This is from the features commentary where the creators talk about the Broppy kiss and how they were going to treat it. And they gave a shoutout to all the Broppyists out there
one serving of William with a mistletoe coming up. really nice idea, not sure if i did it justice. i don't know what made me give him such a tie but im not changing it now, its snowflakes i guess. and a golden rabbit pin makes its first appearance (i want to give him stuff like that more after the movie... he needs to be decked out in golden rabbits)
get on your tiptoes, he will give you 1 (one) kiss
Now that the teaser for season 6 is out, here’s a few cents on what storylines DTS s6 is likely to go for.
(Health warning that I don’t think these teammate or driver dynamics are necessarily true in real life, I am simply saying that if I wanted to make a bucketload of money as a Netflix producer this is how I’d overly dramatise events)
1. The Matador: Carlos Sainz the hunter, in the shadow of his own teammate, unloved, hungry, determined; his own team dragging him down with a net named strategy; the prey (his teammate) biting back; the hunter chases the bull and emerges victorious.
2. It’s lonely at the top : Caesar is all-powerful, but the council has knives; over 10 minutes of screentime will be spent on George and Max (dickhead!); checo’s early challenge for the crown at Jeddah; Max’s all out crushing of his competitors’ efforts; Max as a polarising figure.
3. The prodigal son/the resurrection of Lazarus: Daniel Ricciardo’s fall, rehabilitation, and triumphant return; Christian Horner dragging Zak Brown; returning “home” to Red Bull but it’s like a den of wolves (perform or die); THE BROKEN HAND (pain suffering hospital); brief victory at Mexico (Daniel did well that race).
4. The Young Guns: Oscar’s meteoric season vs Nyck’s crash out of F1; Logan struggling to keep his seat; cutthroat Marko vs supportive dad Vowles (Qatar will be milked to death for dangerous conditions).
5. The Old Hands: Fernando Alonso and Lewis Hamilton, old rivals, still desperate and hungry like a pair of lions still battling for the top; the inverse fates of Aston Martin falling vs Mercedes rising as the season progresses
6. The Older Sibling and the Prodigy: McLaren’s rollercoaster of a season; Lando’s run of P2 but no wins; Oscar’s sprint race win; jealousy, rivalry, hunger, bitterness.
7. The Civil War: the infighting at Alpine, childhood friends turned rivals turned bitter enemies; Esteban’s no good very bad penalty day; Esteban’s Monaco podium; Pierre’s Zandvoort podium; their no holds barred infighting on radio; team orders; management chaos (Otmar leaving)
8. Man overboard: Mark my words DTS will spend a whole episode on Guenther ending in his abrupt departure from Haas and he will be sent off with 300% more respect than four time world champion Sebastian Vettel.
I was joking a while back that the actor they have playing KDJ for the orv movie was too handsome for him and a friend who's read orv was like "KDJ is actually secretly attractive!!" And I just felt my soul leave my body right then
SIGHS...
Okay. Buckle in. I'm gonna finally actually address and explain and theorize about this whole...thing.
I'm not gonna cite any exact chapters cause it's like 11:30 and I've got an 8 hour drive in the morning but I'll at least make an approximate reference to where certain things are mentioned. Also, this post is just my personal interpretation for a good bit of it, but it's an interpretation I feel very solid about, so do with that what you will. Moving on to the meat of things:
There is one (1) instance in the web novel that I know of which describes specific features of Kim Dokja (especially ones other people notice). This takes place when members of KimCom are trying to make Kim Dokja presentable to give his speech at the Industrial Complex (after it's been plopped down on Earth). This is when they start really paying attention and focusing on Kim Dokja's appearance since they're putting makeup on him; I still don't think they can interpret his whole face, but they can accurately pick out and retain more features than usual. If I remember correctly they reference him having long eyelashes, smooth skin, and soft hair. These features can be viewed as (stereotypically) attractive.
Certain parts of the fandom have taken this scene and run with it at a very surface level, without realizing (or without acknowledging at the very least) that this scene is not about how Kim Dokja looks. This is, in part, due to not realizing or acknowledging why Kim Dokja's face is "censored" in the first place, and what that censoring actually means. I think it's also possible that some people are assuming the censorship works like a physical phenomena rather than an altered perception.
I'll address that last point first. The censorship of Kim Dokja's features is not something as simple as a physical phenomena. It's not a bar or scribble or mosaic over his face. If that were true it'd be very obvious to anyone looking at him that his face is hidden. But his face is not hidden to people. They can look at him and see a face. If they concentrate on his eyes, they can see where he's looking. They know when he's frowning or grinning. They see a face loud and clear. But what face are they seeing? Because it's not really his, whatever they're seeing.
