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#post-disney canon i mean
inquisitor-apologist · 9 months
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All right guys, since apparently no one gets it: Star Wars has THREE continuities. Each continuity has different rules, interpretations, and canon, and you cannot, CANNOT use evidence from different continuities to support your argument, because those are different timelines. Let me explain:
Continuity 1: High Canon/Lucas Canon
The most Canon of the three Canon continuities, High Canon includes everything that George Lucas, creator of Star Wars, actually worked on. High Canon is absolutely tiny compared to the other two continuities, and it is a part of both of them, since it is foundational and central to the Star Wars universe. All High Canon is Canon, but not all Canon is High Canon. High Canon includes the Original trilogy, the Prequel trilogy, and the Clone Wars. Novelizations (except Revenge of the Sith, as Lucas worked closely with Stover on that one) are not really considered High Canon. Deleted scenes and storylines from TCW and the trilogies are not considered High Canon, since they didn’t make it to screen, but can generally be used to support, inform, and expand pieces of High Canon that did make it to screen.
TLDR: High Canon is everything George Lucas made. It includes TCW, the PT, and the OT, and is Canon to both other continuities.
Continuity 2: Legends Canon/The (old) EU (extended universe)
The largest of the continuities, Legends includes everything outside of High Canon written for the Star Wars universe from the creation of Star Wars to the Disney buyout of Lucasfilm. Everything (not High Canon) created from the 70s to April 25, 2014 is considered Legends. Legends has its own timeline for Star Wars, and has distinctly different interpretations of the characters, worldbuilding, and magic system (The Force) than either High Canon or Disney Canon. While some ideas from Legends might show up in or influence Disney Canon, but all of Legends is decanonized and exists in a separate timeline from Disney Canon. Legends includes the Knights of the Old Republic video games, the original Thrawn Trilogy, the Jedi Apprentice series and many, many others. No new content is being released in the Legends continuity, and I don’t think there are any plans to make more. No, you cannot support your argument about George Lucas’s intentions with the Jedi (or whatever) with Legends material, because Legends is not Canon to Lucas’s Star Wars.
TLDR: Legends is every piece of non-High Canon Star Wars media up to April 25, 2014. It wasn’t made by George Lucas and isn’t canon to Lucas’s Star Wars. Its timeline is distinct from both the Disney Canon and High Canon timelines.
Continuity 3: Disney Canon/Current Canon
The newest of the three continuities, Disney canon is the only one actively being created and added to. It contains all Star Wars material created since April 25, 2014. Disney Canon was created to reboot the Star Wars Extended Universe and create a new timeline. Disney Canon generally tends to stay closer to George Lucas’s intentions and interpretations of Star Wars, but it is no more canon to Lucas than Legends is. Disney Canon’s timeline, worldbuilding, and interpretations of High Canon all exist separately from Lucas’s Star Wars. Disney Canon often takes inspiration and ideas from Legends, but that does not recanonize Legends or anything from it. You cannot support your argument about Rebels (or any other part of Disney Canon) with evidence from Legends, as they exist in separate timelines, with separate characters. (Yes, even if they are the same character. Legends Obi-Wan is different from Disney Obi-Wan and Lucas Obi-Wan. Different timeline, different context, different interpretation.) Disney Canon includes the Sequel Trilogy, Star Wars: Rebels, The High Republic, and many others.
TLDR: Disney Canon is every piece of Star Wars media made under Disney. It wasn’t made by George Lucas and isn’t canon to Lucas’s Star Wars. Its timeline is distinct from both the Legends and High Canon timelines.
This rant is brought to you by someone supporting their analysis on the Jedi Order in Rebels with Knights of the Old Republic 2. Please don’t do that.
