Minor Character Spotlight: Hanbee Abara

Hanbee Abara is a tall (190 cm) somewhat scary looking but actually very kind rank 2 investigator who works under Suzuya Juuzou. He first appeared alongside Suzuya in the oneshot Tokyo Ghoul Joker which was set between the events of Tokyo Ghoul and Tokyo Ghoul:RE .

Of the member’s of Suzuya’s Squad Hanbee is technically Suzuya’s partner. But originally not seemingly for his combat experience, as Hanbee was known to become terrified at the sight or sign of ghouls even becoming weak at the knees or running the other way. The reason he is the technical partner of Suzuya in the squad probably has to do with the fact that while he lacks confidence he is a very well organized thoughtful investigator (he often seemingly runs most meetings) with seemingly above average senses.

The reason for Hanbee’s lack of confidence and courage in battle traces back to Hanbee’s childhood when he and his father were attacked by a ghoul. Both survived but Hanbee’s father lost both his legs protecting his son.

According to Hanbee the fear he had that day stuck with him. He recognizes that if he had tried to fight the ghoul as a child he probably would have died but at the same time he thinks then he would have kept his confidence if he had tried to fight, and he regrets and is frustrated by his inability to do so. He became a ghoul investigator because of this wanting to help at least one person but his fear is still a major stumbling block.

Hanbee in the beginning is pretty intense and emotional and has a tendency to overreact very dramatically often to a rather comedic effect.

Hanbee originally has the self confidence of a peanut and is fairly easily frightened. He constantly thinks about how thinks about how he could be wrong and about how he doesn’t have any confidence. He also often berates himself. This can lead him to act slowly or not at all. 

Suzuya however doesn’t completely buy this and while he says Hanbee is completely ill suited for being an investigator he does manage to bring out Hanbee’s protective and fighting instinct by purposeful putting himself in physical peril when fighting a ghoul gang known as the Skull Gang. He proved in this to Hanbee that he indeed was not useless after all, but rather needed a good reason to push him to fight.

Since the events in Joker Hanbee has begun to show himself to be a much more capable investigator specifically when working along side Suzuya. While Hanbee may still not be the best investigator in battle he can fight well enough as long as it is to protect others.

Suzuya and Hanbee have an interesting relationship. Hanbee views Suzuya with great reverence and is nearly always by his side. He is happy when Suzuya is happy, and is generally pretty in tune with Suzuya and his feelings. Hanbee does his best to support him and remain by his side, often doing even small things such a making him drinks and feeding him pudding (cute af).

While Hanbee revers Suzuya he is also fiercely protective of him both physically and mentally and he does his best to understand the man. Where others would label Suzuya’s behaviors as annoying or a nuisance Hanbee just accepts them and even seems to enjoy his eccentricities. (Considering the crap Suzuya has been through this is a very important thing).

In the end Hanbee is a wonderful if easily frightened and flustered man who cares for his boss and would do anything to protect him both physically and mentally.

At a stage of psychological development that might be slightly earlier than Romeo’s, Mercutio expresses more interest in his friend’s sex life than in his own: Romeo’s body supplies images for his phallic wordplay. With their friendship, typifying the androgynous world of male adolescents, the plays enacts not only male bonding but Mercutio’s unacknowledged homoerotic desire.
—  Jill L. Levenson, in her Introduction to Romeo and Juliet
Bosses of Bloodborne [PART 1]

After a long and arduous semester, I’m finally getting around to writing Bloodborne content for this blog. Let’s just get started without any further delay!

For each boss in the game, I’ll share both my first impressions and my later reflections. The former is pretty self-explanatory; the latter can range from atmosphere to design to hard mechanics – whatever strikes me most strongly. I’ll try, as I usually do, to keep it varied and interesting.

For the sake of tidiness and convenience, I’ve relegated everything to beneath the Moon. This first post will discuss Vicar Amelia and all bosses that can be fought prior to her, with the exception of Darkbeast Paarl. Enjoy!

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anonymous asked:

It seems a bit odd that some dragon species mature rather rapidly, would that mean that dragons in the "Dreamworks Dragons" universe have shorter life spans, than the typical legends that dragons can live for hundreds of years?

It would certainly suggest that they do have shorter life spans than legendary dragons which live hundred of years. I wondered if there were creatures that grow rapidly but stay old for a while, but even for the Galapagos Giant Tortoise, they reach sexual maturity at twenty to twenty-five years old and are forty when they reach their full size. Short life spanned animals mature rapidly; long life spanned animals don’t.

That said, it appears as though different breeds of dragons age differently. Toothless still acts like quite a young dragon for all he is twenty years old, yet Stormfly seems to have matured into some form of adulthood by the age of two. The Bewilderbeast is full-grown (we assume) after only a few decades, suggesting rapid growths for that creature, too. So it seems that Deadly Nadders mature quickly, the Bewilderbeasts fairly quickly, and the Night Furies more slowly. 

