#encanto music analysis

[usedtobeguest123]

Encantober - Transformation

Hello, can I talk your ear off about the music in Encanto, specifically Bruno's instrumental themes????? What if I promise to give you some unsolicited character writing tips on the side....😁

So was on the struggle bus with my current WIP that focuses on Bruno, and wanted to reconnect with the characters in order to better ground my depictions of them. Rather than watch the movie (again), I decided to listen to the instrumental versions of Lin-Manuel's songs as well as Germaine Franco's amazing score, and wrote a little way longer than planned analysis to condense my thoughts.

I'm nerding out a bit about it all (okay, I'm nerding out a lot…), so I wanted to post it for my fellow Encanto lovers to nerd out with me. Today's Encantober theme is transformation, so thought it was a fitting day to post it :)

A rough musical analysis by a very non-musical music lover below the cut 😊

1) Songs: WDTAB/All of You

To recognize Bruno's main instrumental theme, it helps to start with the instrumental version of All of You. It's easy to pick out here, as it plays in the part where he is singing (and in one other place…more on that later). Listen in at 1:08. This is when Camilo would be singing "So, we're gonna talk about Bruno?"---and leads right into when Bruno sings for himself. His theme is a sort of boom dih dih dih boom dih dih dih boom dih…dih…dih (yes, those are the technical terms), a strong base hit interspersed with plucky-piano. 

What I love about this theme is how it mimics the movements of the character, and defines how he interacts with and perceives his environment.

Bruno often moves with big jerky movements sandwiched by small fidgets—hesitation, explosion, hesitation/doubt, explosion, very rat like. When a rat moves, it evaluates the environment, moves, pauses and sniffs some more, moves again. The tip-toe of the piano gives the feel of creeping or gingerly stepping, while the boom recreates the jerk into action, the push to make a big move, framed by caution. 

This says a lot about Bruno's perception of the world. He's grown to be wary of his environment, like a rat sensing out danger. If he's gonna move, better make it quick (maybe before he talks himself out of it!), and then pause again to re-evaluate if it's safe to keep going. He avoids detection, tip-toes, sneaks from cover to cover—you can almost see him moving when you listen, shoulders hunched, hood drawn. Bruno is wary of being seen, as being seen has meant danger to him in one way or another. Many fans have interpreted what this danger looked like in many different ways (from social ostracization to actual physical danger), but at the very least we can identify a high level of learned social anxiety that forces him to proceed with caution and keep a low profile when interacting with others (more on that later). Bruno has learned to tread carefully because of how others have perceived him, through the lens of his gift. 

Of course, once he's in the walls, fear of being seen takes on a whole new meaning. Discovery at that point would mean the consequences of discovery of the vision as well, and discovery of his shame—he never left/couldn't leave, and has been reduced to a rat in the walls of his own home.

When Camilo is singing, we hear a different feature associated with Bruno—the whine of a synth keyboard (I think?). It gives me major theremin vibes, and the song draws on that classic horror sound to drive home a "villain," seven-foot-frame image of Bruno, as portrayed by Camilo—-and, more importantly, as seen by the townspeople. 

Let's backup to WDTAB. If you listen to that instrumental version, you can hear that the synth sound picks up right away (on the line "Bruno walks in with a mischievous grin," no less!). It comes in and out, and even picks up a more complex melodic pattern here. It's the townspeople's fear—but it's not a horrific dread sound; it's actually a bit playful. Now, part of this is because it's a Disney bop, but I like to think that this also points to the nature of rumors—we get enjoyment from spreading them, and the Encanto-folk are clearly eager to dish. Listen to how creepy this guy was! Ooooo doesn't it give you the shivers?! It's like a fun ghost story around the campfire. This juicy piece of gossip is a favorite to share. 

BUT Bruno's actual theme—the one we hear when he actually speaks in All of You—doesn't appear until 1:33 of WDTAB. It's when the townspeople are sharing their grievances that we really hear his tip-toe, like he's tip-toeing through the minefield of their complaints. Now we can see the shapes he's learned to step around—you can almost see him weaving through their disgruntled narratives in the song. The music shows that here is where that learned social anxiety was formed.

Note that the theremin synth drops away when Isabela and Dolores sing their parts in WDTAB. When Isa sings hers, the plucked rhythm of the strings mirrors Bruno's plucked string style in his theme, though the melody changes. I think this speaks again to careful footing—they both share anxiety at being found out, being truly seen, and live life having to tiptoe their way through social interactions. Where as Bruno's plucked strings are jerky, Isa's are more graceful. When Dolores picks up, the plucked strings are replaced with a symphonic strings in a very romantic princess-esk style of longing. 

To tie things up, let's pull forward again to All of You. In this song, notice the theremin-synth sound also drops away as soon as Bruno speaks, and we don't hear it again. We are left with the real Bruno—meek, anxious, and full of nervous energy, the antithesis of scary. The theremin really only appears in Camilo's part, highlighting again the one character in the song who was really only there for the novelty of the rumor and the story telling opportunity, and had no memory of the real guy. THAT'S Bruno???

In the end of Bruno's part in All of You, the melody overtakes his theme, symbolizing his unconditional acceptance by his mother and sisters and his reintegration into the family. 

Also, let's not forget the nod to Let It Go! It's perhaps just an easter egg, but character-wise, I like to think it's also testament to his use of quirky meta-humor to deflect and avoid uncomfortable vulnerability. Does everyone in the room always get his jokes? Nope! But he can still disappear in the confusion!

Character Takeaways, for writing reference: 

When uncomfortable, Bruno often moves and speaks in quick, nervous bursts, interspersed with small fidgety movements.

Nervous energy reigns supreme. Bruno hides behind quirky, lighthearted, sometimes meta humor as a way to deflect and avoid being seen/made vulnerable.

Bruno has learned to literally and figuratively tiptoe around the townspeople, and eventually, around his own family. Post-movie/All of You Bruno is unlearning/releasing this social anxiety around his family through the experience of (unexpected) unconditional acceptance 

Isabela shares a similar underlying social anxiety to Bruno, though it manifests differently. They both have experienced having to tread carefully around other's expectations

Camilo is full of it. 😆 He feeds off of the environment to parody it, finding his drive in giving the people what they want to see—much like his gift. This can be a boon and a detriment to his character.

Knowing/hearing the real Bruno dispels the rumors that evolved in his absence

2) Instrumentals: The Rat's Lair, Tío Bruno, and It Was Me

I'm sure there is a lot more to say about these three pieces, but my main takeaway comes from the contrast between plucked strings/knocking percussion and wind instruments/bowed strings in Bruno's pieces, and how they reveal his layered character and his developmental arch.

In The Rat's Lair, we get Mirabel's (and our) first real impression of Bruno. Whereas the chase scene leading up to this piece is full of cacophonous, screechy strings (Chasing the Past), this piece has replaced those fearful sounds with plucked strings. We again get that image of tiptoeing, and it's playful. His room is full of mischievous rats, he's nervous and jumpy, and Mirabel is just trying to figure out what the heck is going on. We get a nice contrast between the expected Bruno (scary) and the real Bruno (quirky, but sweet and harmless). Also present are a bunch of percussive knocks, a nod to his superstitious/compulsive knocking.  

