#but also...this is just rewatch

[swan2swan]

This shot is...well, it's a lot. Let's break it down:

FIRST: I wanna see the storyboarding for this. The direction. The concepts. They pulled off a 270-degree rotation in the whole environment to illustrate several beats of a fight scene. That's REALLY COOL, and a perfect use of the three-dimensional medium. That's the ambition I love to see.

However, the ambition is...well, obviously limited by the assets. It's a big void. We know from the movie just how much more complex the wreckage of Main Street is, and everything just sort of hits the pavement...

...BUT speaking of hitting the pavement, the camera shakes when it gets close to Rexy's feet. They went into this shot and said "When the camera gets close, shake the camera to simulate the weight." It might also just be because of the proximity, but the camera shakes when Rexy snaps her jaws shut--which any Jurassic superfan will know was a brilliant technique used in the final battle of the original Jurassic World.

Now, the character movements are...somewhat choreographed, it feels, but there's also a definite path to all of them. Mitch and Tiff run, Tiff runs into a table. Throws the table, which turns upside-down (the camera even passes in front of it!), runs, panicks and covers herself as Mitch running in from behind an umbrella, Mitch stabs Rexy, who gets mad, throws the table in pain, and the table lands on the guns Sammy is carrying, yanking her back. Darius has to come and rescue her.

Final point: I love that Rexy is using everything in this battle. Teeth, legs, tail, she's a machine. She's a Boss Battle, and the crew is struggling to escape and stay alive.

[pineapple-frenzy]

Book 2 au with Zuko and Katara Lee and Huamei

Katara is separated from her friends, and so she's left to travel the earth kingdom on her own. She stumbles across Zuko, who is similarly travelling on his own. They decide that pairing up and travelling together would be best

[madscientistenthusiast]

Personally I think that Azula should have been redeemed simply so that she can become Zuko's horrible little advisor who whispers evil little plans to him so that he can do the exact opposite

[stil-lindigo]

mumbattan's one and only pavitr prabhakar!!

prints

[noodles-and-tea]

This trope would be so funny for them

[stromblessed]

Mizu, femininity, and fallen sparrows

In my last post about Mizu and Akemi, I feel like I came across as overly critical of Mizu given that Mizu is a woman who - in her own words - has to live as a man in order to go down the path of revenge.

If she is ever discovered to be female by the wrong person, she will not only be unable to complete her quest, but there's a good chance that she'll be arrested or killed.

So it makes complete sense for Mizu to distance herself as much as possible from any behavior that she feels like would make someone question her sex.

I felt so indignant toward Mizu on my first couple watchthroughs for this moment. Why couldn't Mizu bribe the woman and her child's way into the city too? If Mizu is presenting as a man, couldn't she claim to be the woman's escort?

However, this moment makes things pretty clear. Mizu knows all too well the plight of women in her society. She knows it so well that she cannot risk ever finding herself back in their position again. She helps in what little way she can - without drawing attention to herself.

Mizu is not a hero and she is not one to make of herself a martyr - she will not set herself on fire to keep others warm. There's room to argue that Mizu shouldn't prioritize her quest over people's lives, but given the collateral damage Mizu can live with in almost every episode of season 1, Mizu is simply not operating under that kind of morality at this point. ("You don't know what I've done to reach you," Mizu tells Fowler.)

And while I still feel like Mizu has an obvious and established blind spot when it comes to Akemi because of their differences in station, such that Mizu's judgment of Akemi and actions in episode 5 are the result of prejudice rather than the result of Mizu's caution, I also want to establish that Mizu is just as caged as Akemi is, despite her technically having more freedom while living as a man.

Mizu can hide her mixed race identity some of the time, and she can hide her sex almost all of the time, but being able to operate outside of her society's strict rules for women does not mean she cannot see their plight.

It does not mean she doesn't hurt for them.

Back to Mizu and collateral damage, remember that sparrow?

While Mizu is breaking into Boss Hamata's manse, she gets startled by a bird and kills it on reflex. She then cradles it in her hands - much more tenderly than we've seen Mizu treat almost anything up to this point in the season:

She then puts it in its nest, with its unhatched eggs. Almost like she's trying to make the death look natural. Or like an accident.

You see where I'm going with this.

When Mizu kills Kinuyo, Mizu lingers in the moment, holding the body tenderly:

And btw a lot of stuff about this show hit me hard, but this remains the biggest gut punch of them all for me, Mizu holding that poor girl's body close, GOD

When Mizu arranges the "scene of the crime," Kinuyo's body is delicate, birdlike. And Mizu is so shaken afterward that she gets sloppy. She's horrified at this kill to the point that she can't bring herself to take another innocent life - the boy who rats her out.

