#and main characters aren't heroes or icons?

[bernthalized]

Not sure about Sharp Stick despite the Jon eyecandy but am I the inly one sick of Hollywood pairing young women with guys almost twice their age??! Christine F is 26 an looks like 12 while Jon is 45!? I love him but this needs to stop

I don't want ppl to reblog my... idk what to call it so pls read tags (at your own risk skskksjsjk)

[fiery-emblems]

The other day I drew an idea for "what if branded could transform", but really I just wanted to design a dragon. In reality I think you could take the idea way further.

What if you were to take the idea of branded being half laguz way more literally?? Basically I think it would be cool to have more of a half transformation resulting in what are basically monsters from myth and legend. Of course, I continue to have an interest in a story where the branded are the main characters and the heroes so, making them look like monsters but actually be good guys is fun to me!

The first and most obvious version of this idea would be the half human/half wolf (werewolf). I don't think they would lose themselves like werewolves, but they are the most iconic animal human hybrid design!

The next most obvious design would be half human/half bird (harpies). I think its important to really push the animal aspect and not just make them sexy sexy mostly human things. I think it would be fun to explore the design differences between hawk harpies, raven harpies, and heron harpies.

The cats are the hardest ones to design imo because there aren't that many human/cat hybrid monsters in mythology that aren't also mixed with even more animals. Its probably fine to just follow the example of the wolves and do were-cats though. Still cool!

For dragons I actually think there are a couple different directions you could go in. For this idea I basically went with your standard high fantasy/DnD demons and devils. There's only one half dragon in Tellius but this is another case where it would be really fun to design different looks for red, white or black half dragons since the ones we see in canon have slightly different builds and horn designs plus the different skin colors. (I would go with different skin colors like tieflings. The whole idea is for them to look like monsters and I think dragons should be scary!!)

The other idea I had would be for half dragons to be oni? Basically the same design sensibility but you would lose the wings. My reason for this idea is because oni are cool dragons in Tellius are kind of seen as this terrifying force of nature that could destroy everyone if they wanted to, which is kind of what oni are as well. I think it could work nicely.

[agent371]

This post is talking about the designs (and the designs only, I haven't read anything from the authors and dont even know who they are so this is design based only) released for the new Damian Wayne comic - The Boy Wonder. I will be heavily critical and btching about these, but please tell me your thoughts as well. After Damian, the others are under the cut. Please read because it's important.

Damian's design is actually really good and the best one, which is probably good since this is a comic about him. And I love how he's not whitewashed, which is something that happens way too much in comics.

Now, to Nightwing, his design is okay for a Nightwing design, but he just looks off in this style. I think if they tried to stylise him more, it could look a lot cooler. So I think he's just got wasted potential. Also, he's probably whitewashed as well to make damian more special as the "only" POC in the family (probly why Cass, Duke, Luke, and Luicus aren't here as well).

Babs is next, and this is the main reason I made this post. They abled her. DC authors stop abling disabled characters, please, for the love of me, I can't stand it. She can be disabled and still be relevant in the plot. I swear the only reason authors do this is because they don't know how to write disabled characters. If they need a Batgirl, use Steph or Cass because they are more than capable of doing it. I know they aren't as iconic as Babs, but move on DC. She's so much more interesting as Oracle.

Batman, I'm not a fan of his big blocky design. I just don't like it. He also looks really irrelevant and giving this is a comic about Robin (his son!) I think he should be relevant or look like he isn't a background character who just grunts, like for the design it looks like he doesn't talk. Don't like it.

Jason now, I actually love his Red Hood costume it looks sick, and the R on the chest *chefs kiss*. But his robin outfit is too gritty, and from that, I can tell he's going to be mischaracterised as the "angry Robin," so Hood looks cool, but that's all it is, his looks.

Tim. There is so much to say, omg. Where is his hero outfit! Everyone else got them. Why didn't he? You can actually see RR in the preview, so why wasn't that design put here? Why is it just Tim? And why does kid Tim look homless you know he grew up rich, before and after his adoption sure he has a style but his cloths wouldn't be friad he'd still look sleek and scruff not on the verge of his cloths falling off his back. For this, I can tell he'll also be mischaracterised as just like Jason since this is a Damian comic they are doing to do him so dirty. :( Sad day for a 90's Tim Drake fan (like every day, tbh save my guy). His RR design also has a shitty mask, but other than that, it seems fine, I like the wings/cape for it that looks pretty cool.

Alfred is a stereotypical old man. He's got no individuality what so ever and will proble be in one panel, say something sarcastic, and never show up again.

Ra's is okay. That's all.

Talia doesn't even look like herself . If you showed me her design with no context, I would not know who she is.

Carrie. Why is she here? Like honestly, why? There are better characters to include in a comic like this, like Steph or Cass or Duke or Helana. They would all be better chooses than Carrie. I'm not the biggest Damian fan, but ofter, Damian fans have been wanting him and Huntress as in a comic for a bit. I do like her design, but I just don't get why she's here. (I'm not including her image because of the limit bit is on my previous repost)

[the-official-account]

Do you love detective stories but hate cops?

Do you love gay detective stories and hate capitalism?

Like disabled main characters who's disability actually comes up?

Like characters of color but not in the mood for stories on racism?

Tempted by the thought of romance at ages of 30+?

Does the idea of stories so queer you'll hesitate before calling any character a "man" or a "woman" make you think "Ah, yes pronoun shenanigans, just like my discord used to make"

And you into an abundance of strong, diverse female and nonbinary characters?

Do you fight for women's wrongs?

I know rep-only recommendations can be annoying, but I'm trying to grab your attention to promote some Indie media. Luckily, though, this post isn't rep-only!

To read my full reccomendation and review of Three of Hearts, click below. ♦️♥️♣️♠️

And if you aren't in the mood for a new thing right now, consider reblogging! Maybe even ping a friend who might be into this! You love supporting queer indie creators!

Note: I am not involved with the making of the show or the game space Kings. I just really like this podcast.

The story

♠️♣️♥️♦️Three of Hearts♦️♥️♣️♠️ centers on two paragovernmental agents in a fantasy, post-war, queernormative 1950s.

Roughly 20 years before the opening, a set of heroes purged magic from the world to turn the tide of the war. But scraps of this thaumaturgic energy still remain. S.U.I.T.S (securing unpredictable injurious thaumaturgic situations) is an agency founded to deal with everything left behind.

When two of the longest standing employees at S.U.I.T.S, Agent Vellum and Agent Felspar, are called onto a new case involving stone crops and a missing person, Felspar isn't surprised (Though Vellum, who's injury had him doing desk work most of his career, is). Things devolve quickly when the Agents realize this case comes from Felspar's home town of Cloven heart, an idyllic magical village that prefers to handle justice on it's own.

Answers yield only more questions, as the Agents realize almost everyone in town has something to hide, and Felspar isn't the only one whose past keeps catching up to him:

How much magic is still around? What's Vellum got sloshing around in there that people think is so juicy? What is Diamond, elven pop star and queer icon, doing in such a small town? Just how big is this case, and how can the Agents balance their legal responsibility, with promises they've made to Cloven Heart?

WHEN. WILL. THEY. JUST. KISS?

(if you're skeptical about central romances, I get it! See notes on aro/aceness and platonic relationships in the rep section for more info)

The combination of magic and newfangled war tech — think telegrams and radios — is somehow just as charming as a rotating cast of characters who will each stake their claim on your heart, but betrayal is imminent and mistrust is rife. The story strikes a wonderful balance between slice of life goodness, and edge-of-your-seat high drama, culminating In a show I highly recommend.

But are they just reskinned cops: my answer has got to be no. While they are technically law enforcement, the main two are entering a commune-like space, where that isn't so welcome. It's a situation they treat with caution and respect. The classic cop-plot of "Should I make myself judge, jury, and executioner because The Bad Guy™ deserves punishment" just isn't a problem. The justice system isn't perfect, in our world or the show's, and the story acknowledges that. But in a social, cultural way, they don't act like cops. They DO act like detectives. But the rules they choose to break and the ones they choose to follow will hopefully satisfy my fellow cop-haters who crave a good mystery

The format

♠️♣️♥️♦️Three of Hearts♦️♥️♣️♠️ is an Indie actual play — this is not DnD, hear me out — podcast in the game Space Kings. All the tension of dice rolls, without drawn out combat or clunkiness, it's a breeze of story-forward listening, even if you've never listened to actually play podcasts before!

If you've tried dnd actual plays, and haven't like the flow of them, I would recommend trying this. A few encounters that may feel random (though they're not) get the story kicked off at a fast pace, but it quickly settles into a story with a tight plot, great pacing, and impactful character development.

The use of a playing card deck to see the outcomes of risky actions means that no matter what happens, success or failure, the tension keeps rising. And the hosts do a wonderful job of explaining mechanics in the show, so it never interrupts the listening experience.

Actual-play connessuires who want to primarily see people playing a game might not be satisfied, as bonuses are given liberally, and I would describe the podcast as more story focused than game focused, But the risks are ALWAYS real, sometimes (often) with thrilling, shocking outcomes.

Also concerned AP listeners should know there's some chaos magic involved! I was surprised when it first came up, and doubtful about how it might affect the story, but it ended up weaving into the rest of the plot really well, and I feel neither like it had no affect, nor like it shook up everything the party was building in an unsatisfying way. Personally I would have preferred to go in knowing it was there, but I also don't think it's major enough to belong in the main synopsis. Now you know, though!

The hosts make a real effort to blend stats and story, and I think the pull it off wonderfully without spending too much time on mechanics. If you want to see that though, session 0 and other details are on the Patreon (where you get the same content no matter how much you pay, at a minimum of a dollar a month).

The pod has all the lighthearted fun and banter of a "friends around the table" show, but never once have I had that "oh my god, I'm not a part of your inside joke, shut up and play!" Feeling.

I think it's a delight for AP and non-AP fans alike.

The episodes: roughly 45- 75 minutes long, with a midtro and some post-end music scenes, so listen through the end music, or check that there isn't extra content by seeing how close the play head is when the end music starts. It's not too long and quite pleasant in my opinion! The midtros always come at a nice moment to step back from the story, and are not too long and not irritating. I enjoyed listening to them! At some point, a midtro starts getting reused, and I was slightly disappointed I wasn't hearing new jokes every episode, but it's a small thing. I skip the repetitive ones with my 30 seconds forward button, and while I haven't timed the Intro, that's worked really well for me. I don't have to fiddle with my play head to make sure I don't skip forward too far. Super convient.

Trigger warnings: the show is pretty lighthearted! Listeners sensitive non-graphic mentions of needles, blood, and/or guns might want to skip on this one, but most episodes don't get heavy. The few that do have pre episodes notes that warn you things get dark, how they get dark, and how to skip the darkest bits. Personally, I listened through them and enjoyed those parts a lot! But if that's not your thing, I agree with the warning that they're very skippable, and I think trigger-sensitive listeners will be pleased. As an indie pod, there are no fan made, super specific lists of triggers. However, my DMs are always open if you have particular concerns, and I'll answer to the best of my ability.

I try to emphasize the balance between lightheartedness and drama, but if you mental health is sensitive to grim & dark media, i think this one is pretty safe. Please always exercise caution! But I'd describe 30♥️s as emotionally restful.

