it's an interesting contrast


another side

anonymous asked:

re: the interrogation scene. when kylo interrogates poe, in the junior novelization it says: "under his mask, ren smiled. the suffering of his enemies brought him pleasure". meanwhile when he interrogates rey, in the foster's novelization it says: "i would have preferred to avoid this. despite what you may believe, it gives me no pleasure". idk i think it's an interesting contrast


emblematik  asked:

i saw the sub last night and the ending really struck me in a way that it didn't before because it seems like the final resolution for the plana is that they have to come to terms with living in the world as it is. it's an interesting contrast to the way that the narrative ultimately rewards seto and, to borrow your phrase, gives him a bit of a wish fulfillment ending. what do you think?

It’s kind of a heady question, trying to puzzle out the meaning of this contrast on top of an ending that’s already highly up to interpretation. As such these are just my thoughts on it, my own interpretation. It’s by no means definitive and everyone is entitled to their own take.

On a practical level, I think Kaiba’s technology came to match the magic of the Plana: both were powered by a collective of the human conscious. Diva informs us the Plana-bearers function on a more intense level of consciousness; however Kaiba would’ve had a larger pool of people within the consciousness his technology utilized. There’s clearly a link between the pod in Transcend Game and the pod at the end of the film, and in both cases we see a petite hologram earth tracking a collection of neural signals. This is the collective consciousness powering Seto’s technology. Thus he’s gained a parallel to the magic of the Plana. The film informs us Seto has possession of the Cube, though the exact location of the Cube is kept vague. But I think Seto’s unique tie to the Millennium Items along with his technology allowed him to master the Cube. He is one of the “chosen ones,” and he doesn’t even need the Plana.

But I think what you’re really interested in is the metaphorical aspect in the juxtaposition between the fall of the Plana and the gift Seto’s given. Both Diva and Seto are mourning for a lost loved one. Diva wants revenge; Seto wants a reunion. I’m pretty biased in my take on the film’s ending. Seto harbors a labyrinthine relationship with death and he has difficulty connecting with people. Atem has come to represent both these things: death and connection. The film’s conclusion sees Seto gifted exactly what he wanted: he is reunited with Atem and for however fleeting or prolonged, he’s recovered their bond. It’s about connection, forgiveness, and closure. That’s why we don’t see Seto and Atem duel: the duel itself doesn’t matter anymore. But then there’s the side of the fallen Plana, between Sera and Diva, who have lost their powers. What do we see? To me it also looks like connection, forgiveness, and closure, albeit far more cramped. But Sera, Diva, Seto, and Atem all look pretty happy at the end.

So in truth, I wonder if everyone was given what they needed to find peace in the end. The power of the Plana chained Diva to the memory of Shadi, chained him to the duty Shadi left in his hands, and gave his festering hatred a weapon, feeding into itself. The return of the Pharaoh freed Diva from these things, allowing him to move on with his life.

So what’s the significance in the means of these two peaces being opposites? Grounded to the mortal world against breaching the barrier to the afterlife? I feel like it’s intentional. (There’s the question too of whether Atem’s netherworld is the dimension the Plana hoped to move on to.) I can’t really pin it to a moral, rather I think the real root is in the emotional payoff. Sera and Diva’s ending is a tangible reality. In contrast the ending within Atem’s netherworld holds all the aesthetics of Yu-Gi-Oh!: friendship, rivalry, magic, technology, death, Ancient Egypt, and games. It’s pure fantasy and it’s filled with poignancy. Seto and Atem are characters we’ve watched across the expanse of the original series. We’ve watched them fall and rise and stumble and build their bond from the rubble. A reunion between these characters is rewarding. It’s rewarding for them and it’s rewarding to me. And as Seto has flung open the door to the afterlife, so too is the door flung open to so many possibilities in this ending.


Day 4: Favorite Continent/Country/Location?


From the intricate map designs and some promotional art, Valor, specifically the Dragon’s Gate, feels very grand. With its emptiness adding to the eerie, yet ethereal atmosphere. It’s an interesting contrast: the small, foggy wilderness surrounding the abandoned, monumental ruin of the Scouring. 

