#killer perspective killer expressions killer characterization...

[thegallicshrug]

A while back on reddit someone was wondering why Seven is the only Shadow Killer to, and I quote, "give a fuck" about the uniform and here's an answer that makes sense after episode 9:

He didn't.

The definition of a uniform is "the distinctive clothing worn by members of the same organization" which doesn't apply to Seven's shadow killer fit, since he's the only one who wears it. Every other shadow killer's clothing is unique to them, reflecting their personalities (Redtooth is wearing a shredded heaven lily uniform from 10 years ago for fuck's sake) I don't think any of their outfits even incorporate the shadow killer insignia anywhere. They don't match and they aren't trying to. From a character design perspective, their clothes aren't meant to communicate that they are shadow killers, they're meant to reflect their characterization.

Seven's clothes communicate only that he is a shadow killer. There is no personality there. You could snatch this outfit off him, give it to a background Xuanwu assassin, and not only would I not look twice at it, it would actually be kind of plain compared to some of the background assassins in the show. The only distinguishing thing about it is the knowledge that it belongs to Seven and the massive insignia on the back. Purple is also the color used in association with the Shadow Killers in general

It isn't a uniform, but it sure gives off the impression of one, doesn't it?

We are shown Xuanwu killers who wear a uniform, specifically the ones that invade greencloud, but either the rules are different from what they were 20 years ago or the uniform is optional, because certainly no killer from the present bothers with it.

You know which named character did wear it though? The Leader

Honestly, if the uniform was optional back then, I fully believe the Leader would have worn it. This is the guy who made his robot report changes in the shadow killers' reputation to him. The guy who immediately sicced a league of assassins on a tiny island as a power move after one of its residents damaged public opinion of the shadow killers. The guy who, as a plan to get rid of one of his biggest threats, ordered the emissary to spread a rumor (because that's apparently something she can do???) and has straight up said all assassins use roundabout ways to win. The Leader CARES about image and reputation. It's one of the few things we know about him as a character. He would want the shadow killer insignia plastered all over their atrocities, so people know who to fear.

Now back to Seven for a bit.

The earliest we see of Seven post-amnesia (and conscious) is in s2e2, the one where Dai Bo tricks him into trying to steal a diamond. Literally his first line of dialogue is complaining about the clothes he was found in. He says they're too extra, and asks if there's anything else he can wear, and when he's told no, he just gives up changing and stays in the clothes he was already wearing. The very earliest opinion we hear from him, and it's that he doesn't fucking like these clothes.

Another thing I gathered from this episode: Seven can't dress himself.

Before he found his signature outfit, this is what he wore. This is what he used to leave the house in. Nothing I say here could express that tragedy better than just looking at it.

And it's not like his normal outfit is great either. To quote the creator of S7: "Seven's top is a pullover that is usually worn during winter while his bottom consists of a bermudas that's usually worn during summer. His shoes are a pair of black canvas shoes which are commonly seen on Chinese uncles. This is a very unreasonable combination but yet it is able to reflect the nonsensical nature of Seven's character." This is a fascinating quote in general, but the part that's relevant is that Seven wears some bullshit. And you know what's funny?

Seven canonically has 12 pairs of this exact same fit

This guy found ONE outfit he liked and filled his wardrobe with copies of it and seemingly nothing else so he never has to think about what to wear. Because that's totally a normal thing people do.

And you know what's even funnier? The hoodie is kind of an inverse to his shadow killer clothes. One practically has "shadow killer" printed all over it but tells you nothing else about its owner, while the only decoration on the other is Seven's name. It is the most plain, boring outfit ever, but it is undeniably Seven's.

Oh and there's one more named character who wears the shadow killer insignia

Just, you know, the guy explicitly stated to be Seven's replacement.

So, Seven hates the clothes he spent 4 years in. He has trouble choosing his own clothes. His Shadow Killer outfit matches the Shadow Killer headquarters and the robot specially made to serve the Leader. The only shadow killer who dresses like him was also made to serve the Leader.

In conclusion: until the age of 19, Seven did not choose his own clothes.

