a dead on analysis

Don’t even talk to me.    I’m so.. hhnnGGAAGHAAHADAHAAAあぁぁぁぁぁぁぁぁ


Ok, so here, Yuuri says


「引退まで、僕のこと、おねがいします」

(intai made, boku no koto, onegaishimasu)


Which is translated as “Please be my coach until I retire!” in the subtitles. However Yuuri isn’t actually saying “be my coach”, he’s saying “look after me” or “I’m under your care”. He’s entrusting his whole self, physically, emotionally, and spiritually to Victor with this line, because he trusts him just that much.

Yuuri gives himself over to Victor, and that’s why he responds with a kiss to Yuuri’s knuckles and


「プロポーズみたいだね。」

(puropo-zu mitai da ne)

“It’s like a proposal, isn’t it”


To which Yuuri sighs in acceptance because he too knows it’s like a proposal, and he is totally fine with that. No rejection, no little groan, just a small sigh, contrasting his reaction to episode four when Victor asked whether he should be his lover.

You know what seals the deal right here in this scene though? It’s Victor’s next line


「ゆうりがずっと引退しなきゃいいのにな。」

(yuuri ga zutto intaishinakya iinoni na)

“It’d be nice if you never retire”


Victor says in return that he always wants to be by Yuuri’s side, and that he wants to look after Yuuri for a long, long time.

But that’s not it no no. The way Victor expresses his want to be by Yuuri’s side is strangely familiar don’t you think?

It has been brought up before, but Japanese people tend to express their emotions and wants in a roundabout way, they don’t really straight out say it. So if we jump all the way back to episode two, when Victor asks Yuuri what his wish was if he were to win Onsen on Ice, Yuuri says


「ヴィクトルとカツ丼食べたい。これからもいっぱい勝って、いっぱいカツ丼食べたい!」

(vikutoru to katsudon tabetai. korekara mo ippai katte, ippai katsudon tabetai)

“I want to eat katsudon with you (Victor). From here, I want to win a lot, and eat a lot of katsudon!”


It was where this whole love story aspect of the anime began, and it was through Yuuri’s roundabout way of saying “I want you to stay, Victor”.

In fact, we can observe Victor gradually picking up some of these Japanese traits, in episode three, during the Onsen on Ice event, there was the all-important


「カツ丼大好きだよ」

(katsudon daisuki dayo)

“I love katsudon.”


This is still quite straightforward, Victor says that he loves and supports Yuuri through the line. So when we compare this to the latest episode, with his “It’d be nice if you never retire”, which is around the same level of indirect as Yuuri’s “I want to eat katsudon with you”, we are able to really appreciate how much Yuuri has grown on Victor, and how much they both love and want each other.

same yuuri, same

sorry I’ve been dead, I still have an in-depth story analysis to write

It is my firmest and truest hc that Bill definitely does all he can to impress Dipper, so he joins the track team and the debate team and the paranormal activity club (which is less a club and more a bunch of geeks) (he only joins because Dipper’s a member) (it’s great) (it’s really awesome press for the “club”).

Another hc is that Dipper watches all of Bill’s activities and contests when he can, and they spend lots of gooey icky mushy time together.

also Hipster!Dipper strikes again

  • what i thought i would do with my classics degree: in depth comparisons of roman historiographers, serious literary analysis, trudging towards fluency in two dead languages
  • what i do with my classics degree: cicero wants to get dommed by clodia metelli, a ten part essay

The Walking Dead #1 Cover

I love this cover so much. It’s so good. It works on both a symbolic and literal level. It’s got great atmosphere and the poses are great. The attention to detail is so good.

I could gush over it for hours, and I will.

First the literal.

The cover has just enough details to show the reader exactly what kind of a story The Walking Dead is. The destruction of the setting and the zombies being put against the main character make it very clear.

However, despite the zombies being present in the cover, they’re not the focus of the piece. Rick, the human survivor and main character is in focus while the zombies’ reflections are faded and in the background. Despite there being zombies, this story isn’t about zombies, it’s about people in a zombie apocalypse. The people, and their struggle to survive in a post-apocalyptic world is what drives the series, not the zombies.

Rick himself and his role is also apparent in this cover. Rick’s shoes and pants are covered in grime (pun unintended) and dirt, showing us the road he’s been through. His outfit, while reminiscent of other post-apocalyptic movies, shows us his role as a Police Officer back before the apocalypse, and how he maintains that role of protector and leader after the outbreak.

