#followed by charon

[seeker-n-rico]

| Flying Lessons á la Hermes (Reposted) |

Reblogs and comments are appreciated!

[stoat-party]

Canon/Headcanon ages for Fallout characters (potential spoilers)

I’m standardizing the ages to 2281, which is when New Vegas begins. (Fallout 3 is 2277 and 4 is 2287 but I haven’t played it yet). These are kind of estimations because obviously everyone doesn’t have the same birthday.

ED-E: 6. Literal toddler. Darling infant child baby.

Dogmeat (from Fallout 3): 12. (Not canon.) It’s on the elderly side for his breed (fanon pretty much agrees he’s a blue heeler), but I choose to believe that Fallout dogs have mutated to live longer. My version of Dogmeat either got too old or took too many hits by this point, so he’s retired to become Three Dog’s co-host.

Arthur Maxson: 14. I think it’s also canon that he became elder at 16, which I adore. Boy is way too young to look like that.

R.J. MacCready: 16. Mungo 😔

Follows-Chalk: 19. (Not canon.) Honestly, I’d be surprised if he weren’t a teenager. He’s very much finding himself and choosing who he wants to be, which you can still do at any age, but it’s a hallmark of your teen years. And he’s adorable.

Amata Almodovar: 23. (Pretty much canon.) Younger than the Lone Wanderer because she has no Pip-Boy when LW turns 10. Can’t be too many months apart, though, because they go to play with her when they’re 12 months.

Lone Wanderer: 23. They were born on July 13 and left the Vault at 19.

(my) Courier Six: Also 23. (Not canon.) I like having them be the same age. In terms of canon information, all we know is that they were well-established as a courier in 2277, so they probably wouldn’t be younger than about 21. It’s implied in one Lady Killer dialogue that they’re at least 36 (apparently had some sort of fling in Montana 18 years ago), but the dialogue is optional, so you can have them be whatever age you want.

Butch DeLoria: 24. (Not canon.) IDK where I got the idea that he’s a year older than the Lone Wanderer, because the only canon evidence I can find is that he already had his Pip-Boy at their 10th birthday, but I like it. Either he got held back a year, or Vault 101 combines classrooms due to low population.

Craig Boone: 26. Let the man be young pls.

Veronica Santangelo: 27. Older than she seems IMO.

Sarah Lyons: 27-28. Would be 30 if she were still alive.

Christine Royce: 28. (Not canon.) Because if you grew up with someone, I feel like it would be weird to date them if there had been a substantial age gap.

Nova: 29. A successful innkeeper living life and not being exploited, bless.

Charon: 30. (Extremely not canon.) I feel like most people would cast him as way older than that, but I’ve written his whole backstory and it requires him to not have been hanging out in Underworld for the past century. There’s no concrete information on this, so go wild.

Waking Cloud: 32. (Not canon.) Her third child is six, but she still seems pretty young. I imagine marriage age is a little lower in the tribes.

Vulpes Inculta: 34-38. (Canon is a passing shadow at this point.) Try as I might, I can’t figure out why people place the destruction of the Twisted Hairs as happening 25 years prior. Not only would Vulpes have to have been an adult then, he was a decanus before that. Which would put him in his fifties. He’s described in canon as a young man, though, and I’m also attached to this interpretation of him. It’s a mess, and I’m going with my gut.

Arcade Gannon: 35. Probably on the tail end of 35 since he says he’s in his late thirties. Happy birthday, Arcade, your prize is bandaging me up on our stupid adventures.

Daniel: 36. (Not canon.) In my timeline, he’s Joshua’s nephew, and he was a toddler when Josh left. I know that’s completely unsupported by canon, but I wanted to add personal drama to their ideological drama.

Rose of Sharon Cassidy: 37. Which makes sense because her father was in Fallout 2.

Benny: 40. (Not canon.) I’m a Benny-in-his-forties truther. He’s led the tribe for seven years, and he really doesn’t strike me as young. It’s also just funny that cosplay is his literal whole personality when he’s edging into middle age.

Lucius: 43. (Not canon.) Appears to be graying, still quite capable in a very physical job. He’s considered old in the Legion, but since it’s a young nation, most men are taken from their tribes as children, and death comes early and violent, I think old is a relative term. Caesar purposefully isolates men from their families so they’ll focus any filial loyalty on him, so I feel like he must be significantly younger than Caesar.