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super-sucklet · 6 months
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my biggest beef with disneys star wars shows is that none of them can ever MEAN anything
disney DID their trilogy! they told their big story!! now any of the shit they churn out will be functionally meaningless because THE STORIES ALREADY BEEN TOLD!!! din having the darksaber doesn't mean anything because it CANT! ahsoka finding ezra wont have any real effect on the GFFW!! thrawn doing whatever, means absolutely nothing!!
thats why we have shit that's so interesting until it fizzles out because they cant go against the canon theyre written
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kaythefloppa · 7 months
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Oh yay, we have new lions who we’re all definitely going to make prominent characters of in our fanfics. (Starts typing aggressively)
Here’s the link to the video these guys showed up in for anyone wondering.
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camscendants · 5 months
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Honestly Evie is basically a different character in my mind compared to the movies
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literallycarrie · 7 months
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btw nothing in the high school musical 4 of the hsmtmts universe is actually canon to the high school musical series. the show is by disney and has the hsm branding slapped onto it, but the hsm 4 within hsmtmts is still a fictional movie within a fictional universe. troy and gabriella are not canonically in couples therapy no matter how many times a tiktoker says "i'm about to ruin your childhood!!" and shows the same popcrave tweet. ryan is still gay though that's not up for debate
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jewishcissiekj · 7 months
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Remember when a Jedi Master tried to pull away Asajj's thoughts and memories and Asajj just... got over it and murdered the Jedi? She's built different idk
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Star Wars: Republic #53 (Written by Haden Blackman, art by Brian Ching)
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shadowjinx626 · 4 months
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Person A, after seeing the Mario movie: Omg, look at all these easter eggs! This movie is so cool!! IT's a masterpiece!!! Person B: I mean the easter eggs were nice, but it made the movie feel like a commercial. Person A: Omg, it's just a kid's movie! Why you gotta take it so seriously? Months later... Person A, after seeing Wish: Omg, this movie is nothing but easter eggs! And they're trying to make a Disney cinematic universe!! This movie is so terrible!!! Person B: The easter eggs are just references and jokes. They're not meant to be taken seriously. Person A: Omg, stop defending Disney you shill!!!
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disneynerdpumpkin · 5 months
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Introducing my OC!
Elinor Hope Lorenzini
~O~O~O~O~O~O~O~O~O~O~O~O~O~O~O~O~O~O~O~O~O~O~O~O~
She is the daughter of Geppetto and Pinocchio's younger sister. Context: Geppetto made a marionette that looked like a female twin to Pinocchio in his spare time. Geppetto wished for another child, and Pinocchio wished for a sibling (because being an only child got a bit lonely for him). So the Blue Fairy granted this wish by blessing Elinor with the gift of life and eventually making her a human girl. So since being brought to life, she's around 2 years old (but mentally she's around 7) and she's around Pinocchio's height. Her name is Elinor (which means "shining light") but everyone just calls her Ellie for short.
She is very sassy and chaotic, but she's also very bubbly and sweet, and really energetic. She's the kind of girl who will freeze lemons and chuck them at your window while you're sleeping legit just to get your attention, or like "That sounds illegal. I'm in." Causes so much mischief but so cuteeee
And nobody knows where this personality comes from (because she certainly didn't get it from Geppetto lol). She's just so unique. She really likes ice skating (so she's a figure skater) and her favorite animals are bunnies! She really loves wearing blouses with skirts, denim overalls, leather boots, and hairbows. Elinor also is a violinist and plays simple things on the violin that Geppetto has given her, and she has a great fondness for violin music. Her favorite food is panetonne bread pudding and enjoys fruit filled canolis. Basically, Elinor looks like a cinnamon roll but she can kill you. So she's delightfully chaotic!
I will also mention that she exists in a fanfic I have that takes place in the 21st century (where my self-insert/oc is actually her older sister and adopted into the Lorenzini family).
I have a Pinterest aesthetic board for her; her personality, fav things, style, hobbies, etc.
https://pin.it/6ODc0u7
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visitbespin · 1 year
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the n-1 starfighter with the r5 droid from tatooine is so luke skywalker-coded... i miss luke :(
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greetingsfromrivain · 2 years
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ok question: i keep seeing posts about wynne being canonically 49. is there like....a source for that?
