#but slapstick can still work

[angstphilosophy]

idk what hopes I’m supposed to have for the Darkwing reboot but maybe I would’ve liked to see Francisco Angones on the team for it. idk. 

I just think that the way they were more emotionally serious in Ducktales 2017 while also still maintaining and using modern humour to balance it out made Ducktales aged well and I would like to see that with the Darkwing Reboot as well

also Drake and Launchpad’s relationship starting out equal instead of Launchpad hero idolising him and Drake having to push himself to meet that expectation was a great change they made in Ducktales 2017 and I would’ve loved to see that continue

[sailorstarr-chan4]

Food for thought: I think the reason people hate that Moroha gets the Slapstick Comedy routine is because, well….. she's a girl. Usually that role is reserved for boys.

Think about it: almost every single shounen male protagonist gets whacked upside the head (or kicked to kingdom come -- or every variation in-between) in practically every episode of their shows. Whereas, violence towards women in these sorts of anime is either taboo and is called out by other characters, shown to be physical or (god forbid) sexual assault, or simply not happen at all. If anything, slapstick violence is often perpetrated by women, against men assaulting them (or men perceived to be a pervert).

So even comedic, not-to-be-taken-seriously "violence" towards characters like Moroha is upsetting to viewers who are not used to women being used for slapstick.

[loveinhawkins]

Barely ten minutes into the hike from Skull Rock to Lover’s Lake, Dustin heaves a sigh like he’s the most long suffering person in the world to ever exist. Steve rolls his eyes.

“Jesus Christ, Henderson, what?”

“I’m bored.”

“God, you’re such a whiner. No, you—you’re like a little kid on a road trip, like, are we there yet?”

Behind them, Max and Lucas snort in almost perfect unison.

Out of the corner of his eye, Steve sees Eddie’s lips twitch into the faint semblance of a smile. It’s very quick, blink and you miss it, before he turns sombre again, looking down at the forest floor. Steve can’t blame the guy; he can’t imagine that he has all that much to smile about.

“I just meant,” Dustin says, “that we could use some entertainment.” He jerks his head meaningfully at Eddie—who thankfully still has his head down so he can’t witness this tremendous lack of subtlety—and mouths, You know, a distraction.

“And I’m the entertainment guy,” Steve says flatly.

“Well, we’ve gotta keep you around for some reason,” Lucas pipes up.

Steve turns around, walks backwards so he can point warningly at him. “Thin ice, Sinclair.”

But it’s all for show, and he keeps walking backwards, pretends to trip on a tree root and narrowly avoid a pratfall. Max actually giggles at that, which is a victory in and of itself, but Eddie’s looking down at his feet.

Hmm.

“If I wanted slapstick, I would’ve called Charlie Chaplin,” Dustin says.

“He’s dead,” Max points out.

Dustin quickly draws a hand over his neck, Cut it out. Which—yeah, that’s fair. Don’t want the conversation straying into stuff that’s too close to… everything.

“So you want education instead?” Steve says. “I think I can remember how to identify, like, some trees and shit from—”

“Forget Lover’s Lake,” Dustin says, “I’m walking you straight into a retirement home.”

Steve opens his mouth, ready to play up his outrage, and then he hears a very soft chuckle from the side. Eddie.

Steve catches Dustin’s eye, winks briefly in reassurance. Nice work.

“Oh, sorry, is that not entertaining enough for you?” Steve turns so he’s front facing again, kicking a few stray twigs as he thinks. “Uh… ooh, did I tell you about the affair? At work?”

“Someone’s having an affair at Family Video?” Lucas says, sounding disgusted.

Max cackles. “The scandal! At a family establishment, no less.”

Dustin points at her. “See, this is why you should play D&D!” he says, annoyingly sing-song. “You’ve got a flair for words.”

“How about I stick my flair right up your—”

“Uh, okay,” Eddie interrupts suddenly. “I need details.”

Aha, Steve thinks, smug. Got you.

“Fire away, Munson.”

“Did someone, like, confess to you while you were ringing them up?”

Steve scoffs. “No, it was—” He cups his mouth, calls, “Hey, Rob?”

Up ahead, Robin and Nancy turn.

“What?”

“The affair shift.”

“Oh!” Robin whacks Nancy on the arm in her enthusiasm. “This is such a good one. Okay, so am I gonna be her or—?”

“No!” Steve says. “You’ve gotta be me, you can’t do her voice right.”

“Ugh, fine, fine. Wait, I need to get into character.��

Robin makes a show of ruffling her hair, and Steve doesn’t even roll his eyes, can only grin as he hears Eddie cough a much stronger laugh into his elbow.

“Nance, count us in,” Robin says.

Nancy looks a mixture of surprised and amused. It only takes a moment of hesitance before she mimes holding a slate, mouths counting down. “Action!”

And they’re off.

It’s probably so stupid, Steve thinks, to be this loud right now, but he can’t bring himself to care—not when he can hear raucous laughter from all directions: Robin captures his flustered, wide-eyed look, while he dramatically re-enacts a woman storming into the store, demanding to see her husband’s account.

And he thinks Eddie actually laughs the loudest when he gets to the reveal: that said account was full of romantic movies the married couple had never seen together.

“Not one,” Steve echoes—and not to brag, but with this delivery? Juilliard, eat your heart out. “Not. One!”

The kids dissolve into more giggles; Robin fights to stay in character as Nancy jokingly calls, “And, scene!”

And Eddie throws back his head, and laughs and laughs.

Happiness is a good look on him, Steve thinks.

They all quieten eventually, but a lightness in mood still remains, as the kids huddle off together—“Hey, shitheads, not too far!” Steve says, far from the first time—and Eddie sidles up, fleetingly knocks their shoulders together.

“Steve Harrington. Who would’ve thought it, huh?”

“Thought what?”

Steve glances over at him, suddenly struck by the fact that the sun will go down soon; and he doesn’t really need to know what Mordor is to know that he’d rather not get there. That he’d rather freeze time, so they could all just walk in the woods forever.

Eddie shrugs. “You’re a good storyteller.” His eyes are soft, like that isn’t all that he’s saying. Like he’s saying Thank you.

Steve shrugs back. “I’m a man of many talents,” he says.

Eddie chuckles, and this time his smile doesn’t fade away.

Steve allows himself a moment or two to admire the scenery, and if that means looking less at the way the sun still shines through the gaps in the branches, and more the way that it illuminates Eddie’s lingering smile, well…

Well, so what?

Right now, we’re happy, Steve finds himself thinking.

They can stay in the Shire for a little while longer.

[yamujiburo]

Some of this might sound intentionally hostile in text and I apologize.

I'm saying this as an abuse survivor mind you - don't throw "abusive ships" under the bus so easily - at least, so long as they're not actually glamorizing the abuse. I lived that irl and I personally find someone overcoming it, slowly having enough of that bullshit and getting out over time, and the other person having to wipe their own butt for once after they've made the damn mess, very refreshing. Maybe that's not a ship in the traditional sense. It's no happily ever after bc it shouldn't be, but I find stories like mine shyed away from so often because even the portrayal gets considered a "canon ship". ... that's just how media works now, I guess? I very rarely See a fictional relationship not called a ship in literally any context now so that's the definition I'm running on.

I wish more people were willing to portray the hardships of finding acceptance outside of "whoever you can find will accept you" very much, and finding the better things after. I wish people weren't terrified out of portrayimg situations like mine.

Jessie.. is not a good person in canon. You expect me to believe she moved into to hanamusa seamlessly, without falling on her ass? I never see you talk about Jessie's abusive tendencies in canon. You never talk about the inherent meanness she needed to get over to get there. She's quite aml lot like my ex in canon, actually.

What do you mean you're going to just remove from the character that she is abusive to those around her. Jessie hits people. She takes her own junk out on others all the time. Do you even like the character then, are you actually invested in her growing, or are you just making an OC at this point?