Ulysses: 47-50. (Not canon.) I’m even comfortable with casting him a little older. He exudes knowledge and experience with everything he does. He seems to have been an adult when he entered the Legion — which, as discussed, gets placed 25 years ago but IDK why.

Gob: 51. (Not canon.) Acts very young (could just be learned helplessness), so I’ve got his age frozen at like 20. He’d been a slave for fifteen years as of 2277, so I gave him about 12 years of being happy in Underworld with Carol.

James: 51-52, depending when you got around to the main storyline. He would be 55, but… yeah.

Joshua Graham: 54. (Not canon.) He says he was “young” 35 years ago when the Legion began. 19 is the standard age for Mormon men to go on their mission trips, and it’s also an important age in my version of the Fallout universe (i.e. the age I ruin my characters’ lives). I also like the idea of Joshua being a little younger and more sheltered than Edward, it makes his path to darkness more interesting.

Edward Sallow: 55. Again, this guy was my little brother’s age when one day he just decided to take over the world.

Star Paladin Cross: 60. (Not canon.) She’s a cyborg, so I think her cybernetics kept her in fighting shape a little longer.

Lily Bowen: 203. They turned her into a nightkin at 75! :((((((

Rex: 209. Ultimate immortal doggie.

Fawkes: 227. (Not canon.) I’m basing this on the cut Sheldon Delacroix logs, which would imply he moved into Vault 87 as a married adult.

Carol: 230. There’s some debate on this because she claims to have been a little girl when the bombs fell, but from her perspective I imagine everyone is a little child.

(my) Sole Survivor: 233. (Not canon.) Nora is a lawyer, and most American lawyers are 25 or older when they pass the bar. She also probably didn’t get married or have a child during law school (if she did… queen), so she’d have to be at least 26 or 27 during the prologue. I have her at 29 to make her the same age as my other two protagonists. Besties!

Raul Tejada: 234. By his dialogue, I had assumed he was a teenager during the Great War, but it turns out he was about 30. Multigenerational households FTW. Which probably means his age is frozen somewhere in his thirties and he’s not actually elderly. (Not that ghoul lore is actually consistent. Also, I’m not going to be the one to tell him it’s all in his head.)

Robert House: 261. Bro was born in 2020. Why, why would you do that to yourself?

Some of these are completely unsubstantiated so feel free to correct me or give your own opinion. I’ll probably edit if I think of more.

[magic-hcs]

🪙*Sitting in front of the TV, I cradled the hot coffee in my hands as I shyly glanced sideways.* With Charon pleasee ❤️

Charon notices you glancing towards him every now and again. Hard not to since you weren’t doing it as subtly as you thought you did. After the umpteenth time Charon sighed. He reached forward and rather gently took the cup of hot coffee out of your hands and placed it on the table.

“Stop Looking At Me Like You’re A Mouse, Just Get Over Here.” He grumbles, grabbing the side of your shoulder before pulling you into his side. Charon’s acting as if he’s annoyed with all of this, but you know better by the way he’s squeezing you to him.

“See? Was That Now So Hard?”

[confettiinred]

hello lmlers ! how are we feeling about sigdric to the song mr loverman . specifically after audric died . this is my reminder to you guys that sig watched him die in the don’t give up ! ( you’re on the brink of a miracle ) animation ! ^_^

this could go any way really ! audric’s pov.. sigmund’s pov… both are extremely yummy and ! yeah !! ANYWAAYSSS SIGDRIC ANGST IS LIKE MY FAVORITE EVER AND I HAVE SO MUCH OF IT, PLEASE HIT ME UP IF YOU WANT TO HEAR MORE !! X33 /silly

[sigmundthesorcerer]

M would be obsessed with the fact that vault-tec dropped the bombs bc she's a paranoid freak who's been running off a conspiracy theory that america nuked itself as a population control tactic and the rest of the world is doing fine

but the point is that she's supposed to be wrong!!!!!

[blookmallow]

is there any way to help gob in fallout 3. i have the ability to buy out charon’s contract but theres nothing i can find to pay off gob’s debt or anything. i could kill moriarty i guess but im not sure if that would help

also is there anything i can do to get charon to talk to me (i bought his contract and we’ve been traveling together for a while now) or does he just kinda Not

new vegas gives you loads of dialogue when you recruit someone. fallout 4 gives you companion quests. idk if theres more in new vegas since i didnt actually stay with companions very long so maybe i didnt unlock quests if they have em but anyway charon continues to only have tactics/trading options whenever i try to talk

[himidio]

Fallout Headcanon #2.

