friend was lamenting the lack of girls in the shonen she was watching so I had some advice for her
noise dept.

roma★

JBB: An Artblog!
"I'm Dorothy Gale from Kansas"
will byers stan first human second
art blog(derogatory)
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DEAR READER
Xuebing Du

JVL
let's talk about Bridgerton tea, my ask is open
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Lint Roller? I Barely Know Her
wallacepolsom
$LAYYYTER
Mike Driver

ellievsbear
Three Goblin Art

Kiana Khansmith
trying on a metaphor
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@elizaabethh9
friend was lamenting the lack of girls in the shonen she was watching so I had some advice for her
Will we ever get anything quite like Code Geass again?
I don't think it's possible.
Code Geass is Japanese nationalist propaganda disguised as a global political drama, disguised as a military mecha show, disguised as yaoibait, disguised as a teen melodrama, disguised as a high school romcom, disguised as a Pizza Hut commercial...
...except those layers aren't layers at all, but are instead comingled in a giant snake ball of insanity.
The lead writer, Ichirō Ōkouchi, only ever worked as an episode writer for other shows prior to Code Geass, and never took the helm of an anime series ever again. And it shows. [EDIT: Several people have pointed out his other lead writing credits to me. So I misread Wikipedia—sue me. I maintain that this guy is a better episode writer than he is a lead writer.]
The minute-to-minute pacing is impeccable from a mechanical standpoint, with tension and stakes rising to ever-higher peaks, balanced out by the slow simmers of the b-plot and c-plot. It keeps the viewer on the edge of their seat at all times. Meanwhile, the large-scale plot is the most off-the-wall middle school nonsense I've ever seen, continually surprising the viewer by pulling twists too dumb to have ever have been on their radar—and therefore more effective in terms of raw shock value.
"Greenlight it!" was the mantra of this anime's production. It must have been. It has, in no particular order, all of the following:
Character designs from CLAMP, the foremost yaoi/BL group in Japan at the time—for characters who are only queer insofar as they can bait the audience, and only straight insofar as they can be more misogynist to the female cast.
Speaking of the female cast, hoo boy the fanservice. We've all seen anime girls breast boobily, with many cases more egregious than Code Geass, but there's something special about it happening immediately after—or sometimes in the middle of!—scenes of military conflict and ethnic cleansing.
Pizza Hut product placement everywhere, in every conceivable situation. High-speed chases, light slice-of-life scenes, intimate character moments, all of it. Gotta have Pizza Hut.
The anime-only Pizza Hut mascot, Cheese-kun. He wears a fedora.
The most hilarious approximations of European names—which I would love to see more often, frankly. Names like, I dunno, "Count Schnitzelgrübe zi Blanquezzio."
A depiction of China that is wholly removed from any modern reality, with red-and-gold pagodas, ornamental robes, scheming eunuchs, and a brainwashed child empress. There's a character named General Tsao, like the chicken.
Inappropriate free-form jazz in the soundtrack, intruding at the most unexpected times.
A secret cabal not unlike the Illuminati, run by an immortal shota with magic powers, holding influence all across the world, at the highest levels of government. They matter for approximately three episodes.
An unexpected insert scene of a schoolgirl using the corner of a table to masturbate. She's doing it to thoughts of her crush, the princess Euphemia—because she believes Euphemia to be as racist as she herself is, and that gets her off. This interrupts an unrelated scene of our protagonist faction planning their next move, which then resumes as if uninterrupted.
Said schoolgirl, in a fit of hysteria, threatens to detonate a worse-than-nuclear bomb in the middle of her school. She then goes on to develop an even more destructive version of that bomb, and become a war criminal, in a chain of cause-and-effect stemming from the moment she finds out that Euphemia wasn't actually that racist.
A character called "the Earl of Pudding."
A premise that asks us to believe that the name Lelouch is normal enough that he didn't need to change it when he went into hiding as an ordinary civilian. "No, that's not Prince Strimbleford von Vanquish! That's our classmate, Strimbleford Smith."
The collective unconscious, a la Carl Jung, within which the protagonist fights his villainous father for control over the fate of humankind. After this is over, the anime just keeps going for about ten more episodes.
An episode in which a mech tosses a giant pizza.