[darkstarofchaos]

People say so much about Vox "because he's from the 50s" I sometimes really question if these people even looked at the character or if they just have a generic 50s man oc they superimpose on Vox. He's sexist, racist, full of toxic masculinity, doesn't know how to do any emotional labour, can't cook, etc. Which yeah, solid villain concept I guess, but also absolutely not Vox lmao. You covered the (not really there) misogyny already super well, his business partners are diversity central, he runs around in heels wherever he goes, he's clearly open minded enough to know what people want and willingly adopt a "woke" public persona for the Vees, and on top of all of it he's also clearly the go to caretaker when it comes to the Vees, managing tantrums and also making sure they do basic shit like eat, which they also actively expect of him to the point Vel just calls Vox directly to go deal with Val when he throws a fit. The only things you can still fault him for (besides the evilness) are the capitalism and the passive racism that comes out sometimes (but which is clearly not something he often expresses or believes very much in because I truly think if he was actively racist towards his very much not white business partners on a regular basis they would have already had a (not at all violent) "talk" about it)

Vox canonically is THE guy that's all about change and going with the times. To the point he physically alters his body by updating his heads. That's not just a random quirky thing he does because it's "cool", that's vital characterization. The idea that HE out of all characters is stuck in the past is so laughable. Mr "such a shaky sense of identity that he will fill literally every role he thinks people would like him in" is for sure unwilling and incapable of change. for sure.

It's even funnier when Alastor is right there. The guy who refuses to adapt to modern technology on principle, hasn't even updated his wardrobe since at least the 50s, and is so set on his principles that he still holds on to stuff like there not being friends in hell, despite, quite literally, having multiple people that would consider him a friend at multiple points in time (Vox, Mimzy, potentially Nifty and Charlie). That's the guy people should focus on when it comes to being stuck in the past, not Vox who bends over backwards to stay with the times

The thing that gets me about the fandom's treatment of Vox is, anyone who genuinely sees him that way is exhibiting the very same prejudices they accuse him of. They are assigning him negative traits on the basis of sex and race, assigning and withholding abilities on the basis of sex and race, and then writing metas that treat the resulting stereotype as who he really is rather than spend any time studying his character.

And then you have Alastor, who is actually much more masculine than Vox is if you judge him by anything other than stature, much more toxic in how he expresses that masculinity, and absolutely more stuck in his ways.

But because he is a Black man who gets along better with women, he gets feminine traits, and feminist perspectives, and his being stuck in the past is, quite frankly, romanticized. He's a gentleman, his aesthetic is comfortably old fashioned, he cares about manners, he never lets his emotions get the best of him.

And he's a protagonist, so his evil acts are often treated as more justified than Vox's. Even though they're both sadistic serial killers who derive entirely too much pleasure from what they do.

Anyway, I don't have much more to add apart from I agree with all of the above. And I can only hope pushing back on the stereotypes will at least loosen their grip on fandom a little.

[colorful-craze]

Just finished The Reckoning of Roku…I definitely have some thoughts about Kyoshi’s lackluster characterization. (Spoilers obviously!)

First of all, this portrayal of her seems to have a lot of the same problems that NATLA has: turning into what the vast majority of the fandom thinks she is, a cold, stony killer, and ignoring all the development and characterization that she got in her novels (not to mention her TRUE character and personality). I don’t believe that unnecessary brutality would be something that she grows into; it would be something that she grows OUT OF. Especially since she already HAD that arc in her books, specifically TSOK, when she was shown struggling with how far she should go and questioning her choices, not to mention expressing regret over any unnecessary violence she exhibited.

I also find it extremely difficult to believe that Kyoshi (even after nearly two centuries) would ever stop seeing the value in individual lives. She lost so many people who were close to her at a such a young age, and she expresses so much care and concern for the lives of both her loved ones and innocents. She knows the perspective of loss too well to ever turn into some mindless killing machine. And living for so long would only emphasize the value of the lives around her, as she would have had to go through that loss over and over again.

I don’t think she would have refused to listen to reason, either, ESPECIALLY if it’s from a companion of over twenty years!

The last thing is that even if she DID change near the end of her life…that mindset would not be the one that she carries into the afterlife (or wherever the dead avatars end up). In ATLA, we see her giving Aang good, solid advice, that—despite what the fandom tends to think—does not advocate for just indiscriminately killing anyone who opposes you. She was levelheaded and calm, but she wasn’t cold and empty the way she seemed in RoR. Kyoshi was a pursuer of justice, obviously, but she would know what kind of justice was deserved.