Butch and Charon are like brothers. After Butch made it into the Capital Wasteland, there were many things, and creatures, he had to get used to. Many of which tried to kill and or maim him. It took him a while to get into the groove of things, and although he still wasn’t quite used to it all (and probably wouldn’t ever be), he at least had the LW, and their other companions. Meeting Charon was weird for him. Charon is quiet, reserved, and doesn't seem to have a mind of his own. Plus he was a ghoul, a highly irradiated human that looked kinda like zombies. He didn’t quite like the look of them, but if the LW trusted them, he’d find a way to do the same. Plus they were people too, at least the sane ones were, and so was Charon.

It took him a while but Butch eventually wanted to get to know Charon. If he was going to be traveling with them, then he at least wanted to know the basics. And quite possibly break him out of his shell. All he knew so far was that Charon was bound by a contract, and he was raised to always honor that contract. Butch didn’t like that, it sounded like abuse. Something his mother had put him through for so many years. He couldn’t let someone near him live with that even if it was none of his business. But Charon didn’t have the mentality to stop him either. It took years for Butch to get him to fully open up, but once he did, by then Butch had grown attached to the tall ghoul. In fact, he had started to see him as a little brother (even though Charon was probably MUCH older than him) and even helped him find his personality.

Charon now had people he could depend on and not be bound to anymore (without his consent anyways), and he was extremely grateful to everyone he’d met. To this day they still travel together, all of them, as a family.

[impossible-rat-babies]

sitting here goofy pool for the 283737 time of zenos killing eyrie. the is no ruin for the both of them—there is merely the cold silence of loneliness when he holds their limp body and they empty eyes staring at the heavens and realizing there is nothing left in the universe now.

[esmeralda-juniper]

javiera starts biting and maiming at this

[ettelwenailinon]

friendship ended with richard after the latest episode WHAT was that

[magic-hcs]

💵I have prepared my savings for this day... I would like a smooch from Charon if he´s ok with it >///<

Charon smiles slightly when he spots you coming over. He feels very flattered that you prepared your savings to use it on a kiss from him. “For You, Just This Once.” He says with a smirk. He pretends to have a haughty air around him, but he’s a bit flustered. Charon places both hands on the counter and leans over it. He reaches out a hand to gently grasps your chin. Looking deep,y into your eyes, Charon leans in and presses his teeth to your lips in a gentle kiss.

To Charon, it’s as if his mouth tingles pleasantly. By the time Charon leans away, his entire face is a pretty red color. He clears his non-existent throat and rises back to his height. He releases your face and averts his gaze. “That Better Had Been Worth The Money.”

[jackkennedyofficial]

came from me thinking what if chazz n gingi swapped spots

[oceantornadoo]

persephone (simon riley x f!reader) age gap, a bit coercive, dark

—

it started with fruit.

you were simon riley’s secretary, working for a man clouded in darkness and gold. you’d hear whispers on the street, see pitying faces when you mentioned who you worked for to strangers. to them, he was a cold, hard beast. to you, he was a king.

he started by bringing you fruit, pomegranate seeds and ghost-white pears. small quips about eating healthy now while you were still young enough. ms twenty something meets mr not-yet middle aged, the lines of his face just starting to crease but the beer belly nowhere to be found. he mined diamonds, you heard. he owned cemeteries, said another secretary. they call him ghost, whispered a personal assistant. you didn’t care, didn’t need to when that wasn’t your job.

he had scarred hands, craggly things winding into the cuff of his midnight black suits. didn’t wear a mask but always seemed to be covered in darkness, his face unrecognizable in half lit rooms and empty offices. he always stayed late so you did too, indulging in the extra car he ordered for you, his driver called charon. simon never held long conversations but simply beckoned you, some string in your belly pulling tight at his recognition. at least a third of his day spent with you, murmuring soft nothings, inquiring about your mother and the upcoming winter, the beauty in the death of the trees. “y’ smell like spring, love.” he’d said one morning, and you resolved to wear that same pomegranate spritz indefinitely.

and then it moved to jewels. congratulations on your one year preceded by a tennis bracelet. a trinket of a three headed dog, something small to keep on your desk. the hours draw on later and later, canceled plans with your mother and nymph-like friends piling up like leaves. his touch starts lingering, hard calluses on soft skin.

