I love these guys so much. forget NRC, I want to attend their terrible disaster school for disaster children that might actually be plastered on top of the smoking remains of an actively sinking ship. I may or may not actually learn anything, but I will have the time of my life.
Compilation of EVERY single time they changed Hobie's filter in the digital version:
Left: Theatrical release Right: Digital release
You might have to click on some of them to get a better look at Hobie, sadly I don't have a video editor that allows me to make better edits than these :')
Something I’ve been thinking about lately is that small moment in “Air Turtle” where immediately after the Daves lose yet another game, Leo says how sorry he is and how he’s doing his best as the mascot. This moment is so short but it’s honestly jam-packed with a whole heap of characterization.
His need to apologize for things clearly not his fault - especially when it feels like he messes up the job he was given despite doing the best he can (the phrase “it’s not about you” takes a new meaning when this is one of the lessons to be learned from that - that he is not always solely responsible for things going wrong), his need to save face and make a connection with an older adult man in his life (something he consistently does throughout the series - he’s got a few daddy issues, always collecting potential father figures, it’s no wonder he jumps at the bit to keep rapport), and the way he sounds and looks and the words he chooses really pushes how he is just a kid (“Mr. the Dunk, I’m so sorry”).
Like I know it’s a one off moment that doesn’t truly mean much, but when put against the rest of the series it works really well with the rest of Leo’s established character and helps in solidifying later concepts as well.
i kinda don’t get people who characterize maccready as like… secretly generous, or having a heart of gold or anything. like don’t get me wrong i don’t think he’s downright malicious or anything, but the dude is absolutely a selfish jerk once you get past the charming facade. that’s the part that’s compelling!
like, he’s nice enough and open enough with the player once you get high enough affinity with him, but his reactions to player actions still point to him being a jerk overall. the sosu just happens to be in His Circle of people he can be vulnerable with. that includes you, his son, and maybe daisy. everyone else can kick rocks, the same way it was in little lamplight
he HAD to grow up with that kind of “us vs the world, every man for himself” mentality in the capitol wasteland. doing so otherwise gets you killed or taken advantage of, which is just protracted death anyways. having grown up in a place where slavers run rampant, people are all pushing each other further down just to boost themselves up and live one more day, and it’s literally impossible to make renewable food sources because the ground is so poisoned i genuinely don’t blame him for ending up a little tight fisted. the fact that he was the mayor of little lamplight just meant that he ended up being able to accept a few people as His To Protect instead of being a total lone wolf.
the way he reacts to the players open generosity isn’t just for show, he Actually Dislikes when you give stuff away without expecting anything in return. you might need that thing and now its just gone!! that person might see you as a sucker! you give an inch and they’ll take a mile! and it makes sense for his character to be like that considering everything. i don’t get why people want to change that into him just being kind of tsundere.
i understand that having your babygirl blorbo comfort character be a canonical asshole in ways that aren’t just kinda charming can be offputting, but like…. the way he treats the sosu is a very notable exception to the rest of his life & it’s a much more interesting dynamic imo. especially if you’re playing a goody two shoes martyr. but that’s just me
I’ve mentioned this elsewhere but it feels relevant again in light of the most recent episode. Something that’s really fascinating to me about Orym’s grief in comparison to the rest of the hells’ grief is that his is the youngest/most fresh and because of that tends to be the most volatile when it is triggered (aside from FCG, who was two and obviously The Most volatile when triggered.)
As in: prior to the attack on Zephrah, Orym was leading a normal, happy, casual life! with family who loved him and still do! Grief was something that was inflicted upon him via Ludinus’ machinations, whereas with characters like Imogen or Ashton, grief has been the background tapestry of their entire lives. And I think that shows in how the rest of them are largely able to, if not see past completely (Imogen/Laudna/Chetney) then at least temper/direct their vitriol or grief (Ashton/Fearne/Chetney again) to where it is most effective. (There is a glaring reason, for example, that Imogen scolded Orym for the way he reacted to Liliana and not Ashton. Because Ashton’s anger was directed in a way that was ultimately protective of Imogen—most effective—and Orym’s was founded solely in his personal grief.)
He wants Imogen to have her mom and he wants Lilliana to be salvageable for Imogen because he loves Imogen. But his love for the people in his present actively and consistently tend to conflict with the love he has for the people in his past. They are in a constant battle and Orym—he cannot fathom losing either of them.
(Or, to that point, recognize that allowing empathy to take root in him for the enemy isn't losing one of them.)
