#there's not just one way to show specific character traits - the same trait can be shown in a different type of scene just fine

[duckduckington]

Differences of the WoY visual style between the pilot and the final show (Along some other stuff) (Part 1)

So a crap-ton of cartoon show bibles and pilots surfaced recently, which is kind of fucking cool, and it included stuff from Wander over Yonder, which is way fucking cooler.

First thing I did was over-analyze the show's visual style and I figure I should put my findings somewhere, so here you go! In a chronological order, it's easier that way (and builds suspense for the real good stuff, ooohooooh (in a spooky ghost voice)).

The first shot alone already brings forth some differences. As far as I know, the show never illustrates space like this, entirely black with just a couple of stars to break the void. There's usually some blue star dust or something, kinda like this:

The skullship was planned to be 3D-animated apparently, instead of being drawn in the same style as the backgrounds. This allows for WAY more complex movements, since it's easier to pull off.

We then get to take a looksie inside of the ship... this isn't like ANYTHING in the show.

We do see control rooms on occasion, but not one like this. It's a circular room with rows of watchdogs on the wall, watching monitors, circulating the middle where Hater sits on his throne. The railings on its support carry Peepers and his cockpit. Two watchdogs control the ship (I think) at the front. That blue goop at the top might be the ship's brain (you can also already see some animation errors in the front, peep their grabbers). There ain't ever been a color palette inside the ship like this, they usually opt for red and black rather than red and white. This might have been their solution to making the characters native to Hater pop out against the background before deciding to just substitute black for purple.

There's still bright locations within the skullship, but they're non-threatening ones, like the food court.

Commander Peepers and the watchdogs have designs that, while closer to their final versions than the pitch bible (or whatever that cover of that graphic novel was supposed to be), carry some traits still worth pointing out (well, so does everything here, but pshhhshshhhshh).

SHINY

COLLARS

Puffy collars around necks, wrists and ankles.

Detailed irises.

Detailed soles on shoes.

Those lines on their gloves that you see in your grandpa's toons.

(bugs bunny pictured flipping the bird)

This is specific to Peepers; the jagged thunder-spike on his helmet has dimension to it, as opposed to the implied dimension in his final design. Spikes on the side are also way longer here.

His eye/face emotes differently by just utilizing a black eyelid, rather than turning the hat into a pseudo-eyebrow, kinda like Double D from Ed, Edd n' Eddy.

We then get a glimpse at Hater's design...

Despite his face missing, you can already see some differences, like his arms resembling more those of an actual skeleton and packing a lot less mass. His hood is also a bit more tout and the folds surrounding it have more empathis.

Another space shot with some shapes to break up the infinite black; it's not always you see a warm color palette for space in the actual show.

Maybe here, when Wander and Sylvia stop the sun from blowing up in "The Good Deed".

When entering the city that's about to get its shit stirred by Hater, we notice that there aren't ANY other locations illustrated like this. We usually have smooth, airbrushy looking stuff, when this is more reminiscent of a comic strip, with clear lines and some hatching to indicate weight here and there. Same goes for the townsfolk, they remind me of... Krazy Kat or something. Craig McCracken has gone on record saying he drew a lot of inspiration from old comic strips, but I don't know if Krazy Kat is one of them. I just thought of it :)

The inside of the skullship looked different so this place might have had an unique artstyle to other locations we would've seen in this version of the show, but that would also be a big difference since the actual show keeps the background style consistent throughout the whole run (as far as I know).

Goes in hand with the skullship; the watchdogs are 3D-animated here, although subtly.

Different gun designs... they look more like water guns here. Big ol' TUBES. Their guns in the show are more sci-fi-esque.

Hater's logo is different, in-line with his design. Way flatter design too. Might as well take a look at his actual face now.

Well, more like next time. Just found out you can only use up to 30 images in one post. Oopsies. I'll continue this when I have the energy! I'll continue my chronological analysis/rambling and perhaps talk about the general art-style and animation at the end. Might take me a couple of more posts.

#wander over yonder #WoY #animation #this is by far the longest post on here up until now #i was fascinated with the pilot when i saw it so y'know i had to put everything i was doing aside and write this out #rambly #long post

[highfantasy-soul]

I think people underestimate the changes that need to be made to stories when adapting them to different mediums/structures and maybe if they understood, they wouldn't have such issues with scenes/character moments not being 1-1 adaptations.

The structure of episodes is really important when considering how the story will unfold and what to include in each episode. Every single episode needs struggles and payoffs, a goal and an accomplishment of that goal - especially in an episodic show like the animated ATLA. By necessity of this, each 20 minute episode is going to have a lot of stuff going on - and tons of issues cropping up where character can be shown. Also, it's common to only have one plotline being followed per episode per group of POV characters - often it's Zuko's plot (much less screen time) and the Gaang (more screentime).

When you only have 8 episodes, cramming all that in would make the episodes feel disjoined and cluttered. It would be a constant whiplash of 'small struggle, overcoming, small struggle, overcoming, small struggle, overcoming' and all those little struggles together might start to feel insignificant and like the plot is just trying to come up with something for the characters to be doing. An example that might have been frustrating is in the first episode of the live action, having Aang and Katara travel to go penguin sledding, then jump to the fire nation ship where they reveal Aang's been gone so long, then back to the village to yet again talk about how long Aang has been gone (to catch everyone up), then Aang leaves, then Aang comes back, then he's off on the ship, then Katara and Sokka have to figure out how to get Appa to work, then they go to the ship, they fight on the ship, Katara struggles to figure out how to waterbend, Aang goes into the Avatar state, they escape, they go to the southern air temple, Aang plays around, they figure out Avatar stuff, they chase Momo, Aang goes into the Avatar state again, Katara talks him down, then the goal of the narrative is introduced.

While that works spread across three whole episodes - episodes not meant to be watched back to back but rather week to week as well as the writers understanding that since this is a kid's show airing, it's possible the watcher has missed the episode before - it would not work for hour-long episodes intended to be binge watched. When the show is episodic and people might not be able to catch all of them, a unique issue needs to be introduced each episode and resolved that same episode (minus the few 2-parter storylines in the OG). It's just the nature of that sort of structure. Just like you wouldn't want a comic structure in a chapter book or a movie structure in a serialized show, different mediums require different structures.

 So how to resolve this? We've got one hour to do all that in - so instead of having all that time traveling (or gods forbid just jumping to the next setting without any establishing shots/travel scenes), things need to be condensed: which means, take several individual actions that share a common theme - say, how a character reacts to certain issues, and combine it into fewer actions that flow in a single sitting rather than three individual ones. Not only condense individual scenes, but also weave together multiple plotlines that might have been in separate episodes, but share a common theme, and have them all occur simultaneously. This means that specific beats from each of the 20 episodes might not all fit in the episodes, but the spirit of those scenes can be adapted to fit with the situation that's at hand - I think episode 3 in the live action does this masterfully.

A specific example is moving Zuko and Aang's first one-on-one fight from his ship in episode 2 of the animated series to episode 3 in Omashu - combining that with the epic fight between them at the perfume place. Episode 1 had already had many fight scenes and one more might have blended in with all the others - setting this big, impactful fight aside for the moment until it could be…well, a moment, I think was a good choice. It was different, an adaptation, but it held true to the significance of the interaction as well as weaving in to the other storylines.

So again, the change of medium is going to necessitate many scenes to be altered to 'fit'. Though many scenes can be translated pretty closely to the animated counterpart, all of them won't be and if you think every single character beat being shown is a must in order to understand character, then just go watch the OG, a different structure just won't work for you point blank no matter how well it's done. Trust me, you do not want to try to just shift a 20 episode season into 8 episodes with no structural changes despite the raw run-times being similar - it would be bad. Like really bad.

#media analysis #story structure #natla #natla spoilers #avatar the last airbender #live action avatar #netflix atla #this argument that 'they had the same amount of time as the cartoon so that means they have no reason not to include every single scene' is #just wild to me #story structure is IMPORTANT PEOPLE #this should be very obvious but apparently it's not #there's not just one way to show specific character traits - the same trait can be shown in a different type of scene just fine

[tornioduva]

Dungeon meshi and body proportions

Ok, i'm feeling the rush i got from binging the manga this last week is starting to fade away, i'll be back to being a normal person soon i think. at least, that is before i find a new something for me to dive into uhuh.

Before that happens, i want to praise Ryoko Kui for one last think. The design of the characters!

For years i've expressed (maybe not so much online) my hate towards the "anime style", this homogenization of traits and beauty standards to an artificial degree, and the mass spread and consumption of it. yes, trends exist for a reason, this is not the first nor the last art current to be popular and i'm not the first detractor of one in history. I do think there is something uniquely harmful in this one though, and that is why i'm able to find the energy to be such a pretentious dipshit about it. That is a discussion for another day though.

