#disney advice

[artist-issues]

Disney doesn't need to change "the formula." That's the last thing that Wish proves.

What Wish proves is that "the formula" only works when you know why the ingredients are in it, and you use them the correct way.

The Princess Character is meant to wish for only half of the movie's message, and go through an adventure that teaches her what the other half is; what her dream was missing. Ariel dreamed of understanding but she was missing love. Tiana dreamed of achieving her goals but she was missing faith. Jasmine dreamed of freedom but she was missing trust. Belle dreamed of adventure but she was missing being understood.

The Villain is meant to highlight the opposite of the movie's message. Jafar gets what he wants through trickery and manipulation; that's the opposite of Aladdin's "truth will set you free" message, and he gets imprisoned in a lamp. Scar thinks being a King is having his way all the time and can't learn from his past of living in Mufasa's shadow; that's the opposite of The Lion King's "Let the past remind you of your responsibility to selflessness." Gaston loves only himself and is always obsessed with appearances; that's the opposite of Beauty & the Beast's "true love is found within a heart of self-sacrifice." That's what makes them such good villains. (and that clear direction is what drives good villain songs, since Magnifico's is what everyone is talking about)

The sidekick is supposed to compare/contrast with the main character's qualities. Abu is a greedy thief, which is what everyone in Agrabah thinks Aladdin is; when he scolds Abu and teaches him selflessness, it shows us who Aladdin actually is. Flounder is easily frightened and looks at the glass half-full; when Ariel coaxes him and leads by example, we see her bravery and positivity reflected in Flounder's tiny character arc. Timon & Pumbaa do whatever they want all day just like young Simba always dreamed of; when Simba goes to live with them, he finds that "getting his way all the time" makes him forget who he really is and feel empty.

The setting is supposed to show off the characters and highlight the movie's message. Rapunzel's tower is designed to be pretty on the inside because of her influence; if it were too dark and prison-shaped, we'd wonder why she didn't work up the courage to leave sooner. Just like how Quasimodo has made his corner of the bell-tower beautiful, too; they're taught the world is cruel and they're not strong enough for it, but they make their own worlds beautiful enough to hint that that's wrong right from the start. Ariel's grotto is shaped like a tower with no roof so that she only has one window to the forbidden Surface, and it's the light that comes from that forbidden world into her dark grotto which literally makes her able to see human things differently. Tiana's apartment has no interesting features except her father's picture, a perfectly made bed, a drawer with no extra outfits but stuffed with tip money, and only two dresses; both of which are for work.

None of that is happening in Wish, because they didn't know why the formula ingredients are there. Disney needs to understand and return to the formula the right way; forgetting it was what got them here.

Asha learns nothing to add to her dream, unless you count "the power to grant wishes is in me." Which you shouldn't, because we didn't even know she was confused about that until the animals sang a song that was completely off-topic and she had the chance to jump in and sing "I'm a Star!"

Magnifico does not demonstrate the opposite of Wish's message effectively because his character has nothing to do with a philosophy against making wishes, and everything to do with power. (He is the strongest character in the film. But because the message and core concept of what wishes are are so bad, that's not saying much.)

Valentino, and Asha's friends, do not highlight anything about her character through compare/contrast. Valentino is brave and all over the place. Her friends are seven-dwarfs parodies. Happy, Doc, Sneezy, Dopey, Bashful, Sleepy, Grumpy. None of that contrasts with Asha's vague characterization of "cares too much." None of it compares to that characterization, either.

The setting is empty. There are no interesting details that teach you something about any of the characters. None in Asha's home, none in the neat-and-tidy one-dimensional forest, none in the Rosas square, and none in the bland, empty castle. Magnifico's study is the closest anything gets; there's a loose concept that all of Asha's friends have to work together to open the roof, and take a leap of faith to weigh the pulley system down. Unfortunately, none of these characters is shown struggling to work together, OR to take leaps of faith, at all, before this point.

The ingredients of the formula are in Wish. They're just not being used correctly. This is how not to use the formula; it's not the formulas fault. If it ain't broke. They should never have let people convince them to try and fix it.

[marcanimation]

'ello folks, my Cleanup tutorial is finally done and out! hope you find it useful

[raven-at-the-writing-desk]

🎃 Twst Halloween PSA 🎃

*pulls up the Serious Talk Chair*

Alright, so.

In the wake of the new Halloween PV posted on the TWST JP social media accounts, there’s been an explosion of hype. However, something else you may have seen circulating is people saying, "I already knew about this weeks ago!" and/or claims of having knowledge of leaked characters and costumes. Some have even directly linked to videos or images of these leaks (including fully animated character sprites) in threads discussing the next Halloween event. I myself have been sent these videos and images multiple times, unprompted, over the last few days.

To make a long story short:

You should NOT be speaking about or sharing these leaks in a public setting.

By doing so, you are running the risk of spoiling people who may not want to know these things in advance. They never gave their consent to see that, and this consent shouldn’t be assumed. I’m extremely disappointed that my own experience has been this way. I wanted the chance to react live as the information was being released. Others may feel the same as me. Additionally, openly talking about leaks is may make things more difficult for us fans in the long run.

The only reason these leaks were let out so early is because TWST started uploading assets into the game much sooner than they would actually be implemented. This has allowed dataminers in the fandom to go in and look around to see what goodies might be in store for the future. However, if fans are going to just run around blurting out what all the secrets are, it may discourage the devs from continuing to do this in the future. It will make it that much more difficult for fans to extract high quality card images ASAP. It means assets may be kept under tighter lock and key to prevent this from happening again.

Don't believe me? Something similar happened with the Japanese TWST website. The team used to upload news about the next month's schedule early, but locked behind a random string of numbers. Fans brute-forced those numbers and always managed to find the schedule sooner than it was intended to be out. The number of posts made on the website has now dropped drastically and schedules are no longer released on there. While there's no proof that these events are related, there is a real concern among some dataminers that the very same could happen regarding in-game assets.