I’ve always wanted to draw the actual gate, which has a very complicated design and a weird color palette. 

So everyone’s favorite Ice Dragons were perfect to maintain the creepiness of the colors, plus lampshade one of the more tragic, and personal fave character backstories.

over-active-daydreamer  asked:

Headcanons of Teba interacting with Sidon, Riju, and Yunobu. All four have helped link with his journey at some point, so they're bound to all meet if there were a celebration after everything was done. With all their contrasting personalities, it's be interesting to see how he'd react to them since he seems to be the most mature of them. Sidon is the oldest, but I get the feeling that he's never traveled too far from the Zora domain. It's long, I'm so sorry.

Teba interacting with Sidon, Riju and Yunobo

-at first he doesn’t speak to them
-when Link decides to introduce everyone, he talks to Riju the most
-impressed by the fact that she’s so young and already so mature
-wants to spar with her at some point
-he thinks Yunobo is shy and seems a little cowardly (for a Goron)
-but then finds out about how he was shot out of a cannon to hit Vah Rudania and changes his mind
-likes to just sit and relax with him
-Sidon is possibly his least favourite
-he’s loud and always smiling which Teba finds a little unnerving thanks to all the teeth
-still appreciates the good advice Sidon gives


I’ve been forgetting words lately…

Old Man McGucket’s remembering how to say certain words again


                                                        May I be excused?
                                              You’ve barely eaten a thing.

JayBabs week: Day 1: Team Up!
Quickie doodle. :D

I’ve only drawn teen based couples before.
JayBabs will be very interesting write since its more of a mature adult relationship in contrast to the growing, uncertainty and youth ones I’m comfortable with.
Also, they’re two characters I have the hardest time writing…. oh well!

…I’m fxxking dying over this day 2 prompt. ;A;
But I need to stalk that tag for fics so whatever atm.

(lol, I should totally make a new tag #NOT TimKara. XD)

anonymous asked:

Would you care to talk more about Cas giving cold shoulders to God? I just thought plot was moving too fast for any Cas&Chuck interaction and wasn't sure if Cas was deliberately avoiding Chuck.

Sure. My initial reading was much like yours – in fact, there was so much going on I didn’t really think about Castiel and God at all, except when Castiel said God looked awful, and then I thought, “Burn!” And then when Cas went and sat by himself, “Oh, it looks like God and Castiel aren’t going to talk. Huh.”

However, after the ep was over and I started to think about it, I realised it was likely this fell into the storytelling-by-absence motif that Supernatural uses, and it was worth looking at it a bit more. Absence in Supernatural has increasingly been used as a deliberate storytelling choice. It’s often how the text constructs its polysemy – the space required for multiple readings of the same scene. In particular, this is how a lot of the queer subtext is created, but it is used for other things as well, like commentary on John.

For instance, in LARP and the Real Girl, both Sam and Charlie have flirty scenes with women which are contrasted with each other. At first watch it seems like Dean doesn’t have a similar scene, but then you think about it and realise that you could read one scene that way, it’s just that it’s with a dude and Dean strikes out. You wouldn’t necessarily read that scene as Dean trying to flirt with a dude without the two contrasting scenes with Sam and Charlie. But as we do get those contrasting scenes, and one of them is explicitly queer, it naturally leads to the question of what’s going on with Dean, and suddenly there you are with a queer reading of the text.

The thing is, though, that the pattern of absence, and a contrast calling attention to it, is used over and over and over, to the point it is a storytelling motif in its own right now. Once you’re aware of it, you can’t help but see absence in the text, and then look for the thing its being contrasted to.

The interesting part of this type of textual reading is that it’s very open. What I see in that absence may not be what someone else sees there, and some people won’t even notice the missing scene, and so not read anything into it at all. The nature of the technique being used means all of these reading positions are equally valid.

So back to Castiel and Chuck. We’re expecting a scene between them, right? Lucifer got one, after all. And Rowena even talks to Chuck about their (terrible, terrible) parenting, so we’re reminded that they are both parents. This is while Crowley drinks the supposedly absent alcohol Dean used as an excuse to get Castiel on his own to make that brotherly declaration of love… an episode after Crowley announced their bromance was over and “that ship has sailed”. Ship. Get it.