All this to say that going through Dungeon Meshi and seiing these characters, plus (and in a way because of it) all the additional sketches of the daydream hour bonus sections, was such a breath of fresh air! (at least for what concerns japanese exported stories)

All i could say and praise in regard to character designs in general is perfectly expressed in this video, which i recommend you to watch if you want to hear my opinions (and the video author's too, uhuh):

I want to leave you though with at least one specific praise for me: Falin.

i've seen countless time people (online) just not understanding how people's body work, how much differences there can be and how proportions do distribute and affect the body. in anime I see a lot of short and tall people (mostly women girls) that share the same proportions despite their actual height, and that often leads to think "yeah, she is short" and than she's tall when around someone, or (most often) the contrary. same lenght of limbs, same head to body proportions, and little details like this.

Falin you can tell at a glance she is a tall woman before she's around anyone, even when she is standing near her brother who is taller than her.

Kui did her homework in studying bodies and variations, and, whether consciously or not, she differentiated her in body in subtle but fundamental ways: her head being slightly smaller than her body, the neck being fairly long, and her having somewhat broader shoulders.

I accept that there might be an element of suggestion at play here, considering also how she is dressed most of the time, but I really do think there is a direct effort at differentiation here.

This is the first time in a long time (in a series like this at least) where i've seen a woman carrying herself around others and the space around here kind of like a person like me, tall, would; at first i didn't think much of it, but then i saw her near other characters and....i don't know, i felt a warm, joyful feeling, seeing that i was right in recognizing that trait and being right.

I was especially happy in seeing her next to marcille. not so much for the height difference, but for how different they were in proportions and mannerism. A lesser manga i fear would have used marcille's body type and way of moving and interacting as the default for most other girls, but here she was uniquely herself!

Now, i could've used more extreme exemples to show how this author rocks in body types representations (while aknowledging there could've been even more diversification still), given there are far larger, taller and stranger women, but to me, nailing the little, most subtle details in such a chirurgical manner shows a greater level of mastery and comprehension. As such, Falin left me with a deeper fascination than most other characters.

Sorry for this wall of text, but i needed to let my happy thoughts go, so that i could be free again uhuh.

Feel free to tell me that i'm wrong, or that i should just accept anime media as is. i'm just really happy Dungeon meshi exists as is and i want Ryoko Kui to keep refining her craft, and drawing beautiful women and dwarves.

Plus, this was very much a stream of consciousness, i didn't go into technical details about what i think conveyed what i described, but if someone is interested, or does not get what i'm saying (while expressing it in a curious and gentle way, i won't respond to spiteful assholes), i'll be happy to make a follow up post in which i try to dissect this! For example, i didn't reread the whole manga to find examples of her, i just went to the wiki uhuh. in a follow up post maybe i'll try to go through chapters and pick more specific examples of her.

Anyway, have a good day!

#tornio #tornioduva #torniod #fantasy #torniotalk #dungeon meshi #delicious #delicious in dungeon #dungeon food #ryoko kui please keep drawing beautiful people #ryoko kui #my head is free now i think #falin i want to hug you #Youtube

[bloodbenderz]

there was a lot of mistakes made in the live action but the worst one without reservation was that the creators did not understand patriarchy and they did not understand women's liberation outside of an american context ( or any context if we're being honest )

it's easy to see on a surface level how that fucked up katara's whole character how she wasn't allowed to have her character defining moments how she wasn't allowed to be angry or even excited or impulsive but i think it doesn't really become clear how deeply wrong the show's conception of gender & patriarchy is (and the implications for the political landscape of the show) until you get into how they destroyed sokka's character too

sokka's whole Complex is born of patriarchy. i'm not trying to do men's rights advocacy here but in my experience when a people is under constant threat, constant assault, constant violence (much of which is gendered) and the traditional "protectors" or "providers" of that people are men, the masculine role becomes protecting women and children. i am not saying this is a good thing or a bad thing but it is true the narrative of violent resistance is overwhelmingly about men. to be a man in a time & place like this means fighting to protect your women, & to die for them is honorable. that is where sokka gets this idea that he has to be a warrior & he has to fight & if necessary die for katara & the rest of the tribe. it's about duty. everyone has a part to play, a role to fill

everyone including women! which is the other half of this. the duty of women is to keep up the home, to maintain a country worth fighting & dying for, to raise children so that the community can have a future. it becomes especially obvious in the context of the show when you see how the nwt lives & in specific how yue lives and dies.

many women participate in patriarchy. many colonized women participate in patriarchy. most of my family comes from or still lives in a country completely devastated by colonialism & its aftereffects & many women in my family believe wholeheartedly in the idea that everyone in the house has a role to play. it's not because these women are stupid or they hate themselves. but when you grow up believing that men & women are fundamentally different, and seeing that women are in specific danger because of their gender, it actually makes a lot of sense to expect the men in your family to protect you, and to raise your sons that way.

in practice that means that men aren't really expected to do anything around the house, especially when there's no actual danger. my aunt literally 2 days ago told me this lol like she doesn't make her sons do anything bc she wants to let their lives be easy before they have to go out into the world & take care of their wives & children.

what does women's liberation look like when an entire community is under threat? colonized women have been dealing with this question as long as colonialism has existed. the writers of this show don't even pretend to understand the question, much less to formulate a thoughtful response to it. they just say oh, well, katara, yue, & suki are all the exact same type of liberated girlboss for whom patriarchy is no significant obstacle.

which brings us back to sokka lol. sokka, at the beginning of the show, has completely subscribed to patriarchy, has integrated it into his sense of self. he has a lot of flaws, but he also has a lot of really good traits. his bravery, sense of honor, loyalty, work ethic, selflessness, all of this came from him striving to be a good man. he would die to protect katara, because she's his sister. he also has her wash his socks & mend his clothes, because she's his sister. even after he meets suki, humbles himself, & expands his view of the role a woman can play, he doesn't completely disengage from patriarchy. at the end of the day he believes in his soul that a good man's duty is to fight & if necessary die for his people, & that's exactly his plan. this is a very real psychic burden. pre-aang, it's also largely fictional & completely ridiculous. we're SUPPOSED to think it's ridiculous. he's spending his time training babies & working on his little watchtower. the swt hasn't been attacked since their mother was killed because it has been completely stripped of all value or danger it once held for the fire nation, & everybody knows this. there is very little "men's work" left, aside from hunting & fishing, which is so damaging to sokka's self image he resorts to toddler bootcamp to feel useful. the contradiction here is comical. it's also completely devastating. that's supposed to be the fucking POINTTTT like colonialism & patriarchy convinces this young boy he needs to be a soldier & die for his family. & you know what he does? He acts like a young boy about it. they didn't just leave this unexplored in the remake they completely changed the circumstances to 1. make sokka incompetent for some reason 2. make his "preparations" seem less ridiculous. Which ruins the whole character. Possibly the whole show.

all this makes the writing of katara & the other women infinitely more offensive to me. katara is a good character because she believes in revolution. she wants to liberate her people from imperialism, & she wants to liberate women from colonial gendered violence, traditional patriarchy in her own culture, & the complicated ways those things interact. it is LITERALLY the first thing you're supposed to learn about her. she's the PERFECT vehicle to address the question of women's liberation under colonialism. one of the things i was most looking forward to seeing in this show was how labor is distributed in a place where almost everything that needs to get done is "women's work" & how it affects katara & sokka's day to day relationship when their lives weren't at risk constantly. what actually are her responsibilities every day, & how do they compare to sokka's? how does her grandmother enforce these traditions with katara & sokka, & how is that informed by her own experiences in the nwt? what does patriarchy look like in a tribe made up of mostly women & children? it's so important to who katara is & what she believes! but why bother exploring any of that when u could instead make her a shein model who has nothing in common with the source material except her hairstyle lol.

yue is actually even worse to me bc yue is supposed to be sokka's counterpart. she's supposed to show you how destructive it is for women specifically to internalize this gendered duty so completely. it sucks for sokka, but he is a man & thus his prescribed role gives him some agency. yue's role affords her no agency whatsoever, & this is the POINT. to make her someone who's allowed to break things off with her fiance if she likes, who sneaks off to do what she wants when she's feeling stressed, whose will is respected as a monarch, like what is even the point of yue anymore? in the original the whole reason she was even allowed to spend time with sokka was because her father knew she was with a trustworthy boy. her story completely loses all significance when the dimension of patriarchy is removed from it. the crux of her whole story is that she is not just a princess but the literal & spiritual representation of the motherland. that's what women are supposed to represent during wartime, at the cost of their own sense of self. in order to fulfill her duty to her people she gives her life to them in every single way that matters.

it's just so unbelievably frustrating (and WRONG) that the only types of characters for these writers are "soulless misogynistic fuck" and "liberated american-style feminist." there's no nuance at all! they don't bother exploring how real love manifests in patriarchal communities, & how patriarchy defines the limits of that love. or how for so many of these people their idea of goodness, morality, & honor is gendered. or how imperialism affects not just individuals but entire cultures & their conceptions of gender. but why do any actual work when you could completely change sokka & katara's general demeanors, their entire personalities, & their roles in the tribe so you can dodge any & all nuance

Anyways. in conclusion. it was bad

[cy-cyborg]

How your disabled character's allies react to their disability can make or break the representation in your story: Writing Disability Quick Tips

[ID: An image with “Writing Disability quick tips: How your character's allies react to their disability matters” written in chalk the colour of the disability pride flag, from left to right, red, yellow, white, blue and green. Beside the text are 2 poorly drawn people icons in green, one is standing with their hand up to the face of the other, who is in a wheelchair. /End ID]

Something I brought up in my big post about Toph Beifong was how the other characters reacted to Toph pointing out that things were not accessible to her and setting boundaries regarding her disability, which were ignored. I had more to say about it than I thought I did, as it turns out (when isn't that the case lol) but I feel like this is an important aspect of disability representation that is all too often over looked.

