#there's a particular arc/scene that has to do with | Explore Tumblr Posts and Blogs

Visit Blog

Explore Tumblr blogs with no restrictions, modern design and the best experience.

Fun Fact

Tumblr posted its first advertisements in May 2012 and subsequently earned $13M in revenue.

#there's a particular arc/scene that has to do with

shaunashipman · 1 day

Note

what gets me is that date scene was a literally under a minute long which isn’t a whole loft of time exactly of dissect the inner workings of their daddy issues. the minute they had, they used it to its full potential because we had:

- buck and tommy being casually domestic together on their date night in, which while nice, wasn’t like a super fancy thing and shows that this is probably a common occurrence for them. (especially when you see episode 9 and Bobby’s mention of buck going to visit tommy after the shift)

- buck telling tommy about his day, tommy making a joke about the dedicated hospital wing but recognizes that buck is not okay so he ASKS him pointedly how HE is

- buck shares the close relationship he has with bobby and this seems to be the first time they’re delving into that and so of course tommy wants to understand better, hence why he says “your dads alive”, buck replies exactly and tommy gets an understanding buck doesn’t have a great relationship with his father (also I have to add buck sharing how he sees bobby as a father with tommy is a big deal esp considering the buck bobby scene last episode where bobby tells buck tommys good for him soooo)

- tommy then shares his OWN experience after that, bounces off of what buck says to add to the conversation and open up to his boyfriend about his own past so he can get to know him better too. it was a moment where they were both vulnerable (the Gerard mention in particular i 100% believe is to set up an arc with tommy in season 8)

Now at this point there isn’t a whole lot of time left in the scene like maybe 20-25 seconds? they can exactly like I said sit there and examine and analyze their childhoods and their fathers so the tone switches to a more light hearted vibe because it would be weird to end it on a heavy note AND simultaneously it gives us more insight into their relationship

- buck suggestively says the daddy issues line which again, how anyone interpreted that as him wanting to continue a serious discussion is beyond me when again, the scene has hardly any time remaining

- tommy picks up the vibe he’s putting down and tells him he doesn’t have them (he clearly does have daddy issues so again, we know this isn’t about the actual trauma but about sex and what they both like/dislike )

- buck once again responds suggestively with the “you think I do”

- and then tommy with his infamous “God I hope so” - leaving buck giddy and smiling because he got exactly what he wanted

tdlr; We got domestic bucktommy, tommy backstory, both of them being vulnerable with each other, Tommy recognising he was not a good person in the past under Gerard, a set up for a tommy storyline with Gerard in some way for seaosn 8, bucktommy flirting, bucktommy matching each others freak and both very much enjoying it, bucktommy showing they can read each others moods like??? all for his in a scene that was under a minute

that scene was such a masterclass of Show Don't Tell. they had 55 seconds to get across how they're doing and where they are in the relationship and they did it. we can see that they're comfortable with each other; that they're okay with opening up about vulnerable topics but haven't had in-depth conversations on some, like buck and his parents; we can even see some of how they communicate, with tommy relating to buck's admission with similar thoughts of his own father and father-figure (something we've seen tommy do before, and is a lovely subtle showing of his personality); and then we get confirmation that yes, these two have fucked already, and are clearly compatible in that department too.

plus another sprinkle of foreshadowing with gerrard.

in 55 seconds.

that is called economy of time/space/whatever the rule is i can't remember rn. the show doesn't always get it, but when they do it is golden

#cleo gets mail #anonymous #911 #bucktommy #''we barely got anything about their relationship''#we got plenty if you bothered to look #instead of expecting the information spoon fed to you

113 notes · View notes

missinconsistent · 1 day

Text

The Haikyuu movie is *the* Kenma movie, and I'm living for it. I won't get too into spoilers pertaining to the match, but I will talk about some things in the movie, so if you want to go in blind then stop reading here and go watch the movie!!

I did not expect the movie to explore Kenma and Kuroo's friendship as much as it did, and I love it so much (I didn't read the manga, btw so this was such a surprise). The series already shared quite a lot of flashbacks to their childhood and them playing volleyball together. But, it was always framed in a way that Kuroo kinda dragged Kenma along into playing volleyball with him. I never really expected these childhood flashbacks to mean any more than that. The movie really explored *why* Kenma played volleyball thanks to Kuroo. It really emphasized how important playing volleyball *with* Kuroo meant to him.

Like the scene back to the summer camp when Kenma is thinking he'd rather not play volleyball over playing a video game or watching volleyball, but then Kuroo calls his name and reaches his hand out is just so sweet. Especially considering that Kenma is most likely thinking how this is Kuroo's final year.

I am obsessed with how Kenma's friendly rivalry with Hinata actually parallels his friendship with Kuroo through flashbacks. With Kuroo being the friend that got him to play volleyball, and Hinata being the friend and rival that really pushed Kenma to take a match seriously, and see how fun it can be.

And idk if my take is different, but I really like how Kenma doesn't have a Tsukishima arc. The match doesn't make him fall in love with volleyball, but it just makes him realize that even if he doesn't love the sport, he loves a good and interesting match with his friends. He doesn't care about nationals. He just likes playing against Hinata, in particular (imo). But I think that's what makes the match between them so damn investing.

It's so refreshing to see the movie mostly revolve around Kenma's pov and see this character break out of his shell and push himself. To decode Hinata in an attempt to beat him and have his expectations blown away. Seeing this competitive, smug, and serious side of him is such fan service and I love it lol.

The scene when the match plays out from Kenma's eyes is so (chef's kiss). It's a bit nauseating, but it genuinely is my favourite moment in the movie. The way Kenma's eyes are on the ball before darting across the court, glancing over at his teammates and opponents, and back to the ball again. When it even shows Kenma taking a fall, Lev checking up on him, and Kenma just shouts to focus on the ball, I was just floored with how well it immerses you in the match. It just really has you on the edge of your seat, and quite literally puts you in Kenma's head to know this guy who is seemingly indifferent to volleyball, in that moment, is having the time of his life.

It's such a good climactic moment that's so different from other concluding matches from the series prior. It's not about big final builds up to the final strike, or block, or whatever move the characters are doing. It's just about being in the moment. About Kenma being in the moment. And it's such a brilliant and unique way to end the match.

#haikyuu!!#haikyuu movie #battle of the garbage dump #kozume kenma #kenma #kuroo tetsurou #hinata shouyou #kuroken #kenhina

20 notes · View notes

bookwyrminspiration · 1 year

Note

ooooo i saw your post about the wings au and have a question. What was your favorite part about writing it? okay, i have multiple questions. Which friendship/relationship was your favorite to write? what was the easiest part about writing this? what was the hardest? also, why did you choose the specific wings you gave each character?

OH I love to answer questions!! Thank you so much!

I think my favorite part about writing it was being able to indulge what I wanted--although the story and characters did still guide me at several points. That's true of fic in general--the ability to focus on relationships that are neglected, to tweak a bit of worldbuilding to your preference, etc. Specific to this fic, i LOVED being able to explore the characters and their relationships without romance; there's so much of it hanging over canon at times, it was so delightful to get rid of it all and figure out the characters without that, see how they behaved with each other.

Which ties into the next question! Getting to have a stronger Sophie/Tam friendship and dynamic was so much fun and probably my favorite. I actually had to consciously avoid putting them together sometimes because I knew I could very easily fall into giving them too much time, and there were other things to deal with. Their banter is delightful and I always smile when I remember I had them commit petty theft together. I love who they are to each other and the way they interact, and I hope to write more of them!

Easiest part of writing the au, that's a difficult one. Probably staying genuine to the characters, I think I did a pretty good job on that one. I didn't have to come up with the characters or their backgrounds or their voices, only had to adapt very familiar ones (as I had 8.5 books and several years of familiarity) to a slightly different context. I like to think I know the characters fairly well, so that was probably easiest :)

Hardest though was probably posting the au as I went, for a variety of reasons. It required a lot of discipline and commitment to it, because I posted a 7-9k word chapter every two weeks for a year and a half without missing a day, all while being a full time student with other responsibilities. The way I did it, it also meant that I backed myself into a few corners because I didn't have everything set in stone. The story changed and developed as I went, but I still had to try and fit it into what I'd already set up. I ended up with a few odd situations because of it where I had to puzzle things together that could've been avoided if I'd been working on the whole story at once instead of in chunks--not that I'd do it differently, as I got to take inspiration from people as I posted (some very important things in the au are only the way they are because people asked and talked about it!) and the schedule I set pushed me to write, but it was definitely an interesting situation.

As for why I chose the wings I did, the answer is a little different for each character! But generally, it's because I thought it either resembled them or there was a trait you could connect between the two. For example, Fitz has golden eagle wings because eagle is sometimes considered king of the birds and I find gold very symbolic with his character (golden boy, etc.). Sophie's wings are majority bumblebee because she's like a worker bee, constantly buzzing around and doing things and pushing forward, very team oriented, etc. They're partially void and feathers to represent her myriad of abilities and genetic modifications! Those are a few examples, but when I chose them I wanted to go for more known, recognizable wings. That would have more recognizable symbolism and associations, rather than like. A really specific unknown bird no one would know anything about without research.