Sigh. I will never get over Drowley being pretty much canon. O_o

Anyway, we don’t get a scene between Castiel and Chuck, and sure the episode is packed, and we had that scene with Lucifer last ep, so how would you do it differently this time around so Cas gets a different type of closure? Would Castiel really be appeased with Chuck saying, “You were always my favourite, Castiel,” when Cas just saw him use that line last ep?

Yeah, no. So, sure, one reason there’s no Castiel and Chuck scene is that there’s no time for it. But time could have been made if it was important enough. Someone made a choice not to put that scene in.

Why might that be? Well, Chuck is a stand-in for John, and as such, part of his role is to comment on Sam and Dean’s relationship with John. Sam and Dean are very obviously not reconciled with the legacy John has left behind, although with a Men of Letters arc coming up, and their other parent arriving on the scene, maybe they finally will be. My point is, you can’t reconcile one of the most enduring contrasting father-son plotlines, such as Castiel and his search for God, at least a season before a similar resolution for the Winchesters. And you certainly can’t do it justice in one episode, especially after Castiel’s whole season-long arc has been about low self-esteem; and definitely not when he was just witness to God calling a different son his favourite.

Mapping this back to John, he obviously played his sons against each other to some extent – that stuff he “confided” in Dean about watching out for Sam and possibly putting him down, just for a start. Once a child is aware their parent is doing that kind of stuff it really poisons the relationship, and that’s basically where Castiel is in relation to God right now.

So there are a lot of reasons that Castiel cannot yet be reconciled with God, although obviously they could have had a fight scene in 11x23 rather than a reconciliation. Except… God just basically put his own shit on Dean’s shoulders and sent him off to die. Given Castiel has already demonstrated he’ll always choose Dean over Heaven, what’s he even going to say to God under these circumstances? That’s fit for public broadcast television?

Open that can of worms, and you can’t really stop at a few harsh words. Honestly, it’s amazing Chuck didn’t get shanked while he had no power to fight back.

So instead, we got Castiel using the Dean Winchester approved method of showing displeasure with a family member – he made a snide comment, and then turned his back and very obviously went and sat somewhere else.

That relationship is in no way resolved. But it’s going to be, is the thing. As I said, it’s one of the most important parallels to John and Sam and Dean. Even if God never comes back into the text, Castiel’s relationship with God will be addressed again, just as Sam and Dean will come to their own peace with John, the always absent father.

Anyway, I’ve chosen to read this particular moment of absence/polysemy in 11x23 as Castiel deliberately giving his father the cold shoulder, because it fits thematically, and as something Castiel would do in these circumstances. There are other reasonable ways to read it, though, if you see something else instead.

recursive-occlusion  asked:

So, Lex hates his father, but keep his father's room exactly the way it was in his life (other than the painting). Bruce idolizes his parents, but let their house fall into disrepair. Not sure what this says about them as characters, but it's a lot to unpack.


Though I’d say the contrast there and its significance runs deeper than that.

I’d say Lex keeps his father’s room that way, consciously, as some sort of trophy. It’s a gross kind of revelry the way he steps into that space, shows Finch around, drinks his father’s bourbon. Same way the retro so-called LexCorp masthead at his research park is also a grotesque trophy, a relic from his father’s time. Lex is about establishing dominance; after he weaves his careful web, he needs his dramatic reveal, he needs Clark kneeling at his feet. So imho, he keeps his father’s room as it is as a reminder of who bettered who in the end.

Subconsciously, I think the significance of him keeping his father’s room that way says a lot about how far the shadow of his father and his abuse stretches. A significant portion of his worldview on Superman is directly influenced by the lingering trauma inflicted by his father. He doesn’t purposefully revisit it in that way, but it haunts him and dictates the choices he makes, the sins he commits - right down to pulling a Frankenstein and creating Doomsday, making him the brutal father of a brutal son.

Compare that with Bruce, who wanders the Wayne mausoleum, walks the fields of his manor with flowers in his hands, stares at the ashes of what once was. A pain, an ache, a fixation. He purposefully revisits these things, and in that way, they haunt him. He sees the blood seep out of his mother’s coffin, his obsession with bats is derived from that encounter the day of his parents’ funeral.