He is looking at the zombies that can be seen in the window’s reflection, and isalso looking at the reader. This not only lets us see his face directly without breaking the fourth wall but also lets us see his expression and reaction to the situation he’s in, allowing us to get a basic understanding of his personality.

Rick is armed with his handgun, and also currently loading a rifle to defend himself with, alluding to his life both before the outbreak and now, after it, which is the main theme of the first issue.

Now the figurative.

Rick is standing outside of a broken clothing store full of mannequins. The mannequins represent both humanity and our achievements. They have human figures and shape, but they are lifeless, expressionless and stripped out of their clothing, representing how humanity died and was stripped of its civilization.

Mannequins are a product of industry. Creating a mannequin requires mining the resources, processing them, shipping them across continents and oceans, and assembling them in factories. They’re one of the many things which are impossible in the new world after the outbreak. Much like the colossal monuments of past civilizations, the mannequins are an image of us and our achievements, which now stands lifeless and obsolete.

The glass represents the outbreak itself, the separation between the world before and the world after. Notice how there’s still glass after the window, because not even the outside world, which represents the post-outbreak world, is safe from the threat of zombies.

The zombies, the cause of the outbreak, are reflected in the glass, and no zombie can be seen in the cover outside of their reflection of the glass. The zombies are moving, “alive” and mostly clothed. They have everything that the mannequins don’t, since the zombies are now the inheritors of the Earth.

This again ties to the theme of the first issue, the transition between the world before the outbreak and the world after it.

The inside of the store represents the world before the outbreak, in ruins, dark and dead. The mannequins in it represent the people who did not survive the outbreak and all of their civilization’s achievements. Outside of the store there is the detached hand of a mannequin, which looks like it’s grasping fruitlessly at Rick. But it too is dead, and covered in glass. This hand represents those who survived in the initial outbreak but ended up dying afterwards, failing to survive in the new world. Many characters die in the course of The Walking Dead, and this hand represents them and all who are like them.

Finally, outside of the store, and not covered in glass or in darkness is Rick. Rick represents humanity which survived the outbreak, who like the zombies gets to inherit the Earth. Unlike the expression lifeless mannequins, Rick is alive, moving and with an expression of determination on his face. He is clothed, like the zombies, representing how the world belongs to surviving humanity as much as it does the zombies. Rick is not a record of a ruined past, but a survivor of the present, who is ready to live and fight in the new world.

10

The Superlatively Superfluous Adventures of Legolas (and Tauriel)

Dateline: Gundabad (16/25)

Mashima... Stahp.

It’s been beaten like a dead horse today, but Zeref’s analysis of Natsu’s allies left a lot to be desired… Setting aside Lucy and her… *bond* with Natsu… **MASHIMAAA…** I very much would have liked to hear Zeref’s opinion on the likes of Erza, Wendy, and Gajeel, ‘cause he knew the 'main trio’ sooo well. Ugh. “They all share a very strong bond and trust each other.” *insert appropriate, 'No, really?’ meme here.* You just described the Fairy Tail Guild right there, great detective work, Black Wizard.

What I wanna know is what “impact” Lucy has had on Natsu’s “upbringing”. What significant influence has Lucy Heartfilia had on Natsu Dragneel? Did she teach him to read and write? Inspire him to get stronger? Drill into his head that Fairy Tail is a family that he can rely on? Hypothetically, let’s say I’m being unfair. After all, all that happened BEFORE Lucy arrived at Fairy Tail or even met Natsu. She musta had some significant impact for Zeref to make such a claim…

Let’s see… She did help him in Hargeon when he was stuck on that boat with his imposter and his lackeys. … Or more precisely, that was Lucy summoning Aquarius, who was a little ornery and tried to sweep away her Summoner as well. Natsu brought her to Fairy Tail after that…

… I’m not gonna go through every mission they’ve been on together. We’d be here forever. 'Cause she’s a member of Team Natsu… But let’s hit some of the highlights of their relationship early on. Breaking into Lucy’s apartment. Lucy Kick. Giving her the chance to watch the Rainbow Sakura trees even when she’s down sick. Being wary of taking battle-heavy jobs (shies away from Guild brawls, too). Going up to Mount Hakobe… in her usual attire… Getting kidnapped by Phantom Lord… Gee, that seems to set a precedent. Sits on the sidelines after helping Juvia beat Vidaldus at the ToH. Takes down Angel of Oracion Seis when Natsu is marooned on a raft, which is a form of transportation… Next to useless on Tenrou, though (being chased around by Kain, need I say more?).