I know this is kinda long but I just had a lot of issues with the way that Kyoshi was portrayed as the fandom-popular cold blooded killer, ignoring all of her existing canon characterization and character development and arcs. It felt kind of lazy and uninspired. The book overall was alright but this part of it was definitely not my favorite.

[cal1-m3-ell3]

FINAL CHARACTER SUMMARY. P5!

Relationships, Cont:

(Task Force X) The Suicide Squad:

Amanda Waller

Relationship: Transactional Authority

Dynamics: As the head of the Suicide Squad, Amanda Waller represents a complicated authority figure for Lois. Waller sees Lois as a weapon with immense potential but views her primarily as a tool to be used for missions. Lois respects Waller’s power but remains cautious and wary of her ruthless methods. This leads to a tension-filled relationship where Lois respects Waller’s capabilities but resents her manipulating nature.

Harley Quinn

Relationship: Sibling-Like Bond

Dynamics: Harley’s unpredictable and chaotic personality often clashes with Lois’s calmer demeanor. However, Lois found comfort in Harley’s joyfulness and ingenuity, viewing her as an older sister figure. They bond over shared trauma and the experience of feeling like outsiders in their worlds. Harley encourages Lois to embrace her quirks and express herself more freely, helping her open up despite her trust issues.

Deadshot (Floyd Lawton)

Relationship: Mentor/Father Figure

Dynamics: Deadshot brought a more grounded perspective to Lois’s chaotic life. As a skilled marksman who struggles with his own demons, he served as a mentor, teaching her how to aim and use weapons effectively. Deadshot, hardened by his past, developed a protective, fatherly instinct toward Lois. He appreciates her competence and often guides her in strategic thinking during missions. He admires her potential and resilience, while Lois respects his dedication to his daughter, which allowed her to see a more parental side to him. Their relationship is supportive, with Deadshot offering guidance in the missions while encouraging Lois to pursue her own moral compass.

Killer Croc (Waylon Jones)

Relationship: Protective Ally

Dynamics: Lois quickly realizes that Killer Croc is an underestimated and misunderstood member of the Squad. She appreciates his loyalty and is respectful to him due to their shared experiences of being seen as societal outcasts. Croc, in turn, feels a protective instinct towards her, often watching her

back during operations. Their relationship is built on mutual respect; they resonate with each other’s struggles, making for a reluctant friendship amidst the madness of their missions.

Captain Boomerang (George "Digger" Harkness)

Relationship: Antagonistic & Comic

Dynamics: Captain Boomerang’s cocky demeanor and tendency to joke at others’ expense initially rubbed Lois the wrong way. However, Lois often surprised him with her quick wit and intelligence, which gained her reluctant respect from Digger. Their interactions involved light-hearted banter, and while they would butt heads due to their differing approaches to problem-solving, they learned to rely on each other's strengths during missions, forming an uneasy camaraderie.

Enchantress (June Moone)

Relationship: Source of Unease

Dynamics: Enchantress’s unpredictable magical abilities put Lois on edge, as her experiences have taught her to be cautious around powerful and volatile figures. Lois respects June as a teammate but harbors a latent fear of the Enchantress’s darker side. Their relationship is characterized by a sense of mutual understanding, yet Lois often keeps her distance, choosing to observe rather than interact deeply due to the instability Enchantress carries.

El Diablo (Chato Santana)

Relationship: Confidant and Kindred Spirit

Dynamics: Both characters have significant past traumas that shape their current identities. Lois found solace in Diablo’s experiences of redemption and personal struggle. They would often share heartfelt conversations reflecting their feelings about their powers and past actions. Lois admired Diablo’s transformation and sees him as a positive influence, encouraging her to turn her powers toward good. She was deeply upset by his later death.

8. Katana (Tatsu Yamashiro)

Relationship Type: Mentor-Protege & Friend

Dynamics: Katana’s disciplined and honorable approach to combat intrigued Lois. As someone who has experienced violence and manipulation, Lois admired Katana’s strength and integrity. Katana acted as a mentor figure, teaching Lois combat skills and the importance of honor. Their relationship thus became a blend of respect and friendship, helping Lois navigate her insecurities and trust issues.