Transcripts: transcripts are in the works, but do not currently exist. Three of Hearts is a non-scripted show, so those are also unavailable

The rep

Don't you hate when someone raves about rep and you go in expecting something good and get like. One dog-boy described as having "chocolate colored skin"? Or when people make a "watch for rep" post and then mention like. Gay and maybe trans people and that's it, even when shows DO have disability and POC rep? Yeah that's not me. Here's the spoiler free rundown, race is at the bottom because I get into more detail with it, not because it isn't important:

Edit: For more on some of these topics from a hosts perspective, see the reblogged addition by @/citrusandsalt

MLM characters: Main characters, one confirmed bi the other unknown

Wlw characters: Reoccurring side characters (present or mentioned in every episode I think) Married. Orientation unspecified.

Enby love: LOTS. It's actually hard to really categorize mlm and wlw stuff because almost every character is nonbinary. Anyways— it's VERY queer

Women: I...I don't know exactly which characters are women 😂. But there are many feminine characters, and they're badass as fuck. Some are compassionate, some are cold, some are chaotic, most are a mix! The two main characters are...masculine...(I say with much hesitation) but you will not feel robbed for your woman-ly content.

Non-traditional family structures: All of the families in the story, pretty much, are non-traditional. Adoption is super common. (You want some wlw who just KEEP adopting kids? You got em) Found family is a MASSIVE force in the story. Also, It's a post-war story.........which is to say almost everyone's parents are dead.

Edit: an MC had poly parents, which may not be obvious but is true!

Polyamory: to my knowledge so far, there are polyam characters, and it is definitely present in the world! But no poly relationships in the forefront. I am about 2/3 through the current episodes, so there may be a present polyamorous relationship later, but also if I confirmed it that would be a spoiler. This may be that "playing it by ear" thing that happens with ttrpgs. I wouldn't listen for the hope of polyamory alone, but I don't tell you it's not there/won't happen.

Trans characters: almost all of them. Might think "oh there are only a few!" And you are wrong. You are so wrong.

Neopronoun users: yup! To my knowledge, minor characters. A handful who use at least he/she/they or they/them and may also use neos in a manner im forgetting

Plurality: no system characters yet, but the creators are friendly, I asked ;)

Platonic relationships: YES. As an aro person who hates so many romance tropes this one gets my stamp of approval. There's no real jealousy drama, exes who communicate and are supportive, and romance doesn't kill friendships. There's a central sibling relationship and non-familial platonic ones that have conflict, drama, resolutions, and a deeply satisfying significance in the story. If you don't like romance at all, this one might not be for you. If you just don't like stories exclusively about romance, I think you'll enjoy this. Genre wise, I'd definitely describe three of hearts as a mystery primarily with a strong romantic subplot, not a romance itself, and that comes through in player and character's additives and priorities.

Aro/ace characters: none confirmed yet to my knowledge. Romance is very central, sex is joked about on occasion but it isn't at the forefront of the story at all. There are many, single characters who are thriving.

Edit: Actually! There is one character who discusses demiromanticism in cannon that I forgot, and another confirmed out of cannon character who is ace. Both are non-main major characters!

Age diversity: the youngest characters in the show are older to middling teens, and the oldest are in their 400s. Okay but the oldest in human terms are roughly 60-70. The most common age range, and the ones the central characters are in, is 30-40. The second most common is that 60-70, then some ~40-50 folks here and there, with people in their 20s being probably the rarest (no named ones off the top of my head?) And there are a small number of teens. This is not a story about youth and youthful beauty. Generally, the older a character becomes the most bad ass/spooky powerful they are, and older characters are very involved in the plot.

Mental illness and neurodivergency: to my knowledge so far no characters are in cannon confirmed to have a specific mental illness or ND, though I wouldn't be surprised if it was part of a character or the main characters, and just hadn't come up. Listeners with cluster b or "scary" disorders, or with conditions that may cause them to lash out, will find satisfaction with how compassionately the narrative treats werefolk. To say more encounters spoilers. I would also say that depression, while the word isn't used and it is not central to the story, is present as a narrative force, and also treated wisely and with compassion. Still, as is usually for a good story, all of these bitches need therapy.

Disability: LOTS. There's a lot of "different, not broken" themes that disabled listeners are likely to love, but both of the main characters are disabled! One is a cane user, the other experiences migraines. These have a genuine, pressing, mechanical impact on the story. It's COMES UP. It's a real joy. For a magical world, there is no magical healing! Or there is, but it isn't a perfect solution, which in my opinion is just a magical version of real healing, though yours may differ! Also, there is a minor, reoccurring character who's a wheelchair user, and I think he's really fun.

Disfigurement: Excuse me if I am not prepared with the most sensitive way to speak about this, but I'm doing my best! There is a character with no eyes or nose, who is central and lovely. To my knowledge, there are no amputee characters or characters with limb differences (of the wheelchair user I'm not sure if it's specified whether or not he has legs). There is a character of questionable morality who has significant facial and bodily disfigurement. In as few spoilers as possible: this was not injury or genetic related. The disfigurement is treated with a firm compassion, and does not exist as a "this character is evil" signal. It's a long arc, but I imagine people who relate will be satisfied, though I cannot speak for anyone.

Characters of color: many! The main two are Hispanic and Asian. Terms like "dark skinned" are used for characters, but in the fantasy world race doesn't exactly translate, and I wouldn't call it "important" in this story. Read more about race below:

Fantasy racism: sort of! The word "race" is used to mean "humanoid species" and I know some folks don't like that? None of these fantasy races are oppressed, but specific people (Magic versus non-magic people) have conflict about that aspect of their identity, and policing is a related concern. I would place the allegory more in the space of transness and disability/neurodivergency if pressed to choose, but it doesn't feel like it's trying to tell a story about real-world oppression, primarily. I have more complicated thoughts on exactly what I'm trying to communicate here, but they involved some spoilers. DM me for more info!

Hosts/creator identity: out of three hosts, two are white, one is not! They are very queer, and disability is also...a thing! These are real life people, so I'm not going to get into detail, but check out their twitters plugged in the show for more on how they self-identify.

Okay but are they racist: Real talk! As a black person who thinks I keep my ears sharp, I would say no! Not at all! This is one of those situations where I was like "YOU'RE WHITE?" And shocked about it, (if you listened to TSCOSI, same vibe) which is a very good thing in my books. The hosts are open and sensitive, and I have no complaints, however, this is just one perspective! This isn't coincidental, race is an active consideration in how the story is told — just not a central theme.

Edit: One of the hosts, Essay (@/citrusandsalts) discussed more on hosts identities in a reblog! If this concerns you, and you want less of me walking on eggshells about other people's identities, read her addition too!

Edit 2: Jordan, the GM also has commented additions!

Minor but worth mentioning: A minor character has a name with what I believe is the Nahuatl "tl" sound in it, which is not pronounced correctly. It's a really hard sound! I can't really do it! But if that really irritates you this might not be the podcast for you.

People who might be interested in this post, as always let me know if you don't want to be pinged (I rarely ever do this) and it won't happen again: @citrusandsalt @fyeahaudiodrama @boombox-fuckboy

[mask131]

Greek mythology media (1)

To begin this overview of Greek mythology in media, I originally wanted to start with some of the most famous American pieces of fiction - those that shaped, for the better and for the worse, the "Americanized" perception of Greek mythology... Including Disney's Hercules.

However after some thought, I think I need to cover something else beforehand... What I like to call the "Hercules saga".

(Picture courtesy of greekgodsparadise.com)

Have you ever wondered why Disney made a movie about Herakles and yet named him "Hercules"? Why would Disney commit such a blatant mistake, using the Roman name of the hero despite everything else being (vaguely) Greek-inspired? Because Roman mythology is better known than the Greek (see my Medusa posts)? Not exclusively...

The reason why Disney made a movie named "Hercules" instead of "Herakles" was because their animated piece was very obviously a follow-up of an entire GENERATION of movies based on the figure of Herakles, but being sold, publicized and shared with the name "Hercules". Beyond this "mistake of Disney" is actually an entire generation of cinema history that people today completely forgot about, and that explansi why, of all the Greek myths, the one of Herakles is supposedly the one with the most movies attached to it...

I/ The beginning of it all

To start this deep dive we need to begin with the movie that started it all. The 1958 "Hercules" movie - at least it was its English title. Its original title was "The Labors/Trials of Hercules", "Le fatiche di Ercole". For yes, this movie was an Italian production (with some Spanish and French collaborations).

This movie's story is... quite more confusing than you would expect. Yes, the title is correct: Hercules is the main hero of the story. This being an Italian production, all the names were taken from Roman mythology rather than Greek - Hercules, Jupiter, Venus... And this is precisely why the name Hercules would go on to become so famous, but that's for later. However, despite what the title hints, this story isn't about the Twelve Labors of Herakles. Two of these trials appear in the first third of the story: the Nemean Lion and the Cretan Bull. However, the actual literary work of Antiquity this movie is based on is... the Argonautica of Apollonios of Rhodes. Yes, this movie is also about Jason, and the Argonauts, and the quest for the Golden Fleece, but with Jason being only a secondary character. In fact, most of the Argonauts's adventures aren't even told since the actual quest for the Golden fleece is massively reduced, with a good quarter of the movie entirely dedicated to the Argonauts' stay on the island of the Amazons... So this movie is a bit of everything. A bit of Herakles but not too much, a bit of Argonauts but not too much - though there's a LOT of the Amazons...

Fun fact: the lighting and the special effects were done by Mario Bava, who would later become of the iconic names of horror in Italy.

The movie being in public domain, you can find it pretty easily online, and having watched it, what is my opinion? Well... On one side the movie definitively aged badly. Many elements of it at now laughable today. The main love interest's costume is to the toga what the bikini-chainmail is to an armor, and her obviously modern makeup is very distracting. The fights of Hercules with the Nemean Lion and the Cretan Bull very obviously involve him punching fluffy puppets. Somehow a very modern fountain sitting by an ancient Greece palace... Ominous storm clouds are just a mud-stain on the camera's lense in an otherwise clear blue sky. Of course when the Amazons arrive the camera focuses twice on their naked legs ; and their cemetery is properly hilarious. The adorable Nemean Lion forgets he is supposed to play dead and shouldn't blink one he is "strangled". Oh yes, and there is also a VERY racist moment during the arrival in Colchides, where our heroes are faced with what is supposed to be primitive, savage, cavemen-like people... But who are in effect just black men wearing furs, a few prosthetics, and making monkey sounds. Very racist.

One of the things with this movie is that there is also several versions of it going around. We are lucky to have the cinematic, clean and properly-dubbed version on Youtube for free - right here ; but you will also find around the Internet versions of a much poorer quality which were designed for television airing, and which have a different English dub. Such a version can be found here for example. And then you apparently have yet a third version somewhere with yet a third dub that makes pretty big flaws (such as changing Hercules' entire rant to the oracle/sybil about immortality into a rant about "strength" which changes the entire idea of the movie). That's one of the evils of the public domain: re-dubs are everywhere.