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kalique · 9 months
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boy, i sure love [redacted huge movie that grossed billions]. it’s too bad disney has done absolutely nothing with it in years and has released 2 crumbs of new content pertaining to it and thus the fandom died off after a year or two and me and my 5 buddies in our grimy, musty corner of the internet (discord server that miraculously is still up after 5 years worth of insane fandom drama) are the ONLY people still talking about it
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jinxhearted · 1 year
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Ok so I might do another post about the stuff I didn’t like but for now
THINGS I LOVED IN THE OWL HOUSE FINALE
* I’ve seen a lot of people say Belos’s death was anticlimactic and it was!! Because the bastard didn’t deserve even an inch of glory or to go out in a cool way!! Instead the land he poisoned and tried to destroy uno reversed him so he could get pathetically curb stomped by those he personally tormented.
* Luz looking down at Belos in disappointment and disgust as he melted JUST LIKE the ghost/hallucination of Caleb did.
* Luz saying she was the good witch LUZ instead of LUZURA!!! Self acceptance and shedding of masks we love to see it
* Acknowledging that yeah forgiveness and kindness is great but it doesn’t always work!! So many shows recently have solved every conflict with those two concepts and it’s just not realistic. Some people cannot be saved.
* In the same vein Belos committing to the bit and remaining a genocidal jackass instead of trying to “redeem” himself or let others do it for him.
* PALISMAN CARVER HUNTER. EDA’S DAD PASSING ON THE ART TO SOMEONE WORTHY AND HUNTER DOING SOMETHING HE LOVES AND IS CONNECTED DEEPLY TO.
* The matching Flapjack tattoos!!
* Darius immediately complimenting Hunter’s middle school emo boy wolf shirt
* BAMF RAINE
* The fact that Camila still had the pride pin on in the epilogue as a middle finger to Disney but that means canonically she’s been wearing it for 4 years straight. (Ha)
* Belos, trying to spread his literal and metaphorical rot to Luz at the last second to take her down with him and being completely unable to touch her do to her embracing the Titan’s magic instead of abusing it like he did.
* The giant dragon beast Belos being petrified HAHA HOWS IT FEEL
* “We’re humans! We’re better!” Belos exclaims, currently a pile of bone goop while his fellow human Luz has had sick magical girl transformation and is also distinctly nonhuman at the moment.
* Lilith opening a museum with HOOTY AS THE CURATOR
* HARPY LILY HARPY LILY
* Raeda swapped earrings
* EDA HAVING A GODDAMN HOOK FOR A HAND AND BEING A HEADMASTER LIKE BUMP
* Kings collar says “KC” now for King Clawthorne
* The Titan has the Archives as it’s crown just like the Luzura doll crown King wore from episode one.
* BYEEEEEEEEE!!!
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pjotvshownews · 2 years
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Rick Riordan’s response to the racism and hatred directed at Leah after she was cast as Annabeth:
“Leah Jeffries is Annabeth Chase”
“This post is specifically for those who have a problem with the casting of Leah Jeffries as Annabeth Chase. It’s a shame such posts need to be written, but they do. First, let me be clear I am speaking here only for myself. These thoughts are mine alone. They do not necessarily reflect or represent the opinions of any part of Disney, the TV show, the production team, or the Jeffries family.
The response to the casting of Leah has been overwhelmingly positive and joyous, as it should be. Leah brings so much energy and enthusiasm to this role, so much of Annabeth’s strength. She will be a role model for new generations of girls who will see in her the kind hero they want to be.
If you have a problem with this casting, however, take it up with me. You have no one else to blame. Whatever else you take from this post, we should be able to agree that bullying and harassing a child online is inexcusably wrong. As strong as Leah is, as much as we have discussed the potential for this kind of reaction and the intense pressure this role will bring, the negative comments she has received online are out of line. They need to stop. Now.