I could likely go more in depth on all of these questions, but anyway!! Thank you very much for asking i love to talk about all things wings au related :)

#kotlc wings au #shattered upside down #quil's queries #literaturewithliz #i left some things while writing to be solved by future quil #and then future quil was like??? what am I supposed to do with this??#there's a particular arc/scene that has to do with #i tried to make everything make sense #but I was also limited in what I could do #so. that led to some finagling #there's so much wings au it's so many I could go on forever #long post

6 notes · View notes

osirisdefencesquad · 10 months

Text

snippet of Eîr and Vela, as Sanne is being integrated into the clan

Eîr was used to people being uncomfortable around him. This is what he tried to convince himself, at least.

And it was understandable. It really was! Whether they were uncomfortable because of his attunement to the Void, or the Hive mutations, they had reason. ...It never did hurt any less.

"This new one's an interesting find, for sure" Vela informed him as he climbed up to Eîr. Grateful for something to pull him out of his own head, even if it was talking about what put him there, Eîr lept for the conversation.

"Do you know how she's settling?" he asked the other hunter, shifting from the railing to the bed of cushions, accepting the coffee Vela handed him.

"Other than damn near losing her mind every time she comes into contact with someone void attuned?" Vela winced, offering up his scorched right arm for Eîr's observation "well, for where we found her."

"How is Wraith taking that? hasn't he been invested in the new lights recently?"

"Hard, from what I can tell. Kirach has him out on patrols until we give the all clear"

"...which Eva is working on now. do we know why she has such a strong adversion to Void?"

"Nope. Vias is prying at her -she seems more comfortable with other Awoken- but she's barely a month out the grave."

"So something from her past life. Is Zirne still hanging around Osiris?"

"Yep. they've found some new thing to throw themselves at. Saint projects about a week until Osiris takes a break, and I give Zirne 'round four days. She's already low from the strikes."

#i was just going to draft this but y'know what. i will never end up touching it again if i do that #also for those who have not had the misfortune of reading my little wip drops before:#i tend to set up the bare bones of the environment‚ write out the dialogue‚ then fill in all the actions around that #this is quite literally a first draft and also written on my phone #and yes I'm running with the ''hive can convert other races into hive via ritual'' thing. yes the guardian who was subjectedto that shares #a name with a worm god. THAT was unintentional #i named him thinking it sounded appropriately hive-ish and only later realized why #okay facts abt the actual scene:#They're talking about Sanne‚ who has Issues with void for (then) unknown reasons #Wraith is a relatively young Exo who was risen a couple months before the Red War. poor fucker #he's also strictly attuned to Void: he can barely use Solar and he can't use Arc. at all.#Vela strongly prefers Void‚ but is also a bladedancer. he can use solar but it holds no particular interest for him #(hence not being pushed from the clan house)#Eîr co-leads the clan with Eva‚ so he's not pushed out either‚ but he is keeping his distance #(like Vela‚ he prefers void over everything else‚ but solar is a comfortable secondary and arc is a little too fast-paced for his tastes)#Eva is strongly arc attuned and hasn't run a different subclass in decades‚ so she's fine to be around Sanne #this takes place sometime ambiguously after Saint is rescued‚ obviously. i still dont know when #the boys are hanging out on a balcony or something. idk #how did Vela climb up there while holding coffee? his ghost held it #Verdant has made it a challenge to figure out how to carry stuff out of inventory #she's figured how to hold two drinks on her shell and she's work towards three #i got interrupted and now i have no idea where this was going #vela's tag #eîr's tag #writing

0 notes

longing-for-rain · 2 months

Text

Katara and Mutuality in Relationships

There are lots of conflicting opinions about which characters Katara felt attraction towards, which characters she didn’t, and how long she felt that attraction. I see in most cases, people point to quick clips of her faintly blushing or kissing another character on the cheek as evidence, but I think these kind of takes miss the nuance of the purpose attraction serves in a story.

Most importantly, I see these characters treated as if they are actually people capable of making their own decisions. It’s important to remember that these are fictional characters. They don’t make their own choices; the writers make their choices for them for the purpose of telling a story. From that standpoint, it’s more valuable to examine how a character’s story and narrative themes tie into their relationships with other characters. Animators can shove in a kiss or a blush wherever they want, but it’s harder to demonstrate through storytelling how and why two characters might feel attraction towards one another, and how a relationship between them would develop both characters and contribute to the overarching themes of the story.

In other words, when discussing which characters Katara is “attracted” to, I’m discussing which relationships and actions within the narrative build on her established story and arc. Romance is always integrated into a story for a reason, and considering that reason is important.

Unfortunately, ATLA is very much a product of its time in this way. It’s easy to see what romance adds to the arcs of the male characters—but not so much with the female characters. All three canon relationships (kataang, sukka, and maiko) follow this trend to some degree. The primary purpose of the woman in this narrative is to act as a prize for the man for performing some good deed. Once they’re together, she ceases having her own motivations and becomes an extension of the male character she’s dating. This is pretty blatant with Suki—she barely had a personality in that later seasons; she is there to be Sokka’s girlfriend. Similarly, Katara becomes a completely different character—she’s even animated differently—when the narrative pushes her into romantic scenes with Aang. Her character is flattened.

So what is Katara’s arc, and how do the romantic interactions she has throughout the series contribute to this?

Well, that could be a whole other essay itself, but to put it simply, Katara’s arc is one of a young girl devastated by grief at a young age clinging to hope that she has the power to fight and change the world for the better. Which she does as she gains power and confidence throughout the series—culminating in her defeating Azula in the finale.

But the part I want to focus on here is how Katara connects with other characters. She connects with them over shared experiences of grief and loss.

Take Haru, for instance.

Haru: After the attack, they rounded up my father and every other earthbender, and took them away. We haven't seen them since.

Katara: So that's why you hide your earthbending.

Haru: Yeah. Problem is…the only way I can feel close to my father now is when I practice my bending. He taught me everything I know.

Katara: See this necklace? My mother gave it to me.

Haru: It’s beautiful.

Katara: I lost my mother in a Fire Nation raid. This necklace is all I have left of her.

Haru: It’s not enough, is it?

Katara: No.

This isn’t just a throwaway moment; it’s an important character moment that leads up to growth and the progression of Katara’s overall story, both in this individual episode and in the whole series.

Katara finds her power in the connections she’s able to make with other characters. It’s a powerful driving force for her that makes her a strong character even before her bending abilities develop. Imprisoned was such an important episode to establish who Katara is and what her power is, and adds so much to her arc.

But there is one line in particular from the above exchange that also stands out: Haru says “it’s not enough, is it?” and Katara agrees. Even this early in the series, we’re establishing the fact that despite her drive and hopeful outlook, Katara feels deeply hurt, she feels a deep sense of loss that she opens up about to other characters in moments like these. But unlike Haru…Katara can’t go rescue her mother. Her mother is dead, and we see her grapple with that grief throughout the series.

Another character she reaches out to like this is Jet.

Jet: Longshot over there? His town got burned down by the Fire Nation. And we found The Duke trying to steal our food. I don't think he ever really had a home.

Katara: What about you?

Jet: The Fire Nation killed my parents. I was only eight years old. That day changed me forever.

Katara: Sokka and I lost our mother to the Fire Nation.

Jet: I’m so sorry, Katara.

Another important note about Jet is that there are explicit romantic feelings from Katara in this episode. Again, Katara empathizes with another character through a shared sense of loss. Sadly, in this case, Jet manipulated her feelings and tricked her into helping in his plot to flood the village…but those feelings were undeniably there.

That was the tragedy in this episode, but it also gives the audience so much information about Katara as a character: what motivates her, and what she wants. Katara is established as a character who wants someone who will connect with her and empathize with her over her loss—her greatest sense of trauma. She wants to help others but also receive support in return. The reason why she was smitten with Jet, beyond just initial attraction, is because he gave her a sense of that before Katara realized his true motivations.

A lot of people make the claim that Aang is good for Katara because he also feels a sense of great loss and trauma. And while on paper that’s true…does he really demonstrate that? I just gave two examples of characters Katara connected with this way, and both responded with deep empathy to what she said. Very early on in the show—the third episode—Katara attempts to connect with Aang the same way. How does he respond?

Katara: Aang, before we get to the temple, I want to talk to you about the airbenders.

Aang: What about 'em?

Katara: Well, I just want you to be prepared for what you might see. The Fire Nation is ruthless. They killed my mother, and they could have done the same to your people.

Aang: Just because no one has seen an airbender, doesn't mean the Fire Nation killed them all. They probably escaped!

Just compare this exchange to Haru and Jet. No effort to empathize, not even a “sorry for your loss” or anything. It’s a stark contrast, and the reason for that is because this narrative entirely centers Aang. Katara’s narrative always seems to be secondary to his when they’re together—which is exactly my point when I say this relationship has a fundamental lack of mutuality. It’s built that way from the beginning of the series. It does not add to Katara’s arc nor establish what about this dynamic would attract her.

And, look, before someone jumps down my throat about this…I’m not saying Aang is a horrible person for this response. I think it’s a sign that he’s immature and has a fundamentally different approach to problems than Katara. Katara is a character who has been forced to take on responsibilities beyond her years due to being a child of a war-torn world. Aang’s approach to problems is avoidance while Katara never had that luxury. It doesn’t mesh well.