And so it goes. I’m not gonna claim Lucy never accomplishes anything, but the point of this post isn’t about what Lucy has or hasn’t done (in general). In all her time with Natsu, I can’t think of one meaningful life lesson he took away from her specifically. No pep talks from her. I suppose you COULD say it was thanks to her that the rest of Fairy Tail came back after getting absorbed by Cube, though all she did was break Aquarius’s key, which summoned the Celestial Spirit King, who did the real heavy-lifting in liberating Fairy Tail. Again, not really a Nalu supportive moment, though…

Oh, but wait, that’s right… Natsu sure is protective of her, isn’t he? He sure lost it when Future Lucy was murdered. Oooh. Except Natsu is protective of ALL his nakama (need I point out Yukino?). He was most certainly affected by Lisanna’s 'death’, and if nothing else HE’S always the one inspiring Lucy to keep fighting. Lucy simply brings nothing to the table aside from fanservice with her clothes getting shredded in most battles and Natsu seeing her naked all the time. Natsu has NOT changed ever since Lucy joined his team and FT - at least not through influence on her part. It’s kinda funny, really, 'cause as the camps for Nalu and Jerza argue that Natza is a brotp, I see Natsu as an older brother looking out for a younger sister in Lucy. They’re great friends, but Lucy just hasn’t done enough to warrant a 'significant impact’ on Natsu’s life. Certainly not his 'upbringing’ - I’ll be generous and say they’ve known each other for little more than a year. Five months in X784, probably most of X791 (then timeskip), and now Alvarez. Not much better off than Jerza……

Now Erza, on the other hand… Well. Methinks Zeref mixed Lucy and Erza up. She’s done a looot more than Lucy in making an impact on Natsu…. XD Mashima, you need to stahp trying to force these pairings. The square does not fit in the round hole. XD

 Edit: I will concede the word 'upbringing’ may erroneously convey the meaning of what Zeref had to say about Lucy. I won’t even blame anyone for that. However, my point still stands in regards to Natsu’s growth. What has changed in Natsu’s nature since meeting Lucy? What about his quirks? Sure, he’s had mature moments, but I cannot think of a situation where it was because of Lucy. Most, if not all, of those moments can be assigned to Erza, Gildarts, Makarov, and even Gray. Lucy is a dear friend to him, that much I can agree with, though the bond doesn’t transcend that, at least as far as I’ve seen.  

RGU Analysis: Utena/Anthy & Juri/Shiori

By popular demand (read: three people), here’s my essay. **Big trigger warning for discussion of sexual assault and corrective rape**

This analysis has three main points:

  • Juri/Shiori foreshadows and parallels Utena/Anthy with regard first to Utena’s duels with Touga, and then to the Akio arc and her final duel.
  • Juri/Shiori defines Utena/Anthy as an inherently romantic/sexual relationship
  • Utena/Anthy defines Juri/Shiori as an ultimately positive relationship that ends on a hopeful note

Let’s start with the basics. The name of Juri’s duel is Amor, “love”.

Keep reading

6

The Superlatively Superfluous Adventures of Legolas (and Tauriel)

Dateline: Gundabad (5/25)

I have a B.A. in Political Sciences and can confirm that the Empire and First Order are quasi fascist Totalitarian regimes.

So if you’re a Kylo Ren or Armitage Hux stan and are trying to say that the FO is only aesthetically fascist you are dead wrong. Stick with the flawed literary/film analysis and leave the political analysis to people who know what they’re talking about.

9

The Superlatively Superfluous Adventures of Legolas (&Tauriel)

Dateline: Laketown refugee camp (36/40)

Alicia & the Mirror

I really love this parallel. It’s so great because it comments on two different things Alicia is going through in her life. It deals with her coming into her own as an adult and seeing herself as an equal amongst those around her. It also deals with the altered reality the zombie apocalypse has forced upon her.


First, you have this gif from Season 1, Episode 5, the episode titled “Cobalt” in which Alicia and Chris broke into an abandoned home and began trying on the previous, rich, owners’ clothes and drinking their alcohol. The infection is still relatively new. Alicia has only encountered one walker, her mother shielding her from what’s going on for as long as she can. She has yet to have her first kill. The army arrived. They are “safe”. Alicia tries on a gorgeous, very “adult” dress and stares at herself in the mirror, adjusting the straps and the neckline, tilting her head from one side to the next, trying to determine if she can pull off this look, trying to determine if she can pass as an adult in this adult world in which the previous homeowners’ lived. Then, she catches Chris’ eye in the mirror, notes his reaction, and realizes that yes, she can in fact, pull off this adult look in this adult world.