A gay yandere sleeper agent who can manipulate the perception of time.
Chess being played very badly, even to the untrained eye. Lelouch frequently checkmates his opponent by moving his king. This goes hand-in-hand with the anime's crock of bad chess symbolism.
A fictional drug that can most succinctly be described as "nostalgia heroin."
Roller-skating mecha in knightly armor, and some of the most sickass mecha fight choreography that I've seen.
I could go on and on, but I think you get the picture. This anime is what the average Westerner in 2006 thought anime was, and it was made in a confluence of factors that cannot be replicated. I've never had so much fun watching something that I found so... insulting. Repugnant. Ridiculous. Baffling. I love it sincerely.
Catch me cosplaying Lloyd Asplund at a con sometime, or maybe even the big gay loser himself, Lelouch vi Britannia.
where do you guys make friends that share your interests
i haven’t seen anyone juxtapose katara in southern raiders with movie aang
older kataang dynamic soooo yummy i need more kataangst, if you will
ships so good they get official artwork depicting their connection as spiritual
I finished watching the Unlimited Blade Works anime. While it does a lot of stuff worse than the visual novel one thing I really enjoy is the focus on how pathetic Gilgamesh is.
Like he only fights when he has an overwhelming advantage. The only reason he can beat Heracles is because he's distracted protecting Illya. Even then you can see how scared he is when Berserker snaps the chains in the end because he knows he could crush his skull without effort. He only picks up a sword to execute or when pushed into a corner. Even then he immediately resorts to using Ea because he knows the only way for him to win is through overwhelming advantage. It makes sense he gets paired with Shinji because while Gil's far better at keeping up appearances they both have a huge superiority complex despite only being able to kick people while they're down. Just as Shinji is rendered immediately worthless without a servant so is Gil without his treasures.
the commander's silly rabbit..........
tendo maya is a good character bc shes convinced everyone that shes smart and cool when in actuality shes just an emotionally repressed moron
is it even a marriage if you dont burn the church down and bringing ur wife back from her self imposed emptiness after you promised not to stop until you pull every disguting feeling out of her? i dont think so
people have pointed out before that zuko probably didn't actually know any of the gaang's names before joining their group. according to the data i've collected, it is unclear as to whether zuko knew any of their names before "the boiling rock," in which he addresses sokka by name multiple times. at no point in the show does he refer to toph, suki, or momo by name.
i find it particularly funny that zuko only seems to refer to katara by name after sokka says her name during their conversation in his tent; the transcript for "the southern raiders" reads as follows:
Sokka: So what's on your mind?
Zuko: Your sister. She hates me! And I don't know why, but I do care what she thinks of me.
Sokka: Nah, she doesn't hate you. Katara doesn't hate anyone. Except maybe some people in the Fire Nation. No, I mean, uh, not people who are good, but used to be bad. I mean, bad people. Fire Nation people who are still bad, who've never been good and probably won't be, ever!
Zuko: Stop. Okay, listen. I know this may seem out of nowhere, but I want you to tell me what happened to your mother.
Sokka: What? Why would you want to know that?
Zuko: Katara mentioned it before when we were imprisoned together in Ba Sing Se, and again just now when she was yelling at me.
we can thus assume that zuko went into this conversation knowing katara only as "[sokka's] sister," heard sokka refer to someone named "katara," and finally connected the dots.
i think the gaang according to zuko is just "the avatar, the avatar's bison, the avatar's.... little rat thing, sokka, sokka's sister, sokka's girlfriend, and, yknow, uhhhhh, the little green one."
Consider: Since she's a Celebrity, Zuko knows who Toph is, but he only knows her by her stage name, The Blind Bandit.
So it's "The Avatar, the Avatar's moderately terrifying pets, Sokka, Sokka's terrifying sister, Sokka's girlfriend and In-Universe Hulk Hogan, for some reason."
A Deep Dive of the Claudine-Maya Revue in the Movie, or why you really ought to read the fine print before signing a contract in tomato juice
So the Revues in Revue Starlight are a lot.
There is just so much packed into a few minutes. The sets! The fighting! The music! There’s just so much going on that you can’t completely process everything going on at once. And it’s absolutely awesome. The Revues look so amazing and feel so epic.