I am guessing this means that some dragon species have a twenty to thirty year life span. Terrible Terrors’ lives are probably even shorter. However, on the other side, Night Furies probably live as long as humans do and age similarly, and we might say the same thing of Bewilderbeasts (I would like them to be able to live a long time, though). There still is the possibility that some dragon species can live for hundreds of years, and if so, I would guess that to be some of the larger dragon species like the Red Death. 

This sort of divergence and diversity in life spans between dragon species would honestly be rather consistent with the book series. The Windwalker matures more quickly than Toothless does, and many of the hunting dragon species (Gronckles, Monstrous Nightmares, and the like) seem to reach full size in growth after only a few years. Glow Worms and other small, basic dragon species probably do not live long, etiher. However, on the flip side, the Seadragonus Giganticus Maximus can live for hundreds of years, and there are some positively ancient reptiles in the books. Maybe we could postulate the same sort of idea for the DreamWorks Dragons world, too.

Eun Bi x Tae Kwang or Eun Bi x Yi An? [Warning: long post]

Well folks, let me tell you first of all what my answer to this question is.

I’M A HARDCORE TAEBI SHIPPER SO EUN BI X TAE KWANG ALL THE WAY PEOPLE!!!

Ehem. So yes, back to the topic hahaha. [I can’t believe I’m actually going to be neutral about this analysis haha. Well … I’ll try to be :)]

Many people in various networking sites have been stating their opinions and analyses about who is best suited for our heroine, Eun Bi-ah. Is it the kind-hearted, hardworking swimmer, Han Yi An? Or the snarky, lazy but protective and secretly caring Gong Tae Kwang?

Let’s look at Han Yi An’s perspective first.

It was stated several times throughout the drama (well, these 10 episodes that was released, at least) that Yi An and Eun Byul are childhood friends and spent their childhood together. This bond that they shared then grew into something more as they grew up, and became some sort of mutual affection for each other. Yi An wasn’t afraid of showering Eun Byul with affections, whereas Eun Byul is the “tsundere” here, acting all cold and bitchy towards him but we all know how she feels for him kekeke (well, I can’t blame her, with a face and a body and a talent like that, who wouldn’t fall for Han Yi An?).

So yes, we know that the feeling is mutual, she feels something for him, he feels something for her - and then BOOM came the incident.

It’s now Eun Bi in Eun Byul’s place and poor Yi An still thinks that she’s the same Eun Byul, even with the amnesia. So yes, he still acts the same with her and helps her try to remember all those things they did before (ahh, the infamous “Do you remember?” catchphrase that was already becoming Yi An’s). The fact that he spent so much of his life with Eun Byul, those “ten years worth of memories” caused him to always ask that question to her. They’ve had so much experiences together and he wants her to “remember” them, because duh, precious, aren’t they?

Now, when Eun Bi regains her memories, she regains her “true” self, her Eun Bi self and not the mentality that she’s Eun Byul. And then she finds out that Yi An is actually her sister’s friend (and eventually finds out that he likes Eun Byul too), and then sticks to the pretense of being Yi An’s friend, due to the fact that the real Eun Byul and the swimmer are close (and need to get to know her twin sister as much as possible).

But in the later episodes, we can see that Yi An slowly became her friend and someone she trusts, but the definition of their “friendship” is still a bit vague, in my honest opinion.

Anyways, I have this gut feeling that Eun Bi’s starting to fall for Yi An (I hate my gut feeling sometimes. Oops, back to being neutral). You can see in the way she looks at him (kudos to one of my favorite actresses, Kim Sohyun, for portraying the characters of Eun Bi and Eun Byul so well!) and she just gives off that vibe. However, there’s one HUGE problem. Let’s go back to what I’ve said five paragraphs ago.

YI AN LOVES EUN BYUL. Yes, read that again. Eun Byul. He loves Eun Byul. Who he loves is that prickly, cold girl who would give him the cold shoulder and act indifferent at times but really just has a hard time showing her feelings (omfg why does this line sound so familiar omfg do you guys know who I’m thinking of?) Now, I know that he said that he’s liking this “new Eun Byul” better but hey, what’s his mentality again? That Eun Bi is Eun Byul. Sadly, she isn’t, and Eun Byul’s still out there (OMG GO EUN BYUL IS ALIVE). My point?

//Sighs// Guys. I still haven’t watched the latest episode but let me tell you all what I think. Yi An already loves THE Eun Byul from before, the real Eun Byul, but since he actually said that he’s liking the new Eun Byul better, it makes me think that he still loves Eun Byul and not Eun Bi. He said that he’s liking the new her better, but this is my take: he likes this change because now, she’s actually paying attention to him and not pushing him away like she used to before. It’s working for him, this new change in “her” attitude, that is. The catch? He doesn’t see Eun Bi. He still sees Eun Byul. He thinks that Eun Byul is actually changing for the better now. Our Eun Bi, on the other hand, is not so lucky. She looks like she’s falling for him and it’s not good, because Yi An loves Eun Byul and not her.