I realize that leaks are common nowadays, but please let us at least respect other fans' rights to experience the game in their own way while also minimizing the risk of consequences for the fandom. If you must discuss these leaks at all, do it in PRIVATE. You are allowed to be excited about what's coming, but please keep it to yourselves or to your own circles where it may be a more appropriate topic.

Do not ask or talk about the leaks in my inbox, DMs, or comments. Do not link me to or share any leaks. Wait until the information has been released on official TWST social media handles, THEN I would be more than happy to talk about the news with everyone. Those who disregard this request moving forward will have their message deleted and then be blocked.

Thank you—and with that, let’s return to our regularly scheduled show!

[ashipiko]

deuashi bonding time. as requested

I THINK THEYD BE REALLY CUTESY GROCERY BUDDIES!!! like to imagine one day ashi needed to go to sam’s shop to get some stuffs but didn’t want to call up ace cuz he had basketball practice. so then she called up deuce and they had a really funsies time!!! 🫡 she felt bad but he said it felt good helping someone out HAHAHA. next day ace got wind of it and got a little butthurt tho

yyyyeah

[elvisqueso]

Pocahontas refusing to confide in Nakoma.

Pocahontas (1995)

rambling lil' meta under the cut

i've been thinking a lot about pocahontas's relationship with nakoma and what kind of friends they really are in the context of the film. when we meet them both, pocahontas is elevated and nakoma is in a boat far below her, shouting up to reach her. i think nakoma is always reaching for pocahontas and pocahontas will only reach back sometimes. it's a pretty unbalanced friendship, when you look at it, and i wonder why nakoma remains the main point of contact in the community for pocahontas besides her father. perhaps it's because they're similar ages. maybe they're childhood friends who just got so used to each other that the one may take the other for granted.

pocahontas never confides in nakoma, and you gotta wonder why. even their first interaction has pocahontas demurring when she answers that she was up on the cliff thinking. thinking about what? She doesn't say, but she doesn't refute nakoma's assumptions.

and nakoma...what does she get out of this friendship? maybe she's just used to trailing after pocahontas this way, maybe she just doesn't have another friend, or she thinks pocahontas needs her.

nakoma is sort of a foil for thomas, who trails after john smith like a starry-eyed fanboy with an intense para-social relationship perspective. nakoma also is the active participant in the friendship, not pocahontas. nakoma fills in the gaps of their relationship with assumptions and guesswork, because pocahontas is so reticent, so hesitant to share of herself that nakoma Has to. and when pocahontas's seclusion goes too far, when she fails to confide in nakoma some of the most essential elements of what she intends, nakoma has to fill in the gaps again. and when she does it's Not Good, and her solution is to send their strongest warrior (a man with affection for pocahontas, who might keep her secrets if she needs him to) to try and save her friend. and then it all blows up in their faces and a man lies dead in the water for it.

every relationship in the movie is so tragic like brO—

[emuanon34]

[suzannahnatters]

A while back I realised that there's one specific fictional thing that is catnip to me, and that is vulnerability. People accuse me of liking dire things in stories, but it's not so much that I love it when fictional people are suffering. It's that I kind of crave vulnerability in my protagonists.

I would define vulnerability as the opposite of agency. At its core, it involves a denial or a willing sacrifice of agency, and while writers talk about agency a lot, I don't think we spend anywhere near enough time discussing vulnerability.

Vulnerability is incredibly powerful in building empathy with a character, but it also forces the character into dire choices that reveal their true nature, and it makes the antagonistic forces seem a lot more powerful and scary. Vulnerability is why whump is appealing. It's one of the reasons we all care so much about out good fried Jonathan Harker, utterly at Dracula's mercy. It's why the myth of the voluntarily dying god is so powerful, even if you aren't a Christian.

More recently, I've been thinking a whole lot about how important vulnerability is in constructing a believable romance. In a believable romance, the characters will be emotionally vulnerable to, and on behalf of, one another. The "if you dare touch her" trope where the love interest comes unhinged at the sight of a loved one's suffering is vulnerability. Enemies to lovers is delicious because it asks what might happen if the person to whom you're most vulnerable was also the one with the greatest interest in exploiting that vulnerability. As I've written before, romance is about trust; and the corollary is that no romance can live without that heartstopping moment when one character takes the risk of putting themselves helplessly into the power of the other.

But I think that a lot of storytellers these days are prioritising agency at the cost of vulnerability. Disney's attempts at feminism are a great example of this. While the animated MULAN is outed as a woman in a moment of vulnerability that was the most powerful thing in the movie for me, in the live action Mulan's unmasking becomes a expression of agency that in my opinion guts the story of feeling. On the other hand, in the cdrama I'm currently watching (GOODBYE, MY PRINCESS) the male lead is SO averse to letting himself be vulnerable in any way at all that I simply can't find any romance in his interactions with the heroine. I love to see stories that foreground marginalised people, but too often those stories focus on giving the protagonist agency at the cost of letting the antagonist land any hits at all. The result, imo, is a perfectly soulless story.

Of course, agency is a sine qua non of a good protagonist. But so is vulnerability, and there are so many amazing stories you can write about a vulnerable protagonist. W R Gingell's CITY BETWEEN series, for instance, is the story of a desperately vulnerable protagonist fighting to claim some agency in her own life and it's GLORIOUS. And beyond that, I would say that moments of vulnerability are indispensable even to very strong protagonists. One of the reasons FULLMETAL ALCHEMIST worked so gorgeously as a story for me, for instance, was the gutpunch moments of vulnerability that happened both at the very start and then with increasing tempo toward the end.

Vulnerability can be something a protagonist constantly struggles with, or something that unexpectedly blindsides someone who seemed to be invincible, or something a character does willingly for the sake of the people they love. It can be romantic, or not at all. But either way it's the interplay of agency and vulnerability that really MAKES a story for me. You HAVE to have both.

[bklily]

The Wish Upon a Star event ends in such a jumpscare I'm still feeling the whiplash to this day.