This is all in Book 1. I honestly could have gotten on board with Kataang if the series meaningfully addressed these issues…but it didn’t. In fact, they actually got worse in some ways.

Back to Katara’s mother. We’ve established that this is a core part of Katara’s character and like in the scene with Haru, she indicates that this is an unresolved issue that pains her. But then, in Book 3, Katara actually does get a chance to confront this pain.

This would have been a powerful moment. Surely the character who is meant to be her partner, her equal, would have been there for her. Surely he would have understood and supported her, fulfilling her narrative and adding to her story.

But Aang didn’t do that. I won’t go into details because there are a million analyses out there on The Southern Raiders, but Aang’s response to Katara was the opposite of understanding. He got angry with her, insinuated that she was a monster for wanting revenge, and tried to dictate her behavior according to his own moral values. And importantly, from a narrative standpoint, he did not go with Katara. One of the most important events in her arc, and Aang didn’t support her—he actually tried stopping her. He didn’t contribute to her growth and development.

Also noteworthy:

Katara: But I didn’t forgive him. I’ll never forgive him.

Even at the end of the episode, Aang clearly doesn’t understand at all what Katara is feeling. This line demonstrates it perfectly. He thinks she forgave him when that wasn’t the case at all…but of course, he didn’t even accompany her, so he didn’t see what actually took place. His worldview is fundamentally different from hers, and he’s consistently too rigid in his morality and immature to center Katara’s feelings.

Throughout Katara’s whole arc, her most significant character moments, Aang’s character just doesn’t come through the way Katara’s constantly does for him. Their narrative lacks mutuality. When Katara and Aang are together, she becomes an accessory to him. The ending scene is a perfect demonstration of this.

Now, to address the elephant in the room.

Which character does actually add to Katara’s narrative and support her growth as a character?

Correct! I just talked about how important The Southern Raiders is to Katara’s character and story, how it’s a chance for her to finally address the grief she’s been carrying since Book 1. And who stood by her side throughout this pivotal moment? Right—Zuko did.

You can talk all you want about how he’s a “colonizer” while Aang’s people suffered genocide, but you’re forgetting that “show, don’t tell” is one of the most basic aspects of storytelling. The fact is, despite how it looks on paper, Zuko was the one there for Katara at her critical moments. Zuko empathized with Katara more than Aang ever did—as demonstrated in this episode. Zuko never once brought up his own cultural values. Zuko never once told Katara what to do. Zuko’s position was that Katara should be the one to decide, and that he would support any choice she made. He supported her decision to spare Yon Rha, but he would have also supported her if she decided to kill him. I actually found this episode to be a satisfying reversal to what is typically seen in TV—for once, the female character is centered while her male counterpart takes the backseat and becomes a supporting role to her narrative.

Even before this, Zuko is shown to empathize with Katara.

Zuko: I’m sorry. That’s something we have in common.

I think what gets me about this scene is the fact that he’s still Katara’s enemy, and she was just yelling about how she hates him and his people. But despite that, Zuko still empathizes with Katara. She is fundamentally human to him, and he expresses that to her in a way that allows them to connect. Zuko stands to gain nothing from this. It’s true that Azula entered the picture and twisted things around—but in this moment, Zuko’s compassion is genuine. His instinct was to respond to her grief with empathy, just like she consistently does for other characters.

And finally, how else does Zuko add to Katara’s arc?

I don’t think there is any more perfect of an example than the finale itself—the culmination of the arcs and development of all characters.

Zuko and Katara fight together. In a heartbeat, Zuko asks Katara to fight by his side against Azula, because he trusts her strength. She’s his equal—both in his mind, and in a narrative sense.

Then, this:

Both of their roles are so critical in this fight. They both save each other. The scene has such raw emotion to it. These characters were together at the conclusion of their respective arcs for a reason.

This is the perfect conclusion to Katara’s arc. She just played a critical role in ending the war that has caused her trauma her whole life. She just demonstrated her mastery of waterbending (another thing she’s dreamed of throughout the series) by defeating the world’s most powerful firebender during Sozin’s Comet. Even though she had help as all characters do, these are victories that belong to her and demonstrate the growth and power of her character. And to top it all off? She was able to save Zuko’s life. She didn’t have to endure the pain of feeling helpless to do anything while someone else died for her; this time, she had an active role, she changed her fate, and she prevailed. Zuko plays an important role in Katara’s story without dominating it. They perfectly represent mutuality. They add to each other’s stories. Their narratives become stronger when they’re together, without one diminishing or sidelining the other.

So, from that standpoint, that’s why I always see the attraction between Zuko and Katara and why I see it lacking between Aang and Katara. Zuko and Katara’s story doesn’t need some cheap little throwaway moments to shine. It’s integral to both characters’ stories. We are shown not told of the way these characters feel about each other. Given everything we know about Katara, her goals, her values, her past loves…absolutely everything points to Zuko being the true subject of her feelings.

Because let’s be honest. The ending I just described is so much more powerful and so much more Katara than seeing her being relegated back to a doe-eyed love interest for Aang to kiss. It hardly even made sense—Katara played no role at all at the culmination of Aang’s arc. She was relegated back to a love interest, rather than the powerful figure we saw fight alongside Zuko.

#zutara #katara #zuko #atla #anti kataang #canon critical #jet #haru #katara deserved better #aang critical #meta #analysis

489 notes · View notes

fumifooms · 1 year

Text

Analysis of Laios’ succubus and theories on what it means - deep dive on Laios’ desires in human connections

Laios’ succubus is a very odd incident. I have some particular interpretations of why it was Marcille, and why things went down the way they did.

We know that a succubus shows what one desires, stated in canon as “an alluring form”; yes often in a romantic or sexual sense, as seen with Chilchuck’s succubus being entirely set on looks and seduction, meanwhile Marcille’s does have a focus on chivalrous noble demeanor as well, showing romantic behavior and personality. BUT with Izutsumi we also see that the liaison doesn’t have to be romantic or sexual at all, either, in Izutsumi’s case it’s a familial bond she craves. So perhaps we can say that the succubus exploits a desire based on connection, in whichever form that takes. Marcille wants an emotional connection foremost(which is also reflected in how it’s a character she knows very well and not a stranger. Perhaps romantic.), Chilchuck wants pleasure(a simple pleasure not unlike alcohol, perhaps such a connection is free of the more risky or unpleasant parts of a relationship, he doesn’t have to worry or to think and can just let himself go. Sexual.), Izutsumi wants a mother figure that can offer her warmth and comfort with who she doesn’t have to be tough (Familial), and I believe Laios’ is platonic and centered on his desire to have people with who he belongs and can be himself with…

But Laios’ case is more complex, it has layers. The thing is, even if Laios wanted to have someone able to turn him into a monster—which it didn’t even have to be, could straight up have just been a monster with such powers—, it didn’t have to be someone he knew. You could say the succubus wanted to disarm Laios’ suspicions with someone he knew and that was nearby, but the succubus seem very direct in every other case, simply appearing with someone’s greatest appearance even though both Marcille and Chilchuck were fully on guard and the succubi knew it. "Believability" isn’t an important factor. No, his succubus being someone he knew was important. It being Marcille was important.

There’s a TLDR at the end of this if you want to cut it short. For everyone else, strap in everyone, if you don’t know me hi I’m Fumi and I made this 3k words long analysis and theorizing bc I am autistic much like the character in question and I think this is both fascinating and has a lot to say. In this I offer both platonic and romantic reasonings and I do go rather in depth in Laios’ psychology and relationships to dissect what ever could this damn cryptic event MEAN. Spoilers for the succubus chapters obviously and also the last few arcs of the series so… Spoilers for the series as a whole!

—

So attraction wise it’s kinda unsure where Laios stands. He does sort of logically list off aesthetically pleasing traits of the orc’s wives, but besides that… Not really, or he never voices it anyways. He and Marcille never share like “omg you’re pretty” moments or anything. Senshi gets more compliments than either of them through the series lmfao. Maybe Laios is asexual, maybe he simply doesn’t show outwardly his attraction much or even maybe isn’t self-aware about it, regardless… Laios HAS implied preference for Marcille’s looks in the past. With the orcs, he said that “tallmen like long ears”. Laios’ shapeshifter of Marcille has her hair down just like her succubus, which by Kui is explained to be because she had it down when she revived Falin and it really marked him, though it could also be interesting to see it as his mental image of her as her most authentic self, I’ve seen it theorized that it’s a preference too but I think that’s disproven. But of course the most damning evidence itself… The succubus scene. It could have been anyone else in the party, certainly Senshi shares Laios’ interest in monsters much more already. We shouldn’t discredit the way Laios was blushing madly once she revealed she was a monster, that made her more attractive to Laios for sure, but he still wouldn’t have reacted that way if it was just anyone. The contexts are very different, but we can compare it to how Laios reacted when Lycion turned into a wolf man in front of him for instance. Laios certainly doesn’t act that way with Izutsumi- and it’s confirmed like a page later that he does see Izutsumi as a monster already. AND!! Laios starts blushing madly BEFORE she says that she can turn him into a monster- and we can safely assume that the blush isn’t out of simple fluster but out of desire/infatuation since he clearly wants her to bite him in the next page and his blush does not relent at all.