I don’t think Yi An’s going to immediately love Eun Bi after all this revelation. After all, he spent more than half of his life with Eun Byul and that is the girl that he loves, not Eun Bi. It would be hard to forget everything, forget those ten years worth of memories just to love this “new” girl that has the face of Eun Byul but the attitude of Eun Bi. It’s wrong in so many aspects. It’s damn confusing. It would be like in Eun Byul’s foster mother’s case : pretending to stand in Eun Byul’s shoes.




And now let’s go to my cutie baby, my Sungjaenggie~, Gong Tae Kwang’s perspective.

LET’S GET THIS PARTY STARTED OHYEAH BABY Umm, anyways, pardon my TaeBi shipper side. It’s trying to butt in.

EHEM.

So yes. 

Gong Tae Kwang, Gong Tae Kwang, Gong Tae Kwang.

Our mischievous, snarky troublemaker. During the first few episodes (2nd episode, if I remember correctly), Tae Kwang said several times that Eun Byul doesn’t acknowledge him. She just receives acknowledgements and doesn’t do one in return. He even said that she had stated before that he’s someone not worth giving a greeting to. It’s not a secret that from the first few episodes wherein he still thinks that Eun Byul is actually Eun Byul and not Eun Bi, he has harbored negative impressions towards the former.

So yes, now that it’s Eun Bi in Eun Byul’s place, everyone’s thinking that Eun Byul must’ve cracked her head really hard because of the 360-degree change in her attitude, and that includes Tae Kwang. You can see that he’s quite taken aback by this change in her attitude, but still maintains that cold and indifferent behavior towards her, until that encounter in the school clinic that is. Well, let’s just say that his demeanor softened during that encounter. We all know that Tae Kwang has a difficult past, coming out from a broken family being the cause. He’s always had a difficult time on expressing his feelings (as said by his father), and tends to isolate himself from people and when he does interact with his classmates, it’s to annoy the shit out of them (but seriously, this is his way of getting along with them, after all, he’s had a hard time expressing what he really wanted to). But when he encountered Eun Bi (who’s regained her memories, then) in the clinic, he’s got to share one of the darkest secrets he’s had, one of those that he kept well deep in his heart. He’s got to share it easily, though of course, under the pretense of them “lying” to each other. He knows that he won’t be taken seriously by people, let alone Eun Byul, should he expose this secret to all but he still shared this. Why? Maybe it’s because Eun Bi’s making him feel comfortable with her. You can even see that with their encounter in the bridge, where he told her that he “wanted to be alone” (yeah, real smooth there aren’t we, Gong Tae?). I don’t think he would say that to anyone else in their school, perhaps in joking, but saying that? And to Eun Bi, of all people? It’s the start of their connection. Their encounter there is also where he and Eun Bi played around with each other. Yes, let’s repeat that. Played. Around. With. Each. Other. I bet the other students haven’t seen Tae Kwang act that comfortable around someone.

And then there’s the scene with him carrying Eun Bi’s bag. We can see that after snapping a picture of him dangling her bag over the water, he immediately hugs it close to his chest as if afraid of letting go. It’s seriously very heartwarming. It’s like he doesn’t want lose her trust, it’s like he doesn’t want to lose this connection with her. And the fact that he told Yi An, who came to get the bag, that his intention is to see Eun Bi? D’aww. Adorableness.

Now, let’s fast-forward to when he heard of Eun Bi and So Young in the rooftop. He actually came to her rescue and scared So Young, that immature, deceiving, cunning little btch that she is, away (he actually was disturbed from sleeping but to put it simply, let’s lay it out this way). When Eun Bi walked out, he followed her, then stopped short at the sight of the girl sitting down the steps and lost in her own misery. He didn’t confront her, nor try to comfort her, but he’s there, silently looking out for her while she’s at her most vulnerable state. Now this is a big change in his attitude. He doesn’t care about other people’s business so why does he concern himself with Eun Bi now? He could’ve just walked away and scoff at her but nooooo, he just had to stay right there and watch over her and make my heart melt with his caring nature omg the things you do to me Gong Tae Kwang. Maybe it’s his curiosity about what the matter is about, but guys, this is Tae Kwang we’re talking about. He doesn’t really, overtly concern himself with other people, as I’ve said earlier, but now he’s acting all protective over one girl that he claimed to be in bad terms with. He even helped her make up with Yeong Eun by driving the toy car. And he didn’t just stayed there for her once - he did it twice. The second time around, he wanted to pat her back and say something snarky (to cheer her up I suppose, as you can take from his smile before), but stops and just stands there without looking at her, letting her have her privacy but also being there for her at the same time. A lot of time had passed, we can tell, since Eun Bi started crying but he still stood there wordlessly, without any complaints. When he walked her back to their house and he just waved her off when she tried to explain - it speaks volumes.