9. Rick Flag

Relationship: Leader/Respected Authority

Summary: Rick Flag, as the field leader, embodies a sense of moral responsibility that attracts Lois’s respect. He often tries to ensure that the Squad operates with purpose, knowing Lois's history and potential as a force for good. Their relationship included mentorship moments where Flag encourages Lois to embrace her hero identity. However, Lois’s reluctance to engage deeply limited their interactions to a respectful but somewhat detached dynamic.

Facts and Trivia:

Interests and Hobbies

Saving people

Spending time with her Father, Jason Todd.

Enjoys spending time with her hellhound, Erik.

Training with Artemis (or Diana)

Favors a nonviolent approach to solving problems, preferring to live a civilian life when possible.

Has a keen interest in music and often carries instruments in her subspace bag.

Loves solving puzzles and challenges that require logical reasoning.

Engages in various artistic activities, including drawing and crafting.

Likes

Animals, particularly her hellhound Erik.

Spending time with her friends and fellow Teen Titans.

Nature and outdoor activities, although fearful of open and crowded spaces.

Learning languages and engaging in conversations about diverse cultures.

Reading books, particularly mythology and fantasy genres.

Dislikes

Violence and unnecessary conflicts, preferring diplomacy over confrontation.

Crowded places and confined spaces due to her agoraphobia and claustrophobia.

The notion of her godhood and references to Mount Olympus and the Nine Worlds.

Being forced to confront her traumatic past.

Damian “Demon Spawn” Wayne.

Terminology

Resurrective Immortality: The ability to return to life after death, regenerating without lasting harm.

Ichor: The divine fluid that acts as her blood, toxic to mortals upon contact.

Eidetic Memory: The photographic memory that allows her to recall experiences and details with great precision.

Shape-Shifting: The ability to change physical appearance at will, including mimicking others.

Matter Manipulation: The power to control and alter the composition of matter on a vast scale.

Additional Trivia

Speaks six languages (minus English) fluently: Latin, Ancient Greek, Old Norse, Spanish, American Sign Language (ASL), and Morse Code.

English isn’t her first language, Latin is.

After spending a year in the mortal world, she learned English, frequently switching between accents. New York City Accent (She usually drops the 'r' at the end of syllables. And the long 'a' is usually pronounced back and rounded in this accent. It is also known by some other names such as Bronx accent, Long Island accent, or Brooklyn accent.)or Northern New England Accent (AKA the classic Boston accent: spoken in Boston, Massachusetts, Rhode Island, Maine, Eastern New Hampshire and Eastern Connecticut. With a Non-rhoticity or 'r-dropping' pronunciation and 'nasal-a' sound are characteristics of the accent.)

She has a tendency to form crushes easily, but identifies as demisexual and panromantic.

[multifunctionalnitroglycerin]

Heaven is not entirely on the wrong – a hazbin hotel theory #2 – Exterminations

Something that is often overlooked or sugarcoated a bit in Hazbin amidst all the goofy songs and trust exercises, is that Hell is terrible. There I said it. Hell is a blood terrible place to be. It’s a place of eternal torment, and a prison, a container if you will, for the most terrible of people that have walked on earth. (Let’s not forget that fan favorite Alastor was a psychotic serial killer when he was alive, and still is a master puppeteer, a manipulative, powerful owner of countless souls that is undoubtedly cruel.)

            Murder. Manipulation. Abuse. R*pe. They all exist in abundance down there. And for the average sinner down in the pride ring, things are tough. After being exposed to all that and worse even – as we glimpse with Angel, and Husk – your average sinner is left severely traumatized, if not also physically hurt (regenerative abilities, so idk). To put it simply, hell is a hellish place. And even our beloved princess of Optimism in all her naivete sees it and wants to help. Thus, the plan for rehabilitation and getting a postmortem chance at redemption. (Though how many of them can be redeemed? And does it count if they only do it in fear of punishment? What about metanoia? Is it sincere? What if someone breaks through that shouldn’t have?)

            Hell is overpopulated and here comes heaven with its plan of annual exterminations to keep the population on the down low. And Adam who does it purely for his own entertainment. And Sera who internally struggles with having given the okay for them. (We’ll get to her in a bit, though).

            Here comes the controversial part. If Hell is such a terrible place to be, and no one wants to be there, isn’t killing sinners a way of freeing them from their torment? (It sounds bad I know, and I don’t intend to turn this to an assisted – suicide / euthanasia debate). And if they are “worthy” see rehabilitated, aka have regretted what they’ve done, aka can be redeemed their souls are cleansed and free to ascend to heaven.      

