the actual perfect representation

Art motivator

If Himaruya hidekaz’s art can go from


you can too :)

EDIT: Stupid ol’ me thought the second picture was Hima’s work. That picture belongs to @cioccolatodorima ! (No wonder they got Hetalia fandom’s artist of the year 2016 :P)

Their art is the PERFECT representation of Hima’s art, but here’s some ACTUAL canon art!

But seriously, check them out. Cioccolatodormia’s art is AWESOME! :D

The YOI Soundtrack is absolute genius PART ONE - Kamome

So, this is a post I’ve really wanted to make for a while. And, I know how much people seem to like my metas, so why not? I will preface this with the fact I am not a musical expert. I had vocal training, was in a few choirs etc., but I have no qualifications, I’m just a nerd who’s really into music and analysis. I would be perfectly okay with someone with experience sweeping in to tell me I’m completely wrong, these are just my personal thoughts and observations. Also, if you want to skim this, I’m bolding the main points.

I have a bone to pick with the Yuri On Ice Original Soundtrack(s), because they’re absolute bloody genius. And personally I think, represent a lot about Viktor and Yuuri’s relationship.

My main focus will be on three: Kamome, Passacaille In Barcelona, and Yuri On Ice itself. To stop it from getting to a ridiculous length, I’m going to be tackling this in three different parts. 

First, the appropriately named Kamome (translating to ‘seagull’ in Japanese).

One thing you have to understand is that consistently in the music, Viktor is represented by strings, and Yuuri by piano. I’m not going to claim that this is true for 100% of the anime, but honestly just listen to background in the scenes for the characters (even down to their Free Skate music! The difference between Stammi Vicino and Yuri On Ice!), you’ll see what I mean.

Personally, I think this represents their personalities. Though it’s true you can pluck strings pretty quickly if you want to, none of that really happens in the pieces we care about. In fact, Viktor’s pieces are always so steady sounding (some are waltzes, I believe? A very sturdy dance and beat). Whereas, a lot of the piano represented by Yuuri is super erratic and unpredictable. I don’t think I really need to go that deep into explaining why that represents them both, and what they brought to each other’s lives so beautifully. But oh boy, the piano and string pieces meant to represent the both of them together?

We see Kamome used in three scenes, which all represent similar events in that the scenes start with Yuuri fighting on his own, and end with a greater bond between he and Viktor. Those scenes are:

Yuuri running off to practice figures in Ice Castle (episode two)

The infamous beach conversation (episode four)

The Christmas market scene (episode ten)

And the same story is told through the music too!

Now I believe the figures scene and the market scene both use the exact same clip of the music, which happens to be the start. Honestly, just listen to how innocent it sounds. For me at least, the first part of Kamome reminds me of a music box. Which, if we take that image, makes me think of repetition (you know those spinning ballet dancers and such? – Interesting that we see Yuuri skating figures with this playing).

Now, these two scenes skip the strings sections and just keep the little piano parts. And to be fair, these are both scenes that only lead up to Yuuri bonding with Viktor, hence the solo piano; Yuuri is fighting on his own, making his own choices.

So, we’re left with one scene were the music is pretty much as it appears on the purchasable soundtrack: the beach scene. This is, in my opinion, the best symbolic use of the music. First of all, we start off with the innocent sounding piano as Yuuri recounts that story of Detroit, which again portrays him in a naïve and kind of childish/innocent light. And finally, we get the strings at this moment:

As soon as Viktor reaches out to Yuuri, the music has a different mood. The strings fill in the gaps the piano left, almost swirling around it and complimenting it in the best of ways. If you will, Viktor is literally meeting Yuuri where he is, both in animation and their figurative strings/piano representations.

The music for that scene ends there, but if you listen to the whole piece, it almost tells the story of Viktor and Yuuri all together. This is going to be a lot easier if you actually listen to it, the music is on both Spotify and Youtube.