Now all that being said... While this movie has definitively aged, I can still see why it became one of the classics of mid-20th century cinema, and why it caused such a big reaction upon its release.

Some of the ideas and concepts brought up are very interesting - for example weaving an entire motif of "revenge is not the answer" in a story where both Hercules has to bent to the unfair treatment of a king, and Jason has to find the murderer of his father. The treatment of the characters can also be interesting - from an Hercules who actually seeks humanity instead of immortality, and has to live in a world where his divine powers are actually freaking out people and shunning him as a monster ; to a king Pelias that is not actually actively evil or cartoonishly malevolent, but rather a fearful, suspicious and worn-out man who still does evil things out of anger, cowardice and bad advice, but who has been exhausted and burdened by guilt and regret to the point he enters the story only wishing to give up the throne and die... There is also a fascinating angle where the movie insists on the fact that Hercules is just as much intelligence as strength - for example with a wonderful scene of him proving even an average human person can shoot incredibly well arrows without a divine strength, but just good advice and observation of the environment and a well-formed technique... that ends with the big twist that those excellent bow-lessons he gave to the "random boy" he selected where given to ULYSSES out of all people. Yep, we have a movie where Herakles was Odysseus' mentor...

Mind you, while there are great ideas and concepts which make the movie stand on its own, in terms of mythological adaptation it is very poor, because as I said it mixes together edulcorated and scrawny versions of the myth. You've got two of the 12 labors done in a very different context. You've got a brand new Hercules characterization that doesn't touch upon his actual legends. You've got a Jason and the Argonauts story without sirens, Medea or giant ship-crushing rocks, and where Jason is just a background character. This "mixed" nature extends to the very tone and focus of the movie. It is a rich movie, no doubt, that blends and mixes the genres - but while it is precisely its charm (you are never bored with it), it is also what causes it to feel a bit unfocused. It starts with the naive and cliche romance between Hercules and a princess, leading to the angsty "I don't want to be immortal" scene of Hercules... It continues in what is basically a Gothic story about a strange and dysfunctional family burdened by the dark mystery shrouding a past crime that still haunts the present, and who lives in a half-abandoned palace where a ghostly murderer and treacherous whisperer haunts the shadows... We then cut to what is basically a PSA for athletism and sports, and then we delve into your typica adventure-movie alternating comic book humor with fights against monsters ; and then we have an entire mini-movie inside the movie at the Amazons island which unfolds as a romantic tragedy... This movie has everything, and perhaps a bit too much of everything, and feels like four different movies crammed together in one.

The other big "good point" of this movie is DEFINITIVELY the visuals. This movie allows me touch upon what was one of the big qualities of the good mythological movies of the mid 20th century: they truly knew how to make visual delights. The opening visual of a sheperd playing a Pan's flute while being listened to by his goats? The oracle all shrouded in a black veil suddenly revealing a blood-red dress? The three royal children going to the throne room - only for the two actual innocents one to be fascinated by the Golden Fleece while the brat immediately sits on the throne? Hercules climbing a shadowy mountain towards the red-lit temple of the gods? The visual of the Golden Fleece hanging from its tree, above a mount of dead leaves that turn out to be the asleep dragon? There are so many parts of these movies that just speak so much with just the sights. And it isn't just the sights, but some details in this movie are particularly head-turning. Ranging from the subtle - Hercules and the oracle locking gaze upon first meeting, and not saying anything but clearly showing a link because they are two beings of the world of the gods recognizing each other, and are thus set apart from the other humans in the room... To the more obvious: this movie had the genius idea to decide that the dragons of Ancient Greece were actually just FRIGGIN DINOSAURS that the gods somehow protected from extinction X)

II/ Omphale comes on stage

1958's Hercules was a HUGE success in Italy - and by extension in most of Europe. It was such a huge success that its director, Pietro Francisci, released the VERY NEXT YEAR the sequel, known in English as "Hercules Unchained". A quite silly title given the "unchained" part refers to a segment of the original 1958 movie. The actual title of this movie is "Ercole e la regina di Lidia", "Hercules and the queen of Lydia". For this movie, Francisci took the same team: Mario Bava for the special effects, Steve Reeves to play Hercules (he had been selected for the first movie because he had freshly won the title of Mister Universe - in fact, people did note that due to lacking an acting background he was quite stiff and unnatural in the first movie).

Many people at the time - including Howard Hughues himself - considered that this movie was a better one than the original, with enhanced acting, a much more "punchy" writing, more convincing action scenes, as well as very impressive baroque sets (which, fun fact, had been heavily inspired by the art of Flash Gordon). But the same audiences and critics of the time recognized a structural flaw in the piece, saying the various elements and tones were unbaIanced and that the movie felt as if it continued dozens of minutes after its plot actually ended. I... kind of disagree?

Just like the original movie mixed together the legends of Herakles' labors with the Argonauts' journey, this movie tries to tie together Herakles' time at Omphale's palace and the "Seven against Thebes" events, aka the battle between Eteocles and Polynices for the throne of Oedipus their father. I have to say I much prefer the first movie somehow, perhaps because it was a bit simpler? This piece is even less faithful to the Greek mythology material (which wasn't hard given the first movie was already a very loose adaptation), and in fact here we really feel the "sword and sandal" flavor. As in, this movie bears more common points with your typical sword-and-sorcery or heroic-fantasy short story/novella than with Ancient Greek epics or theater plays. Though the latter point is to be nuanced, because this movie is VERY theatrical. It is very staged, very visual, very dramatic - and perhaps too much because in many scenes the dramatic overcomes just basic logic or common sense (Hercules' repeated "arms up while invoking the gods" scenes do get ridiculous), and while some scenes are impressive, they do feel like someone filmed a stage-play rather than a movie. Let's not talk of an even greater fantasmagoria when it comes to the setting (the usurper of Thebes has Roman "pit of tigers"-type of gladiator plays, while the queen of Lydia who works with Egyptians and has an Egyptian-decored lair, organizes "Arabian Nights"-like dances and wears definitively 20th century fashion dresses... My last grief would be that this movie is actually repeating its predecessor (Omphale's palace being the island of the Amazons, the final fight being identical to the one of the previous movie), though it does bring to the table some new elements that are quite charming (Ulysses grows on me here as we see him growing into his trickster self, while being a plucky, comical young clever sidekick ; and the fountain of the "Water of Oblivion", aka a non-trademarked Lethe, is a great set piece).

But no matter what I may think of it, this movie was still an even bigger success than its predecessor, to the point it made its producing company, the studio Galatea, one of the biggest movie companies of all of Italy. Unfortunately, it also was the end of the "original" Hercules movie series. The producer of the two first pieces, Lionello Santi, part of the Galatea studio, decided at the surprise of everyone to abandon the newborn ad successful franchise. He entrusted it to a certain Achille Piazzi, who decided to name as a new director for the third Hercules movie Vittorio Coffatavi, pushing Pietro Francisci away. Since Steve Reeves only wanted to work for Francisci and no one else, the actor of Hercules was also replaced, by Lou Degni - better known by his stage name, Mark Forest. And finally, "Hercules Unchained" marked the end of the Francisci-Bava collaboration. For you see, Mario Bava did even more work and poured even more effort (or so he claims) into "Hercules Unchained" than into the original "Hercules" , to the point he asked to be designated as a co-director in the movie's credits. But Francisci refused, claiming Bava hadn't done so much work as he claimed: Francisci insisted "Hercules Unchained" was his piece before all things, and that Bava just wanted to take credit for his work, and refused to change Bava's function in the official rolling credits. This battle led up to the two of them not working together anymore.

III/ Hercules becomes... Goliath?

The result of all these changes was a third Hercules movie release in 1960, called... "Goliath and the Dragon"?

This third movie's actual title is "Hercules' Revenge", "La vendetta di Ercole". However, the American distributors changed it to "Goliath and the Dragon" because they needed to make this movie a sequel to an earlier success, the Franco-Italian movie "Goliath and the Barbarians". Which... isn't even a movie about Goliath, but rather a historical movie about a guy named Emiliano in the 6th century... Ah those wacky American distributors, back at their hijinks...

New director, new actor, new team... But also new scenario! Indeed, with this movie we have a fresh start, and a return to a more accurate depiction of Greek mythology... Well kind of. They kept numerous elements of the old movies, but brought in many more from the old Greek legends - the Twelve Labours for example (that Hercules finishes at the beginning of the movie with the taming of Cerberus), or his wife Dejanira. The story in itself, while trying to be more "Greek myth-flavored", is still a unique story mixing elements from various other tales. Hercules' son (turned into Goliath's brother in the American dub) is in love with Thea, who is unfortunately the daughter of a wicked king that wants to take the control of Thebes, Hercules' city. At first it seems the story will be just about the various manipulations and schemes of the wicked king and his allies to try to get rid of Hercules (for example making his son believe he wants to take Thea for his own, and using treacherous messengers to try to convince the poor boy to poison his father without realizing what he is doing) ; but then the third/fourth act of the movie completely takes us into a different direction, as now a prophecy by the gods overlaps with the conflict against the wicked king and... Its a bit convoluted.

I kind of skimmed through the movie because by now the "sequelitis" had started to really kick in. I will admit two good points for this piece: one they attempt to return to more mythologically faithful material, and even though they tell a new story they try to keep Greek elements in it (impossible love triangle between a son and a father, betrayals and tragic deaths within a same family, a hero going up against a wicked usurper king, prophecies the hero will try to fight against...). These efforts are unfortunately completely ruined by the American dub which changes the nature of everything. The second positive point would be the final part of the movie - when we leave the simple "romantic drama and political treacheries and other Shakespearian schemes" to enter the "let's fight a prophecy" domain. Hercules receives a prophecy that his son will take over the throne of the wicked king... in exchange for the life of "the woman who loves Hercules" (interpreted as his wife, Dejanira). As a result, the entire family of Hercules will struggle against this prophecy and try to avoid it - from Hercules becoming obsessively protective of his wife, to his son growing suicidal to protect his mother ; and here we really go into a much more emotional and human side of the story. We even have Hercules turning against the gods for this prophecy - despite having just finally cleared up his curse and made peace with them after his Labours, he still can't accept having his family doomed like that - going for the help of an oracle only for her to get KILLED when she disobeys the gods to bring him aid ; and it comes to Hercules being forced to make a heroic sacrifice, destroying his life to save others... There's really something more unique and touching in all that, that also reasonates well with Greek myths.

All that being said: the bad points. The Hercules movie of the era grew by the 70s and 80s to be synonymous with "hilarious kitsch comedy". Nobody could take them seriously anymore - and this movie really shows why. The first two Hercules pieces have laughable elements - but many were intended as light-hearted comedy, and the others still leave room for the seriousness of the piece. But here? Nah. On one side you have the special effects that aged very, very badly - resulting in the goofiest dragon and most ridiculous Cerberus battle you will ever see and the cheapest lightning effect ever made. And if the bad special effects weren't enough, you also have the American dub that changes the whole stories and tries its harder to rewrite the Greek myth into a more generic-fantasy things (while also fitting to a previous unrelated movie), resulting in a plotline even MORE convoluted than what it already was... This movie can be fun to watch just to see how ridiculous it all got, and unfortunately the most serious and interesting parts only come to us after bunch and bunch of cliches, convoluted writing, very bad dialogues (like REALLY bad) and papier-mache monsters.

