where's giovanni

Humans Are Weird

It is well established among all sentient species that Humans are Weird. Exceptional Humans, however, make the regular humans seem almost tame in comparison.
Yatrov was to show the newest crew member- another Human- “the ropes”, as Human Jenny phrased it.
Upon arriving, however, the newest Human barely spared xir even a glance, which was odd, seeing how Humans prize interaction above all else. Shrugging it off, xe delicately held out a clawed hand to engage in the Human positive-meeting greeting, a “hand-shake” it was aptly named. “I am known as Yatrov, in Human Common tongue. I am sorry to say that I was unable to read your file report, and am thus left without your name. What is it you wish to be called?” Yatrov was genuinely sorry; the ship was in dire need of repairs, and this Human was coming to help.
Instead of taking the proffered hand, the human’s brown eyes stared into xi’s own violet. “I am Giovanni. And you are approximately 7 minutes late. I do not fault you for your tardiness, your job is a busy one, so your apologies are void. I do not need to see the entirety of this ship, I only require the engine room. Take me there and I will begin repairs immediately. Social niceties and other such meaningless things can be done at a later date, if done they must be at all.”
Yatrov felt somewhat slighted; xe’s species did not greet with touch, but it was seen as an insult- a social misdemeanor- to deny the shaking of hands. Attributing it to the Human having been under circumstances that made him “cranky” and to the fact that the Human was excited to work- humans forgot norms when excited, xe had found- Yatrov continued to try to create a pack-bond with this Human, “I have heard many great things about you.”
“Truly?” The Human considered this for a moment, head tilting, “I am merely faster than most, mentally. A marathoner or racer is not spoken of in as high-esteem as those with quick mental facilities are, are they?” The Human was speaking out loud, xe found this practice odd and ignored it. “What exactly have you heard?” The Human tapped their legs with their fingers, adopting a rhythm unknown to xir, and hummed. 
Arrogance or curiosity? “Admittedly, not much has been told. I know that you have several thesis papers, have repaired and improved upon numerous ships, and that you were good enough that our captain was surprised that you even bothered to consider joining our crew.”
“Huh.” And that was that. Giovanni did not speak after that, made no effort to communicate. Giovanni did not try to obtain physical contact. Giovanni remained aloof with even Human crewmates long after he had joined. He also remained fidgety, seemingly unable to keep still, unless it was to engage in a staring contest with the resident cat- to keep the Humans from adopting a weird, deadly creature- or to continue his single-minded work with machinery.
Three weeks after he had joined, the ship was attacked. Vernians boarded the ship, using their many appendages to apprehend multiple members of The Highlight- the ship- at once. No one knew where Giovanni was, and no one would have been surprised if he had left to save his own hide.
Which was precisely why everyone, who were all bound and trying to negotiate with what was essentially pirates, was surprised when Giovanni came around the corner, a knocked out Vernian held under gun point.
Guns pointed at him, Vernians shifted to attack him. “What you need to know: firstly, I have hacked into your language processors. All Vernae will sound like gibberish.” He paused, then grinned ferally. “Try”, he dared.
“Kir-ah?!” They did, and did not seem pleased with the results.
“Back! Restore!” the voices of Vernians screeched, their language translators on the fritz. 
“Secondly,” he paused, “I will shoot your friend if you do not release my own.” When an uproar of shouting started again, he blandly stated, “Blank point will be quite messy, won’t it?” He hummed, as though in thought, though his eyes trailed after every movement the Vernians made.
A smaller one, likely emotionally closer to the Vernian Giovanni was holding captive,  pounced.
ZZZZZT-PA! The Vernian howled, two of its 11 “arms” gone. “My threat is not idle.”
The room quieted, members of the Highlighter slowly being released.
“Thirdly.” His lips pursed, his nose tilted, sneer deadly, “Run, and pray that I never see you again!” He shot a wall, and they scattered, leaving the crew of The Highlighter mostly unscathed.
It was hours later, after the chaos was settled and the ship fixed up again, that Yatrov approached Giovanni.
“Why did you save us?”
Giovanni scrunched his thick eyebrows together, “Why ever would I not?”
“You make no attempt to communicate with us.” Yatrov insisted, trying to discover the reason Giovanni would do something without some sort of gain.
“Oh, that.” He dismissively waved his hand, his face again lax and bored. “I do not see the point in wasting words. I enjoy the presence of the crew, and- while I see no point in engaging in it- their idle chatter is amusing to listen to.” He raised an eyebrow, “Why do you ask?”
“The crew operated under the belief that you disliked us.” Yatrov felt a small bit of shame; clearly, Yatrov had been wrong to assume that all Humans were so similar.
“I-” He looked hurt, eyes filling with water- tears, they were called, and Yatrov knew that this was not a good sign. His lips twitched, his words near whispered, “Did you not consider me a friend? I thought we were.” He had begun nervously threading his fingers, humming lightly.
“I thought you disliked me.” Yatrov’s admission only increased xir’s guilt, and the slight tremors of the Humans smaller body.
“I made you and the others a new computer.” Giovanni’s eyes searched Yatrov’s one, and again found no solace. A computer did not equate to friendship. “I *made* you and the others a new computer.” The emphasis hit Yatrov. Why would one handmake something if the person receiving it did not matter to them.
“I am sorry.” Yatrov paused, xe had seen it in a Human film once, maybe…? “Can we start over?” A small nod eased Yatrov’s mind and reaffirmed xir’s decision. “I am the one known as Yatrov, and I enjoy reading: fiction, typically.” Xe did not hold out his hand, but stared Giovanni right in the eye.
The smirk on Giovanni’s face told xir that the actions- or lack there of- was not missed. “I am known as Giovanni.” He held out his hand, looking smug and slightly proud of remembering this, as their hands clasped, he said, “I enjoy sandwhiches, science, and conversations on how realistic or achievable a work of fiction can be. It will be a pleasure to work with you.”