Contrast this with Tío Bruno. This piece plays when Mirabel first peeks through the crack to the dining room, finally getting a look at the real tragedy of Bruno's situation. Tío Bruno has the main Encanto theme throughout (we also hear it when the Encanto is being created at the beginning of the movie). It's a nod to the miracle, but it's mournful here, with parts in a minor key. The miracle has had tragic consequences for Bruno. Tío Bruno is full of woodwind instruments and bowed strings (as opposed to plucked). Rather than nervous tiptoeing, we get raw emotion, frequently underlined by a sustained guitar tremolo (??) that speaks to the familial tension driving it all. Tío Bruno plays when Mirabel gets past all the nervous deflection and connects with Bruno in a meaningful and vulnerable way. Under it all, Bruno is deeply sad, carrying the dismay of a miraculous gift gone awry and the tragic consequences of his last vision. 

Finally, we have It Was Me, which acts as a redemptive contrast to Tío Bruno. In this piece, the plucked strings return (he's nervous, confused by Abuela's unexpected embrace). It then transforms into a grand symphony as Mirabel, Abuela, and Bruno take off on the horse toward the ruined Casita, and then a chorus singing the Encanto theme when Julieta is reunited with Mirabel. It ends with the All of You theme. All of this follows the action of the scenes from Mirabel's perspective, BUT if we look at this from a Bruno perspective, apart from the scenes' action, we get a redemptive arc. 

It Was Me carries Bruno's nervous plucked strings (tiptoe, anxiety) to disappear in the Encanto theme chorus (miracle, hope). He is reunited with the Miracle (his family, the true gift) and the sadness of the Tío Bruno theme is changed into the hopeful chorus that the Miracle once was (major key?) as heard in the beginning of the film. From there, the song moves into the to the All of You theme as Bruno is finally on his way to being seen and unconditionally accepted, a true healing moment. 

Character Takeaways, for writing reference: 

Bruno hides behind humor to deflect away from those vulnerable places within him. Maybe it's painful, maybe it's an attempt to keep the burden from those he loves (a cool analysis on that here!), maybe he's afraid of being rejected for being weak. Regardless, he has a deep sadness hidden underneath the nervous, quirky exterior, and Mirabel is the one to break through to it

When Bruno's defenses are down, the music slows down, and so does the movements of his character. It's like the weight of it all catches up to him, and he drops his attempts to be upbeat and lighthearted. He eventually picks the jumpy style of movement back up again in the film, when Mirabel begins to feel the weight of the situation (OR NOT! It's a mystery, it's a mystery…). In sum, when he is nervous (most of the time), he is deflecting, humorous, playful on the outside, with a deeper sadness carried within.

3) WAIT WAIT MY FAVORITE PART as a FINAL note I swear:

Bruno's theme reappears in a strange place at the end of the movie, in All of You. At 2:56, he's no longer speaking; in fact, he's not even in the scene! What's happening in the song? It's none other than the moment that Dolores opens up to Mariano (I can take it from here, GOODBYE). Bruno's theme underlies Dolores' entire speech to Mariano, but then the theme transforms at the end, rising up and bleeding into the All of You melody.

Why bring him in here? I think it's a moment of redemption. Bruno's 'bad' prophecy for Dolores is cast in a new light. The time pining after the "man of her dreams, betrothed to another," has built up in her this momentum, manifested as courage to speak out and demand what she wants (Wake up and NOTICE me!). At the moment that Mariano verbalizes that he sees her, Bruno's theme transforms into the All of You theme. Dolores is seen, all of her, and the moment arises from the backdrop of her Tío's prophecy. Perhaps this symbolizes a freedom from the confines of the prophecy, but maybe...if not for the years of not having the love she longed for, would she have had the courage to seize the moment when it came? Bruno's prophecy comes true in a way they'd never imagined, and with that comes hope—the promise of transformation. 

End of essay 😁

People more musically inclined, please feel free to add to this! Also, please excuse any misuse of musical terms, my musical vocab is wanting. I am a non-musician in a very musical family, so when it comes to music, I often feel like I've missed something important… 😆

[livelymyrtle]

Honestly atp I don’t know how to feel about Lin Manuel Miranda. I don’t want to be in that crowd of the “Hamilton and everything else he does sucks and it’s all awful” because it’s not really true… Hamilton was very good (mostly brought down from excellence by the second act), and I actually quite liked Encanto (aside from the fact that Abuela gets pretty much excused at the end + Disney forced him to do stuff like writing in Isabela). In The Heights I haven’t paid much attention to, but what I saw I remember being good, and I know he has plenty of other gems…

so why is it that I, like so many people, am just not feeling it? Netizens have recently been feeling more meh on him or even begun to hate him. So why this shift in perspective?

I think the sudden scrutiny against LMM has two main components:

1) Overexposure

After Disney has been putting him in everything, which was already after everyone was saturated with Hamilton and ITH stuff, I think people are just getting a bit sick of the man. It’s especially damning for Lin that he tends to make every main character himself, and that he has such a distinctive lyrical style(or rather, he is unwilling to diverge from that style - he wrote How Far I’ll Go for Moana and that was more off par for him). As a result, it just feels like you are watching the same thing over and over and over again with him - and at this point it’s just getting kind of exhausting to see him all the time doing what feels like the exact same thing.

It also probably doesn’t help that he has become associated with Disney just as Disney has begun losing popular favor. Nowadays, they mostly are doing mediocre movies with the exact same plot, characters, art style, aesthetic, and message(basically trying to be Studio Ghibli in plot except that they don’t have the slow pensiveness, nor the understanding of what consumers actually want, nor the desire to create art for art’s sake), and extremely awful live action remakes that literally nobody likes, so Disney’s new stuff has been bleeding popularity like a bullet wound. Now, people think of Lin in the same vein that think of their disappointment with Disney, which is probably not making him look better. I’ve even seen people blame Disney’s negative shift on him, which isn’t really fair, but… I can see why someone would draw that conclusion, you know?

2) More importantly, cultural shift in attitudes.

Post COVID and what I like to call the Reality Exodus, everyone went on their phones, got really depressed and pessimistic, and got really online. I think that this has directly lead to why people are no longer ok with some aspects of LMMs stuff. In 2015-16, we all loved Hamilton: it was an inclusive and fresh new take on US history, something that we were pretty starved of pride in. With the election of Trump, things seemed bleak: but people remained hopeful still that there could be pride in this country. The concept of Miranda only hiring actors of color was also just the right amount of groundbreaking but not too shocking for the culture - we were committed to diversity, but not so much to the point where we wanted truly diverse stories to be told, so the all-POC cast in a very white story was a good way to knock on the glass ceiling without breaking it. The added message of “we are all a part of America” was fitting for the widespread “we don’t see color, everyone is welcome, hakuna matata” brand of anti-racism that was the most widely accepted narrative at the time.

But as we got into COVID, we see In the Heights released. And all of a sudden, the Twitter mob has come out against LMM for… colorism in his casting, of all things??? Casting that was very diverse?? And that he wasn’t even in charge of anyway???

In hindsight the whole Twitter cancellation thing seems ridiculous, but I do think it’s an important example of how much more aware and critical we had gotten as a culture. And I think our new perspectives shifted our views on some of his earlier work, too: namely, Hamilton.

After COVID, a play written by a nonblack man about rapping slave masters (but they are all played by POC) didn’t really seem all that revolutionarily anti-racist. We as a culture had developed our understanding of racial theory to a different, more radical narrative: we should start uplifting the stories of real POC and make actual changes. All of a sudden, LMM’s rooting for diversity just didn’t seem genuine anymore the the culture at large. I think that has played one of the biggest parts in his loss of popular favor.

And that’s where we get to now: I just don’t know what to think. I mean, on the one hand, of course Lin Manuel Miranda does some great stuff artistically. But his art, his messaging, his image in general has become associated with an era of lenient attempts at equality that I just don’t really support. And no, before you think it, this isn’t going to devolve into the regular separation of art and artist stuff. But it is a question of separation: Can we separate the goodness of an art piece from its intent? Can we judge art or media as being good objectively? And how important of a part does messaging play in what makes something “good”?