Bonus:

[ghostedgrim]

Fandom Etiquette

It has come to my attention that today's fandoms just keep turning toxic, getting created and ruined within a week, and the etiquette we used to follow like law is vanishing. More and more people, especially minors, are joining fandoms, and they don't know the etiquette or unofficial rules that we once went by.

These "rules" are merely what I have observed through the years.

1) Understand what a fandom is- A fandom is a SAFE SPACE where people can talk about a show/movie/game/book + characters within it that they like. It is a space where people can be free to make headcannons, self-inserts, ocs, memes, shit posts, create and share theories, create fanart and fanfics.

2)Respect - If you don't want something happening to you, then don't do it to others. More directly: don't hate on other people for their preferences of reading, writing, and characters they like. So if someone likes character A because of __ but you like character B, that doesn't give you the right of hating on the other person fit liking character A. If a person sets a boundary: "I won't write _ _ and _," then don't push them to write it.

✨️Jingle Jingle ✨️sparkles✨️lemme keep your attention✨️✨️✨️✨️✨️✨️✨️✨️✨️✨️

3) Creators of a fandom (people who created the characters, movie, book etc that you like).- If they request something, respect it. "Please don't sexulize this character" so don't sexualize them. Do not force a creator into a fandom, don't be sending them fanart, graphic contents, threats to get a specific ship you want, etc. They are a person, treat them like one, if they want to be in the fandom and interact with it they will do it in their own time, don't force them.

4) 18+ spaces! 🔞- Now minors, I NEED you to understand this part. A person with 18+, 🔞 or MDNI (minors do not interact), don't interact ESSPECALLY if it's a group chat, discord, and/or rolepay. I emphasize this FOR YOUR SAFETY! As a minor, you can easily get groomed, no matter how safe it seems adult predators are there and will make you feel like they are the safest person to be around before they attack (I did an essay on this just a few months ago, trust me it's bad). Some people make an 18+ space because they fear a they cannot prevent a predator from going after minors who enter that space (predators will often be your friend before they attacked via grooming).

5) 18+ pt2- Many people create an 18+ space so they can talk about more adult related topics, or simply because they find it easier to talk to people their age when speaking about fandom related topics. Also it's weird being like 20 and agreeing with a 12 y/o that a character is hot, it's extremely uncomfortable for us adults when we realize we're having that conversation with a kid.

⚠️NEVER PRETEND TO BE 18+ IF YOU'RE UNDER 18 BECAUSE THEN THE ADULT YOU'RE TALKING TO WILL NOT REALIZE YOU'RE A MINOR, YALL TALK ABOUT ADULT CONTENT, MOM/DAD CATCHES YOU AND THEN THE INNOCENT ADULT GOES TO JAIL AND/OR BECOMES A REGISTERED CHILD PREDATOR!!⚠️

6) MDNI and 18+ tags!- These are warnings that a topic in a post is NOT CHILD FRIENDLY!! Also us adults can get in trouble if a child interacts with our 18+ content- a parent could see, report us, get us banned and possibly worse scenarios depending on the situation. Also adults don't want children reading 🌽, graphic violence etc.

✨️✨️💥✨️✨️stay with me now✨️✨️💥✨️✨️

7) Shit posts💕- I have not seen them in ages and I miss them. A shit post is just a funny, likely cringey thing you make at like 3am. They're funny, stupid, meant to make everyone laugh and cringe, they're not meant to be pretty. It can be headcannons like "Thrawn from star wars sucks at painting that's why he only admires art!!" Or self insert x character doing something stupid. Crack fics are some of the funniest things because you can read it and wonder if the person who made it was high in that moment. They're like memes.

8) Self Insert OCs- Idc if you hate them because guess what, a person has a right to create them, Hell a person has every right to make a fanfic with them. Yes, you're allowed to feel distaste when you see them, but don't give hate, it's stupid to hate on something so harmless. I got maladaptive daydreaming, and while it may be boring in a fanfic, I find may daydreams much more entertaining when I have powers and a backstory that's fictional.

9) Warnings- Put warnings on your post if it contains; violence, sa, abuse, sh, sickness, vomiting, and any other possibily triggering thing even I'd it seems stupid put the warning there please ✨️

10) Pro-shipping- If you do this you're not welcome, and leave the fandom. For those who don't know, these people support minor x adult ships, incest ships, dad/mother x their child ship, abuser x victim ships and likely sa ships too. There is no excuse, if you support them, make art, fanfics, headcannons, get out and leave the fandom. If you're so desperate for it then go make a bot for it on character ai. 👋 bye

10.5) If you make headcannons or stories romanticizing a character 🍇ing, and or sa and or abusing y/n, or another character you ship them with (especially if it's a minor x adult 🤢), get tf out. If you romanticize yourself sa, 🍇ing and/or abusing a character (especially if it's a minor) get tf out. LEAVE THE FANDOM

✨️Almost done, just a little further my friends✨️💕

11) Help support the people writing fanfics, writing isn't always easy, so leave the author a comment or preferably reblog it, it helps motivate them to write and keeps the fandom alive

12) Don't be toxic, it kills a fandom. Unless a person's opinions or creations are harmful just leave them alone if you don't like it.

13) Don't glorify Ai art, all the faces and smiles look identical babe, go for art created by a person. 100%

14) Don't whitewash

15) be inclusive

✨️ If you wanna read a story with multiple chapters you can find them on whattpad and Ao3. Ao3 is better at filtering out unwanted content and finding certain content you want. Tumblr fanfics are mostly oneshots, but multiple chapter stories do exist.✨️

16) Give support to authors writing multiple chapter stories bc those are hard af to make! Support via: Tumbler: reblog and comment. Ao3: kudos and comment. Whattpad: comment, and vote for it.

17) SUPPORT FANART ARTISTS! With Ai their motivation to create has weakened. Fancfictions and fanart are both vital in keeping fandoms alive, and artists are do much better at art than Ai. And we love the little comics the artists make, so give em some love

18) Cosplay- we all have to start somewhere and cosplay is expensive af. So support rather than critisize, and provide tips to help them (where to find affordable good materials, how to sew, good glues etc)

19) Writing is hard, some people like me are dyslexic and not everyone has English as their native language, ontop of that with grammarly (Ai based autocorrect) it's harder to notice mistakes and the autocorrect will also make incorrect corrections.