Let’s get back on track. When he sensed that something’s fishy between So Young and Eun Bi, and after he witnessed that exchange on the rooftop, he became like a mother hen - always around to protect Eun Bi. When So Young attempted to take a picture of Eun Bi (with Song Joo and Shi Jin), he popped in to scare her away (and gave away her intention). And then he follows our heroine during dismissal, keeping his distance but still has his eyes out for her - only to be caught by the girl. When confronted, he let slip that he worries for her. Ooh, Freudian slip, anyone? (and we all know how a Freudian slip works, right? You say those things in your unconscious mind without being aware of doing so). Oh, so you’re really worried about Eun Bi now, huh, Tae Kwang? //smiles slyly//

This is a freaking complete change in his attitude. Well, not really since he’s still that same old snarky and apathetic guy that he is but with Eun Bi, matters are different. If before, he just lazed around without a care, living his life, ironically, lifelessly as if in a routine, now, he’s got a deeper meaning to live everyday, something that even made him stay and prevented him from living on his father’s command of going abroad.

Eun Bi changed him. Eun Bi let him see that there’s more to his life. She’s that ray of sunshine that brightened up his life. We can see that he has feelings for her, but the girl, unfortunately, is too caught up with Yi An (friendship? love? I dunno for sure yet) to see it well enough. For now, his love for Eun Bi is one-sided. For now, at least.




VERDICT

Honestly, I don’t really want the Yi An/Eun Bi ship (there, I’ve said it!), and I love Tae Kwang/Eun Bi more. But the scary thing is, I can see that there’s a chance that the Yi An/Eun Bi (YiEun) ship could sail further. However, the Tae Kwang/Eun Bi (TaeBi) ship is also prepping up, and is already catching up to the YiEun ship. Both have big chances of happening, though the TaeBi ship one-upped YiEun with the news of Eun Byul being alive still (OMFG YES YES TAEBIIIII)

However, I ship Yi An/Eun Byul and then Tae Kwang/Eun Bi.

Why?

Simple.

They fit each other like a key fits into a lock.

Han Yi An is that ray of sunshine that Eun Byul needs in her life. She’s cold, she’s prickly, but Yi An’s the only one that has the ability to melt that ice. She couldn’t have showed him the effect he has on her, but once she turns around, she’s all smiles and bubbly.

Go Eun Byul is the one thing that keeps Yi An on his toes. He has a bright, hardworking and kind father, he has kind classmates that cheer on him, he has his fans, and then there’s Eun Byul - the one person who couldn’t be swayed by his charms (at least, not explicitly). She’s the one that balances out all the good and bright in his life, and (together with swimming) is the one that reminds him that you need to work hard in order to achieve something. And that is, Eun Byul’s heart and affections.

Gong Tae Kwang is that firm hand behind Eun Bi’s back that keeps her going. He’s the one firm, unbending piece of steel that keeps her steady, that reminds her that someone’s out there for her, that finally, someone is there to catch her and defend her and protect her. He’s that knight in shining armor that was missing all these years (not that our heroine couldn’t protect herself, of course). He’s the one thing, the one support that Eun Bi needs to rise up and stand for herself.

Lee Eun Bi is that sudden splash of viridian and crimson and sky blues and yellows in Tae Kwang’s monochrome life. She’s the one that lit up his life and gave color to it, no matter how cliche that sounds. She’s that one reminder that there’s still a good to the bad, that there’s still something positive amidst the negative mess that is his life and his relationship with his parents. He’s changing for the better because of her. She’s the reason why he learned how to feel worried for a loved one and happy and all those good stuff all at the same time - a set of emotions that was added to the once full-of-negatives list. He learned how to protect, how to care, how to truly love, thanks to Eun Bi. It’s all thanks to her that he’s become much more human now.

So yes, that’s it. We have TaeBi (Gong Tae Kwang and Lee Eun Bi) and YiByul (Han Yi An and Go Eun Byul) as the final ships I’m gonna sail with. I’M GOING DOWN WITH THESE SHIPS I MEAN, LOOK AT GONG TAE AND EUN BI BEING SO ADORABLE TOGETHER AND THEN YI AN AND EUN BYUL LOOKING SO CUTE WITH THEIR BICKERING MOMENTS OMFG

But yeah, there we have it, TaeBi and YiByul. :D

P.S. Am just gonna leave Gong Tae’s quote in here for you all to ponder on.

“Did you know two magnetic poles of the same polarity push each other apart?”