My answer? I don’t know. I need a cup of tea and a nap. Peace.

[ctitan98official]

Anonymous asked:

Hi, What would the RE8 women react to Y/N singing “We don’t talk about Bruno” from the movie “Encanto” from Disney. Thanks!

Ooh! Good one. Quickly, I have to share this story because I love Encanto. Jessica Darrow (The voice of Luisa) did a virtual celeb visit at the children’s hospital that I work at. A couple employees got to ask her a question (I was lucky and got picked!) I asked her what power she would want from the movie and she said she wanted the power to talk to animals. Like, I love that for her. Anyway, one of the kiddos asked her to sing Surface Pressure and she had them sing it with her and I thought I was going to cry (it meant so much to the kid! T^T) I love Encanto sm. Now, on to the ask!

Alcina:

She can tell that the song is a bop, but 3 problems: She don’t know what it’s from, she don’t know who Bruno is, and she don’t know how long she can keep listening to Y/N sing “A seven-foot frame, rats along his back” (That’s their favorite part and they just sing it over and over) Please, Y/N. Vampire Mommy has a headache. Knock it off.

Donna:

When Y/N gets to the part that Isabella sings, they always insist that the character reminds them of Donna because she can control plants (And is fucking gorgeous, but I digress). Donna sort of understands what Y/N is getting at, but she’s never seen the movie. Y/N makes it a point to not only watch the film with Donna a few times, but also lay out an entire damn character analysis of Isabella so the doll maker can get a better picture. Donna’s too polite to say anything, but in her head she thinks Y/N is a complete idiot… easy to love though…

Miranda:

Miranda is done with Y/N’s bullshit. Seriously Y/N, Miranda kidnapped a baby, broke her into fucking pieces and has literally killed thousands of people… Either sleep with one eye open or quit singing “I associate him with the sound of falling sand” with weird intensity on repeat. It’s for your own good.

Bela:

Bela likes music. Like, a lot. She studies it. Like, a lot. But the thing is, she primarily listens to classical and opera. She doesn’t know what to do with a catchy Pop Salsa tune. Like, what meter is this song in? How many styles have been incorporated? Is that polyphony she hears? (What a nerd oh my goddd) Y/N just wants her to enjoy it without getting caught up in the theory of it all… Maybe with time she’ll get better at doing that?

Update: She’s currently ripping her hair out trying to analyze the song. Y/N hasn’t slept in days ‘cause she won’t shut up about her research… And that’s what you get for being a nuisance all the time, Y/N XD

Cassandra:

Cassandra is a logical person. She sees a problem? (Like Y/N singing at the top of their lungs) She fixes it. Y/N better not complain. Cass originally wanted to cut out their tongue, but Dani suggested she try this first. Honestly, Y/N is beating the odds on how they’ve been able to survive this long… maybe they should go out and buy a lottery ticket… Or go stand on top of the castle to see if they can get struck by lightning.

Daniela:

Nobody screeches Encanto songs harder than Dani. The noise level gets so loud in the castle when Y/N and Dani sing together that Alcina throws them in the dungeon for a few hours to let them both get it out of their systems. They always end up having brutal sex once they’re down there though… Alci learned that the hard way. One time she walked in and saw Y/N kissing their way up Daniela’s body to the rhythm of “Bruno no, no” while Dani sang, called them a hoe and spit on them… These two nasty.

Masterlist

[e-the-village-cryptid]

Goncharov the Musical (1985)

with all this goncharov posting I still haven’t seen anyone mention the musical adaptation! granted, if goncharov is a lost movie, then the musical is fricken atlantis, but the little-known adaptation did in fact exist, if very briefly. as far as I’ve been able to find out, there were only two showings and somewhere between 5 and 10 previews before it was shut down for good. 

just as goncharov itself is full of bitter ironies, so too is the story behind the (partial) recovery of this musical. Cranston Park Theatre, where the musical was staged, suffered flooding in September of this year, forcing the theater to close for repairs. in clearing out their flooded basement, a few discs from the goncharov production were discovered, but not before the long submersion in water highly damaged them. yeah, the same flood that led to the discs’ rediscovery also ruined large portions of them. the irony is flawless, but I’m still mad about that lost history that may never be recovered. 

however, we do have a mostly intact rendition of the first two numbers, which are, as in most musicals, an ensemble opener and an “I want” song. (many thanks to the Cranston Park Theatre employee who got permission to post the recovered clips to youtube!) the song titles are lost to time as far as I can tell, but we have some footage and that’s what’s most important. let’s dive in!

the ensemble opener: it’s very militaristic, which is an interesting choice. the stately march-style opener evokes the mechanical, grim themes present throughout much of the film— or, at least it would, if the costumes weren’t so ridiculous. despite the attempted seriousness of the number, the set and costumes come off as quite campy— perhaps this was an intentional mockery of the militaristic march, to emphasize the existing irony of comparing mafia and gangsters to soldiers? my favorite part about this number is that the strong, steady beat is exactly 60 bpm— one beat per second, like the ticking of a clock. say what you will about the directors of this musical, but they knew their motifs for sure!

the “I want” song: usually the second song of a musical would be given to the lead to sing their “I want” ballad— think “Waiting on a Miracle” in Encanto where Mirabel just wants to be special like the rest of the family, or “Carrie” in Carrie (a musical from around the same time period that suffered a similar fate of early cancellation, but that’s a parallel for a different post), where Carrie longs for her classmates to stop bullying her and see her for who she truly is. now, in Goncharov, this song is given not to Goncharov, but to Katya. this is fascinating! the narrative is essentially establishing Katya as the central character, of equal or greater importance than Goncharov himself. I wish so badly I could make out the lyrics, but the recording is too damaged for me at least. the tone of the ballad is emotional, though, and Katya can be seen gesturing to Goncharov, who is staged out of reach and out of earshot. At another point, she also gestures close to the wings, where there appears to be a figure? the video quality is very grainy but at least in my mind this has to be Sofia. (oh how I wish the lyrics were audible here!)  and of course, the centerpiece of the number (and the whole musical, really) is the giant clock tower in the square, which the choreography and Katya’s movements places as an important element of the song. the song ends with the tolling of the clock bells, setting the characters into a hurry about their business as if the spell is broken. ok, a little heavy-handed at this point. oh well, I honestly enjoy it, this song strikes the balance between sincere and campy— the choreography could be considered over-the-top and even a bit ridiculous in other circumstances but weirdly it worked?? one of my favorites and definitely the one I wish the most that we had a better recording of.

I’ll keep the analysis to just these two songs for now, but if anyone on some off-chance has found any better recordings of this musical please share them! not much is known about this musical’s history since it fell apart so quickly, likely due to budget and conflict between several of the lead actors and the director, so it’s entirely possible they performed at some other smaller theatre or at least rehearsed there. let’s piece this musical back together!