There’s something we could say about Laios’ liking of Marcille being born out of companionship rather than aesthetic attraction, on familiarity and intimacy. As members of the same party they’ve spent a lot of time together and we’ve seen that Laios trusts in her and relies on her for her skillset and avice. If Laios’ interest in her developped more naturally and gradually, valuing the familiar bond they have, I don’t see why he’d be acting all blushy and lovesick every time they interact or whatever, which is the explanation I have for Marcille genuinely being Laios’ most alluring form but him not freezing at the sight of it. That could also be a reason why he physically rejects succubus!Marcille instinctively, because something about her feels off or different (which is sorta the most direct interpretation of the scene, since Laios’ first thought is that it can’t be Marcille and must be a monster).

[Edited in: Oh my god. The picture above is the last page of the dullahan chapter, chapter 57, a chapter that centers around Laios and Marcille’s relationship through flashbacks as Laios is on the brink of death and sees his life flashing before his eyes (he remembers how they first met, etc, which is also interesting to note that on the brink of death he reminisces about her the most). The last page of that chapter, more or less the thesis of the chapter in which we see Laios opens up about the real reason he and Falin go dungeon diving to her after them having a rough meeting but she turns out to also have an interest in dungeons, has Laios go "she starts out frowning but she ends up smiling! Wether its’s about eating monsters or about me :)”. That chapter is the one right before th succubus chapters. Laios’ most alluring form wasn’t “just” Marcille, it’s a SMILING Marcille. Which is why the succubus had such a weird and off demeanor right away (which gets knocked off once it doesn’t work and becomes a more Marcille-like Marcille)! It was only focused on smiling because it was the angle it was working from.

Oh my god it makes sense. It’s a direct narrative link, it’s as explicitly put with its story structure without Kui just stating it, besides, you know, the many times Laios says how precious her smile is to him. He’s like “I love her smile” and right next chapter the succubus is like “yes this is what he likes seeing most”. But… This also does mean that the focus might be less romantic, like Marcille’s significance doesn’t diminish, but then the alluring form might be less about her and more about the smile itself. About having a friend who looks at him like that, about someone who smiles after eating monster dishes or surpassing obstacles together… Or it can actually be so much more romantic. Like, maybe the smiling Marcille doesn’t work is because well, it’s not like Marcille, she wouldn’t just be smiling like that and behave like that (esp since his musing is about how her smiles are sort of “earned”, that she doesn’t smile right away but it’s sort of like a rewarding sight when she does). So then the most alluring form of Marcille doesn’t work because she doesn’t convincingly BEHAVE like her. His most alluring form isn’t a Marcille-lookalike, it’s her as a whole. More on the succubus shifting/switching in its approach later.]

Anyways.

Where was I. Ah yes, “It could have been anyone else in the party, certainly Senshi shares Laios’ interest in monsters much more already.” But then that’s the point isn’t it. I think Laios’ succubus being Marcille is because his wish isn’t so much focused on her, or on becoming a monster, but on not being alone. On being understood. On having others finally share his interest. On not only becoming a monster, but having someone to share that with. A trusted friend, a companion, or a lover, it matters little in my interpretation, the bedrock of it stays the same. And this is why it’d be someone he already knew instead of someone new, because it’d defeat the point, and it was maybe Marcille because she’s the most vocal about finding monsters disgusting: it’d have finally been a shift in her that she now liked monsters. And again this brings back to when he talks about her smile, when he says that she starts out unhappy with eating monsters, but ends up smiling by the end of it. Her smile itself represents that though first impression or reflexive dislike, someone can turn around and end up liking it anyways, it’s hope for his interests to be liked and perhaps for him to be lovable as well, that it’s possible to be accepted.

But I do think it would be a mistake to say that there’s absolutely no romantic interest, that it’s plainly platonic or another kind of interest misplaced and idealized in her. What we saw with the other succubus is that they 100% act in ways that the person desires, sure Izutsumi’s start attacking after a while, but that was after pushing them over the edge, and succubus Marcille wasn’t being agressive nor did she have a reason to be (even when she could have with Laios’ choking, she didn’t turn to violence, so she was 100% still in seduction mode). Ultimately the goal of the succubus is to make physical contact to be able to suck their essence, but the way they go about achieving that is tailored to the individual’s desire, Marcille’s kissed her hand and Izutsumi’s offered a hug. The succubus can identify and embody complex desires, often subconscious ones, shown with Izutsumi’s. They go straight to it without complex subterfuge either. Chilchuck’s succubi were very direct because that’s what he wanted, Marcille’s was courtly because that’s what she wanted, Izutsumi’s offered motherly comfort and affection because that’s what she wanted, and Laios’ is Marcille attempting to kiss him. Let that sink in.

Laios why are you choking the supposed key to your heart?

Ok so the theory that Laios’ desire is to have a deeper companionship from an existing companion is pretty tame and surface level I’d say, but strap in… The way Laios reacted violently to Marcille trying to kiss him is VERY interesting. The first thing he thinks about is that she isn’t Marcille so she must be a succubus, then confusion at to why it’s her. He’s even afraid of what the others would think, feeling… Shame? With how he imagines Marcille would be horrified that he likes her that way. Fear of rejection?

But no no, what interests me is the shift that the succubus makes. It seemed very confident at first, went straight in, but when overpowered shifted the direction it was going in- shifted from a desire for Marcille to a desire for a monster Marcille and whatever deeper desire that hides. But??? Succubi did not make mistakes as to what someone wanted thus far, possibly that has never ever happened before by human records. Could the succubus truly have miscalculated what Laios desires? It’d be hard to imagine that the succubus would misunderstand what type of companionship someone wished for or what approach to take, since it’s done complex cases before too, Izutsumi being very much in denial before it & at first. In Izutsumi’s case, even with her complex feelings over it and her two souls desiring different things, the succubus did not miss its mark, and ultimately it was having a second soul for who the succubus wasn’t alluring that allowed her not to be frozen to the spot. But with Laios the succubus fully switches strategy.

The thing is that succubi don’t usually need to switch strategies, because the form and approach they take always work and always leave the victim frozen. Izutsumi bypassed this because of her two souls, but was still frozen and struggling to reject the succubus at first. And yet? Laios did. A succubus’ victim is supposed to be instantly frozen, and yet Laios acts on instinct and defensively agressive as soon as his reaction time allows. And well, it’s hard to really come to a logical conclusion as to why, since we have no idea of what rules can override a succubus’ temptation besides multiple souls… C’mon regular Marcille can’t be the winged lion/kenksuke’s desire bc of the loose hair being Laios’ mind-Marcille we’ve gone over this /hj Although, since it’s confirmed that the winged lion was watching with the dream Laios gets induced right after, maybe he’s what allowed Laios to be moving? It’s possible that it’d have frozen him otherwise, even if Laios with his full rationale wouldn’t have accepted the kiss faced with supernatural allure he might have gotten paralysis from being overwhelmed, similarly to how if Chilchuck had his full rationale he wouldn’t allow a woman like his succubus to kiss him (he’s always stayed faithful to his wife even after 4 years of separation, give the guy his earned credit). Getting somewhat offtopic, but something to say about how if that’s the case once again the theme of ‘irrational desire you crave vs what you truly want/need’ that is present throughout the manga would be reflected.

My best guess however on why Laios reacted so quickly and forcefully is: trauma. The more recent arcs with Laios suggest that Laios has deep-seated trauma over humans. He dislikes humans as a whole, that was like, pretty much stated, though perhaps exaggerated. As a kid he fantasized about monsters wiping out human towns. We know Laios has been ostracized for most of his life by others, in his village and in the military, and beyond social rejection it’s shown he got beaten in group too and it was implied that it happened regularly. But damn, disliking humans to the point of wanting to be a monster and murderous genocidal reclusive envies and all of that stuff? That is massive trauma, massive identity & belonging issues and hint at massive trust issues.

So then, the negative reaction could be because of Laios’ deep trauma with humans. Because of trauma getting activated, not due to a miscalculation on the succubus’ part but due to a contradicting dislike of the desire that makes the form inherently and straight out of the gate un-alluring, Laios’ repression being so strong that he’s able to affect his own desires in that way, or an instinctive defense response to the trigger (a human). Even though Laios hides it well, once again recent arcs (and some other moments) make it clear that Laios still has some innate dislike of humans, which in canon is a term that all races like elves fit in. He has a bias against them, perhaps even an innate distrust of them. Who knows how aware he is of it, or how much control and will he has over it. What if Laios reacting agressively to it was his defense mode tied to this kicking in, a survival and security instinct, stopping any possibility of Laios wanting a romantic relationship with a human? Any chance of that human getting close and being hurt by it, either rejected or stabbed in the back? It’d then make sense if Laios is unaware and doesn’t understand his attraction to Marcille then, if it’s a sort of self-made blockage, denial. And that’d make full sense with how, when Marcille is suddenly a monster, then all of Laios’ reluctance is gone and he’s fully enthralled, all that it took was taking away that one blockage for Laios to be utterly charmed. It takes away the trigger element, humans, and replaces it for something safer. A desire for connections, but connections with people that are ‘safe’, people who also don’t fit in with society, who are part of his interest in monsters, who would accept and understand him. I think that Laios does desire human connections, specifically, but can’t allow himself to pursue them either from conscious or unconscious trauma, so though he does desire it he can’t accept that he does/can’t accept the relationship even if it’s handed to him on a silver platter.