0:00-0:28 We have the innocent music box piano, AKA Yuuri on his own

0:28-0:51 The strings have joined in, but the piano definitely seems to be leading, so this part represents where Viktor followed Yuuri’s lead, and decided to ‘meet him where he is’

0:51-1:10 This part feels more like a mutual balance, showing how Yuuri has begun to accept Viktor’s presence, and even trusts him more.

1:10-1:20 The piano is alone again, but this time much more playful. For me, this sounds like an invitation, especially with the little flourish at the end that begs to be completed. The anime literally shows this, as it’s the same moment Yuuri actually extends his hand to Viktor in invitation.

1:20-2:00 This honestly sounds more like the strings are now leading, showing how Yuuri has finally put his faith in Viktor. Now the piano sounds like the steady beat, which could perhaps represent how the tone of the anime shifts as we find more out about Viktor, and see how Yuuri created stability in his life too.

2:00-2:18 The piano and the strings are now in perfect harmony, creating a beautiful, romantic sounding duet as they’re less distinguishable from each other. To be honest, this is the exact conclusion of Viktor and Yuuri’s relationship in canon – just take a look at the Stammi Vicino Duetto

To be completely honest, I have no idea whether the Yuri On Ice creators actually intended this to be such a perfect representation of viktuuri or not, but I kind of think it is? Why? Kamome. Seagull. Through the entire series, seagulls are used consistently as a symbol for Viktor and Yuuri’s love. Sometimes it’s a mere background shot, but it is explicitly brought to our attention. Although it could just be called Kamome due to the beach scene it’s in, I have to think it’s deeper than that.  

So, long story short, some serious praise is deserved, because this is symbolic genius.

Even if you don’t buy into my analysis, please listen to it because it is a BEAUTIFUL piece of music.

(I promise I’ll upload part two and three soon, but this third is over 1000 words and took me a while to write, so please be patient)

Hawkmoth/Papillon’s Room

If you’ve read my post about The Hawkmoth Theory and trolled the Hawkmoth/Papillon tag on Tumblr, you’ll note that there is some discussion that Gabriel Agreste is NOT the big bad.  There has been speculation that he’s everyone from Alix’s dad to Gabriel’s evil twin (my husband’s personal favorite).  I think I’ve managed to prove 98% that Gabe is indeed Hawky in the above post, with the glaring problem of the proximity to the Eiffel Tower.  

This is the view when an akuma is released:

And this is the Agreste mansion:

So….I was trying to rest and had an epiphany so grand, I rushed out of bed to share it.  In “Volpina”, Lila forms an illusion of Hawkmoth that the heroes chase all over the city because he can teleport.  It’s just an illusion, sure, but…

  • Do the akuma victims ever actually SEE Hawkmoth?  I doubt it.
  • NO ONE has.  We’re led to believe that every Miraculous user has a costume different from their predecessors.
  • Here’s the thing…
  • How in the HELL did she manage to create a perfect representation of Hawkmoth without ever actually seeing him unless…
  • The illusion is based on truth
  • And Hawkmoth can teleport

Which means Hawkmoth’s observatory is not in the Agreste mansion.  He teleports from the mansion to wherever it is.  The last piece of the puzzle is in place.  There is a part of me that’s still hoping we’re introduced to a character next season that’s just as plausible.

Perfect (2013)

Perfect by Rachel Joyce is a novel published in 2013 which features a main character with Obsessive Compulsive Disorder.

The book actually has two narratives which switch with each chapter - one focuses on two boys in England in the 1970s and the other is set in the present day focusing on Jim, who has OCD. The two stories come together at the end but I’ll confess I haven’t actually read much of the former one.

As someone with OCD I found Perfect to give an accurate portrayal of the disorder, albeit quite a severe case. In particular it did make a change from the handwashing stereotype - not to offend of invalidate those with OCD with handwashing or other hygiene-related rituals (it is quite common) but it can be annoying when that is the only portrayal of OCD in the media - Jim’s compulsions primarily involved counting and greeting objects by name. Jim also has tics and a stammer as a result of electroconvulsive therapy.

