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Tim: "Don't call me Timmy."
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Dick:
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Jason:
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i was watching Sampo cutscenes for a fic im writing and-
Sparkle just- immediately gave herself up in Penacony, right? like- i was watching the scene where she was following Stelle and Firefly and this man does not carry himself like that [and especially doesn’t talk that flatly]
obviously, the most clear tell was when she mistook Firefly for March but-
he never introduces himself as just 'Sampo' -> it's literally always with his last name, even when he's just speaking in third person: "Sampo Koski" or "your friend Sampo Koski" the only time he doesn't is when he's saying "Sampo's friends" or the like -> which has so far only been twice and one of which was when the Nameless were passing out
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she got close here, with the cheeky wink, but misses with his smile and eyes -> Sparkle's brows are pinched and her eyes curl upwards, her smile is more forced -> Sampo's eyes lilt downwards and he's got a lazy sort of satisfaction about him [i think it's just the lighting but her colors are darker too]
Sparkle, ironically, plays his character a bit too shy i think
Sampo is loud and lilting and takes up as much space as he can until he doesn’t. He’s distracting and leading with flailing limbs and forced clumsiness before he’s gone in the time it takes to blink. He’s reserved, but subtly so, and walks with a sort of laidback confidence and swagger that belies his goofiness
He leans forward when he talks, Sparkle leans back
She waltzes into a conversation, Sampo just appears
Sampo feels like a natural presence in a conversation but Sparkle’s dialogue as him is all stilted and awkward as she overplays his silliness
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altf4d3lete · 2 days
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THANK YOU THANK YOU THANK YOU!
finally someone talks about just how mis characterized enid is! it always shocks me to see when someone else mentions it because it’s not often talked about really. Wednesday has suffered mis characterization as well but like you said at the end of the day people still get it. For enid I always see her either be reduced to one of her traits or just get called annoying. it’s tiring because she truly is complex and it’s just not acknowledged at all or all that often. I could say sooooo much about what I see but that would just be too much 😭 I’m just glad I found more ppl who think the same and acknowledge that enid truly is one of the most misunderstood characters in that show !
Yes of course!! Honestly the worst mischaracterization I see with Wednesday is that she’d be okay with murder because she’s morbid. But Enid? Holy crap dude, she gets mischaracterized like nothing I’ve ever seen. People treat her like an airhead, a bubbly blonde sunshine and rainbows, boy crazy girl and that is NOT who she is!! As for her being annoying or cringe, we were all annoying as 15 year olds. She’s a kid. I can look past some of the cringier lines because she’s a really complex character at heart and it baffles me the way she’s treated.
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I can't convey to enough the brilliance of casting a VA with a strong accent to play Viktor in Arcane. No one else in the undercity has an accent. Just him. Just the one who went to Piltover and climbed to the top.
I don't even know if it was on purpose but if it was it was brilliant. All the people in power who like Viktor forget where he's from or view him as not like the others while they shit on Zaun. The accent quite literally gives voice to the feeling that he doesn't belong, as well as reminding the audience that he's an immigrant.
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thatpodcastkid · 14 hours
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Magnus Archives Relisten 10, MAG 10
Do we think Jonny Sims has read Twilight?
Spoilers ahead
Facts: Statement of Trevor Herbert regarding his life as a self-proclaimed vampire hunter. Statement given July 10, 2010.
Statement Notes: I just love that Trevor's episode is right after Julia's. It really lets you see the wheels turning in Jonny's head as he planned out the series.
On my first listen, this was one of the statements I truly did not believe was true. The combination of Trevor's traumatic childhood, cancer, and admission that he killed a "non-vampire" made the whole thing seem like a complex fantasy. But on the second listen, I realized that is exactly how the horrors work. They specifically target vulnerable people so that their experiences will be dismissed or explained away by more "rational" people. You don't believe Trevor because you aren't supposed to.
Jon says he can't find the "vampire teeth" in the Archives or in the "Secure Containment Room" (Btw both "Archives" and "Secure Containment Room" are proper nouns in the transcript). Is this an early name for Artifact Storage or a subsection of it? It would make sense for the Institute to have a separate facility for the dangerous artifacts, but this raises questions regarding how "secure" this facility is. Assuming this is where the real artifacts like Leitners and the table are held, Jon can access it fairly easily at the end of season 2, but he's relatively high-ranking at the institute. Would Elias ever allow an outsider into the facility like he allows them into the library? Or would that violate his desire to hoard knowledge?