Conclusion

The succubus’ shift could then be either that it switched from one wish, a wish for Marcille, to another, a wish for companionship in monster-liking, or that it stayed on the same fundamental wish, but had to improvise with the new information (that Laios is human-averse)(not bc it didn’t exist previously but bc it wasn’t manifested) to take out of the equation the thing that was holding Laios back (from giving in).

But well, the fact that the rest of the party is included does lean towards the former, but in any case that doesn’t erase all I’ve spoken about, all about how Marcille is 100% the focus of this whole thing. It could still be a bit of both. But it is interesting that he worries about the party’s reaction to seeing his succubus being Marcille, and when she shifts into monster Marcille he *still* worries about the others: “b-but what about the others?” He’s a mess, with his most alluring form seducing him, and he still has a shred of resistance in him to question how the others would react, and it’s only when she says that they’re already monsters too that he truly gives in. Is he really so afraid of ostracization? Of losing the people he cares about due to judgement? Then the mention of the others in the party can simply be something the succubus added on top to unlock another “blockage”, the same way she added Marcille being a monster on top of the basic premise of Marcille; Take out the immediate dismissal of humans first, and then the fear of loss and judgement from other friends so Laios can finally stop worrying and give in. That worry/framing I’d say makes the latter more credible, because it’s not the premise of the alluring form but an extra.

In the end, like the recent arcs kind of spell out, the thing central to Laios’ character is less so a love for monsters and moreso a dislike for humans, and this is what this puts on full display.

Laios’ most alluring form is Marcille, a human that doesn’t understand his interests and thus him, and regardless of everything else that Marcille is, that is so traumatic to him that all of his being immediately rejects it.

—

Thanks for coming to my ted talk! I’ve spent so much time thinking about this and wording and rewording this same train of thought, also it’s the end of my college semester and I’m going crazy

Tldr: My personal fav theory for Laios’ succubus is that Laios really values Marcille’s smile a ton like it’s often mentioned, and that’s what his most alluring form centers on. I’ve got a ton of different interpretation on the why it’d go for a kiss? Since it tailors its approach to the person’s desires, but obviously something goes wrong with Laios’, which is really interesting because even with Izutsumi who resists because she has 2 souls so one part of her can always remain unaffected, the succubus hit bullseye on her most alluring forms. But regardless of that, I think his desire for Marcille (either her or what she represents, wether as a platonic ideal or something else) isn’t wrong/untrue perse, but that Laios has such a complex with humans and intimacy and connecting with others that his defense mode kicks in and that’s when the succubus has to shift into a different, safer desire: one that doesn’t involve humans but that still shows connections and acceptance and belonging. Also Laios realizes that it isn’t Marcille when she goes in for the kiss, which if his allure for her is based on familiarity since they’re friends and all could make sense that it’d break him away from it, or since it’s a liking based on familiarity he doesn’t freeze, or maybe it’s because the winged lion has its eye on him. I think that’s so much more likely with how Kui makes even her jokes be character moments or at least consistent, and also with the tension of the scene, than just the scene being a gag about how Marcille doesn’t mean much to Laios actually.

I think there’s a lot to be said about why Marcille is special to Laios, why her smile means something to him, etc, and I don’t think saying Marcille is special to him is exaggeration or reaching at all. Laios, Marcille and Falin are the golden trio, she’s the deuteragonist, she’s the only other character in the main party whose goal in going back for Falin is Falin and who has a bond with her and Laios outside of being coworkers, in post-canon they live together, happily, in the anime’s ending they’re emphased on by dining out all three together... I could go on. Marcille has the benefit of being very trusted by Laios, not only with the time they’ve spent together but how she was Falin’s friends first, the person he himself feels so protective of and has been so consistently ostracized throughout her life. Marcille represents a positive odd one out that’s like, the good example of "humanity can be good and safe and warm actually". Which is a big reason why imo Marcille is like, the secondary protag and with Falin they form the golden trio. She’s central to the story in many ways including making Laios see that humanity is worth saving and sticking with, but that’s a topic for another analysis. One such reason is how his first meeting with her went: it started really badly but ended with her coming around and unexpectedly sharing their interest in dungeons, which made him and Falin open up about the real reason they go dungeon diving, perhaps for the first time. There is just so much that goes into it but Laios seems generally very expectant of rejection: in the climax chapters after he transformed back as a human and was hiding out in the woods, pre-canon in an extra where we see him battling himself on if he should suggest eating monsters or not. But another one, the one I truly want to bring up in this post, is how genuine Marcille is! And funnily enough, how dramatic she is, and how her elf ears change position depending on her emotions. Like, let me compare her affectionately to a dog for a second, but dogs move their ears and use whole body language to communicate, and I think that part of Marcille, really strong emoting, with her ears and body language on top of her often dramatic facial expressions, reassure him. Like ok, maybe he can’t tell when Shuro and Kabru would lie to him, but Marcille? She wears her heart on her sleeve and her feelings on her whole self. And that takes away some of the stress and trauma he has with humans, explains why her smiles would “put him at ease”, doesn’t it?

I don’t remember wether I’ve mentioned this somewhere or just in my reblog linked at the end of the post, but while at first I thought the succubus going for a kiss on the lips heavily implied a romantic desire in Laios, now I have a couple different theories on why the succubus would have gone for that approach. I think the most likely is that, if the principal allure of his succubus is her smile, the succubus is like "as long as he sees her face right up until i can suck up his blood and he passes out I’ll be gucci", so it’s not about the kiss but about him seeing her face all the while until the very last moment, so he stays charmed.

Btw chapter 34 explores Laios’ relationship with touch too imo, and we see that he is uncomfortable with touch to some degree, very unsure and hesitant and tense. I feel like it’s something more shown in a bigger picture sense with his whole struggles with humans and extras, than just in any one page so go reread the beginning of that chapter if you want I’d say, but putting a page below as example anyways. I think it’s notable that it’s a character moment shared with Marcille too, she acts sort of like a bridge to humanity with social propriety and being extroverted in many cases. In the chapter Chil and Marcille point out how awkward he is with touch, but he learns to be casual/comfy enough about touch to do healing magic with her (something that was also enforced through him having to practice magic on Marcille turned to stone, he got a lot of touch exposure and magic practice done in those days. Dammit Laios, MArcille and touch is worthy of a whole analysis of its own). She’s just like, his human comfort zone, even if they aren’t that close at least at first, besides Falin he has literally like no friends and I think that itself shows how he doesn’t fit in well socially and that it’s a significant struggle for him. But yes what I was saying here is I believe there’s setup for him recoiling from touch like he did with the succubus (due to an instinctive aversion to touch made especially intense due to the succubus’ oddness and forwardness).

I have even more theories and rambling on details on the succubus here in a reblog, but unless I want to put in some pictures of Laios repressing himself around others and such I don’t think I’ll be touching this post again in a while

#dungeon meshi #delicious in dungeon #dunmeshi #laios touden #scene analysis #character analysis #analysis #chapter 60 succubus #spoilers #dungeon meshi manga spoilers #marcille donato #autistic king of trauma laios #-points at him- that’s me!… That’s me!!#laimar #but this isn't laimar truthism #polished this up since it's been like what six months #looked upthe dates it's been nine months... Whew #something something 'the reason you're both touch starved and touch averse is you spent so long without human touch that you interpret any #touch as a threat'

2K notes · View notes

overdecorated-furniture · 4 months

Text

Dead Parents - How to avoid them.

We are all very familiar with the notion of dead parents in fiction. For example, Harry Potter’s parents are dead before the first book even starts. Or in Portrait of Dorian Gray, the protagonist is brought up by an absentee and very neglectful grandfather. It’s a trope used again and again. And it does kind of work. It certainly allows your young protagonists the opportunity to gain agency and find their own way in the adventure thrown at them. But it’s also rather predictable. As a reader, we don’t sympathise as much because it’s such a used trope.

So, here are some of my thoughts about how to avoid the dead parents trope, and still propel your characters into the action.

Kill Someone Else.

I know, violence isn’t supposed to be the answer. But characters don’t only have close relationships with their parents. If your plot centres around a revenge quest for a dead loved one, it doesn’t have to be a parent.

Siblings who got caught in the crossfire trying to protect your MC, or an aunt/uncle they were close to being poisoned works just as well. Best friends are also a useful source of grief, and the fact it’s someone outside the family perhaps gives your MC more of a push. Equally, a significant other may work, although that is a used trope too. It might even just be a beloved pet.

Use their Morals.

People in the real world do not simply act out of revenge for the death of a loved one. Character morals can be just as powerful a motive for action, and Young people in particular are just beginning to discover what matters to them, and so it feels at its most important.

Perhaps your MC feels that the magic system in your fantasy world does not allow for people with disabilities to have access, and so uses that as their springboard. Or in an apocalypse setting, the desire to protect fellow humans against a threat may act as the MC’s launch pad for setting up a safe base somewhere. Concerns over equality, safety, climate change, government choices and even things as small as how cereal is marketed can motivate a character into changing their world/current situation.

Create Conflict.