a hand on your back, guiding you into a conference room. your hair brushing against his torso, the intimacy of it jarring. you twisted your ankle one day, the height of your heels overindulgent. ended up on the couch in his private office, his hands massaging your foot. “like a delicate flower.” he’d murmured, rewarding you with an anklet of diamonds once the pain wore off.

three years in, an invite to his private island. no service, leave your phone at home. sign an nda, we’ll work remote, gone for a month maybe more. pack some nice clothes, maybe a white dress if you’ve got one. take my card if you don’t.

stepping off the helicopter, charon at the helm. you weren’t there against your will but the hairy arm around your waist was heavy, a reminder of the cost you’d paid to visit the underworld. two weeks in and you couldn’t even act surprised when he proposed, on one knee with a glint in his eyes. “you and me, love, against th’ world.”

and if you said yes to the fruit, the diamonds, the care, the attention - saying yes to this was just the next step. an elopement, he’d already drawn up the license - “why wait, dove? y’r so fragile already.” you’re not, have a hidden strength under you, but ghost doesn’t care, ghost takes what he wants, and you, legs spread and eyes soft, are it.

when he fucks you, that’s when it’s settled. cunt dripping on his fingers, his face, his cock. he mutters something about a vasectomy and you’re taking him bare, making eye contact with a ghostlike gardener who walks past the window. your jaw unhinged, drool at the corner of your mouth as he fucks you from behind, one hand on your throat.

“such a good secretary, hm?” and you nod ferociously like the three-headed puppy on your desk. you’ll never work again, too busy with his cock in your mouth or his remote vibrator in your cunt at dinner. the jewels drip into a roar - diamond encrusted toys you’re not sure are entirely safe, bejeweled handcuffs, glittery collars. he’s pluto, the riches of the earth following his orders when he chases you in his private woods. simon’s presence is otherworldly, taking you with the strength of a god as you squirm against his grip. his oldness disgusts you but makes you gush all the same. “gonna be good for daddy?” and you agree vehemently at the king before you, on his knees.

[ot3]

my favorite little hades 2 tidbits so far:

the fact that melinoe can seemingly understand everything charon is trying to say even though zag was just like 'uh. so true bestie' every time he said anything

the little shades that follow melinoe around in camp like ducklings

the conversation between melinoe and odysseus where they're like man if only there was some sort of word for something thats like a spiritual adventure/quest/journey to describe what were doing right now

[impossible-rat-babies]

I’ve had like. the imagery of both elidibus and eyrie badly beaten in seat of sacrifice juxtaposed with charon and themis spending quiet affectionate moments together and I’m Mcfreaking Losing It

[trungles]

Cross-posting an essay I wrote for my Patreon since the post is free and open to the public.

Hello everyone! I hope you're relaxing as best you can this holiday season. I recently went to see Miyazaki's latest Ghibli movie, The Boy and the Heron, and I had some thoughts about it. If you're into art historical allusions and gently cranky opinions, please enjoy. I've attached a downloadable PDF in the Patreon post if you'd prefer to read it that way. Apologies for the formatting of the endnotes! Patreon's text posting does not allow for superscripts, which means all my notations are in awkward parentheses. Please note that this writing contains some mild spoilers for The Boy and the Heron.

Hayao Miyazaki’s 2023 feature animated film The Boy and the Heron reads as an extended meditation on grief and legacy. The Master of a grand tower seeks a descendant to carry on his maddening duty, balancing toy blocks of magical stone upon which the entire fabric of his little pocket of reality rests. The world’s foundations are frail and fleeting, and can pass away into the cold void of space should he neglect to maintain this task. The Master’s desire to pass the torch undergirds much of the film’s narrative.

(Isle of the Dead. Arnold Böcklin. 1880. Oil on Canvas. Kunstmuseum. Basel, Switzerland.)

Arnold Böcklin, a Swiss Symbolist(1) painter, was born on October 16 in 1827, the same year the Swiss Evangelical Reformed Church bought a plot of land in Florence from the Grand Duke of Tuscany, Leopold II, that had long been used for the burials of Protestants around Florence. It is colloquially known as The English Cemetery, so called because it was the resting place of many Anglophones and Protestants around Tuscany, and Böcklin frequented this cemetery—his workshop was adjacent and his infant daughter Maria was buried there. In 1880, he drew inspiration from the cemetery, a lone plot of Protestant land among a sea of Catholic graveyards, and began to paint what would be the first of six images entitled Isle of the Dead. An oil on canvas piece, it depicts a moody little island mausoleum crowned with a gently swaying grove of cypresses, a type of tree common in European cemeteries and some of which are referred to as arborvitae. A figure on a boat, presumably Charon, ferries a soul toward the island and away from the viewer.