Idk. Do you, boo. But you are posting about a character who, whether you like it or not, is canonically abusive. I just don't buy that dating Ash's mom alone fixed her. That isn't... How that works. It would be excellent if it did. Part of my love of hanamusa is that it signals Jessie's change - but she could have changed for anyone before now.

What makes Delia different? How is she specifically a turning point for Jessie? Because Jessie's flaws go well beyond just bossing people around.

I would love if my abuser had the same outcome as your Jessie. I adore your portayals of hanamusa, where she's still flawed but still strives to do better. That's all I ever wanted from my ex.

What the fuck got her there tho.

Anyways I've been watching a lot of Bojack Horseman lately -

I agree with you! I don't think abusive relationships (or any tough subject matter in general) should be shied away from in media. It can be powerful when executed well and written by folks who are equipped to tell those kinds of stories. I do think it's sad when people treat it as off limits. But the ask I got was definitely more about which ships I have where I actually like the relationship between the characters. I think the semantics of the word "ship" are kind of vague or rather, over time, got so specific to only mean "absolutely love together and want them as endgame" (for most people anyways). So that's usually what I take the word to mean when people ask me about it.

I can 100% appreciate how an abusive relationship is written and handled, but that doesn't mean I'm gonna ship an abuser with their victim (that falls into the glorifying you're talking about). Love Bojack Horseman! Big fan! I think the way they handled Bojack and Sarah Lynn was beautifully and tragically well written. But does that mean I ship Bojack and Sarah Lynn? Absolutely fucking not.

I've talked about Jessie's character plenty on this blog and the way she's handled in earlier seasons specifically. This is kind of a summary: If we look at it on surface level, yes we can say she was abusive. But I think it's important to acknowledge and take into account the medium, time period and culture. Slapstick and cartoon violence was HUGE in anime and animation in the 90s (and prior to that too). Characters were always cartoonishly slapping each other around with giant mallets, folding fans, etc. Looney Tunes style. These slapstick bits were always distinct from real abuse and hurt (for Pokémon, Jessiebelle comes to mind). Mean slapstick wasn't a character trait exclusive to Jessie either. We saw it in Misty, James, Meowth, characters of the day and pretty much any character who got mad. It was a visual shortcut to show anger.

This type of slapstick has since (thankfully) died out and it hasn't really been a part of the Pokémon franchise since the early 2000s. However, Jessie was a notably special case. One of my favorite fun facts about the Pokémon anime is that there was a point in the series where Megumi Hayashibara (Jessie/Musashi's seiyuu) told the writers that moving forward, she no longer wanted Jessie to be violent or to be shown hitting James or Meowth (source: her memoir "The Characters Taught Me Everything"). She thought it directly went against the vision Takeshi Shudo had for Jessie, James and Meowth, when he created them, which was that they are good natured villains. If you watch from DP and on, Jessie never lays a hand on either of them. I think it was a such a good move on Pokémon's part to change her character like that and I'm forever grateful that Hayashibara said something! Whenever I write Jessie now, I always keep that in mind. She's mean, shouty and stupid but would never genuinely hurt those she cares about.

From then, her character becomes much more bearable. She's still bossy, mean and vain (typical cartoon villainess attributes) but I'd hesitate to say abusive. She'll still yell at James and Meowth, they all yell at each other, but in more of a sibling way (imo) rather than a "i'm actively trying to hurt your feelings way". The show makes a point especially in later seasons to show that Jessie, James and Meowth are not beyond being redeemed. From conception the whole POINT of the Team Rocket trio was that they are redeemable but their persistence and obsession keeps getting in the way of them seeing that there's a better life for them out there.

I won't deny that Jessie was unsavory in earlier seasons, but when I write her, I choose to write the version that Takeshi Shudo and Megumi Hayashibara had envisioned from the get go. She's still incredibly flawed and makes plenty missteps but wants to be better as you stated! My favorite part about Jessie is that she's a piece of shit LOL and I enjoy writing the changes she goes through to be better (but then still showing her default so some of her evil tendencies). In this AU, Delia doesn't fix Jessie. Jessie fixes Jessie because she is with someone makes her want to be a better person. She's already in the middle of turning over a new leaf before even meeting Delia, after leaving Team Rocket. Writing Jessie as legitimately abusive I think could work, but that's not my story to tell and if someone who were more equipped to tell that story did, I'd be very interested to take a listen!

I hope this doesn't come off as trying to deny or invalidate your experience. If you see that in Jessie, I hear you! This is just how I've interpreted her character over the years, having watched every episode of Pokémon and reading Japanese interviews from the cast and crew. She's such a compelling character and I love how messy she is

[kcggggg]

Starting February 2024: Me & You.

From its webtoon description:

A cat chases a mouse, Forever. Focusing on that dichotomy, we explore the yin and yang of slapstick and ask if there will always be conflict no matter what we do in our lives to avoid it.

Started in 2022 as a patreon-only, improv comic, where each page was drawn with no real planning to the next, it has amassed to the point where I feel the need to show more people. So next year, I'm gonna start doing so.

You can also join my patreon for as low as $3 to support me and see all the pages from it I've done (116 pages) and more as I post all my work there first.

Also this project originally started in 2019 with two mini comics, then stalled out in 2020 for some reason. Regardless, you can read those earlier two minis here.

If tumbr's still kickin', I'll be postin' them here.

[blueberry-lemon]

An introductory guide to getting into Sonic the Hedgehog...

…if you're a grown-ass adult who is busy and doesn't want to play a bunch of video games but thinks the characters look sorta cool.

If you've ever been curious about Sonic as a series but haven't known where to start, I have some recommendations! I think Sonic is a cool and still somewhat unique thing because it takes cartoony characters (like a Mickey Mouse or Felix the Cat) and lets them jump around in cool action sequences through the lens of a shonen anime. It's colorful and usually pretty light-hearted, and I think the character designs are pretty iconic.

There's two handy places you can start without prior context, to see if it's something you'd be into...

Getting Started: If You Wanna Read Something

The IDW Sonic Comics

There were years of different Sonic comics back in the '90s and early 2000's, but the franchise got a complete reboot and fresh start with IDW Publishing in 2018. If you're looking for the most straight-forward way to get into this world of characters, I think this is a great start. You don't need any prior knowledge whatsoever to crack open issue 1 and get started. All you need to know is "Sonic and his friends protect the world by fighting against an evil scientist named Dr. Eggman, who they just recently defeated after he briefly took over the world."

I love these comics and I feel that the writers and artists who work on it have a really good sense for this series. Reading issues 1 through 12 will get you the first major story arc. If you like it so far, I highly suggest reading up through issue 32, when another major story arc concludes. After that, the world's your oyster! Unlike the tangled web of Marvel or DC comics, IDW Sonic has a very simple and linear reading order. You pretty much just read the issues in order, and occasionally there are spinoff stories that are optional to read.

Getting Started: If You Wanna Watch Something

Sonic Mania Adventures

Maybe comics aren't your thing and you want something even quicker. These are a series of animated shorts that are lovely. Conveniently, they've been compiled together by Sega into one little video right here.

It's a great intro to some of the main characters, and combines cartoon slapstick with some amazing action sequences.

There's also a nice little epilogue short.

Sonic CD's intro cutscene

If I had to pick a single 1-and-a-half minute clip to embody what I like about this series, it would be this very simple intro movie that plays before Sonic CD. Check it out!

Sonic Origins/Sonic Origins Plus Cutscenes

In 2022, Sega released a compilation of the classic Genesis games on modern consoles. In it, they added a few animated cutscenes. You can watch those cutscenes, plus the Sonic CD intro and the Sonic Mania Adventures episodes, all compiled into one handy Youtube video.

Taking The Next Step: If You Wanna Read Something

The Archie Sonic Comics

You might have heard that Sonic had a comic series published by Archie Comics from 1992 to 2016. This was a vast, overarching series that wrote an original story by weaving together ideas from the different Sonic cartoons and games. It went through several different writers, many different artists, and obviously spanned over multiple eras of pop culture.