They’re both still haunted by the choices their parents made and those choices and those traumas govern the way they live their lives, but in two totally different ways.

anonymous asked:

Would you agree that Harry seems to be the more dominant presence of the two onstage? Harry has more of a take charge attitude during a show and he seems to be more aggressive in his interactions with Louis then too. For example, he looked at Lou like he wanted to devour him onstage in LA after licking cake off Sandy. Meanwhile, Louis seems to be the more dominant one off-stage - ie: his general sass and the aggressive stances he does on the red carpet. I think it's an interesting contrast....

I do agree with this very much. I think Harry has amazing stage presence, but I think a lot of the time people get that confused with him coming off as overtly sexual, when really, he’s just putting on a show, because essentially that is his job. He’s very into it, and he’s very good at this job. Not to say that Louis isn’t, he just has a different way of presenting himself on stage, more of that he’s an observer. He tends to hang back, sit on the steps, takes it all in, and participates a lot in a group environment, while Harry is often in his own little world of rock star mode. But you’re right about the teasing as well, the things Harry does are very blatant when they are directed towards Louis, because Louis is always watching. Makes me wonder if he does that on purpose…(I think he does).

And yes, off stage its quite a different thing, Louis is very take charge, handling a lot of the questions in interviews, cutting in when he sees its veering in a direction he doesn’t like - can I interject here - while Harry often times remains quiet in the back until a question is presented to him. And I think he’s perfectly fine with that, god knows he gets enough flack for being labeled the front man time and time again. 

And YES their stance, one of my favorite things. 

I think Louis is more dominating in a sense that he likes to take care of Harry, that he see’s himself as his protector - Louis told us to fuck off, haha! - and that’s why they end up standing like this more often than not. 

They truly are fascinating. 

whatjamesdrawws  asked:

It is quite funny with lapis' mirror, police tape and pearl in the comic. How much she puts stuff in her gem. She is such a hoarder!

I think its an interesting contrast/inversion of Amethyst. Pearl ‘projects’ an image of order and stability, she’s very concerned with how she’s viewed and her self-worth is tied up with how accomplished her facade of order is. Unfortunately this makes her a mess 'inside’, since she stores (or bottles up) everything that detracts from this image. I think Pearl looks outward and thinks 'this is me’, like no matter what turmoil is going on inside her as long as people see her as 'together’ then that’s what she is.

By contrast, Amethyst pretty much lives in a junk heap and she revels in being able to be messy but I’d wager the inside of her gem is pretty tidy. I’d make a guess that she only keeps important things in there so its comparatively very 'clean’. Amethyst doesn’t care so much about what people think of her (“You can’t let anyone make you feel like garbage”/“I only feel how I want to feel”), which isn’t to say she doesn’t feel bad if made to feel hate (“On the Run” in general) but it seems to be mostly big things that cause this, she really doesn’t give a damn if people think she’s messy. I think Amethyst looks inward and thinks 'this is me’, that no matter what people see on the outside she feels what she is inside is what is truly her.

Pearl’s behavior is very common with anxiety and related disorders, very organized in 'public’ but disorganized in private. We kind of get conditioned to hide our faults because social pressures make us feel its more important to appear like there’s nothing wrong than to actually deal with the problems and feel like nothing is wrong. We get so wrapped up in this image that we start to ignore what’s going on inside us ourselves until it gets so cluttered. I feel like this works as a metaphor for why Pearl can’t really contain her emotions, there’s 'no more room’ inside her to sublimate the feelings for they overflow pretty easily.

Mind you, I’m not at all saying Amethyst doesn’t have anxieties or personal issues too, because she clearly does (as seen in “On the Run”) but she expresses them in a different way and she’s far less concerned about projecting an image of perfection to people. I think she figures if people are going to hate her, she’s not going to bother trying to suck up to them by pretending she’s someone she’s not. By contrast to Pearl, I think this works as a metaphor for why Amethyst is able to repress and hide her emotions most of the time, because there’s 'more room’ inside for them to go (but once it overflows it has disasterous results, as seen in “On the Run”)

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