(Photo of The English Cemetery in Florence. Samuli Lintula. 2006.)

The Isle of the Dead paintings varied slightly from version to version, with figures and names added and removed to suit the needs of the time or the commissioner. The painting was glowingly referenced and remained fairly popular throughout the late 19th and early 20th centuries. The painting used to be inescapable in much of European popular culture. Professor Okulicz-Kozaryn, a philologist (someone with a deep interest in the ways language and cultural canons evolve)(2) observed that the painting, like many other works in its time, was itself iterative and became widely reiterated and referenced among its contemporaries. It became something like Romantic kitsch in the eyes of modern art critics, overwrought and excessively Byronic. I imagine Miyazaki might also resent a work of that level of manufactured ubiquity, as Miyazaki famously held Disney animated films in contempt (3). Miyazaki’s films are popularly aspirational to young animators and cartoonists, but gestures at imitation typically fall well short, often reducing Miyazaki’s weighty films to kitschy images of saccharine vibes and a lazy indulgence in a sort of empty magical domestic coziness. Being trapped in a realm of rote sentiment by an uncritical, unthoughtful viewership is its own Isle of Death.

(Still from The Boy and the Heron, 2023. Studio Ghibli.)

The Boy and the Heron follows a familiar narrative arc to many of Miyazaki’s other films: a child must journey through a magical and quietly menacing world in order to rescue their loved ones. This arc is an echo of Satsuki’s journey to find Mei in My Neighbor Totoro (1988) and Chihiro’s journey to rescue her parents Spirited Away (2001). To better understand Miyazaki’s fixation with this particular character journey, it can be instructive to watch Lev Atamanov’s 1957 animated film, The Snow Queen (4)(5), a beautifully realized take on Hans Christian Andersen’s 1844 children’s story (6)(7). Mahito’s journey continues in this tradition, as the boy travels into a painted world to rescue his new stepmother from a mysterious tower.

Throughout the film, Miyazaki visually references Isle of the Dead. Transported to a surreal world, Mahito initially awakens on a little green island with a gated mausoleum crowned with cypress trees. He is accosted by hungry pelicans before being rescued by a fisherwoman named Kiriko. After a day of catching and gutting fish, Mahito wakes up under the fisherwoman’s dining table, surrounded by kokeshi—little wooden dolls—in the shapes of the old women who run Mahito’s family’s rural household. Mahito is told they must not be touched, as the kokeshi are wards set up for his protection. There is a popular urban legend associated with the kokeshi wherein they act as stand-ins for victims of infanticide, though there seems to be very little available writing to support this legend. Still, it’s a neat little trick that Miyazaki pulls, placing a stray reference to a local legend of unverifiable provenance that persists in the popular imagination, like the effect of fairy stories passed on through oral retellings, continually remolded each new iteration.

(Still from The Boy and the Heron, 2023. Studio Ghibli.)

Kiriko’s job in this strange landscape is to catch fish to nourish unborn spirits, the adorable floating warawara, before they can attempt to ascend on a journey into the world of the living. Their journey is thwarted by flocks of supernatural pelicans, who swarm the warawara and devour them. This seems to nod to the association of pelicans with death in mythologies around the world, especially in relationship to children (8). Miyazaki’s pelicans contemplate the passing of their generations as each successive generation seems to regress, their capacity to fulfill their roles steadily diminishing.

(Still from The Boy and the Heron, 2023. Studio Ghibli.)

As Mahito’s adventure continues, we find the landscapes changing away from Böcklin’s Isle of the Dead into more familiar Ghibli territories as we start to see spaces inspired by one of Studio Ghibli’s aesthetic mainstays, Naohisa Inoue and his explorations of the fantasy realms of Iblard. He might be most familiar to Ghibli enthusiasts as the background artists for the more fantastical elements of Whisper of the Heart (1995).

(Naohisa Inoue, for Iblard Jikan, 2007. Studio Ghibli.)