It's pretty cool! The fact that it was so long-running, and the fact that Sega wasn't very strict with what the writers could do, led to a lot of buckwild lore, new characters, and plot developments. That said, it's also pretty bizarre, complicated, corny, and cringey at times. There is a stretch in the middle that is pretty infamous among fans.

You have a few options for jumping in.

Option A: You can start at the very beginning and read all of it. If you do this, it is going to be like a One Piece / Homestuck / etc. kind of undertaking, and you're going to be pushing through the good and the bad of huge genre and tone shifts. That's your call!

Option B: You can brush up on the main characters on a wiki and then start at Issue 160, when Ian Flynn (who now does a lot of work on IDW Sonic) became the lead writer. More specifically, you can jump in at the start of a new story arc by starting at Issue 175.

Option C: You can start at Issue 252, when there is a universe-altering event that essentially retcons all of the characters and plot threads from the previous writers and starts completely fresh. Easier to keep track of and you won't have to worry about all the previous plot and lore.

If you want something you can read in a single sitting, you should instead read Sonic: Mega Drive, a short-lived miniseries published by Archie that follows "Classic Sonic" characters (aka, the same vibe and art style of Sonic Origins, Sonic Mania Adventures, etc.) It's really great!

Taking The Next Step: If You Wanna Watch Something

Sonic the Hedgehog (OVA) aka "Sonic the Hedgehog: The Movie" (1996)

This is, essentially, a 1-hour Sonic anime movie. You can watch it in Japanese or in English. I adore it. It makes up its own lore and continuity so you don't need to know anything before going in, besides generally knowing a one-sentence synopsis of who Sonic, Tails, and Dr. Robotnik are. It's action-packed, well-animated, and has great music. Enjoy! Sonic X If you're enjoying what you've seen so far, and you want something much, much longer...there's an official 78-episode anime adaptation of Sonic called Sonic X. It's an original story that loosely pulls together some ideas from a few of the games. It's mostly intended for a younger audience, but I hear if you watch it in the original uncut Japanese, it feels a little less "for kids."

Other Ways To Get Into Sonic

There's some great video essays on Youtube about the series!

Professional animator Dan Floyd did an in-depth video looking at the highs and lows of Sonic character animation in the games starting from Sonic 1 up through Sonic Forces.

Super Bunnyhop plays through the first level of a bunch of Sonic games to compare how the mechanics, physics, and level design feel throughout the games' history.

Liam Triforce has a great deep dive on the franchise's music.

You can play The Murder of Sonic the Hedgehog, a murder-mystery-party themed visual novel put out by Sega. It's nice and short, so you can finish it in an afternoon.

If you haven't seen them already, you can check out the live-action/animated hybrid films Sonic 1 and Sonic 2 featuring Ben Schwartz and Jim Carrey, they're pretty good. That Sonic Prime cartoon that's currently on Netflix is pretty good too.

This may sound strange, but honestly you might enjoy poring over the sprite sheets from the old games. In particular, I really like the sprite animations from the GBA games, like Sonic Advance and Sonic Battle.

Sega is pretty lax about allowing noncommercial fan games, so there's at least a hundred different Sonic fan games out there by hobbyist developers. Check out the Sonic Amateur Games Expo and the Sonic Fan Games HQ.

You can watch LPs or cutscene compilations of the games on Youtube! If you watch Sonic Adventure, Sonic Adventure 2, and Sonic Heroes, you'll get a crash course on most of the characters.

And finally, of course...you can play the games if you want to! There's a number of them that are available on Steam, Switch, Xbox, and Playstation if you don't have access to older consoles.

There's a lot of different angles to come at Sonic as a franchise, and lots of different entry points. Have fun!

[lillified]

Just curious, why do you ship Megastar?

[long post incoming, apologies, you activated my sleeper phrase]

Short answer: I like these characters and their potential. I like the idea of them, and I made up new versions because I want to see their dynamic and subtext taken seriously, and not flanderized/made into a meanspirited joke by media that is supposed to be "mature"

Long answer:

when i was watching transformers as a kid i was really interested in the dynamic of two characters who are mean and jaded and instinctively push eachother away, but work extremely well together. i didn't really understand coding yet, but in my interest in the decepticons as an entity with an ideological identity that wasn't just "bad guy" (transformers was like. the first time i really started thinking about deeper meanings and propaganda in media, which probably explains why i am as obnoxious as I am) I was always sad with how megatron and starscream never really got the chance to have their dynamic approached in a different way. in a lot of ways those two are the heart and soul of the decepticons, and I've always thought that putting more care and attention into their relationship and not just writing it off as a cruel plot device would be the first step in having a more compassionate view of the Decepticons as a whole

personally I believe that, in a similar way to batman and the joker, those two have always had a dynamic that kind of blurs the lines, and at times is outright suggested. unfortunately though, like batman and the joker, over time an unwillingness to engage with the reality of that uncomfortable, sort of meanspirited coding just led to the near-sighted stereotyping becoming crueler and more abusive. acknowledging that it exists at all means acknowledging there was that bias, so the "joke" was just repeated until it became the only thing their interactions were really known for. it's an act of flanderization, and that makes me sad

i guess my case in point is--they have a lot of potential that just isn't realized. even in places where their relationship is given depth there's still almost always this really tonally dissonant violence to their interactions that's never unpacked, not really, because how are you going to sell toys of that? moreover, how are you going to make megatron "redeemable" after that? what could be considered strange, poorly executed slapstick in its origin became aesthetically worse and worse, but was never given serious thought--and I think that makes the story, overall, worse! "maturing" the brand didn't make it smarter, it just made an elephant in the room, and now Transformers is so locked in to its decided status quo that we haven't had a different perspective on any of these characters since Animated.

I apologize for the rant, but it's something I think about alot and your question is somewhat related to that. I'm frustrated by how dismissively these characters are written in versions of Transformers that are supposed to "smart" and "mature", I'm frustrated by how that negatively impacts the story, and I'm frustrated by how the people who like these characters can be dismissive of it. I think there's a lot of story potential and thematic insight into the decepticons that can be gained by looking at these two as characters with a history, and not just a bad joke! I think that you can have all the best parts--the sabotage, betrayal, bitterness, and the irony of someone you refuse to trust who still manages to know you better than anyone else, and have that shown through actions and character development, and actually written instead of having to be overscored by unintelligible violence for the sake of being "dark" and reaffirming, in the cheapest way possible, that you're looking at characters who are evil! I want to see that in a story!

my work is honestly not really about what I think transformers IS, or HAS to be, but what I think it has the potential to be, and what my interpretation of the themes means to me. I want to see all of the Decepticons viewed with a different lens, and these two are probably the most important Decepticons, both on a story/thematic level and a cultural one. transformers was the first piece of media I was really consciously critically thinking about, entirely by chance, and in the interest of art and human expression I want to make something different that is interested in being more thoughtful

anyway, sorry again for rambling. I might delete this later to keep my page clean, but I appreciate the question! I'd give more specific examples of why I like the stuff I made up but those would be spoilers.

[crowfeatherquill]

The Joker is a Shitty Clown

Honestly, this one's just a bit of fun. There's a post floating around somewhere about the Joker getting chased down by a bunch of professional clowns wearing his makeup because he never submitted an egg to the...clown...council (I don't know that it's actually called the clown council). This is semi-related to that.

--

“The Joker is a shitty clown.”

When he says it, the room falls silent. Deathly, even, by some estimates, although those could be classified as a tad dramatic. Jason stares, speechless. Damian does not appear to have noticed that anything is wrong. Tim is the first to speak.

“Do...you want to elaborate on that?”

Dick seems to realize in that moment that the non-sequitur has landed him right at the center of a very dense emotional minefield. He considers that acrobatics run in his family. He considers further that so do unfortunate acrobatic accidents. He chooses his next words carefully.

“I mean first of all he’s not even funny, and that’s, like. Rule one. No clown I ever met had to drug people to get them to laugh at their jokes.”