Character Notes: This statement is a "photocopy of a photocopy," which speaks to Gertrude's organization. Something had to have happened to the original, whether she destroyed it or Elias took it, but she had a backup. Knowing that Trevor Herbert is still active in monster hunting, she made another copy to preserve the information. Presumably, she was hoping Sasha would find it and be able to access Herbert when she became the Archivist, but instead it was found and dismissed by Jon.
This episode also establishes that Martin was there when the statement was taken. Many fans assume Martin was hired to work in the archives, but this statement was given SIX YEARS before Gertrude's death, meaning that he would have had to work in research or another facility before the archives. Also, he's worked at the institute for at least 8 years by the time he reveals he lied on his resume, meaning he was TWENTY-TWO when this statement was given and was told that Trevor Herbert died.
The rumor of Herbert's death raises other questions. Why would that story spread? It seems to be another part of Elias' long game. If Martin--who he specifically selected to eventually be on the archival staff--believed Herbert was dead and told Jon so, then Jon would not seek him out and put himself in danger too early. Additionally, he would not be able to find the skin book and speak with Gerry before the time was right. Elias needed everything to run on his schedule.
Entity Alignment: With Trevor, there is a definite Hunt alignment. His whole life is driven by the desire to seek out and kill vampires. It's become the core tenant of his identity and drives him to forsake all personal relationships and attachments, centering his life around the fear of vampires and the need to kill them. The need to eliminate his own fear is what leads to him becoming an avatar of fear itself.
But I struggle to find a clear connection to what fear the vampires are connected to. They could be Hunt avatars or aligned creatures themselves. They have a desire to find and destroy living things, mindlessly hunting. It would also make sense for a Hunt creature to draw in Herbert and turn him into a Hunt avatar, turning him into what he fears most. This tactic is seen throughout the series with multiple fears, but I am specifically reminded of the Hunt in MAG 112 as the book club turns against itself.
There is an element of the Flesh within the vampires, however. They turn humans into food, removing their identities and degrading them into their physical existence. A large portion of the Flesh is dedicated to removing any idea of a consciousness or soul and reminding us that we are meat, which the vampires seem to do effectively.
I also noticed connections to the Stranger in the vampires. While their ultimate actions don't match with the Stranger's modus operandi, their mannerisms are similar. The primary similarity is the fact that vampires don't speak, as if they "don't have a voicebox," yet they still manage to be understood. The Stranger draws people in with its apparently human attributes, and only when it's too late do victims realize something is off. So long as the vampires are understandable, victims don't realize the not talking is odd until it's too late. Furthermore, the first vampire Herbert meets offers him rotten fruit, and many Stranger-aligned creatures and avatars give strange gits as an attempt to form a human connection while still unsettling people (tooth apple, metal heart, etc.). The fruit made Trevor uncomfortable and afraid, but he didn't leave the old woman because he reasoned she was trying to be kind in a twisted way.
But I also wonder if the vampires are aligned at all. Trevor describes them as being driven only by the vague desire to feed. While this could signal a Hunt or Flesh alignment, they don't have a connection to the rituals of these entities nor their other avatars. In Mag 111, Gerry explains "What's out there doesn't care about blood," before correcting "Yeah, obviously except for the vampires." Again, the need to consume blood could align the vampires with the Hunt or Flesh, but they don't seem to be driven by the desire to cause fear. If the vampires are fueled by an actual, physical need to consume blood for survival, could they accurately be associated with a fear-driven entity? Or are they just another monstrous thing that exists in this universe?
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rockpapercynic · 2 months
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A.I. photos are flooding social media and contributing to an Internet where we can't believe what we see. Spotting A.I. 📷s is an important media literacy skill.
None of us have time to research every image we see. We just need people to notice BEFORE THEY LIKE OR SHARE that an image might be fake. If unsure, check it or don't share.
I've started drawing some comics explaining the basic of AI spot-checking and media literacy in the age of disinformation. Follow along here or on my Twitter.
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laughableillusions · 8 months
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You! American fan of foreign or otherwise un-American media! Are you aware of the nuances and cultural differences that are portrayed in that media and have an understanding that you as an outsider looking in should be careful with the lenses you analyze that media in because you have a different perspective that is not catered to?
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emeryleewho · 1 year
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I used to work for a trade book reviewer where I got paid to review people's books, and one of the rules of that review company is one that I think is just super useful to media analysis as a whole, and that is, we were told never to critique media for what it didn't do but only for what it did.
So, for instance, I couldn't say "this book didn't give its characters strong agency or goals". I instead had to say, "the characters in this book acted in ways that often felt misaligned with their characterization as if they were being pulled by the plot."