Arguments, breakups, scrappy fistfights with someone in a back alley. Conflict is one of the spokes of a story, as it creates opportunities for moving the plot forward, and can hold the characters back from achieving their aims. Using this to start your character’s story arc makes for an explosive scene, and allows immediate sympathy with the situation they are in. Everyone argues, has had someone they care about walk out of their lives, or has at least been punched, so the familiarity of a minor but important conflict helps the reader associate with the character, as well as setting up any skills the character has or may need in order to defeat the foe at the climax of the story.

Parental Encouragement.

In a good family situation, parents will want to support their children and young people in achieving their goals. And the same can be true in stories. Perhaps your character wants to learn to play hockey, for example. Their parents can very easily encourage them to join a practice group, help them buy kit, and encourage them to play in matches. Having a supportive adult can mean as much to an MC as having said support removed, and although this doesn’t work for epic fantasy revenge quests, it does create a welcoming atmosphere for a reader.

Those are the main ones I can think of off the top of my head. Do add in comments/tags any you know of!

Happy writing!🌿

#writeblr #writers on tumblr #creative writing #wip stuff #writing advice #writing tropes #writer’s musings

367 notes · View notes

mikuyuuss · 20 days

Text

I love that Mitsuri is a little silly and stupid at times, shes a girlboss AND a girlfailure to me <3 but apparently there are some people that genuinely dislike her for those things? I understand Mitsuri's character isn't for everyone, BUT WAIT, HEAR ME OUT.

I've always had this headcanon that Mitsuri had a somewhat sheltered childhood growing up, since In the Rengoku Gaiden, she randomly got discriminated by a stranger for her hair color, so I can only imagine that she probably got that on a daily basis.

I'm sure Mitsuri's parents don't enjoy seeing their eldest daughter bring harassed, so perhaps they might have coddled her a bit. Maybe that could explain why Mitsuri comes off as childish, innocent or """"stupid"""" as many people would say. For me, it's more like her personality just screams "sheltered kid", through no fault of her own tho.

(this is taken from the second fanbook, translated by @/violetheart08)

The fact that she's happy to have friends at the corps, suggests to me that she probably didn't have many friends growing up, she most likely got bullied too, and if that's the case, it's understandable that she can come across as overly friendly and excitable whenever she's befriending new people.

She's actually socially awkward like Giyuu, but just on the opposite end of the spectrum lol, that's why I love them both.

But still, it's not that Mitsuri is straight up incompetent. She's very creative and thinks outside of the box with her breathing style. She also adapts pretty well in high stress situations, we saw this in swordsmith arc, but also we see this very clearly in the Rengoku Gaiden too.

The fact that it only took her two years to become a hashira shows that she has a level of discipline to attain that title. Not only did Rengoku trained her well, this is also no feat that a truly "stupid" person can achieve.

The reason why I have this particular headcanon about Mitsuri is because some families do put A LOT of importance on reputation, especially asian families, when their kids start showing traits that would make them "different" they tend to "hide" the kids in order to protect their reputation so they won't lose their chances at marriage.

(Though I'm not saying all asian families are like this. This is mostly just based on my personal experience that I won't elaborate further)

It reminded me of this scene, when Mitsuri's family suggested that she can just stay with them forever when she was worried that she won't be able to find someone. I love Mitsuri's parents and they are VERY GREAT for their time, but also this is really relatable to me personally :(

And given how marriage was such a big deal in Taisho era, I imagine that it was a mixture of that and the pressure to conform and protect their daughter at the same time that led me to imagine that Mitsuri probably had a sheltered lifestyle.

And you know it's possible that I'm wrong about all of these lmao, but just the fact that she has a comparably normal childhood is a good enough reason as to why she's more positive and naive compared to her peers. I know this is all just a headcanon, but I do wish people can be a bit more considerate towards Mitsuri before hating on her for being "loud" "stupid" and "annoying"

#my post #me speaks #kny #demon slayer #kimetsu no yaiba #kny meta #meta #ish #mitsuri kanroji #kanroji mitsuri #sincerely a former sheltered kid who grew up with an even more sheltered sibling #Got called dumb and stupid more than once had trouble making friends and had to learn social skills the hard way #mitsuris relatability is slept on #me thinks #I just dont see her personality as some generic ditzy anime girl 101 #for me it kinda makes sense for her to be that way given the setting and her background

250 notes · View notes

nualaofthefaerie · 2 months

Text

Sandman s2, confirmed news!

I see a lot of speculation on the topic, so as someone who has closely followed and confirmed information, I am comprising this thread of confirmed Season 2 leaks that I will update regularly.

This is inspired by @orionsangel86 rant, and I have no real following here for people to listen to me, but I hope this will allow the fandom to discover me as a Sandman creator.

All information has been thoroughly confirmed, and some of it was found by me. I will try to keep the chronological order:

1. Ruairi O'Connor is our Orpheus

Well...I don't have to explain, the man's face is on there, plus Melissanthi Mahut follows him on Instagram

2. Esme Creed Miles is our Delirium

Back in August, we suspected Esme Creed Miles had joined the cast of the Sandman as our Delirium when Lourdes Faberes posted this picture with this caption:

Soon after the entire cast followed Esme and since then have interacted and been in the same place multiple times including last week when Donna and Mason were filming:

3. Barry Soloane is our Destruction

His wife spoiled it, and he has it on top of his acting credits. He is followed by all of the Endless and Neil on Instagram, and they interact regularly.

4. Midsummer Night's dream is filmed/being filmed

As you can see from this leaked call sheet from the same day, the scenes included elves and fairies + the caravan + the people who asked what was filmed on their walk basically confirms Midsummer Night's Dream

5. Wanda and Ruby's characters are being merged and are being played by Indya Moore

We have no further information on the changing of storylines.

+ a lot of minor roles have been confirmed as well but those are of no vitality.

6. Names of six of the supposed 12 episodes have leaked

(In no particular order)

"Season of Mists"

"Brief Lives"

"Family Blood"

"The Song of Orpheus"

"The Ruler of Hell"

"More Devils Than Vast Hell Can Hold"

Source is WhatsOnNetflix (reliable source)

!!The next ones are speculations since we cannot confirm them but it is quite likely as timelines fit:

1. Ferdinand Kingsley has filmed the Season of Mists dream sequence

The only clue we have of that, is that he maintained a hairstyle similar to Hob's with a longer beard for a while and has recently chopped it all off.

2. Filming of "Season of Mists" in Brighton Pavillion on the 20th of February

According to eyewitnesses, the production was humongous, the extras and actors were dressed in gothic/mythical/monster/horror attire, which excludes the location from being Destiny's garden or have anything to do with the Family dinner, leaving Season of Mists as the most plausible conclusion

3. On-site location filming on Castle Arce in the week of March 15th

The Castle Arce area has lots of mazey parts, dare I say Destiny's garden, but that is pure speculation. (I just found these so I have not had the time to decipher them properly).

3. Destiny will be POC

I sincerely hope that to be true. The only semi-clue we have that suggests this might be true is the picture from Lourdes (above with Esme) and the fact that Adrian Lester is in the picture, but he is not part of the cast or seen in leaks anywhere. We hope for news soon.

That's it, folks.

Those are all leaks compiled in a comprehensive list to avoid further speculation. I will be updating the list accordingly and if anyone has questions, feel free to send them my way, I feel confident in all the ones that we have confirmed to be true.

Love,

#the sandman #delirium #delirium of the endless #destruction #destruction of the endless #wanda #wanda sandman #hob gadling #morpheus #dream of the endless #sandman #sandman season 2 #season 2 #orpheus #spoilers #sandman netflix #the sandman netflix

340 notes · View notes

zukkacore · 3 months

Text

I feel like there’s a lot of lip service in NATLA paid to the idea that the NATLA versions of the female characters are more emancipated in a way that actively makes their characterization and the worldbuilding more confusing. For some reason the NWT is sexist in one very specific way (women can’t do combat) but all the ways the NWT customs are stifling & patriarchal to Yue in particular don’t exist anymore b/c they want to be explicitly clear that Yue does in fact have agency in this version! The characterization of NWT culture was very confusing, as was Yue’s free spirit thing. The idea that Yue has “always done what she wanted” is so fucking busted b/c it complete robs her of her arc & comes into contradiction with the core value at Yue’s whole personality which is duty. If she was going to do what she wanted the whole time, what was the point of her time w Sokka?

And Yue physically preventing Sokka from stopping her weakens the scene. Yes, the emphasis is placed on Yue’s choice but it robs Sokka of his autonomy & undermines the strength of their relationship. When Yue freezes him, the subtext of that choice is that she doesn’t trust him nor does she see him as the kind of person who respects her decisions. Yes, OG Sokka protested, he loved her, and he genuinely internalized his duty to protect her, but if he truly prioritized his duty over her personhood, he definitely could have done a lot more to stop her. But when Yue lets go of his hand, he lets her. I think that’s a much more powerful choice & a much clearer display of their relationship.