It’s not the happiest of books from what I have read, but without giving spoilers, it does have a hopeful ending.

There are a quite a few potential triggers that I can remember. Jim does endure quite a bit of ableism, and has spent much of his life in a psychiatric institution. Unfortunately I can’t list what ones there may be in the other “half” of the book.

I would recommend this book as an accurate portrayal of OCD, both for those who have it and those who don’t but wish to know more about it.

We need to find you a boyfriend in the refugee camp so you have someone other than me to micromanage.”
“Damien, I’ve told you, Mom, and all of the internet a hundred times: I don’t swing that way. I don’t swing any way. I’m not interested.”
“Aw, you had a boyfriend once.”
“Yeah, and you know what was great about that? Not much. I felt like I was supposed to say yes, so I did, and the number of stomach butterflies or general tingling body parts I experienced was still none. I am a-sex-ual. Ace, ace, ace.”
“And aromantic,” I added absentmindedly.
“Yes,” Janie said. “You want to play matchmaker for me, find me a good book.
—  A Word and a Bullet by Rachel Sharp

I’m so angry and sad. I’m fucking done with the queerbaiting. How dare she say she’s supportive of the LGBT+ community?! It was so SO simple to have a queer character and/or couple in the series AND NO DUMBLEDORE DOESN’T COUNT, OF COURSE. Look it didn’t have to be Scorpius and Albus just because they were Scorpius and Albus. But the way it was written IT MADE SENSE it was the perfect opportunity to actually have representation and it felt natural.

I just…I’m disappointed because I truly belived she could do things better. Anyway I’ll ship them despite the canon. 

anonymous asked:

So Color Justice is interesting to read, but I'm sometimes confused by the terms of the role-playing--on stuff like credit auctions I can believe Liani is advocating the same things Kelsey would endorse for Amenta, but I doubt the same is true about the attitude towards reds. How do you decide when to keep your Earth values and when to adopt Amentan ones, since Liani is already a progressive Amentan rather than a typical one?

So, to the extent Liani is a self-insert, she’s ‘what if someone with my general intuitions and strengths and shortcomings was raised in this context’ rather than ‘what if actual Earth-raised me was transplanted there’. And, sure, it’s flattering to think I’d figure out all of ethics on my own, but I wouldn’t (she’s also wrong about cause prioritization, and there’s a decent case she’s wrong to oppose treating financial crimes as seriously as murder) and I try to have her get things wrong in directions I think I’m susceptible to getting things wrong (the opposition to violent direct action sure doesn’t look as compelling with a literal genocide impending, does it? and I can tell myself that obviously I’d support it when it was actually helpful, but at least in this context I think it’s more useful to ask ‘what would it look like to believe violent direct action was bad for the reasons I really do believe it, and be wrong?”)

The other thing is that I’m not actually aiming for a perfect representation of who I think I’d be in Amenta, so much as someone who is a fully-realized product of Amenta and interacts usefully with the rest of the Amenta activist community, and the rest of the Amenta activist community is pro-red to a degree that is absurd for the setting - not that I blame them, “totally indifferent about ongoing atrocities” is anywhere between ‘depressing’ and ‘psychologically untenable’ for most people to portray - so I’m choosing some opinions and stances to balance people out and create debate.

(I don’t, in the absence of data, have much idea which kind of coercive population controls are the least horrible; the only Liani-opinions I endorse without reservations are that hereditary ruling classes with hella incentive to steal money from the countries they run are bad.)

  • Marco Polo: *does that, with a 99% Asian cast and 1 Italian lead played by an actually Italian actor from Italy, which is fucking perfect representation*
  • tumblr: *cricket sounds*
  • Still Star Crossed: *has maybe 2 black characters with white siblings/parents which makes absolutely no fucking sense from a genetic point of view, everyone else are white Americans, has no Italian actors in sight, not even one*

Let’s talk about this shot for a second here, because the animators’ decision to reference The Swing can be interpreted as thematically important as well as a stylistic nod.

