#creator analysis

[theoddest1]

Let's Actually Talk About The Issues With Vivziepop

Okay, first off, hello you beautiful people! Sorry about this foreboding title, but I needed to catch y'all attention on this so I can break down the issues that I and many have with "Hazbin Hotel" and "Helluva Boss" creator, Vivienne Medrano. Now I am sure you all on here are already aware of at least a couple of the controversies that revolve around this particular creator and if you have seen my posts floating around already, some have been greeted with the problems surrounding her social media presence and just her overall as a person. I know seeing another callout on her seems very very tiring at this point, but I felt that a lot of the current callouts missed key details that were not at all addressed or properly delved on. I plan on shedding light on my issues with her and I hope you get where I am coming from when I say that she sucks.

BULLYING

Okay, I am starting off with Vivienne's blatant use of bully mentality, her agreeing or encouraging her fans to call people who see flaws in her works sub-humans or harass those who find issue or simply jest about her works trademark cussing and and overcrowded designs. She has had this issue for YEARS and refuses to grow up and act her age despite many telling her, even her own fans at times, that she shouldn't be acting so unprofessionally. Clearly, she doesn't care and thanks to her fanbase caring more about her feelings than her being better she feels as though she doesn't need to change or do better. This goes for her friend group as well, who defend her tremendously and act as though she is never in the wrong. Name one time a friend of hers called her out for acting childish, I'll wait.

Now, you're probably wondering, "Wtf could they have done to warrant such a response?"

Criticism...That's all they did. (White Text is random peeps they would speak with or maybe mutuals)

Keep in mind...they used to be a fan as well. They were also a minor at this point

But, Viv doesn't care, this person's critical yet harmless tweets about her shows is what lead to her painting them in a horrible light and making them out to be someone who has attacked her personally and as "nasty".

Rich coming from Viv since she is completely fine doing exactly that for "Ava's Demon". Not only does she criticize it, she takes a shot at the creator as well, but GOD FORBID others do the same towards her.

And according to someone who knew her well, it's all cause they felt creeped out by her.

Her hatred for criticism is so prominent that Ima makes that a section of its own. But let's get back on the topic of bullying.

Vivienne has a fanbase filled to the brim with pushy and overall annoying individuals who have harassed, threatened, disrespected, and wished harm on many people, all cause someone had a negative thing to say about Vivziepop's mid af show. One of the earlier known instances is the one revolving around a MEME of all things.

This was what started it all, and it led to both parties blocking each other and people being mad pushy and calling them an idiot and the like over their opinions. Now look, their take and you're opinion on said take is fine so long as you stay respectful and humane about it all, but don't dogpike someone all cause they think HH sucks. And while Viv can not control her fanbase, for they are not a hivemind (some of y'all act it tho, ima keep it real) she is seen here ENCOURAGING the behavior. Tell me how someone who doesn't even like your trash ass show has the sense to tell people not to harass others, someone with a smaller following, but not your grown damn near 30 year old ass?

Oh, but people wanna act like she can handle criticism, is a sweet person, and grew from her past experiences. Fam, she was 27 in this screenshot [December 16, 2019] and has shown no change from 2013 to fucking 2024. Over a decade of the same petty ass behavior, and keep in mind, according to several of her old friends and workers, she is worse behind close doors. WORSE. She's already acting like she got no damn sense out in the open, imagine behind closed doors.

Last but not least, a glimpse into her outright blatant slander towards Dollcreep, a once good friend of hers that she even visited and spoke with frequently!

She stated that they fetishized pedophilia yet according to the victim and friends of the victim who were once friends with Viv as well, Viv actually threatened to end their friendship if he hadn't drawn NSFW art of her character and his character having sex [Addi was 15 at the time this was drawn]

On top of that, she liked the post, something she didn't need to do. The art also depicted things she had regularly drawn on her own. Addi being tied up forcefully, being sexualized, being harmed to some degree through bondage, etc. The claim that she forced DC to draw this out is backed up by her own art depicting similar elements. Also, if my memory serves me well, Viv and Doll were 17-18 years old [Doll was 17 Viv 18] and have a 1-year age gap. The way Viv frames things here is as if DC was way older and imposed some sort of power over DC, which sources say otherwise. If anything, Viv had a LOT of control throughout all of this drama, which deserves its own section.

I'll be making posts that talk about the different issues regarding Viv, so one post isn't too long (this one is already lengthy enough) and that you can just pick at one post targeting certain issues around this creator.

#vivziepop critical #vivziepop criticism #vivienne medrano #vivziepop critique #anti spindlehorse #anti vivziepop #viv get a grip #vivziepop #hazbin #hazbin hotel #call out post #analysis #creator analysis #hazbin hotel criticism #hazbin hotel critical #hazbin hotel critique #hazbin critical #hazbin critique

[bixels]

I watched Starship Troopers tonight.

#personal #dumb #my art #immediately after finishing i was pumped to watch some analysis vids on it #cuz i heard a lot of the drama about the original author being a pro military fascist and the director going “fuck that” and making a satir #scrolling through youtube search results was not promising. lots of male film buffs i would Not trust even on a first glance. #“The Critical Drinker” (pfp of a bearded man drinking alcohol) lol. #and then I saw cinemawins did a video on it and was like oh nice i haven't seen his stuff in a while but he's a pretty leftist creator #scrolled through the comments #second panel face #this sucks i'm outta here. #just leagues and leagues and leagues of anime pfps and right leaning people dogpiling on him for “not understanding what fascism is” #idk it's pretty alien and weird to me watching this movie and going “wow yeah that was pretty obvious huh” like literally the from opening #to the teacher preaching militance and only giving voting rights to “those who serve their nation first and earn it” #and then seeing droves of people online going #WHAT ARE YOU TALKING ABOUT? It's not anti-fascist and even if it was it's #the director's fault for desecrating heinlein's incredible sci-fi epic vision. ermm media literacy is dead.

[lokiiied]

i literally cannot with this scene. i decided to count how many times there’s a steddie glance/eye/contact and i just cannot believe what a fucking gold mine it is. first up: double side glance from eddie

(please excuse my own shitty gifs) then we have mirrored full head turn:

next up: (my personal fave) is we noticed eddie’s hand on steve’s shoulder AFTER the moment was over but I have just realised that eddie’s hand was ALREADY there before they were celebrating the “hi” -> you may need to look closely here but trust, eddie’s hand does not move from steve’s shoulder this entire duration. and then we have steve touching eddie’s shoulder for a moment - which means their arms are definitely overlapping/there’s mutual contact- ITS THE LITTLE THINGS OKAY ??

just gonna drop this much better quality gif (from @jeysuso) here as well for the moment eddie & steve both realise his hand is still there and eddie immediately becomes self conscious and doesn’t touch him again lol.

and then of course we have this moment where they’re being dustin’s dad’s but then eddie is also just gawking and the way the scene cuts between their two lines looks like there was definitely a take where they were looking at each other the whole time lmao and basically i’m really mentally unwell okay you guys. i’m just. they are down bad. this whole scene (including robin and nancy)…? is just a fruit salad.

#thank you gif creators for letting us see the little details and obsess over them and watch them over and over agai #steddie analysis #steddie #steve harrington #eddie munson #steve x eddie #gayer things #ronance #robin buckley #nancy wheeler #st4 #stranger things #the massacre at hawkins lab #st 4x07

[prickly-paprikash]

Something cool about Blue Eye Samurai is how sex is juxtaposed with the end-goals.

I really love how our three protagonists are all obsessed. And that obsession defines them, torments them, and are subsequently reborn through their obsessions.

Mizu, of course, is obsessed with the concept of revenge. It's not even about getting even or getting justice as some might use to justify the bloody road taken—it is simply about seeking satisfaction for Mizu. She cuts a bloody swathe across Japan because of what the Four White Devils did to her mother and herself. She does not concern herself with the ramifications of her wrath but merely charges forward, leaving behind a trail of viscera and gore behind her.

Like I said before, her vengeance and obsession with satisfaction is not painted by the show as wrong. It is how she allows it to affect others along the path. It's why the episode with Madame Kaji is so enlightening; Mizu should not tackle this quest as a vengeful revenant; an onryō. She has let the world define her as a monstrosity and so she embraced it, when Swordfather and Madame Kaji knew what the correct path was to satiate her need for vengeance. Treat her sword as the Artisan's tool it truly is. Treat her body the way an Artist would treat their canvas.