You can write the best, most accurate portrayal of a specific disability ever put to screen or page, but it won't mean much if all the other characters, specifically those we're supposed to like and empathise with, treat your character terribly for being disabled and having needs relating to said disability, especially if the story justifies their behaviour.

You see this most often with autistic characters and especially autistic-coded characters. The character in question will be given a bunch of autistic traits, most often traits relating to not understanding certain social dynamics or sarcasm, and when they get it wrong, the other characters we are supposed to like jump down their throat, tease them or outright abandon them. Autism isn't the only disability that gets treated this way, but it is one of the more common ones that get this treatment. It doesn't matter if you do everything else right when creating an autistic character if the other "good guys" constantly call them annoying, get angry at them or laugh at them for the very traits that make them autistic, or for advocating for their needs.

Likewise, if you have a leg amputee character who is otherwise done well, but is constantly being criticised by their allies for needing to rest their legs or taking too long to get their prosthetics on, it undermines a lot of the other work you've done. Same goes for having a wheelchair user who is accused of being a bore or a stick in the mud because they point out the places their friends want to go to on a group holiday have no wheelchair access, or a deaf character who is accused of being entitled for wanting their family to learn to sign, or anything else.

This isn't to say you can never have moments like these in your stories, but its important to remember that a) people with the same disability as your character will be in your audience. If you spend a whole season of your TV show shaming your autistic character for real traits that real autistic people have, they're not exactly going to feel welcome and may not want to hang around. b) it's going to very, very heavily impact people's perceptions of your "heros" who do this, especially in they eyes of your audience members who share the character's disability or who have had similar experiences. This isn't like calling someone a mean name or being a bit of a dick when you're sleepy, it's going to take a lot to regain audience appeal for the offending character, and depending on exactly what they do and how frequently they do it, they may not even be able to come back from it at all. And finally, c) there should be a point to it outside of just shaming this character and saying the other guy is an asshole. Like I said before, you're character is criticising real people's real disabilities and the traits or problems that come with them, things that they often have no control over, it shouldn't be used as a cheap, quick way to establish a quirky enemies to lovers dynamic or show that one guy is kind of an ass before his redemption arc. If you really must have your characters do this, be mindful of when and how you use it.

#Writing disability with Cy Cyborg #Quick tips #Disability #Disabled #Disability Representation #Writing Disability #Writing #Writeblr #Authors #Creators #Writing Advice #Disabled Characters #On Writing

[somerandomdudelmao]

sitting on my hands, silently screaming because I can't stop thinking about the connection between Casey and Raph and about Casey discovering said connection and So, to temper my hype, I decided to try and find as many Casey-Raph parallels and possible Raph-sourced influences on Casey: (forgive my formatting I am not used to Tumblr) 1. Casey being able to easily mimic Raph's growls, despite having no memory of learning (note: more obvious b/c it happened so recent. though, based on the fact that the other turtles were surprised by Casey making the noise... did Raph teach him?)

2. Honestly, just Casey's protective nature in general? Casey works so hard to protect his family (learning how to carry his much-bigger-uncles, caring to their needs when their vulnerable without question (i.e. tot Leo and Donnie), literally any time he's concerned with the turtle's health))

3. (Slightly-iffy BUT:) Being very conscious of his strength/fragility of others - - which might be a tad silly to say when all his family is bigger and stronger than him, and there is already another connection in that to Leo, but I cannot get Raph ever admitting "I'm the strong one, the big brother, so I need to protect and take care of you guys!!" so I'm calling it a mix of both Raph and Leo

4. The way they hold/cradel the tinies is very similar (note: there might be more reflections of this category but I honestly can't tell b/c most characters are bigger then Casey)

5. Another different, fun pose where they mirror each other pt.3 (except its very obvious)

6. Krang-ified Casey looks a lot like Krang-ified Raph; from the right eye (our left) to the tentacle right arm (our left) to the clawed left arm (our right) to the spikes. too many similarities for me not to at least point it out.

7. Casey and Raph being attacked by (proportionally the same size to them) Tiny Donnies and getting absolutely bodied.

8. This specific expression - - a possible common trait in just adoring cute things? (note: need more data to find this out, cus I did find a similar expression on Donnie, and we can't really see sparkles in Robot!Raph's eyes, but there was one from the show that's rather close.)

... did I over look into some traits that can maybe be explained other ways? probably. did I miss some parallels? definitely, this series is littered with them. but this AU has me by the throat and we are getting backstory on MY favorite of the turtles, so I need to cope somehow. (This is also my first ask. Idk if I'm did it right. I hope it goes through, and at least someone sees it.) (Message to anyone who sees this: HYDRATE OR DIEDRATE, BECAUSE IF YOU DON'T HAVE A DONATELLO WHO WILL REVIVE YOU.)

What a wonderful research

[azure-cherie]

PAC : which type of seducer are you

•1~9•

This is based on " The art of seduction" by Robert Greene

With your intuition choose a picture of Adriana Lima , you can choose multiple as well . This is based solely on my intuition however you must observe yourself more for greater accuracy . This is for entertainment purposes.

Pile 1 :

The star

The Star is almost (or completely is) of celebrity status. They, like the Natural, poses the powers of the uncanny -- specifically mixing reality and myth. The star is a dream come true. Physically present, but almost legendary and mythic in essence. They are almost too dream-like to picture in front of us. We imagine them too far out of our league, and that is what makes them so attractive.

Pile 2 :

The Dandy

The Dandy is the Siren or the Rake of the same sex. They attract the traditionally-male with psychologically masculine traits, and they attract the traditionally-female with psychologically feminine traits. They tear down the labels that society has put on sexuality and they play in all spaces. We're attracted to Dandies for their ambiguous and obscure personas, and their freedom to break prejudice sexual behavioural roles.

Pile 3 :

The Rake

The Rake is characterized as the masculine Siren. Playing on society's roles that a female character must abide by, the Rake brings out the oppressed behaviours of a traditionally-femine figure. They bring out the excited feminine in us. Again, male, female, or neutral, we're attracted to Rakes when we've been too confined and comfortable - too restrained - too neutral and unenergized in our day-to-day lives.

Pile 4 :

The natural

The Natural is a reflection of those golden years of comfort and innocent affection - childhood. They portray what both Kubrick and Freud would describe as 'uncanny'. Familiar yet strange. The Natural brings into their persona a sense of youthfulness in an adult body, drawing those that long for the times of no responsibilities, harmlessness, and naive spontaneity.

Pile 5:

The coquette

The Coquette is hot and cold. They touch and go. They attract you with hopeful words or sensual maneuvers and then step back and distance themselves from you. They entice you and frustrate you at the same time, and we're attracted to this because of our human nature to want what we can't have.

Pile 6:

The siren

The Siren is of highly charged traditionally-feminine energy and tends to attract those of a completely opposite, traditionally-masculine energy. Whether or not you identify as male, female or neither, you'll tend to be attracted to a Siren when you show characters on the extremes of traditionally-male behaviour.

Pile 7 :

The charismatic

The Charismatic is the excitement in the room. They exude confidence and energy in all the right places. They are mesmerizing and we're attracted to them because of their sincere obsessions and opinions and actions. They glow a sense of charisma with their animated gestures and fiery persuasive voice. And if they fit our values, they're just a good time to be around.

Pile 8 :

The ideal lover

The Ideal Lover comes to us from our childhood dreams, or rather our lost dreams. They are the ones that bring a hopeless fantasy to life with their ability to mirror the ideals we once had as innocent happy-go-lucky children, but have lost to grey world. They are highly astute at understanding our deepest desires and definitions of affection and bring them to fruition.

Pile 9 :

The charmer

The Charmer has almost a devilish smile you're willing to swoon over. The word "charm" comes from the Latin "carmen" -- a song or a chant that is synonymous with a magic spell. To charm is to literally cast a spell on another. The way that they do this, and the reasons we fall for them, is because they understand 3 fundamental laws of human nature: The law of narcissism, the law of defensiveness, and the law of grandiosity. It's our egos that they stroke, our vanity emotional walls that they align with, and our self-esteem that they praise.

Definitions from the website:

https://aarondanielfilms.com/blog/the-9-archetypal-lovers-you-are-attracted-to

Thank you, hope you resonate 💕

Have a great day/night ahead 😘

#pac reading #pick a card tarot #pick a photo #pick a card reading #pick a picture #pick a card #pick a pile

[ellstronaut]

Going back to this debate

I know Ellle is a multifaceted individual that much is obvious she’s not one dimensional she has many elements to her personality. Additionally, it’s important to remember that even on the spectrum of masculine and feminine, Ellie isn’t completely one or the other. She exists in some sort of grey area between them, embodying both masculine and feminine traits. She’s not defined by one end of the spectrum, but rather by the interplay of these two extremes.