We are not talking about exterminators, we are talking abt exorcists. And if you are familiar with at least horror movies – not necessarily history or religion – you know that exorcists vanquish restless or misguided souls and release them. It’s not a form of punishment, but historically an attempt to help the soul rest in peace. So, if the name choice is deliberate and we are talking exorcists and not exterminators, aka soul cleanses instead of forever death, things might not be as bad.

Keep in mind that I am saying this from an outsider’s perspective and the show is portrayed from the sinner’s perspective. Or at least the denizens of hell. The very traumatized denizens of hell that amongst all their other torment have to be worried abt being killed like cattle once a year. And they have no idea what happens once you die by angelic spear. So that births fear and paranoia Not to mention that Adam and Lute’s sadism and the general bloodthirsty tendencies of the exorcists don’t help the case.

The narrative perspective is meant to make us empathize with the sinners and the denizens of hell, not heaven not the angels, and certainly not Adam or Sera. In the shows narrative they are supposed to represent the corrupt order and oppressive powers we are supposed to resent, whether that is objectively the case, is an entirely different discussion.  So the perspective, and the narrative tools used express that particular POV, and the plot and characterization is meant to support that. Consequently, the questions abt narrator reliability arise, and what I have said above seems lackluster and completely opposite to what the show tells us.

Another point I wanted to bring up is that the way Charlie pitches the idea of the hotel, and a chance at redemption has a bit of a… big hole in it. Anyone can improve at any time yes. I agree. But people that are in hell, have already had the chance to improve for so long as they were alive. It is an arduous process, a mountain to climb yes, but if one truly desires to redeem themselves for what they have done, and become a better person they would have tried before. Perhaps tried and failed, but tried, nonetheless. Which sets those people up perfectly to be residents of the hotel.  But how many of them are there? How many ended up in hell? How many of those in hell actually want to redeem themselves, regret, change their ways and ask for forgiveness? So, the postmortem redemption is kinda fishy. And there is another reason for it as well. If you want to redeem yourself, just for the shake of avoiding punishment, and eternal suffering, is it really redemption? Do you really want to become a better person?  Or just avoid the consequences of your decisions in life?

And as we see none of the people in hell, apart from Vaggie, believe in Charlie’s plan. Most even ridicule her for it. Including Angel who just wants free food and a place to crash at night. And who while having showin signs of improvement, still is in hell. Would just sticking to Adam’s rules, make him go up in heaven? Would that balance out all that he has done in life? Hell, does Sir Pentious’ sacrifice balance out all he did in life? And earns him a place in heaven?

Alright though, Sir Pentious is a mostly harmless goofball. What about people Like Vox and Alastor, Valentine, Velvette, the overlords? Hell is populated and in part ruled by the worst that humanity has to offer. And what happens if one of them manages to break the system, manipulate Charlie, fool her and take advantage of her, and end up in heaven? What will that spell for all the innocent souls up there?

Could infiltration be the key to a new Hellish uprising? And war between heaven and hell? Would corruption sheep into all their hearts? Idk what would happen but it would spell disaster for all the innocent souls in heaven that remain ignorant of all that mess.

And lastly a big elephant in the room I’d like t o address. Is Pentious really the first denizen of hell to be redeemed? He gets blasted by holy light and ends up in heaven, because he dies in an act of self-sacrifice. Have there not been any sinners before him that just tried to get by in hell? That ended up there for a stupid reason, or sth that they didn’t quite have a choice about, and then tried to make the most of their life in that mess, regretting what they have done? And if so, if they were killed in exterminations, why would they not ascend to heaven instead of being cast away to oblivion? Like Sir Pentious?

What if there were souls that were worthy of heaven, and with their release – however violent – from the plane of hell they had the chance to ascend? If it is possible now, wouldn’t it have been possible before? Why would Pentious be the only one? Or the first one for that matter?  

 In all the history of hell, I m supposed to believe that the only time a soul was regretful and changed and could have been redeemed was Pentious, with that one act of self-sacrifice? No woman that might have killed her abuser, and regretted taking a life but never regretted gaining her freedom, no man stranded in a desert or struck by a great famine with nothing to eat, hunt or scavenge but the bodies of his dead comrades? People that genuinely were faced with an impossible choice and ended up in hell for making it.