Madame Kaji and Swordfather are both outcasts, for being a woman and a blind man. Yet they found strength in their exclusion, becoming single-minded in their fields of art. Because sex is art and swordsmithing is art. It's what makes Mizu's body writing scene so fucking good.

Artistic vision becomes stagnant when one pulls from only one source. They become rigid and unbending when Mizu, like her namesake, must be fluid. She has shown fluidity in her use of her gender and her morals, but cannot apply that same flexibility towards her goal. Throughout season one, she was becoming an uninspired artist, merely painting the world in hues of scarlet. In a world that forces Women to be either Wives or Whores, Mizu chose to be a Warrior—but a warrior fights for a cause, whether it be just or otherwise. A soldier fights in an army. Mizu is neither of these things. She is an Artist first and foremost, and her medium is Death. Sex, something Mizu was at first hesitant before her failed marriage, and something she actively avoided afterwards, is what gives her a new perspective. Like an Illustrator studying life to better draw their intended worlds, taking inspiration from wherever one can find it.

Taigen and Akemi are also equally affected by the artistry of sex, as befitting of Mizu's fellow protagonists.

Akemi is quite obviously Mizu's narrative foil. Mizu chases after revenge like a bloodhound whereas Akemi longs for freedom like a bird in a cage. Both are fierce women who are unsatisfied with their lot in life, with their sex and gender being used against them in their lives. Literally, the episode "The Tale of the Ronin and the Bride" is a fucking triple entendre:

Mizu is the Ronin as well as the Bride.

The play showcases the tale of the Ronin and the Bride.

It is also Mizu as the Ronin and Akemi as the Bride.

And when Mizu finds her center as she melts down her blade and engages in body writing, this scene of enlightenment is juxtaposed with Akemi laying with her new husband Takayoshi. Both, in this moment, are taking control of their lives through sex. They are both taking control of their futures through the ways Madame Kaji taught them. Mizu and Akemi are both rebels against this oppressive society, and are both talented artists with their body. Whether that be sex, politicking, or ass-kicking.

Taigen, like the two women before, finds freedom through it but in a more subtle manner.

Where Mizu and Akemi are narrative foils, both using sex as a form of art and escape, Taigen finds liberation through his awakening.

Like the closeted bisexual man he is, he begins his journey of self-realization when he first encounters Mizu at the Dojo.

Every single battle these two have is purposefully rife with sexual tension. All his life, Taigen has been taught that a man must live with honor. That he must take control of his life and his identity, or he will have failed and that he is better off dead than to live with such shame.

Taigen is just as much a victim of the Patriarchal society around him. Mizu rails against it violently. Akemi seeks to run away from it all. And Taigen, with the privilege given to him by his manhood, chooses to become a perpetrator, enabling the vicious wheel of society to keep moving forward.

His obsession with honor leads him to hunting down and even protecting Mizu. Mizu is no doubt the better warrior, but even she knows she owes so much to Taigen. The blockhead not only did everything to protect her in the valley, but also sealed his lips shut even under the duress of torture. His obsession with honor becomes an obsession with Mizu.

His regrets over tormenting her over her looks and ethnicity as a child. His shame in having lost so decisively in his own dojo. Taigen was a man born with nothing and climbed up to the top with every advantage he could muster, and suddenly it's all ripped away by this one vengeful spirit passing by.

Taigen learns to surrender control around Mizu. He begins to discover his own sexuality and purpose around Mizu, redefining what honor really means to him now that he, as a man, has a budding attraction towards the man who beat him.

Mizu's Vengeance. Akemi's Freedom. Taigen's Honor. In all three, Sex becomes a catalyst in redefining what each of these concepts truly mean to them all. It's not just sex of course, but it is undeniable how the writers keep juxtaposing sexual acts and thoughts with massive character moments.

It changes how Mizu chases after her Vengeance. It recontextualizes how Akemi can be Free. It showcases the absurdity of the Honor forced upon Taigen.

It's so fucking refreshing seeing Sex not used as fanservice or shoe-horned in just to further a stale, poorly written cis-heterosexual romance; but used as a plot point that cannot be ignored. An impetus that fuels the narrative.

Moving forward, I'm curious as to how sex will be used.

The next few ideas aren't as sound or organized because I'm neither Asexual nor Genderfluid, so please if anyone reads this who understands it better, feel free to point it out.

I think it'd be cool if Mizu met the inverse of Madame Kaji. A person who is apathetic to sex. Sure, Swordfather has shades of this, but I'm tired of the person with disabilities also being on the Asexual spectrum. And I'm not saying that Ace or Graysexual people with disabilities don't exist! But they always tend to be written as having some form of disability (Varys from ASOIAF) or a Robot.

Just as artists need a variety of sources to pull inspiration from, I hope in the next seasons we get to see different perspectives on sex and gender. In London, it feels like Mizu finding the other half of herself, and with that having a better way of tackling her own identity. Whether it be gender, sex, combat, etc.

Basically what this inane rambling amounts to is that Blue Eye Samurai tackles sex and violence and revenge and obsession in ways that most media has yet to truly do. So that was pretty cool.

#blue eye samurai #blue eye samurai spoilers #blue eye samurai season 2 #mizu #mizu blue eye samurai #akemi #taigen #metal #media analysis #character analysis #blue eye samurai meta #netflix are cowards for not announcing season 2 immediately #come on dickheads #the fans and the creators have been fighting for the green light #hand it over #you cocks #paprikash ramblings

[onceandfutureheartache]

#listen we love feasting on the literal crumbs that get thrown our way #but the community is FED DAILY by the incredible artists fic-writers gif and edit makers meme creators and analysis posters #thank you all for the delicious fucking food #bbc merlin #never not going to shout praises to this community bc you guys are INCREDIBLE I LOVE YOU

[royalarchivist]

[A sad violin song plays over an image of a sad hamster]

Pac: This doesn't have anything to do with me – I wear a blue sweatshirt, you're crazy, this mouse doesn't even have a sweatshirt, this hamster! [Reading chat] Am I a depressed hamster?

[ Transcript continued ↓ ]*

–

Pac: Actually– that's fine! I embrace that idea – of course I'm going to be depressed, are you crazy? [He hits his desk, then starts counting off people on his fingers] Fit is gone, Richarlyson is gone, Ramon is gone, Bagi and Empanada who were always there when we were there are also gone, I haven't seen them! It's just me and Tubbo, and sometimes Philza shows up.

Pac: I lost Chume Labs, I lost the Favela, I lost Murder Mystery, I lost Ilha Chume Labs, it's crazy! Look at how much I've lost, and I've gained nothing! Of course I'm going to be depressed, are you crazy?! How am I supposed to be happy?!

Pac: [Reading chat] "You have us Pac," that's true, thank you. No, that's true, sorry.

* NOTE: Please note that this is an incomplete transcript, as I was primarily relying on Aypierre's translation mod at the time and if I am not confident of the translation, I do not include it. As always, please feel free to add on translations or message me corrections.

#Pactw #QSMP #Pac #March 18 2024 #As much as I love keeping people updated about Pac / the other Portuguese-speaking creators #I think I might not make as many transcribed posts for their clips anymore #I just don't think I'm qualified enough to be transcribing things for a language I don't know #like yeah we have the Qlobal Translator and Aypierre's translators to rely on #And I'm always upfront when I'm not 100% sure about a translation #but I've been thinking about it a lot and it kinda makes me feel a bit icky. Idk. #I might be overthinking this but I just I don't want to spread around translations I'm not super confident about #esp. since I know a lot of people cite my clips in analysis posts or link them to other people as resources #and 90% of the time I'm like ''Hell yeah I love seeing people getting a lot of use out of the archive'' #but sometimes I get a bit anxious like ''Did I do a good enough job translating this'' #''Am I ruining someone's entire perception of a conversation or character because I left one word out or mistranslated something?'' #And like I said that's normally not a HUGE concern since if I'm not certain about a translation I just won't post a clip. but you know #idk it might just be the anxiety talking but I really really don't want to spread bad info #Happy to hear other folks' perspective #I'm really grateful for people like Bell and Pix and others who translate clips and I always try to reblog those #but we don't have a ton of people posting clips & translating things on Tumblr since we're so English-centric #which is part of the reason WHY I like sharing clips of the non-English-speaking CCs #but at the same time I want to do an accurate job representing what they're saying #Maybe I'll just start posting things and give a TLDR context of what they're talking about but not a transcript #that way native-speakers can hop in and add translations if that's something they're comfortable doing #and if not then well. at least I'm not sharing something that isn't super accurate #idk I'm just thinking out loud a bit in the tags #But I'm open to hearing other people's thoughts on the matter #Anyways giant rant aside. q!Pac is NOT doing ok rn

[demodraws0606]

What Cyberpunk DeadBoy Means and What it's Potentially Foreshadowing (aka very complicated analysis that makes a lot of sense and could happen depending on how colorpalet is feeling while writing the story)

Now I'm seeing so many people like running around wondering what this event could mean for the future for multiple reasons and like I've made like one post throwing my hat into the ring.