MIZU'S ONE MOMENT OF SOFTNESS AND MERCY, COMING ON THE HEELS OF HER NEEDING TO KILL A GIRL TO SPARE HER THE WORST FATE THAT THIS RIGID SOCIETY HAS TO OFFER WOMEN, AND TO SPARE A BROTHEL FULL OF INNOCENT WOMEN WHO ARE THE CASTOFFS OF SOCIETY, NEARLY RESULTS IN ALL OF THEIR DEATHS

No wonder Mizu is as stoic and cold as she is.

And no wonder Mizu has no patience for Akemi whatsoever right before the terrible reveal and the fight breaks out:

Speaking of Akemi - guess who else is compared to a bird!

The plumage is more colorful, a bit flashier. But a bird is a bird.

And, uh

Yeah.

I like to think that Mizu killing the sparrow is not only foreshadowing for what she must do to Kinuyo, but is also a representation of the choice she makes on Akemi's behalf. She decides to cage the bird because she believes the bird is "better off." Better off caged than... dead.

But because Mizu doesn't know Akemi or her situation, she of course doesn't realize that the bird is fated to die if it is caged and sent back home.

Mizu is clearly not happy, or pleased, or satisfied by allowing Akemi to be dragged back to her father:

But softness and mercy haven't gotten Mizu anywhere good, recently.

There is so much tragedy layered into Mizu's character, and it includes the things she has to witness and the choices she makes - or believes she has to make - involving women, when she herself can skirt around a lot of what her society throws at women. Although, I do believe that it comes at the cost of a part of Mizu's soul.

After all, I'm gonna be haunted for the rest of this show by Mizu's very first prayer in episode 1:

"LET" her die. Because as Ringo points out, she doesn't "know how" to die.

Kind of like another bird in this show:

[comradekatara]

wake up sheeple !! the notion that katara is the overbearing, responsible member of the group was a lie peddled by Big Toph to distract from the fact that the actual overbearing, responsible member of the group (sokka) also happens to be her favorite.

[lotus-pear]

lore accurate teen soukoku. the worsties ever

[jesse-is-inarguably-purple]

imagine ur garthy o’brien, just trying to fuck this hot ranger you met at your brothel that you own, except her teenage kids/wards/bosses keep knocking on the door to your bedroom and interrupting you guys and THEN you learn that she’s actually in a committed relationship but didn’t tell you, so THAT sucks but THEN one of the teens comes and finds you in the middle of the night yelling about how his friend is gone and they can’t find him and he might be in danger, so you help him teleport to his friend, and then when they all get back, looking extremely upset and dejected, you apologize to the ranger’s daughter for making her feel uncomfortable by fucking her mother and in the process SHE reveals to you that her mom’s boyfriend is actually this really cool werewolf guy that you KNOW and have fucked on multiple occasions

[malpracticinghomosexual]

જ⁀➴

[shesnake]

24 hour time loops: not long enough to create or undo anything permanent, crazy-making but often still funny

365 day time loops: the most fucked up shit you could possibly imagine

[unkreativstermensch]

Corroded Coffin making it big after touring with Metallica, but at this point they’re basically immune to being starstruck ever again (because…well, they’ve toured with Metallica) so they’re pretty chill around famous people.

Fast forward to an award show a couple months later, Eddie brings Steve, Steve brings Robin and while Eddie just mostly stays at their table chatting away with Jeff and James, Steve and Robin get drunk and go absolutely ballistic.

Running around, stealing bread from all the other tables, and doing shots with everyone who’s willing to put up with their antics. At some point Steve comes up to Eddie, hands on his shoulders, excited and giddy and tells him, „Hey Eds, I just talked to Rick Astley! He’s such a nice guy. Robin told him he should release a negative version of his song and just sing ‘then im gonna give you up, then im gonna let you down’ and he actually seemed to consider it as an April Fool’s joke or something.”

And Eddie just looks at him, an amused, fond smile on his lips, says, “that’s great, baby, m’glad you’re having fun“ and presses a kiss to Steve’s neck, before turning around again, resuming his conversation with Kirk about about a song idea.

[themadknightuniverse]

Sun and Moon

[slushglow]

where are my edward elric fans in the crowd tonight

[umblrspectrum]

hi heres art so you pay attention to me now go read the tags

[goblins-riddles-or-frocks]

forever obsessed with dynamics between vampires, specifically that of a maker and fledgling, as a way to explore abuse. the creation of a vampire itself can so easily be a literalization of the lasting impacts of trauma and also much more simply the ways a perpetrator might shape their victim’s very identity. the extremes of isolation in the way that the new vampire, in most narratives, must cut all ties to their mortal life, or else go through an elaborate charade to maintain the facade of humanity, while forever still being removed from it. and the sheer dependence and vulnerability of being in an entirely new state of being, wholly uncertain of what it entails, and relying on another person to define… everything.