  • some rando:idk why everyone is saying mad max is so feminist. i mean the first time you see the "wives" they're in like cloth bikinis and rinsing of in a fire hose all sexy-like
  • me:*crashes through a sliding glass door, knocks over a bunch of chairs, flips the bench he's sitting on* HAVE YOU CONSIDERED THAT THIS SCENE STRIKES YOU AS INHERENTLY SEXUAL BC YOU'RE USED TO SEEING WOMEN SEXUALIZED IN THIS WAY? THE "WIVES" HAD JUST SPENT HALF THE DAY IN A WAR RIG IN THE DESERT: THEY ARE RINSING OFF. NOT TO MENTION THE VERY NEXT SHOT SHOWS THEM CUTTING OFF CRUEL CHASTITY BELTS, A VISUAL REPRESENTATION OF THEIR REJECTION OF THEIR PRIOR STATUS AS SEXUAL OBJECTS AND POSSESSIONS. THIS SCENE APPEARS TO BE A CONVENTIONAL SEXIST TROPE BUT IN TRUTH IS A SUBVERSION OF WHAT WE'VE BEEN SOCIALIZED TO ACCEPT AS INNATELY SEXUAL-- MUCH THE LIKE ENTIRETY OF THE MOVIE.
10

Luffy and Zoro are both incredibly blunt and not afraid to speak their minds, have a terrible sense of direction, tend to see situations in a simpler, black-and-white way and often lack common sense about many things.
As many similarities as they share, however, Zoro is very different from Luffy in a lot of ways.  First of all, he is generally more reserved. […] Luffy’s childlike curiosity and sense of adventure deeply contrast with Zoro’s generally calm, more mature nature.  Where Luffy is happy and cheerful to many people he meets, it is not unusual for Zoro to put up a tough front and give the impression that he’s not one to mess around with.  When Luffy is faced with death in Loguetown, he puts on a smile and tells himself that he tried his very best to survive and accepts the situation.  When Zoro faces a firing squad early in the series, on the other hand, he’s filled with deep regret that his promise to Kuina has not been fulfilled. The list could go on and on.
But, despite all the differences between them, Zoro is like Luffy in that he truly has a heart of gold.  He would never intentionally hurt an innocent, and he is not above going out of his way to help someone in need, even if it’s a stranger.  Really, even with the tough guy act he pulls, Zoro is a kind, good person who generally looks out for those around him and puts others’ needs before his own.
It’s this careful balance of shared and contrasting traits that allows Zoro and Luffy to complement each other.
 The core values they hold dear are almost identical, which allows them to easily relate to one another and function as an effective team.  But some of the stark differences in their personalities play off of one another so well that the interactions between them are both interesting and endearing.

Jupiter Ascending & Mad Max - A Question of Narrative Discipline

If you haven’t seen Mad Max: Fury Road yet, you need to - it’s frickin’ awesome. While I occasionally rag on WB for screwing up the Jupiter Ascending marketing campaign and deepening the production hell it went through (reshoots! Recuts! Release delays!), it’s very important to remember that WB is an unusually courageous studio when it comes to ‘risky’ pictures. Jupiter Ascending and Mad Max: Fury Road were both very, very risky propositions, yet WB funded and distributed both of them - for that courage, it deserves to be applauded.

Now, I bring up JA and MMFR here because the films have some striking similarities when you look at their broad-strokes. Both films establish strange and bizarre worlds quite distinct from our own. Both films feature all manner of weird and kooky elements (Fury Road serves up a fire-spewing guitar to JA’s royalty-sensing bees). Both films are female-driven sci-fi (irrespective of the marketing and the title, Furiosa is the true lead of MMFR), and I needn’t say how unusual that is.

Nonetheless, perhaps the most striking point of divergence between the films is how they’ve been received - while Jupiter Ascending was (generally speaking) rejected by audiences and derided by critics, Mad Max: Fury Road has been getting excellent word-of-mouth and rave reviews. So, how did Mad Max succeed when Jupiter Ascending failed?

As far as I’m concerned, it’s essentially a question of narrative construction - whereas Mad Max: Fury Road is highly disciplined and contained in terms of its narrative construction, Jupiter Ascending is sprawling and entirely undisciplined. One YouTube reviewer called MMFR a “lean, mean storytelling machine”, and that’s a perfect description - there is absolutely no fat on Fury Road. The narrative is very simple and propulsive, and while the world-building is highly imaginative and well done it all feeds into the narrative - the death cult (”Valhalla!”) bought into by the War Boys is what motivates Nux (Nicholas Hoult’s character) to chase the War Rig across the desert, taking the titular Max with him as a sort of living standard. In this way, MMFR is exceedingly elegant and well-constructed - you always know who wants what and why, and you always understand what’s happening.