Realization dawns over Jason’s face like a storm breaking and Tim, diplomatically, chooses not to comment on the way he bites the inside of his cheek to try and fight a smile. He figures it’s fine to let Dick sweat a little over this particular topic -- after all, the Joker is a pretty big sore spot for about half the room, and Dick is not generally so quick to shove his foot all the way down his own throat.

Unsure of his standing and desperate not to lose it, Dick presses on.

“And beyond that, he doesn’t have a gimmick. He doesn’t have a character. There’s no consistency, it’s just...chaos. Which I’ve only seen done well maybe once and to be honest it’s so much extra work and for a beginner, I just- I dunno, it seems like a bad move-”

Jason can’t quite keep back a snort. He tries to cover it with a cough, but Dick knows exactly what the sound means. Jason, smartly, does not attempt eye contact. He prefers to leave the manor on his own terms, and with some of his pride still intact.

“Beginner. Unbelievable…” Tim mutters, but even so he finds himself intrigued. He hadn’t realized Dick had such strong opinions about clowns, although he’s not sure why he’s surprised, given the whole circus-kid thing.

Dick, sensing victory is close at hand, leans forward to deliver what he hopes will be the final blow.

“I’ll bet he doesn’t even know about clown college.”

This is not quite enough to break Jason’s iron will, but it’s a close thing, and Tim affords himself a wry smile. He’s always been the easier of the two of them when it comes to Dick’s antics. 

Dick preens in that self-satisfied big brother way that only he can ever seem to pull off and leans back in his chair.

“Once. Just once I’d like to see that hack do an actual routine.”

“For all his glaring faults, I am forced to concede that the howling menace does appear to have grasped one pillar of the art,” Damian says, primly, looking up from what he’s reading.

Tim raises a questioning eyebrow, and Dick tilts his head, taking on the humor-them expression he wears when he thinks he knows better than his younger siblings. Jason still looks inches away from another untimely death and is therefore ill-equipped to respond in any way that isn’t rigid denial of the near convulsive way his shoulders are shaking.

“Oh? And what’s that, Dami,” Dick prompts, and if he wasn’t so sickenly good-hearted it would almost sound patronizing.

Damian looks at Jason, eyes boring into him like little green needles until Jason meets his gaze. His expression does not change when he speaks.

“Slapstick.”

There is a moment of silence so complete you could hear a pin drop from the other side of the manor. And then Jason is howling with laughter, and Tim can’t help but laugh too because holy shit, and Dick is sitting dumbfounded in his chair, gaping at their youngest brother, who merely gives an imperceptible twitch of the corner of his mouth and returns to his book.

[physalian]

Writing Tone in Fiction (Or, Pacing your Story, Part 2)

See this post all about pacing and as the two go hand-in-hand. If you read that, I may repeat myself a little here. Tone, and how abruptly you change it, how radically you change it, and how you break it whether on purpose or on accident says a lot about your experience as a writer, and how well you planned out your plot.

**Trigger warning for mentions of mature themes**

What is Tone?

“Tone” is the maturity of the work, signaling whether or not your characters have to censor themselves for young readers. It’s also restricted by the genre, whether this is a comedy and what kind – slapstick or gross-out humor – or a scary movie about ghosts, but not graphic body horror. It sets expectations about the amount and degree of romance readers can expect, if the scene will fade to black before anything happens or if you’re in for a raunchy sex scene, or somewhere in the middle. It also helps audiences gauge whether or not characters can die in this universe, and how graphically if they do beyond Disney’s tried and true “villain falling ambiguously from a tall height” deaths.

OSP recently did a piece on Tone Armor, a device similar to but less obvious than Plot Armor where the established tone means that, no matter how dire the circumstances, your hero won’t actually die, the world won’t actually end, and a happily ever after is on the horizon. Red also discussed what happens when you break your established tone with the shocking death or mistreatment of a character, but more on that later.

How to Decide Your Tone

Depending on your genre and intended audience, content for younger readers demand quite a bit of censorship (though can get away with many, many things worse than death). In the US at least, movies go through the MPAA rating system to determine what’s permitted by the rating given – how many swear words, whether you can show blood, topless women, graphic assault, graphic violence, if and how characters can be killed or how gummy and resistant to damage their bodies are.

If you’re writing for children, you both have less freedom to write violent carnage, and more freedom to get really creative within the limits of your tone box. I can expect the kid protagonists of my fantasy adventure to murder countless monsters that dissolve into gold dust, not bloody carcasses. I can expect the villain to perhaps die from a stab wound, but probably not get decapitated, disemboweled, or drawn and quartered, at least, not ‘on screen’.

If you’re writing for adults, adults do still expect a warning for how graphic anything can be, whether that’s sex scenes, fight scenes, murders, assaults, bloody battles, garish injuries, dead pets, dead children, etc.

Unless you’re already planning to break your tone, you need to know fairly early on whereabouts you want to set those expectations. If none of the characters even allude to sex and you write in a graphic assault, your audience is going to be pissed, and horrified. If none of your characters even allude to sex, and you hint that one was assaulted off-screen, you will still upset your audience if you don’t give them time to prepare for the possibility.

You can soften the violence and graphic content you’ve previously established and few might complain about it not being gritty enough, but going the other direction puts you in a very precarious position. Choosing more mature themes will inevitably alienate younger readers, those with triggers, and those that just want to have a lighthearted good time. The trade off? You’ll invite readers with a work that’s exactly what they’re looking for.

Establishing a Tone

I’m writing this post today because I finally sat down to watch Game of Thrones. One can’t avoid spoilers for a series as massive as that, so I was prepared for the graphic violence, all the gratuitous sex, the infamous Red Wedding, murdered kids, horribly bloody battles, and the like. GoT, the TV adaptation at least as I can’t speak to the books, establishes exactly what to expect in the very first scene: Three people happen upon the site of a graphic mass murder, limbs and body parts strewn everywhere, kids among them, who come back to life as ice zombies to kill them.

That episode continues with a beheading, incest, more incest, attempted child murder via defenestration, a brother selling his little sister into marriage, rampant nudity, and… I’m sure I missed something.

**Spoiler Alert for Season 4**

What I was not at all prepared for was the graphic death of Oberyn Martell (Pedro Pascal). It’s quick, it’s violent, it’s graphic and gruesome and incredibly well-acted… it was also far more horrifying than the Red Wedding, at least to me. Murder is murder but the way this character went out almost had me quit watching right then and there. Google at your leisure.

It wasn’t necessarily outside the realm of possibility, but most everyone else died via stabbing, arrows, beheading, burning, falling, eaten by wolves, crushed, etc. This was deeply unsettling, particularly because it’s live action, not a cartoon like Invincible.

It did its job, and it’s the only moment to feature in nightmares and make me lose my appetite, so… well done? In the following Previouslies (correct me on the actual word) they don’t even show it, cutting around the actual moment because it’s just that horrible.

This was four seasons into an eight season show and nothing like it had happened before. In a tone already as dark and explicit as TV can get, poor Oberyn pushed it over the edge entirely. It broke the established tone.

Amazon’s The Boys treads the same very thin line, only these people have superpowers for a whole new level of deeply disturbed body horror.

So, when you’re establishing a tone in the realm of “less graphic than Game of Thrones but still terrible,” you can go one of two ways: Horrify your audience straight out of the gate, or slowly creep up to it with allusions and hints until they’re fully prepared for it when it hits.

If your characters have free reign of every swear in the dictionary, start with the “f*cks” and “sh*ts” as quickly as you can as part of their vocabulary, whether you intend to use the words sparingly or after every other word in their dialogue.

If you’re writing a multi-series work that intends to ramp up the rating as it goes, you don’t have to cold open with a murder, but establishing that characters do at least die in this world is a start. Establish that assault happens in the background, that killing happens, or animal cruelty. Your readers with triggers will thank you for it and read something else.

Unless you intend to shatter the tone and shock your audience with it later.