Humans were odd, but exceptional Humans lived by a very different set of rules. Intelligence changed their perceptions. Yatrov knew, from personal experience, that they were still Human, still fantastic and horrifying, at their core. Yatrov put down the book xe was reading, looking up to watch Giovanni’s animated expressions as he ranted about machinery. Yes, truly, Humans are Weird.

(Please excuse any grammar/spelling mistakes, my hand has been cramping up lately and it is hard to write at the moment. And I should not be writing sci-fi, because it is NOT my forte, but I had a plot-bunny and felt the need to attempt it. This is basically a shortened version of what I wanted to write, skipping over much of what I actually wanted to put down. Feel free to take the general idea and write something better XD )

anonymous asked:

Dear Giovanni, I have no idea if this has come up in the past but what your thoughts on the only three active members of your organization visiting each region and yet not once did they set up a base? I'm talking about Jesse, James and Meowth.

I believe they have had to replace the actor for the main character several times now, due to them growing out of the role. There was public outcry every time.

Being Ezio Auditore’s Twin Sister Would Include..

Warning - Angst because, I can. This is like a part.2 to this so, make sure to read it first, guys.

  • Being the younger twin.
  • Being the one out of the two of you that uses upper brains.
  • Being the closest to Little Petruccio.
  • Being Claudia’s champion.
  • Your father’s office being your favourite place to be, in the Palazzo.
  • Loving all the books and paper, there.
  • Being there when your father has certain guests over.
  • Being your father’s little girl.
  • You and Federico teaming up against Ezio when he does something wrong while thinking with his bottom brains.
  • “I didn’t do anything wrong, did I?!”
  • A pair of blank looks being shot in his way.
  • Being a lady in your own decent way.
  • Your own way is being a great, untouchable, wise, calm, cockblocking, not desperate and uninterested.
  • Pants, boots, shirt and corset being your go-to and day-to-day attire.
  • And according to your older brothers, that makes you your father’s third son - Petruccio being the fourth.
  • Slapping Ezio every time he comes home with injuries after being involved in a street fight.
  • Then, starting to tend to his wounds.
  • Smothering Ezio.
  • Getting stressed out from his recklessness.
  • Him, thanking you every time but, still not knowing the effort you put into looking out for him.
  • Having a little something to say to the little bastard that broke your sister’s heart.
  • Having a thing for Leonardo.
  • I mean, who wouldn’t like a non-reckless, artistic, adorable being as him?
  • Being involved in every naughty thing of Young Ezio’s doing because, you do everything together.
  • Sneaking to where Giovanni, Federico and Petruccio are locked up with Ezio.
  • Standing on watch while Ezio goes up to talk to them.
  • Having a bad feeling about getting the papers to the judge.
  • Ezio shrugging you off when you tell him.
  • Him, making you stay with your mother and sister when he goes to your father’s and brothers’ trial.
  • “I can’t let you go alone!”
  • “You can and you will! Stop being stubborn and listen!”
  • Pacing around the empty yard in your house, trying to calm down.
  • Deciding to follow Ezio because, you’re a savage and he doesn’t have the right to prevent you.
  • “We have to run!”
  • “What happened?!”
  • “Run!”
  • Ezio forcing you to go to Monteriggioni with your mother and sister.
  • “Take care of them.”
  • Trying to stay sane for your sister.
  • Being your uncle’s little girl.
  • Him worrying about your blank reaction to your father’s and brothers’ death.
  • Him understanding after a chat with you.
  • “Why does she get to run the Villa?!”
  • “Why does she get to do nothing around the villa?!”
  • You and Claudia being jealous of each others’ tasks.
  • “Because, your sister has another task and it is harder than anything around the villa.”
  • Him showing you to the library, knowing you’ll find every secret in it if you were left alone in the room.
  • Finding ancient books in foreign languages - Ancient Egyptian, Arabic, etc - and so, you start looking for other books to learn those languages first.
  • Reading about the old brotherhood.
  • Reading about the restored brotherhood.
  • Reading about Assassins throughout history, not knowing they were actually Assassins.
  • Putting it together when you find their crest on one of the history books.
  • Confronting Mario.
  • “We are Assassins, aren’t we?”
  • I am. Your father was the last Master Assassin. And hopefully, if your brother passes the test, he will renew the creed.”
  • Mario, finally telling you all about the Creed.
  • Meeting Assassins when they come to meet Mario.
  • Meeting Machiavelli way before Ezio did.
  • Mario giving you a certain secret book to read when he feels you’re ready.
  • “A prophet?…”
  • “A machine?…”
  • “Ezio?!..”