I've been frustrated with people's unwillingness to realise that this comm is prob foreshadowing because this is not the first time Colorpalet has hidden foreshadowing into comms weither subtely or not

Exemple's being :

-Akito's second comm foreshadowing his third event

-Lower's cover art literally foreshadowing what would happen to Mafuyu's phone in her event

-88 vocals being emurui and nenekasa foreshadowing the kind of dynamic the disbandement arc had with nenekasa wanting to move forward with emurui being scared of isolation

-Probably way better exemples that I forgot

I've seen people make Some assumptions which I don't agree with but there is one thing I think is true

There is 100 pourcent gonna be struggle between corporation/reality and WxS.

Purely because that's been WxS's entire theme since the beginning. They constantly bash you over the head with the theme of compromising with reality and the importance of dreams. In fact the pick of Maiki-P is not at all surprising as he basically has the same message WxS has just... well harsher.

The Big thing people have ignored however is by focusing on the lyrics, they've ignored something that's personally to me even more telling and that's the line distribution

We know for a fact colorpalet loves to mess around with line distribution, weither it's to make characters say lines that fit them or to kind of foreshadow their headspace.

Now something Big happens with the line distribution of Cyberpunk Deadboy that i've seen NO ONE notice and that's in the last chorus (that and also Tsukasa's lines which people have pointed out but it works less on it's own which is why I'm gonna analyse his lines afterwards).

This is the only time the chorus is like that, the others have a much more even distribution.

In fact the distribution choice makes it look like the rest of WxS is Talking to Rui.

It's even more evident considering the lines they chose to make WxS sing compared to only just Rui

Emu/Tsukasa/Nene saying kimi (you)

Rui saying boku (i)

Which honestly makes me think this is colorpalet foreshadowing some kind of issue reguarding specifically Rui. Remember Emu's second event ? The story of Rilley whose imagination was crippled by the industry to the point where he didn't really have any artistic vision until Emu's grandpa helped him.

In fact remember how the flashback that showcases that has Rilley working on a film

Now we get to Tsukasa's line which have been pointed out to be kind of sus but it's not just his lines.

Tsukasa refuses to sing with Rui (unless it's a line they all sing together but i consider those exceptions). In fact pretty much everyone has a duo line with each other except those two.

In fact in the section where Rui has duo lines with everybody, Tsukasa is the only one he doesnt sing with and the visuals make it clear that it's something that we're supposed to find strange

And then we of course have Tsukasa's solo lines

Tsukasa is the only one that say "fuzakeruna" outside of Rui (of course ignoring entire group WxS lines) and i've seen some people pointed out how it sounds like he's saying it in response to Rui's lines. Which I agree with.

Then we got his big boy solo lines

These lines will make more sense with my theory/analysis but right now if we go with the idea that WxS in the last chorus were speaking to Rui and Tsukasa in this comm refuses to sing with Rui then this implies those lines are Tsukasa speaking to Rui.

And this is where the insanity begins because people have pointed out a concerning trend with Ruikasa that I know some people use for shipping fuel but for me kinda feels more so like foreshadowing.

IGNORING all the ARG ass weirdness of the Fixer 2dmv, this choice to switch Ruikasa's colors have to mean something in my opinion outside of just wholesome shipping influence especially considering the two songs they do this are less than jovial.

What this kind of color switching signifies to me is that, Ruikasa somehow are/or will switch places.

And with that let me bring back Tsukasa's lines

These lines stand out because Tsukasa before remembering his dreams was extremely shallow only doing things for fame and probably the money that would come with it.

Now if you think about everything I've layed out I think you can gain a pretty clear picture.

Of Rui falling into the trap Rilley did, becoming jaded and losing the true motivation of his dream (or at least starting to have doubts). Becoming stuck with the struggle of managing dreams and reality.

Rui's costume even has a mask which can be a metaphor for his artistic voice and individuality being silenced .

Which now you get into the line distribution where WxS is implied to be talking to Rui.

And you get to Tsukasa, who is refusing to sing with Rui and in fact seems to be arguing with Rui if we really want to overthink it. In fact almost switching their roles from the main story.

Because Tsukasa has grown now and how else to show that growth than to switch Rui and Tsukasa's perspectives/roles.

Now how this would happen really depends since there are multiple ways they can go about it with the time they have.

There is obviously mystery dude dude (who i know now is sakaki) who still gives me bad vibes. However there is actually two way they can make mystery dude trigger this sort of plot :

-Mystery dude is malicious and actively manipulates/confronts Rui to make him rethink his worldview

-Mystery dude isn't malicious but instead is just jaded/has been through a lot of industry bullshit which ends up rubbing off on Rui accidentally

But you can even just not have mystery dude involved with this at all (which i doubt but still) because you know what loose plotpoint is still lingering over WxS, fucking Asahi

Rui still has not talked about Asahi to WxS, in fact Curtain Call ends on an explicit cliffhanger which is never really emotionally concluded (at least in Rui's own events, technically the arc ender did but there are still a lot of loose threads from that arc). Why would Colorpalet make Asahi come back after Rui graduates, they could've just had him disappear into the sunset but instead they hint at his potential comeback.

Unless Rui will be forced to again confront similar feelings he did during Curtain Call this time with possibly an added layer of whatever happens during WxS's freelance arc.

Anyways yeah this is overly complicated but then again colorpalet is not being easy with us so...yeah.

#project sekai #pjsk rui #rui kamishiro #wxs #wonderlandxshowtime #project sekai theory #project sekai analysis #rui kamishiro analysis #wxs rui #wxs tsukasa #tsukasa tenma #rui #cyberpunk deadboy #i'm sorry if this giant wall of text makes sense to nobody but me but i need this to leave myt mind otherwise i explode #and also i'm not looking at twitter for theories of this event because twitter is the breeding ground of bad takes so idk if i'm the only #one but it's very interesting #anyways i really don't want any “but what if the comm is not at all related to the event at all” because we've had active confirmation #colorpalet describe events and give at least on sentence prompts to commissioners (which we know pinnochioP and the creators of Mr.Showtime #I believe) and again even if it WERE the case and it was a fluke or a rewrite or whatever #it doesnt change the fact colorpalet made an active choice to make the line distribution and 2dmv like this #this is the motherfuckers that foreshadowed an arc ender years before through a fucking song cover art #complain about their writing all you want these motherfuckers love little detail oriented shit like this for better and for worse

[vraisetzen]

on nanami

sometimes i forget that a healthy part of the fandom hasn't read the manga, and that nanami's death actually came as a shock to some this week.

which is warranted, given that nanami is one of JJK's better written characters – a rare breath of fresh air, maturity, and warmth in a story that often speed-runs character development.

but i've also seen people bringing up this tweet, expressing a bitterness at gege for killing nanami when he initially intended to let him off with losing an arm:

now, don't get me wrong – gege has had his fair share of bad writing moments (more to come in future seasons when we finally get to the culling games and, uhm... you'll see).

what he meant by a "character taking their own life" referred to the natural end of a character's narrative.

nanami was introduced in JJK as an opposite to gojo – he's aloof, he's too serious, and he just wants to knock off work on time. but as we come to know, nanami also has a softer side to him – one that instinctively protects and cares for the young jujutsu sorcerers, as a result of his traumatic past after the death of his best friend.

and in the story, nanami served as yuji's mentor. he defined, for yuji, what it meant to be a sorcerer, and more importantly – a young jujutsushi.