[desertsongpdf]

VIDEO ESSAYS (part ??? 1/2) [parts: 1 / 2 / 3 / 3.5 / 4 / 5 / 6], *=personal fav

ronald reagan & the biggest failure in physics (1) / george bush vomited & set physics back by a decade (2) / bill clinton & the day physics died (3)

the man who almost faked his way to a nobel prize (1) / suspicions are swirling and bell labs is burning (2)

the man who tried to fake an element

air: an honest review

what if you put your head in a particle accelerator

the most successful scientific theory ever: the standard model

the five kinds of paradox

disney channel's theme: a history mystery*

music theory and white supremacy*

the power of nostalgic music

we tracked what happens after tiktok songs go viral

why spotify playlists never truly shuffle

will toledo and the rise of car seat headrest

kid a: the greatest left turn in music history

how trailer music tricks you

why steve lacy is annoyed.

the postmodern horror of tiktok's encanto discourse*

the queer history of weimar germany

queerbaiting celebrities: an over analysis*

why queer relationship dynamics are harder: the stable marrige problem

queer rage & the christian right

overanalyzing the barbie movies with a queer marxist theory

the gay appeal of toxic love

queering cinema (by any means necessary)

the tragedy of being rich

what the internet did to garfield*

your college essay didn't get you accepted, you're just rich

why are you so angry? part 1: a short history of anita sarkeesian / part 2: angry jack / part 3: perception is everything / part 4: an autopsy on gamergate / part 5: 'the good guy' / part 6: talking to angry jack

the modern diogenes: a guide to slavoj zizek

stimulating alternate voting systems

men are miserable: tiktok's depression pipeline

the broken mythology of great men

so you're having an existential crisis

why is gen z humor so weird?

how to be correct about everything all the time

useful idiots and the groomer panic

why extinction loves the ugly - the 'cute' defence

paris saint-germain: a legacy of failure

why did sebastian vettel get called out on national tv?

an introduction to match fixing in football

the debacle of blue clay: used once and never again

atticus is everything wrong with modern poetry*

how the publishing industry failed 'lolita' (as told by terrible book covers)

the death of the teen fantasy era

recreating the fashion of my immortal

hijacking the dead? terry prachett & the trans 'debate'

this best-selling novel was a total hoax

the little book of cosmic horrors

the absurd 2nd century space opera you'll never read

fantasy is very pro-monarchy (and that's weird)

anti-smoking campaigns on tiktok

why did our brains shrink

the origins of the anti-christ

world war one performance tier list

the psychology behind conspiracy theories

why are there two a's?

i fixed the alphabet / i fixed the alphabet more

hangman is a weird game

the curious history of ignorant tattoos

the arguments for god's existance tier list

projecting 'boris is a wet wipe' on houses of parliment

buddhism is kinda out there, man

mortis - internet mysteries

the universe iceberg explained

reviewing every mental illness

[phoenixlionme]

Encanto: Madrigal Family Relationship Analysis Part 22 - Dolores and Agustin

This one took some time to think about but I came up with a probable relationship dynamic between this niece and uncle. At Antonio’s party, he can be seen with his arm comfortingly around Dolores; this is a good indicator of them having a positive bond with one another. And the concept art showed Dolores being a musical lover (something I wished they kept) and Agustin has been shown to be a great pianist; as such, I can see them (plus Mirabel and Felix) having something of a jam session together. On Agustin’s side, he loves his only niece (just as much as he loves his nephews) and I can see him loving hanging out with her. From Dolores’ end, I see her having nothing but high respect and love for her uncle for his humble and steadfast nature. The two would also bond over how they are often the “unfavorite” to another member of the family (Agustin with Felix; Dolores with Isabela), and can empathize on how it much sucks to not be valued or seen as just as good. Adding onto that, I think they both would quickly and earnestly point out the other’s many great features that even they themselves don’t notice. As such, I can see them both having an open and trusting bond built on similar insecurities. Given Agustin;s gentle nature and Dolores’ quiet demeanor, I feel like they have a sort of chill, quiet bond but will quickly lose both “chill” and “quiet” part if danger comes to them or their family.

[revols-headcanons]

midoriya izuku

he is a closeted theater kid who goes wild whenever any of the contemporary musicals come on.

sometimes, right after a one for all/all might/deku’s 6392378 quirk explanations with all might, bakugo, and midoriya, the two boys will walk back to the dorms with each other. midoriya has an issue with his lack of a filter, and has ranted about how pretty uraraka is more than once to bakugo, who has responded with “shut the fuck up you damn nerd” each time.

he is autistic: have you seen how he obsesses over heroes and how he lacks a filter and how overly empathetic he is and how-

he cries to conan gray even though he cannot at all relate to his music. he just finds the concepts in his songs to be depressing.

todoroki and him have weekly get togethers to shit talk their dads. it usually involves face masks, coffee, and chocolate.

deku has a lot of freckles all over his body; especially the face and back.

he is an avid death note and demon slayer fan. he has cosplayed as tanjiro (with asui as nezuko) once. and in middle school he had this cringy “I’m writing ur name down in my ‘completely normal’ notebook you jerk-” where he would pretend that he’s light and that he can write the exact way he wants someone to die. he has ‘bakugou kacchan explodes and dies on april 12th at 2:00 pm’ in there at least once.

he has a lot of self harm scars on his thighs because of middle school, though he would never blame bakugo for it.

he related a little to hard to mirabel in encanto and cried to waiting on a miracle for a week.

he has in depth analysis’ on every pro, villain, vigilant, and hero in training that he’s ever seen/come across. his notebooks weren’t enough so he has a whole filing system in a binder in his room, safely hidden under his bed.

iida and deku train together with their legs, which looks weird— just two dudes kicking one another.

iida and deku spend hours in book stores with one another. deku likes horror books while iida likes fantasy.

deku and uraraka bake together. at first it was to help deku’s anxiety and to make mochi for uraraka, but then they liked the quality time together, so it became a tradition.

[astrobi]

What Else Can I Do? (Encanto) Analysis

So I've been scouring the internet and I haven't found anyone who noticed this but during the song 'What Else Can I Do?', there's a really poignant bit of cienmatography.

Basically as Isabela starts singing, Mirabel counters with trying to get a hug, but Isabela's not looking.

And she doesn't look at her until the halfway point of the song.

Whilst Isabela's making all these amazing things, all Mirabel thinks about is the prophecy from Bruno so she doesn't really care about the song. She's just being dragged along by Isabela's powers.

It's only after her line 'This is fine!' that she starts to warm up to the idea of Isabela learning something new about herself.

Only then does Isabela look at her. When she starts climbing up the palm tree to join her. At that moment, everything changes:

Isabela sings to Mirabel for the first time ('careful they're carnivorous')

Isabela has now opened up to Mirabel fully ('I'm so sick of pretty, I want something true, don't you?')

She turns away (I always interpreted that as fear of rejection, something she displays a lot throughout the movie)

Then Mirabel finally answers her, and explains her point of view.

As they rise, they don't break eye contact, and from then on they are both in sync musically and with their bodies.

Mirabel stops fumbling and being dragged around and starts participating in Isabela's fun, and Isabela includes her sister.

What's really important is that Mirabel trusts Isabela now. She would have never let herself fly on her sister's vines like she does before this revelation.

Musically, Mirabel is realising that her place in this song is not to answer Isabela's musical phrases, or to redirect the conversation away from Isabela, but she becomes her backing vocalist.

Mirabel has always been in the background in her family, but because Isabela is her opposite (the Golden Child to her Scapegoat) she's always harboured fairly open resentment towards her. Like she won't tell the little kids in the first number, but she'll say it basically every other time.

And Mirabel doesn't even realise she's making herself the centre of attention during Mariano's proposal. But that attention shift is the same way that they fight. It's a power struggle.

People don't realise that this is huge character development for Mirabel. She's ok with being the background character here, she know's it's Isabela's moment. She's not spiteful or sad or jealous in any way here.

Tl;dr - the moment where Mirabel starts climbing the palm tree in the song is super significant and basically changes their entire dynamic.

Also: it's really interesting that Isabela's programming runs so deep that she never steps in to correct Abuela or defend Mirabel when they get caught.

[blueflyingturtleontheway]

It's way too late but who cares! Here is my analysis of the Polish translation of the first song from Encanto, Family Madrigal!