Bit of backstory: the art style of Tangled (and subsequently Frozen) was inspired by the works of French artist Jean-Honoré Fragonard, particularly his most famous painting, The Swing. As Glen Keane described it, Fragonard’s style is “romantic and lush” - pretty fitting for a fairy tale set a few decades after the painting was made.

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I initially brushed Frozen's cartoon!Swing as simply being a fun little in-joke, but now having studied the painting more in-depth, it’s actually a perfect representation of Anna’s story arc throughout the film. (Note: I’ll be making references to details in the original Swing, not the film version, which is heavily simplified.)

When you first see The Swing, it comes across as a light, romantic, carefree work of the Rococo era. It seems like a nice date between two young lovers, both blissfully happy and aristocratic, and for many years this is how scholars interpreted the work. Like Anna singing “For the First Time in Forever,” leaping up to imitate the swinger’s pose, the lady seems hopeful and optimistic as she swings upwards towards her true love. Could he be “The One”? We can only hope.

But more recently, art historians have begin to second-guess this one-sided interpretation of The Swing. Let’s take a closer look, shall we?

See that shoe flying off her foot in the upper left? Scholars have posed that this might symbolize some sort of Freudian fetish object, being flung from the lady’s foot and exposing her ankle (a scandalous gesture for the time period). It hovers in the air just out of reach of the swinger’s lover.

Let’s recall what Hans was really after when he tried pursuing Elsa and then Anna: the throne of Arendelle. Hans became obsessed with the metaphorical concept of “the crown” and possessing power over the kingdom. It was this absolute fixation with gaining control that allowed him to come so close to fulfilling his plan.

Also, let’s not forget that if you follow the male lover’s gaze in The Swing, he’s literally looking up the woman’s skirt. Hans had an uncanny way of mirroring the emotions and projections of the people around him, whether it was Anna, Elsa, or the citizens of Arendelle. It’s as though he had the ability to see parts of their subconscious that they weren’t even aware of, and he was able to project those feelings and emotions back to them in order to gain a sense of trust. Hans could somehow see what was hidden under a person’s outward appearance and expose their true nature.

And then there’s that guy standing in the shadows behind the swing.

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Besides the obvious creepy factor that this figure brings to the painting, what exactly does he symbolize? Consider where he is in relation to the other male figure, the swinger’s lover. They flank the swinger on opposite sides of the painting, and in some ways they seem to be controlling the action that’s taking place: the man on the right holds the ropes that support the swing, while the man on the left is the object of the swinger’s gaze and affections. Many scholars have interpreted this as a testimony to same-sex friendships and of male bonding through shared sexual conquest. In other words, these guys both want to get laid and they’re working together to do so. Ultimately their relationship is shown to be stronger than the one between the two lovers; the two men will likely be friends for years, while the young lovers will likely part after a brief affair.

Now, this could be interpreted as Hans and the concept of fear working hand-in-hand as the “villains” of the movie, or the main thematic struggle between fear and love. But I think this is where the movie almost subverts the painting’s message. Because Frozen is also about the power of Heterosexual Life-Partners (Elsanna shippers aside) being stronger than the power of romantic or sexual love - it’s just done with women rather than men, and using a life-saving sacrifice rather than a form of sexual conquest.

Essentially, what the inclusion of The Swing is trying to tell us is that Anna is wrong. Her key to freedom is not true love - not in the romantic or sexual sense, anyways. The man whom she initially thinks of as “The One” turns out to be working deviously against her, manipulating her fear and her desperation for love that has grown over the years as she has been continually ignored by Elsa. Ultimately, what saves her is friendship. She is Kristoff’s friend first and foremost before any romantic connection takes place between the two. Her bond with Olaf, rooted in childhood, is what gives her the strength to escape the castle and go out onto the frozen fjord. And, most of all, the connection with her sister and her willingness to sacrifice herself for Elsa is what ultimately saves her own life. Like The Swing, the film suggests that the strongest relationships that we have in our lives aren’t always what we initially expect them to be.