By the time we arrive at the climax of The Boy and the Heron, the fantasy island environment starts to resemble English takes on Italian gardens, the likes of which captivated illustrators and commercial artists of the early 20th century such as Maxfield Parrish. This appears to be a return to one of Böcklin’s later paintings, The Island of Life (1888), a somewhat tongue-in-cheek reaction to the overwhelming presence of Isle of the Dead in his life and career. The Island of Life depicts a little spot of land amid an ocean very like the one on which Isle of the Dead’s somber mausoleum is depicted, except this time the figures are lively and engaged with each other, the vegetation lush and colorful, replete with pink flowers and palm fronds.

(Island of Life. Arnold Böcklin. Oil on canvas. 1888. Kunstmuseum. Basel, Switzerland.)

In 2022, Russia’s State Hermitage Museum in Saint Petersburg acquired the sixth and final Isle of the Dead painting. In the last year of his life, Arnold Böcklin would paint this image in collaboration with his son Carlo Böcklin, himself an artist and an architect. Arnold Böcklin spent three years painting the same image three times over at the site of his infant daughter’s grave, trapped on the Isle of the Dead. By the time of his death in 1901 at age 74, Böcklin would be survived by only five of his fourteen children. That the final Isle of the Dead painting would be a collaboration between father and son seemed a little ironic considering Hayao Miyazaki’s reticence in passing on his own legacy. Like the old Master in The Boy and the Heron, Miyazaki finds himself with no true successors.

The Master of the Tower's beautiful islands of painted glass fade into nothing as Mahito, his only worthy descendant, departs to live his own life, fulfilling the thesis of Genzaburo Yoshino’s 1937 book How Do You Live?, published three years after Carlo Böcklin’s death. In evoking Yoshino and Böcklin’s works, Hayao Miyazaki’s The Boy and the Heron suggests that, like his character the Master, Miyazaki himself must make peace with the notion that he has no heirs to his legacy, and that those whom he wished to follow in his footsteps might be best served by finding their own paths.

(Isle of the Dead. Arnold and Carlo Böcklin. Oil on canvas. 1901. The State Hermitage Museum. Saint Petersburg, Russia.)

INFORMAL ENDNOTES

1 - Symbolists are sort of tough to nail down. They were started as a literary movement to 1 distinguish themselves from the Decadents, but their manifesto was so vague that critics and academics fight about it to this day. The long and the short of it is that the Symbolists made generous use of a lot of metaphorical imagery in their work. They borrow a lot of icons from antiquity, echo the moody aesthetics from the Romantics, maintained an emphasis on figurative imagery more so than the Surrealists, and were only slightly more technically married to the trappings of traditionalist academic painters than Modernists and Impressionists. They're extremely vibes-forward.

2 - Okulicz-Kozaryn, Radosław. Predilection of Modernism for Variations. Ciulionis' Serenity among Different Developments of the Theme of Toteninsel. ACTA Academiae Artium Vilnensis 59. 2010. The article is incredibly cranky and very funny to read in parts. Contains a lot of observations I found to be helpful in placing Isle of the Dead within its context.

3 - "From my perspective, even if they are lightweight in nature, the more popular and common films still must be filled with a purity of emotion. There are few barriers to entry into these films-they will invite anyone in but the barriers to exit must be high and purifying. Films must also not be produced out of idle nervousness or boredom, or be used to recognise, emphasise, or amplify vulgarity. And in that context, I must say that I hate Disney's works. The barrier to both the entry and exit of Disney films is too low and too wide. To me, they show nothing but contempt for the audience." from Miyazaki's own writing in his collection of essays, Starting Point, published in 2014 from VIZ Media.

4 - You can watch the movie here in its original Russian with English closed captions here.

5 If you want to learn more about the making of Atamanoy's The Snow Queen, Animation Obsessive wrote a neat little article about it. It's a good overview, though I have to gently disagree with some of its conclusions about the irony of Miyazaki hating Disney and loving Snow Queen, which draws inspiration from Bambi. Feature film animation as we know it hadonly been around a few decades by 1957, and I find it specious, particularly as a comic artistand author, to see someone conflating an entire form with the character of its content, especially in the relative infancy of the form. But that's just one hot take. The rest of the essay is lovely.

6 - Miyazaki loves this movie. He blurbed it in a Japanese re-release of it in 2007.

7 - Julia Alekseyeva interprets Princess Mononoke as an iteration of Atamanov's The Snow Queen, arguing that San, the wolf princess, is Miyazaki's homage to Atamanoy's little robber girl character.

8 - Hart, George. The Routledge Dictionary of Egyptian Gods And Goddesses. Routledge Dictionaries. Abingdon, United Kingdom: Routledge. 2005.