in many ways, he wrote and defined the moral compass that yuji would lean on subsequently in the story.

i wouldn't go as far as to make this post a "why nanami had to die" – but i would also like to make it clear that nanami's role in the story besides being a board-certified dilf™️ is to root both the readers and yuji in the realities of being a jujutsu sorcerer.

and for mahito – his thematic opposite, someone with a complete disregard and disrespect for humanity – to kill nanami, while allowing nanami to pass on his final words to yuji...

he is not only resolving the conflict he has within himself – because he is able to die with the knowledge that yuji will not be "cursed", that yuji will continue as a jujutsu sorcerer with the right moralities, capable of facing the demons nanami once tried to run away from as a teen.

so, no, gege did not get carried away with killing nanami, as some have opined. nanami's narrative – as a character saddled by the burdens of being a sorcerer, who escaped from his responsibilities as a teen only to return, and to pass them on to a young boy who also has too much to shoulder – simply came to a close. x

#nanami kento #jujutsu kaisen #jjk season 2 #nanami kento x reader #nanami kento x you #nanami kento x y/n #jjk meta #jjk analysis #idk these are just my two cents #fandom has a difficult time distinguishing 'idl this because it happens to my fave character' and 'idl this because it's bad writing' #not that only one of those takes is valid but when it comes to levelling crit at a creator we should def separate it from personal feelings

[gracefall-mcyt]

Was originally going to write this as a comment elsewhere, but uh. Have some thoughts on Double Life Scott and Pearl. This may be slightly controversial? If you disagree that's fine by me, we're all entitled to our own opinions, especially on topics with nuance! I usually find people going way too easy on Double Life c!Pearl and too hard on Double Life c!Scott. Was Scott a good person? A good soulmate, for that matter? No! But Pearl wasn't those things either. They were mutually abusive to one another throughout the season. I will say that I think Pearl was less bad, but there are so many people who just... completely dismiss Scott's end of things.

Scott: Caused harm to himself to harm Pearl (though at a consistently safe time to do so, at the start of the session, via a single axe crit), and spoke about Pearl quite awfully (calling her his "crazy ex", etc.) Pearl: Caused harm to herself (far more sporadically than Scott, via "tickles" from the powdered snow every now and then), and took unnecessary risks just because she could

Honestly, I don't blame Scott for "abandoning" her in the beginning. Like, for him, it would have been a reasonable assumption that she and Martyn would continue to stick together. Scott wasn't leaving her alone, he was leaving her with Martyn, choosing instead to stay with Cleo--the one who actually stuck by him while their soulbounds were off in the nether doing who knows what (which turned out to be gathering resources, even though the main resources you might want to go to the nether for, potion making supplies, are useless in a season where potions are banned). Scott is not to blame for Martyn's agency. It was Martyn who decided to blame Pearl (even though the big problem, the nether trip, was his idea), it was Martyn who left her alone. (Also, it may be worth mentioning that I'm pretty sure it was Cleo's idea for her and Scott to stay together? Please correct me if I'm wrong on that, again it's been a while.) (EDIT: Cleo did in fact suggest it! They said "We should form an alliance against them." It was a little bit of a joke, but they both seriously agreed to it. Still worth noting that it was Cleo's idea for them to stay together.)

Again, I feel the need to emphasize that c!Scott is not a good person. He becomes abusive to Pearl, who also becomes abusive, and they abuse one another from afar. Or when they talk to one another. They are awful to each other. It is a mutual thing, and I find that not enough people acknowledge that. They both suffered as the other's soulbound.

It's really, really important to remember that the Life Series--Double Life especially--is FULL of nuance when you look at it from a storytelling perspective. The Life Series has no real heroes, and no real villains. Only people doing their best to ensure the survival of their team and/or themselves. Scott and Pearl both had thoughts about what was best, and those thoughts clashed this season, leading them to clash with one another.

Really, I think that adds another layer to their ending. Scott, in his way, forgives Pearl through a show of loyalty and fairness he only gives to allies, conceding the true victory to her unprompted, and Pearl in turn forgives Scott. This only happens when there's nothing left but each other. They are finally on the same wavelength again, with no Cleo to sway Scott away from Pearl and no Martyn to deal the final blow to shatter Pearl's heart. It's just Gatekeep and Girlboss, truly together for a brief time, anger and animosity put aside. The Stars welcoming The Moon to join him in the night sky, where they can try again. Tilly death did they part, yes, but in parting they were set free from each other, and they were able to mend their connection on their own terms.

#remember i'm talking about the characters only. content creators Scott and Pearl are good friends and do not reflect their DL counterparts #some scattered thoughts: #--in a way scott is to soulmates as cats are to water #does great with them/it but absolutely hates it when they're forced together #--the only good person involved in this situation was tilly. we love tilly here <3 #--i don't know how much of it came out here but I really think that it's mostly c!Martyn's fault in the beginning #ofc c!Pearl and c!Scott have their own agency and should be blamed for their own actions #but it was Martyn who kickstarted things by deciding to go to the Nether and then proceeded to worsen them by abandoning Pearl. #you know I've got like at least three analysis-adjacent posts I should probably have a tag for that #grace's traffic thoughts #that works #time to go retrofit the other posts with the same label #life series #scott smajor #pearlescentmoon #double life #double life smp #trafficblr #cw abuse #<- just in case!

[bliss-in-the-void]

Satoru, Suguru, and the Detriment of Their Origins. (How their characters completed each other.)

This is going to be an analysis on how their differences came together and contributed to their downfalls once they parted. I really like how this turned out—it’s very interesting.

Long post, read under cut:

Satoru:

Blamed the Jujutsu Higher-ups for even burdening him and Suguru, who were both sixteen, with the task of escorting Riko—who was only fourteen—to Tengen. The fate of the entire world rested on the shoulders of three kids who were only put in their position because of abilities assigned at birth, and nothing else. The three of them literally had no choice in the matter. Also, because of what happened with Haibara. Satoru deduced that the elders shouldn’t be in charge of sending kids off to their deaths to fight uphill battles.

So, he in turn decides to raise strong allies in the form of students so that they one day can overthrow the elders in hopes of establishing a more fair and just system for sorcerers. Here, he recognizes the need for sorcerers to exorcise curses to protect the populace, but does not agree with the system as it stands.

Note, Satoru before the Star Plasma Vessel incident had barely any motivation to exorcise curses other than the fact that he could do it. He did it for fun. He just liked using his powers. He was always a self-assured person.

Suguru:

Blamed non-sorcerers for generating curses in the first place, and developed a deep hatred for them that was seeded after Toji (a non-sorcerer) ‘killed’ Satoru and killed Riko, as well as after he witnessed non-sorcerers applauding the death of Riko, a fourteen year old girl. He met Yuki, Tsukumo, who introduced to him the idea of getting rid of the source of curses. He also blamed humanity for conjuring a curse that killed Haibara. His turning point was finding two young sorcerer girls, Nanako and Mimiko (~seven years old) caged up like animals by non-sorcerers. It probably reminded him of his own childhood—I can only imagine how his parents must have at least alienated him for his abilities, since they were not sorcerers. It also in part probably reminded him of Riko, and how she’d been a young girl unfairly targeted due to her abilities. It definitely triggered him.

So, his goal became to rid the world of non-sorcerers, so that curses wouldn’t exist. To do this, he had to abandon all of the principles he had subscribed to thus far and become a villain who kills people—but he did it for his cause.

Note, Suguru has always been a self-righteous person. It’s a bit different from who Satoru is. He has had time to think about his place in the world because unlike Satoru, he was born to a normal family and had to find where he belonged himself. Satoru, on the other hand, was told where his place was from the moment he was born.

So, Suguru defined himself as somewhat of a hero who valiantly, selflessly swallows nasty curses to protect the populace.

Satoru never had to define himself. He was already defined at birth. A wielder of the Six Eyes and Limitless, a once in a lifetime anomaly, a scale-tipping, monstrosity more powerful than anyone else.

These origins are both of their downfalls, and this is ultimately why the two needed each other so badly. They did complete each other as people.

As I said above, Suguru had to define himself. He had to affirm to himself that what he was doing was for the good of the people—it was how he had convinced himself society had to run. The strong protect the weak, it doesn’t matter if one had a choice or not. If you are strong, you have a duty to become a protector.