Jupiter Ascending basically does the opposite. It’s extremely baggy in terms of its narrative, and many scenes exist to further/deepen the film’s themes, mythology and subtext rather than its story. It’s also heavily episodic - Jupiter Ascending is essentially Jupiter Jones going on a Wizard of Oz-esque adventure where she learns more about herself and ultimately achieves happiness and hope. At its heart, it’s a very small story of personal enrichment - it’s just that that personal growth is fuelled by extraordinary and expansive events that extend far beyond Jupiter herself. Jupiter Ascending also leaves many elements of its story and mythology obscure and unclear. Contrary to MMFR, you don’t always understand who wants what and why - that’s why we’re still discussing what exactly drove the film’s characters months after its release. It’s not that the characters lack motivations - they’re all clearly very motivated indeed - it’s just that we don’t always understand them. It almost requires the viewer to be something of a detective, picking up on scraps of information and finding parallels and connections between them.

I think this is perhaps the main reason why so many people have rejected Jupiter Ascending and act if it’s some kind of abomination - they feel flat-out alienated by it, shut out even, and don’t have the first idea of what it’s trying to do or why. Jupiter Ascending basically gives modern storytelling conventions the middle finger in favour of the fairy-tale ‘rule of three’ and a character arc last gobbled up by audiences in 1939. It also demands a lot of the viewer - you really need to be willing to dig into it (oh, it’s so very tasty!) in order to fully appreciate the film and how incredibly dense its world and mythology are. Most people were too baffled and put off by the storytelling choices to even begin to consider the film on those terms, which is why so many simply dismiss it as a “stupid” film when it’s nothing of the sort (it’s totally goofy and absurd in places, but that’s very different from stupid - the Wachowskis aren’t idiots).

In an ideal world, there would be space for both approaches. So we’d have immaculate and watertight films a la Fury Road and fascinatingly kooky and sprawling films a la Jupiter Ascending. Alas, I don’t think the world’s quite ready for the latter, unfortunately.

anonymous asked:

Hey :) I'm really confused with this last chapter. in the last panel haise really looks a lot like kaneki and he says he's not afraid to disappear.. i like Haise but... ffffffuck I want kaneki back so badly :'( what do you think will happen?

Basically the common consensus about this last chapter was that we finally learned that Haise is not a completely separate consciousness from Kaneki.

So it’s likely “Haise” will never completely disappear.

Basically Haise saw that Kaneki was loved through Hinami’s actions, and thinks Kaneki can’t be the soulless monster he always thought him to be.

Some people theorize that the look “Haise” gave Saiko was the Kaneki consciousness recognizing Haise was loved but I personally think it was just the Kaneki side showing through.

Hinami made a statement at the end of the chapter about Haise not just being an empty vessel but her “brother” Kaneki. Previously she was under the impression that he was completely gone and the only part of him left was his body.

But after she saw Haise have that closeness with Saiko, and his willingness to possibly sacrifice himself to fight against Seidou, Hinami realized he was indeed still himself underneath even without his memories.

Haise unlike Hinami is still under the impression that he is not the same as the Kaneki person Hinami remember, though this possibly could just be because he can’t really compare himself with his old self because he can’t remember him.

As such Haise believes that it is a very real possibility that he could lose himself by using more of his strength. However he is not as afraid of losing himself now because he knows “Kaneki” was not a horrible person.


The most likely think that I think will happen goes back to something Donato says to Haise.

Most people agree that this was said about Amon but Ishida used the specific language “one” of the keys.

I do not believe that all of Haise/Kaneki’s memories will all come back at once, “keys” suggest there will be stages.

This stage of accepting himself enough not to fear the past is probably the first key, and only the beginning of his memories returning.

Sora, Ikebana, & family drama

When you’re watching a series made in a foreign country, it’s inevitable that some of the cultural context gets lost in translation.

In the case of Digimon Adventure, there are quite a few aspects of the series that aren’t that easy to understand for non-Japanese viewers, no matter how good of a translation we get. A few examples include the hierarchical relationships between the the children according to their school year, and the impact of Yamato and Takeru’s parents’ divorce.

Another aspect that often gets overlooked is Sora’s position as heiress to an iemoto family. I think that is one of the most important factors in shaping Sora’s personality and her relationship with her mother. Learning about iemoto, ikebana, and all its implications really adds another layer of meaning to Sora’s background and makes her overall character arc much more logical and interesting.

Keep reading

Even after the events of NWHS, I dont think Dipper and Mabel’s releationship will be really torn apart as the releationship between Grunkle Stan and his lost brother.

Not only for the 30 years of absent and silent shame/guilt/hate, but for the fact that Mabel has already recognized how much Dipper has sacrificed for her and she has never done the same. She understood how being separated of his brother for a dumb obssesion will no let into something good.

But the Author didnt.