And sure it’s a lot, but we still get what’s happening. We saw the build up to each Revue, and we mostly know what’s going on in each of their heads. After all, it’s not just the stage that matters in the revues, but also the emotions going into it. For some, they’re worried about their future as a stage girl, whether or not they’ll be good enough to one day achieve their dreams. And for others, they’re worried about what graduation will mean for their relationships with each other as they each go on their separate paths. And as much as they try to hide it, these anxieties boil over in their Revues, forcing them to confront their deepest insecurities in front of the very person they tried so hard to hide it from.
But they’re never alone in these cases, they have their partner. Admittedly this usually doesn’t help at first since the only thing worse than one person catastrophizing over their future is two people catastrophizing over their futures. But still, they all manage to figure it out in the end together.
But Maya and Claudine aren’t insecure about the future. Both of them know that they’ll get into their dream troupe and neither of them seem too bothered about the fact that the two of them will be going their separate ways after High School.
So unlike every other Revue so far, which has been desperate and came from a place of hurt, the Revue of Soul starts off so much more lighthearted. The vibes are completely different from everything that came before in the movie. It feels like Maya and Claudine have nothing left to say to each other, that they are doing this Revue just for fun, it’s like a game to them.
But obviously it’s not just that, the two of them mean so much to each other! They’re just acting otherwise because of their pride, and once the two of them decide to drop all pretenses, they can finally have a proper Revue, where they put everything on the line just to understand each other.
And to see how we got here, I’m going to try to lay out everything going on with Claudine and Maya in the Movie that got us here. This is a part of a series of Deep Dives I’m doing for each of the Movie’s Revues, and while you can read this one without reading the others, I may make some references to themes and ideas that I brought up in the earlier Deep Dives, but I’ll do my best to give context if that ever happens.
Keep reading
blorbos kissing or something idk
What does canon suggest about Riven and his background?
I'll be sharing some of my thoughts about Riven's background and potential socioeconomic status in this post. As always, these are just my opinions. (If anyone's wondering: no, this is not the meta post that I was talking about in one of my other posts.)
Hawks and Endeavor
Here in chapter 299 we see Hawks struggle with his past, and then very heroically decide not to change at all. I’m going to be making the case here that Hawks hasn’t changed. He is a psychologically complex character (that is there’s a lot going on in his head), but his actions haven’t changed from his introduction. Hawks is framed as having a tragic, icarus-like arc, and the reason Icarus fell in the first place is because he did not listen to others. He didn’t listen to the warnings of other people not to fly too close to the sun. His Hubris - in assuming he knew better than others and therefore didn’t need to listen.
Hawks is going to fail and fall at the end of his arc, but it’s not because of whether or not he’s a good or bad person. That’s not even the question here. Hawks isn’t even a person, he’s clearly a bird. The question is Hawks learning no information, and making an effort trying to change or is he just doing the same thing he always does.
Keep reading
The Fall of Hawks and Twice.
Hawks choosing to sacrifice Twice is not purely for the greater good. In effect it’s Twice repeating what he always does, choosing to sacrifice himself. Twice essentially is twice, they’re both two-faced, they both experienced a fall, they both long for an easy life. Hawks choice to attack his foil, his shadow in Twice, says a lot about his own character. Hawks and Twice are so close it’s essentially an act of self harm. He’s beating up, and threatening to stab a person who looks like himself. Hawks is a character defined by his self destruction. Icarus is a famous story and metaphor for self-destruction, Icarus chooses to fly too close to the sun. Hawks is an icarus who wants to let himself fall, and because of that he deliberately chooses to push people like Twice who are so much like himself over the edge. Hawks and Twice are two characters who fall into conflict not because of their differences, but because of how similiar they are. More on their foiling underneath the cut:
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