You made it!!!! I'm proud!!! Feel free to reblog, comment, and even copy then repost to spread the word, feel free to add, and summarize. People can't magically learn fandom etiquette, we have to teach them. Especially the minors

Now go be the weird nerds we all are 👋

[randomnoteforfuturereference]

Broke: Macho grandpa being homophobic when the grandkid comes out.

Woke: Macho grandpa being accepting right off the bat.

Bespoke: Grandpa offering hilariously out-of-date and borderline-problematic dating advice after the coming out.

[artist-issues]

Hi! First off, I want to say that I love how you analyze media and having really been enjoying reading all your posts :) I just wanted to ask—do you have tips for people who what to learn to think more critically about media and just storytelling in general? Like, are there questions that you usually ask yourself when looking at a character's journey or the messaging behind the movie? Just trying to learn how to better analyze the media I consume, as well as improve on pinpointing the specific reasons why I like the movies that I like, instead of just saying "Well, I liked it. It was great" and leaving it at that 🙈.

New favorite question!

I love that you want to know why you like something. I love it. I think so many people are ready to give a defense for why they dislike something, and the blood-sport of “picking it apart,” but then they don’t really know how to reverse the process and be like, “here’s why I liked this other thing,” or they can’t speak accurately and clearly about why they like something, which is a huge shame, and sort of raises other questions about critical thinking but you’re not doing that! So you’re already awesome!

I am not an expert. I could be 100% wrong about everything I do, and all the questions I ask. I only went to a normal amount of education for this. It does not mean I have all the insight and the good advice.

BUT you asked, and I love talking about it, so it’s going to be long, and here’s what I do:

Step 1. I Just Watch the Movie.

That’s it. Just take it in. No expectations. Do not try to figure out what’s wrong with it or what’s right with it. Don’t even assume there’s such a thing as “right” or “wrong” the first time you watch it. It is THE hardest thing to do, once you gain some “knowledge” of storytelling. But truthfully, if you go into a story with your eyes and ears open for flaws, or a checklist of “Right Things to Do,” then you’ve already lost any objectivity. You’ll be so busy going “good thing, bad thing,” that the movie will never be able to establish an “emotional train of thought,” with you. Because you’re already taking it piece by piece, like eating a burger one ingredient at a time, instead of taking a full bite. It’s meant to be one-successive-thought/feeling-on-top-of-another, but you’re picking it apart before it’s over.

Plus, you’re not letting the story do what it was meant to do—get under your mental guard. And that’s the whole point of stories. So in a way, if your Critical Analysis Cap is already conciously on, even the best movie in the world won’t come off as the best movie in the world. C.S. Lewis talks about this in one of his essays. I’ll try to simplify it:

You can’t decide if you like something or dislike something until after you’ve eaten it. You certainly can’t really experience “what ingredients it’s made of” before you’ve eaten it. You can make some observations about a food without ever putting it in your mouth and experiencing it—I can look at a brownie and go, “there’s chocolate in there.” I can cut into it and go, “oh, but it’s tough.” But I haven’t even begun to scratch the surface of experiencing that brownie until I just shut up and put it in my mouth.

That is the hardest part and the part I suck at the very most. My suckiness at this part is why my friends hate watching movies with me. But on some level, you have to suspend your worldview, your opinions, and try to just listen.

It’s also why (this is just an aside) I struggle when people recommend a movie to me. Because they usually go, “what do you think of this movie?” And then I say, “I haven’t seen it.” And then they go, “oh you should watch it!” And I know for a fact that they’re going to ask me how it was, and my answer needs to be prepared—so then I’m already handicapped before I even try it. But it can’t be helped. And that’s just food for thought.

Step 2: “What Are They Trying to Tell Me?”

The only thing you need to think, when you go into analyzing a movie, before anything else, is, “They are trying to tell me something.”

That’s it. It’s just active listening, but in a movie. I think that’s like 90% of it. And so many people don’t know how to do that—in life, in conversation—let alone when they watch something. It’s the movie-watching equivalent of “stop thinking about what you’re going to say or how you’re going to respond to me, and just listen to what I’m saying.”

Remember, the whole storytelling team behind a movie or the writer of a novel sat down in front of a blank piece of paper. There was nothing there. They made several hundred thousand tiny and huge decisions to put something in front of you. Almost nothing you see in the story is there on accident. Because none of it would be there if they didn’t decide to transplant what they were thinking and feeling into you.

That’s all a movie is. That’s all a story is. It’s communication. It’s an essay. It’s a sermon. It’s a song. You can figure out what it means—but only if you start out by accepting, on good faith, that it means something.

I’m not saying every story of movie will have a well-thought-out meaning. I’m saying, you’re going into it as if it does. In good faith. And then the storytellers will either reward that good faith because they had something to say—or they’ll let you down. But you go in assuming they won’t let you down, that this is an agreed-upon conversation you two are having.

That takes a level of humility I don’t always have. Because if I know Christopher Nolan is directing a movie, at this point, it’s hard for me not to go into that movie with the story-version of this mindset: “well, I know he’ll have a lot of ‘big words’ to use, but nothing to actually say.” It’s hard to do.

But you have to do it, or else the risk of you projecting what you believe the movie is about onto it, or missing the meaning entirely, is astronomically high. You’ll watch a Disney Princess movie that’s total trash (I can’t stop coming for Wish) and you’ll see everything you’ve always wanted to see in it—because you’re projecting what you hope they’re saying onto the movie (when actually they were saying something very silly.) Or you’ll be like me watching The Dark Knight for the first time and trying desperately to wrestle my brain into “believe he’s trying to say something to you and not just snag your emotions on meaningless twists”-mode the whole time.

And the best way to figure out what they were trying to tell you is to start with where they succeeded in making you feel something. Wherever they succeeded, that’s where you’ll start looking for clues.

Step 3. What Did You Feel?