I was quite clear a year ago, when we announced our first open casting, that we would be following Disney’s company policy on nondiscrimination: We are committed to diverse, inclusive casting. For every role, please submit qualified performers, without regard to disability, gender, race and ethnicity, age, color, national origin, sexual orientation, gender identity or any other basis prohibited by law. We did that. The casting process was long, intense, massive and exhaustive.
I have been clear, as the author, that I was looking for the best actors to inhabit and bring to life the personalities of these characters, and that physical appearance was secondary for me. We did that.  We took a year to do this process thoroughly and find the best of the best. This trio is the best. Leah Jeffries is Annabeth Chase.
Some of you have apparently felt offended or exasperated when your objections are called out online as racist. “But I am not racist,” you say. “It is not racist to want an actor who is accurate to the book’s description of the character!”
Let’s examine that statement.
You are upset/disappointed/frustrated/angry because a Black actor has been cast to play a character who was described as white in the books. “She doesn’t look the way I always imagined.”
You either are not aware, or have dismissed, Leah’s years of hard work honing her craft, her talent, her tenacity, her focus, her screen presence. You refuse to believe her selection could have been based on merit. Without having seen her play the part, you have pre-judged her (pre + judge = prejudice) and decided she must have been hired simply to fill a quota or tick a diversity box. And by the way, these criticisms have come from across the political spectrum, right and left.
You have decided that I couldn’t possibly mean what I have always said: That the true nature of the character lies in their personality. You feel I must have been coerced, brainwashed, bribed, threatened, whatever, or I as a white male author never would have chosen a Black actor for the part of this canonically white girl.
You refuse to believe me, the guy who wrote the books and created these characters, when I say that these actors are perfect for the roles because of the talent they bring and the way they used their auditions to expand, improve and electrify the lines they were given. Once you see Leah as Annabeth, she will become exactly the way you imagine Annabeth, assuming you give her that chance, but you refuse to credit that this may be true.
You are judging her appropriateness for this role solely and exclusively on how she looks. She is a Black girl playing someone who was described in the books as white.
Friends, that is racism.
And before you resort to the old kneejerk reaction — “I am not racist!” — let’s examine that statement too.
If I may quote from an excellent recent article in the Boston Globe about Dr. Khama Ennis, who created a program on implicit bias for the Massachusetts Board of Registration for Medicine in Boston: “To say a person doesn’t have bias is to say that person isn’t human. It’s how we navigate the world … based on what we’re taught and our own personal histories.”
Racism/colorism isn’t something we have or don’t have. I have it. You have it. We all do. And not just white people like me. All people. It’s either something we recognize and try to work on, or it’s something we deny. Saying “I am not racist!” is simply declaring that you deny your own biases and refuse to work on them.
The core message of Percy Jackson has always been that difference is strength. There is power in plurality. The things that distinguish us from one another are often our marks of individual greatness. You should never judge someone by how well they fit your preconceived notions. That neurodivergent kid who has failed out of six schools, for instance, may well be the son of Poseidon. Anyone can be a hero.
If you don’t get that, if you’re still upset about the casting of this marvelous trio, then it doesn’t matter how many times you have read the books. You didn’t learn anything from them.
Watch the show or don’t. That’s your call. But this will be an adaptation that I am proud of, and which fully honors the spirit of Percy Jackson and the Olympians, taking the bedtime story I told my son twenty years ago to make him feel better about being neurodivergent, and improving on it so that kids all over the world can continue to see themselves as heroes at Camp Half-Blood.”
(x)
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trungles · 3 months
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Cross-posting an essay I wrote for my Patreon since the post is free and open to the public.
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Hello everyone! I hope you're relaxing as best you can this holiday season. I recently went to see Miyazaki's latest Ghibli movie, The Boy and the Heron, and I had some thoughts about it. If you're into art historical allusions and gently cranky opinions, please enjoy. I've attached a downloadable PDF in the Patreon post if you'd prefer to read it that way. Apologies for the formatting of the endnotes! Patreon's text posting does not allow for superscripts, which means all my notations are in awkward parentheses. Please note that this writing contains some mild spoilers for The Boy and the Heron.