He willingly left his family behind chasing his obssesion for the unknown for years and tasting knowledge from the hand of Bill lead him to the creation of a doomsday machine. Even knowing how dangerous it was he didnt destroy it. He just left the machine there for a perhaps.

He just didnt care. 

And now that he is back he is not going to notice how much his brother spent his time trying to bring him back. He is going only to notice all the flaws and the mess around and blame his brother of everything. He hasnt recognized how much his brother cared for him. He hasnt sacrificed for no one in his life because he doesnt trust anyone.

30 years apart from his true universe would have truly affected the man behind the journals. 30 years of loneliness and blaming everyone but him. Blaming his brother. He hasnt understand how much he needed/needs his brother.

Until is too late

The Discovery of Hope

WARNING: Please be aware that this post explores major plot points in Jupiter Ascending, Mad Max: Fury Road and Tomorrowland. Don’t read it if you don’t want to be spoiled.

2015 has been a very, very interesting year at the movies so far, and the three movies I’m going to discuss here all explore the same theme: hope. Jupiter Ascending, Mad Max: Fury Road and Tomorrowland all have hope and redemption as central themes, though they use and present them in radically different ways.

I’ll aim to be as brief as possible when summing up the films’ approaches. In Jupiter Ascending, everything is highly personal: it’s a film about families and interpersonal relationships, and how they are affected and distorted by greater forces. Jupiter (Mila Kunis) starts the film without hope, but she wants to find it; the dead father she never knew represents hope and optimism, concepts that are alien to her, and Jupiter attempts to connect with him by getting a telescope that she can use to see the world as he saw it. Over the course of her adventures, Jupiter finds courage and strength within herself. She survives and endures despite great adversity, and her adventures in space are capped off by her looking down at Earth from space, her eyes shining with hope and love – she is finally able to see the world as her father did, as a source of wonder and possibility. The change is personal.

In Mad Max: Fury Road, the world is a scorched and barren wasteland; the remaining pockets of humanity are ruled by brutal tribes, and people are treated as commodities. This world is ruled by chaos and brutality, but Imperator Furiosa (Charlize Theron) wants to find hope and redemption; she sets about this by rescuing the slave wives of the evil despot Immortan Joe, transporting them across the desert in pursuit of the idealised ‘green place’ where she grew up. After learning that the green place has become as much a wasteland as the rest of the world, Furiosa and her companions make the difficult choice to turn back to where they know there is water and the possibility of starting again: Immortan Joe’s Citadel. Overcoming incredible odds, Furiosa and her travelling companions manage to defeat Immortan Joe and take his stronghold for themselves, marking an end to the tyranny and cruelty that had reigned there before. Furiosa brings hope to the people who had suffered under Immortan Joe, and also achieves hope and redemption for herself. The change is both personal and societal.

In Tomorrowland, Casey (Britt Robertson) is a bright and optimistic teenager frustrated by the endless focus on doom and disaster in our present society; she is hopeful herself, but wants the rest of the world to share in her optimism. Over the course of the film she is introduced to the mysterious Tomorrowland of the title, a place that turns out to be an alternate dimension populated by the ‘best and brightest’ – inventors, artists and innovators. Most of the film follows the journey to Tomorrowland as Casey teams up with child robot Athena and grizzled former boy genius Frank. When they actually get to Tomorrowland, Casey discovers that Earth’s imminent demise has been predicted; soon after, however, she realises that the Earth’s fate isn’t inevitable and can be avoided by destroying the machine predicting the future. It turns out that the machine itself is generating negative energy and thus creating a self-fulfilling prophecy by implanting negative thoughts in people’s minds. After destroying the machine, all is well and Casey and her family move to Tomorrowland where she and Frank prepare to dispatch robot agents to recruit new dreamers for their ideal society. The change is societal.

Mad Max probably handles hope in the most powerful and affecting manner, since it presents a very clear and satisfying triumph over evil and a thoroughly earned rediscovery of hope for a whole society. Jupiter Ascending also handles it well, since it has no pretensions and is very clear that the discovery of hope is Jupiter’s – the film is explicitly her story, and her discovery of hope is rewarding because she remains good and perseveres in the face of immense suffering and evil. In short, she earns the hope and happiness she achieves by the end of the film. While Jupiter’s discovery of hope isn’t presented as having a wider societal impact, it suggests the possibility of wider change and transformation in the future.

In contrast, Tomorrowland’s treatment of hope is weak and unconvincing. It essentially presents hope and optimism as a magic bullet solution to our societal ills – it’s a good sentiment, but you don’t buy it for a second since the film practically beats you over the head with it and fails to acknowledge the actual causes of the evils it claims to have a solution to. It’s also notable that there isn’t really any character arc for Casey, our nominal lead – she’s just as bright and optimistic at the end of the film as she is at the start, and while she’s clever and likeable she’s almost completely static. While she goes on a physical journey, it doesn’t change her as the respective journeys of Jupiter and Furiosa change those characters.  All in all, it makes for a very frustrating watch and a very frustrating message. There is a great deal of potential in Tomorrowland, but the film ultimately feels hollow because of the flakiness of its ideas and its attempt to present a thoroughly Disney-fied solution to extremely serious and complex problems. It’s fatally naïve.  