Sometimes you have to skip this step because you couldn’t get Step 1 right. You couldn’t just watch the movie, you were “out of the movie,” the whole time you were watching it. Sometimes that’s not your fault—sometimes a movie is so bad or so disingenuous that you can’t do Step 1, and you have to settle not for “What Did You Feel?” (Because you felt nothing) but “What Did They Want Me To Feel?”

…But if you were able to just watch it and it made you feel something, then this step is about analyzing that.

I recommend starting with a movie you watched when you were a kid—because kids almost never fail at Step 1. Their brains are sponges. Your brain was a willing sponge, you believed that the story was telling you something and you took it in without any conscious thought.

So like, if you felt like crying during the scene in Inside Out where Bing Bong fades away, or you did cry, ask yourself “why?”

The first answer to that question will be “because I liked Bing Bong and now he’s gone, and that’s sad.”

The second one will be: “because I miss my imaginary friend/because I miss my childhood/because I wish I didn’t have to lose memories of good things” etc. And all of that’s true.

But dig deeper. Because that’s exactly how the storyteller wanted you to feel. Reverse-engineer it. Figure out how they accomplished that goal.

Because we all had play-pretend characters when we were kids. We all had childhood friends who aren’t with us anymore. I guarantee you none of them looked like cotton-candy chimeras with hobo jackets. So why did you respond to Bing-Bong’s death as if you were losing something personal? How did they get you to believe that was happening, enough to make you sad, about a character you met an hour ago?

Because you got to know him well over the past hour. You got to know things about him that were easy to believe, things that were in common with your life experiences. You know what he wants, what he doesn’t like. You know where he was hoping to go, and what he was afraid of.

That ties into the next point, but you can do this with things that don’t have anything to do with the character—the other things that make up a movie.

What music was playing during the part where you Felt Something? Was that same melody or motif in another part of the movie—and if it was, what was happening in that part? Are they connected somehow?

What color predominates the screen during that part?

What is the lighting like? Does anything make the lighting different than what we’ve seen so far? Is the lighting creating interesting shapes—how would you describe those shapes?

Where are we? Is it a significant location? What makes the location significant?

Are we losing something? Why does it feel like a loss? Are we gaining something? Why does it feel like a gain? What was missing before that we’re glad is here now?

Those are just a few questions. Because remember, by answering them as honestly and simply as you can, you’re figuring out that the storytellers chose those things, and you’re figuring out why that was the right choice.

Do some compare-contrast: when Bing Bong fades away, what color is he turning before disappearing?

Deep blue, almost purple, right? If you can’t figure out why that would be a good choice, do some compare-contrast. What if the color he was vaguely dissolving into was green? That would look kind of sickly, or it would evoke feelings of “poison gas.” Weird for a moment that’s supposed to be sad. What if the color was yellow? Joy is yellow, in the movie. So pretty directly, that would be the wrong color because it would be kind of pretty, and it would make the audience feel a little “ooo” like they do when the Beast transforms in yellow light. But blue? Who’s blue in this movie? Sadness. Obviously. Sadness is blue—it’s very human to respond that way. You can do that same “what-if, compare/contrast” with the answer to every question on that bullet point list.

“When Genie is set free and I Felt Something, the location it’s in is on the throne room balcony. Well, why? Why’d the storytellers pick that? Because that’s where they were after the final battle, yeah, but that final battle could’ve been anywhere. Why didn’t the final battle with Jafar finish by having everybody in the throne room? Well, if it had been in the throne room, there would have been a lot of destruction from the final battle laying around. Having ruins behind Genie while he looks all sparkly and triumphant would’ve been a little odd. Plus, there would’ve been a roof. Would he have gone “I’m freee—hee!!” and flown out a window? That might’ve felt silly. But out on the balcony, he’s looking sparkly and triumphant against an open sky. Ohhh, an open sky makes you think of endless opportunity. That’s so smart. Even my subconscious was convinced, by the sky behind him, that something momentous and liberating was happening in this scene. And not just for Genie, but Aladdin is finally being “freed,” too, because they know who he is and love him anyway, and Jasmine is being ‘freed,’ too, because the law—“ Okay that’s enough, you get the idea.

Let’s go into the really fun part.

Step 4. I Look At The Characters

A good storyteller uses something that the audience can relate and empathize with for their main focus. And that’s usually a character (doesn’t have to be. You can describe a tree with personification in a poem, and a human will empathize with that tree’s “life,” or situation, and boom—suddenly you have a story.)

A super talented writer I know named @doverstar once wrote an entire story from the perspective of I think a paperclip? And I still remember it to this day. (Specifically I remember a crazy straw wrapper in the story, but you get my point.)

SO! Characters are the easiest and best way for a storyteller to get the person they’re trying to communicate with to engage. Which means, looking at characters is the easiest avenue to understand a story by. Usually, the storyteller jammed the whole message of the story into their characters in neat, interesting little packages. You just have to unpack them.

Here’s how I do it, roughly:

A. Figure Out What the Character Wants

In my post about The Lion King, I said Simba wants to be free to do whatever he wants all the time. And that’s true. But how did I figure that out? I’ll show you. It’s plain, because the storytellers wanted you to know.