Breaking Tone via Killing Characters

The most effective tonal breakage I can think of that wasn’t even graphic, just dark and incredibly well done: Disney’s animated Mulan. The movie had been your standard Disney musical complete with grand animation for its sing-along song. Soldiers singing, dancing, laughing as they march off to war, all for a girl worth fighting—

The singing stops. The score stops. Their smiles drop. Cut to the scene before them that has murdered this Disney musical in cold blood and it’s a decimated battlefield, the snow-covered and burned bodies of their far better trained and more competent fellow soldiers, and the love interest’s father.

Mulan only briefly reprises one track in the climax, but otherwise, this happy-go-lucky sing-along has rudely and horrifyingly become a war movie. It’s still Disney, so it doesn’t get violent or graphic, but they shattered the tone in glorious fashion.

Breaking tone happens all the time, for minor events and major character deaths. It doesn’t become an issue of “you just alienated your audience” unless the tonal breakage is the aforementioned sudden graphic assault or other sensitive triggers.

Major character deaths are a whole separate monster to tackle and I’d like to, but for today’s purposes I’m talking about killing major characters when the possibility of any of our heroes dying was never established.

For anyone who never read Lord of the Rings and didn’t know the curse of anyone played by Sean Bean, losing Gandalf to another ambiguous high fall was one thing, but Boromir straight up dies in battle. Sure the story is surrounded by death and darkness but you expect heroes in a world like this to have some pretty hefty plot armor – and Boromir had so much room left to grow. In the grand scheme of the story, though, Boromir’s death was as far from shock value fodder as possible.

Sirius Black is another heartbreaking loss, but not entirely outside the realm of possibility – killing off Ron or Hermione would have been. Any mentor figure is automatically doomed with rare exception, especially ones in fatherly roles.

Bianca di Angelo is a different matter. She’s not the first death mentioned in Percy Jackson but she’s a brand new character and despite all the dangers the heroes have already been through and the warnings from the prophecy, actually killing her off for good broke the tone. Suddenly this war was real and there were lasting consequences.

Game of Thrones’ “Red Wedding” didn’t just shock audiences because a bunch of people died, it was which people that died. Robb Stark, eldest son and heir to Sean Bean (so of course he’s dead) and one of the siblings of the “hero” family had been leading a war effort to rescue and then avenge his father. He gets betrayed and murdered, along with his mother and a fair chunk of his army, caught by surprise at a wedding, because he broke an oath and married for love instead.

I knew of the scene and knew that Catelyn Stark was there just from the one time I’d seen the clip years ago, and as it got closer I worried it was Robb’s wedding, but I still wasn’t prepared for the death of the hero of the show. Jon’s off in the north doing his own thing and so is Danaerys. This was the bright-eyed usurper, the avenger, the never-lost-a-battle upstart. No author would ever kill that hero.

They’d established that anyone can die, similar to the Walking Dead in some ways, but this was a whole new level of boldness, killing off Robb. At the time of this post, I haven’t seen past season 4, but I know more deaths are coming.

Deciding to murder your hero, in any other story, would not go over well with your audience. Killing any major character is a decision that should be made with a deep understanding of the consequences or else you end up like Walking Dead after they killed Carl for shock value and never recovered their audience viewership.

—

It’s not just dead protagonists, it can be worldly tragedies, the heroes actually losing a battle, or the war, a uniquely horrifying monster or cryptid or villainous act. Or it can be a character beginning to contemplate self-harm and possibly attempting to end their own lives. It can be the reveal of an abusive relative, or an incestuous relationship. It can be mental health problems, sudden and un-curable disease and disability.

It can be less-dire things too, but I’m not much for writing comedy.

Tone, like pacing, doesn’t have to remain consistent throughout the entire story. If it’s a lighthearted comedy, let it stay a lighthearted comedy if you want to. You can change tone progressively, with hints and near-misses, or drop a bomb on your audience with a big reveal. What you do and how you implement it is entirely dependant on the story you’re writing.

Most audiences expect a book that isn’t written for elementary schoolers to mature over time and most genres come with set understandings. But hey, I hear Animorphs can get incredibly dark with a bunch of mature themes.

In general, killing a character just for shock value is rarely worth it in the long run. In general, writing in triggering subjects without warning to an audience that wasn’t prepared for it also isn’t worth it in the long run — save it for a different book.

If fanfiction authors leave author’s notes everywhere warning about the subject matter ahead, published authors can do the same, in my opinion. Content warnings should be a thing and it doesn’t have to spoil the surprise. Include it as a forward to your book, letting potential readers know that such and such work they’re considering spending real money on contains mentions of, or explicit depictions of, any and all mature and sensitive themes. You never know who’s out there picking up your book expecting a good time. Do right by them and give a little heads up and you might gain a fan you wouldn’t have otherwise.

[oneatlatime]

The Headband

I don't care how dormant a volcano supposedly is. Living in the maw of one would absolutely freak me out.

Zuko out for his nightly constitutional lurking practice.

I want this snuggy cape.

No better disguise than a cloud 1.2 metres from the ground. That's where all clouds hand out. Cool puffins though.

Enemy puffins approve of new fluffy Sokka.

Did Sokka just dive headfirst into rock?

I do not like this angle. Looks like his head's on backwards.

This episode is three minutes in and already I'm loving the comic tone.

Wow Katara, with the enthusiasm you're showing for stealing those clothes, they must belong to pirates.

These are some top tier nonsense sound effects. Far too few of those in recent episodes.

Beat up Sokka quota fulfilled!

Toph has by far the best outfit. Love the gold accents.

We've had two seasons of blatantly blue Katara not being identified by the Fire Nation as a Water Tribe person. I think the necklace can stay.

His headband is an airbender arrow. So much for disguising himself.

I would love it if linguistic drift meant that Aang was going around tossing out slurs completely unaware.

WHAT is this face

"Just slob is fine." I ADORE characters that are so secure in themselves and in their belief in the decency of others that all attempts at ridicule slide off like water off a duck's back.

He does it again! "Wow. Are you a bully? This is so exciting! I've always wanted to meet a bully!"

Onji - get better taste in men. Why are you even dating this prick? Did you have any say in becoming his girlfriend? Blink twice if you need help.

These Fire Nation kids are all so mild. Contrast them with Zuko and they might as well be a different species.

What is Hide and Explode?

Sokka is showing a mastery of slapstick that I haven't seen since The Fortune Teller. Glad to have it back.

Is this the first time someone has recognised Zuko by his scar? About time.

Was it really necessary to beat up the guard? Seems a bit much. Zuko could have just asked nicely. That usually works for Iroh.

Speaking of: Iroh! Hi Iroh! Didn't think you'd still be alive.

Noodle Ozai. Did Aang get put in preschool by accident?

Those hippies should do a song about Secret Rivers.

Tired of spending three years talking to Zuko without making any progress, Iroh decides to attempt a new technique and deploys the silent treatment. It works just as well as three years of talking.

Colour me completely unsurprised that the Fire Nation has a pledge of Allegiance.

This school must have some gnarly punishments if questioning the teacher garners this reaction.

This man's head is alarming.

This man is also surprisingly nice for a fascist agent of the state bent on suppressing personal expression.

Movements? Aang you were showing her MOVEMENTS! GASP! FILTHY!

I love this fight. It's been a while (maybe back to season 1) since Aang's preferred fighting style was 'Nope'.

They haven't committed to the bit this hard since Bonzu Pippinpadalopsicopoulous, the Third!

It's funny how we spent two whole seasons haunted by nothing but threatening shadows of the Fire Lord, and then an episode after his face is finally revealed they turn him into part of the decor. He even gets a noodle version.

Play Spot the Firelord with this episode. I count four.

Sokka is having way too much fun with this.

Just going to sneak a reference to child labour in there. Gnarly punishments indeed.

Local Emos Experience Happiness for the First Time; Immediately Implode.

I'm sorry but Mai's cloak has such Santa vibes.

That is some serious side eye.

"You get to be normal all the time." Aang is pulling no punches today.

Where did they get this many candles? Actually, where did they get that many matches? They don't even have a Firebender on staff.