[As a quick note here, this movie was also a step-up in the genre when it comes to the supernatural. You see, the first two movies actually had a more... let's say "realistic" approach to the magical elements of mythology. The gods and the supernatural was definitively real, but the movies made sure to frame it in a quite "realistic" light. The gods themselves never appear, and only speak through oracles or manifest through sudden changes in the weather. The monsters our hero fights are all just regular animals (a lion, a bull - well a bison they try to pass off as a bull), and even the "strange land of Colchides filled with wonders" is framed realistically as a sort of patch of land where prehistoric times continued on untouched (with the "monsters" there being just cavemen/Prehistoric men ; and the "dragon" being a dinosaur). And from the realm of the divine we have people with clearly supernatural abilities (Hercules with his immense strength, the oracles able to predict the future), but they still look like ordinary people... This all served the purpose of conveying the fantasy of the myths while working within limitations of budget and special effects.

This movie decided to actually bring the fantasy to screen by having actual monsters, and having the oracle fade in and out like a ghost, and a centaur turning into a satyr, and having the gods speak directly to the heroes or shooting lightning bolts at those they dislike... But as I said those special effects aged very, very poorly, and it is precisely by trying to do a "big show" that they actually ruined this strange worldbuilding-charm that worked so fine for the first two movies. "Showing less does more", as they say.]

IV/ Hercules against... vampires?

While Francisci and Bava never worked together again, both returned to the making of Hercules movies later on, each on their own.

Francisci released in 1963 a movie called "Hercules, Samson and Ulysses" (in its original title "Ercola sfida Sansone"), taking back the duo of Hercules and his sidekick Ulysses from the original movies, and having them confront the Biblical Samson... But given we are entering mythological crossovers, I will not be looking at this movie in any more details.

As for Mario Bava, in 1961 he released a movie co-made with Francesco Prosperi (and with Western Germany), "Ercole al centro della terra" - Hercules at the center of the earth. In America it was released as "Hercules in the Haunted World", but in many European countries, includng France, this piece's title was... "Hercules against the vampires". Why? Simply put: because the main villain is played by none other than Christopher Lee, and he plays a character with similarities to Dracula... As a result advertisers decided putting a big "vampire" stamp on this movie would work, despite it having no actual vampire.

The story is simple: Hercules returns to his home in Italy (remember we are still in a Greco-Roman mythology setting) after a war, only to discover his fiancée Dejanira (or Deianira as you English people like to call her) has fallen into an unexplained state of madness... An oracle tells Hercules the only way to save her is a magical stone from the realm of Hades. Hercules and his friend Theseus descend into the Underworld, unaware that Dejanira' caring uncle (Christopher Lee) is actually the one who caused her madness, and an evil sorcerer conspiring with the forces of evil to conquer the world...

Unlike the previous movie, "Hercules in the Haunted World/Hercules at the Center of the Earth" is much more of a "must watch" - or rather of a far better quality than its predecessors. We return to the charm and power of the earlier Hercules movie, but are then taken into a completely different direction thanks to Bava being able to truly make a movie of his own, with all the experience he gathered since the first Hercules. While the story veer into a much more... "fantasy" tone and plot, it is still a definitively "Greek mythology-inspired" type of fantasy, as elements of the legends of both Herakles and Theseus abond (descending into the Underworld, Deianira, the Hesperides and their golden apple, Procrustes and other of the bandits/threats Theseus had to face during his journeys...). Mind you, it is not because the Greek mythology elements and influence are everywhere that this movie is faithful to the legends, oh no, great liberties are taken here... Medea is now an oracle for the gods, Pluto becomes an evil god, you have references to Dante's Inferno while travelling through Hades, the Hesperides become daughters of Helios cursed by Pluto and entrapped in a land of endless midnight... This is definitively not a class about Greek mythology.

But the real strength of this movie, its real greatness (beyond Christopher Lee's presence, because come on, every Christopher Lee scene is great), is its visuals. This movie is a visual delight. Bava really used all of his tricks as a lighting and special effects guy - despite the movie having a not so big budget, Bava managed to created a gigantic fantasmagoria and epic sets and deeply oniric scenes simply through the use of colors, ciaroscuro, optical illusions, set design, and the power of not doing too much. In many ways this movie is the complete reverse of "Goliath and the Dragon": the "Goliath" movie tried to have these big impressive special effects but just became a cheesy, badly-aged kitsch piece ; while the Mario Bava movie is deeply otherwordly and haunting despite a quite limited budget and not doing "too much". (Mind you, not all things aged well, for example Procrustes' costume aged a lot, but the scene of Hercules climbing the giant tree of the Hesperides for example is wonderful).

Another slight flaw I would point out is that they have a very annoying "comical relief sidekick character" that... literaly serves no real purpose and I don't know why he is here, and he kind of ruins the mood (except for maybe one good joke). But this is definitively a movie to WATCH (not obviously appreciate, but just watch) - and it is disponible freely on Youtube in HD if you ever want to watch it. This movie, in fact, caused a brief wave of "creepy peplum" movies, a sort of... sub-genre crossing the "sword and sandal" with elements of horror movies (the "trio" of these morbid peplum movies tend to include Riccardo Fera's "Maciste in Hell" (The Witch's Curse, by American title), and Corbucci & Gentilomo "Maciste against the ghost/Goliath and the vampires/Maciste contro il vampiro".

What else to say... This Hercules was played by Reg Park, who would become the mentor of Arnold Schwarzenegger, who himself would later play Hercules. And oh yes, as a side note here: I haven't talked about this before in detail, but a departure from the Greek mythology is that in all those movies, and it is a common link between all of them, the character of Hercules is not a mortal who after death becomes a god, but the reverse. A great deal and great stress is placed on the fact that Hercules is an immortal among mortals, and a "god among men", and many times you will see or hear Hercules deciding to renounce his immortality or use his immortality as a bargaining chip... This builds an entirely different character, and a sort of meta-continuity for the cinematic incarnation of Hercules that neatly separates him from his mythical counterpart.

V/ The importance of the Hercules saga, and why it shaped Disney's Hercules

So... four movies (plus one mentioned). I said that the 1958 Hercules movie had been a huge success not just in Italy but in Europe as a whole. What I however did not say, because I wanted to keep it more of a surprise, is that this movie was an ENORMOUS success in the USA. Probably much bigger than you think.

The first two movies, "Hercules" and "Hercules Unchained" as they were named in English, were bought, translated and transported to the USA by Joseph E. Levine. Levine poured a LOT of money into a very aggressive and intense advertisement campaign to promote those movies, which not only were everywhere in theaters, but also aired on television. And this all resulted in a massive success, which gave Levine an entryway to build a big career in the movie industry, and the Hercules movies a lasting fame up until the 70s. By the mid-70s their fame and success slowly died out, from the tastes changing (making these pieces look ridiculous by modern audiences) to the television-copies of the movies being of very poor quality and badly preserved. By the 80s, these movies were a laughingstock, and the original duo of "Hercules" and "Hercules Unchained" even got a full-on parody in 1997. The two movies were recut into one, a whole new comical dub was made, and this resulted in "Hercules Recycled", about a TV exercise show-host who battles dinosaurs, fast-food obsessed mutants and insurance salesmen to save Earth by retrieving a secret formula inscribed onto a golden bath-mat...

But another one of the reasons the "Hercules" movies ended up being rejected and mocked mercilessly was oversaturation.

When people saw that "Hercules" and "Hercules Unchained" were HUGE successes both in Europe and America... The hunt was open, and it was free market for all. Everybody tried to recreate the movies, everybody tried making sequels of the movies, everybody did blatant rip-offs of the movies... In Italy at least, which was where the whole craze took place. It was the era of the "mythological peplum", of the "sword-and-sandal", of the "muscle-opera". During the 60s, around TWO HUNDRED movies based on the same principles, cliches and formulas were made for European and American audiences: movies taking place in a vague and unclear Antiquty, inspired by Greco-Roman mythology or Biblical stories, with a very muscular, oily, barely-dressed bodybuilder playing the hero, and him punching his way through soldiers and bandits and monsters, while trying to win the heart of a beautiful princess (or avoiding the deadly charm of wicked queens and enchantresses) - and with sometimes a plucky sidekick or comical relief by his side. Many were the protagonists of these tales, but ultimately they were all avatars of the same archetype: Hercules, Samson, Goliath, Ursus, Maciste were all replacable with each other.

Such an intense and fast mass-production of course brought the early death of the genre, that became "out" just as fast as it was "in"... Before it was replaced by the new cinematic craze coming from Italy and imported to the USA: the "western spaghetti", star of the 70s.

But this era left a deep mark onto America (and Europe too). In America, they were the reasons why the name "Hercules" became more famous than "Herakles". These movies were a prolongation of the bodybuilding trend, and of the athletic culture and body-worship and sport craze that had been started by the Mister Universe contest and the Charles Atlas celebrity. And - more interestingly perhaps for this website - these movies were also very influential and appreciated by homosexual communities of the 60s and 70s... I mean you literaly had muscular hunks bare-chested, oily and sometimes almost entirely naked, wrestling constantly with other half-dressed men, and surrounded by pretty girls and erotic sex-icons and pin-ups, who wore the toga-equivalent of the "chainmail bikini" of Conan fantasies... These movies were bound to attract gays and lesbians of their time.

There is a LOT of those Italian Hercules movies in the 60s, like a LOT. I can't possibly cover them all, but I will leave here the titles of some I will definitively not talk about (due to not being "Greek mythology" enough for my taste): 1961's "Sansone"/"Samson against Hercules" ; 1962's "La furie di Ercole" (The fury of Hercules) ; 1963 "Ercole contro Moloch" (Hercules against Moloch), 1964's "Ercole contro Roma" (Hercules against Rome), 1964's "Il trionfo di Ercole" (Hercules' Triumph), 1964's "Hercules against the sons of the sun", 1964's "Ercole, Sansone, Maciste e Ursus gli invincibili", 1964's "Hercules against the tyrants of Babylon"...

And even by leaving out those eight movies, with the five others I described before, I have still left, in the span of the Italian 60s, SIX more movies I could possibly talk about... As I said, we know around 200 movies were released during this decade in Italy - though hopefully for us, all the lesser and cheap ones faded into obscurity...

[theniftycat]

I just finished rereading Good Omens and now, after 2 seasons of the show, I understand season 1 a lot better.

The book is at its core about the Antichrist who grew up without hellish influence and due to being half-angel, half demon and fully human, couldn't let the world end. He's the center of the narrative, a character who grows more than anybody else, and he makes all the most important decisions on his own.

Crowley and Aziraphale are just there to be incompetent and a bit bumbling. They put the plot into motion and give us the celestial perspective on what's going on.

But the thing is that Adam is only eleven and it's not a children's book, so not every reader connects to Adam (I did) and the demon and the angel are so charismatic and fun that they became iconic and they're many people's favourite characters in the book. I could compare it to Aragorn, Gandalf, Legolas and Gimli being more iconic than Frodo because Frodo is just a normal hobbit who became a hero due to being a decent person, while the aforementioned four are noble, powerful, and highly unusual. Or the way a certain boy wizard was rarely somebody's favourite character (he was mine).