Look At Dialogue - What a character says almost always gives you hints to what they want—even if they never say what they want out loud. Kids are most likely to say it, point-blank. So cub-Simba says, “But I thought a King could do whatever he wants.” But adults usually don’t say exactly what they want, because by that time, they’re either confused about what they want or they’re insecure about what people will think of what they want—whatever. The point is, pay attention to what a character says. Simba also sings, later, “free to do it all my way!” You can also find a lot out by what a character doesn’t say. Aladdin could’ve said, “yeah, well, at least I’m not a pompous jerk!” when Prince Achmed calls him “worthless.” That would’ve been more of his gutsiness, and he would’ve been right, like a hero should be when calling out a bully. But it wouldn’t have told you anything about what he thinks about what Achmed just said. Instead, he goes, “I’m not worthless!” …People who really believe obvious things don’t say those obvious things. Because they’re obvious. So when Aladdin says, to a closed door and an empty street, “I’m NOT worthless,” you realize that he’s just trying to convince himself. What he means is, “I don’t want to be worthless, and I don’t want to be seen that way.” Because on some level, he is afraid that he is worthless. See how you can tease that out based on what Aladdin says? Then it makes sense that, from that moment on, Aladdin does everything to prove he’s not worthless, or to make people believe he’s not—he goes to great lengths to preserve that image. That’s his motive. Just like Simba disobeys his father and Zazu because he wants to prove he’s a powerful Prince who can do whatever he wants. That’s his motive at the beginning of the movie. You can also learn a lot about what a different character says about another character. And whether or not they’re portrayed as right or wrong. When Prince Achmed says Aladdin is “worthless,” you don’t believe him. He’s drawn in gross curvy lines and he whips children and kicks poor people. You’re not inclined to believe he tells the truth, on top of all that. So the storytellers don’t want you to think Aladdin is worthless—they want you to believe that Aladdin thinks he’s worthless, on some level.

Look at Actions - Actions do speak louder than words. When a character is presented with a decision to make, look at what road they take.

Look at what that says about them. For example, when Andy Dufresne chooses to play music for all the people at Shawshank, even though it’s definitely going to get him in trouble, or when he dares to approach and talk to the abusive prison guard just for a few beers, you learn something about him. It might be confusing, and it might take cross-referencing that action with the fact that he’s digging himself a way out while everyone else is accepting their sentence. But you’ll see that he could have just done what everybody else did. Got through his sentence with the bare-minimum of work. Kept himself busy with any old thing. But that’s not what the storyteller has him do. The storyteller had him continue to bring new, life-lived things into the prison. He creates a space for people to learn and better themselves, he wheedles beers in just for the enjoyment of them, he’s beaten for the sake of music being played. The idea is that he’s going to keep pushing and living, reaching for more, instead of settling, like a man who’s already dead. So then by the time he digs his way out of Shawshank, you believe it. You’re like, “yeah, Andy would do that. I’ve seen him go to great lengths to live this whole time.” Through his actions, and the actions he doesn’t take even when he could, you figure out his motive.

Watch for the Change - Not every character changes. But when a character starts saying something that’s opposite to the kinds of things they said at the beginning, take note. When the character starts doing something they wouldn’t or couldn’t do at the beginning, take note. Miles Morales tries to jump off a building as his first test of being Spider-Man, and he can’t, he goes to a shorter building. Later in the movie, he jumps upside-down off of one. The change in action demonstrates a change in motive—he used to be focused on not-failing. Now he’s focused on taking action.

I’m sorry, I know this is already a long post, but wanna see it all come together?

(Dialogue) On Miles’ first day in class a girl points out that his shoes are untied, and Miles says, “I know. It’s a choice.” He leaves his shoes untied on purpose. (Action.) He also tries to fail in school on purpose. (Action and Dialogue: His teacher spells it out with her dialogue “You’re trying to quit. And I’m not going to let you.”) Then later when Mils tries to run and jump off a short building as Spider-Man, his shoes are still untied. Why? He does things sloppily on purpose. He leaves his shoes untied the same way he tries to fail tests he knows he can pass—because it’s easy. Because you can’t fail at something risky if you don’t try. So he trips and falls off the building. (Action.) That’s Miles’ motive. He’s got “Great Potential,” but he could succeed, but he chooses not to because he’s afraid of failure. Then later, when he leaps headfirst down a skyscraper, did you notice his shoes? They’re tied. (The Change.)

All from a pair of shoes.

Someone had to draw this kid’s shoes, before anyone knew what he would be wearing, and decide why it mattered. Someone had to pick what dismissive line a kid would say to him on his first day of school—and they had to pick exactly what words he would use to respond.

They’re trying to tell you something. All you have to do is believe that, and then you’ll start to not only hear what they’re saying, but appreciate how they choose to say it.

B. Figure out Who a Character Is

This one you can find clues for in the same three things: Dialogue, Actions, The Change. (If there is a change. There isn’t always.)

A character like Stitch is easy to analyze. Other characters straight up say (Dialogue) “You were built to destroy, you have no place among us, you wreck everything you touch, there is nothing inside you that is good.” Then he makes abominable choices (Action) pushes little girls down, rips up toys, chews on the heads of other aliens, actively tries to murder alien cops. But he also looks sad after a night of destroying things (Actions) and asks Lilo to explain to him a book about an ugly duckling (Dialogue? He sort of grunts.) So you’re starting to notice solid character traits: Stitch is evil, Stitch likes being evil, but Stitch feels empty being the way he is. Then when the Change comes, it’s meaningful, and it gives you a hint as to what the storytellers were trying to say.

You get a sense of what Stitch would do, what Stitch wouldn’t do—and you can ask why. With Stitch, it’s just because that’s how he was created by his literal creator. But with other characters, like Cinderella, you’re given background. Her parents taught her to be good and kind regardless of her circumstances. So then when her circumstances get worse and worse, and she chooses to hang on to what she was taught even when the parents are gone, that’s a big deal. And what happens as a result of that “big deal,” what happens as a result of “who the character is” and their “motive,” is our next step!

Remember, you can do this for almost all of the characters. And whichever character gets the most screen-time, what they’re doing during that screentime—all of those things matter.

Step 5: Look at What The Storytellers Reward & Punish

People mess this step up because they mess up Step 2. They forget that the storytellers are trying to tell them something—something specific, something with parameters—and they just start reading their own ideas and reasoning into the characters.

Prime example: people blaming Admiral Holdo for Poe’s actions in Star Wars: The Last Jedi. The whole movie, Poe is doing things that are understandable, but ultimately, foolish. His Character Actions are coming from his Character Motives—which are flawed. Poe believes he should always stand and fight and do what’s heroic. There’s a little pride that goes with that—that he has to be the one to make the stand, or at least to know that there is a heroic plan. But every time he takes these actions, something bad results from it.

