Something I like a lot when it comes to Magic is that, while it uses its magical girl aesthetic to convey and contrast with it's dark themes. It's not "cringing" at it, if that makes sense.
It's hard to exactly explain, but I'm a big fan of Magical Girls and I've had to deal with too many "Unaffectionate parodies," if you will. Where it feels like the show is laughing at how silly and "cringe" these ideas and aesthetics are, and how much more "mature" they are for introducing more "serious" ideas into them.
Not to say Magical Girls Aren't silly, they can be and often are. But I feel like a lot of times these types of shows betray a level of insincerity, or a fear of being "uncool." So they Must Prove that they Know how Uncool it is immediately. So it causes this clear separation between the "cutesy shallow Magical Girl stuff" and the "dark and serious Real Stuff."
But Magic Doesn't Do That, and not only that, I feel like Magic goes in Knowing that people are going to not take it seriously at first.
I talk about how Magic doesn't take Amane seriously, but Magic also Primes You From the Start to not. Just by it's general aesthetic.
I read the comment sections for the MVs and you can see a bunch of people talk about how this shows how "childish" she really is.
Which, yeah she is sometimes. But when people refer to childish in this concept they mean it for the same reason Amane wants to get rid of that assigned role of "child." There's a bunch of people talking about how she's blindly following the rules. Talking about her like she's unaware and ignorant of the true horrors of her life. Talking about her like she can't understand what's happening. Because- why else would it be so...cheery?
Never mind the implications of awareness that Magic scatters throughout the MV.
Never mind that the lyrics that circle around the topic without saying it out loud because it's easier that way.
Never mind that Magic just straight up Shows You What Happened, even if it's highly fictionalized.
Just ignore that all that.
(Amane T2 VD)
Amane: In fact, there have been people who said that to me. I’ve been told things like, “You’re being deceived.” “You can still make it right now.” “You’re crazy.”
Es: …
Amane: You are treating me as a child after all. Because I’m a child, you believe that I must have been brainwashed. It’s not like that. I, too— children, too, understand everything! Please don’t just decide that people must be unhappy.
Because magical girls are Silly.
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regardless of its other successes or failures one thing i feel that the magnus archives did really well was create a narrative and worldbuilding that refuses to allow you to categorize its characters by the dichotomy of 'abuser' and 'victim' without ignoring major themes that define the shape and course of the entire story. despite one of its most central themes being that "we all get a choice, even if it doesn't feel like one" many of the characters we encounter are faced with genuinely horrifying ethical dilemmas that emphasize just how difficult that choice actually is to make, and allow the audience to sympathize with their plight even if not with their actions and decisions. many of the avatars are arguably just as much victims of the entities they serve as they are perpetrators of the violence they cause, and those who fight them in many cases choose to descend to monstrosity themselves in order to be able to keep pushing back - a choice some of them try to rationalize to themselves by arguing that the magnitude of the threat they face necessitates that the ends justify the means, but which is nevertheless a choice that they make, and one with a devastatingly high cost that is repeatedly, unflinchingly presented to both them and the audience. the human capacity to exercize our free will for better or for worse whilst taking into account the various internal and external influences that may affect the decisions we make is thoroughly explored with a great deal of care and nuance that i appreciate.
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only human
[ID: Two page comic in color of Vash and Wolfwood from Trigun Maximum. The first page has a black background and the upper half, behind the panels, is splattered with stylized red blood, scattered bullets, and lifeless hands. In the first panel, it focuses on Vash's boots, showing him stepping through the panel and into the bloody scene. The second panel shows his bloody footprints and the third panel shows his face, his down-turned eyes looking downwards. It's a neutral, vague expression with confliction. At the bottom of the page, the back of Wolfwood's head and shoulder is seen, blood dirtying the white color of his shirt and side of his face. Vash's hand reaches out to him from the right side of the page.