The issue with this mindset is that he has absolutely no attachment to it whatsoever. The only thing it does for him is make him feel good about himself in his early days as an active sorcerer. Even Satoru calls him out, letting Suguru know he “hates righteousness” and that he just “makes himself feel better” by “spouting bullshit”, the bullshit being his ‘heroic’ beliefs. At his core, Suguru believes himself to be a hero of sorts, which is why when things go sideways, he does a one-eighty and decided to kill all non-sorcerers rather than protect them. In his mind, he’s still affirming to himself that he’s the hero. It’s just that now, he’s protecting other sorcerers. The enemy has changed. He’s still the self-righteous, martyr-Suguru he has always defined himself as, sticking his neck out for the good of his cause.

He lost his grip because he was not emotionally attached to being a sorcerer. He was just attached to being a hero. This is why when entering Jujutsu High, Yaga puts such a huge emphasis on digging deep and finding a strong, personal reason to be a sorcerer. He recognizes that he fell short in that aspect when it came to Suguru, and doesn’t want it happening again. Resolve is very, very important so that once doesn’t lose their mind.

Now, let’s take a look at Satoru’s mind in contrast. He is the strongest sorcerer. The ‘honored one’. He always has been. He had bounties on his head before he could walk, and grown adults feared him even as a child. He was always seen for his abilities first and not his soul, so he identified with his powers more strongly.

This caused him to become disillusioned with himself. He believed that being strong was all someone could need, and that he was untouchable. He was relied on by everyone. “Gojo can handle it.” “Just wait for Gojo.” He was the trump card. That’s why he strolled up to Shibuya so nonchalantly—the way he was raised gave him a natural arrogance. It’s not because he’s a jerk. It’s because that’s all he knows. He was raised believing he was all powerful, so what else can he default to? He was literally wired that way.

Unfortunately, because he leaned so heavily on his powers, he forgot who he was as a person. Especially after Suguru, the only person he was able to form a vulnerable emotional bond with, compared him to his powers and left him.

Caveat I want to make about that point: Suguru was the only person who treated Satoru like a human being. Everyone else saw him as the Six Eyes. Because he made Satoru feel seen, because he tried making Satoru a better person (teaching him manners, acting as his moral compass), Satoru grew attached to him. So, when Suguru’s psyche took a turn for the worst and he left Satoru in Shinjuku, the line “are you the strongest because you’re Satoru Gojo? Or are you Satoru Gojo because you’re the strongest?” dealt a fatal blow to his heart. This was the one person he trusted deeply, reducing him to a man with powers, just like everyone else his whole life did. It caused a rift in their relationship. It caused Satoru to rethink his entire identity—how much of himself was based off of his powers? How much of himself wasn’t based off of his powers? Suguru’s presence allowed him to feel more human and less like a creature than he ever had. But those words pushed him back into that constraint.

In chapter 236, Satoru reveals to Suguru that somehow, though he had love for everyone around him, he felt a line had been drawn where he felt more like a creature than a human being.

A TikTok user (lauravpvp) pointed out something that drives this point home. Satoru wears a blindfold over his eyes 90% of the time. As his powers grow, the coverings get thicker and more restricting. He starts with glasses, then bandages, and then the black blindfold. Eyes are the window to the soul—and as he gets stronger, the less he shows them; the less he beard his soul.

We look into someone’s eyes to see how they’re feeling, to connect to them. His eyes are always covered, so he prevents that connection and prevents people from knowing how he feels. He dehumanizes himself that way.

Because of that, when he goes into his fight with Sukuna, he goes believing he’d the strongest and that he would win. It’s all he’s reduced himself to. This blind attachment to his powers, to the idea that he had to do it alone, is what lead to his downfall.

Because he learned the hard way that he wasn’t the strongest.

In his final moments, he reinforces what he had discovered after Suguru left him in Shinjuku.

Strength alone is not enough. Why?

He said that if Suguru had been there to pat him on the back, he would have truly been satisfied.

Suguru, who had to fight to find his identity his whole life—who, because he spent so much time defining himself, helped Satoru define himself in ways that were separate from his abilities. And Satoru, who identified himself with his abilities so much that it reinforced Suguru’s confidence in his own abilities.

They completed each other. Suguru’s moral compass and strict principles held Satoru’s head on right, and Satoru’s confidence and youthful heart kept Suguru motivated and away from the dark.

Without each other, Suguru descended into madness and Satoru lost sight of his human side.

#i mean the creators have said you can’t have one without the other #so this isn’t news #but this is me explaining exactly WHY that is #gojo satoru #satosugu #stsg #satoru gojo #geto suguru #suguru geto #jjk meta #satosugu meta #satosugu analysis #satosugu angst #jjk analysis #satoru gojo analysis #suguru geto analysis #jjk spoilers

[ultimateloserboy]

thinking about fluffybird and how tragic is is that theyre never gonna work out cuz they literally live in a land of nonsensical, miserable fiction. they can try all they want to become humanlike or alive, but no matter how close they get they will never truly be real. its an unfortunate reality, but love is a feeling for the sentient—the existing—and thats something theyre simply not. theyre nothing but animals in a petting zoo of felt. they think they know love and hate, but where do their own feelings start and the script they follow end? what part of them is real?

are the glances at each other or the jokes that they share real, or are they scripted events, their interactions written into reality by the hands of many actors and puppeteers?

or on the other hand— is this the real part of them? do they break away from their places to look the other in the face? do they shove away hands and fight their own bones just to meet each others eyes? if this is the case, it’s still just as hopeless. theyre cursed with constant amnesia and fatigue, blurring their thoughts and memories. its hard to fight the world itself as it slams you with narcotics and rots your brain with worms. every time they have the urge to rebel, its forgotten and scrubbed before they can try. and even if they did manage to win this pointless fight, what difference would it make? theyd have nowhere to run together. they still wouldnt be real.

whether their love is genuine or not, scripted or improvised, they are not real people and they have no real lives. its hopeless no matter the situation.

#just so were clear its totes possible to give them a good ending but based off of some interviews with the creators that aint happening #so this is the angst interpretation of their forever #i like to think they can slowly make themselves real tho. build their own reality or some gay shit #dhmis #dhmis fandom #dhmis duck #dhmis red guy #dhmis analysis #fluffybird #red guy x duck #duck x red guy #dont hug me im scared

[david-talks-sw]

An argument I hear from time to time is the following:

"I don't care that this novel is considered Legends, if it was canon when George Lucas was in charge of Lucasfilm, it's still canon to me now. Whatever George says is what counts, I don't care what Disney says."

Putting the Expanded Universe's Star Wars and George Lucas' Star Wars in the same basket. And that's, uh... inaccurate.

So without further ado, let's explore:

George Lucas’ involvement in the Expanded Universe

Early years of the EU...

When the first bit of EU content came out in the form of the novel Splinter of the Mind's Eye, Lucas was too busy working on the films, so Alan Dean Foster wrote it by himself (which explains why Luke and Leia's relationship plays out romantically).

After the movies came out, when new material was going to be created, George told Lucas Licensing and other authors that the Prequel era was off-limits to write about, because he might tell that story one day.

Beyond that, they could go to town and write sequels, for instance. After all, part of why Star Wars was created was to let people's imagination run wild and George was happy to let other artists play in the sandbox he created.

That said, things were very clear from the get-go.

These weren't his stories.

The Thrawn books, Dark Empire, all this material was explicitly just Tom Veitch and Timothy Zahn and whoever else's creation. Not George's, who was described by Lucas Licensing's Lucy Autrey Wilson as "not very involved".

The most he did was answers "OK/Not OK" questionnaires about what the EU writers could or couldn't write.

Telling Yoda's backstory? Not OK.

Telling Han's backstory, between the Prequel and Ep. 4? OK.

Having someone wear Vader's suit after his death? Not OK.

The Emperor returning in a clone body? OK.

So that's it. That was his involvement in the 90s.

Him saying "don't write something set during this/that period".

"OK/Not OK" questionnaires.

It's also worth mentioning he didn't approve of Mara Jade, Luke's wife in the EU. In his mind, "Jedi don't marry".

Rather, the character herself wasn't an issue... until she married Luke. When Timothy Zahn asked for Luke and Mara to be married or engaged, back in 1993, Lucasfilm initially vetoed the idea.

