” in Lilo & Stitch.

If there were, there would be no reason for this ☝️

The whole entire POINT of Lilo & Stitch is that who Stitch is is BAD. His very nature is evil. He is made to, and finds joy in, destruction. It is NOT TRUE that he has to learn to accept himself. Aladdin has to learn to accept himself. Mirabel has to learn to accept herself. Freakin Mei from Turning Red has to learn to accept herself. Stitch is not like them. Stitch’s character arc is to learn to REJECT himself so that he can be made new. It’s part of what makes Lilo & Stitch BETTER than Aladdin, Encanto, and Turning Red.

Because it’s an EASY message to tell everybody to accept themselves. Everyone already wants to hear that they’re loved and okay the way they are. It is a much HARDER thing to make a movie about love that is unconditional AND active enough to call you out when you’re wrong. If there’s no such thing as being wrong, there’s no need for grace or forgiveness, two of the most powerful indicators of real love. It’s a much harder thing to make a movie that says, “no, you know what, sometimes you’re just WRONG and BAD and you need someone from the outside to FIX YOU. YES, you do. You are NOT okay the way you are; and that doesn’t mean you’re beyond hope.”

Furthermore, literally no character in Lilo & Stitch has to learn self-acceptance. If Nani and Lilo accepted themselves as they were at the start of the movie, they’d be fighting and screaming at each other as a plot point by the end. If Nani accepted herself at the beginning of the film, she’d be saying, “‘yup, arrest that little alien, he’s mutated and he wrecks my house and makes my life harder.” If Jumba accepted himself the way he was at the beginning, or even near the climax, of the film, he wouldn’t have let Stitch rescue Lilo. He’d be tearing him apart for the trouble Stitch caused him, and then he’d be fleeing the Galactic Alliance to cause more mischief himself. Heck, even if PLEAKLEY had accepted himself, he wouldn’t be saying “does he really have to go?” to the Grand Councilwoman. He’d be saying, “‘yes, remove this creature from Earth’s habitat, it is destructive to the planet’s delicate ecosystem.”

Lilo & Stitch is not about self-acceptance. It is about self-denial. It is not about self-help. It is about not being able to help yourself. Needing saving. Do not make Lilo & Stitch into some twisted banner for our stupid, nonsensical modern values.

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malucofiliz · 10 days

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Nome: Stitch-Estrela do Rock

Custo🎨: 6 | Lor: 3 | Raridade: Super Rara

Força: 3 | Força de vontade: 5

Classificações: Mudando-Vilão-Rei-Divino

Habilidades: Mudança 4 ( Você pode pagar 4 "TINTA" para jogar em cima de um de seus personagens chamado Stitch)

[ATAQUE DE FÃS] Sempre que você joga um personagem com Custo 2 ou menos, você pode vira-lo para comprar uma.

Número de coleção: 23/204 • 1

Cometários

Os Status são excelentes para Desafios e Missões

A habilidade Mudança 4 torna uma carta ben fácil de se jogar, e fica melhor com o suporte do Morph-Gosma Espacial, e [ATAQUE DE FÃS] funciona como Ametista com as compras extras, mas tem o preço de deixar os personagens voneravez

Resumo breve: Excelente buscador de Lor, e uma boa forma de compra

Ps: Caso não lembre está foi a primeira carta Âmbar que recebemos Spoler, na hora Âmbar parecia que focaria em ter um mini-exército em jogo (Na minha opinião)

Ps2: Na Análise do Hades-Rei do Olimpo, eu esqueci de falar mas Morph-Gosma Espacial também serve como suporte

Ps3: Eu fiz essa análise extra para compensar o tempo que eu não tinha postado, e para não quebrar a sequência de Stitch

#disney #lorcana #lorcana disney #disney lorcana #opinião #opinion #analysis #análise #card game #card games #card #cards #tcg #stitch #lilo e stitch #lilo and stitch #maluco feliz #experiment 626 #626

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odd-kid-42 · 7 months

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comfort movie tag game! tagged by @ajaystillblue (thanks for tagging me in the game!) list 7 comfort movies and tag 7 ppl

Spirited Away: my first Ghibli film. Just really good Ghibli film of calm moments, Chihiro trying her best while being a kid in an underpaid job, and good action moments. Daveigh Chase in the English dub ties it to Lilo and Stitch in nostalgia for me, so while I could also list Princess Mononoke and Naussica: Valley of the Wind, Spirited Away is the Ghibli default for me.

Moonrise Kingdom: the first Wes Anderson film I saw, which I note to say that the unfamilar style of the movie stood out to me, and rewatching made it a comfort film. But also the plot is very good, and "Cuckoo" is a comfort song.

To Dust: I really like the somewhat absurd plot mixing with genuine grief in a weird buddy-comedy setup of community college biology professor and Hasidic cantor try to figure out how bodies decompose. It's that really good mix of 'this is ridiculous' combining with the calm of Shmuel finding a peace by the end.

Only Lovers Left Alive: So in high school, my bonus mom would take me to indie art films with her friend, which is how I saw To Dust, The Lobster, and Only Lovers-- three films that I really hold fondly though The Lobster is more a film for a rewatch once every four years to preserve the uneasy tone. Only Lovers has a butt naked Tom Hiddleston and Tilda Swinton; it has a character admitting to being Shakespeare's ghost writer before dying. It also has two vampires reflecting on what eternal love and survival looks like, which includes making experimental music on the internet, complaining the humans like your experimental music, and then making more experimental music with your 200 year old guitar before getting high on blood. It's great.

Arrival: I think the combination of linguistics as a major plot and the mixture of love and grief in parenthood got me. It's just a warm quilt kind of movie to me with a good sci-fi plot.

Watchmen: Director's Cut (2009): I'm sorry. Rorschach has undergone so much fan analysis that he is a wet cat in the rain to me now. I've listened to a two hour long podcast by two trans masc people breaking down how Rorschach is trans coded and gay. I have read the comic; I've read possibly too much AO3 smut during the pandemic. I've written fanfiction in a parking lot during my lunch hour. I was obnoxious with excitement during the HBO series sequel. The director's cut just adds more comic material and a character's death on scene.

Everything Everywhere All At Once: Also a warm quilt kind of movie for me about love and grief in a parent-child relationship amongst the absurdity. Also very very well done visually.

Tagging: @whotaughtyougrammar, @taakomg, @isadora-greenhall, @nick-close, @west-tokyo-incidents, @cryptic-creepies, anyone who wants to do it essentially. You can say I tagged you, and no pressure to the people I did tag. I'm just curious about your comfort movies.

#ask game #movies

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