#thematic comparison

[not-souleaterpost]

Trigun - Inspired by the movie "Wise blood"?

(maybe the book too but havent read it)

Anyways, first I thought it would just be funny to point out some surface visual references of charachters which prolly are too generic to be proof of anything.

I mean ehh thats generic enough-

Well that too-

Well the hat and crazy eyes are there

Well the last more recalls Vash's own injurys

(think there is a scene in his Eriks disguise that match more)

But ok, one could say that this is as arbitrary as any other of my posts that dont deserve to be posted - Until I saw the full movie and got that there may be a deeper and more interessting connection

So trigun is know to have atleast Christian-adjasent themes and the author, even if never or not anymore Christian, seems to have a familiarity and interest with it that goes beyond the usuall japanese "wow cool crossess" and pop kabalah stuff (like NGE and shit or persona having all those occcult demon shit)

So what does it have to do with the movie? Well it is one exploring a theme that seems to be simmilar, even if Wise Blood presents it in a more macabre, black-humor, less sentimental and uplifting way

A world without God - or better said Christ/Love/Forgivness

Triguns whole point about Vash not killing anybody IS in the end an expression of the want of the world to be able to heal, to get better, to people to connect in a true way, of going beyond tricks and self serving rational scientfic interests

Thats why Knifes is kinda a representation of cold, uncarring survival of the fittest, of evolution, of the rule of superior beings by force and cold calculation and deception.

To make a parralel to the movie, it shows a man who cant see Christ, the power of redemption of something beyond himself and his own interests and striving - even if he feels justified by partly believing the things he rejects.

But in the end without them, it becomes a self fullfiling prophecy - his "Church without Christ" - without healing of the blind and resurection, without redemption - it condems him to that, making him blind and dead, and his atempts at repenting for killing some guy for a petty reason futile - not even being able to recupareta the love he gets from a landlady.

The theme of a fake preacher is then what is reflected in Wolfwood in Trigun, who is also just a killer, trained by another one, who can in the end find redemption in death and doing the right thing, even if it has a tragedy to it.

And in a way that illuminates Vash's whole journey more, why he couldnt give up and why it was important for him to find love and not become a more suffisticated monkey in a zoo who's hand only his brother would want to shake...

And thats why Vash not killing is actually cool and good and not stupid - cause of a random movie that butchered a book that prolly was tottally different.

But why the self.depreciation? Isnt apreciating the world and creation, "art", not a dialog, a call and response of unlikely meetings?

If not: Yeah...Sorry

[nonasbirthday]

of course you can read necros and cavs as a parallel to the gender binary bc A) you can do whatever you want forever and B) yeah there's plenty of textual evidence comparing the necro-cav bond to a marriage. however one thing i think many of these discussions keep missing is the fact that most people in the nine houses are not necros or cavs and do in fact exist outside of this binary. which would make it. not really much of a binary

[zeb-z]

man. sometimes I just remember Gillion’s Last Sin monologue is set to Via Purifico from FFX. and it’s so perfect. I haven’t played FFX for quite a few years, mind, but the fact that it’s the theme to the prison where you’re left, without help or hope for escape - but manage to push on with what strength you have found for yourself. playing as Yuna, alone, without the rest of the party - easily the least trained, seemingly most vulnerable - and going through these fights alone. Gillion admitting his final sin against this council of elders, facing what he is sure to damn him but facing it anyways. trapped in both the prison of his own guilt, and the very real donjon prison inside the pearl. it’s at a turning point, a moment of loss of faith, where the battles fought are ones faced alone, until friends can finally come and help with whatever is next around the corner - in both FFX and Riptide, for Yuna and for Gillion. a set of trials for them to overcome, finding the answers not from anyone else, just themselves. and the feeling of isolation, being alone against the world, matching Gillion alone in the pearl against his past. it’s just such a good fit, both thematically and musically.

[imminent-danger-came]

I finally figured out what MK's shirt design means

[skitskatdacat63]

The true old man fucker behavior is simping over historical figures

[raptorrobot]

i have been relentlessly overthinking about the 7-2 music teaser we got about a week back and let me tell you . this part. right here;

i think this might be the leitmotif that'll appear in the p-3 prime soul's theme....... hear me OUT !!

my two main points of reasoning here is;

this part of the track follows a Very Close pattern of how the current two prime soul motifs are structured (a measure of 4 that repeats itself once with minor changes in the repeat -- or in different terms, a strong melody that loops once before the track moves on)

both minos and sisyphus' motifs appeared in the track of the second level of their respective layers (death at 20,000 volts / requiem and god damn the sun / sands of tide)

i am just Spitballing of course, this is still a WIP track and we have yet to actually experience the level as a whole -- but it could be something to ponder on !

[not-ariadnesweb]

Okay, so Kris and Noelle's relationship in snowgrave is:

A very pointed reference to Chara and Asriel's deal:

2. Messing around with the idea of who is supposed to be the protagonist in the story -

because in the Normal Route, Kris plays a pretty standard protagonist, being a vessel for us to interact with the world, a vessel for us to have a heroic adventure alongside our friends. Noelle plays the role of side character here, slowly gaining courage to enjoy the surrounding world, and to maintain her own values in the face of danger.

and in the Weird Route, Kris becomes our tool to torment and manipulate Noelle to do our bidding. In the process, Noelle becomes the protagonist of her own horror novel, as her reactions and words become the main focus of the route. Noelle is also the character with the most sudden improvement in power by the end of the Weird Route, being able to freeze anything in her path.