To me, someone who likes the journey more than the sites, the main characters are usually the most interesting ones, they change a lot, they learn, they make decisions. But aesthetically and due to their uniqueness, side characters can be more compelling. They also invite imagining their own journeys because they're usually unseen to us.

So, Crowley and Aziraphale ignite imagination and look very compelling. That's why it's sort of accepted that the book is about them. It's also easy to see them having further adventures because Adam's arc is complete.

When season 1 came out, I enjoyed it, but the added conflict between Aziraphale and Crowley irked me and I thought there wasn't enough focus on Adam.

What I understand now is that there was no journey for Aziraphale and Crowley in the book. They were an angel and a demon and it was implied that they were quite ordinary. Were another demon stationed on Earth given the Antichrist, they'd probably also not be very thrilled.

Aziraphale and Crowley start trusting each other more as the book goes on, but not by miles, and they essentially stay the same throughout the story. And that's great, they're comforting and reassuring.

They also depend on each other less. When Crowley thinks that Aziraphale is dead, he's sad, but he just moves on. They constantly ask each other to do things and they oblige each other without much deliberation. They are good friends. There is subtext that they look like a couple and they behave like one, but they can live without one another, they're just enjoying each other's company.

In the show, on the other hand, they are the main characters, it's not a kids show or an 80s American small town horror, after all. They should appear in each episode, not only in the first two and the last two. They need to grow and change and learn and make decisions.

They also must convey to an unprepared viewer in a limited amount of time that they aren't as evil or good as they are supposed to be and that despite everything, they care about each other. And such relationships should get tested.

They are also made distinct from all the other demons and angels, so that we know why it's only them trying to stop the Apocalypse.

In season 2 they are developed even further and now season 1 doesn't look like it got its protagonists confused, it looks deliberate and a great start to a love story of a couple of very unusual occult entities who exist not just to enjoy themselves, but to love each other and keep the world safe.

And that's beautiful.

[the-splorts-eye]

Do you love detective stories but hate cops?

Do you love gay detective stories and hate capitalism?

Like disabled main characters who's disability actually comes up?

Like characters of color but not in the mood for stories on racism?

Tempted by the thought of romance at ages of 30+?

Does the idea of stories so queer you'll hesitate before calling any character a "man" or a "woman" make you think "Ah, yes pronoun shenanigans, just like my discord used to make"

And you into an abundance of strong, diverse female and nonbinary characters?

Do you fight for women's wrongs?

I know rep-only recommendations can be annoying, but I'm trying to grab your attention to promote some indie media. Luckily, though, this post isn't rep-only!

To read my full recommendation and review of Three of Hearts, click below. ♦️♥️♣️♠️

And if you aren't in the mood for a new thing right now, consider reblogging! Maybe even ping a friend who might be into this! You love supporting queer indie creators, right?

The story

♠️♣️♥️♦️Three of Hearts♦️♥️♣️♠️ centers on two paragovernmental agents in a fantasy, post-war, queernormative 1950s.

Roughly 20 years before the opening, a set of heroes purged magic from the world to turn the tide of the war. But scraps of this thaumaturgic energy still remain. S.U.I.T.S (securing unpredictable injurious thaumaturgic situations) is an agency founded to deal with everything left behind.

When two of the longest standing employees at S.U.I.T.S, Agent Vellum and Agent Felspar, are called onto a new case involving stone crops and a missing person, Felspar isn't surprised (Though Vellum, who's injury had him doing desk work most of his career, is). Things devolve quickly when the Agents realize this case comes from Felspar's home town of Cloven heart, an idyllic magical village that prefers to handle justice on it's own.

Answers yield only more questions, as the Agents realize almost everyone in town has something to hide, and Felspar isn't the only one whose past keeps catching up to him:

How much magic is still around? What's Vellum got sloshing around in there that people think is so juicy? What is Diamond, elven pop star and queer icon, doing in such a small town? Just how big is this case, and how can the Agents balance their legal responsibility, with promises they've made to Cloven Heart?

WHEN. WILL. THEY. JUST. KISS?

(if you're skeptical about central romances, I get it! See notes on aro/aceness and platonic relationships in the rep section for more info)

The combination of magic and newfangled war tech — think telegrams and radios — is somehow just as charming as a rotating cast of characters who will each stake their claim on your heart, but betrayal is imminent and mistrust is rife. The story strikes a wonderful balance between slice of life goodness, and edge-of-your-seat high drama, culminating In a show I highly recommend.

But are they just reskinned cops: my answer has got to be no. While they are technically law enforcement, the main two are entering a commune-like space, where that isn't so welcome. It's a situation they treat with caution and respect. The classic cop-plot of "Should I make myself judge, jury, and executioner because The Bad Guy™ deserves punishment" just isn't a problem. The justice system isn't perfect, in our world or the show's, and the story acknowledges that. But in a social, cultural way, they don't act like cops. They DO act like detectives. But the rules they choose to break and the ones they choose to follow will hopefully satisfy my fellow cop-haters who crave a good mystery

mid post note: I am not involved with the making of the show or the game space Kings. I just really like this podcast. Also, if you are seeing this text you are looking at a copy of the original posted on an unused sideblog so that I can keep the notes separate from my naturally spreading original without looking like a bot, and not get blaze notification spam.the references to "look in the notes for more" won't work for you. Yes, I spent my own money on this.

The format

♠️♣️♥️♦️Three of Hearts♦️♥️♣️♠️ is an Indie actual play — this is not DnD, hear me out — podcast in the game Space Kings. All the tension of dice rolls, without drawn out combat or clunkiness, it's a breeze of story-forward listening, even if you've never listened to actually play podcasts before!

If you've tried dnd actual plays, and haven't like the flow of them, I would recommend trying this. A few encounters that may feel random (though they're not) get the story kicked off at a fast pace, but it quickly settles into a story with a tight plot, great pacing, and impactful character development.

The use of a playing card deck to see the outcomes of risky actions means that no matter what happens, success or failure, the tension keeps rising, because there are only so many successes in the deck before you shuffle. The hosts do a wonderful job of explaining mechanics in the show, so it never interrupts the listening experience.

Actual-play connessuires who want to primarily see people playing a game might not be satisfied, as bonuses are given liberally, and I would describe the podcast as more story focused than game focused, But the risks are ALWAYS real, sometimes (often) with thrilling, shocking outcomes.

Also concerned AP listeners should know there's some chaos magic involved! I was surprised when it first came up, and doubtful about how it might affect the story, but it ended up weaving into the rest of the plot really well, and I feel neither like it had no affect, nor like it shook up everything the party was building in an unsatisfying way. Personally I would have preferred to go in knowing it was there, but I also don't think it's major enough to belong in the main synopsis. Now you know, though!

The hosts make a real effort to blend stats and story, and I think the pull it off wonderfully without spending too much time on mechanics. If you want to see that though, session 0 and other crunchy details are on the Patreon (where you get the same content no matter how much you pay, at a minimum of a dollar a month).

The pod has all the lighthearted fun and banter of a "friends around the table" show, but never once have I had that "oh my god, I'm not a part of your inside joke, shut up and play!" Feeling.

EDIT: i did not know "friends around the table" was the name of another podcast. no hate to them I'm sure they're lovely, this was just the use of a phrase.

I think it's a delight for AP and non-AP fans alike.

The episodes: roughly 45- 75 minutes long, with a midtro and some post-end music scenes, so listen through the end music, or check that there isn't extra content by seeing how close the play head is when the end music starts. It's not too long and quite pleasant in my opinion! The midtros always come at a nice moment to step back from the story, and are not too long and not irritating. I enjoyed listening to them! At some point, a midtro starts getting reused, and I was slightly disappointed I wasn't hearing new jokes every episode, but it's a small thing. I skip the repetitive ones with my 30 seconds forward button, and while I haven't timed the Intro, that's worked really well for me. I don't have to fiddle with my play head to make sure I don't skip forward too far. Super convenient.

Trigger warnings: the show is pretty lighthearted! Listeners sensitive non-graphic mentions of needles, blood, and/or guns might want to skip on this one, but most episodes don't get heavy. The few that do have pre-episode notes that warn you things get dark, how they get dark, and how to skip the darkest bits. Personally, I listened through them and enjoyed those parts a lot! But if that's not your thing, I agree with the warning that they're very skippable, and I think trigger-sensitive listeners will be pleased. As an indie pod, there are no fan made, super specific lists of triggers.

I'm trying to emphasize the balance between lightheartedness and drama, but if your mental health is sensitive to grim & dark media, i think this one is pretty safe. Please always exercise caution! But I'd describe 3o♥️s as emotionally restful.

Transcripts: transcripts are in the works, but do not currently exist except for episodes 1 and 2. Three of Hearts is a non-scripted show, so those are also unavailable. Some of the money given to the show will be used to hire a queer disabled transcriptionist! So if you listen and love it, consider sending cash their way. All transcripts are on patreon for free.

The rep

Don't you hate when someone raves about rep and you go in expecting something good and get like. One dog-boy described as having "chocolate colored skin"? Or when people make a "watch for rep" post and then mention like. Gay and maybe trans people and that's it, even when shows DO have disability and POC rep? Yeah that's not me. Here's the spoiler free rundown, race is at the bottom because I get into more detail with it, not because it isn't important:

Edit: For more on some of these topics from a hosts perspective, see the reblogged addition by @/citrusandsalt

MLM characters: Main characters, one confirmed bi the other unknown

Wlw characters: Reoccurring side characters (present or mentioned in every episode I think) Married. Orientation unspecified.

Enby love: LOTS. It's actually hard to really categorize mlm and wlw stuff because almost every character is nonbinary. Anyways— it's VERY queer

Women: I...I don't know exactly which characters are women 😂. But there are many feminine characters, and they're badass as fuck. Some are compassionate, some are cold, some are chaotic, most are a mix! The two main characters are...masculine...(I say with much hesitation) but you will not feel robbed for your woman-ly content.

Non-traditional family structures: All of the families in the story, pretty much, are non-traditional. Adoption is super common. (You want some wlw who just KEEP adopting kids? You got em) Found family is a MASSIVE force in the story. Also, It's a post-war story.........which is to say almost everyone's parents are dead.

Edit: an MC had poly parents, which may not be obvious but is true!

Polyamory: to my knowledge so far, there are polyam characters, and it is definitely present in the world! But no poly relationships in the forefront. I am about 2/3 through the current episodes, so there may be a present polyamorous relationship later, but also if I confirmed it that would be a spoiler. This may be that "playing it by ear" thing that happens with ttrpgs. I wouldn't listen for the hope of polyamory alone, but I don't tell you it's not there/won't happen.

Trans characters: almost all of them. Might think "oh there are only a few!" And you are wrong. You are so wrong.

Neopronoun users: yup! To my knowledge, minor characters. A handful who use at least he/she/they or they/them and may also use neos in a manner im forgetting

Plurality: no system characters yet, but the creators are friendly, I asked ;)

Aro/ace characters: none confirmed yet to my knowledge. Romance is very central, sex is joked about on occasion but it isn't at the forefront of the story at all. There are many, single characters who are thriving.