The second gif is from Season 2, Episode 9 which was titled “Los Muertos”. After breaking into army bases and living on a yacht and killing zombies and fleeing the country and having her brother and father figure and step-like-brother abandon them and having to stand up to her mother and assert herself as an equal, Alicia is scouting a massive hotel resort, coming face to face with zombies and suicides. She is in a very different place than she was when she tried on that ball gown. She takes a hot shower and changes into clothes she found in an abandoned suitcase, and she stares at her reflection in the mirror as she adjusts the shirt. And she has the same curiously scrutinizing look as before. This is the new world. This is what being an adult is now. It’s no longer expensive dresses and alcohol and fancy updos. It’s stolen clothes and work shirts that allow for better movement and killing the already dead and stepping up and demanding a place amongst the adults and earning respect, and Alicia stares in the mirror, wondering if she can pull off this new look of adulthood in the new post-apocalyptic world. And this time, she doesn’t need assurance from an outside source, which is probably the best proof of all that she does in fact pull it off. She stares in the mirror, adjusts her collar, and is satisfied with what she sees. Adulthood looks good on her. This new world looks good on her

2

BtVS season 3 and 6: I’ve never noticed just how many similarities and noteworthy parallels there are between the beginning of season 3 and 6 before.

I’m currently doing a rewatch and was floored by how much of it I’d like to consider either parallels or foreshadowing, just from the first 4 episodes of each season. I’ve mentioned parallels here and there before, but this requires it’s own post.

  • The very first scene of both season 3 and 6 is of the scoobies fighting off vampires in the cemetery without Buffy. With Willow seemingly being in charge of the operation.
  • Willow delivers a poorly constructed come-back that gets called out for being bad, much like what happens with Buffybot in Bargaining Part 1.
  • Everyone’s upset over Buffy being gone, while having taken on her responsibilities as their own, feeling the burden of them.
  • The scoobies try their hardest to keep their spirits up about Buffy coming back, particularly Willow.
  • Giles leaves town, the first time in hope of getting her back. When in season 6 it’s because that hope is gone.
  • Buffy being forced to get spirit crushing jobs.
  • In Anne we see Joyce telling Giles that he’s responsible for Buffy leaving. In Bargaining Part 1 Giles implies that he blames himself for her death; “I did what any good Watcher would do. Got my Slayer killed in the line of duty.”
  • Buffy goes to hell instead of heaven, which is a pretty neat parallel in general. But she was also in hell both times; “What is Hell but the total absence of hope?” - Ken, 3x01 Anne. “Is this hell?” - Buffy, 6x02 Bargaining Part 2.
  • Buffys attitude is almost the same. The main difference with Buffy in Anne is the anger and bitterness (much like in The Wish). And Buffy in After Life has replaced the anger with shock and additional numbness from depression. Yet we get similarities such as; Seeing her sit on a bed in a depressed, miserable state. Same sense of not belonging, wanting an out from her life and the responsibilities that come with it, and is too emotionally drained to put on her trademark “I’m ok” face at first (x).
  • Buffy having a lot of troubles adjusting to her new life once she gets back. Everything around her is letting her know that she doesn’t belong anymore. She goes back to an environment that used to be part of her normal everyday routine, but now feels very different, tainted (the dream of her walking through the empty school in Dead Mans Party. Then walking through the cemetery in After Life).
  • The scoobies first instinct is to help Buffy, but in empty ways that she doesn’t actually need or want. Like the party they throw for her in Dead Mans Party. Or like how they come barging in, offering things like pizza in After Life. They aren’t willing to be there for her, really be there and listen, when she’s obviously going through a hard time (x).
  • Early on in both Dead Mans Party and Flooded, Buffy undergoes unpleasant things in the basement (finding the dead cat, flooding the basement). Then later in the episode the Summers home suffer severe damage.
  • Creepy things happen in the master bedroom after Buffy’s gone to bed (the mask lighting up in Dead Mans Party, and the fake ghost Buffy in After Life).
  • Giles giving Willow a stern talk about the dangers of Magic; “These forces are not something that one plays around with, Willow. What have you been conjuring?” - Giles 3x03 Faith, Hope & Trick. “The magicks you channeled are more ferocious and primal than anything you can hope to understand.” - Giles, 6x04 Flooded.
  • The introduction of Faith, which ends up being a mirror/foreshadowing for both Buffys and Willows behavior in season 6 (I could go into an essay long rant about this, but to make it as short as possible; They apply her motto of “want, take, have” to their own lives and explore the darker sides of themselves).
  • Buffy ends up venting the secret aspect of her traumatic ordeal to her current confidant. Which in season 3 is Giles and Willow. She confesses only to them that Angel had his soul when she killed him. In season 6 her unlikely confidant is Spike, and she confessed only to him that she was in heaven.
Isaac Clarke