Disobeys Leia and Bombs the Dreadnaught -> Every other Pilot dies, and the ship is being tracked anyway. Leia slaps him and tries to tell him to learn a different lesson. Sad or intense music plays. One of the other main characters is majorly negatively affected by the death of her sister in this bombing run.

Sends Finn & Rose on a Mission Without Trusting His Superiors With the Plan -> They Don’t Make It and Nearly Die. His Superiors Trust Him Less.

Staged a Mutiny Necause He Doesn’t Trust Any Plan That’s Not Heroic, Especially if They Didn’t Tell Him First -> The Real Plan is Almost Foiled, Leia Stuns Him.

But some people see all that and they don’t willingly accept that the filmmakers are telling you Poe is in the wrong. They impose the fact that they like him, and they don’t like the purple-haired lady, over the narrative—against all reason, against all odds. They’ve stopped taking in the story, and they’re writing fanfiction before it’s even over. They believe Poe is in the right—if Admiral Holdo had just told him the plan, he would’ve gone alone with it! None of this had to happen!

Actually, the storytellers prove the opposite of that: that Poe would’ve been furious and put a stop to a life-saving plan, because he hates running away. But people are spinning out into “what SHOULD have happened,” or removing one tiny piece of the story and blowing it up and out of context, and judging the whole story on that. If you’re not a big Star Wars fan, consider this: I’ve seen people argue that in Beauty & the Beast, the Enchantress is the real villain and the Beast and his castle are the victims. This is ridiculous. Clearly, the storytellers are telling you that the Beast was in the wrong and the Enchantress was in the right.

They’re telling you this because they design the Enchntress beautifully. They align her with virtues like “value love, be kind to others, be humble,” and they introduce the beast to you with “sneered, selfish, spoiled, unkind, no love in his heart.” They straight up tell you that in the narrator’s voice. You have to believe them, in good faith, if you want to understand what they’re saying.

What about when there’s no voiceover narrating what’s good and bad? No problem. Look at other things. Like I said, look at how Poe is made a fool of by a benevolent and beloved character (Leia) whenever he makes decisions that the storytellers want you to see as bad decisions. Look at the lighting, the location, the colors, and the music during scenes where consequences of a characters’ actions are coming.

That’s what you’re looking for. What does the movie say is good, and what does the movie say is bad? What does the movie say is true, and what does the movie say is a lie?

At the beginning of E.T., the main character is disliked by everybody, including his older brother, because he only thinks of himself and how he feels. By the end, when the kid has taken such careful care of E.T. and reveals it to his big brother, his big brother wants to help him. They’re all brought together. Because the main character stopped doing something that the storytellers disapprove of, which is “thinking only about how you feel,” and he started “thinking about how other people feel” for a change. In the beginning of the movie, he’s lonely, angry, standing in shots that are wide and empty. By the end, he’s flying, beautiful music is playing, and he’s happy. The storytellers reward what they’re trying to convince you is good and right.

Step 6: Are the Storytellers Right?

I always stress remembering this last part. It’s all well and good to lower your defenses and take in a story in good faith. You should not ask this question until you’re done listening, in most cases. Just like it’s well and good to listen to someone with a different perspective than you—you might be wrong, and a story’s main function, like I say on my profile’s pinned post, is to act as a Signpost that Directs You Back to Truth When You’ve Wandered.

But the problem is, fallible humans are telling the stories, and fallible humans are listening to the stories.

So you need to know what you believe, and after the storytellers tell you something, measure it against reality. When Greta Gerwig says, “You Can Be Whatever You Want to Be, Because You’re God,” and she says it with the Barbie movie, is she right? When Cinderella says, “Have Courage and Be Kind, and You’ll Have Hope in the Worst Circumstances,” is the movie right? What if you find yourself in the worst of circumstances one day—you better hope Cinderella didn’t feed you lies. What if there is a God, and it’s not you—you better hope Barbie didn’t feed you lies. I really enjoyed going over this! I’m sorry it was so long. If there’s ever anything more or like, follow-up questions, go ahead and ask! I’ll try to make it briefer next time. Thanks again!

[beaniebea]

Starting to sketch out a simple height chart for the musketeer characters (something I prob should have done a while ago 😓 better late than never ig) and idkw but I was giggling so hard while drawing the boys next to pete, they're just so smol, le scrunklies

Actually, should I make Pete taller? He's already towering over them quite a bit, but I know in the og movie he was like, nine feet and could hold mickey in one fist so... I might change that just a bit.

also I know I sound like a broken record at this point, but I swear the next chapter is coming soon, I've been working every chance I get on it 👍

[raven-at-the-writing-desk]

So.... Stock image

https://www.vecteezy.com/vector-art/11430941-halloween-black-silhouette-repeating-border

[Referencing this post!]

Yuuup, that’s pretty much the same thing as what we see in the PV… 😅 Same shapes, same pattern order, everything.

Upon further research, it seems this isn’t even the first instance of this stock asset being used by Disney. It was also used for a limited edition Sally-inspired perfume called Rag Doll. I believe it was sold at Hot Topic back in 2013:

It’s a little saddening seeing TWST use stock images instead of like… you know, new assets 💦 This is following a somewhat disappointing trend of TWST animated PVs going down in quality and budget, especially over the years. For example, for the anniversaries:

2021 - 2 minutes long; all students included in highly individualized limited event outfits and movement is dynamic.

2022 - 1 minute long; all students and even staff are included but in standard uniforms, noticeable drop in art and animation quality (for example, look at Kalim and Silver in the flight scene). Animation itself is framed like Yuu is taking pictures of everyone—but really, it’s a convenient excuse to hold on static shots of the photos instead of actually animating them.

2023 - 1 minute and ~40 seconds; only the third years in their school uniforms and Grim in ceremonial robes are featured. Animation appears slow and somewhat clunky. And dear god, that weird panning shot of Malleus and Lilia; that Lilia is practically traced from his live 2D model.

2024 - 1 minute and ~10 seconds; basically a glorified slideshow with fancy effects. Only the dorm leaders in their school uniforms are shown.