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Hayao Miyazaki’s 2023 feature animated film The Boy and the Heron reads as an extended meditation on grief and legacy. The Master of a grand tower seeks a descendant to carry on his maddening duty, balancing toy blocks of magical stone upon which the entire fabric of his little pocket of reality rests. The world’s foundations are frail and fleeting, and can pass away into the cold void of space should he neglect to maintain this task. The Master’s desire to pass the torch undergirds much of the film’s narrative.
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(Isle of the Dead. Arnold Böcklin. 1880. Oil on Canvas. Kunstmuseum. Basel, Switzerland.)
Arnold Böcklin, a Swiss Symbolist(1) painter, was born on October 16 in 1827, the same year the Swiss Evangelical Reformed Church bought a plot of land in Florence from the Grand Duke of Tuscany, Leopold II, that had long been used for the burials of Protestants around Florence. It is colloquially known as The English Cemetery, so called because it was the resting place of many Anglophones and Protestants around Tuscany, and Böcklin frequented this cemetery—his workshop was adjacent and his infant daughter Maria was buried there. In 1880, he drew inspiration from the cemetery, a lone plot of Protestant land among a sea of Catholic graveyards, and began to paint what would be the first of six images entitled Isle of the Dead. An oil on canvas piece, it depicts a moody little island mausoleum crowned with a gently swaying grove of cypresses, a type of tree common in European cemeteries and some of which are referred to as arborvitae. A figure on a boat, presumably Charon, ferries a soul toward the island and away from the viewer.
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(Photo of The English Cemetery in Florence. Samuli Lintula. 2006.)
The Isle of the Dead paintings varied slightly from version to version, with figures and names added and removed to suit the needs of the time or the commissioner. The painting was glowingly referenced and remained fairly popular throughout the late 19th and early 20th centuries. The painting used to be inescapable in much of European popular culture. Professor Okulicz-Kozaryn, a philologist (someone with a deep interest in the ways language and cultural canons evolve)(2) observed that the painting, like many other works in its time, was itself iterative and became widely reiterated and referenced among its contemporaries. It became something like Romantic kitsch in the eyes of modern art critics, overwrought and excessively Byronic. I imagine Miyazaki might also resent a work of that level of manufactured ubiquity, as Miyazaki famously held Disney animated films in contempt (3). Miyazaki’s films are popularly aspirational to young animators and cartoonists, but gestures at imitation typically fall well short, often reducing Miyazaki’s weighty films to kitschy images of saccharine vibes and a lazy indulgence in a sort of empty magical domestic coziness. Being trapped in a realm of rote sentiment by an uncritical, unthoughtful viewership is its own Isle of Death.
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(Still from The Boy and the Heron, 2023. Studio Ghibli.)
The Boy and the Heron follows a familiar narrative arc to many of Miyazaki’s other films: a child must journey through a magical and quietly menacing world in order to rescue their loved ones. This arc is an echo of Satsuki’s journey to find Mei in My Neighbor Totoro (1988) and Chihiro’s journey to rescue her parents Spirited Away (2001). To better understand Miyazaki’s fixation with this particular character journey, it can be instructive to watch Lev Atamanov’s 1957 animated film, The Snow Queen (4)(5), a beautifully realized take on Hans Christian Andersen’s 1844 children’s story (6)(7). Mahito’s journey continues in this tradition, as the boy travels into a painted world to rescue his new stepmother from a mysterious tower.
Throughout the film, Miyazaki visually references Isle of the Dead. Transported to a surreal world, Mahito initially awakens on a little green island with a gated mausoleum crowned with cypress trees. He is accosted by hungry pelicans before being rescued by a fisherwoman named Kiriko. After a day of catching and gutting fish, Mahito wakes up under the fisherwoman’s dining table, surrounded by kokeshi—little wooden dolls—in the shapes of the old women who run Mahito’s family’s rural household. Mahito is told they must not be touched, as the kokeshi are wards set up for his protection. There is a popular urban legend associated with the kokeshi wherein they act as stand-ins for victims of infanticide, though there seems to be very little available writing to support this legend. Still, it’s a neat little trick that Miyazaki pulls, placing a stray reference to a local legend of unverifiable provenance that persists in the popular imagination, like the effect of fairy stories passed on through oral retellings, continually remolded each new iteration.