Edit: Actually! There is one character who discusses demiromanticism in cannon that I forgot, and another confirmed out of cannon character who is ace. Both are non-main major characters!

Platonic relationships: YES. As an aro person who hates so many romance tropes this one gets my stamp of approval. There's no real jealousy drama, exes who communicate and are supportive, and romance doesn't kill friendships. There's a central sibling relationship and non-familial platonic ones that have conflict, drama, resolutions, and a deeply satisfying significance in the story. If you don't like romance at all, this one might not be for you. If you just don't like stories exclusively about romance, I think you'll enjoy this. Genre wise, I'd definitely describe three of hearts as a mystery primarily with a strong romantic subplot, not a romance itself, and that comes through in player and character's additives and priorities.

Age diversity: the youngest characters in the show are older to middling teens, and the oldest are in their 400s. Okay but the oldest in human terms are roughly 60-70. The most common age range, and the ones the central characters are in, is 30-40. The second most common is that 60-70, then some ~40-50 folks here and there, with people in their 20s being probably the rarest (no named ones off the top of my head?) And there are a small number of teens. This is not a story about youth and youthful beauty. Generally, the older a character becomes the most bad ass/spooky powerful they are, and older characters are very involved in the plot.

Mental illness and neurodivergency: to my knowledge so far no characters are in cannon confirmed to have a specific mental illness or ND, though I wouldn't be surprised if it was part of a character or the main characters, and just hadn't come up. Listeners with cluster b or "scary" disorders, or with conditions that may cause them to lash out, will find satisfaction with how compassionately the narrative treats werefolk. To say more encounters spoilers. I would also say that depression, while the word isn't used and it is not central to the story, is present as a narrative force, and also treated wisely and with compassion. Still, as is usually for a good story, all of these bitches need therapy.

Disability: LOTS. There's a lot of "different, not broken" themes that disabled listeners are likely to love, but both of the main characters are disabled! One is a cane user, the other experiences migraines. These have a genuine, pressing, mechanical impact on the story. It's COMES UP. It's a real joy. For a magical world, there is no magical healing! Or there is, but it isn't a perfect solution, which in my opinion is just a magical version of real healing, though yours may differ! Also, there is a minor, reoccurring character who's a wheelchair user, and I think he's really fun.

Disfigurement: Excuse me if I am not prepared with the most sensitive way to speak about this, but I'm doing my best! There is a character with no eyes or nose, who is central and lovely. To my knowledge, there are no amputee characters or characters with limb differences (of the wheelchair user I'm not sure if it's specified whether or not he has legs). There is a character of questionable morality who has significant facial and bodily disfigurement. In as few spoilers as possible: this was not injury or genetic related. The disfigurement is treated with a firm compassion, and does not exist as a "this character is evil" signal. It's a long arc, but I imagine people who relate will be satisfied, though I cannot speak for anyone.

Characters of color: many! The main two are Hispanic and Asian. Terms like "dark skinned" are used for characters, but in the fantasy world race doesn't exactly translate, and I wouldn't call it "important" in this story. Read more about race below:

Fantasy racism: sort of! The word "race" is used to mean "humanoid species" and I know some folks don't like that? None of these fantasy races are oppressed, but specific people (Magic versus non-magic people) have conflict about that aspect of their identity, and policing is a related concern. I would place the allegory more in the space of transness and disability/neurodivergency if pressed to choose, but it doesn't feel like it's trying to tell a story about real-world oppression, primarily. I have more complicated thoughts on exactly what I'm trying to communicate here, but they involved some spoilers. DM me for more info!

Hosts/creator identity: out of three hosts, two are white, one is not! They are very queer, and disability is also...a thing! These are real life people, so I'm not going to get into detail, but check out their twitters plugged in the show for more on how they self-identify.

Edit: One of the hosts, Essay (@/citrusandsalts) discussed more on hosts identities in a reblog! If this concerns you, and you want less of me walking on eggshells about other people's identities, read her addition too!

Edit 2: Jordan, the GM also has commented additions!

Okay but are they racist: Real talk! As a black person who thinks I keep my ears sharp, I would say no! Not at all! This is one of those situations where I was like "YOU'RE WHITE?" And shocked about it, (if you listened to TSCOSI, same vibe) which is a very good thing in my books. The hosts are open and sensitive, and I have no complaints, however, this is just one perspective! This isn't coincidental, race is an active consideration in how the story is told — just not a central theme.

Minor but worth mentioning: A minor character has a name with what I believe is the Nahuatl "tl" sound in it, which is not pronounced correctly. It's a really hard sound! And I, op, can't really do it! But if that really irritates you this might not be the podcast for you.

[sizey-oc-smackdown]

ROUND 1: BATTLE 3

Participants: @da3dm 's Irzayn "Irza" Heron, @pocket-ozwynn 's Alice and Freyja, and @frostios 's Staple and Crown

Descriptions: "Black hair, gold eyes, dragon tail/eyes/claws, constant unhappy look"

"Confident QUEEN Freyja and flustered bf Alice"

"Staple and Crown are both mouse-adjacent siblings.

Staple has a much thicker build than their younger sibling and long gray-brown hair pulled back into a ponytail. The same color fur can be found on his face, body, and tail. He wears a light green sleeved shirt, a darker green vest, brown pants, and a brown belt with a gold clasp. They have slight facial hair, a thick unibrow, and sharp yellowed teeth.

Crown is slim and nimble. Their hair is dark and cut short. Slightly lighter fur is found on their face, body, and tail. They wear a gray shirt under brown patched overalls. They have thick, short eyebrows and yellowed teeth with two prominent 'buck' teeth."

Propaganda: "He's a villain and his villain name is Voidshire. He uses really strong shadow magic and is actually very fond of one of the heroes that can somehow tell where he's going to show up. This is in a system where there's a lot of villains and a lot of heroes. He's not really originally a g/t character but there's some g/t in the main story itself when involving the fairies or the giants that don't show up a whole lot. All the aus of him at g/t though since it's possible to happen in their world, just not relevant to the main story."

"they are iconic and cute and deserve to smack down the rest"

"Staple and Crown used to live in an abandoned, dilapidated mansion witb the rest of their large family until the property was bought and set to be renovated. Pest control was hired to get rid of the "rats" that were believed to be in the estate, leading to Staple escaping just barely with his youngest sibling. They both manage to hide away in a truckbed of haystacks and travel away from all they knew. They eventually make their new home in the rafters of a barn on the property of a middle aged farmer.

Crown is traumatized by the event, which leads to them being mute. They make up for the lack of words with noises like chirps, whistles, and hisses. Other than that, they aren't slowed down by their past and are as curious as ever, getting into just about every place that Staple has forbidden them to mess with.

Staple is definitely the overprotective type. He's desperate to hold on to the last remaining family he has, even though she and Crown butt heads more often than not. Staple doesn't really understand Crown, but he always believes to have her best interests at heart. But if he has to tell them one more time NOT to go sticking their head in the chicken coop he'll probably lose it."

[thegirlwhowrites642]

Please share your top 5 favourite female fictional characters.

Interesting question!

Despite the impression I may have given with this blog, I'm more of a story person than a character one. To me what matters is the story in its entirety but I'll give it a try.

(they aren't in any particular order)

Alex Russo

I always say Selena Gomez raised me with this character. Alex was such a fascinating female character. At the time, but still to this day honestly, it was such a rare thing to have a female character that was genuinely funny. It's like women aren't allowed to be the fun character for some reason. And she was so flawed but always learned from her mistakes. She was lazy, beautiful, flirty, good, and a bit vindictive. She was what usually only male characters are allowed to be: human.

Katniss Everdeen

I have to confess, for some reason, I've never read The Hunger Games books (but I plan to remedy that). But in middle school, I was completely obsessed with the movies. The angsty teen that I was loved Katniss to death, her stoicism, her strength. An absolute icon. Made me develop an obsession with braids. What I've always loved the most about her character is that she is truly a hero of the people. (something JKR was never quite able to do with Harry)

Ginny Weasley

Her majesty. Queen of my heart and soul. It's funny when I think about before I read the books, I couldn't stand Ginny in the movies, I was so confused by her. And look at me now. She is an icon. She is so unbelievably strong but in such a human way. Ridiculously stubborn and reckless. Profoundly compassionate but determined to put boundaries with people. The sweetest and yet the harshest. She is hilarious and wise. An immensely progressive feminist character when you think about when she was written and that she is the love interest of the main character (and frankly I'm not sure how that happened). A character that has still a lot to say to this day. And also breaks that idiotic pattern of the hero ending up with the helper. Ginny is truly a character who deserves her own saga. But probably what I like most about her, as weird as it may sound, is that she is written with such coherence (that considering who wrote her it's not that obvious). Everything falls into place. Every action, everything she says makes sense, every change is justified, and she has proper arcs of narration. Small details from early books get unveiled as main aspects of her. She is like a well-built mystery novel.

Amy March

I do love strong women who are a bit messy. Amy goes from being a stubborn egocentric (but in such an endearing way if you ask me) young girl to a strong compassionate mindful woman. She is ready to put her family before herself, she is wise, and she is conscious of who she is and the society she lives in. There's this silent strength to her but also an ability to truly enjoy life to its fullest I believe that it's really remarkable. And she grows up to be quite self-aware which is something I always love in a character.

Miranda Priestly

And now a villain. The Devil Wears Prada is one if not my favourite movie. I really really love a villain who enjoys being a villain. Who owns up to being a villain. And when they do it while being a fashion icon it's even better. She is truly competent at what she does, she is harsh and witty and while she has a high opinion of herself it's not only justified but it doesn't obscure her judgment in recognising and appreciating greatness in others. I do love it when villains and heroes come to respect one another.

[welpjesuisla]

Tagged: 10 Fandoms, 10 Characters, 10 Tags

⁄⁠(⁠⁄⁠ ⁠⁄⁠•⁠⁄⁠-⁠⁄⁠•⁠⁄⁠ ⁠⁄⁠)⁠⁄ Thank you for the tag @x-authorship-x 🥰

John Doe (UnOrdinary)

First off, yes, his name really is John Doe LOL. He's not a very popular type of main character - at least in my experience. He's fiercely protective and cunning. And he struggles a lot with figuring himself out. He's the kind of main character that you have to follow around even when you don't agree with his decisions.

Shikamaru Nara (Naruto)

Underrated fr. Like we have so very few braincell holders in Naruto and Shikamaru is a reluctant holder of one. Despite his genius we all are aware of just how human he is. He still is vulnerable to the natural things of life and his own emotions.

Yes i am going to go on living life pretending that the Burrito version of Shikamaru doesn't exist :)

Ochaco Uraraka (Boku No Hero Academia)

The cute girl that could and would fight you and WIN.

She has a special place for me. She could have so easily been left at just the cute best friend girl or the poor girl gag or quirky love interest. But she isn't! And it's refreshing! She takes the path she set out on seriously. She has a kindness about her but she is also determined to do what's right. And she's prepared to take what steps she needs to protect herself and others. If you say her match with Bakugou didn't change your brain chemistry YOU'RE LYING!