I have many thoughts on Tomorrowland and how it compares to Jupiter Ascending, so keep an eye out for further posts. In the meantime, what do you make of these films’ presentation of hope? How do they compare as far as you’re concerned?

My poor research on the parallelisms between Helena and Helen of Troy-the daughter of Leda

So here it is, as promised, my little research on Helen of Troy aka daughter of Leda, in order to make some comparison between her and our Helena. So this is your brief survey on the legend of Leda, as you might remember from Cosima’s narration as well: Zeus takes the shape of a swan and seduces the queen of Sparta - Leda and at the same night, she also engages in a sexual intercourse with her human husband, resulting Leda laying 2 eggs, which gives life to Helen and Polydeuces and the other to Castor and Clytemnestra. When Helen was 12 years old she is being kidnapped by a bunch of fellas who apparently wanted to have sex with her?? Um. The point is, she is being locked away, till her brothers come to save her and it seemed like the first parallelism between her and Helena, because we know that Helena has been locked and abused in the church by the nuns when she was little. In another theory, it is said that Helen was the daughter of Zeus and Nemesis, the goddess of revenge, and Helen was conceived as a tool, a weapon for Zeus, because he wanted to kill off a part of humanity since he thought Earth was overpopulated. Which brings us to the second parallelism, the way Helena was used by Thomas to kill the other clones. I didn’t go deep so the third parallelism that I found was the obvious fact/story about Helen being the cause for The Trojan War, which kind of makes me go to the beginning of this clone story and remember how it all started. Katja contacts with Beth about her look alikes being haunted all over Europe, Beth does a research, finds Cosima and Alison and the whole crazy clone conspiracy starts with that. So who was the reason for all of that? Helena.
I do shitty analysis, and I haven’t read the whole thing about this mythology, but this was what I could gather in first hand. And it was an interesting thing to do. Thanks to the anon, who brought this theory up.
Add your ideas, tell me what you think.

-Rose

You know, I don’t know how many people I’ve heard say that they can’t stand Jess because he’s just this conglomeration of tired “bad boy” cliches…and they’ll even mention the tameness of what makes him “bad.” And they don’t see it. They don’t see that really isn’t who he is at all. All of those things are the camouflage. You know why Jess ticks all of those trite, outdated, vaguely-but-not-really “bad” check-boxes? Because the hoodlum/screw-up/bad boy/rebel is somebody you take at face value and don’t expect anything good from. And that is exactly what Jess Mariano wanted. He wanted people to dismiss him. He wanted to deflect their attention, and he didn’t want them expecting for him not to screw up. He assumed that no matter how hard he tried, he would always screw everything up, and people would always hate him and either leave him or drive him away. So it was better to start things out that way and not get anyone’s hopes up, including, and especially his own.

But, none of that is who he was.

Inside, he has all the love and loyalty and steadfastness of Luke Danes…the insane work ethic, the determination, the instinct to protect and do everything for the people he loves…the humility and disdain for the spotlight…the small everyday helpful gestures. Everything people love about Luke is there, on the sly, in Jess. He only needed the emotional safety and the maturity (which, despite the many ways in which he legitimately ought to have been stunted, flourished younger than most) to be able to let it shine.

These observations are courtesy of my reading “Crawling Back” by Yikkety…and particularly the quote, Rory speaking to Luke: “I know, but Jess isn’t really the person he makes everybody think he is,” she smiled guiltily; “he’s a lot like you.”

[please read my moon theory post first]

this is honestly one of THE MOST SUSPICIOUS ONE PIECE COVERS, especially after we find out that the Skypieans, the Shandians, and Bilkans all came from the moon, and that the Shandian’s ancient ancestors had some connection to the Void Century, given that they were tasked with protecting a Poneglyph. not to mention all the advanced technology that the ancient moon people had over 800 years ago

the Ancient Kingdom that created the Poneglyphs were stated to have advanced technology, which is how they created the Poneglyphs in the first place. they’re unbreakable, and yet they somehow managed to carve a lasting message into those incredibly strong blocks of stone. there is a direct connection there. The Ancient Shandians had one of these Poneglyphs. why? what was their connection to the Ancient Kingdom?

And why draw Luffy with those (Shandian? Skypeian?) wings? especially if those are Shandian wings. why draw the main character with the wings of a people who have a direct connection to the Void Century and the Ancient Kingdom? why is he winking, like he knows a secret that he’s not going to tell, as if he’s teasing the audience? Why?

this whole cover is just so suspicious