In a way I feel that if redemption is possible now, it was also possible before. It just flew under the radar, because probably no one ended up face to face with Sera after their ascend. Otherwise, she would have known it’s possible. And perhaps taken other measures.

And yes my ridiculous last argument leads me to the third installment of this huge mess

#3 – SERA

[maddiiscreepi]

The Passion Of Indie Horror.

And the money of mainstream.

Independent art refers to creative work produced outside mainstream or corporate systems, often characterized by the artist's complete control over the creative process. These artists typically self-fund, self-publish, or distribute their work without relying on major institutions or commercial backing.

Independent art thrives through various forms of creativity, from literature and visual arts to the intricacies of game development. Independent artists are driven by passion and dedication, often pouring immense effort into their work. Though they may not have access to mainstream platforms, their talent consistently finds its way to a loyal and supportive audience, who appreciate the unique perspectives they offer.

Today, I want to focus on the world of indie horror, whether expressed through writing, visual art, video production, or game development. Indie horror stands out as a unique and powerful genre, often exploring themes and ideas that mainstream horror tends to overlook. We'll be diving into the elements that make independent horror so compelling, from its creative freedom and raw storytelling to its ability to push boundaries, and why this genre deserves more recognition and a larger platform to be showcased.

Indie horror captures a unique and often more unsettling side of the genre. Unlike mainstream horror films that dominate the box office, indie horror thrives on creative storytelling and unexpected twists. This absence of commercial pressure allows for more daring and unconventional narratives, which is precisely what makes it stand out. Let me explain further.

- The Common Demand Plot

In mainstream horror, certain familiar plot structures tend to dominate—like the classic slasher or the eerie haunted house. These themes resonate with audiences and consistently perform well at the box office. When people think of horror, these are often the go-to narratives that come to mind, having become defining staples of the genre for avid moviegoers.

This sense of familiarity becomes comforting for horror fans, as they know what to expect from their favorite sub-genres. Many may not be eager to venture into unfamiliar territory, preferring to stick with the themes they love. Ultimately, what resonates with them depends heavily on the specific sub-genre they gravitate toward.

- Popular Sub-Genres

Some popular sub-genres of horror today include:

1. Psychological Horror – Focuses on the mental and emotional instability of characters, creating fear through psychological tension rather than gore. Films like Hereditary and The Babadook fall into this category.

2. Supernatural Horror – Revolves around ghosts, demons, or other paranormal entities, such as The Conjuring series or The Haunting of Hill House.

3. Slasher – Centers on a killer who stalks and murders a group of people, often with graphic violence. Classics like Halloween and modern revivals like Scream are prime examples.

4. Body Horror – Focuses on grotesque or abnormal transformations of the human body, seen in films like The Fly or The Human Centipede.

5. Folk Horror – Draws on rural, cultural, or pagan traditions, often highlighting the eerie side of folklore. Films like Midsommar and The Witch explore this.

6. Found Footage – Presented as if the events were recorded on handheld cameras or security footage. The Blair Witch Project and Paranormal Activity helped popularize this format.

7. Survival Horror – Characters are thrust into life-or-death situations, often facing creatures or apocalyptic scenarios, like in A Quiet Place or The Descent.

8. Monster Horror – Features creatures, often larger-than-life, like vampires, werewolves, or zombies. It and World War Z are notable examples.

- The Mainstream Virus (AKA Money Grab)

Not all movie producers are solely driven by profit; some are genuinely passionate about delivering exceptional, high-quality films. However, many within the industry prioritize financial success over creative risks. The focus often falls on adhering to proven formulas that guarantee a steady flow of revenue, rather than experimenting with new ideas that could potentially fail and impact profits. This approach is sometimes referred to as "mainstream money fighting," where the emphasis on financial security leads to a decline in the overall quality of the product.

1. Video Games: The gaming industry frequently sees rushed releases, often due to pressure from investors or deadlines. For instance, the release of Cyberpunk 2077 in 2020 was highly anticipated, but it launched with significant bugs and performance issues, especially on older consoles. The rush to release it in time for the holiday season led to backlash and damaged the game's reputation.

2. Film Franchises: Some movie franchises, particularly sequels, have been fast-tracked to capitalize on a popular trend or fan base, sometimes sacrificing the quality of the storyline. The Divergent Series and Fantastic Four (2015) are examples where rushed production led to disappointing box office results and poor critical reception.