I think this is really important because a lot of "critiques" people give, if subverted to address what the book does instead of what it doesn't do, actually read pretty nonsensical. For instance, "none of the characters were unique" becomes "all of the characters read like other characters that exist in other media", which like... okay? That's not really a critique. It's just how fiction works. Or "none of the characters were likeable" becomes "all of the characters, at some point or another, did things that I found disagreeable or annoying" which is literally how every book works?
It also keeps you from holding a book to a standard it never sought to meet. "The world building in this book simply wasn't complex enough" becomes "The world building in this book was very simple", which, yes, good, that can actually be a good thing. Many books aspire to this. It's not actually a negative critique. Or "The stakes weren't very high and the climax didn't really offer any major plot twists or turns" becomes "The stakes were low and and the ending was quite predictable", which, if this is a cute romcom is exactly what I'm looking for.
Not to mention, I think this really helps to deconstruct a lot of the biases we carry into fiction. Characters not having strong agency isn't inherently bad. Characters who react to their surroundings can make a good story, so saying "the characters didn't have enough agency" is kind of weak, but when you flip it to say "the characters acted misaligned from their characterization" we can now see that the *real* problem here isn't that they lacked agency but that this lack of agency is inconsistent with the type of character that they are. a character this strong-willed *should* have more agency even if a weak-willed character might not.
So it's just a really simple way of framing the way I critique books that I think has really helped to show the difference between "this book is bad" and "this book didn't meet my personal preferences", but also, as someone talking about books, I think it helps give other people a clearer idea of what the book actually looks like so they can decide for themselves if it's worth their time.
Update: This is literally just a thought exercise to help you be more intentional with how you critique media. I'm not enforcing this as some divine rule that must be followed any time you have an opinion on fiction, and I'm definitely not saying that you have to structure every single sentence in a review to contain zero negative phrases. I'm just saying that I repurposed a rule we had at that specific reviewer to be a helpful tool to check myself when writing critiques now. If you don't want to use the tool, literally no one (especially not me) can or wants to force you to use it. As with all advice, it is a totally reasonable and normal thing to not have use for every piece of it that exists from random strangers on the internet. Use it to whatever extent it helps you or not at all.
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sugas6thtooth · 4 months
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The Feelings Of The Average Israeli Occupational Soldier: A Quick Analysis By James Ray
If you haven't already, follow him on tiktok. (@jamesgetspolitical) He gives constant updates on the genocide in Palestine but also offers food for thought in his content.
Free Palestine, End The Occupation🇵🇸‼️
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shyjusticewarrior · 2 days
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Love how Jason's not even mad. He's just like "let's use our brains here, Tim."
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i wonder if Sampo assumed that The Nameless were Masked Fools at first
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i thought this whole beginning spiel he does was just him thinking the Nameless were Underworlders -> but that doesn't make sense when later it's revealed that literally almost everyone on Jarilo-VI knows who the Silvermane are
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this isn't even five minutes into introductions and Sampo's already treating them like they're all part of one big- and pardon the pun- inside joke. i wouldn't even put it past him if he was purposefully using double entendres in case he was wrong -> "pricing your stock" can also refer to attributing your strong points//talents -> "same side" "same line of work" "charade" "vigilance" "sincerity" "an art to it all" Sampo frequently refers to their 'shared job' with entertainment monikers
i think he realizes relatively soon after this entire conversation that the Nameless are, in fact, not Fools though- so he doesn't ever hedge closer to the subject aside from calling himself a "senior in the field"
also he changes his phrases so that they're more reminiscent of his conman occupation rather than his Fools occupation
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im also pretty sure he immediately pegged us as offworlders too?? -> this is after saying Jarilo-VI was uninhabitable anywhere other than Belobog
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reactorshaft · 5 months
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just… Goro Miyazaki starting his animation career with having a son kill his father, the king of a kingdom where magic is disappearing, and run away and Hayao (possibly ending) his career with a young boy refusing to take on his family’s powerful legacy over a magical world, knowing the world would die without him in favor of not abandoning his family and choosing to live contentedly in the mundane world…
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imagopersonal · 10 months
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Aziraphale was about to confess too before Metatron and his coffee came into the bookshop;
Okay, hear me out. In 2x02, when they’re talking about “how people fall in love”, Crowley talks about sudden rainstorms,
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which is an obvious reference to how he fell in love, about 6000 years earlier (poor demon thinks everyone falls in love the way he did)
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Aziraphale doesn’t get it and answers “seems a bit unlikely”. He didn’t connect the dots, he doesn’t think Crowley loves him that way. All he knows about falling in love is what he read in books. Of course he fell in love with Crowley too, but I’m pretty sure he did in ‘41 when Crowley saved his books from a bomb, and that’s a bit hard to recreate, so… balls.