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(Still from The Boy and the Heron, 2023. Studio Ghibli.)
Kiriko’s job in this strange landscape is to catch fish to nourish unborn spirits, the adorable floating warawara, before they can attempt to ascend on a journey into the world of the living. Their journey is thwarted by flocks of supernatural pelicans, who swarm the warawara and devour them. This seems to nod to the association of pelicans with death in mythologies around the world, especially in relationship to children (8). Miyazaki’s pelicans contemplate the passing of their generations as each successive generation seems to regress, their capacity to fulfill their roles steadily diminishing.
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(Still from The Boy and the Heron, 2023. Studio Ghibli.)
As Mahito’s adventure continues, we find the landscapes changing away from Böcklin’s Isle of the Dead into more familiar Ghibli territories as we start to see spaces inspired by one of Studio Ghibli’s aesthetic mainstays, Naohisa Inoue and his explorations of the fantasy realms of Iblard. He might be most familiar to Ghibli enthusiasts as the background artists for the more fantastical elements of Whisper of the Heart (1995).
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(Naohisa Inoue, for Iblard Jikan, 2007. Studio Ghibli.)
By the time we arrive at the climax of The Boy and the Heron, the fantasy island environment starts to resemble English takes on Italian gardens, the likes of which captivated illustrators and commercial artists of the early 20th century such as Maxfield Parrish. This appears to be a return to one of Böcklin’s later paintings, The Island of Life (1888), a somewhat tongue-in-cheek reaction to the overwhelming presence of Isle of the Dead in his life and career. The Island of Life depicts a little spot of land amid an ocean very like the one on which Isle of the Dead’s somber mausoleum is depicted, except this time the figures are lively and engaged with each other, the vegetation lush and colorful, replete with pink flowers and palm fronds.
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(Island of Life. Arnold Böcklin. Oil on canvas. 1888. Kunstmuseum. Basel, Switzerland.)
In 2022, Russia’s State Hermitage Museum in Saint Petersburg acquired the sixth and final Isle of the Dead painting. In the last year of his life, Arnold Böcklin would paint this image in collaboration with his son Carlo Böcklin, himself an artist and an architect. Arnold Böcklin spent three years painting the same image three times over at the site of his infant daughter’s grave, trapped on the Isle of the Dead. By the time of his death in 1901 at age 74, Böcklin would be survived by only five of his fourteen children. That the final Isle of the Dead painting would be a collaboration between father and son seemed a little ironic considering Hayao Miyazaki’s reticence in passing on his own legacy. Like the old Master in The Boy and the Heron, Miyazaki finds himself with no true successors.
The Master of the Tower's beautiful islands of painted glass fade into nothing as Mahito, his only worthy descendant, departs to live his own life, fulfilling the thesis of Genzaburo Yoshino’s 1937 book How Do You Live?, published three years after Carlo Böcklin’s death. In evoking Yoshino and Böcklin’s works, Hayao Miyazaki’s The Boy and the Heron suggests that, like his character the Master, Miyazaki himself must make peace with the notion that he has no heirs to his legacy, and that those whom he wished to follow in his footsteps might be best served by finding their own paths.
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(Isle of the Dead. Arnold and Carlo Böcklin. Oil on canvas. 1901. The State Hermitage Museum. Saint Petersburg, Russia.)
INFORMAL ENDNOTES
1 - Symbolists are sort of tough to nail down. They were started as a literary movement to 1 distinguish themselves from the Decadents, but their manifesto was so vague that critics and academics fight about it to this day. The long and the short of it is that the Symbolists made generous use of a lot of metaphorical imagery in their work. They borrow a lot of icons from antiquity, echo the moody aesthetics from the Romantics, maintained an emphasis on figurative imagery more so than the Surrealists, and were only slightly more technically married to the trappings of traditionalist academic painters than Modernists and Impressionists. They're extremely vibes-forward.