Just a headsup, this song is one of the "just good" ones, so dont expect any fireworks like with WDTAB (we'll save those emotions for What Else Can I Do because boy)

*I'll start by noting that I really like how in the og version they made "drawers" rhyme with "floors" and "doors" even though it shouldn't be possible

+ Then again, Mirabel's Polish VA balances it out by having more enthusiasm in her voice when she sings this part than her English predecessor had

+ I have to say I prefer "time for the show" over "let's go", and this is also a good example of when using a macaronism/slang term works really well

-"Here's the family" I know "my family" wouldn't fit but it just sounds weird x)

+ "We're all here thanks to her" I think sounds a little better, sweeter maybe than "She led us here so many years ago"

+ "It's better (for us) with each new day" > "every year"

+ And here I'm conflicted, because "I'll tell what I know from this story" just sounds better to me, like more in character? But it's kinda far from the original "There's just a lot you've simply got to know". Though at the end of it I think I like the dubbed version better

= "And it's okay" instead of "We're on our way" I know it was made to fit the sound of the original but it's a very interesting choice I'm not convinced about

= "This is my family Madrigal" instead of "I'm part of". For me Mirabel's constant assurances that she's part of the family were quite unnatural but I mean, I guess that was the point and part of her characterization/foreshadowing of her problems so

+ Coffe got diminuted into "kawka" <3

*I just wanted to make a note that if you can follow an og line with a dubbed line and it still sounds fine, then you know the translation is good

+ I'm not going to translate the whole line but I think the internal rhymes in the line "her recipes are remedies for real" work even better in Polish

+"It's not a dream, it's something fantastical, somthing magical/It's my family Madrigal" again we loose the foreshadowing but it sounds better

+Okay here are the fireworks I just love how the part about Felix and Agustin got transalted, just, the internal rhymes in "wój mój" and "za to tato" (the use of tato in Nominative is so informal <3) and it sounds even faster than in the original despite having the same if not less syllables it's just *mwah*

*I feel like I should say something about the use of "pocisnę" which is very slang, and "time sheet" (like you have in school) but I don't know what so here

-"Camilo changes (himself)" sadly we don't have a verb to shapeshift 😔

+"Antonio will find out his gift today" instead of "get", I like it, it implies they all already have it and the ceremony only like, outs it (And if you want to go the angsty route, this might've been what made Mirabel think she's talentless, the ceremony didn't out any gift cause she never had any)

-"She makes a flower carpet in seconds" no sass for Mira here

+ "Her brain and lion heart" lion heart <333

-"Look for me in the family Madrigal" I... absolutely don't understand this line

+ I like the use of the word biographical in the og line, but Polish one is more natural, kinda like she's no longer really singing a song, but just speaking normally and fitting into the melody and rhythm simply by the laws of musical

+ English: Julieta, better, arepa; Polish: Julietę, arepę, lepiej

+ Also the town chants "talk aabout yourself, Mirabel!" so again, more direct

-We lose the meta joke about Dolores hearing the chorus

+ Instead of just "what are you doing" abuela uses a stronger word (so not "robisz" but "wyczyniasz")

+ And finally I don't know why but just, Dolores' line is much more funny to me in Polish XD Maybe it's because of the archaic/poetic word order, maybe it's the delivery, but yeah

So generally, even though I've noted out many strong points, these are the kind that I only noticed now during this analysis, so I guess they've added a lot, but still in general it's just, equally good.

[usedtobeguest123]

All My Stuff

Hola! I'm usedtobeguest123 (...because I ghosted around as guest123 on A03 before creating an account for myself 😁). Encanto-enamored book nerd. I love writing and am dabbling with art (newbie). Feel free to shoot me Encanto writing or art prompts--family fluff is my jam. I have tiny little humans I care for and sometimes go on long hiatuses, but I'm still around :)

Writing

Current fic: La Traes - This is the sequel to my first fic, Bruno from Before, but you could probably read it on its own. La Traes is the spanish name for the childhood game of tag, but it literally means "You carry it." This fic follows the (fluffy) relationship between Bruno, Mirabel, and Antonio, and is an experiment where I work through how trauma can rob us of childhood, and how we might possibly heal and get a little bit of it back.

Bruno from Before - My first fic! It takes place about 7 months after the movie. An exploration of Mirabel and Bruno's relationship post movie. Mirabel begins to learn more about Bruno from before the walls and is determined to help him find his way back.

Alma, After - I love Alma's character. This is a little dabble I wrote about her grief, and it ended up being a bit of a epilogue to Bruno from Before. Chronologically, it hits somewhere in the middle of La Traes.

Quiet - A collection of Encanto one-shots. They started out having the theme of "quiet," but it's really just a place for me to put my little snippets of writing :)

A Little Wasted Time - A one-shot where Mirabel and Camilo talk it out. It's a bit of a deleted scene from Bruno from Before.

How Are You Feeling, Hermano? - A one-shot I wrote after seeing this AMAZING art by @junosaccount. Bruno is sick and Julieta is there to do what she does best.

The Time You Give Me - Bruno - A super fun collab I did with the lovely @breannasfluff 💚 The pairing is a fun look into the mind of an introvert (Bruno) and an extrovert (Mirabel) who care about each other. This is the introvert side. Make sure to read Breanna's, too!

El Milagro de la Bebé - My fic for the @encantobigbang! Dolores is worried about her Mamá, and to help her she seeks out the most okayest man for the job - Tío Bruno. Pranks and family fluff ensue. Check out @lunaencantada's AMAZING art that goes with it!

You can find more of my little tumblr only one-shots under Encantober below.

Art

Current Project: A Bruno-centric animatic that I started for @wdtajn. I swear I will finish it eventually! You can see my progress here, and here, and here, and here, too. EDIT: It's done!

Julieta, Bruno, and Pepa as kids having a slumber party

My first Encanto fanart ever, a DTIYS from @glitternightingale

You can find more of my artsy things under Encantober below.

💚💚Fanart by Others💚💚 - These have my WHOLE heart, for reals.

Bruno and young Mirabel from Chapter 4 of Quiet by @junosaccount

The trio at a picnic from Chapter 1 of La Traes by @junosaccount (and the lineart version, which shows the amazing detail on Bruno's ruana from Bruno from Before 😍)

The trio in a tree from Chapter 2 of La Traes by @junosaccount

Mirabel and Abuela from Chapter 6 of La Traes by @junosaccount

Encantober 2022 - @encantober-official

There are a lot of these, so they are under the cut. They are sorted by my writing and art.

Writing:

Transformation (An Encanto Music Analysis)

Healing

Butterfly

Change

Milk

Strength

Cacti

Head Pats

Animals

Caterpillar

Tragedy

Gift

Pranks

Generational Trauma

Otter

Art:

Rats

Love (Peanuts Style)

Parents

Hugs

Casita

Bees

Tired

Prophecy

Present

Kiss

Book

Thanks for visiting :)

[totally-correct-shenanigans]

musical ramblings #4

okay look i know i said i was doin' the brains but then shuffle put this on and i was like "oh." so !!

surface pressure ; jessica darrow (encanto)

i'll never shut up about the fact that these barely-20-somethings have what feels like the weight of the world on their shoulders-- or, in the case of clock-la, they might have genuinely had the weight of the world on their shoulders.

i will also never shut up about the cooper legacy and how much weight it puts on their shoulders independent of the whole fighting for their lives thing.

again, in-depth analysis/breakdown under the cut <3 this one's a little on the longer side, i think. and the choruses get typed out every time bc i didn't want to cut around them bc of the "give it to your sister" segments. so yeah.

this is also mostly murray & sly, but theres a fair amount of bentley in there too :3

i feel like this one is a lot of me taking canon and running with it but i am a very fast runner so i think it's okay. but um i hope it's okay if this one's a little more headcanon-y. i've tried to make clear what was My Brain and what was Actual Stuff thus far but i have many emotions about this song and i need to explain their complicated self-image ok. hopefully that's okay

also this might be LESS comprehensible than the last one but probably not less comprehensible than my little reason why. braincell is ping ponging around within me skull

update from midway through, this is very sly 2 focused i think. oops but like not really fdhsjkafhd

"I'm the strong one, I'm not nervous / I'm as tough as the crust of the Earth is"

yeah that's just murray in a nutshell. well post-sly 1 at least. just know that "i'm not nervous" is said in the absolute most nervous way possible, because murray absolutely is.