Poor kid is objectively correct. I guarantee your parents don't want you dancing in a cave. It will be good for you though! just don't lick the walls.

No wonder the Fire Nation got rid of dancing. Those moves are awful.

Zuko! "I brought you this food that I know you don't like because I need your help." Buddy. Why.

I could do without the heavy-handed Katara and Aang romance. Also, when exactly did Katara learn advanced gymnastics and choreograph a whole routine with Aang?

I hate this twerp so much!

That song the band is playing right as the adults bust in is better than the songs featured earlier in the dance montage.

I love this guy.

i know that the soundtrack probably went from diegetic to non-diegetic as soon as the chase started, but I love the idea that the school band provided theme music for searching for Aang.

Delightfully eerie. and also very Spartacus.

Actually with the guards starting to dance, it WAS the school band providing a soundtrack for the Aang hunt.

Is Momo at the reins?

How is this assassin good at keeping secrets and not being followed? He creaks and clanks.

Final Thoughts

I loved this. This type of episode is when Avatar is at its best: heaps of goof, a side helping of heart, subtle and not-so-subtle critiques organically incorporated, tonally contrasting storylines that combine to form a whole greater than its parts, and even one-note characters who are given depth.

Aang was in his element as a normal kid; Sokka was having a great time being super agent / team dad; poor Katara and Toph got like two lines each but still had fun with what they did get. Even Momo got some sight gags.

Aang is so personable. I think it's the combination of great social skills from a good peripatetic upbringing and being a peacetime child.

I think Zuko experienced every possible human emotion this episode. I loved seeing him snark with Mai (those two are way too good together), but his scenes with/revolving around Iroh were confusing and intense. Which is probably how Zuko would describe them too. Seems he's speedrunning his season 1 bad decisions arc.

I'm not fond of this new silent treatment approach from Iroh, but I have to admit that talking to Zuko didn't work for years, so what else is there to try?

I wasn't expecting a Footloose homage and a Spartacus reference in Avatar of all places. But it works. And it works if you don't catch the references too.

I am severely disappointed in Fire Nation fashion. I was expecting gloriously eye-searing red/gold/yellow outfits. I got black/tan/brown with dull red edging. It's probably a visual commentary on what imperialism does to its own people. And the price of dyes. But I was really looking forward to reds and golds! At least I have Toph's outfit.

I loved the liberal use of sound effects in the Gaang's plot. I love comic sound effects on their own, but they really enhanced the contast between Zuko and the Gaang's plots.

There was lots of heavy stuff under the surface this episode, what with the squashing of the self and the discrimination against colonials and the propaganda and the revisionist history and the assassin. But I feel like being silly today, so I'm not going to dig into it. That's one of the great things about this show. Not all, but many episodes are structured so that you can choose your level of engagement and consequent angst.

This episode was funny, and fun. A much-needed palette cleanser after the drudge of the season opener. The last time there was an episode this unapologetically silly was probably Avatar Day. In other words, it's been far too long. Definitely going on my rewatch list.

I really want Zuko's snuggy cape.

[thirteenashmctrash]

okay so i have gained a new species of spore for my collective brainrot and i have found the perfect selling pitch to drag everyone i care about down with me. if you know the show this is hilarious. if you haven't watched it pay attention:

the show's called leverage. you know how there's those crime serials that aren't good at all but we've all watched a little too much of at least one of them even though they are blatant copaganda which is morally terrible? take your favorite one of those, but remover the copaganda. all the characters are criminals but their only victim is capitalism. every cop in the show is stupid at best and blatantly corrupt to a disgusting level most of the time. there is just as much genuine and intelligent social commentary as this premise demands.

i sense i already have you hooked. i can make this better. stick with me for a minute on this: the character dynamic is a muppet movie but also the Scooby gang

stick with me here!

You have Parker, who fit into the Scooby gang as Scooby and would be played by Gonzo. her crime thing is that she is a cat burglar and she is very good at it. her skill with it is borderline slapstick (hence Scooby) and she is very autistic coded and misunderstood (hence Gonzo)

You've got Eliot, who is the Shaggy and is played by Sam Eagle. He is the brute force of the team and he wants you to think he is all serious and grimdark. but he loves making the employees and victims of their capitalist targets aware of unions and he is a big himbo. i say he is shaggy because he plays Parker's straight man, he has the second most cartoonlike abilities, and he has a passion for cooking

Hardison is Velma as played by Kermit. he is a geeky hacker with a passion for orange soda and he is the heart of the team. he gets overlooked as leader even though he is the driving force of everything they do. like Velma. he also has that trademark Kermit brand of slapstick and deadpanned humor in balance.

Sophie is Daphne as played by miss piggy. she is basically the world's best grifter, she usually the front man interacting with the target the most. she has that crazy streak and the self defense capacity that miss piggy and Daphne (when she's done right) both have. she also has the confidence and style.

Nate is Fred and he is the human character. Fred has "let's split up gang" and Nate has "then we have to steal *fill in the blank with something comedically unfit to finish the sentence*" Fred and Nate are both flat characters with the main trait "i think I'm the leader but my smart friend does all the work" and the main interest of "trapping and screwing over capitalists" he mainly gets to call himself the leader because he's the idea guy and he has an apartment. his role in the muppet analogy is the peak of my pitch if you're still here. because while this is definitely not the Christmas Carol, Nate is the human character because he is Ebenezer Scrooge if instead of being a capitalist, Scrooge was an alcoholic and instead of character growth he was just steadily losing his mind. his moral compass and general intelligence are on a roulette wheel that is spun at random intervals lasting from seconds to the occasional few hours. also he and Sophie have divorced parents of grown children syndrome and the other three are said children. in vibes, of course, they aren't actually related.

if anyone stayed with me through all of that you should seriously watch it. even if i sound like i pulled this all out of my ass. it's so good.

it's an actively anticapitalist, copaganda free crime show where you get to see fun characters beat up every thing bad in society and fuck it all over. it balances fun comedy and wild characters with serious topics and moments in a way that is very natural and genuine. it also has one of my favorite autistic coded characters, a positive and healthy relationship that develops in a way that feels natural to the characters (as well as a rockier one if you're into drama) and it is in the midst of what looks to be an actually well handled revival series with the original cast. i haven't caught up yet but I'm so excited for it. the original had 5 seasons and the revival is waiting to be renewed for season 3.

please go watch leverage. it's so good and it deserves more fans. also i want more fic and that next season

[everettswritings]

All my posts keep blowing up! Anyways, my mom’s letting me stay home from school today so… yeah. More headcanons!

Sucker for slapstick and physical comedy. Even the simple “getting hit in the face with a rake after stepping on it” routine is enough to make him die laughing!

Not opposed to pulling a childish prank every now and then, and most certainly not a stranger to it. But that’s just canon, you can’t change my mind

Literally never stays in place, if you look away for a nanosecond and look back, they’re already elsewhere

Honestly, you don’t even need to look away! They’ll just move around regardless

Owner of a slide-whistle, and uses said slide-whistle to annoy everyone. You can’t do anything without having to hear that godforsaken instrument

You know how some people immediately drop everything whenever someone turns on a baby sensory video to watch it? That’s him. I’m not elaborating.

I have a lot of headcanons for their other usages of the puppetry thing, the list is quite long in all honesty. There are some I’m saving for the more specific headcanons, but I will say right now that he definitely orchestrates little comedies for himself to enjoy(even if the cookies being used as puppets hate it)

They may or may not draw often, but whenever they do it kinda looks like childish scribbles.

And the funny thing is, they’re more than capable of creating high quality masterpieces! They just won’t out of spite

Makes too much eye contact. Nobody knows if it’s an intimidation tactic or if it’s because they’re neurodivergent, but it’s still scary either way.

Probably annoys cookies by giving them absurd nicknames they hate, ESPECIALLY the other beasts.