Obi (Akagami No Shirayukihime)

The man that he is. Full disclosure, I've read a lot of Shoujo but OBI is truly the first character that I craved more of. Seriously, I want his backstory so bad but I fear we'll never be allowed to have it. He's an assassin turned official knight. He's roguish but just as seamlessly can be a gentleman. He's dangerous but he chooses to be soft and fond. Don't even get me started on the found family dynamics!!

Minhyuk (I Love Yoo)

The best big brother/best friend ever.

Minhyuk is THE BEST. And I accept Nothing Else. He's the pillar needed in crazy situations. Even if he's not physically there. He understands when to push and when to play around. Genuinely the only guy I trust with Shin-ae's literal life (Sorry, Dieter). He has her best interests at heart even when he's not completely in the know about what's going on. Dude is willing to try fighting CEOs to protect her and DID fight her stalkers.

Padme Amidala (Star Wars)

Okay her taste in men is to be taken with a bucket of salt BUT!!

Come on! Queen!! Undercover specialist - posing as her on Lady-in-waiting is such a boss move! Unafraid of active warzones and assassination attempts! Fashion icon!

Loki (Thor MCU)

As you may be seeing: i have a tendency to gravitate to characters that are usually inclined to manipulation and violence complex. I could genuinely go on and on about the beautiful depth of his character but then I'd get sad about what he became in Ragnarok and onwards. But yeah, love Loki - adore him truly!!!

Koushi Sugawara (Haikyuu!!)

Chaotic good at its finest.

THE Morale!! THE Refreshing!! THE Mom!! OUR Vice Captain!! The lovely Suga!! The biggest chaos gremlin of them all! Would literally win in a fight with every single member of the Karasuno team (with merciless cheating lol). I love the diversity in him: he can be the steady senpai, flipping at a switch between happy-go-lucky and excitable aggression, seems like the least threatening member when he loves screwing with the other side mentally. He's great >:)

Diana Prince (Wonder Woman)

Literally my favorite rendition of Wonder Woman. She's sheltered but well-intentioned. She's determined and doesn't let things like social norms get in her way. She brought humanity to a setting we constantly forget the humanity of. She's not afraid of being emotional because there's no shame in it. She showed us what some heroes forget to show us, that things aren't always good and bad guys.

Kim Dokja (Omniscient Reader Viewpoint)

He's such a mastermind, he's great!! A MENACE UNLEASHED!

Okay so admittedly, i don't think I'll even be able to scratch the surface of the genius that is his character. He's literally Upgraded Coping Mechanism on top of Well-used Coping Mechanism. A Reader given the same detachment from reality that protected them but debilitated them but now it makes them the most powerful and prepared. And he uses it with so much tangible smugness

[horizon-verizon]

stark stans are something lol "GRRM decided to make House Stark the focus of his main novels and give them the most emotional and iconic moments of the entire books"

I had to read that targs aren't important to the story because they don't have POV in the books like what? dany's POVs are boring, when you have bran's POVs lol It would be so interesting if in the end, the Starks weren't the heroes this fandom thinks they are imagine the plot twist lol

Rhaegar & the Targs haunts the entire narrative, outside of Dany. Cersei (Rhaegar), Tyrion (the dragonriding), Ned (Rhaegar, more thinks of, not "haunts"), Sansa (Naerys & Aemon), Jon (Daeron), Aerys I (various peasants and I'm sure Tywin), etc. the fact that High Valyrian was considered the "literary" language to be used in "high" art and study in the seven Kingdoms. There are still songs sung of Targaryen conflicts, affairs, arguments, etc by bards looking for a room at whatever lord. We got the criminalization of the right of the first night AND the rule of thumb/rule of six criminalizing severe wife-beating from Targaryen women. We have had a new, more accessible sept through the Sept of Baelor in Kingslanding due to a (zealous) Tagr. We got the Kingsguard through a Targ, Visenya, of which group/institution Ned Stark & many others use to criticize Jaime Lannister's action of killing Aerys II despite it being the best thing for everyone's survival. Valyrian steel swords are the most precious swords to have bc of their high craftsmanship, and the Free City of Qohor is one of the only places you can go to have your Valyrian steel sword reworked. The Doom is considered one of the--if not THE--most cataclysmic events in Planetos, forever changing the landscape surrounding the remnants, introducing new horrors and diseases like greyscale. People literally can't travel too close or risk a fatal disease or being taken by infected "zombies", if we take GoT's scenes for what they were, realizing the implications of what AWoIaF tells us. After the Valyrians are gone, we still have Essosi people speak Valyrian in whatever iteration, along with governments & systems of power along with the negative, slavery.

The first book starts with the sighting of the Others, and ends with Dany reawakening the dragons, of such will be used against the Others in the coming Long Night. And Dany's arc of learning how to use her dragons for good and abolition is intrinsic to the themes of the entire narrative.

The end of the Targaryen dynasty is also critical to overlay the very necessity of their existence, to show how deeply the Valyrians AND the Targaryens affected & shaped the world the Starks live in to be what it is. The lack of chapters from more than one Targ and the rejection of Dany as being both a positive or a legitimate POV character is sheer misogyny and stupidity; it is through that very absence we get a near poignant and urgent significance to the Targayrens' absence. Thus, the haunting.

[thenightling]

Review of Season 1 of My adventures with Superman:

I just got done watching the season finale of "My Adventures with Superman." I really under-estimated this show when I saw the first teasers for it. I thought it would be a version of Superman for little kids. And though I think children can watch it, there is some very mature writing in this, the kind I haven't seen since Disney's Gargoyles. It's wholesome, well-written, and most importantly it FEELS like Superman. It's not the cynical deconstruction that Zack Snyder did with man of steel. This is the traditional boy scout version of superman, the sort of hero I'd missed. The art style resembles a Japanese anime but this show is actually American made. The movements of the characters are very fluid. There's a beauty to this animation. Superman's movements in flight are realistic and fluid. He appears like he's swimming. Some of the antagonists have changed origins and are redesigned but these don't detract from it at all. I love what they did with Jimmy Olsen, especially the nonchalant little twist they gave to his character at the end of the season finale. This is probably my favorite depiction of Jimmy Olsen in any Superman incarnation. I was relieved that the show allowed Lois (and Jimmy) to learn Clark's secret identity pretty early on (Jimmy actually figured it out first). It wasn't drawn out. I think everyone was tired of Lois not knowing Clark's secret decades ago. There is on-going story progression. And it's so wholesome, so hopeful and warm, it's strangely comforting. I hadn't seen a superhero show like this in a long time. Though I liked the mid-90s Superman animated series, this has fast become my favorite version of Superman. Neil Gaiman was right when he had said (over in Twitter when it was still Twitter) that Superman doesn't need to be changed for "modern audiences." You just need to let superman be superman in a modern setting. And that's what this show did and it works. No one is bored with the classic Superman when he is done right.

I'm not even that big of a fan of Superman (in general). But I an genuinely loving this show. It's so good.

I am not sure why Cartoon Network shows it during Adult Swim (It's adult content evening timeslot). It FEELS like a well-made version of Superman. And it's not overly mature with themes too intense for children. No, far from it. This is a GOOD version of Superman. It keeps you on your toes. The main characters like Clark, Lois, Ma and Pa Kent are all true to the cultural collective idea of who they are and yet the show is different enough that old school fans of Superman won't get bored. It'll keep you on your toes because it deviates just enough. Also people who aren't old school fans of superman should be able to follow it just fine. This cartoon was surprisingly good. And it deserves more attention. I dare say that this version of Superman has the potential to become as iconic as the 90s Batman the animated series.

[highfunctioningflailgirl]

Les Trois Mousquetaires, Chapter Five

Athos and d'Artagnan meet up for their duel, and while waiting for Porthos and Aramis, they take a liking to each other. Shame, really, since they're also about to kill each other.

They're so polite, it's hilarious:

Athos, still ailing from his shoulder injury, apologizes to d'Art for having to fight him left-handed and possibly putting d'Art at a disadvantage.

d'Art offers Athos his mother's magical healing balm for his wounded shoulder

Athos: "...j'aime les hommes de votre trempe, et je vois que si nou ne nous tuons pas l'un l'autre, j'auris plus tard un vrai plaisir dans votre conversation." (I like men of your kind, and if we don't kill each other, I can see myself enjoying conversing with you later.)

“Décidément vous êtes un joli garçon”, dit Athos en serrant la main du jeune homme. (‘You really are a pretty boy’, Athos said and seized the young man’s hand.)

Get a room already, you two...! 😆

(And, JFTR, I know that Dumas didn't write them as gay characters, even if many of us take the liberty of reading them that way; Dumas was a romantic, and his heroes simply were very in touch with their feelings and not afraid of showing them. They hugged and kissed and cried, men and women alike. And I love how open to every kind of modern interpretation the stories are. I generally read the Musketeers as the biggest platonic bromance of all time. But anything is possible, and you do you!)

Athos refers to Aramis, Porthos and himself as the "trois inséparables" for the very first time. Little did Dumas know he'd coined an iconic OT4 name for all eternity.🤩

To everyone's surprise (but ours and d'Artagnan's), the Inseparables find out they're all dueling the same mercurial Gascon. Sangbleu! *slapsticky laughter*

More ridiculously heroic politeness from Athos: It's warm, but he's going to keep his doublet on while fighting so d'Art won't be put off by the sight of Athos bleeding through his bandages. (How kind of you, you idiot!)

Just when they're drawing their swords, the Cardinal's Red Guard arrive (great timing), and of course these morons want to arrest our four for illegal dueling.🙄

This is the moment that changes d'Artagnan's life. The moment where he has to chose sides. The moment where our brotherhood of Musketeers is born.

"Vous avez dit que vous n'étiez que trois, mais il me semble, à moi, que nous sommes quatre. [...] je n'ai pas l'habit, mais jai l'âme. Mon coeur es mousquetaire [...]" (You said your were only three, but it seems to me we are four. I may not have the clothes, but the soul. My heart is musketeer.)

"Eh bien, Athos, Porthos, Aramis et d'Artagnan, en avant!" cria Athos.

*goosebumps*

A fine sword fight ensues with our four taking down five Guards and d'Artagnan saving a dramatically faltering Athos from getting skewered before Athos rallies and finishes the last bad guy off himself. Drama! Action! I love it all!🤩

Afterwards, our four triumphantly parade back to Tréville's, arms over shoulders, and d'Artagnan thinks that "si je ne suis pas encore mousquetaire, [...] au moins me voilà reçu apprenti, n'est-ce pas?" (If I'm not a musketeer yet, I'm at least an apprentice now, aren't I?)

*happy sigh*

[denimbex1986]

'When renowned screenwriter Steven Knight set about formulating what would become one of his best creations, the modern gangster classic television series Peaky Blinders, he had a very important choice to make. He already had his main character fully fleshed out: Thomas Shelby, an ambitious, emotionally shut off war veteran who conducts himself like he's already dead and living on borrowed time. Knight was deliberating between two very different actors when deciding who best had the skills to embody Shelby. One of these men was an icon of the Irish acting scene, able to be in almost any kind of film you can imagine. The other was an icon of the rough and tumble action film scene, equally capable of fighting off sharks and jump-kicking down doors. It was the matchup nobody could have foreseen, Cillian Murphy vs. Jason Statham.