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That’s his idea, you make two people dance together and they magically fall in love, which is so in-character I want to scream. Now let’s get to 2x05. We know Aziraphale always tried to avoid organizing those meetings, but he’s suddenly so excited about it he is WILLING TO GIVE AWAY HIS BOOKS. Why would he do something like that? There’s no way it’s actually to make Maggie and Nina fall in love. At that point, Muriel doesn’t even care anymore about it, they all know the truth about the miracle is about to be revealed, so there’s no point in being so persistent about Maggie and Nina’s relationship. He’s an angel; of course he cares about humans being happy, but I don’t think he cares so much about two semi-strangers’ love life that he’s willing to give away BOOKS for the off chance that the Jane Austen method will actually work on two humans he knows nothing about. So, my conclusion is, he’s organizing that night for him and Crowley. They are the ones that he hopes realize they’re deeply in love with each other, and that is something worth giving away books for. Which explains why he’s so excited but also a bit scared when he asks Crowley to dance with him.
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It explains why he ignores the fact that Crowley is trying to tell him that something important and dangerous is about to happen, just so they can have a little dance. It also explains this reaction when he sees Gabriel and Beelzebub being in love with each other
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and the way he looks at Crowley while they’re talking about them.
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I mean, I know he always stares lovingly at him, but not like that, right? That’s a face that screams “I’m so going to tell you I love you when all this is over”.
So, my point is:
Fuck Metatron.
That’s my point.
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Imago
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idkyyyet · 1 year
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bro i luv spider-punk but i specifically wanna talk about his hair
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[image description: a gif from Across the Spider-verse of Hobie, without his mask, saying: "I was this cool the whole time." End image description]
he. has. wicks!!!
the origin of wick dreadlocks is florida usa, and are named due to the resemblance to a "candle wick" because of how they stick straight up and/or out!
now, wicks have a bad reputation even within the loc community.
its already known that like if you got dreads, generally, ppl think u are unkempt, and dirty, and things of that nature, but there is even more discrimination against wicks its unreal. like legit yall i cant even begin to explain the nasty shit ppl say about them because i will be sad.
its kinda just considered the "crazy Florida man hairstyle". and a lot of the hate is due to the fact that wicks, appear "unkempt" or things of that nature
there has been a lot of texturism in the loc community which has brought with it the idea that dreads need to be retwisted to be "properly" taken care of, and need to be flat on your head and all these other things that often bring with it the need to hide your natural hair. i get unsolicited advice on my hair all the time telling me "i need a retwist" because of the belief that black hair needs to be all tidy and stuff to be respected.
but the thing is, dreads aren't meant to be all neat and tidy all the time y'know. its black hair in one of its most natural forms. and who better to showcase that than hobie brown, spider punk?
wicks kinda go against everything that dreads are "supposed" to be and "supposed" to look like.
i just love everything about this movie but i especially wanted to like talk about this hair choice. hair most def has meaning, especially black hair, so i think this was a really cool and fitting design choice for his character and everything he represents.
(i did my best to like articulate my thoughts but hopefully this makes at least a bit a sense)
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the-bar-sinister · 24 days
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headcanon: "i have decided that this is true about the character, and it doesn't matter to me if the canon text supports my idea or not."
interpretation: "after considering elements present in the canon text, I have decided that this might be true about the character and here's why."
subtext: "I can show you strong evidence in the text and context of the work that this interpretation could be the actual authorial intent."
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writeouswriter · 2 years
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Broke: Acknowledging that a character who is an objectively terrible person is also a complex and intentionally well thought out individual with different levels of nuance you can empathize with in some ways while not in others is immediately “woobifying” or “poor little meow meowifying” them.
Woke: “This character is a bad person” and “this character is still a person” are two statements that can, should and do coexist and admitting that they exhibit nuance and depth and are more than just their bad actions doesn’t immediately excuse or condone their bad actions or mean that you’re ignoring or trying to soften the canonical version of the character.
Bespoke: That’s the whole point, that’s always been the point, to be made to empathize with horrible people so you can understand that they can be anyone, that bad people can be likeable, can be interesting, can be human, are human, and it’s scary to think about all the ways they’re just like you and all the ways they’re just like everything you hate, forcing the use of critical skills in media analysis, forcing a confrontation of the duality of man.
Whatever Level is Above Bespoke: But sometimes, yeah, sure, maybe they are a poor little meow meow, what are you gonna do, get a lawyer
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