And that’s the last of it! I’ve got some more specific stuff planned, but I think I’ll wait till the weekend so that I can have more time to work on it. It’s definitely really fun to write for him, the more I do it the more I love it! Shadow Milk Cookie is definitely one of the most fun characters in the game and I dream of the day he becomes playable(which will probably never happen; but a man can dream, can’t he?). Have a good one 🫶

[ckret2]

whats one thing that bill loves that absolutely NO ONE wouldve guessed? like not in a TRILLION YEARS cause thats how out-of-pocket it is for him to like said thing???

also love your work <33 :) its one of the very few fanfictions where i can feel the true essence of bill cipher and that is very important to me

Thanks! I've tried to squeeze in as much Bill essence as I can.

"What's the most unexpected thing he likes" depends entirely on what you expect, and I feel like that's subjective. You could argue some of the things he likes in canon are pretty unexpected; while, on the other hand, even the unexpected stuff "makes sense" if you have the reason for it. So here's a list of random things that, while they make sense for Bill, might be surprising if you're trying to think of what would fit the image of an evil chaos party god:

First the canon. I feel like "silly straws" isn't exactly SURPRISING for Bill, but I doubt anyone would have expected him to like them enough to voluntarily bring it up if he hadn't. Like there's a long list of likable things he skipped over specifically to give silly straws a shout out.

Some people headcanon he can't actually play the piano and his little performance for Ford was all magic, but I like to headcanon he actually knows how to play and enjoys it. Which implies an unexpected amount of patience and dedicated practice out of a pretty flighty guy.

I mean I don't think anyone would have assumed that meditation fits his vibe.

Fandom's got a pretty good handle on associating him with brightly-colored busy patterns, but only with traditionally masculine or gender neutral aesthetics. Think bowling alley carpets patterns, lava lamps, Hot Wheels-style paint jobs, fire and lightning and lasers. But there's a tendency to overlook aesthetics that are associated with femininity. He WOULD be into Lisa Frank, decora, intricate neon nail art, magical girls that look like they're wearing hyper-saturated overly-complicated dance outfits covered in 24k gold and jewels as big as your thumb, extravagant hats, extravagant jewelry, girly drinks, girly desserts, glam fashion & decor, bubbles, bouquets, rainbows, and hot pink. To Bill, everything is gender neutral.

I think most people wouldn't expect Bill to be into surreal cerebral art films rather than, like, juvenile slapstick or action. But on the other hand, the line between "this is haunting" and "this is boring" is razor thin for him, so he doesn't always like the cerebral films.

He hasn't discovered this yet but he'd love the beach. Sunshine and swimming. The lake would do too.

I don't think anyone would anticipate that Gravity Falls is, actually, in fact, one of his favorite places in the dimension. He mainly keeps complaining about the town because every time he's there, he's TRAPPED AND CAN'T GET OUT.

He's really into math, just recreationally. He would read a whole book about proving Fermat's Last Theorem. He probably proved the theorem himself by 1700. Told no one. He was just bored that week.

Ford got him into DD&MD. Bill wasn't just humoring his human pawn, he genuinely enjoys it. Gets really into the roleplaying and storytelling. He hasn't had anyone to play with in thirty years. Prefers the 90s edition.

Everyone assumes Bill's just humoring Mabel by letting her put on Color Critters tapes. It's like Care Bears crossed with Rainbow Brite and the morals are twice as heavy-handed. But he actually does enjoy the show, it's just for the wrong reasons.

You'd expect the guy who destroyed his home dimension to hate it. There are books, songs, instruments, cars, plays, hotels, cities, convention centers, dams, field trip destinations, even rocks that he misses dearly and will never see again. He still writes to himself and talks to other shapes in his native language. He still constructs houses without ceilings. He still hugs with one arm and shakes hands sideways. He loves his dead dimension. Few people outside of the other surviving shapes know this.

So you decide which is most unexpected!!

[toon4thought]

Adam Sandler's "Leo" was just plain NICE.

It takes a simple, downright silly idea about a talking pet lizard helping the kids of a 5th grade class, and even the long-term substitute teacher herself, with their problems to help bring out the best in them - and ties it into stuff like finding new purpose during a mid-life crisis; all the while constantly sprinkling in so much wholesomeness that with each new kid he visits, you instantly feel the bond being formed. It can feel a bit segmented, but it allows for multiple situations to be covered while giving the audience something new to look at.

Gotta compliment Adam Sandler's performance as Leo himself here; it's such a cartoony voice, but he delivers with such a commitment that I am never hearing an actor. He gives Leo the sweet balance between his old, tired side and his wise, experienced side that is needed for this story to work. It shines best whenever he has to belt a quick number, though granted that's unsurprising for Sandler. Everyone else, including his own family, seamlessly slip into their roles too.

The humor quite caught me by surprise too, considering Happy Madison. While the slapstick can get a bit much, and there are one or two truly gross gags, most of their infamous hallmarks are surprisingly subdued. Much of what we get is more observational, or is otherwise done in credit to the characters, such as how Leo name-dropping old movies (which sounds lame on paper) doubles to show how old and behind-the-times he is. It's not like there's some big comedy gold, but there's a lot of little moments that left me smiling and charmed. In general, this film really knows how to establish character with dialogue alone; the snarky, tired comments from Leo and Squirtle at the beginning being a highlight.

There are some turns near the end that can feel a little forced or half-baked (especially with Ms. Mirkin), but the heart remains to the end and it still manages to finish on the simple note it should. Animation is also pretty standard, but that too is elevated by some smart staging choices and a few scenes that mix up the style.

Overall, while it's by no means a film that *excels*, it sure hit a lot harder than it had any right to, especially from a company like Happy Madison, and they deserve big props for that. Like Leo himself, some much-needed comfort can come from the most unexpected of places.

[spotlightlowlife]

The Cuphead show could teach Hazbin a helluva lot

First of all, I implore anyone who hasn't watched cuphead or didn't finish it to complete it. It is a complete story and it complements its origin, the game, only stepping away a little to expand on it.

Hazbin, watch the pilot if you haven't or rewatch it, a number of things fall off bytime the series comes about. New isn't bad but the pilot was so loaded and it's rather apparent that it is part of the cannon in how we start off as if we already know these characters. So what we can bring forward and what is no longer cannon? Has there been a time skip?

*spoilers ahead*

The story

A simple story of two humble individuals constantly having to swerve the devils attempts to take a soul he swindled fair and square.

They have many run ins and we meet numberours other comical yet sinister opponents along the way.

Sweet rich girl uses her powers for good. She aims to help the disadvantaged and targeted sinner group by opening a hotel to rehabilitate and redeem them to be heaven worthy.

Charlie has allies but plenty of others don't care for her plans and motives are generally unclear.

The main characters

Cuphead and Mugman, two brothers of ambiguous age who live modestly with an elder in a cottage in he woods. They simply get on with their lives, no goal.

Cup head is immature and foolish, his antics generally land them in danger, Mugman is the more sensible but still chill, not quite babysitter sidekick, someone who could be living trouble free if they weren't dragged into the others havoc, simple association brings unwanted situations and people their way, even when chilling at home.

We are also introduced to the devil himself, who is silly, fun and clearly a whole otherworldly entity in not only abilities but personality and actions. As amusing as his actions are, he does cruel things to people minding their business and enjoys it, he openly exploited his oblivious patrons at the amusement park, before going on to expand business and create the known casino. He has a workforce who we see working. The devil collects souls, a consequence of this is that it makes monsters out of mortals, this is a business, however this business is regulated and dispite how powerful the devil is, he still has to answer to accounts. He can be subdued with magic but ultimately, hell and earth are his playground and aside from the auditor, he answers to no peers or superiors and feels no bitterness or discomfort regarding his home and role, his struggle is simply that one that got away and keeps eluding him. His backstory being irrelevant fits with the quick pace and slapstick, however the latest addition to the game may hint at some mysterious backstory in his bonus boss fight.

Charlie, a youthful woman of ambiguous is the princess of hell and owner of the Hazbin hotel. We don't see much running of a hotel. Charlie is nice, default nice because plot tells us she's helping and cares and she clearly isn't horrible. Charlie wants to help sinners.