Then, looking at the Halloweens:

Terror is Trending - 30 seconds; All students included and dorm costumes showcased. Unique shots and framing. Even Ramshackle Ghosts (who are important in the event story) are shown.

Endless Halloween Night - 4 different versions of the same commercial (including different characters doing the voiceover work), each ~30 seconds each; all students featured. Nice lighting, fierce expressions, varied framing.

Glorious Masquerade - 1 minute and 30 seconds. Several static panning shots, but at least the colors are striking when most other things are monochrome or muted. ~20 seconds at the end dedicated to hyping up Rollo.

Stage in Playful Land - ~35 seconds. Only the 3 SSR boys are featured, with most of the animation being in their head tilts. Less than 10 seconds is dedicated to hyping up Fellow and Gidel.

This year’s event… 20 seconds using a stock image and panning up from it to the TWST logo, no new assets.

I DON’T KNOW, maybe I’m overthinking it 😭 I’m definitely not the first person to notice this though… It’s been a point of discussion in my fandom social circles.

But hey, let’s keep our heads high! It’s very possible that we’ll get a more formal animated PV in the weeks leading up to Halloween. In fact, I’m certain of it since this current PV doesn’t show new costumes or the new twisted character, as is tradition. What we see now might just be a bonus material they’re releasing to really get us excited. Plus, we’ll probably also have an ABEMA stream with more Halloween-related news ^^ Let’s look forward to that!

[lily-s-world]

Hermes, my guy, my brother in christ.. Why on earth are you taking parenting advice from Poseidon???

You said yourself that he abandoned his children!! And he is the person you listen too??

[ihavetoomanyocsdealwithit]

I haven't made it through all of Rook's story yet, but this is kind of the vibe I get from Rook Hunt so far.

He got tired of admiring beauty. He wanted to be beautiful. More accurately, he wanted to feel beautiful. Instead of looking on from a stage or from a distance he wanted to have the soft silk, plush fabrics, the color and vibrancy, and feel as good about himself as those things do against his skin.

I think that's what Vil offered him the most was somebody who could teach how to create the image he wanted for and allowed him to try all the things he was scared of, but he ultimately let Rook decide how he was going to do that.

Perhaps the bob cut isn't the most flattering for him, but it's the cut that makes him feel beautiful. Perhaps his Beans Camo and Port Wear flatter him more, but he clearly drifts into the more refined cuts and fabrics.

That's why he has conviction in his beauty and admires that conviction in others, and why he pulled his vote. He doesn't need the world to tell him he's beautiful, he already feels that way because he decided he was.

I don't know, I just love a character that crafts themselves into who they want, despite or because of the struggles around them, and then encourages others to do the same.

[kamomillee]

The King's Fall

There’s something important I’d like to share about this story.

The king, deeply shaken and worried about an unknown threat, feels the weight of being the sole protector of his kingdom. His trauma from past experiences and the fear of possibly not being able to deal with this danger consume him. He turns to the resources at his disposal but finds no answers. The only remaining option he can think of is the forbidden book. But then his wife suggests asking for help from the people of Rosas, an idea he accepts.

The king summons the people, asking for their help identifying the traitor threatening the kingdom. He asks them only to provide information so that he can deal with it himself.

But once the questions begin and someone says the trigger word “wish”, everyone quickly forgets about the urgent matter and starts asking about wishes. They question the king’s competence in protecting their wishes and begin clamoring for a new wish ceremony.

“Can you hold a wish ceremony? We’d be happy.”

“Can you hold a ceremony today?”

“Can you hold a ceremony NOW?”

With everyone talking at once, it was disrespectful and inconsiderate. Naturally, the king would be irritated.

(What do you think this is? Christmas?)

Bringing order and demanding silence, he asks if all they can think about is the wish ceremony, and they confirm that yes, all they think about is the wish ceremony.

The disappointment and irritation are obvious.

In his frustration, he makes a deal: those who help him will be rewarded with a wish, but those who help the traitor will not. This was quite sensible, as they don’t seem inclined to be helpful otherwise.

So… the worst thing that can happen to traitors is not having their wish granted by the king they betrayed… no imprisonment? no banishment? Okay…

The movie makes it seem like he was irrational and overreacted by getting upset. However, it doesn’t take much to realize that the people’s behavior was incredibly annoying; he has every right to be irritated.

Amaya says they acted this way because the king made them comfortable enough to do so. Which is true. They were very comfortable and complacent.

So, he goes out to vent and de-stress alone, which is perfectly reasonable?

He’s at the height of his stress and irritation, disappointed with his people. Add the past trauma. There’s an unknown threat, and he’s the only one who can defend the kingdom. Seeing no other options, since he’s already tried everything he can think of, he turns to the last resort: the forbidden book. His strong emotions clouded his vision and judgment. He made a hasty and poor decision, which was his mistake, and he ended up cursed.

That said, I’d like to share a piece of life advice that applies to everyone.

Never make any decisions when you’re emotionally shaken, especially important decisions.

When you’re overwhelmed by your emotions, it clouds your vision and judgment. You can’t see the big picture, and reality becomes blurred. If you act hastily, unless a miracle happens, you’ll most likely make a bad decision that you’ll regret later.

Even the most altruistic person can make mistakes under the impact of emotions, making poor decisions that negatively affect those around them and themselves.

You can be stressed, you can be angry. Take some time for yourself and do whatever helps you de-stress. But don’t make any decisions in that state. Calm yourself first. Then, yes, carefully analyze your options and make a decision. Don’t be hasty.

Therefore, it’s essential for everyone to learn and develop the ability to manage their emotions properly. Developing emotional intelligence and self-control is crucial for living a balanced and wise life. Live wisely, and you will live well.

If trauma is involved, the challenge is even greater, as it directly attacks your emotions and judgment, distorting reality further. It is crucial that you seek to work through and heal from your trauma, no matter how big or small, so that it does not control you and your life.

You are not your emotions.

You are not your trauma.

Don’t let these things control you.

You are greater than all of this, even if you don’t feel like it is true. The truth is, you can win and overcome all of these things.

Thank you for reading. Take care and be well. 💖