According to Brian Jay Jones (author of "A Life", George Lucas' biography), in 1995 George convened a 'Star Wars Summit' wherein he gathered licensees and international agents to Skywalker Ranch to reinforce "the need for him to maintain quality control, especially in the areas of publishing, where some characters—such as Luke Skywalker, who’d been given a love interest in a fiery smuggler named Mara Jade—were living lives far beyond the ones he had written for them in the original trilogy".

Sources:

During the Prequels...

George Lucas was writing and directing three movies with large themes, shot almost back-to-back, commuting between Australia and California. That's hard enough as it is.

Also, in the 90s, most movies were still shot on film. During the making of Phantom Menace, Lucas shot parts of the film by combining prototype digital Sony cameras and using them in combination with videotapes, rather than shooting on film.

For Attack of the Clones, George worked with Panavision and Sony to develop fully digital cameras, which eventually became the standard.

As if that wasn't enough, by making the Prequels, Lucas and ILM were also creating fully-digitized worlds (Coruscant, Geonosis) and characters (Jar Jar, Yoda) and laying the groundwork for the CGI technology that has now become essential for today's blockbusters.

Having established all this...

Do you really think he had the time or the patience to read through a bunch of novels and guidebooks?!

Simply put: George Lucas was too busy revolutionizing cinema to be involved in the development of the EU.

So if you ask George who Tahl or Vitiate are, or what the Stark Hyperspace War or a vapor manifold are, if you ask him to recite you the Sith Code... he'll grumble and say "heck if I know".

He outright admitted that fans know more Star Wars lore than him.

Because SOMEBODY ELSE wrote that stuff.

And he let them do it because:

It made money. A lot of money, especially after TPM came out. Money that could fund his next films. You don't mess with licensing. Hell, it's why he was so cool with there being all those Star Wars parodies.

He didn't see those stories as canon anyway, so it couldn't hurt. He saw them as a separate universe, an alternate timeline wherein the films happened ALONG with all these other tales.

So associating the EU content with Lucas is unreasonable. He was too busy, so he just let Howard Roffman, Lucy Autrey Wilson, Sue Rostoni and Lucas Licensing do their thing and crank out new stories and transmedia content for the fans.

It was a one-way relationship. The licensing parallel universe needed to have some internal consistency AND adhere to what Lucas established in the new films movies (which was difficult because they weren't involved in the production process), but he didn't need to be in line or consistent with anything they established.

Now, George did set some guidelines/boundaries and there were obviously do's and don'ts. But once those boundaries were set and the brief was established, the authors had a lot of freedom and, like, 99% of their interaction was with their editors from the respective publishing houses (Scholastic, Del Rey, Dark Horse) and the folks at Lucas Licensing.

George was only really brought in to sign off on, like, some of the major plot points only once in a blue moon. Stuff like:

"Let's make a Maul novel". George would go "fine, just keep him mysterious."

"What species should Plagueis be?" George: "he could be a Muun, here's concept art."

Nothing more than that. Again: the Expanded Universe was other storyteller's interpretation of what Lucas had created.

Sometimes, it was spot on and it aligned with George's vision.

Other times, this additional lore was created by writers who didn't know what he was doing with the Prequels, so they were in the dark regarding certain plot points.

And then you have the authors who absolutely disagreed with George's vision of the Prequels, or of Star Wars, in general, but wanted to engage with the material nonetheless.

Which is why, whilst sometimes the EU fixed some plot-holes, sometimes the EU had inconsistencies.

Inconsistencies such as Ki-Adi Mundi being a Knight on the Council, who is married and has kids (when the Jedi being prohibited from marrying is a major plot point in the Prequels)...

… or the Jedi being essentially superhuman (when one of the narrative reasons Qui-Gon is killed is to show that the Jedi are mortals, not supermen)…

... or other stuff like Mace having a blue lightsaber for a period (because who the hell knew purple was an option?!) or some Jedi having red lightsabers, or Sith Lords being able to become ghosts after death, when that's a feat you can only achieve by being selfless.

It's also why you get conflicting definitions of what the Jedi call "attachment" or conflicting narratives trying to reframe midi-chlorians as a cold, intentionally-flawed way of seeing the Force (when they're meant to be a beautiful metaphor for symbiosis and how the Force works).

And it makes sense that some of this stuff wouldn't track, considering how Lucas stated multiple times that he didn't have anything to do with it, that it was a separate universe from his own...

Safe to say that if George had any involvement in the EU, it was so minimal that he, himself, didn't count it as "involvement".

Additional sources:

Later years of the EU...

After the Prequels were over and done with, Lucas created The Clone Wars with Dave Filoni. At first, he'd just suggest a few storylines, but he quickly got VERY involved in the whole process. Far more involved than he ever was with EU content.

And y'know... Dave Filoni is a massive Star Wars fan and an avid EU reader. So, from time to time, Filoni would bring up EU material for Lucas to consider during the story conferences, and they'd look at what was out there together.

But it's important to note that George's stance toward the EU didn't change and became a rule for everyone on the writing staff: the EU content was nothing more than a pool of "fun what-if ideas" that they could draw inspiration from.

If they could, they'd try to not mess with continuity... but if the story called for it, they could retcon anything without batting an eye. Because it wasn't canon to them.

It's why author Karen Traviss quit working with Lucasfilm after the Mandalorians were retconned into pacifists in The Clone Wars.

The only things that were truly canon were:

George Lucas' own word.

The movies.

Previously established The Clone Wars lore.

And that's it.

Everything else was somebody's else's concern. Not George's.

Sources:

This way of seeing the EU continued all the way to the time shortly before George sold the company to Disney as his drafts for the Sequels featured:

no Jacen, Jaina or Anakin Solo (Han and Leia's kids from the EU),

a still-alive Chewbacca (who died, later in the EU),

no "New Jedi Order".

Every version of George's Sequels ignored the EU.

Which would explain why the EU reboot was planned in the summer of 2012 (when Lucas was in charge)!

I'll repeat: the EU reboot was planned months BEFORE George Lucas sold the company to Disney.

Because of course it was! It's a natural result of 30 years' worth of content that's so intermeshed that it would stop future artists - namely George himself - from creating anything else.

Sources:

Exceptions to the rule:

1. Comics (kinda)

He did read the comics. Or at least, he gave them a glance.

Aside from the fact that he grew up reading comics, understand that George Lucas is a visual artist, first and foremost.

That's what he's about and that's what he loves, that's what speaks to him. There's a reason his upcoming Museum of Narrative Art will feature comic panels and pages of all kind.

During pre-production on Attack of the Clones and Revenge of the Sith, Lucas had the art team draw concept art before a script had ever been written so he'd have ideas for set-pieces.

Later on, J.W. Rinzler pitched him the idea of adapting his early drafts for Star Wars into comic form. Lucas' initial reaction was going "hell no". Rinzler had concept art made…

… and George took one look and was on board.

So it's not a stretch to assume that a book telling a story through beautiful drawings would catch his attention more than a novel.

Case in point: He knew who Quinlan Vos was and was enamored with the character. He knew Aayla enough to put her in Attack of the Clones after seeing a cover of Republic by John Forster featuring her (below, left).

(although, it's worth pointing out that he doesn't call her out by name a single time, in the director's commentary of the Attack of the Clones, she's just the "Twi'Lek Jedi" and her inclusion was done mainly to add more diversity to the Jedi fighting in the arena)

Over a decade later, when the comic Star Wars #7 came out in 2015, Lucasfilm acquired artist Simone Bianchi's original 20 pages and cover art for George, so he could feature it in his the Museum of Narrative Art:

So at the very least, he looked at the comics and admired the visuals.

Whether he actually read the comics in detail or just skimmed through most of them because he liked the pretty pictures (likelier, imo) is an entirely different matter.

Sources:

2. Video-Games (kinda)

Lucas would periodically check in on the status of LucasArts games, lending creative input and advice.

Sometimes, his advice ranged from "weird" to "he's gotta be fucking with us, right?"

Apparently, he advised the team developing Star Wars: The Force Unleashed that they dub Starkiller "Darth Insanius" or "Darth Icky".

And you know what? I have no trouble believing it.

Firstly because if you're going by the idea that he gave no fucks about the EU, then of course he'll come up with "meh" names. But also, this is the same guy who created "Winkie" in 2012/2013, the character who'd go on to be named "Rey".