As one last point, take a look at the cherub statues standing to the left of the Man in Shadows:

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To me, this looked an awful lot like two young siblings, one wide-eyed and fearful, the other comforting. The thing is, I can’t tell which one is Elsa or Anna. It’s easy to say that the older sibling is comforting the younger, but if we’re going to be honest, who did more of the comforting in Frozen? Elsa or Anna? The fearful cherub is looking up at the swinger as though it’s worried for her - like Elsa worrying about Anna and the danger that the ice powers might be to her little sister. It’s the same look Elsa gets in the ice palace when she has a flashback to the night she injured Anna, or when she first hears the words “Your sister is dead…because of you.”

(courtesy of iamnevertheone)

And, in that case, who’s the comforting cherub? Is it Anna, embracing her sister after the act of true love thawed her frozen heart? Is it Olaf, reminding Elsa that creation, not just destruction, can be brought from her powers? Or is it simply Elsa’s feelings of love towards her sister triumphing over her fear and allowing her to overcome her insecurities?

Perhaps it’s all three, swinging back and forth.


In 1962, when he wrote ‘Irani Restaurant Bombay’, Kolatkar wouldn’t have read Walter Benjamin’s essays, which were not then available to the Anglophone world, nor would he have heard of the arcade-haunting Parisian flaneur. But as a Bombay loafer himself, someone who daily trudged the city’s footpaths, particularly the area of Kala Ghoda, he would have recognized the figure. 

Salo loafer!’ says a character in Cyrus Mistry’s play Doongaji’s House. Over the centuries, ‘loafer’ has become almost an Indian word of abuse, suggesting a good-for-nothing who drifts through the city in self-absorbed fashion when, in fact, he is streetwise and his keen eye doesn’t miss a thing. Kolatkar himself seldom walked past a pavement bookstall without picking up a treasure. This is true of the loafer even when he appears most relaxed, having tea, say, in an Irani restaurant, a portrait of ‘the cockeyed shah of Iran’ displayed above the till and the whole place buzzing with flies. On these occasions, he is like a papyrologist in a library poring over a classical document, though the objects he could be studying are the tables, chairs, mirrors, and bazaar prints in whose midst he sits.

Arvind Krishna Mehrotra – “Death of a Poet” ]

Screencaps from Percy (1989) and Arvind Desai Ki Ajeeb Dastaan (1978). These two scenes, in particular the former, came to mind immediately when I was reading this essay by Mehrotra on legendary Marathi/English poet Arun Kolatkar. Who else knew about Bombay more than Kolatkar after all? On that same note, I can’t think of anyone who has conceptualized this “loafer” and their city better than filmmakers like Saeed Akhtar Mirza and Pervez Mehranji (those these two films may not be perfect representations). Mehrotra even brings up Cyrus Mistry who actually wrote Percy!


For Pete @thevortexofourminds who asked for a photo set comprised of photos from my phone. Since my piece of shit phone tells me I have over 2000 photos, but will only allow me to select the most recent, here is Saturday’s walk in the rain. It is actually a perfect representation of me… Outside, in or on water, and walking :)

Looks like lots of you have been tagged already, so I’d love to see what’s on yer phone if yer up fer sharin! :)

People can hate on Shia LaBeouf all they want, but he’s actually a perfect representation of Generation Y. He’s dark, sometimes brilliant, mysterious, awkward, and never one to shy away from controversy. He’s a product of the 21st century and the age of social media. He is us. We are him. Except I totally want to marry him, so does that mean I want to marry myself? Hmm. Existential crisis is my middle name.

why do disney fans feel the need to reach so hard to prove disney is “full of lgbt chatacters”

the whole oaken thing was a huge reach and now there’s the finding dory thing

instead of trying to prove disney is perfect and not do anything, why not just demand actual representation like the rest of us?