Can I just talk about Isaac for a second? I’ve already mentioned him in a past post of mine but for real, this guy is an unstoppable bad-ass.

Firstly, his will to survive is insane. How come, in this whole mess of necromorphs (Dead space 1, 2, and 3) he somehow trudges on. How come, where so many have fallen, Isaac survives every encounter with these beasts. It’s amazing that in these sprawling settings where screams of the dead and dying echo through the halls and corridors, Isaac is somewhere in the thick of all of it, creeping along his nav-point to his next objective.

Like, lets forget you’re controlling Isaac for a second. Assume we aren’t even there moving the analog stick.

Isaac, after life-threatening events and deadly situations merely rises from the gore and viscera, reloads and continues along his path. We as mere spectators are terrified after thirty minutes of gameplay. We have the luxury of shutting off the console and playing tomorrow.

Playing.

For Isaac, there are no save points. No snack breaks. No naps. In fact, I’m pretty sure Isaac never eats, sleeps, or goes to the bathroom for the entire duration of the first two games. This is a constant hell he is put through where death is a reality, and any vent or hole could house his killer. Yet time and time again the world puts him down and he stands back up taller and deadlier than ever before.

Like, the most important thing about Isaac is that he isn’t a special commando soldier sent into the fight to kick some alien ass. Isaac is just a man. Just an engineer sent to repair a ship and maybe even see his girlfriend if he has the time. He doesn’t have high tech military weapons. He has power tools. So here we have a deranged man running around with power tools slowly going insane like any normal person would in a situation like this.

That’s another thing I love about this guy. He is a normal human being that just got thrown into this and came out completely wrecked. He is a believable character. He didn’t leave the Ishimura with women around his waist and a cigar in his mouth ready to pop the bubbly.

Earth Gov found him crazy, disheveled, and muttering to himself in a bloody executive shuttle floating in deep space not far from Aegis IIV. He was deeply traumatized from what he saw and had to do on that god-forsaken ship. In fact, at the beginning of the third game, Isaac isn’t living the high life with a good job.

He lives on a back water colony in a shitty apartment with the rent overdue.

He’s such a real character that it blows other game’s personas out of the water. He’s been through so much and come out so bad mentally and physically, but he doesn’t let it make him a bad person.

And I freaking love him for that.

3

Requested by Anon #116

Sherlock: So what do you think Y/N?
Y/N: What? Did you just ask for my input?
Sherlock: Yes. You are the only one who really knows peoples emotions. Don’t make me regret it.
Y/N: Okay well, by the way that the relative spoke about the victim you could tell that she has had a bad history with him. Something that had hppened with still makes her felt the pain or anger when it happened. When she talked sometimes she would say it like she doesn’t feel anything about the victim being dead never mind being murdered.
Sherlock: *smirks* Perfect sound analysis but I was hoping you’d go deeper.
Y/N: Hey! You just sprung it on me! I didn’t have a lot of time to think!
Mycroft: You’re a Holmes, you should always be ready.
Y/N: Oh god, Mycroft have you been following me again?
Mycroft: I worry about you. Constantly.
Sherlock: She is working a case with me, Mycroft. She is hardly in any danger.
Mycroft: She is exactly in danger if she is with you.
Y/N: Don’t talk about me like I’m not here! You know how much I hate that!
John: Ohh there are too many Holmes here.
Mycroft: You should work with me Y/N.
Sherlock: She should stay working with me Mycroft.
Y/N: Sherlock you’re still talking about me as if I’m not here.
Sherlock: Sorry.
John: Sherlock just said sorry?
Y/N: Stop arguing over me, you two! I’ve had enough! Mycroft I like working with Sherlock I’m sorry.
Sherlock: *goes to say something*
Y/N: I can change my mind just as quickly Sherlock!
Sherlock: Fine…