#director morty

[mavis-the-apple-pie]

Luigi’s shipping fandom

[craftyjellyfishcat]

*me at the luigi ships*

Let me-a make this clear, break Luigi's heart.....And I'll break-a your face

[theyareweird]

Luigi's Mansion 3: Director Morty —Aesthetic

Director Morty's Character & Personality

True to his title, Morty befits his role as a film director and movie maker. Unlike the other ghosts, he's not under King Boo's control and is a lawful neutral character. Thus, Morty is kind and friendly to Luigi when they meet. He'll also willingly give Luigi the elevator button, which means it's not necessary to capture him. However, if Morty is caught he won't fight back and becomes sad at not being able to finish his project. Due to this, he doesn't expect Luigi to fight him. Instead, Morty is pushy and doesn't give Luigi a choice in staring in his film. He's passionate and loves his job as a movie maker. Morty has an eye for potential talent, and is extremely dramatic after losing his megaphone.

[pianokantzart]

🍽️ and 🎶 with morty x luigi

🍽️ Dinner date 🎶 Dancing

Luigi never before envisioned himself as the one to make the first move in any romantic scenario, but after starring in so many films, scripts, and photoshoots, he felt as though he and Morty had already been dating for some time now. Then again, there was a large difference between being someone's boyfriend and being someone's muse. Being a muse meant being put on a pedestal for the sake of the arts, playing on the outskirts of reality to feed into whatever new creation was being forged. Dating? That meant a return to earth, being mundane and flawed. Being a human. Luigi felt somewhat awkward as a muse... like he was lying, somehow, despite the slew of creations he inspired... but he also couldn't deny the warm feeling he got when seen as something so rare and beautiful in the eyes of someone so passionate.

Morty agreed to a date. The agreement was casual, lacking that shining thrill of true inspiration, but his excitement grew when Luigi suggested something properly cinematic: dinner and dancing.

Luigi still wasn't sure how it was ghosts ate or danced without corporeal bodies, but a long list of experiences had proven that such things didn't matter. So long as the right sort of energy was abundant in the air, ghosts ate, drank and danced the same way they had in life, and enjoyed it with almost more gusto than those weighed down by flesh. Morty was no different. Luigi asked the ghost to pick an outfit for him. Morty obliged without a second thought, and Luigi was overjoyed to find himself handed a forest-green evening gown that looked straight out of the wardrobe of Rita Hayworth. Morty always appreciated a chance to alter aesthetics to his liking. He was a director after all, and Luigi liked receiving direction– so long, of course, as it came from someone he trusted. They understood each other's tastes... had a shared interest in making each other happy... and making each other happy was so ridiculously easy. Over dinner they talked about everything they loved, barely understanding one another when they broached niche topics, but looking on in adoration as the other unraveled the different corners of the world they never even knew to be so beautiful– cinematography, photography, architecture, gardening, interior design, cooking... Then came the dancing. Four ghosts struck up a string quartet, and as Luigi moved to the ballroom where phantoms spun about in each other's arms, he was surprised to find Morty trying to stay at the dinner table. "I love the aesthetics of it, but I must admit I never learned!" he explained with a tiniest hint of regret in his voice. "Here... you dance, and I'll watch you!" Morty shut one eye and framed up a shot with his hands, like he was already envisioning a film based on the scene. Luigi would have none of it. With a smile and a shake of his head he took the director by the hand and gently guided him to the dance floor. Though Luigi didn't consider himself any sort of expert, knew enough to help a novice along in a simple waltz.

"It doesn't have to be perfect. Doesn't even have to look good at all!" He placed one of the ghost's chilly blue hands on his shoulder while taking the other hand in his own. "Just... move with me. We'll figure it out."

Morty looked uncomfortable only for a second, but his expression quickly blossomed into a playful smile. "Oh-ho! Looks someone's taking charge!" "Well, I do like to be number one, sometimes," Luigi retorted with equal playfulness, punctuating the comment by dipping Morty so low to the ground, they both couldn't help but laugh. "Forget the angle and the lighting for a moment, okey dokey?" Luigi continued, speaking much softer now as– in a moment of boldness– he tugged Morty back up into a close embrace, swaying with him to the music as a calvary of colorful ghosts whirled above and around them. "Just dance."

[xfriki26]

Ranking some Luigi ships in honor to the movie.

•Luasy 7/10

This was my first ship in the Mario fandom and is such a cute dynamic (Protective woman x easily scared man) and Daisy is one of my favorite characters.

•Luisley 9/10

I mean, every time he appears Peasley is basicaly : "Oh, thanks for saving me my handsome beautyful perfect hero Luigi", gave him a rose, call him by his true name, completely ignoring Mario AND LUIGI BLUSHES IN FRONT OF HIM.

•Bowigi 6/10

The first time I shaw this ship I imagined Luigi meeting Bowser for the first time and Thinking "Oh no, hes hot!" Bonus points if Bowser is the one Who falls in love first and acts all shy arround Luigi.

•Moruigi 7/10

This thing became a huge confort ship for me, in lm3 Morty is the only ghost that doesn't try to attack Luigi and he just went "Hey, you are pretty, wanna make a movie?" And also Luigi shows regrett if we capture him.