"I move mountains, I move churches / And I glow 'cause I know what my worth is"

the beginning of this song is very murray lol. he seems to be the one most confident in his strength & skills during 2 & 3, esp. during 2. but he is also the one to reassure bentley that they're equals during 3 which isn't entirely related but it does show that he does indeed know his worth. <3

"I don't ask how hard the work is / Got a rough, indestructible surface / Diamonds and platinum, I find 'em, I flatten 'em / I take what I'm handed, I break what's demanded, but"

more murraycore lol. i think this is pretty self-explanatory

(fun fact: murray has the most health of the cooper brothers, meaning comparatively to, say, bentley, he does in fact have a "rough, indestructible surface" <;3)

"Under the surface / I feel berserk as a tightrope walker in a three-ring circus"

okay now we fall out of the surface level "yeah that makes sense". i gotta say using the word Berserk there ... has me thinking of the Murray Tries To Kill You section w/ the agitators. to be FAIR i'm pretty sure tightrope walkers Don't Do That. but i've also never been to the circus, so.

anyway ! i feel like he's also the like. the Silliest, y'know? the naive one that's usually getting made fun of, i think. and he presents the most, he's not built for subtlety; he's very visible. which is also part of why this line is He. he probably feels like he's a circus act to be watched and laughed at, y'know?

"Under the surface / Was Hercules ever like 'yo, I don't wanna fight Cerberus'?"

note the missing green bc i feel like bentley feels much less Forced into his role. he likes being the smart guy !

now, that's not to say that murray and sly don't like their roles, because of course they do! but being the strong one was, as we see, not murray's first choice. and being the strong one means you do all the heavy lifting, and while murray likes that most of the time... i'm sure there are times where he'd rather have stayed just the getaway driver.

and then there's sly, who loves the whole thief thing and loves his role and wouldn't trade it for the world, but... he got shoved into this whole thing too, y'know? he loves being a thief, but i'm sure he would love it more if it had been his choice, if anybody had asked him before it was suddenly his everything.

"Under the surface / I'm pretty sure I'm worthless, if I can't be of service"

yet another cotton candy line. look i can go SO in-depth about sly and his self-esteem issues esp. during sly 3. there's an interaction during a cold alliance that is pretty much the entire formation for this head of canon ("Sure you won't need my help on the inside?" "I'm afraid this is a problem only technology can solve." "...Right. Well, have fun with your, uh, technology." "Don't wait up- this could go all night!")

and then there's murray, who thinks he's not "of service" and leaves because he doesn't want to hinder the team any more than he thinks he already does (see the sly 2.5 comic.) he doesn't just think he's worthless if he's not doing something, he thinks he's worse than that; if he's not helping, he's a hinderance. hell i'm pretty sure he thinks he's a hinderance even when he IS helping sometimes. (see: him blaming himself for the clock-la incident.)

"A flaw or a crack / The straw in the stack / That breaks the camel's back / What breaks the camel's back? It's- / Pressure like a drip, drip, drip that'll never stop, woah / Pressure that'll tip, tip, tip 'til you just go pop, woah"

admittedly this is mostly just vibes. but also they need a nap and a hug. i'm pretty sure that by the end of sly 3 and all the fighting and the tensities and the bigger team that they're all about 3 seconds away from snapping.

"Give it to your sister, your sister's older / Give her all the heavy things we can't shoulder"

yet another gender swap but again for the sake of lyrical clarity i'm not changing the pronouns. just Know that pretty much every she is actually a he. that's a good life motto in general actually /j

this is mostly just bc i am an oldest bentley truther lol. but also i think he does wind up with a lot of "heavy things [they] can't shoulder" because as the planner i think that's just how that goes. he knows his brothers' skillsets! if something needs done that the two of them can't do, it's bentley's job. (see: demolitions, rc, etc.)

"Who am I, if I can't run with the ball / If I fall to... / Pressure like a grip, grip, grip and it won't let go, woah"

okay this was originally combined with the next one but i needed a place to talk about sly and the generational trauma. like sly's entire LIFE is built around being a thief (hence the "who am i if i can't run with the ball"- if sly cooper isn't a master thief, who even is he?) and living up to his family's legacy, hence the pressure. and no matter what he does, he can't escape it (it won't let go, wink wink.)

now because sly 4 simply isn't real this'll probably be the only time i mention it in this breakdown but even when he isn't a thief he still can't escape the Cooper burden, and his whole bloodline is once more put into peril because of something he had nothing to do with.

...i think. i'm only like 1/4 of the way into sly 4 but i'm pretty sure it's the classic steven universe style my parent(s) did something to you but now they're dead so you're determined to take it out on me bc i'm their kid thing.

"Pressure like a tick, tick, tick, 'til it's ready to blow, woah / Give it to your sister, your sister's stronger / See if she can hang on a little longer / Who am I, if I can't carry it all? / If I falter..."

murray honey your self-esteem issues are showing again. this is more of that "if i'm not helping i'm hurting" mentality that he seems to have. and also more Strong One shenanigans !

also the "tick tick tick 'til it's ready to blow" is very the murray very much so has Some Rage Within There. most notable example of this is Opera of Fear when octavio pisses him off by harassing bentley and he beats the shit out of the poor opera lion man.

i'm realizing the way him and sly view themselves are very similar lol. however i think murray finds some peace in training with the guru and is able to fall back from this mindset a bit. but that's not related.

again, more Strong One. he's big and tough and therefore he should be the one handling these things. he's the Strong One and therefore he is handling these things and he is handling them fine, he says, like a liar. he is Not Fine.

"Under the surface / I hide my nerves, and it worsens / I worry something is gonna hurt us / Under the surface / The ship doesn't swerve as it heard how big the iceberg is"

bentley is very Worried in General, as we know. "hide [his] nerves" probably comes into play bc he's their voice of reason, and if the voice of reason is panicking then everything is terrible and they're all gonna die. HOWEVER if he's not panicking then he might accidentally make sly and murray think they're in less danger than they are (leading to them being a little more careless and only worsening his nerves.)

OKAYOKAYOKAY "the ship doesn't swerve as it heard how big the iceberg is" gives me very much so vibes of the one Ro.tTM.NT episode with the poison pizza puffs and the younger three are constantly like "rap.h'll bail us out :]" and rap.h is like "NO."

i think sly and murray do that to bentley a lot, esp. post jailbreak. it doesn't matter what kind of trouble they get into because bentley can bust them out ! which is why the metaphorical ship isn't swerving. it's kind of sweet the amount of trust they have for bentley however bentley would like to humbly request they stop showing him they trust him by throwing themselves into danger!