He also told the team creating Star Wars: 1313 that he wanted a fresh face as the main character, then only weeks before the game was announced he went "let's make it Boba Fett".

Finally... the cancelled Darth Maul game by Red Fly.

Codenamed “Damage”, then “Battle of the Sith Lords”. Think Batman: Arkham City meets Star Wars.

Red Fly pitched it as a coming of age story where we see Maul be kidnapped, tortured, eventually joining the Dark Side, and ending in TPM. Then they had interactions with LucasArts and found out Maul survived his fight with Obi-Wan.

The game went through several iterations, partly because the people at Red Fly were kept in the dark about the developments in The Clone Wars (Season 4 wasn't out yet), and even when some tidbits came out and they knew characters like Savage Oppress and Death Watch would be included, they didn't get more details.

Whatever. They do their best to make something from what they're told. Then they have a meeting with George. As this GameInformer article explains:

“A friendly George Lucas entered the room and was eager to hear the pitch from Red Fly’s creatives. “Before they could finish their spiel, Lucas cut them off, stood up, walked over to [two Sideshow Collectibles statues of Darth Maul and Darth Talon], rotated them to be facing the same direction, pushed them together, and said ‘They’re friends!’” adds the source. “He wanted these characters to be friends, and to play off of each other. […] The problem with the idea of Maul and Talon teaming up for a buddy cop-like experience was that they were separated by over 170 years […] When this vast time divide was brought up to Lucas’ attention, he brushed off the notion of it not working, and said that it could instead be a descendant of Darth Maul or a clone of him.”

So now the game is about a descendant of Maul, guided by his ancestor and fighting a redesigned Darth Krayt, etc?

The game was eventually cancelled when George sold the company.

Worth pointing out that this was circa 2010/2011... around the time that George started working on his Sequels, according to Jett Lucas. And we know that the treatment for the Sequels that Lucas presented to Bob Iger featured old man Maul and Darth Talon as the villains of the trilogy... take from that what you will.

3. The Prequel novelizations (kinda)

They were all given a copy of Lucas' screenplay.

While most of their work was with Sue Rostoni, Lucy Autrey Wilson, and Howard Roffman on the Lucasfilm team (like some of the other authors), Terry Brooks, R.A. Salvatore and Matthew Stover all spent a bit of time with George before writing their respective novels.

George told Terry Brooks to write some additional material for Anakin Skywalker because there wasn't enough of that in the movie. He was shown rushes from the set, they "opened the safe" for him. When Terry had further questions re: midi-chlorians and the history of the Sith, George goes on a 30-minute monologue about all that.

R.A. Salvatore had a 45-minute interview with him that turned into a 3-hour chat. He was able to go back to the Ranch a few times during the writing process, and one of those times George chatted with him and his wife during lunch. He was shown various cuts of the film and concept art.

Matthew Stover and George talked for a whole afternoon (I'm gonna go out on a limb and assume he was also shown the other stuff like some cuts/deleted scenes, concept art, etc etc).

Was there a line-edit of the ROTS novel from Lucas? Regarding the Revenge of the Sith novelization, some people bring up the idea that George Lucas did a line-edit on the book because Stover wrote this statement on theforce.net:

That said...

Stover, also stated that Lucas told him to write whatever he wanted as long as it was good,

he also said he didn't actually see Lucas type the edits,

an anonymous Del Rey editor stated on theforce.net that the notion that George edited the novel himself is "extremely incorrect".

There's enough "reasonable doubt" for the argument to be made that the Revenge of the Sith novelization was edited the same way as any other Star Wars novel, rather than by George himself.

The fact remains, though, that it was a novel written by someone who understood the source material, as it was explained to him in detail by George Lucas himself (a luxury many SW authors never got).

Lucas' backstory for the Sith in the TPM novel: If Pablo Hidalgo is to be believed, the backstory of the Sith, as detailed in the Phantom Menace novelization, came from Lucas.

(Obviously, I'd allow for the very likely possibility that there was some embellishment by Terry Brooks)

20 years later, however, it seems George decided to stick to the idea that there was no war between the Jedi and the Sith.

Final thought:

A lot of people will insist that George was involved in spite of all the above-posted evidence. Saying stuff like:

"But [X person] said that it was canon..."

Sometimes, they’ll link you to this whole website collecting quotes of other people saying "the EU was canon" (never George Lucas except for, like, one/two quotes where he acknowledges the existence of Sequel books which MUST mean he saw them as canon, right?) and...

On the one hand... of course they'll all vaguely say he's "involved" and tip-toe around the subject; it's technically true and, again, they're trying to make money. It's a business, folks.

On the other... yeah? Duh. Of course it was canon to Lucas Licensing and the authors who wrote for the EU. But it wasn't canon to George. And I just gave you a whole bunch of quotes directly from him and/or the same people quoted on that website, all confirming that he didn't see them as canon and he wasn't involved (or barely was).

Other times, we're straight-up approaching "burying head in the sand/lalalala I'm not listening!" levels of justifications.

Like, we just talked about the Sith's origins, right?

I remember a while ago, this Star Wars YouTuber was reviewing this quote from Lucas, in The Star Wars Archives: 1999-1995:

The YouTuber's reaction the second after reading the quote is saying:

"And of course, what George is referring to, here, is the Battle of Ruusan and the Brotherhood of Darkness using the Thought Bomb created by Lord Khan to kill the Jedi Lord Hoth and…"

My guy! You read a whole excerpt that started with "there was never a war between the Jedi and the Sith" and the words "Ruusan" or "Thought Bomb" never being mentioned once in the passage (or in the TPM novelization)... and concluded that George was referring to the Jedi/Sith Battle of Ruusan? And all that other EU stuff?

See what I mean, folks?

Now, look, I grew up with these stories (heck, I grew up with these stories in three different languages). So I get it. I know they're awesome.

And, yes, there is a difference between the kind of content we used to get and the content we're getting now (for one, lightsabers used to be lightsabers, in video-games, not baseball bats).

But if you're trying to prop up the EU, the facts show that the "George Lucas signed off on them" authority argument isn't a valid one. Because he clearly wasn't very interested or involved in it.

And why would you want to use this authority argument, anyway?

You shouldn't need to say "this came from Lucas" to like those stories. They don't need to be George Lucas Approved™ to matter and to be validated as "worthy of appreciation". They're valid on their own, they're great stories. And if you like them better than the Sequels, go to town. I know I do.

The only thing you can't do (with a straight face, at least) is hold them up as "the True Lucas-Approved Canon™ as opposed to the Disney Trash" in a rant, because you'd be wrong and/or lying. Neither had Lucas' hand in them in any meaningful way.

Finally... I was devastated when the EU was officially made non-canon, in 2014. And for a few years, I saw the new Star Wars continuity through this lens:

"Any EU content is still canon unless it's directly retconned...!"

Trust me, when I say that only pain lies that way. Because that's not how a lot of Star Wars creators, including the Flanelled One himself, see it. The way they saw/see it is:

"Unless it's been shown in a movie or TCW... it's a legend, it might have happened."

This line of thought seems to be increasingly applied to the new Disney canon too, by the way. "If it's not shown on a screen, then it's probably canon yet also up for grabs to be retconned."

And the sooner you accept that this is how it's being treated, the sooner you accept that the EU was never canon to Lucas or Filoni...

... the less painful it'll be when, I dunno, you watch The Acolyte and it's nothing like the Darth Plagueis novel or Plagueis himself is absent, or he's there, but as an Ithorian instead of a Muun.

(note how I didn't use the word "painless")

#Lucas Canon & EU Canon & Disney Canon are all different things. #the only downside to this notion is that you can't use Lucas' name in conjunction with the EU to win a debate or rant about LF. #or use Lucas' name to validate a headcanon that came from the EU #Aside from being glad he got to create a universe that inspired so many artists and creators to let their imagination go wild #he barely gave a crap about what other writers did in a parallel universe that he didn't even see as canon. #and that's FINE #collection of quotes #89 quotes I think #this may be the longest or second post I've written yet #meta #sw meta #expanded universe #george lucas #lucas quotes #dave filoni #youtube #star wars #star wars analysis #TCW #star wars comics #star wars novels #lucasfilm #EU #Legends #star wars legends #sw legends #supplementary material #long post

[berlingotesque]

What are your ships for Batim? :D

VERY GOOD QUESTION- I know my answer should be rather straightforward but I feel I have to put some context to my answers since they may seem contradictory/paradoxical otherwise, so bear with me-

Sammy x Norman : Well. I think that one was pretty obvious, anyone who's seen more than 3 of my posts knows that I'd die for these two. They're just so PERFECT for each other, from their complementary personalities to the fact that their relationship allows us to delve deeper into batim's historical and social context. Sammy and Norman have one of the few relationships that develop the most during the game's lore : Norman originally complains vehemently about Sammy's frenetic behavior, only to end up lamenting to Buddy and Dot how 'Sammy isn't the same anymore'. What's interesting about this statement is that he says it in relation to Sammy's strange behavior : clearly, the two men have grown close enough for Norman to differentiate Sammy's extravagant habits from his ink-influenced behavior.