3. able to give some pretty interesting parallels to Undertale's Chara and Frisk, another videogame duo capable of killing all (friendly) enemies they come across. Options for the parallels are:

A. We have Noelle as similar to Chara, as both are the more emotional and talkative of the duo, and undergoing the main journey of the story (changing into someone able to kill freely and easily). Both Chara and Noelle spell out their thought processes as to going along with the murder routes, and these thoughts involve dehumanizing others and prioritizing their own strength (self-gain). Also, both have notable 'Angel of Death' motifs, and are the ones to commit the final blow at the end of their murder routes.

B. We have Kris as similar to Frisk, as the silent tools we players use to commit the murder route in the first place. With similarly kind, quiet, goofy dispositions, that get overridden for us to commence the route. Not much is known about either to guess their thoughts about the story route they are own, but while neither is exactly happy to be on the murder route, we don't get a lot of push back from them.

AND

C. We have Noelle as similar to Frisk, being the practical unwilling killers of the murder route. The crime of murder is placed on their heads. As well as the benefits of murder, given the 'strength' and stats from the kills. These two also have similar relationships with the 'enemies' they encounter, which is to say, an absolute lack of relationships. While the normal storylines in both games involve giving these kids some friends, the murder routes in both involve making these kids murder any possible outside connections.

D. We have Kris as similar to Chara, being the 'commanding' shadow of a person 'giving orders to kill'. (Or in Kris's case, being attributed for a commanding presence.) Contradictory, these two are also the main driving force of the routes, while still being openly discouraging of the path taken. They both have significant relationships with the idea of power.

[castletemprwine]

pete wentz blog post, feb 2008 // my own tellonym confession, june 2023 // my own poem, feb 2023 // miss missing you, fall out boy // my own poem, april 2023

[just-late-roman-republic-things]

Is it really a novel set in ancient Rome unless it has references to cannibalism?

Marius: weren't you thirsty? Didn't you want water? Then drive the Germans down from this hillside, force them back to the river that they're now crossing, and then drink from its water mixed with the red blood of our enemies! Massacre the Germans for once and for all!

(In-universe, Marius is deliberately skiving off work so he can drink way too much wine and ramble about how he won the Cimbric Wars to a couple of nine-year-olds. Admittedly, the nine-year-olds are having a great time!)

(Santiago Posteguillo, Roma soy yo)

[neversetyoufree]

I think that Mochizuki was also inspired by Banana Fish in terms of relationship dynamics, tone, and themes. Do you see similarities between the two?

Mm, maybe? Full disclosure that my experience with Banana Fish is that I binge read roughly 70-80% of it in a day or two like 10 months ago, and I have not finished it or revisited it since those couple days, so my impression of it may not be the most accurate.

Off the top of my head, there's a similarity in that they're both stories of relative outsiders who become entwined in the life of a very doomed young man with horrifically traumatic past. I know Eiji is a photographer, but I don't actually remember whether there's any element of him documenting Ash's life, so I can't comment on if him and Noé have that similarity. There's also the prevalence of sexual assault as a theme and source of trauma in both, and the way that both series are sort of straddling the shonen/shoujo line. VnC is a shonen that very much feels like it's being written for women (or at least, not particularly aimed at teenage boys most of the time lmao), and Banana Fish is an uncommonly violent and action-heavy shoujo.

That said, I definitely can't say I find the tones or vibes to be very similar. VnC is a series defined by the intricacies in its relationships. There's a good deal of action and flash, but it's also a series in which every little glance and expression is meant to be read into. It shines in its characters and relationships and in the way it continually loops back on itself to psychologically examine its characters and drive them closer together.

My experience of Banana Fish, on the other hand, was defined by how much it felt like a whirlwind of an 80s action movie. That's not to say that it doesn't have quieter scenes or develop the relationships between its characters, but I certainly wouldn't call it relationship-driven like I would for VnC. Also, though we do certainly get a lot about Ash and his history and how he ended up the way he is, Banana Fish is not The Case Study of Ash Lynx. It's not about examining him in the same way that VnC is about examining Vanitas.

I might not be articulating this super well bc I'm writing this post while very tired, but overall, I'm guessing Banana Fish probably wasn't that direct an inspiration for Mochijun. She's talked a lot about her inspirations for VnC, and it hasn't come up, and though there are interesting parallels, I don't think the vibes or content *quite* match up.

However, it is a really interesting comparison to talk about. Sometimes something isn't an inspiration for something else, but it is a fascinating touchpoint to hold in up against. I'd love to hear anyone else's thoughts on this.

[gatoraid]

Okay fr though, I think Alyosha’s route is so impactful because

1) it’s about breaking the cycle of violence and exploitation and building something better instead

2) it’s about personal growth: Aly is someone who makes Sam want to be a better person and look back at his violent past with shame and regret

3) it’s about trust and honesty: Sam can only really build a good relationship with Aly by being honest about himself and his emotions, and trusting him enough to be open about his needs

[ghoul-haunted]

the borgias s1e1, s3e1

[goodobservationshirley]

Star Trek Strange New Worlds 1x10 “A Quality of Mercy” - Trailer

[pochapal]

Don't torment yourself *too much* about the locked room puzzles. Think about them, sure, but you aren't really supposed to solve them individually. Arguably not even on an episode basis.

don't worry i'm trying not to! like obviously i am thinking about the logistics of how it was done etc but i think the "who" and "why" are more interesting and to get to those you don't really need to know exactly how a room was sealed from the inside - i'm focusing more on exploring the suspects and the other stuff than specifically the locked room, so please don't think i'm sitting there spiralling about a bedroom door's chain lmao.

[un-pearable]

no offense (much offense) but i think your opinions about what defines “old zelda” + makes it good are meaningless if you think Twilight Princess, a game that came out in 2006, counts as o l d

[mousey-toy]

park chan wook double feature tn