"Under the surface / I think about my purpose, can I somehow preserve this? / Line up the dominoes, a light wind blows / You try to stop it toppling but on and on it goes"

and the return of the cotton candy self-esteem issues again and still pretty much for the same reason. though i admit this line is mostly murraycore, hence why it's so much more pink than blue <3

murray's 'purpose' is to be the strong one, sly's is to be a thief. again they both think that they're "worthless if [they] can't be of service" but sly is a little different in the fact that his purpose rlly isn't going anywhere.

meanwhile murray after the clock-la incident is pretty sure he has lost his purpose! he thinks he failed at being the Strong One ("can i somehow preserve this?") and that dominoes (wink) into him spiraling over every tiny mistake he makes (as we see during the aforementioned sly 2.5 comic where he blames himself for every little thing) but all that really does is make him clam up and mess up more which. "you try to stop it toppling but on and on it goes," y'know?

"But wait, if I could shake / The crushing weight of expectations / Would that free some room up for joy? / Or simple pleasures"

sly is atlas and the cooper name is his globe, y'know?

"Instead we measure, this growing pressure / Keeps growing, keep going / 'Cause all we know is / Pressure like a drip, drip, drip that'll never stop, woah / Pressure that'll tip, tip, tip 'til you just go pop, woah"

again with the very sly 2 vibe i think. the whole Growing Pressure just reads as them learning about the klaww gang and their spice schemes and neyla and suddenly this isn't just about destroying the clockwerk parts it's about saving paris and i doubt neyla would have stopped with just paris and i'm sure the cooper brothers know that too

these colors are out of order (usually it would be green -> pink -> blue) because i wanted sly to have the "all we know is" ... despite the fact that it really matches all of them. they've never lived any other way, sly especially.

"Give it to your sister, it doesn't hurt and / See if she can handle every family burden / Watch as she buckles and bends, but never breaks / No mistakes, just"

again w the family thing like i said i will never shut up about it. 'cause sly's been dealing with the consequences of his family's (specifically his father's) actions this whole time and he's been succeeding, he destroyed clockwerk, he destroyed clock-la, he defeated dr. m, but he's still floundering under the pressure of living under legends.

even when he's Literally About to Die bc his dad didn't believe in minimum wage he's worried about how he compares to the Coopers before him ("Would he be proud? Or ashamed?") like bb harbor some resentment in there for the hell you've been put through.

"Pressure like a grip, grip, grip and it won't let go, woah / Pressure like a tick, tick, tick 'til it's ready to blow, woah"

debated switching sly and murray's lines for this ending segment but i think this works the best. again with the Rage That Will Explode and also his inescapable hell of being The Strong One.

"Give it to your sister and never wonder / If the same pressure would have pulled you under"

this is both about bentley being the jack of all trades when he needs to be and about him keeping the other two out of trouble. he's certain the other two would be 'pulled under' by the stress of more things to do, and he's certain they would be 'pulled under' and kept under if he wasn't there to bail them out.

"Who am I, if I don't have what it takes?"

guess what .. it's the generational trauma again <3 more about sly and his need to live up to his family line because as the line says who is he if he doesn't have what it takes!

"No cracks, no breaks / No mistakes, no pressure"

bentley's determined to not crack under the pressure because of his brothers, both to keep them out of trouble and to bail them out of the troubles they get into anyway. murray's determined to not break because he's The Strong One, and if he's not, then he's certain he'll be some kind of hinderance. and sly's determined to not make any mistakes so he can earn his cooper name and make his father proud.

this will definitely not wind up causing at least 3 breakdowns. (sarcasm)

[questioningdragons]

I was watching a media analysis of Encanto and I realized something I hadn't noticed before*. In the song Waiting on a Miracle Mirabel begs Abuela to "open her eyes," meaning, notice me and all I could contribute if you would let me. Then a few minutes later, Alma prays to Pedro, her late husband, to "open her eyes" to the solution to the family's problem. It's a nice foreshadowing that not only will Mirabel will ultimately be the solution to the problem, but that it will be by Abuela finally acknowledging Mirabel's importance.

*Probably been noticed before by others, but I didn't catch this parallel before

Also, can we give major props to the animation team for the sheer agony on Alma's face when Pedro is killed in front of her? It's so real that it makes you feel for her even without the also very compelling music.

[myreygn]

random hcs for parker’s ocs

HAPPY BIRTHDAY @knizmokat, i hope you have the most amazing day, ilysm!!

i really hope you like these because trust me when i say random i mean random, but i tried my best for you! <3

(also it’s almost 3am here so if my brain isn’t fully fried it’s your birthday already, I AM POSTING THIS NOW)

.....

SASHA

unable to draw anything aside from stick figures and even those are ugly af

his art teacher insisted that everyone can draw until she saw sasha’s work

when the rest of the class gets a new assignment, she allows him to write an analysis over a painting of his choice instead and sasha is more than fine with that

almost always has his hair in a pony tail but unable to do a bun

asahi tried to teach him for 30 minutes and almost cried because it just kept felling apart for no apparent reason

picks the most terrifying stuff you could think of for movie night

managed to scare suga with one of his horror movie picks and has been banned from choosing anything other than u-rated movies ever since

physically unable to sleep without his kirby plushie

a gymnastically talented little mf, can do cartwheels and splits and walk on his hands like it’s nbd

once made a front flip over his hands during practice, scoring a point for his team by hitting the ball over the net with his feet

the absolute proudest moment of his life and he’s still mad that no one has it on video

RYUZAKI

unfazed by tragic movies but fucking bawled his eyes out over encanto (you know why parker)

has all of his fineliners sorted by color and will never ever let noya borrow them in class after doing it once and almost getting a stroke from the sheer chaos that ensued

a little control freak in general

all of his stuff has a designated place and if it’s not where it’s supposed to be he’ll die

open to all kinds of music but an absolute elitist when it comes to “the big ones”

do not talk to him about the history of rock and metal unless you’ve memorized every dio song in existence

also has zero tolerance for any so called disrespect towards his greatest musical inspirations

blocked tanaka for saying “poison? the rita ora song?” and only unblocked him after daichi scolded him for being an idiot

cannot handle horror at all

can and will sucker punch noya for giving him a scare in a devil mask out of reflex

halloween is the bane of his existence

KOGANEI

an absolute athletic multi talent

there’s no sport in existence this man can’t do

show him how to swing a baseball bat and he says “oh like this?” and scores a homerun

he’s also a theatre kid but only the dancey stuff so newsies is right up his alley

can do the entire choreography for king of new york and also hit the high note in santa fe

sails through all his classes as we’ve already established and once sang the build up from before the breakdown from we are the tigers under his breath, making akaashi cry

“‘cause you’re the score you got on sats...” - “YOU GOT A FUCKING 110 I’M BEGGING YOU TO SHUT THE HELL UP”

can do a perfect impression of kermit the frog and it’s a hit at parties

an adrenaline junkie at amusement parks (same tho he has good taste)

it cannot be high, fast or dangerous enough

“there’s no such thing as too many loopings!”

laughs at dad jokes

KUROSAKI

quotes old movies like it’s nobody’s business

once muttered “see how love flies out the door” at the sight of yamamoto and lev fighting for the last piece of roast beef and got absolutely ecstatic when kuroo turned around and went “did you just make a cabaret reference”

literally don’t ask him if he’s seen any movie made after the 90s. he hasn’t.