[abstract-crossverse]

I found myself realizing my Enjoyer Pattern was worse than I inicially thought

And dont forget "Has some sort of Politic Power or something related to Social Power in general" for like... Four of them

[skeefy]

Esta en español

[formalmess]

here we are, yet again! we’ve got some familiar and brand new faces this chapter. what shenanigans will luigi get himself into this time? read and find out... mwahaha... >:3c

[o-crud]

Spreading my “Stagehand Rob & Showstopper Mortem” propaganda

[gloriousmonsters]

the brief hope and excitement i lived in between the time i found out there was a renfield movie and actually watching the trailer was... a precious time

[they-them-that]

I only watched Rick and Morty clips but the way the teen girls were designed and behaved were immediate red flags. Not to judge anyone for overlooking it, especially since it's tragically common in adult comedy, but how women and girls are portrayed is very indicative of the writer's personality.

[tatsumi-rin]

Even though I haven't watched Rick and Morty in a hot minute, as someone who was always kind of obsessed with Japanese reimaginings of Western cartoon productions I may have to watch the Rick and Morty anime

[darkdragontail]

I just love him.

[timeconqueror]

If I see one more person be bitchy about the fact that Rick and Morty writers are writing the next Avengers movies I will burn them out of time

[russianyoshkinaneko]

Paura nella città dei morti viventi (1980)

[hazelnut-u-out]

Do you think about the whole Rick Prime thing? Did it kinda feel anticlimactic???

Yeeahhhhhh, but... I think that's the point!

At first, I was a little bit disappointed with how they handled the arc. I really thought Prime was going to be the Big Bad! Having the whole climax of C-137's arc with Prime as a mid-season episode felt oddly... dismissive? It was like it wasn't even a major event.

After sitting on this for a bit, I think I actually love how they've handled it. I think this is the first time I've really seen the show take something that perfectly fills a 'Television Run' format (i.e. big events at the ends of the seasons for cliffhangers, and so on) and subvert those expectations into something more like 'Real Life.' In my opinion, a lot of the show is shown as how characters involved view the events, especially in terms of tonality. That's why so much of the show fits these media formulas-- Rick views his life as a show.

I often refer to the majority of the show as 'Rick's Director's Cut' because we get events skewed from his warped perception of his own actions. (You can even think of 'Morty's Mindblowers' as Rick literally editing footage into a better story.) Of course, we see why he's sympathetic. As the viewer, we understand why he's doing what he's doing, even if we don't agree with it. He views himself as the 'sitcom dad'-- comically fucked up and abusive, but secretly caring. Rick believes that he's got just enough heart for his actions to be excusable, forgetting that the people he hides his intentions from aren't getting the 'full picture' like the viewer is. From Morty's perspective, Rick does these things for no reason-- unless you count not liking, caring about, or valuing Morty. Of course, we know that's not the case, but Morty doesn't. His family doesn't.

The Prime arc is fascinating to me because of the contrast between how Rick viewed it versus how it happened from the perspective of the viewer. Rick went into the Prime arc thinking it would be a massive, badass epic where the underdog comes out on top and the audience is satisfied with the conclusion. As the audience, this is probably the first time we haven't really been able to click with that, you know? It was unsatisfying, even for Rick, and now he's sort of saddled with, 'Oh, shit. This is real life. What comes next?'

Sure, they're little guys on our television screens. To them, though... that's real life. Real life is messy. Real life is unsatisfying. Real life is disappointing, the editing is sloppy, arcs aren't linear, and dysfunction and substance abuse aren't silly character traits.

The whole point is: What happens now?

In real life, what happens after your abusive parent passes away or you finally get revenge on the person who tore your life apart? In real life, what happens after you beat the shit out of the guy who assaulted you? Or after your dad apologizes for walking out on you?

There's actually a Malcolm in the Middle scene reminiscent of this concept. Francis was blamed by Lois from the time he was born for ruining their relationship. Throughout the entire series, his arcs deal with their broken relationship. When she finally apologizes, the pinnacle of his hopes and dreams-- the only thing keeping him alive, it doesn't help. It doesn't fix the years of psychological abuse he suffered, or the fact that he's as broken as he is because of her failure as a parent.

Another great example is in Adventure Time, when Finn thinks he's ripped Martin's arm off for causing him to lose his own. The revenge doesn't help. (Sorry, not digging for a link to the scene lmao.)

Those things aren't satisfying on their own. The fantasies and daydreams we barter through aren't feasible cures. That's real life. What happens afterward is what you do next. That can be a tough pill to swallow. There's no quick 'fix-all' for everything that's fucked you up. What helps? Hard work. Dedication. Time. Therapy. Grief. Acceptance.

Rick never really worked through the grieving process, you know?

There was Denial and Anger:

And where he got stuck... Bargaining:

After Prime's death? Depression:

Four decades later, we're finally on the cusp of Acceptance.

That's what that look into the hole was. That's what putting up Morty's picture was. That's what choosing to walk away was.

Acceptance.

In conclusion of my long-winded rant, I liked the Prime arc. Fits nicely into the season after the finality of 'Fear No Mort.'

Well done, writers.

Thanks for asking! <3