  • Mario nodding, silently at you with a smile.
  • “Smart girl..”
  • Reuniting with Leonardo in Venice.
  • “L-Leonardo!”
  • “Signora! It’s so good to see you!”
  • Bonding with Leo.
  • Finding out from him that Ezio’s in Venice.
  • “So, who’s the lucky man?”
  • “…”
  • “I have not seen you in a couple of years..”
  • “Uh, no! I’ve been in Tuscany with my uncle. I just had a few errands to run here.”
  • Your errands being gathering the Assassins then, meeting Ezio for confrontation.
  • Being Ezio’s right hand, as you know so much more than him from all the books you have read.
  • Sticking by Eio’s side being your new mission.
  • Leaving you with Claudia when he firsts leaves for Masyaf.
  • Finding your way to Constantinople through the books you read.
  • The Assassins there being aware of your visit.
  • Yusuf being his usual charming self to you.
  • Him being amazed by your strategic skills and your knowledge.
  • Making your presence known to Ezio when he first arrives after Yusuf greets him.
  • “Ay! What are you doing here?!”
  • “I was here first. I should ask you that question but, I already know, brother.”
  • Ezio hugging you, tightly as he had not seen you in over a year after growing so used to always having you around.
  • Yusuf showing you and Ezio a certain mansion.
  • “So, this belongs to the Assassins?”
  • “I am surprised you do not know of this already, Lady Auditore.”
  • “This belonged to a woman, who had a great hand in rebuilding the Creed with Altair Ibn La-Ahad.”
  • Reading letters, that woman have left - Codex pages.
  • “His sister?”
  • Twin sister.’
  • You and Ezio sharing a look.
  • “She had quiet a history - she was a warrior much like her brother.”
  • “How did she get here?”
  • Him telling you the story of how she had to run from Abbas.
  • “She left her brother?”
  • “She always managed to go back to him, as well.”
  • This holding so much meaning to you and Ezio.
  • Altair’s sister’s codex helping you find the keys.
  • Also, getting to know distant - very distant - relatives.
  • “So, what did you find out?”
  • “You could be assured that the Auditore bloodline will go on.”
  • “You think Yusuf is single?”
  • Rolling your eyes at his tries to hook you up.
  • Befriending Sofia.
  • Teasing Ezio about her.
  • “I ship you both, for what it’s worth.”
  • Mourning the Assassins’ and Yusuf’s death with Ezio as you two sit in a tower, silently together.
  • Telling Ezio about what Altair’s sister had written about their relationship and what they used to do and the nudge with his fist that he gave her.
  • Ezio telling you about a certain Codex page that talked about Altair’s sister and her last words.
  • Going to Masyaf with Ezio and Sofia.
  • Having bleeding effect memories as you enter the castle of Masyaf.
  • “I can almost swear I saw a woman, there!”
  • “Sister, ‘Tis been deserted for years.”
  • Realizing what those visions were as soon as you see the inside of the actual castle.
  • Seeing a woman, who looks like you in a way, standing there, writing and talking with a man, who looked like her.
  • Gasping as you grab Ezio’s hand.
  • “I believe you have discovered bleeding effect, sister.”
  • Seeing so many visions of her - riding a horse around Masyaf, training in the yard, talking to her twin, talking to Assassins.
  • Stopping when you see a vision of the woman, old and falling to the ground.
  • You watch as she dies in her brothers’ arms before you.
  • “This is where she died, Ezio.”
  • Stopping in front of the library door to share a look with Ezio.
  • Going in with Ezio to seek Altair’s message and the piece of Eden together - just like Altair’s sister opened the pieces with him.
  • Ezio not seeing Altair’s last memory until you touch it, too.
  • “All that is good in me, began with you, Father.”
  • “All that is good in me, began with your aunt, my son.”
  • Watching the memory as if you were there with Ezio.
  • Hearing Maria’s voice, Al Mualim’s, Darim’s, Sef’s and especially, Altair’s sister.
  • Hugging Ezio, tightly as soon as you’re both done delivering your message.
  • The two of you’s eyes tearing up as you realize, it is all done.
  • Talking about Altair’s sister as you sit in the library a bit.
  • “She was not there for her brother, simply because of the danger. Yet, he still was there when she died.”
  • “Don’t be hard on her, sister. She helped in so many ways and he had a message to deliver. If it wasn’t for her, we wouldn’t be able to deliver ours.”
  • Going back to Tuscany with Ezio and Sofia.
  • Travelling between Constantinople and Tuscany, due to Assassins there needing you.
  • Being with Ezio until the end.
  • Holding him in your arms as you take your last breaths.
  • “T-Thank you, sister.. I-I love you and.. I’m sorry f-for everything.”
  • “Sh, I’m here.”
  • Travelling everywhere that Altair’s and his twin’s grandchildren will be.
  • Trying to soften things up for Desmond.
  • With Claudia’s presence beside you on your death bed, you still see a bleeding effect memory of Ezio.
Night on the Galactic Railroad, or the Apple, the Scorpion, and the Stars