A Text to Steven Knight Gave Cillian Murphy the Upper Hand Over Jason Statham

Knight has told the story that he was torn between going with either of these two masters of the brood and the grumbling voice. According to The Independent, he said that he "met them both in LA to talk about the role and opted for Jason...because physically in the room Jason is Jason." You have to imagine that what he means by this is that Statham is a very impressive physical specimen in person, and that his tough guy persona is not entirely an act. Knight followed up by mentioning how Murphy "isn't Tommy, obviously, but I was stupid enough not to understand that." In his defense, Murphy is an incredibly soft-spoken and gentle soul, leagues away from the calculating killer Knight was looking for.

Seemingly sensing a disturbance in the Force, Murphy decided to pull a true giga-Chad move to ensure he'd get the role. Knight said that one day he received a text from Murphy, and what did that text say? "Remember, I'm an actor." At that moment, Knight realized that Murphy "can transform himself. If you meet him in the street, he is a totally different human being." Knight was finally able to see past Murphy's introverted exterior and realize he had what it took to live up to the Peaky Blinders standard.

Jason Statham Is Best as a Likable Action Star

This is no shade whatsoever to Statham — who has his own certain set of skills he brings to the table — but he could not bring to Thomas Shelby what Murphy did. While it's true that Thomas is a ruthless man who's killed before and has it in him to kill again, he is above all else a politician at heart. He is strategic in his methods, completely closed off in his emotionality even to his own most beloved family members, and ruthless in who or what he will use as collateral in order to get what he wants. If ever there was a modern anti-hero of deeply questionable morality to rival the likes of Tony Soprano or Walter White, it's Thomas Shelby.

While Jason has played his fair share of guys who aren't afraid to kill people or do continuously insane things just to stay alive, he is almost always portrayed in a totally positive manner. He is the modern day equivalent of a Charles Bronson or a Steve McQueen, the likable gruff hero who is always up against meaner, more overtly evil enemies. Don't get it twisted — he's great in these roles, as his combination of street knowledge and his comfort with quips make him the rare action star that feels equally at home in both types of flicks. He can be both the hardened badass in Parker or Wrath of Man, but also be a more humorous and slapstick version of his persona in films like Spy or The Expendables.

There are two downsides to the image he's maintained. For one, there's a noted pressure for action stars to continue to do roles that keep their core fanbase happy. People like Jason Statham because they want to see him do Jason Statham-type roles, and taking a chance on a more outside-the-box character like Thomas could be seen as a risk for his career. Second, there's always an underpinning of likability to his characters — almost to a fault. No matter what he does, we always feel like the movie is approving of his actions, with rare exceptions. Even his most prominent villain role, Deckard Shaw in the Fast and Furious saga, had to become a full-fledged good guy at some point because audiences loved seeing him on-screen and interacting with the main cast so much. Audiences feel compelled to be on his side, regardless of the consequences.

Cillian Murphy Can Better Embrace the Small Scale

As Murphy himself professed, he is "an actor," which is an understatement if ever there was one. Cillian Murphy has steadily built a reputation for himself as one of the consummate actors of our time, slipping from super villain, to Irish freedom fighter, to space captain with an impeccable ease. Plus, despite Knight's hesitations over picturing Murphy as such a tough threat like Thomas, Murphy has actually had a great history of playing men of imposing force. Think of his terrorist Jackson Rippner holding Rachel McAdams hostage and surviving getting stabbed in the throat with a pen in Red Eye, or the steadily increasing violence and chaotic behavior of one of his earliest roles in Disco Pigs, or even the coke snorting, gun toting, walking red flag that is Tom in The Party. These may not be muscular bruiser types that can knock heads together with ease like Statham can in his sleep, but they are men who are all full of murderous drive, and know how to keep themselves composed and proper in various social circles, while also projecting a sense of constant calculation and the ability to hide true emotions from everyone in the room except the audience.

To make a long story short, Murphy can carry a scene in a smaller scale register than Statham can. If we see Murphy sit like a stone for an entire scene watching everyone else, we read this as him gathering knowledge, playing chess while everyone else is playing checkers. If Statham does the same, we expect him to find the right time to interrogate someone or get what he wants through sheer fisticuffs, or perhaps even find a way to witty banter his way out of the situation. While Statham can be a quite stern actor himself, his is more a barreling full force kind of focus, like a determined dog chasing a car. The ambiguous and slippery nature of Murphy's temperament is much more fitting for the kind of expert power player that Thomas Shelby winds up being.

Thomas Shelby’s Casting Came Down to a Matter of Fit Above All Else

None of this is to cast any aspersions on Statham's abilities as an actor, but instead to highlight that he simply wasn't as good of a fit as Murphy. Statham bringing a lot of charisma and physical threat to a starring role is great for a slice of pulpy fun like Safe, but not as fitting for a multi season character study of a broken man manipulating the world around him to do what he thinks is right, even if that means potentially turning against his own trusted allies. That kind of moral confusion and ping ponging of conflicting motivations and actions is much more suited to an actor like Murphy, as there's simultaneously no audience pressure on him to fulfill the role of a standard likable hero and more freedom for him and the writers to explore the darker potential of the character in a way that feels honest to the material. It's important to keep in mind that ultimately, it's not a matter of getting the biggest actor for the role, but the right actor. Cillian Murphy was the right man for the job, by order of the Peaky f***ing Blinders.'

[micahulrichdraws]

you collect warhammer too? AOS is superior

i just collected but don't play WHFB or AOS, and i'm hijacking this ask for a hot take, but I'm going there because this is a good art business allegory if you're as batshit as i am: in this essay i'm going to talk about how AOS is strictly a worse version of the WHFB setting as an art business and fantasy setting. AOS is a great example of why 'unique' doesn't necessarily mean 'good' - the idea of planes/realms/etc with some of the most forgettable characters somehow spun into a pseudo Heroes of Might and Magic-esque batshit setting. in order to get there though, we scrapped basically all of the unique and interesting parts of the Warhammer universe from an RP perspective.

the empire had a ton of awesome, unique, and straight up gorgeous art opportunities that the teams in the past squandered, and GW failed to make a relatable human faction (in marketing for any fantasy game IP most users will default to the most relatable, boring human possible) which lead to issues with the entire brand. instead of leaning into witch hunters, warrior priests, and completely forgetting about the other human faction of brettonia, they focused on producing a ton of monoposed forgettable foot soliders and created a barrier of entry that was insanely high. they failed to update their art line of some of their most iconic and unique ideas, like the Skaven/Greenskinz/Tomb Kings, and they sabotaged their own product and then replaced it with AOS.

AOS has the clunkiest design for story, lore, and entry point for anyone who wants to get into the expanded universe of the setting. the main 'human' faction, and faction that GW has their local shop employees and team market the most, are the Stormcast, which are a combination of their 40k space nazis mixed with roman armor. the stormcast are boring, unless you read a handful of books, which most people won't, and figure out what was retconned and what wasn't. From an art direction standpoint, they're boring: every model is identical, it's hard to tell two of them apart, and they all have the same structure, down to their description. during rebranding, GW scrapped a ton of the fun elements of the old factions (greenskins being ridiculous vs kruleboyz being just... generic mean mordor orcs) and benched a bunch of their past artistic successes (chaos dwarfs and skaven are two factions even people who aren't into the setting know, but either haven't had major model releases for decades or straight up were ignored). it makes it hard to expand the brand beyond being just a tabletop game, and why interest in any expanded stuff like video games or rpg systems doesn’t exist. The most popular games to come out of GW currently are all WHFB stuff, total war and vermintide. there's equal interest in a currently supported product as one that was retired, and a lot of the interest in the current product is updated models for the old product.

so here's my point in regards to why two nerdy ass miniature lines were a great masterclass in how to and how not to run an art business to me: If you are doing something that is different and it is working, keep messing with it and find what works and change what doesn't. Think about how people will view your art, and how they will be introduced to your portfolio - if it's a super high barrier of entry, a lot of people won't be able to access it, and if it's super low, people will forget about it and move on. Find a middle ground of accessibility while being true to your art - if your stuff is too abstract and you never share it, it'll be hard for folks to find and appreciate it. If you just create life drawings that could be confused for a homework assignment, most folks will think it's just academic and move on. Scrap the stuff that doesn't work, and double down on the stuff that does. Yes, some of your ventures will not be profitable, but you'll at least learn, and maybe even grow interest in the art you are making, which will lead others to help innovate it on their own and in turn help you innovate yourself. Other studios picked up the older Warhammer art and story, put their spin on it, and renewed interest in the main artistic brand, years after it had been retired. Other artists picked up on my designs, in the form of tattoos and clothing partnerships, put their own spins on them, and that introduced folks to what I do. Finally, be respectful of your audience. The team at GW chose to nuke their old setting in a way that offended a lot of their long time fans, in favor of what they hoped would be a more profitable business option, instead of listening to what the fans had been asking for in regards to expanding the setting. Your audience and your fans are what let you be an artist, without them you ain't anyone to share your art with. Thanks for coming to my TED talk.

PS: im a mordheim kinda dude

[thyandrawrites]

I do not believe in the anime's ability or desire to animate Dabi's Iconic Scene properly and am preemptively preparing for disappointment. It really feels like the animators do not give a fuck about him

I understand where you're coming from! I am similarly disappointed at the inconsistencies in style of the anime. However, I don't think that the quality of the animation has anything to do with caring about the characters, personally. Professional animators function on different logistics and motivation than fandom. Mostly, the main motivator is money. So for example they cut and rearranged mva to release the internship miniarc right before the release of the movie, because they had matching merch to sell and needed to milk that arc for all its worth. In comparison to the intership trio, the villains aren't nearly as popular with the fans, at least in Japan, so I can see Bones sacrificing the quality of the least profitable arc of the two at the time. Iirc, they also put the main team that normally worked on the series on the movie team, too. Likely for the same reason. Money.

So far, Dabi's scenes have been wildly inconsistent, but I would also say that during this season they're making more of an effort than usual to stay true to his original design. The episodes with Twice were mostly good, with the exception of a couple of frames that they animated independently, without manga panels as a basis. I noticed that they tend to struggle more with him when they don't have Horikoshi's art to base the animations off of, and I think that's a big part of the problem. But I also noticed that in almost all the scenes where Dabi has a big focus since pro hero arc, Bones has begun to draw him better imho

(this was season 5, when they were already producing the aforementioned movie on top of everything else)

Of course that's not to say there still aren't hiccups... but stuff like this little wink at manga readers here (the fucking rindou. I'm still not over it shhdhs):

gives me the tiniest bit of hope that they finally realized the relevance Dabi has in the story and are ready to treat him like a potential moneygrabber alongside the heroes. (+ Toga and Shigi anyway)

Anyway, none of that is to say that it's a bad thing per se to keep your expectations low. That way you can't be disappointed if we do get something that underperforms compared to the manga.

I am definitely guilty of being a hopelessly optimistic person, though. Taking into account the mixed results of this season, I think the chance of getting a satisfying Dabi's Dance are 50-50. I'd rather not be miserable as I wait for that episode to drop if I can avoid it, though, so I'm gonna keep a positive attitude for now