Yet at times the characterisation of Ellie is laced with internalised misogyny. And highlights the way “masc presenting” lesbians are treated in real life tied down to the “man” in the relationship why is Ellie mostly written as the dominant one especially when coupled with fem reader why do we head canon her as a top when it’s literally canon that she’s a switch? Why is there an infinite amount of “ellie taking care of the reader on her period” scenarios outnumber “Reader taking care of Ellie on her period” Ellie written as tall towering over fem reader and not like she’s literally 5’5

The fact is that there’s a heteronormative slant to the way people write her. Like I said almost never written as a switch, but a top. To some extent been portrayed as tall and dominating, never small or vulnerable. And Santa Barbara Ellie is often sexualized even though she is deeply traumatized and emotionally tormented. The problem is that people are viewing her through male-centric lenses, reducing her to an object of desire rather than a fully fleshed out woman with a complex, nuanced personality which includes many dimensions, some of which may be considered feminine.

There is no specific way to be a “masc lesbian” a woman nor feminine and express your femininity. Nor should that separate her from her womanhood/femininity. in a way it’s her way of showing how feminine she is. maybe not stereotypically through outward appearances, but her general identity. she’s a woman who experiences the same struggles that women do, Obviously she doesn’t waver just on the lines of black and white, she’s all rounded. In between. Grey area. The point I’m trying to make is that she’s all and above, you can be both masc and fem. I would add that Ellie's femininity is often overlooked or even belittled by people who only focus on traits that appeal to them. Not her emotional intelligence, her caring nature, her resilience, her dedication to her loved ones. Fuck she’s also a soft heart and a tender soul. These aspects of her are just as important to her character, she is a whole person ffs, exceptionally fleshed out

So fuck

“the hot wife and her hot boyfriend”

Why not

“The hot wife and her hot wife”

“She’s so boyfriend

Uh

“She’s so girlfriend”

Santa Barbara/Seattle is literally at her most vulnerable, disheveled state that girl is literally plagued with trauma, stuck in a limbo of “do I seek vengeance in the name of losing my family and absolutely everything or stay and suffer in silence (at who’s expense?? Hers) Yet we sexualise tf out of her, the most vulnerable pinnacle of existence—glorified and romanticised bc it’s “hot”

this is not a dig at anyone you’re free to write whatever tf you want bro it’s your platform but pls let’s not bs and pretend as of this doesn’t occur

#ellie williams #ellie williams x reader #tlouellie #pls feel free to add on this topic

[raisedbythetv89]

The writers I think mostly completely by accident with the assistance of James charming his way into becoming a main character created the perfect storm to ensure people who love spike would reach absolute peak levels of being completely obsessively deranged about him forever

Season 2:

He’s a punk rock villain with killer cheekbones, enchanting eyes, and an absolutely DEVILISH smile - who’s an incredibly dedicated and dangerous fighter who specifically seeks out challenging fights he’s not guaranteed to win (brave and reckless - normally traits seen in heroes) hates everyone except his mentally ill physically sick wife (the statistics of men who leave their wives when they get sick in the US is horrifying like nurses literally have to warn married women who get sick it happens so often) who he’s hopelessly devoted to and unbelievably soft with and always listens to her while also exuding a psychotic amount of sex appeal and is just F U N he loves being a vampire and he loves fighting and it makes it so much fun for the audience. While still showing how much he respects and admires his enemy for her skill, strength, resourcefulness, and intelligence - NEVER underestimating her just because she’s a tiny blonde girl - and instead of destroying the world for love he SAVES the world for love - a villain doing good to get the love of his life back who essentially dumped him for her ex????????? D E V O T E D and shockingly extremely trustworthy??? And has amazing chemistry with our heroine and is there for a pivotal moment in her life and is the only one there for her when she has no one else????? *enemies to lovers girlies ENTER THE CHAT*

Season 3:

He shows he fucking MEANS IT when he says Dru is the love of his life when he shows up in Sunnydale because he blames Angel not Buffy or Drusilla but the man actually responsible for all their problems and he is the most pathetic mess we’ve ever SEEN!!!! He’s crying and drunk all the time and he’s so sad he goes to Buffy’s mom TO TALK 💀😭 our pathetic sensitive little self admitted lover boy who KNOWS he’s love’s bitch and he won’t be pretending he’s anything otherwise who shows how clearly he sees and understands other people and the depths of his emotional intelligence so much so Buffy herself admits she can’t fool Spike she can fool her friends BUT NOT SPIKE OR HERSELF EXCUSE ME MA’AM WHAT???????

AND Spike doesn’t just uselessly MOPE forever he gets some perspective and is like I know what I’m gonna do to her back and I’m gonna go do that now! 😁👍🏻 showing he never stays down for long and is always gonna get back up to keep fighting for his love while BOTH he and Buffy still honor the truce even though he’s broken it by coming back??? While Buffy’s all “I violently dislike you” YEAH OK GIRL WHATEVER YOU SAY *enemies to lovers girlies chomping at the bit intensifies*

Season 4:

CLEARLY heartbroken about Drusilla (DEVOTED!!!) but it’s turned into anger and resentment directed at Harmony who how bizarre looks nothing like Drusilla but A LOT like Buffy…… hmmmmmmmmmmmmm HOW INTERESTING *enemies to lovers girlies are vibrating with anticipation that turns into a full blown combustion when something blue happens*

Spike doesn’t pretend to love Harmony in order to get what he wants from her (shown in direct contrast to Parker) he’s ironically very honest despite being a villain - he’s showing he’s STILL loyal to Drusilla in ONLY loving her even after she’s dumped him... again!

We see Spike treat Buffy the EXACT same way he treated Drusilla during something blue reaffirming THIS IS HOW THIS MAN LOVES WHEN HE LOVES YOU. He’s extremely affectionate, helpful, protective, caring - D E V O T E D - and is truly just the most certified lover boy we’ve ever fucking seen

Season 5:

SURPRISE HE’S SECRETLY A LOVESICK MAMA’S BOY POET AT HEART UNDERNEATH THE BAD BOY PERSONA AND A PROTECTIVE BIG BROTHER AND NOW BUFFY AND HER FAMILY’S MOST LOYAL DEFENDER AND IS WILLING TO DIE NOT JUST FOR BUFFY BUT FOR ALL THE SUMMERS WOMEN AND HE KNOWS AND SEES BUFFY SO DEEPLY AND INTIMATELY AND CAN HOLD SPACE FOR HER PAIN LIKE NO ON ELSE CAN AND SHOWS THE DEVOTION THAT ONCE BELONGED TO DRUSILLA NOW BELONGS TO BUFFY AND IT IS GOING NOWHERE EVEN WHEN SHE DIES AND WE'VE SEEN IN HIM CRY BEFORE BUT NEVER HAVE WE SEEN HIM BREAK DOWN LIKE HE DOES AT THE SIGHT OF BUFFY'S BODY!!!!!!!!!!!

*all of us screaming, crying, throwing up, climbing the walls and generally just losing our minds*

Season 6:

No soul, his love is so great for Buffy as is his loyalty and devotion to her, he now helps all of his dead love’s friends fight evil and is raising her sister and dreams of saving her every night for 148 nights 🤚🏻😭 don’t even fucking talk to me I can’t take it

Forgive the absolute 180 in tone change here:

Dick game is FIRE - his touch is the only thing that makes Buffy feel alive AND SHE WAS IN HEAVEN BRO SHE KNOWS WHAT IT FEELS LIKE TO BE IN HEAVEN AND SPIKE IS THE ONLY THING KEEPING HER GOING like damn girl yes YOU FUCK THAT HOUSE DOWN!!! Also he is now just naked 50% of the time just to drive us all even FURTHER out of our minds and somehow has just gotten even hotter as the seasons have gone on like this is what’s been hiding under the leather jacket all this time! Enjoy!

And THE MOST unintended consequence of jw’s vindictive writing:

SPITE

He clearly didn’t want us to love Spike and tried to manipulate us into hating him in such a blatant and clumsy ooc attempt all that did was weed out the weakest amongst the Spuffy/Spike fans until all that remained were us:

The most devoted and stubborn fans who REFUSED to have the thing they loved ruined or taken away from us and were smart enough to see through his bullshit manipulation attempt in the first place.