It is deeply poignant, then, that Orym’s grief is symbolized by both a sword and shield. It is something he wields as a blade when he feels his philosophy being threatened by certain conversational threads (as he believes it is one of the only things he has left of Will and Derrig, and is therefore desperately clinging onto with both bloody hands even if it makes him, occasionally, a hypocrite), but also something he can use in defense of the people he presently loves—if that provocative, blade-grief side of him does not push them—or himself—away first.
(it won’t—he is as loved by the hells as he loves them. he just needs to—as laudna so beautifully said—say and hear it more often.)
You know I think you guys might be on to something when you call Sam woman coded cause - genuinely - how do you, as writers of a show, be so misogynistic as to not include any female characters asides from damsels and hookups (specifically referring to the early seasons), and yet need so desperately to have a outlet for macho masculine patriarchy power dynamics that you have an adult male character experience misogyny?? How do you mess up that badly??
It's like, although they thought that putting female characters in the narrative other than to exist as sexy distressed lamps wouldn't appeal to the true blooded 2000s American audience. But yet it was completely necessary for there to be a bottom rung in the masculinity pyramid because - well how else can we as a society function!!
Anyway, ik reading too far into things is my special talent, and in most circumstances all of this stuff is just a joke in the show but wow they really had Dean poking fun of any of Sam's characteristics that don't fit into this Hyper True Blooded American Masculinity ideology as a butt of jokes for 15 years. The fact that he has longer hair, that he cares about his hair, that he's tidy, that he likes salads and isn't a big meat eater, that he's sympathetic, that he's a bitch. And of course these are just silly little jabs that Dean makes in sibling-like fashion but like wow 15 years. Damn.
And of course it's not only this that leads to the rather odd interpretation of a woman-coded Sam, but also the way he is treated directly by the narrative. Like, for example, being the family's possession, rather than an equal member. Dean has seen it as his job to look out for his little brother since he pulled him from the fire and the wellbeing of this infant was thrown onto his shoulders at age 4, and this has created a lot of ricocheting effects on both of them. This isn't to say that Dean doesn't love, care, respect, and value Sam, but it does mean that sometimes he treats him like a possession rather than a person. He makes a lot of crazy decisions in the show that he justifies as being for Sam's own good, even if it goes directly against Sam's wishes. After Sam leaves a note to Dean telling him he's going out for a bit to handle a case, Dean weasels his way in, not trusting him to handle it due to the mental issues Sam is facing at the time, and kills Amy, despite Sam begging him not to. Even though Dean knows Sam would never consent to an angle possessing him, he tricks him into it anyway. He does these things, and many others because he believes that he is acting in Sam's best interests, totally disregarding the fact that Sam has capacity to make judgements and handle the consequences himself, even going so far as to oppose what he directly knows or Sam tells him he wants.
Then of course there is the fact that the fear integral to his character - a loss of autonomy (bodily autonomy, but also autonomy to make his own decisions about his future, to be good, to be pure and faithful), is an explicitly feminine one. Then there is the strong subtext in his story of SA themes, I think in s4 a demon even refers to Sam as a 'whore' or that he's 'whoring it up' (with respect to Ruby), and the interesting prevalent idea of Sam questioning or going against the ideals/ideology of the masculine figure head (which would be Dean I guess) and getting punished for it. Sam suggests that maybe they take a more humanitarian approach with the cow blood drinking vampires in s2 and Dean punches him, Sam tries to get him to talk about their Dad and Dean punches him, Sam tries to get him to talk about Lisa and Ben and Dean punches him, Sam gets caught simply using his abilities and Dean punches him - twice. I think you get the picture.
Anyway. This post comes off as rather critical of Dean, which wasn't really my intention. It's more sort of a broader criticism of the rampant sexism that had its part in shaping the show - being one to come out of the early 2000s. Ideas such as this - you could really go on for hours as its fascinating how ideological frameworks are presented certain ways in media - and the way masculine and feminine social dynamics, to list only one, is presented in supernatural is definitely a can of worms.
okay so. like. wan ed 12. dazai is stopped by a log in the river and starts actually drowning. funny haha wan bit.
but repeating something ive said (hi haven) i think this is actually a really good example for how ada dazai doesn't really want to kill himself. he could've actually drowned here. thats his 'goal' right? but the moment it starts happening he's trying to get his head back above water.
"I thought I was dead"
hilariously wet and horrified or not he obviously didn't want to die here. theres nobody around to hear what he said anymore anyway. and that's why, despite being yk... a wan ending animation? i still think this is such like. a case in point.