For some reason, the decision was made to remove the unlearning sexism arc from new Sokka & the defense was that stuff was “iffy and outdated” but it’s like. The original Sokka went through something called a character arc. & even after Kyoshi Island, his baggage about being a warrior is undoubtedly tied into his relationship with patriarchy, no doubt, but that Sokka learned a lot & that’s part of why Yue likes him. The original Sokka would not have needed to be restrained, nor would the original Yue have ever felt compelled to do so. As much as Sokka blames himself for what happened, he respected Yue. And her sacrifice deserves more respect than this lip service girlboss moment. It’s both brave AND tragic. Yue’s sacrifice is multifaceted in that it’s both the ultimate fulfillment to her duty to others but also the ultimate and final expression of autonomy. And that is why it rules

#natla spoilers #natla #yue #Sokka #atla #shut up janelle #natla liveblogging #I did NOT vibe w this adaptations version of Yue n Sokka I’m sorry #and they’re my fav canon ship

252 notes · View notes

tizzyizzy · 8 months

Text

Seen some talk around the interwebs about how Izzy is a totally different, or his arc happened too fast, whatever. He is my argument to the contrary.

There are three major factors driving the change in Izzy's behavior.

Default Pirate Culture → Gentleman Pirate Culture

Izzy spent his entire pirate career before Stede acting like, well, a pirate. There wasn't room for softness. Being tough was expected. Blackbeard's crew's culture in particular discouraged weakness to such an extent crew were expected to kill their pets before joining.

In S1, Izzy's relationship to the crews and captains was ambiguous. Was he training the Revenge crew to be proper pirates? Was he in charge when the captains weren't on board? Was Ed planning on killing Stede and everyone aboard, or not? So it's unsurprising Izzy held himself away from Stede's crew instead of becoming part of it, and tried without success to make the Revenge crew follow his lead.

In S2, Izzy ends up in Stede's crew, and Izzy isn't in a place emotionally or socially to try to push to change the culture of the ship. He's outnumbered. Izzy has to adapt. At the very least, all of the expectations he has been living up to his entire pirating career are gone.

Taking Care of Ed → No More Ed

Izzy said he'd been cleaning up Ed's messes his whole life. Scenes from S1 and S2 suggest that is the case. In S1, Izzy is dealing with Ed making strange choices on his search for meaning, which requires him to manage restless crew members and deal with the risky spots Ed puts them all in. Once Stede arrives on the scene, Ed is contradictory and non-communitive, leaving Izzy to wonder if the plan to kill Stede and the promised captaincy were bullshit (they were).

And because Izzy has no emotional intelligence, he thinks that Stede is seducing Ed into losing everything, and he desperately tries to pry the pair ppart.

I mean, we all know what happened in the early S2 episodes. Emotional, off-the-rails Ed trying to himself and everyone else while Izzy desperately tried to protect Ed and the crew, until he was forced to give up on Ed.

After breaking up with Ed via bullet, though, Ed is officially Not Izzy's Problem. Ed isn't a threat to the crew. Stede is incompetent, but was clever and brave enough to escape Zheng's ship and rescue them. Izzy is free to have a drunken breakdown. After, well, he gets to do whatever he wants.

What does Izzy want? Well, he's finding out.

No Trust → Trust

The major reason pirates put on such a tough facade is to protect themselves. Being tough keeps enemies from messing with you. It keeps your crew too afraid to mutiny. It's easy to recognize that Ed puts on a persona of Blackbeard, but Izzy put on a persona too. A weak link can be targeted and broken.

Just look at the scene where Izzy finally breaks down and is comforted by the crew. Izzy doesn't make the choice to be emotionally vulnerable. He is behaving the same way he always with crew who question his orders. He yells, he curses, he commands. It is only the level of his emotional distress and the crew's acknowledgement of it that make him incapable of hiding his pain.

I think it's safe to say that has been hiding grief, frustration, confusion, sadness, etc. behind the "Get back to work!" facade for years. It only crumbled under extreme pressure.

But when Izzy breaks, and is at his most pathetic and vulnerable, the crew have his back. Under Blackbeard, they comfort him, hide him away, and treat his injuries at the risk of the captain's wrath. Under Stede, when he's at his most pathetic, the crew make him a new leg and accept him into the crew without judgement.

There's almost nothing Izzy could do in front of the crew now that would make him look more weak than he was when he was crawling across the floor drunk and repeating "You're born alone, you die alone" over and over. He hit rock bottom and there was a pillow there to catch him.

So, Izzy is in the "talk it through" culture of Stede's Revenge. He is free from obsessing about Ed as a man and as a captain. He is surrounded by people who saw him at his worst and showed him compassion.

Izzy's worst behaviors in S1 were motivated by fear. Fear of the new, fear Ed was losing it, fear of what would happen if he showed weakness. In a "safe space", where he has nothing to worry about? Of course Izzy calms way down. This is the Izzy that swaggered up to Stede on the island and at Spanish Jackie's in S1. Dry, sarcastic, sassy. Some flair for the dramatic with the swordplay.

It is because Izzy feels so safe that he can put on that makeup and perform. Wee John is doing it, and Wee John wouldn't let him do anything embarrassing. He's clearly got confidence in his ability to sing.

He's still Izzy. He says fuck constantly. He's kind of a dick. He offers good advice. He's a dramatic, whether he's cutting his name into someone's shirt or singing in French from a balcony. He's just an Izzy that can be whatever he wants without fear.

#izzy hands #izzy hands meta #ofmd #our flag means death #ofmd s2 #ofmd s2 spoilers #ofmd season 2 spoilers #ofmd spoilers

405 notes · View notes

rhysdarbinizedarby · 8 months

Text

Our Flag Means Death season 2 shot a crucial scene in the Avatar 2 tank

A behind-the-scenes look at how Taika Waititi and Rhys Darby shot their big merman moment

[Warning: The below contains MAJOR spoilers for Our Flag Means Death, Season 2, Episodes 3]

Season 2 of David Jenkins’ pirate comedy-romance-drama Our Flag Means Death has finally premiered on Max, with an opening three-episode arc that’s guaranteed to get the series’ fandom buzzing. The third episode in particular ends with a sequence that feels like it was intentionally crafted to inspire the crowds of fan artists who have turned the series into an obsession. Polygon talked to the series’ VFX supervisor, David Van Dyke, about what went into shooting that sequence — and how James Cameron’s Avatar: The Way of Water helped out.

At the end of episode 3, Ed “Blackbeard” Teach (Taika Waititi) is in limbo after being assaulted and nearly killed by his crew. There, he meets his former captain Benjamin Hornigold (another of the series’ historical pirate characters, played by Mark Mitchinson), who tries to help him through his emotional crisis over being abandoned by Stede Bonnet (Rhys Darby). Except Hornigold mostly helps by pointing out Blackbeard’s failings, then tying a stone to his waist and throwing him off a cliff into the sea — where he sees a vision of Stede as a fish-tailed merman, coming to save him.

“Just so you know, Rhys and Taika did very well underwater,” Van Dyke told Polygon about shooting the scene. “Rhys is not an Olympic synchronized swimmer, but he’s a strong swimmer. They were both very comfortable underwater. They both did a really good job of being mermen.”

Van Dyke says he was originally asked whether he could do the scene with CG versions of the two men, for safety reasons. He explained that it was possible, “but that’ll cost millions and millions of dollars, and we don’t really have that.”

Instead, he ended up shooting the scene practically. Season 1 of Our Flag Means Death was shot on a soundstage in Los Angeles, but for season 2, production moved to New Zealand. That gave Van Dyke a lot of advantages in terms of shooting natural backdrops to use on the production’s giant virtual environment screen, and in using experienced crews from past special-effects-heavy productions, from Peter Jackson’s Lord of the Rings movies to James Cameron’s Avatar movies.

“There were definitely a few pieces that were serendipitously to our advantage,” Van Dyke says. “New Zealand was where they shot a lot of Avatar stuff, and there just so happens to be an enormous tank on the lot. There are a bunch of Avatar crew who are SCUBA certified, because they’ve been shooting in that tank forever. This was not something we had to figure out — we didn’t have to send a bunch of grips and lighting technicians off to SCUBA school. So they were there, they had really amazing underwater photography teams, and obviously a really good stunt team that was able to train up Taika and Rhys to make sure the scene was working.”

Van Dyke points to New Zealand’s thriving mermaid freediving community as a boon when it came to designing Darby’s merman outfit. “There are a lot of incredible mer-tails out there,” he said. “We were able to take those, and [costume designer Gypsy Taylor] and her team brought them together to make these beautiful physical pieces, so Rhys was able to actually sell it and do the performance underwater.”

For Van Dyke, the sequence really started with the cliff-jump sequence, which actually used considerably more CG than the underwater shots. “That cliff sequence was a great culmination of effects, merging physical photography and our LED wall, because you can’t really put those two guys on a thousand-foot cliff,” he said. “The insurance alone would be out of control. Also, we’re not really in the business of having people fall to their deaths.”

The cliff sequence began with sequences shot off New Zealand’s Bethells Beach, using drones to capture images looking inward from the ocean and photogrammetry of a specific ledge for production designer Ra Vincent and the art department to reproduce in the studio.

“The wide shots use production plates of those cliffs, and the tighter shots use photography we shot specifically to build out the stitching of the cliff sequence,” Van Dyke said. “Hornigold and Blackbeard are standing on a cliff set. We tied in drone plates of the actual cliffs so we can see the ocean and really set up how terrifying [the drop would be]. Then he falls into the ocean, falls into our tank.”

Once Waititi was in the tank, the next step was the shot where the stone tied to a rope around his waist pulls him deep underwater. That part of the scene required more conventional, practical production trickery than the rest of the sequence.