Genuinely they created the equivalent of supersoilder strength level fans with this absolutely lethal combination of events 💀

AND THEN as if all that wasn't enough he goes and gets his soul on purpose for Buffy so he can be the man she deserves and she can love him without hating herself for loving him despite the immense pain it will cause him which is the most selfless thing we have ever seen anyone do for Buffy only to be topped when he sacrifices himself to destroy the hellmouth, save the world and free her from Sunnydale!!! Plus ya know once he gets the soul even though he did it for her he never tries to use that as leverage to get anything from her like he truly expects nothing from her at all but still wants to help her and James delivers the most devastating performances we've ever fucking seen, finally tells her friends off which has needed to happen for 5 seasons, the "you're the one speech" him being a dad to all the potentials with Buffy giving us supernatural parent core who made it through their rough patch with their first kid in season 6 with Dawn and now are just the beautiful team with their found family and Buffy finally has someone who can truly carry her burdens with her and just all the tenderness and devotion they both deserve after so many years of pain and fighting. Basically giving the audience the message that even if you have a metric ton of pain and trauma there are people out there who see you and understand you and there is a chance for you to heal both together and separately to build your own version of a more normal and stable life. It's a message of such hope and I personally know several people, including myself who watched what Spike and Buffy have and it inspired us to look at the relationships we were in and realize we deserved SO MUCH MORE than what we were getting and in my case it turned out I was being emotionally abused and manipulated that entire time!! Much like Buffy was by both Riley and Angel. So it isn't an exaggeration to say Spuffy saved my life in a lot of ways both in being there for me at such a dark time and helping me draw a map of how to get out. Not to mention loving them in fandom spaces has helped me connect with so many people just like me who share very similar experiences and have helped me feel so much less alone and has helped me heal in so many ways 🖤

Spuffies get "hOw cAn yOu liKe sPiKe aFtEr wHaT hE dId" all the fucking time and truly the better question is how can you NOT like Spike???? HAVE YOU BEEN PAYING ATTENTION AT ALL??? DO YOU EVEN KNOW WHAT GOOD RELATIONSHIPS NEED TO WORK?? BECAUSE AT THEIR CORE SPUFFY HAS THEM ALL!

It's jw writing so NOTHING will escape his toxic bullshit but Spike - because he was hated by jw for so long - so much of the time when he tried to make Spike less popular he just kept making him better and more complex and more and more targeted to the female gaze which is exactly why he snapped and made the choices he literally forced everyone else to go along with despite their protests with that scene to make it the most traumatizing scene in all of Buffy history not just for the audience but for the actors as well because yes it is incredibly horrific and upsetting to watch (which is why I skip it on rewatches) but I still am able to see if for what it is which is a narcissist lashing out at people he hates because he hasn't been able to control them and too bad for him I refuse to be manipulated by his bullshit so it failed completely and made so many of us that much more stubbornly protective of Spike and his and Buffy's relationship not just from other fans but from the creator himself 🙃🖕🏻like he basically just trauma bonded us to Spike and Buffy which has led to the creation of one of the most devoted, loyal, intelligent fanbases who is absolutely unhinged (affectionate) with their love of this character and his relationship which is why we are all still creating and writing about this character 25 year later and show absolutely zero signs of slowing down or stopping 💀

#spuffy #spike btvs #meta #btvs meta #spike and buffy meta #spike btvs meta #spuffy meta #also every spuffy I know shares so much life experiences and personality traits with buffy herself like we are often making choices #and judgements about the narrative from the perspective of buffy herself & we’re all picking spike #so many people who pick other love interests truly so often rarely see buffy for who she is either #if you don’t get spuffy you don’t truly understand buffy herself

[bulbabutt]

ok i wanna talk about tmnt 2007 and the way i think this is the best version of a leo and raph conflict, and also leo as a character

for context i've been talking about tmnt things kinda chronologically, so i'm gonna mention an unconditional understanding in 03 i bring that up in a previous post about that show and the family dynamics in it here if u want context for what i mean

i think this movie can really be appreciated for the place it has between adaptations, and the way character-wise everyone is more or less the same as they've always been but with a more interpersonal relationship as the focus. the main villain of this movie doesn't really matter, the conflict, the fights, that's not where the strength is (although, it is reflected in the conflict and ill get into that)

so tmnt 07 is one movie that kind of combines the 90s movies, 03, and mirage all in one place, and tonally is is similar to the show that will come after it, 12. if the 90s movies give us conflict between leo and raph, and 03 gives us the unconditional understanding between the two, 07 takes these two aspects and creates a story out of it. (debate in your own mind if this movie is a literal sequel to the 90s ones or not, its not that important)

the set up of this movie is we are in a post killing the shredder world. leo has been told by splinter to go get training elsewhere, there isn't much context for what happened to cause this, but i would bet its a similar cause to 03, where he had ptsd and lashed out at his father to which splinter sends him to his grandfather to get better advice than he thinks he can give him. the difference here is there is no grandfather hes sent to, he's sent on a journey of self discovery around the world to learn about it and himself.

the thing about leo as a character, and this goes for all leos, he's has a very black and white way of thinking. leo thinks he's been sent away because he's failing his family, that he's not a good enough leader. so he stays away for longer because he doesn't feel good enough. he finds a place where he can help and he does that. leo always needs a bad guy to fight, or else he's fighting his own demons. so he stays there for a long time. finding a place he can help quietly, never letting anyone see him, and becoming a legend to the locals because no one knows what's really going down.

april manages to track him down and tell him about whats going on with his brothers, how they're holding up without him and without being a team, and i think thats a good reminder for him that they miss him. he doesn't tell april but he finds a way home only after hearing about this. when he arrives and speaks to splinter, he says "i was so caught up in my own world i forgot about everyone else, i'm sorry i failed" he still doesn't feel like he's done anything of worth.

i'm gonna jump in here and say, you know how we all love rise raph? cuz hes the big brother and some traits that come from that are like being overprotective and taking on everyone else's problems and trying to handle emotions alone? well that's a trait thats usually leo's. but the difference with leo is sometimes that concept doesn't make you as likeable. sometimes it means you come off like a nagging mother hen who thinks they know best but in an arrogant way. sometimes it makes you mirror being a parent when no one asked you to be. leo's less of a passionate character than raph, hes more analytical and full of himself. he takes splinters lessons more seriously, and hes always trying to do whats best for everyone so they don't have to worry. this is something evident with 03 and 12, but its so specifically noticeable here because these traits make up the main conflict. i just want to bring that up so we start seeing leo as no different than some of our other favourite iterations.

splinter responds to his apology by saying "you owe me no apology, but perhaps you should talk to raphael, your absence has been particularly difficult for him, though he'll never admit it" but when leo greets him raph is brushing him off.

on raph's end, this is him being angry that leo left, and angry that hes back and everyone wants to pretend that he wasn't gone at all. as if the time he was gone didn't happen. hes lashing out because he too cant handle talking about these emotions. and hes lashing out by becoming a vigilante in his own right.

i see a lot of people misunderstand what raph is doing here, that "this is what the turtles always do" or "this is the same as what leo was doing how could he be mad" when that is not true. that's what casey does. its true that both leo and raph have been fighting bad guys on their own (as a way of dealing with their issues) but raphael has made himself a costume to disguise himself which means hes prepared to be seen. hes riding a motorcycle around, which is loud. this isn't stealthy, this is aggressive. his vigilante name is in the news. the turtles are ninjas, they silently help where they can and fade into the night and, very specifically, they work as a team. these turtles live in a dangerous world, what if something happened to him while no one else was around? they would never know because he never told anyone.

so raph is lashing out, and leo doesn't have a good way of dealing with it. he tries to slide back into being leader, doing what splinter says but he forgets how his brothers are, and with raph egging them on they get into fights they shouldn't. which leo specifically gets in trouble for, as the oldest brother, and as their leader. leo tries to be this better leader hes supposed to have learned to be, but it doesn't work and raph ends up back out there in his vigilante get up. leo tracks down said vigilante, and in his peak "leo knows best" moment, lectures him, not knowing its his brother. there's a scuffle, and the mask comes off. let me point out that casey knew this vigilante was raph but his own brother didn't, because leo has been gone that long.

so lets get into what this fight is really about. on the surface, its "wow you've been going out at night alone putting yourself in dangerous situations with no backup" and "so what you're just mad that i can do it without you" which leo would be right about. and this is the analytical leo, he really thinks that's all that's going on here. what hes missing is that raphael has missed him as a brother, and hes hurt that leonardo left and just came back no big deal. that he wants everything to be normal. raphael is always a character with big emotions and the only outlet he knows to express them is violence.

leo, who as we've established, went away to learn to be better for his family is angry that raph doesn't see that. he's mad raph doesn't appreciate the effort he went to, and he thinks he's just angry because he's not in charge. each brother sees the other as being arrogant.

this leads them to the big fight. no one can disagree that this is the best part of the movie (seriously watch the movie for this scene if you haven't seen it before) , but the real best part of it is that raphael wins. raph proves hes just as capable of a fighter as his brother, if not more-so. he uses those sais as they're supposed to be used, catching leo's swords and in a fit of rage he fucking breaks them, leaving leo defenceless and completely vulnerable to attack. you'd think he'd be smug that leo lost but he pauses, going through a lot of emotions in a moment, questioning what he's doing, why hes doing it. and leo finally looks his brother in the eye and sees raph going through something he didn't before, realizing raph hasn't been angry that he's back, but that he's angry that he ever left. they don't have a conversation, because raph cant handle all these emotions and he runs away, crying as he does. leo just watches him, taking it all in and realizing the error of his ways.

hearing leo scream turns raph around, but he's too late to help him, and this is where raph regrets his own actions because right then, leo is also proven right in his argument. because he gets kidnapped. if leo hadn't chased raph down, there is a very good chance that would have been raph being kidnapped. with no backup, with no one knowing what happened to him. that's why its important that the turtles are a team.