From a series on Mawaru Penguindrum’s literary influences.

This place is cursed with spoilers.

Night on the Galactic Railroad (1927) is a novella by Kenji Miyazawa. It takes place in the fictional fairy tale country resembling Italy. There, on the night of the annual Centuarus Festival, two boys, Giovanni and Campanella, are whisked away on the titular Galactic Railroad to tour the heavens. While on this journey, they confront the nature of human connection, transience, and sacrifice. At the end of the story, Giovanni and Campanella part ways. Campanella was on the train because he drowned during the festival and was on his way to the afterlife, while Giovanni, still alive, was allowed on the journey with his friend.

Mawaru Penguindrum specifically seems to be influenced by the 1985 anime adaptation directed by Gisaburo Sugii. It’s a faithful adaptation, but it plays up the story’s somber parts. The darkness at Penguindrum’s core seems borrowed from this version of the story rather than the original. Shouma and Kanba resemble Giovanni and Campanella as realized in this version.

Giovanni (right) and Campanella (left) on the Galactic Railroad.

Like Giovanni, Shouma is associated with the color blue and has a sensitive, demure personality. Like Campanella, Kanba is associated with red and is determined, distant, but ultimately devoted to his friends. Unlike NotGR, however, Shouma and Kanba depart together at the end. It seems to me as if Ikuhara has dwelt on the sadness of Giovanni and Campanella’s parting at the end of the original story and, in Penguindrum, created a version where they could be together in the end. Penguindrum also explicitly references Kenji Miyazawa in its first and last scenes. Near the beginning of the first episode, a pair of children are walking out side the Takakura’s home discussing what the apple means in NotGR. You can tell because they mention Campanella and someone named Kenji - the novella’s author Kenji Miyazawa. This exact conversation repeats in the final moments of the last episode, but this time the boys have Shouma and Kanba’s hair colors and the audience follows them as they keep walking into the stars.


Night on the Galactic Railroad also contains the explanation for that scorpion metaphor! A lot of people get stuck on this - Kanba is referred to as a scorpion several times throughout Penguindrum, and allusions are made to him burning up. This is actually direct reference to NotGR, where the story of the burning scorpion exists as a fable told to the main characters as they’re on the train. You can see it in this clip:

“"My father told me its story: A long time ago in a field there lived a scorpion that ate other bugs by using its tale to catch them. Then one day he found himself cornered by a weasel. Fearing for his life, he ran but could not escape it. Suddenly, he fell into a well and, unable to climb out, began to drown. He started to pray then, saying: 

”‘Oh, God. How many lives have I stolen to survive? Yet when it came my turn to be eaten by the weasel, I selfishly ran away. And for what? What a waste my life has been! If only I’d let the weasel eat me, I could have helped him live another day. God, please hear my prayer. Even if my life has been meaningless, let my death be of help to others. Burn my body so that it may become a beacon, to light the way for others as they search for true happiness.’