2 - Okulicz-Kozaryn, Radosław. Predilection of Modernism for Variations. Ciulionis' Serenity among Different Developments of the Theme of Toteninsel. ACTA Academiae Artium Vilnensis 59. 2010. The article is incredibly cranky and very funny to read in parts. Contains a lot of observations I found to be helpful in placing Isle of the Dead within its context.
3 - "From my perspective, even if they are lightweight in nature, the more popular and common films still must be filled with a purity of emotion. There are few barriers to entry into these films-they will invite anyone in but the barriers to exit must be high and purifying. Films must also not be produced out of idle nervousness or boredom, or be used to recognise, emphasise, or amplify vulgarity. And in that context, I must say that I hate Disney's works. The barrier to both the entry and exit of Disney films is too low and too wide. To me, they show nothing but contempt for the audience." from Miyazaki's own writing in his collection of essays, Starting Point, published in 2014 from VIZ Media.
4 - You can watch the movie here in its original Russian with English closed captions here.
5 If you want to learn more about the making of Atamanoy's The Snow Queen, Animation Obsessive wrote a neat little article about it. It's a good overview, though I have to gently disagree with some of its conclusions about the irony of Miyazaki hating Disney and loving Snow Queen, which draws inspiration from Bambi. Feature film animation as we know it hadonly been around a few decades by 1957, and I find it specious, particularly as a comic artistand author, to see someone conflating an entire form with the character of its content, especially in the relative infancy of the form. But that's just one hot take. The rest of the essay is lovely.
6 - Miyazaki loves this movie. He blurbed it in a Japanese re-release of it in 2007.
7 - Julia Alekseyeva interprets Princess Mononoke as an iteration of Atamanov's The Snow Queen, arguing that San, the wolf princess, is Miyazaki's homage to Atamanoy's little robber girl character.
8 - Hart, George. The Routledge Dictionary of Egyptian Gods And Goddesses. Routledge Dictionaries. Abingdon, United Kingdom: Routledge. 2005.
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angel-maybe-alive · 8 months
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It's been a while since I read Percy Jackson but I was thinking about my favorite theory, I mean it's not a theory more like a post someone made some time ago and I just really like it
So basically it's like If Percy had a Roman sister a daughter of neptune she would be like a blonde California sun tan surfer gal
Like the "theory" is that at least with the big three the Greek kids are alternative and the Roman are preppy kids
Like Thalia looks like she wouldn't be out of place in a punk concert while Jason looks like he is the quarterback in a Disney movie
Then Nico looks like he has welcome to the black parade on repeat and hazel is literally a horse girl
So Percy is canonically described as having a "skater boy" look and I may be wrong but he at some point owned a led zeppelin shirt so if we have at some point a daughter of neptune she would be a surfer girl
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homoqueerjewhobbit · 3 months
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Fandom definition of canon is getting so, so, so janky.
Canon is what happens IN THE WORK ITSELF. Word of God pronouncements and deleted scenes are debatable. But--
Luberto, my beloved, my emotional support ship, my joy of joys, my light in the darkness, still isn't canon.
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It's explicitly listed as "unsanctioned fanart." That means NOT CANON. It would be a fun debate to discuss who gets to decide what is or is not canon on a movie with a huge creative team like this, but they're explicity calling it fanart.
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Explicity calling it fanart multiple times. On either end of the posts. So you don't get confused. And yes, this is may just be because they're cowering in fear of Disney, but again, they're not attempting to speak for anyone but themself or that they did their part of the work on the film with this intention in mind (I'm sure they did tho lol).
Reposting their fanart, claiming it's Word of God Canon without any context, is a dishonest grab for clicks.
Sorry to be a spoil sport.
The real exciting news, IMHO is that Luca is coming to theaters. I love cute fanart but I wanna see my boys on the big screen and getting some of those movie theater residuals.
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