raph goes home full of guilt, and there's a good moment of showing how he cannot open up emotionally here, because he grunts, punches the wall, knocks over some weights and forces splinter to ask him what happened, because that's how raphael is. he laments to his father that he finally understands why leo is the better son, proving that to raph none of this was about their team, but about their family. conflating the two ideas in his head. splinter gives him a talk that mirrors what he said to leo when he returned earlier in the movie, encouraging him that he is a good son and brother. this shows that these brothers have very similar insecurities about their value to their family.

the rest of the movie plays out as you expect, they go save leo, they stop the bad guy, they reconcile and behave as the team they're supposed to be. but i just want to point out that the villains plot is mirrored in leo and raph's conflict. the 'villain' here is a brother who has been cursed to be immortal without his own siblings. for 3000 years he lived to regret his actions and decided to undo his curse, but he used the cursed stone versions of his siblings to do so. no communication, just thinking he knew better (which maybe he did) and lying about it. that caused them to lie to him right back, and try to overthrow him and destroy the world. this is just one family whose inner turmoil could have destroyed the world. you might say, oh that's not a very interesting turtles villain, but its not supposed to be. its not the focus.

this movie is all about the complicated relationship between a family, and i see so many people talk about it by trying to ask who's right and who's wrong. that's not how it works. life is more complicated than that, people are more complicated than that. its boring to look at this movie and just say "leo is wrong and raph is right" because that's not even how the characters see it. this movie is about leo and raph being mirrors of each other in their arrogance, in their insecurities, and in their stubborn pig-headed refusal to let the other know how they feel. splinter says as much at the start of the movie. this whole movie shows that without each other, they need to be fighting something so they don't get swept up by their own emotions, which they are both bad at processing. they are SUCH brothers. they are so similar emotionally, yet they have such a hard time understanding each other.

personally 07 leo is my favourite leo for his complexity, his flaws his strength, his growth. its sad we never got those sequel movies to get into the other brothers heads as much as we got into leo and raphs heads.

also nolan north and james arnold taylor gave the best vocal performances in this movie and they deserve all the credit for it.

#tmnt #tmnt 2007 #tmnt 07 #teenage mutant ninja turtles #07 leo #i will defend 07 leo to death does no one understand his autistic swag like i do #all leos are like this he just got to shine cuz the movie was ABOUT his and raphs issues #this has been in the drafts for a while and in the mind a LOT longer than that #sorry its long idek if thats all i have to say about him but CLEARLY its long enough #thoughts

[snakeautistic]

I love finding characters I can relate (/project onto) within media. There’s something so comforting about seeing yourself on screen. I end up headcanoning most of them to be in-line with my identities (lesbian, wasian, autistic) because they are literally me in my head!!

Anyway here’s a long ass list of my favorite characters and why I head canon them as autistic for fun!! If you have any others you’d like to add I’d love to hear them. (And please note this is just my interpretation, and highly based on my experience with autism. I’m not saying they’re definitely autistic or that all the traits I listed are the dsm-5 criteria or something.)

Princess Bubblgeum from adventure time:

This girl is peak evil scientist autistic. Her intense need for control, the way she carefully observes the citizens she created, an outsider to them, not quite like them… god it’s so perfect. I read her as being somewhat low empathy as well, it’s hard for her to change her perspective to that of others. Plus the fact her brother neddy is a pretty obvious metaphor for higher supports needs autism. I think they of represent how autism runs in the family and appears in all sorts of different ways in different people. They’re sort of two different representations of the spectrum.

Marcy wu from amphibia

I mean this one is just obvious. The biggest nerd of all time. So obsessed with her RPG special interest that she literally sucks her and her friends into a fantasy world. She’s clumsy (just like me fr), very smart but super socially awkward, a little oblivious and naive. She’s terrified of change, especially if it means abandoning the few social bonds she’s been able to make. I honestly find it hard to believe this wasn’t intentional.

Entrapta from she-ra

Another pretty overt example. I do have some issues with how she was portrayed in the show- (keeping her on a leash was weird.) but overall I really love her. She understands her tech, not people, and it can cause her to come into conflict with other characters. Their treatment of her makes me sad at times, but it’s realistic. I also love some of her other quirks, her love of tiny food, her exitable demeanor, ect.

Pearl from Steven Universe

Peridot is the more obvious example of an autistic character in SU, and while I agree she’s coded that way, I personally resonate more with Pearl. She is not very socially aware, and bothered by disruptions to her routine/ broader life changes. She doesn’t like to break rules (despite being a literal rebel lol.) I find it interesting how she seems to have the poorest understanding of life on earth out of the gems, despite having lived here for thousands of years. She is graceful, but has an almost sort of awkward gangly-ness to her that I relate to. Her neuroticism is also very similar to how my anxiety disorder presents.

Pearl has a tendency to infodump, without realizing those around her are uninterested. Even her relationship with Rose struck a chord with me. The hopeless devotion to her, the way she followed along at her side. It’s how many of my friendships have been. Obvious it’s not exactly the same considering Pearl having originally been her servant, but while not being an explicitly autistic trait, that sort of clingy, starstruck relationship is something autistic people are prone to developing. She does little hand stims at times too that I love to see.

Poison Ivy (specifically the version in the Harley Quinn animated show)

I’m surprised I haven’t seen more people mention poison Ivy. Fiercely intelligent and deeply introverted, she isolates herself from all people, and only connects with and understands her plants. (Which her deep affinity for can definitely be read as a special interest.) She very overtly has trouble forming relationships with others.

She’s blunt, socially awkward and a loner, has something of a flat effect and a monotone voice. Those around her initially read her as cold and impersonable.Her struggle with social anxiety as well as intense fear of failure/ low self esteem is also very relatable to me. She also often struggles to express/understand her feelings and emotions. Her radical political ideas and the fact that she’s literally an ecoterrorist paints her as having a very strong sense of justice and a somewhat black and white worldview. (Me)

Finally, her relationship with Harley just SCREAMS neurodivergent solidarity. Harley Quinn is (I think canonically) adhd, and they’re both outsiders in the world that found each other and just… get each other. She’s Ivy’s closest and only friend and amazing girlfriend and god it’s all so perfect.

They remind me a lot of the relationship I have with my best friend with adhd except theirs is gayer.

#autistic headcanon #autism headcanon #headcanon #headcanons #actuallyautistic #actually autistic #neurodivergent #neurodiversity #neurodivergent headcanon #adventure time #princess bubblegum #amphibia #marcy wu #she ra #entrapta #steven universe #pearl su #poison ivy #harley quinn animated series

[rayghosts]

its been months since i watched puss in boots: the last wish, and i havent stopped thinking about how good it is. specifically, how it used its own genre as a plot device

when you go in to watch an animated family film, you think, surely no character will die in this. or if they do die, theyll probably fall off a cliff and land offscreen or something. no one actually brutally dies in a cartoon. theyre not even allowed to show blood! but then puss DOES bleed. and just as that scene is the turning point that makes him realize that hes not invincible, it makes the audience realize that this movie can get dark

but its not like the entire movie is grimdark after that. its still a family film! silly stuff still happens! its just that every so often in the middle of all the silliness, the wolf appears, and both we and puss are violently reminded that he very much can die die. this doesnt affect any of the other characters' goals, because why would the prospect of puss's death affect them? but for puss, who thought he was immortal, it's enough to send him into a fucking panic attack. it's a perfect illustration of how concepts like death are always lurking in the background

and i havent even started talking about THE SONG!! when i first saw this movie and heard puss singing fearless hero in the beginning, i thought, "oh, this is a musical!" but its NOT. no other song is sung by the characters throughout the film, but the same song is sung over and over, and it fits because puss is trying desperately to hold on to his past glory as a "fearless hero." and the lyrics: "Who's the gato who rolls the dice? / And gambles with his life?! / Who's never been touched by a blade? / Puss in Boots is never afraid!" hearing them the first time, they sound like normal lyrics youd hear in a song about how heroic a character is, but then it turns out to be clever foreshadowing because these traits (gambling with one's life, pretending youre never afraid, etc) are the very traits that puss had to let go of in the end to finally be able to confront death. i could go on and on about how amazingly this song was used in the movie, but the point is that they never would have been able to pull it off if this werent a family movie where characters bursting into song is seen as normal

seriously, this movie is SO cleverly done. even the fact of it being a 10-year-late sequel adds to the whole idea of puss being a past legend at the start. like, the concept of someone trying to evade death has been done many times already in other forms of media, but the way that puss in boots 2 executed it could ONLY have been done as an animated PG shrek spinoff

its SO SO GOOD and i hope to god it wins the oscar for best animated film

#puss in boots #puss in boots 2 #puss in boots the last wish #the last wish #pibtlw #dreamworks #mine

[crooked-wasteland]

Stolen from @pinkandpurple360 anonymous ask.

"Blitz still has a long way to go with character development”

That's great. I can't wait to never see it.

This was an issue I tried working into my Fizzarolli Dissection but it kept feeling less about the character and more an overarching writing issue, so let's just take it here.