“The scorpion’s prayer was answered, and his body became a beautiful crimson flame that shot up into the night sky. There he burns to this day. My father was telling the truth…”

From Night on the Galactic Railroad, translation by Julianne Neville. 

The fable of the scorpion fire is about sacrifice. The scorpion, who lived his life as a foul predator, faces something more powerful than him - the inevitability of death - and regrets that, after a life of heedless consumption, he couldn’t die in a way that aided the proliferation of life. The gods hear his prayers and set him on fire, turning him into the red star Antares, heart of the constellation scorpio, whose light aids life. 

From episode 12. Kanba offers his life to the Princess of the Crystal’s in exchange for Himari’s and, due to the purity of his sacrifice, it is acceptable. Unlike later on in the series, here Kanba is exhibiting the true nature of sacrifice.

This fable gives insight into Kanba’s motivations but not his actions. While the scorpion discovers his kinship with all life, Kanba is rushing headlong towards a sacrifice that nobody wants but him. Kanba views himself as a predator and wants his final, massive act of predation - the terrorist attack - to lead to some concrete good:  extending Himari’s life. His role as a man of action rather than a man of reflection (Shouma) binds him to Sanetoshi’s will, which offers a convenient means of achieving his goal. But those outs don’t exist in the real world, and these justifications can’t be made ahead of time. Shouma knew this and Kanba should have known. Maybe that’s why it’s Shouma, the brother with a more intuitive understanding of sacrifice, who bursts into flames and not Kanba, who fades away. Kanba’s identification with the scorpion represents misguided, emotionally selfish sacrifice - egoism - while Shouma, Ringo, and Momoka’s association with the purer flame represents true, transcendent sacrifice. 

From episode 24. Ringo casting the spell (“Let’s share the fruit of fate!”) and subjecting herself to the scorpion fire. 


There’s a scene late in the novella where Giovanni and Campanella encounter some people who died on the Titanic. The trio consists of two children and their governor, who allowed them all to die to make room for more people on the lifeboat. These people tell Giovanni and Campanella about the scorpion fire, and this is also where apples come into play. A lighthouse keeper, traveling down the train, gives them some apples, which they disperse amongst themselves. The film actually makes it so that the flocks of birds that they see flying outside the windows turn into the apples - something that wasn’t present in the original story. Apples as a metaphor for live sacrificing itself for the sustenance of more life seems to originate here, since that wasn’t tied to the apples in the original story. 

Christianity, apples symbolize knowledge and defilement. NotGR however, reclaims that image. Here, they represent people understanding their limitations as individuals and accepting community - and the necessity of making sacrifices for humanity’s greater good -  as a way to make up for their flaws. NotGR stresses over and over again that people value humanity or some abstract conception of “life” over themselves, and that this path leads to profound spiritual contentment. Penguindrum borrows this idea and the apple symbolism wholeheartedly, but emphasizes valuing one’s interpersonal relationships as a proxy for loving all life. 

From episode 20. Himari reinterprets the biblical Fall of Man as a good thing because it allowed humanity to experience connection and joy, however transient, alongside pain. 

One of the biggest mysteries left in Penguindrum to me is what Kanba sharing the apple with Shouma represents. I know what happened between Shouma/Himari and Kanba/Himari. Shouma brought the abandoned Himari into his family and Himari brought Kanba into the family after his father’s death. But what happened between Kanba and Shouma? How did Kanba have to save Shouma by sharing his fruit of fate? It’s left purely abstract - Shouma and Kanba were starving, Kanba shared his fruit, and both were saved by the gesture. Maybe Kanba helped Shouma by being assertive and dedicated in situations where he wasn’t naturally inclined towards that? Like Giovanni and Campanella, Kanba and Shouma have complementary existences. Giovanni couldn’t exist on his own without adopting some of Campanella’s traits, while Kanba and Shouma, although they acquiesce to each other a bit, ultimately reaffirm their paired existence. I opened this up to discussion with some people on twitter and Bryan Baxter suggested that the two boxes Kanba and Shouma are in during episodes 23 and 24 are their mothers’ wombs, and that by sharing the fruit of fate they became spiritual twins (they were born on the same day). Yoni Linder suggested that Kanba helped Shouma survive the KIGA group’s brainwashing when they were children. It is odd that Shouma, the Takakura actually born into the cult, is the one least susceptible to it.