“The tank is massive, but it’s not 300 feet deep. It’s pretty darn big, but it’s never big enough, as they say,” Van Dyke says. “So when Taika is being tugged by the rock, we actually shot that sideways. By turning the camera sideways, you get more length to the shot. The problem is the bubbles — they should be streaming off him and then rising to the surface, but if you’re going sideways, they’re going to come off him and then go up, perpendicular to him. So we took over with CG to make sure our bubbles were traveling toward where the surface was supposed to be.”

The CG in the underwater sequence was mostly used to hide the lighting and rigging necessary to shoot it, Van Dyke says. “Anytime you’re shooting anything underwater, there’s gonna be a lot of gear. There’s no way you can get around that. So we’re making sure we have [convincing deep-sea] lighting and the bubbles. And then there’s his performance — that’s a real performance.”

For Van Dyke, the real complication was the costuming and makeup for both Darby and Waititi. “Taika’s wig — I was amazed that thing stayed on so long. It’s a long shoot. He was shooting all day, all weekend. But things stayed on. It’s a heavy weight. And Rhys is really working underwater, so his tail has to be working, so it all feels seamless.”

The shot in the underwater sequence that seems most likely to be a CG creation has both men just floating deep in the sea, facing each other above a seemingly endless abyss. Again, Van Dyke says, he used very little CG for that shot, and it was mostly to hide the tank walls.

“In that case, we were not shooting sideways,” he said. “It’s essentially a locked shot. It was about getting them at the right depth underwater, and making sure the shafts of light above them were working properly. We don’t have to track as much, we don’t have all these moving elements, we don’t have to worry about where the bubbles are going. That one was really just about cleaning up the tank, doctoring out the sides of the shot, where we can see the water receding into blackness, then giving the base of the tank true depth, so it really feels like they’re suspended a hundred feet below the surface.

“Obviously, a fair amount of CGI and visual effects had to go into it. But at the same time, it was a moment where we really needed to let the story take over, and have the visual effects just get out of the way, man.”

The first three episodes of Our Flag Means Death season 2 are now streaming on Max.

Source: Polygon

#rhys darby #taika waititi #behind the scenes #ofmd #our flag means death #ofmd s2 spoilers #ofmd bts

426 notes · View notes

olderthannetfic · 4 months

Note

Until I read the comments on that one post I had no idea the Bechdel Test was a joke and wasn't supposed to be a serious measuring stick by which you gauged if something was feminist or not. Everywhere I'd ever heard it brought up, it was brought up as a very serious thing, and it was a failure of media if it didn't pass it. I remember the debate about Mako Mori from Pacific Rim and if she was a character you were "allowed" to like as a progressive person despite the fact that Pacific Rim doesn't pass the Bechdel Test, the discourse, the discussion of if the director was sexist for not writing in another woman for her to chat with about non-men related stuff, the camp of people trying to insist that having a fully realized character arc and being as developed as any of the male leads = good writing even if she doesn't talk to another girl...

And I've also had the remark about my writing not passing the test, just not to my face. I searched my fanfic's name once, curious to see if anyone was discussing it outside of tumblr and AO3, and found a Tiktok complaining about it not passing the Bechdel Test. The top comment was "motherfucker YOU don't pass the test but we still watch your ass". I cackled and moved on, but neither the commenter, poster, nor I had any awareness this wasn't Feminist Media Critique 101 theory and was, in fact, a goof.

Right now there's a segment of fandom debating if Blue Eye Samurai is feminist since when Mizu and Akemi talk, they do bring up men, since, y'know. Women aren't considered people with rights in their era in Japan and thus it's something they mention instead of only talking about being cool girlboss badasses who never bring up gender. If something doesn't pass the Bechdel Test, a smug segment of the internet high-fives itself and congratulates one another on being More Feminist Than Thou.

They then get really angry if you disagree, even though by this metric, Sleeping Beauty (the original animated one, where Aurora has only 16 lines of dialogue) is more feminist than Blue Eye Samurai.

*DYING*

Okay, so, nonnie....

Dykes to Watch Out For (1983-2008) was a long-running comic and major piece of lesbian media. I grew up buying compiled volumes at the bookstore. To be honest, that kind of 90s-ish lesbian culture isn't really my scene despite me being bi, but it was very nice to have this slice of life-y somewhat realistic, occasionally somewhat parody, look at the queer communities around me. It's up there with Tales of the City for me in terms of being a window into a particular culture and time and place.

If anybody is interested in queer history, in addition to looking up factual info, I think a read of the complete Dykes would give a really good overview of how people were thinking about things and what issues came up a lot. You'll see things like Barnes & Noble increasingly putting feminist bookstores out of business in the 90s, attitudes towards porn in lesbian circles—all kinds of cultural issues of the day.

I drifted away as I got later in my teens and found more genre fiction I cared about, but at one point, this comic was a very welcome antidote to the glurgey coming out stories that made up a lot of the more realistic media.

Anyway, here's the comic itself, reproduced in its entirety because I think it's important to actually understand the context.

This is from 1985, so the era of Rambo, Conan, and Death Wish, each of which you can see being made fun of here. It's based on Bechdel's friend Liz Wallace's actual rule for seeing movies.

That's it. That's the origin of this whole stupid test.

"LOL, fuck 80s action movies". That's it. That's the joke.

The fact that blockbusters still routinely fail to pass in the 2020s is shameful, but that was never the point of the strip.

241 notes · View notes

luna-rainbow · 2 months

Note

RE: People giving Bucky a hard time over his "I'm invisble, I'm turning into you.." line being "selfish" That whole scene is Bucky displaying behaviour consistent with depression or traumatic stress. He's drinking by himself in an isolated area, isolating himself from social situations by not sitting with the ohers - he doesn't initiate the convo with Steve and he's apparently smoking. Although a lot of people did that then we didn't see any sign of him smoking before? Not that I recall anyway. And I don't believe he was jealous of a woman paying attention to Steve instead of him or "taking" Steve from him. Bucky's a true friend (I'm not a shipper full stop): and true friends aren't possessive nor do they take issue with you spending time with others or flirting with the same person as them.

I think Bucky was simply testing himself. He wanted to see if he could still muster the confidence and charm to convince a lady to dance with him which he'd probably never had any problems doing before. Its the first time he initiates a conversation the entire scene.

When it didn't work was when he knew there was something wrong. I don't think it was just the super-soldier serum. It's interesting that after that Steve is really the only person he interacts/talks to having been very sociable and outgoing before. Some people have also noted that his tone of voice chances as well, he seems to speak less often, more softly and his tone is quieter. So maybe "I'm turning into you" is actually a kind of role-reversal. Bucky is now the quiet, less confident, introverted one and the one who has been victimized (and is about to be again by HYDRA). Kind of interesting as well that the serum now means Steve is taller than him too.

Poor Bucky. Cut him a break and give that man a hug. And a cookie. A cookie can't hurt.

Hey nonnie, I'm not sure who's been giving Bucky a hard time over the "I'm invisible" speech but I'm glad I haven't seen it XD

I had a meta a while ago about that particular line. It's not a fixed headcanon by any means, I was just running with the flow of Bucky's thoughts to see how he might have ended up in that moment.

And yeah, I agree, I think he was in a very vulnerable place at that time. Not just what he went through during imprisonment, but he's also traumatised by what he's seen so far in the war, and now someone who matters very much to him is in danger (Steve) and he can't do anything about it. I'm basing my projections on what Sebastian had said about Bucky in the "let's hear it for Captain America" scene -- that no, he wasn't jealous of Steve in that moment, he was just horrified he wouldn't be able to protect him anymore. He's torn between admiring Steve for the courage, and the very realistic fears of seeing Steve come to harm, but he also knows Steve too well to talk him out of it. So he's not in the best headspace in that moment.

I do want to gently disagree in that jealousy in a friendship doesn't make it less pure or less good, it's simply a very human response to what is at its heart a fear of abandonment. Even if you logically understand that you need to let your friend have other relationships, you can still feel jealous if that eats up time you'd normally have with your friend, and apprehensive about what else you might lose. It's what you do with those emotions that defines your morality. This is why a lot of fans say that Bucky has had a villain origin story but has come out the other end a hero -- he's gone through an arc of loss and fear and jealousy, but come out the other side still staunchly Steve's friend, and that's a heroic arc.

As always I think Sebastian did a fantastic job with Bucky. The change in Bucky pre-war and post-war is considerable.

His voice is lower and coarser, his mannerisms are much more "schooled" rather than boyish, it screams less bravado and more of a quiet assurance, and that frown never lifts from his brows. But yeah, a lot of that is battle-hardened professionalism, but I think a lot of that is also Sebastian factoring in Bucky's mental health. And his eyes are on Steve a lot more even when they're not conversing -- shipping angle aside, Steve is his commanding officer, and my other thought is that...his eyes are always on Steve because the danger to Steve is much higher now, and he's always made it his personal mission to make sure Steve's going to be okay.

(I mean there's also a lot we can say, or has been said, about that particular scene in terms of male writers writing female love interest badly, but that's an entirely different topic)

#bucky barnes #steve rogers #asks #sebastian stan

146 notes · View notes

Last Seen Blogs

sbbz

Daydream

theasnewgroove

The blog of my hyperfixations

deibreak

i discovered an invincible light from within

adesso-stai-solo-la-notte

Sad

not-a-kitchen-sink

|Jishwa&Bean|