Every bit of character development in the series is inconsistent or entirely spontaneous. Stolas being in love with Blitz seemed like a slow burn until out of nowhere in Ozzie's he is so head over heels for Blitz in specific. Asking why Blitz only now is asking him out "after all this time", like he has been waiting on and expecting it despite that never being a thought towards their dynamic before. Going from being entirely obsessed with their sexual contract and seeing Blitz as a sex object to suddenly wanting cuddles on the couch with no strings attached?

That change was never shown in the series. It was never developed. There is no character growth, they merely are different to suit the new direction to the plot.

So again, I'm so glad Blitz has more character development to go through, can't wait for it all to be implied off screen like every other ounce of character we've been gaslight into believing has "grown".

If you never show it on screen, the dynamic, the relationship, the change, it never happened. Loona at the end of Queen Bee seems to get closer to Blitz but the next time we see her she's trying to assault him. We never saw any moment of change following the end of Queen Bee where we felt her character actually develop. Even after calling Blitz dad in the episode, she ignores him in favor of strangers at the party. She expressed clear disgust with Blitz before leaving with him, and her mild softening towards him at the end could just as easily be seen as nothing at all as it could be a character growth.

However growth requires reinforcement. If you never reinforce that moment meant something, it isn't growth, it's a cheap emotional scene to get a reaction from an audience. A short scene of Loona simply telling Blitz good morning to show some kind of change was all that was needed, but it was not as important to establish change in the characters as it was to have the most cringe scene in existence. Priorities.

One of the biggest issues with the series is how blatant the meta agenda of the writing is. They never allow the space to establish characters or change, instead citing these one off moments as “proof” of story when they do not amount to anything at all. There is unfortunately a distinct difference between a story and a scene, and it is painfully obvious by how Medrano and Nylan utilize these scenes that it is entirely for a superficial effect.

The relationship between Fizzarolli and Blitz similarly is extremely vapid and has no foundation to establish what their dynamic actually was growing up. Additionally, the two scenes of them being younger are fundamentally contradictory. Younger Fizz from The Circus is assertive and confrontational. He threatens to punch Blitz for being annoying and not playing the way he wants to play. He's bossy without necessarily being mean and not only knows he's popular, but also how to utilize it as manipulation, seen in how he draws attention to himself to spare Blitz the embarrassment of his failed joke. This Fizzarolli actually lines up also with the Fizz from Ozzie's. It's hard to claim that Ozzie's Fizz was "just an act" when as a literal child he has all the same traits

Then in the Special he is insecure, timid, has very little self esteem and is an anxious people pleaser with a mousy voice. There is nothing to establish this as the same person at all, and all the narrative context clues around his popularity does not support the direction of change this character has experienced. Fizzarolli has only gotten bigger between being what appears to be six years old and what I can only assume to be thirteen based on his cracking pubescent voice and gangly limbs. All we can go on is context clues and extrapolation, but arguing of a non-existent event that humbled Fizzarolli to this extent, while maintaining his stardom prior to ever meeting Mammon, is founded on nothing, when there is a much simpler answer.

His whole personality has taken a 180 turn for the sole purpose of the episode’s narrative. Fizzarolli being the pathetic whump he is in the episode is not founded anywhere else in the show, but we need that so people feel bad for him. There is no confidence in this writing. It shows that instead of believing the character is likeable as a whole for a complex personality, the only way anyone will like him is if he is just the softest jellybean in the bunch.

It is only this way because it suits the episode right here and now. And when his character changes, it isn't founded on any concrete narrative of growth and actions having consequences, but on what the writers need to get the audience to feel a certain way. So I say it again:

That's nice, I can't wait to never see it.

#helluva boss critical #helluva boss critique #helluva boss criticism #vivziepop critical #vivziepop #vivienne medrano #spindlehorse critical #spindlehorse criticism #helluva boss #vivziepop criticism #writing criticism

[warletscarlet]

Wild Kratts Headcanons

genuinely have no clue if this fandom is dead or not but I’ve fallen down a rabbit hole and it isn’t stopping. So anyway here we go! All of my hc’s are strictly platonic, Krattcest shippers back away rn 🤺. This is the 2D characters and not referring to the actual people! I know the characters are basically them but this is specifically for the cartoon. they’re all headcanons I either liked or had myself.

-Being as close as they are, Martin and Chris are very physically affectionate with one another (and with the Tortuga crew at times, but mostly the bros). They’re always giving each other hugs or leaning on the others shoulder, or Chris just straight up climbs onto Martin’s back/shoulders.

-With their friends, the boys are always giving them hugs, small shoulder touches, things like that. It’s their natural way of interacting with the people they care about.

-The Kratts have been found sleeping in trees various times (mainly Chris). At this point nobody questions it though they do get worried about him falling out and getting hurt.

-The Kratt Bros are also sometimes found sleeping in the same hammock, whether it’s in the Tortuga or hung up on a tree branch. They usually do this when the other has a nightmare or after partially tough missions (I.E:Flight of The Pollinators, Platypus Cafe, plus other episodes but these are the ones I heard about most and I haven’t gotten to watching too much of the show again yet). Touch is their love language and sometimes they need this to remind themselves the other is okay.

-Chris climbs basically everything. He loves climbing and if you took him to a rock wall climbing gym he’d have a field day. You can find him in the oddest places on the Tortuga.

-Aviva isn’t the most touchy person but will give hugs out of gratitude/happiness.

-The brothers share a single braincell. That is all.

-Jimmy has a very close relationship to his grandmother and was raised by her; which is why he knows all of her recipes.

-Aviva is like a mom friend. Not in the sense she’s motherly but in the sense she has to babysit two hyperactive brothers who are constantly running around/getting in trouble and breaking things.

-Martin can carry Chris no problem (on his back, shoulders or bridal style), but Chris cannot carry Martin on his back/shoulders for long. Though he can hold him bridal style (as we have seen.)

-The bros are huge nerds. If you ask them about animals they will talk for HOURS about them.

-Koki is downright fabulous and can rock anything. Don’t @ me.

-Martin has ADHD and Chris has autism. Martin fidgets, gets distracted easily, and can act impulsively (though reels Chris in when Chris is the one being impulsive). He tends to run off during creature adventures. He has combined presentation ADHD and Martin also has a tendency to forget to charge his creature pod.

-As for Chris, he has autism. He doesn’t recognize social cues and corrects people when he thinks they’re wrong about something, and doesn’t realize when they’re annoyed with him for it. He also can be pretty blunt. And he has to keep things organized, such as how he organized all of his creature disks and hates them being moved out of place.

-Chris, out of everyone, cusses the most. He doesn’t around the Wild Kratt Kids but he will when with the crew/his brother. He has definitely called Zach a motherf*cker and Aviva and Martin found it hilarious.

-The Tortuga Gang have frequent movie nights, but they will never watch a movie where an animal dies with the brothers. They WILL cry.

-After the Tazzy Incident, Chris still has some Tazzy traits. Mostly just sharper canines but also more sensitive senses. He can’t hear, smell and see are well as he could when in tazzy form but it’s definitely increased from normal. His eyes also do that thing cat eyes do when they’re in the dark and the light hits them. Has 100% given Martin heart attacks and absolutely has used it to mess with Zach.

#wild kratts #headcanon #chris kratt #martin kratt #aviva corcovado #koki wild kratts #jimmy z #found family #platonic relationships

[tarjapearce]

How can you describe miguel mentally and emotionally ?

Oh man... This is a tough one. I'll start by saying that, even though we saw a glimpse of his mindset on ATSV, we still have sooo much to learn and know about him. (We just had it for 15 mins. jsksk)

I did this thing a while ago, focusing mostly on his grieving that addressed the rest just superficially.

I won't say I know him better than anyone cause

1. No. Characters evolve and I feel it'd be disrespectful af to just reduce him to a couple of traits or claim that I know him better than I know my nipple jsksk.

2. He's a complex character that is so well written that makes us all go psychoanalysing his behavior 🤭. (And love me a man that puts me to think)

But jokes aside.

He's emotionally unavailable. Simple as that. And though it might sound obvious to some, (And our savior complex kicks in and tell us to fix him 👀 yeah, I'm talking to us jsksk) there's no way we can do that, cause that's up to him ~. (And you can't help someone that doesn't wants to be helped.)

Healing takes time. And guess who overworks himself to the point of having his cortisol running 24/7 through his body? Miguel. He doesn't have time for therapy. His fear of watching it all go to hell once more is a too fresh wound. Some traumas last decades, and naturally people find ways around it without interacting with it directly to avoid reliving such impairment.

(I do appreciate the fact that in the new comic book, we see him trying to make amends with Conchata though. He's trying!!! :D.)

2. He's a patient man. I mean, he recruited after all versions of Spiderman that have this trait in common: They're perceived as friendly. And they're mostly young adults and teens. (Both are a handful btw. And most stories and comics Peter Parker is depicted as a 18-23 year old)

But they like pushing his buttons, (cracking a joke every 5 minutes, doing whatever they want even when specific orders were given) however. He doesn't strike me as someone that is mean on purpose, he's just wary but not totally closed off towards people. Wich is kinda contradictory on its own since:

You don't go around trusting people first hand upon just knowing them, right? 👀. But at the same time he showed Miles his own canon event, trying to empathise with him before dropping the bomb. (He was mentally preparing him, something he wasn't able to get but to experience the worst way)

A hypocrite truly. And not in the bad bad way (He calls a nerd the NWH Peter yet he is one) , cynic to an extent (Since he keeps repeating he's been the only one trying to keep it all together, meaning he still doesn't fully trusts the people around him.) A showoff (Did you see the way he turns towards Gwen when he first appears? Or the way he says "I was gonna do that") , arrogant to also an extent. ("It's much more cooler than a watch").