The second page shows the entire scene in full, half the page in light and the other in solid black. At the center, Vash leans down onto his knees as he wraps his arms around Wolfwood's shoulders into a hug. Wolfwood's back is turned away from the viewer, his left arm holds onto his bloodied punisher and his right hand sits on his lap. Light casts from the left side of the page, showing the bloodied surrounding, but the held up punisher casts a shadow on the both of them, shielding them from the light. END ID]
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why is it that 90% of criticism of the song of achilles just boils down to not accepting the conventions of romance as a genre and wanting it to simply be a different book than what it is? because seriously if you can’t get with the fact that the song of achilles is a queer romance story first and a retelling of the iliad second you’re never gonna make a criticism of it that’s interesting to me. if i wanted to read a book that was accurate to the source material then i would just read the iliad. if i wanted to read a queer romance unfolding on the backdrop of a mythical war i would read the song of achilles. if you dont understand the difference between those two things then your beef with that book is just a waste of time to me
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im confident that part of The Stobin Bond™ comes from them having impeccable chemistry which means they would've probably gotten along really well even before the whole Russian torture thing BUT Robin still had a pretty strong grudge against him from highschool so she just really really doesn't want to
so imagine: Steve and Robin working one of their firsts shifts at scoops together. During a small break between customers Steve gets her attention. makes unbroken eye contact. holds up one of their little spoons, and says "poon". then immediately breaking into a goofy ass smile. maybe even a giggle. and robin is trying so so so hard to look unaffected. annoyed, ideally.
then later that night while Steve's on break or maybe went home, shes waiting for the inevitable rush when the latest movie lets out. She wanders up to the register. sees the "poon" again. and laughs
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im thinking... im thinking.... saltburn seeming to believe it's an erotic witty sick and twisted film about class when really its a psychosexual neon-colored faggot tragedy rollercoaster of disordered and down bad behavior is kind of like oliver quick seeming to believe (or at least pretending that) hes possibly some kinda working class hero evil genius mastermind when really hes a deranged horny bisexual freak individual who wanted this one 6'5 guy and his bigass house so bad he ****** his entire family
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I think one reason why Dragons Rising is such a high quality season to me is it's obvious that the writers are more aware of the scope it's going to achieve
Because, with a few notable exceptions, ninjago spent a lot of it's runtime thinking it was going to end on This Season or were unsure if another season was going to be renewed. Because of this, nearly every time a season introduced a new plot or idea it would have to wrap that up in the same season, or keep that idea in the background just in case. Additionally, the writers could've never known this show was going to be 16 seasons long. This causes a lot of... strange writing choices
Which isn't so much the case for Dragons Rising!! The writers know this is going to be a multiseasonal show. We already have a season 2 confirmed, and everyone, myself included, is pretty confident it's going to run for longer than that.
So many things were established in DR s1 because the writers knew that they wouldn't have to explain it all, that these ideas could come back later on. We have setup for the next plotline in Ras' master, and it's so refreshing to see Ninjago attempt to be a continuous show. I'm genuinely excited to see where they're going to take everything, and what paths they decide to go down
It's not the only reason why I think DR is great so far, but it is a pretty big one
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i dont have this as a coherent argument but there's something about bbc ghosts that is just so much more. genuine? than the american one. and I only watched like 2 episodes of the cbs one but still. to me i think it suffered from that marvel-ification "he's behind me isnt he?" wink wonk cheesy like. exaggeration in a way that wasnt purposeful or sincere. the whole everyone is beautiful and no one is horny situation. whereas in bbc ghosts the whole show is a little bit rough around the edges and ugly and imperfect in a way that makes it infinitely more endearing. I'd rather watch a theater production where someone occasionally misses a cue but the people care and have something to say, rather than a perfectly airbrushed and photoshopped one that talks a lot and says nothing. yknow?
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LBMR week: day 4 - intuition
"Ah...But... Um... My intuition might not be that helpful for an investigation... so even if you ask me..."
"Why not? Are you not confident in yourself?"
Love the sparkles Lucy gets in her eyes when she really starts to put things together and get caught up in solving the mystery - Alfendi is a good mentor and friend to her
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