Furthermore, Sammy is a very gray character morally, a perfectionist who is extremely socially maladjusted (surely due to the fact that he's coded on the spectrum and autism wasn't properly diagnosed at the time), naturally ostracizing him. For his part, Norman comes from a rural background (which surely earns him the animosity of the people at the studio, given the historical context and the fact that he could very well be poc) and also seems ill at ease socially : to me, it's fascinating to see two characters excluded from their peers because of differences they can't change (being autistic or poc and gay) getting closer to each other, to the point where Sammy, who is deeply misanthropic, naturally compliments Norman by describing him as very bright. To me, Norman is the perfect partner for Sammy : ready to apprehend him as he is, since he's completely free of social conventions, without taking any shits from him.

I think Sammy and Norman can really get the best out of each other, during a historical period when being different was strongly proscribed. I think I'd have trouble enjoying Batim as much without their dynamic at its heart (considering how narratively rich it is) : Norman is Henry's confidant, Sammy is Joey's, both remain morally gray deuteragonists fundamentally opposed to the ink machine, while remaining fascinated by its powers. And who wouldn't love a good old enemies to lovers ending tragically with the unwitting murder of one by the other ? After all, Norman's main flaw is that he's too curious for his own good, and it was Sammy who inevitably led him to his doom..

Allison x Tom : what more can I add. She's everything. He's just Tom. I've always been drawn to characters/ships with a vibe completely opposite to the vibe of the work they originally came from, and the 'turning poison into positivity' energy that Tom and Allison bring to Batim has always fascinated me. In a world as tragic as their own, I find it touching to see these two find beauty in all the ugliness and manage to ask themselves 'what if we were happy after all ?' It's really striking and brings a narrative richness to the work, since they directly mirror what failed with Sammy and Susie : Allison is perfect, but that was never what was at stake in Tom's eyes. Tom was looking for humanity, not perfection, and he managed to go beyond the image of the muse to discover a friend, unlike Sammy with Susie. They're literally Romeo and Juliet but, well... Not dead.

Joey x Henry/Henry x Linda : oh boy. These three... Let me get it straight right away : Henry and Linda are perfect for each other. She's exactly what he needs to be happy : she's present, patient. There's no denying that he loves her immensely. But Joey... oh Joey is undoubtedly Henry's soul mate. The subtlety is that Joey can't bring him the stable happiness Linda can : Joey tugs at him, pushes him over the edge. He knows exactly what to do to push him beyond his own limits. The love Joey offers Henry is an uncomfortable but unconditional one, one that would allow Henry to go beyond what he thinks he's capable of achieving because no one knows Henry better than Joey ! And let's be honest, Batim only exists because Joey refuses to move on, to live his dream without Henry in it. He's stuck in unrequited love and refuses to learn to live with it. And that's the tragedy of this trio : Henry sincerely loves Linda but is truly himself with Joey, which prevents him from hating OR loving him (And Joey exploits this information by remaining extremely toxic and convincing himself that he can wear him down lmao). Henry is stuck with this dilemma : Existing peacefully with Linda or living painfully with Joey. And that's why I love the dynamic of this love triangle : because there are no solutions that will satisfy everyone.

Joey x Sammy : okay, don’t get me wrong : these two are HORRIBLE for each other. Does Sammy periodically want to quit just to piss Joey off? Yes. Isn't Joey's fascination with Sammy intimately tied to his refusal to forget Henry, who was a genius like Sammy? Yes. Nevertheless, it's impossible for me to read The Illusion of Living without feeling embarrassed and like I'm reading Joey's diary : whether you ship them or not, Joey is practically canonically smitten with Sammy. I sincerely don't think Joey and Sammy can sustain a healthy relationship with each other, but oh boy, surely that won't stop me from exploiting their bizarre obsessive love-hate relationship, where it's hard to determine whether they're going to throw hands or make out.

#oh god the normmy one I’M SO SORRY ANONS #I just love this ship so much I got carried away #anyway that’s just my own personal analysis #which are sometimes a bit far-fetched I admit #BUT STILL it’s so fun to over analyze batim when you know the creators really don’t give a shit about their own lore lmao #thank you so much for the asks anons :)) #I hope my answer has enlightened you #sammy lawrence #norman polk #normmy #allison pendle #thomas connor #thomson #joey drew #henry stein #linda stein #creatorship #how do you call Sammy x Joey ?? #jammy ? or is that the name for Sammy x Jack ? #god i dont know #susie campbell #(mentioned) #samsie #(derogatory) #batim #batdr #bendy and the ink machine #bendy and the dark revival #ask response #berlingot’s asks

[citylighten]

#writeblr #simblr #ts4 storytelling #ts4 storytellers #ts4 story #i'm VERY curious 'cause i'm listening to a youtube analysis talk about poor writing from an indie creator #and i feel like writers go through so much work in getting their stories right and finding their story so yes weak points exist #esp if you don't have people who are reading your work behind the scenes and giving feedback or if you're just trying to get to the next #scene the best way possible! #feel free to reblog

[autism-alley]

ik it’s been forever in internet time but i’m gonna die mad abt the way the live action atla show got a good amount of backlash and criticism from the fanbase meanwhile the pjo show was THAT horrendous and the fanbase treats critics like they’re out to kill their mother. as someone in both fandoms am i crazy bc i keep fucking seeing people say yes 💀 like!! these shows, whose original series were both about a 12 year old boy born with godlike powers going on quests with his friends to save the world, released in the 2000s, and had a shitty movie adaptation, now reboots released within weeks of each other, both committed nearly identical crimes of character assassination, exposition dumping, dumbing down their source material, sanitizing “problematic” elements (that the characters originally had to overcome), and wasting actor potential (also at least live action atla had good action scenes CANNOT say the same for the pjo show)—and i’m seeing like mainstream(ish) social media coverage of new atla show critique by people with millions of followers all across different sites, but nothing even close to that for the pjo show?? if that coverage exists for the pjo show somebody fucken send it to me bc like!! the pjo series is Not an unpopular series, i get it’s a book series and not a tv series so i didn’t expect the popularity to be exactly the same, but Damn! i feel like i need an hours long video essay comparing the two audience reactions to these series’ first season releases bc they were WIDLY different

#i need a full blown analysis someone pls scratch the itch in my brain i can’t put it all into words #like atla remake had the og creators packing their bags meanwhile author of pjo out here lying to his fans abt the show #what the fuck is that about #anyways this is a petty post and not my best put #not directed at the atla fanbase at all!! none of the pettiness for y’all #i am looking the pjo fandom dead in the eyes like just?? #why the fuck pjo fans gaslighting the hell out of anybody who breathes wrong on the show?? #like actual gaslighting. that term gets thrown around a lot but i mean gaslighting for real even from people in my personal life #the atla fandom has its Moments don’t get me wrong i’m in both but can we have a little bit of sanity in the pjo show fandom #pjo show crit #pjo tv crit #anti pjo show #and i guess #natla show crit #anti natla #natla criticism

[addysfandomdump]

Tbh my problem with how Vivzie treats Christianity in her shows is not because it's disrespectful, but because it's disrespectful in the most swagless way possible.

#i love being heretical i love being blasphemous i love disrespecting god and the church #but man vivzie does it in a way that's so shallow and lame #she doesn't have a true understanding of Why It Sucks nor does she have any meaningful commentary to add to it #there's no depth to any of her work. it's all purposefully stunted because their creator fucking hates critical thinking and media analysis #hazbin hotel critical #helluva boss critical #vivziepop critical #really talks!