He took the job as a leader cause he knew none else was gonna, and if there was another one willing to assume the role, I'm sure he'd be dissatisfied with it's development cause our man likes to feel safe in when he's in control. (A trait often met in people with generalized anxiety)

And when he's not, his brain immediately goes into threat mode, but even so is able to adapt. (I have a theory he learned this the bad way. We've still got to see the origins of his Rapture intake though 🤔)

Now, we know this man is emotionally unavailable, through and through. His love is work. And married to it.

Now, I might get a bit controversial after this and some might not like it, but I don't think he wants another family after that. (We don't know much about this Miguel's background or family except that he was looking for things, and he found Gabi's universe. And for you to look into another universe in need to be happy says enough to imagine his family or is non existent or is really messed up.)

I know we want him to be happy, (And the producers better give him some healing and closure or else.) Cause he deserves everything. But grieving doesn't work like that. A loss like that is unmeasurable, it changes literally your brain chemistry forever. The least appropriate thing you'd do is have another kid or someone after such event.

(I've seen what that is an it's not nice. Specially for the involved kid)

But we're all ill here so Thank goodness fanfics exist ❤️

He allowed himself to be selfish enough to be happy, had his fun but consequences caught up to him. Consequences that he didn't know and now has him perpetuating his guilt and mind berating.

Hence the workaholic attitude, the coldness. He's done with establishing something with people in general, not just someone special. He's done of getting trampled by life, so he sticks with something he knows he can do very well and pours into it. The Multiverse is his hyperfixation.

Keeps him busy, keeps him on control but curiously and contradictory again, it keeps him needed and useful.

He's a walking contradiction. He doesn't need people to watch over him, not cause he doesn't deserves it. He knows that people worry about him, that's why he just minds his own thing to not be a burden.

Self-Sufficient, over achiever (Alchemax CEO & Spiderman, a genius, bilingual, probably more languages on his list cause he leads a multicultural and multidimensional task force babes ~)

He's not bad, he just doesn't know how to direct his anger or allows himself to feel properly and often rationalises his feelings. (Another coping mechanism where you're tired of feeling stuff and justify difficult or negative with logical thoughts)

But again, curiously knows how to communicate. I know it's fucked to say when he threw a trash bin to Miles before that. But! Hear me out.

Retaking the previous point, he was preparing Miles to give him the talk. After he throws the trash bin, he knows that anger won't solve things (Even though he wanted to give some chancla spanks to Miles for being an anomaly) So he chills, and you can see the transition between being completely furious to a more emotional approach. (Parenting surge there.)

He starts explaining everything from scratch, (literally with drawings and stuff) so Miles wouldn't be lost on what he was on about. Then they moved to the canon events, and shows his major trauma to him as a sign of empathy and an invitation to honest talk.

He admits he doesn't like what he does, and if you look closer his face is so damn distressed when locking Miles in the trap. It pains him, but again, someone has to do it, yet none is scarred enough to bear the burden.

I just want to hug him and send him to therapy. Cause he needs it. (Pretty sure he gave up on that too cause it was too time consuming.)

I'd be satisfied if the writers gave him that ❤️. But yeah. That's one of my many takes on him. Hope it helps c:

#talking with t✨ #miguel o'hara #little thoughts 💭

[batbeato]

A 'skill' I've ended up honing is a sense of the various art styles of the Umineko manga artists. Generally when I see a panel I can tell what episode it's from based on either context, it being an often-posted panel, or even just... how it's drawn.

Episode 1, 3, and 8 are drawn by Natsumi Kei! Natsumi Kei doesn't draw Battler with his vest. She has a specific way of drawing eyes (for example, drawing Beato's with no/little shading) and Battler's hair is super spiky. She draws Beatrice's dress as entirely black besides the pattern, with some white parts for shading/lighting - a trait which most of the Umineko artists share She also has a tendency towards some fanservice angles/poses (such as that oft-memed panel that shows off Eva's ass while she's raging at her misogynistic brother/family).

She likes to do these 'close-up' shots to show off detailed expressions.

She also draws Beato's eyes with blonde eyelashes! So pretty... A lot of the Umineko manga artists draw Beatrice with blond eyelashes, which always seem so delicate when they do the detailed close ups.

The EP2 mangaka, Jiro Suzuki, contrasts Natsumi Kei a lot. They use heavier shading at times, and their anatomy is also different - I often get the impression that their Beato is more broad-shouldered, while their Battler is more skinny. Like a twig.

From this panel, you can really get the impression of 'glowing' in a way that you can't get from Natsumi Kei's work.

In general, their style has a lot more detail for things like face and hair. Just like Natsumi Kei, they draw Beato with blonde eyelashes, though they interpret Battler's hair differently.

Battler's clothes feel very flowy, which adds to the sense of him being very skinny. Just like Natsumi Kei, Battler is drawn without his vest. I feel as though there's a sharpness to the joints.

EP4 is drawn by Soichiro! A return to spikier Battler hair. I feel like they tend towards narrower, sharper eyes.

Soichiro has a certain way of paneling... It relies a lot on very similar-looking boxes. They're generally all the same shape, and often the same size. Some examples:

As you may have noticed, Battler is still bereft of his vest. It's probably a choice all of these mangakas made in order to simplify his design.

...I would also like to submit for your consideration the travesty that is the paneling in this page. It's... a bit confusing to follow. This is a tendency in their style - sometimes the emphasis, paneling, etc. isn't quite right. They're a great artist, but I get the feeling that they weren't quite accustomed to this medium at the time of drawing.

EP5 is drawn by Akitaka.

Akitaka is one of my favorite Umineko manga artists by the sheer virtue of the fact that Akitaka restores Battler's vest to its proper place: on his body. Battler's hair is still spiky, but it's a different, sometime toned-down interpretation. The way they shade his hair feels really unique to me - a mix of the usual screentones with some black sections (depending on the angle and level of detail). In general I feel like Akitaka works a lot with screentones to add a lot of shading to their panels.

Rather than using pure black for Beatrice' dress, it's a mix of black and screentones. Part of this is for lighting, but it also allows Akitaka to show a lot more details for the dress, which the artists who use primarily black for the dress can't do.

Akitaka also has some really detailed expressions. They manage to bring a lot of character to even the 'dead' Beato.

EP6 is drawn by Hinase Momoyama. Battler's vest, the most important character in Umineko, triumphantly remains. However, Battler's hair is less spiky and more slicked-down. Like Akitaka, there are often black sections of it, but these are more often at the front, rather than the back, of the head.

Beatrice's dress varies from "mostly black" to "mostly screentones" in EP6. Elder Beatrice, however, has these very detailed and eye-catching ruffles to her skirt. She is also drawn with sharper eyes and expressions than Chick Beatrice, who is wide-eyed and has very flowy princess sleeves on her dress.

Battler comes off as super cute when he's angry, rather than something more menacing or serious, as he does in Natsumi Kei's art. For comparison: (EP6, then EP8)

This is probably a result of how Natsumi Kei draws 'sharper', while Momoyama uses rounder shapes.

EP7 is drawn by Eita Mizuno, who is a saint for managing to draw beautifully for all NINE volumes. NINE. A saint.

They draw Beatrice's dress primarily with screentones, and have very bright, wide eyes.

They use a lot of texture with their screentones, which gives their art a unique feel amongst the artists for the manga.

I'd also like to have a special shout out to this page. The way the art style shifts in the final panel to reflect Lion's shock and horror is an incredible use of the medium. This artist really seems to like these horizontal spreads, but they use the space well.

More masculine characters like Will have narrower eyes, though the pupils/light isn't that different. While characters with light hair like Lion have no screentones for their hair, Will receives a healthy mix: primarily black, with some screentone highlights. Of course, light-haired characters will have screentoned hair depending on the lighting, but in bright lighting, Lion has entirely white hair.

...Also, Battler has once more lost his vest. At least his hair is spiky again...?

That covers all the main mangaka, but there's also the mangaka for the side manga, Tsubasa: Fumi Ito. Their art is really cute and suits the often-comedic stories well. The small highlights they put in hair feels characteristic of their style. They often draw characters with wide, round, bright eyes.

Battler's hair spikiness is toned down (so fluffy...) and his vest returns for the final time. A true blessing.

This is just a super brief overview of it all - there's a lot of characters whose varying depictions I didn't mention, I didn't really talk about how they do backgrounds, and plenty of other things. But Umineko has a lot of talented artists who worked on it, and many of them still sometimes post fanart (or new official art) for the series!

I feel like we should appreciate the amazing range of artists who have done their best to interpret Umineko's story. They all did a great job!

#umineko #umineko no naku koro ni #manga #umineko spoilers #just in case since I grabbed panels from everywhere