No one quite agrees on what he really looks like. And if they try and think about what he looks like, they can't recall. Or if they do, it's vague, or different each time. We notice these little details throughout the series. Basically, Kim Dokja's face is cognitively obscured. Something - likely the Fourth Wall, though I can't recall if this is ever stated outright - is interfering with everyone's ability to perceive him properly. This culminated in him feeling off to others; and since they don't even realize this is happening, they surmise that he is "ugly."
Moving on to the other point about what the censorship means: To be blunt, the censorship of his face is an allegory for his disconnect from the "story" (aka: real life, and the real people at his side). The lifting - however slight - of this censorship represents him becoming more and more a part of the "story" (aka: less disconnected from the life he is living and the people at his side). The censorship's existence and lifting can represent other things - like dissociation or depersonalization or, if you want to get really meta, the fact that he is all of our faces at once - but that's how I'd sum up the main premise of it. (The Fourth Wall is a larger part of the dissociation allegory, but that's for another post).
So you see, them noticing his individual features isn't about the features. It's not about the features! It doesn't matter at all which features got listed. Because they could describe any features whatsoever and it would not change the entire point of the scene. Because the point isn't what he looks like. The point is that they can truly and clearly see these features. For the first time. They are seeing parts of him for the first time. Re-read that sentence multiple times, literally and metaphorically. What does it mean to see someone as they are?
This is an extremely significant turning point dressed up as a dress-up scene.
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P.S. / Additionally, I'm of the opinion that Kim Dokja is not handsome, and he is not ugly. He is not pretty, and he is not ghastly. Not attractive, nor unattractive. Kim Dokja isn't any of these things. More importantly, Kim Dokja can't be any of these things. The entire point of Kim Dokja is that you cannot pick him out of a crowd; he is the crowd. He's a reader. He's the reader. Why does he need to be handsome? Why must he be pretty? Why is him being attractive necessary or relevant? He doesn't, he doesn't, it's not. He is someone deeply deeply loved and irreplaceable to those around him, and someone who cannot even begin to recognize or accept that unless it's through a love letter masquerading as a story he can read. He is the crowd, a reader, the reader. He's you, he's me. He's every single one of us.
begging cinephiles to shut THE FUCK up when watching a movie in a movie theater with other people who paid to see and hear what’s on screen and not their shit stain takes and commentary that would’ve performed poorly as a tweet
like where the fuck did movie watching etiquette go?
i don’t mean to seem like a hater but as a fellow literary historian, i promise you that tweet about dracula/dorian gray is legitimately not that deep or serious. they made a very basic joke snd you’re taking it like they’re incapable of understanding media and saying the books are just wacky childhood stories. sometimes a joke is just that- a silly little joke
“it’s not that deep” will always be the most boring thing anybody can say. I’d rather care about things.
hope you enjoy your curtains tho! what color are they btw?
This time a whole doodle page about his physical features :)
So, though his quirk is simply iron claws, I headcanon that he has a few more features that are way more subtle that are linked to genetics + partially his quirk.
For example:
He has slightly heightened senses, particularly his sight and smell, and his eyes are particularly sensitive to light which is why he keeps them covered most of the time. They behave a little like a cat's eyes, reflecting light and doing that funny lil glowy thing when in the dark in pictures.
His teeth are ever-so-slightly sharper at the back, but you wouldn't notice without him showing you. His body and skin are just a little tougher and stronger than usual, and he has a strong constitution.
Lastly, the tips of his fingers are iron claws through and through, but they grow with layers. The underneath, acting like his fingers/bones, are regular silver iron claws that are quite sharp. The orange is more like nails, growing over the top, and he files them down to maintain them :]
I love the lil dirt gremlin a lot, and i think he has been on brain 24/7 for the past month straight-
They say it takes a village to raise a child. Perhaps exponentially so, in the creation of a video game. All of the moving parts – the circuitry that powers it, the code that gets it running, textures painted and models animating on screen, the timing and waveform of sound coming out of the speakers – are so complex and deeply entwined, that it can feel like a miracle whenever a game just stands on its own legs and waddles around, let alone one that is released in as mature and polished state like Metal Gear Solid did in 1998 on Sony’s PlayStation. When it was reissued in Japan a year later, with the subtitle Integral and more content, the staff behind the masterpiece snuck in their thoughts and experiences in making the game. These comments were presented in the game through the CODEC system, on a specific frequency (140.07). Each stage has a different set of comments, with some overlap, and each one is tagged by the staff member who wrote it. Curiously, there are no comments from Hideo Kojima himself. These insights reveal a group of people working at the forefront of design and storytelling in a nascent medium, grappling with the bleeding edge technology of the day. Here are some of the more notable comments, rendered in English.