knows a shit ton of stuff about astrology

knew everyone’s sun and moon sign by their personalities alone

“wow so you believe in that?!” “nah”

can nap everywhere and it’s a gift until one day he falls asleep during a practice match and gets one of bokuto’s spikes in the face

he’s in the hospital for two days but he claims it was worth it

also a theatre kid but only for the classics

thinks west side story is an unmatched masterpiece and will not listen to anyone who has a different opinion

lactose intolerant but cheese is too good

KEITA

really into scrapbooking

has tons of scrapbooks for all kinds of stuff he likes

made one for each third year about their time on the team together and gives it to them at the end of the year (they all cry)

has the most beautiful handwriting known to man

he once gave goshiki his notes for studying and goshiki thought he had used some super fancy font on microsoft word

will not leave the house without nail polish on and always has a spare bottle with him

would rather die than admit it but he loves ghibli movies

the tale of the princess kaguya is his favorite (BECAUSE HE HAS TASTE) and he has very strong opinions about ponyo

like. way too strong opinions, considering that it’s ponyo.

it makes him cry

refuses to participate in tendou’s whistling contests and claims it’s stupid but actually just can’t whistle and is too ashamed to admit it

snorts when he laughs too hard which absolutely infuriates him

DAISUKE

this man can fucking BAKE

brings a bunch of cupcakes to practice to surprise iwaizumi on his birthday and everyone is floored

they look like pinterest photos fr

creates his own recipes and sometimes posts them online, they all have at least 4.8 stars

people always assume he’s all bark no bite but he’ll try to fuck you up if you’re mean to his friends (only he’s allowed to be!!)

got into a fight over some jackasses making fun of watari and lost because it was five against one so kyoutani saved him and soaked all of them

no regrets

participates in a poetry slam when he loses a bet against matsuhana and reads one of his raps as if it was a simple poem

comes in first place, rubs their noses into it for weeks

oikawa tried to get him into musicals but he only likes hamilton because of the rap in it and oikawa is not amused

scribbles little comics all over his notes and it kills his teachers (which is part of the reason why he does it)

[frommyblog]

Housekeeping!!

Howdy, I'm Ryan (He/They)! ( ´ ▽ ` )ﾉ I'm a a disabled, queer artist, though most of this blog will be dedicated to non-serious stuff and fandom/fanart reblogs, but I'll post my own art and takes from time to time. Or maybe just scream into the void idk.

Comprehensive list of interests and trigger warnings below!

Special Interests: Dungeons & Dragons, Music, Media Analysis, Fandom Culture/Sociology, Library Sciences, Fibre Arts, Digital Art, Culinary Arts, Video Games, Horror Media, Politics

Hyperfixations: Pathologic HD Classic/ Pathologic 2, Fear and Hunger/Fear and Hunger 2: Termina, Harry Potter & Related Properties/Marauders,

Fandoms I'm In: The Magnus Archives & The Magnus Protocol, UNDERTALE & deltarune, Minecraft, Castlevania (Netflix), Hollow Knight & Silksong, Dimension 20, Five Nights At Freddy's, Adventure Time, Dungeon Meshi, My Little Pony: Friendship is Magic,

Other Fandoms: Minecraft Youtube, Arcane, Pokemon, Ace Attorney, Petscop, The Walten Files, Encanto, Warrior Cats, Miraculous Ladybug, Critical Role, Danganronpa, Puss in Boots: The Last Wish, The Batman (2022), Spiderverse, Ouran Highschool Host Club, Madoka Magica, Kill La Kill, The Legend of Zelda, Boku No Hero Academia, Demon Slayer, PUNCH PUNCH FOREVER, LUCIDS - Nicholas Podany, No Evil - Betsy Lee, Hades (2018), IMMORTALITY, Neon Genesis Evangelion, Bo Burnham, Ride the Cyclone, Lighthouse Raiders - S&D Tier, Bigtop Burger, SAO Abridged, Studio Ghibli, Ni No Kuni, Yokai Watch, Fantasy Life, The Witcher (Netflix/Video Game Trilogy), Fallout: New Vegas, Mage: The Ascension, Hadestown, Detroit: Become Human, EverymanHYBRID, Stein's; Gate, The Amazing Digital Curcus,

DNI:

Minors. There is suggestive/sexual/violent/gory content on my page. It's not because I don't respect you, this is for your protection.

Anyone sensitive to the below triggers. Take care of yourself!!! (*¯ ³¯*)♡

TWS:

General: Horror and Horror Imagery, Gore, Suggestive Content, Substance Abuse, Unhealthy Relationships. Everything including the kitchen sink and pomegranates tbh so tread carefully

Okay so I'm not a proshipper but I'm not NOT a proshipper either. I like reading about and thinking about "problematic" relationships. I'd never condone that sorta stuff irl, and often times I don't even think the "problematic" ship in question would even BE a good and healthy relationship, but I think it's interesting to consume media about. So if you don't like that then feel free to block me.

Specific Triggers: eye imagery, gore, blood, generally unsettling vibes, uncanny valley, fire, arson, self harm, murder, death, violence, artistic depictions of corpses, child abuse, kidnappings, cursing, sharp objects, illness, plague, implied child grooming, sexual assault, sexual/suggestive content, dissociation, artistic depictions of organs, cannibalism, beheading, limb loss, mutilation, torture, brainwashing, human experimentation, religion, cults, suicide, dark humor, medication, drugs, substance abuse, bugs, spiders, weapons, manipulation, ghosts, possession, angelic imagery, demonic imagery, body horror, uncanny valley, domestic violence, threatening or cohesive behavior, existential horror, cosmoc horror, scopophobia, creepy pasta, mental health struggles

Shameless Self Promo:

(btw the links here do not work rn i WILL be fixing them l8r i prommy)

My Carrd

Ao3

Rate Your Music

∠( ᐛ 」∠)_

[allthebestscreennamesaregone63]

Media Analysis Part 2: Encanto

Part one for reference:

So, there is a lot of YouTube analysis on Encanto going around that has a FLAWED premise.

Namely, who is the main villain, or has the greatest potential to be, of the film.

As previously stated, Encanto has no outright villain, as I have defined it in Part 1. It doesn't NEED a villain. Every character has a slight antagonistic tendency. That is, they ALL create, perpetuate, and participate in the conflict(s) of the movie.

(I'm defining a conflict as a problem or event or motivation that needs resolving. I am also using it loosely.)

Now, this means that there is no contender toward outright villainy. HOWEVER, the main antagonist of the film is none of the usual suspects (Bruno, Delores, Abuela, or even Mirabel herself).

The main antagonist contender of the film is actually Casita.

Who gives all family members a gift except Mirabel? CASITA.

Who gives Mirabel a problem to solve after the "Waiting on a Miracle" musical number? CASITA.

Who then immediately hides the problem from Abuela to force the whole "Mirabel and Abuela need to talk/argue to resolve the underlying conflict of differing priorities"? CASITA.

And so on.

However, it's not just "setting as a character" that confuses the issue here. Its motivation. See, many villains/antagonists act out of a feeling that they are morally correct when they actually have some sort of fault in their logic. (Usually, an "immoral action x is correct, actually").

Casita, however, belongs to an arguably more dangerous antagonist subsection: The antagonist motivated by love, who may get a redemption arc by the end of the story.

Dangerous, because you often don't realize they are an antagonist at all.

For example, Casita hides the flaws in the magic from the town and Abuela at first, to avoid a panic.

Another thing: when Abuela and Mirabel have that open clash of opinion after "What Else Can I Do", the first thing Casita does is separate the two before any more damage to either party can be done. The second thing is it subtly calls attention to the candle being in danger, forcing the main cast to work toward a common goal again. Finally, when all is lost, and Casita cannot keep itself alive, Casita SACRIFICES itself to keep the family alive. It tries to help the cast achieve the objective, but when it cannot, it makes several attempts to minimize the damage. Up to and including shielding Mirabel from certain death by being crushed.

So, even though Casita is a playful character whose motive is love of the family, it is the STRONGEST contender for the main antagonistically inclined character, if not outright antagonist.