The idea that there’s something beyond what we consider life is central to NotGR, which uses Christian imagery and often seems overtly Christian in its themes. Kenji Miyazawa was a devout practitioner of Nichiren Buddhism, but like many Japanese people his life was saturated with Christian imagery and scraps of biblical scripture. Christianity exists and is portrayed positively in NotGR, but neither Giovanni nor Campanella seem to be practitioners. When Giovanni and the children get into an argument over whose god is “real,” the tutor reconciles them by raising the possibility that their gods are one and the same and reminding them that the point of religion is true faith in what you believe. NotGR is thus a neutral but positive synthesis of Christian and Buddhist images towards a more generically humanist message.

“"And who says he’s the real God? I’ll be he’s a fake!”

“How would you know? Maybe the God you believe in is the fake.”

“No! He’s the real one!”

“Then tell me, what kind of God is your God?” asked the young man with a gentle smile.

“Well… to be honest, I’m not quite sure… but I do know he is the one true God,” Giovanni replied.

“Of course he is. There’s only one true God." 

"And my God is that one!”

“I agree. I can only pray that the two of you are seeing us off before that true God now,” the young man said, clasping his hands together. Kaoru also clasped her hands together.

Everyone was sad to be parting, and Giovanni was about to burst into tears.“

From Night on the Galactic Railroad, translation by Julianne Neville. 

Over time, it becomes clearer and clearer that one of the railroad’s purposes is to deliver people to the afterlife, two of which are represented by giant glowing crosses. "Dying for love” thus means something more concrete in NotGR than it does in Penguindrum. There’s an actual reward for doing it - entrance into heaven. The same isn’t true in Penguindrum, where the existence of an afterlife is much more abstract. Sanetoshi and Momoka were humans with some supernatural powers who died and became ghosts, but that form of afterlife seems much more a curse than a reward. In the last episode, Momoka vanishes from this world for good through some sort of opening, but exactly where she goes is unknown. Penguindrum’s final shot is of Shouma and Kanba, having died for love, walking into the stars. While characters do allude to god, the show as a whole seems nonreligious, more concerned with taking the aspects of stories it deems meaningful and applying them towards a new, secular humanist message. Here, god is synonymous with fate, chance, or destiny - the circumstances outside human control that one is subjected to and dictate life. So what is Kenji saying? I think he’s saying that humanity’s survival up to this point has been due to our ability to love each other, to willingly sacrifice for the greater good, and that this is the foundation for human existence. That's where everything really begins. 

Pretty sure Team Rocket isn’t just following Ash to Kanto from Alola. They would do that, but this image changes the context:

What purpose would this scene have if they were just following Ash?

It seems clear to me that they were summoned back to HQ for something, and Jessie is raging over having Matori threatening her again. This is continuing the storyline from the episode where James caught Mareanie where it was established Giovanni was actually monitoring their activity in Alola.

The most likely explanation is that Giovanni summoned them to provide an update on their activity again. If that’s the case, they don’t have much to show in terms of capturing Pokemon - they haven’t gotten any more new ones since the last time he contacted them. But what they have done is get a Darkinium Z and fight Team Skull.

I think where this is heading is most likely Giovanni sending them back to Alola to use the Darkinium Z and destroy Team Skull. However, given that we are now in the beginning stages of USUM promotion, it may very well be the case that Giovanni didn’t summon them for merely a report but to give them a new mission. It could to target Aether Paradise, it could be the first reveal of the Ultra Beasts, anything along those lines.


Breaking the hiatus with some design sketches for pokémon zombie/infected AU, starring Red’s gas mask + goggles because every post-apocalypse needs one, lol o/ With an example of a scene where they appear feat. Giovanni. Also served as my first practises with a soft brush coloring on sai.

In my own collection there’s this scenario where a post-PWT Giovanni goes home to ease his misery, but of course Ariana, Silver, and Team Rocket are all gone, so he winds up drunk and miserable at Oak’s place. What follows is too dirty to post by several orders of magnitude, so have the one G-rated part.


This is the statue of Don Giovanni, the title character in Mozart’s famous and haunting opera.  It’s located right outside the Estate Theater in Prague, where Don Giovanni had its premiere in 1787. 

Photo by rushianbeing