First portrayed as hardworking but ill prepared, out of touch hustler, Charlie is now well intentioned, immature dreamer but this doesn't result in trouble, her carelessness doesn't get portrayed as selfish or irritating. Charlie personally has little to lose in her discision making, such as welcoming Alastor, Charlie can have what she wants because everything is set up for her and what she doesn't have is easily in reach, the meeting in heaven attained by guilt tripping her dad being a prime example, but she's not a spoilt brat.

Charlie's other half is Vaggie, her girlfriend who we have to be explicitly told is so if you don't follow the fandom, they have known eachother for years yet Charlie hardly knows Vaggie. Vaggie's degree of interest in Charlie's dreams is unknown, even after her big revelation we still have nothing to show that she's not just the sensible sidekick managing the lead characters silliness.

Not a main but someone very significant, Lucifer, the devil himself and Charlie's dad. He is all powerful, the leader of hell and the one who created this realm, however he is a goofy awkward dad who doesn't appear to be any leader and he hates to the degree of allowing mass slaughter the very people Charlie loves. None of this is an issue. He clearly has or had peers or superiors, he still meets with the angels who serve as the adversaries, with no issue, but this doesn't matter.

The tragic characters

Ms Chalace had it thought throughout life yet tried had to work her way up, she died unexpectedly, nobody cared, she got a second chance to be amongst the living but it comes at a price. Chalice is a charming hustler and entertainer.

In Hazbin, it's everyone, everyone is given trauma, even privileged Charlie who could have been a great spoilt sweet character now didn't have the nice nuclear family upbringing, supportive mother who has a life and supportive yet sceptical dad whose not getting in her way.

Everyone has some history that rendered them a loser in this story however we have yet to learn how anyone got there even though fun, interesting, passing, dismissed Mimzy remembers her life on earth fondly.

The other characters

There is plenty of room to return to this series and feature more characters, but it's no big deal if they don't. This story proudly offers us Saturday villians, only we get to know these charasmatic characters and their villainous motives individually throughout Cuphead and Mugman's misadventures.

This series is fun and life hearted, made for all audiences, there's a lack of real drama yet it manages to not be shallow as we have focus and interactions matter, it is ultimately about Cuphead and the devil, the masses of colour characters we may meet along the way are a fun bonus to and the formula doesn't change, this person brings drama, that's that, now how do they get out of it.

Timing is arguably a major issue with Hazbin, with a big ensemble cast, drama and various plots, it will need a lot of time to cover all that it started, these things being numerous additions to the original story, most of these additions being a whole host of new characters who ultimately don't achieve anything not for lack of trying.

Like its spinoff, this series is big on aquitting those who are there to be liked of their responsibilities and actions, handing blame to someone don't know or have been guided to not like. This strips them of content and growth while makeing their power and influence questionable.

Planning ahead

Rumor has it that The Cuphead show was a complete work of 36 episoses that and broke up into 3 seasons by the big famous platform it's on, to be honest it shows, it is very linear.

Really though, this serves the broadcaster because would keep it in the algorithm longer giving it more time to gain more traction which means more money for the broadcaster and make it look like they're good at renewing projects when this may not entirely be the case.

Releasing the story broken up may have done this show a big disservice as many disappointed reviews were based on how much it deviated from the games and seeming censored, these may not have been concluded had all episodes been released, showing it being to return to its roots by the end.

Still, atleast the story was always going to be told.

As controversial as that situation is, Hazbin too could do with mapping out the beginning, middle and end with a clear and concise story, one with heart that answers questions, balances it's drama, action and comedy and shines some spotlight onto the stories that really need telling. They could do with this already being done or at the very least wrapping up seasons with what we were sold on being relevant.

Planning is well and good but ideas need to be prioritized and coherent. If multiple seasons are planned, this show will need to crack down in order to guarantee them.

[absolutebl]

Recommendation for something to watch and complete on a off day? I am also off today. Something soft and full of love preferably....

10 Soft BL's to Binge In A Day

(Since I don't sleep and watch high speed I binge full length Thai BL but I'm assuming you want something shorter than that, so I've limited myself to a 5hr runtime.)

1. Semantic Error (Korea Viki) - Sexy older boy discovers pouty younger boy has outed him as a slacker, starts out bullying him, accidentally falls madly in love. Korea hits it entirely out of the Parks by doing a university BL with everything we expect from BL just done exactly right. Korea's signature quality executed perfectly with added bonus good story, great pacing, stunning visuals, and fantastic chemistry. You cannot ask for more from a BL, let alone a KBL. Full review.

2. Seven Days (Japan grey in 2 parts Seven Days: Monday - Thursday, Seven Days: Friday - Sunday) - one of the best live action yaoi mangas ever made. The leads have excellent chemistry although it’s low heat, there’s still more kisses than Cherry Magic. Popular first year Seiryo has a policy of going out with any girl who asks… for one week. On a lark, third year Yuzuru tests to see if that policy also applies to boys. Seiryo agrees that it does. Along the way they accidentally fall in love. All the angst is just teen confusion. 

3. Our Dating Sim (Korea Viki) - I enjoyed every aspect from the casting to the very simple premise to the quietly smooth execution. Sure it’s very low stakes, but that makes it high domesticity and extremely warm and gentle. This is a fuzzy blanket of a story. Do we call this cozy BL? Why not? This one is going to live in my rewatch pile, I can tell already, and you know what’s best about it? Every single episode is in that pile. There’s no skipping with this one, it might be good natured and calmly sweet but it’s tight and the pacing is excellent. It perfectly suited KBL’s short-length tendencies. Full review.

4. Light On Me (Korea Viki - Korea does an elegant pastiche of traditional live action yaoi but all tropes are cleverly deployed to bolster one of the most riveting love triangles ever put on screen… and I don’t like love triangles. LoM strategically tailors classic BL tropes to 2 different semes resulting in pristine pacing, plot, and character development, explicitly serving narrative (not just to tick boxes). LoM is a master class in this trope drops. (If you write fanfic or romance you should study this show.) Full review.

5. Takara-kun and Amagi-kun (Japan Gaga & Viki) - I gnawed on my knuckles and squealed a lot with this show. Reserved cool kid who must learn to communicate to keep the tiny disaster nugget he’s madly in love with. It is beyond charming: soft and gentle, packed with cuteness and high school angst, thirst, & yearning. Was there plot? Not really. Was it emotionally tense and paced well enough for me not to notice? Absolutely. Did I enjoy the hell out of it? Oh yes. Full review.

6. HIStory 2: Crossing the Line (Taiwan Viki) - super low stakes sweetest story of the bad boy who falls hard for the senior on the volleyball team and then works to earn his love. You know it’s Taiwan so the kisses are great but in this case it also ends well. Only trigger is that the side couple is the stepbrothers trope, and some don’t like that.

7. Cherry Magic (Japan indie subbed) AKA Doutei dato Mahoutsukai ni narerurashii - the sweetest, fluffiest, most charming bit of adorable ever, full of found family and pastry and serious slapstick, the characters are utterly bonkers, but cute about it. 

8. Wish You (Korea Netflix or Viki, you want the movie version) AKA WISH YOU: Your Melody in My Heart - low stakes high pining romance about a pianist who falls in love with a busker who is on his way to being the next big idol. 

9. Restart After Come Back Home (Japan indie subbed or Gaga?) - this one is perfect if you just want a beautiful loving movie, and one that is well filmed and complex enough to appeal to those who don’t normally watch BL or romance (if you have a reluctant partner). 

10. You Are Ma Boy (Vietnam YouTube) - is there angst? Nope even what could have been angst (a gay idol) doesn’t materialize, it’s just cuties in a cafe confusing each other with cat & mouse games. The side het couple is a touch disturbing, tho. 

Also Old Fashioned Cupcake, it's a bit more complicated than soft but a FANTASTIC binge watch.

(list updated May 2023, not responsible for ones that come after that date)