3. Merchandise Tie-ins: Major blockbuster films or TV series sometimes prioritize creating merchandise to capitalize on a cultural moment, often leading to a lack of attention to quality. For example, toy lines for certain superhero movies or kids' films are sometimes developed before the final movie script is complete, resulting in poorly designed or inaccurate representations of characters.

4. Music Albums: Artists are sometimes pressured by labels to release albums quickly to meet marketing schedules or capitalize on trends. This can result in rushed production and less cohesive or polished albums. For example, some fans criticized Drake's Scorpion for being overly long and unfocused, suspecting that label demands contributed to its sprawling length.

The Difference In The Indies

Independent horror takes a different approach, offering audiences stories that break away from mainstream tropes, diving into unsettling, unconventional narratives. These projects often explore unique, daring concepts that traditional studios may shy away from, delivering chilling tales that linger in the mind long after the credits roll. With creative freedom at the forefront, independent horror carves out a distinct space, pushing boundaries and crafting fresh, unpredictable experiences.

Creative passion fuels every project, whether indie or mainstream, but the latter often struggles to deliver authenticity in original storytelling. In today’s horror media landscape, audiences are inundated with overused tropes, nonsensical sequels, and remakes that stray far from the essence of the originals. In contrast, independent horror consistently offers fresh perspectives and diverse interpretations of the genre. It showcases the work of passionate creators who genuinely care about horror, allowing for innovative narratives that explore deeper themes, unique characters, and unexpected twists. This dedication not only enriches the genre but also fosters a connection with audiences seeking something new and authentic.

Believe it or not, many independent horror projects have the potential to break into the mainstream, driven by passion and dedication. This commitment can pave the way for success, opening doors to wider audiences and greater recognition. However, even if a project doesn't achieve mainstream status, it remains special and influential for those who appreciate indie horror and the genre as a whole. The unique perspectives and innovative storytelling found in independent projects contribute significantly to the rich tapestry of horror media, ensuring that every effort has the power to resonate with audiences in meaningful ways.

Modern mainstream horror often relies on excessive gore, predictable jump scares, and clichéd tropes, leaving many viewers feeling frustrated and disengaged. In contrast, independent horror delves into realms that prioritize dread, atmosphere, and compelling storytelling, inviting audiences to explore new dimensions of fear. This focus on nuanced narratives and emotional depth creates a richer experience, transforming each film into a captivating journey. Independent horror embodies a fresh approach to the genre, proving that genuine creativity can evoke a profound sense of unease and leave a lasting impression.

In conclusion, it's essential to support indie horror artists and independent creators across all genres. Their work is fueled by genuine creativity and passion, qualities that resonate deeply with audiences. While anyone can possess creativity, it’s the passion behind independent projects that truly brings them to life. By championing indie artists and small businesses, you help foster a vibrant creative community that thrives on innovation and authenticity. Your support not only enriches the arts but also ensures that unique voices continue to be heard and celebrated.

[fdelopera]

what are your favorite aspects of Marc and Layla's relationship?

Hi Anon. It’s taken me a while to compose my thoughts on this because dl;j;jasdfhj kasdffkhja dfgjasfdf Layla is just so important, ya know?

Layla is … the caring, grounded, understanding, genuine, forthright, and KIND neurotypical friend that we all need.

Layla is gonna jump out of a plane with you, but she’s also gonna make sure that both your parachute and hers are packed correctly before you leap.

You can see it in the way that she is with Steven. At first, she thinks that Marc has escaped abduction again (again??? I want that backstory). Then she thinks that Steven is another undercover identity that Marc is using to evade pursuit (which confirms Steven’s perspective, that they’ve never met before). Then she thinks that Marc is trying to avoid her by pretending to be someone else: “I'm sorry. I'm not buying this, Marc. Use whatever accent you want. Let's just get this over with. You sent these papers but you never signed them.”

BUT when she finally starts to realize who Steven is, and starts to maybe put together WHY he is, she just … brings him into her life. Without judgment. Without a thousand questions. She just accepts him.

She tells Marc, “You could've told me. You know? What's it's been like for you. About Steven.”

This is a really important part of her characterization, that no matter how frustrated she gets with Marc for shutting her out of his life, for leaving without an explanation or even a goodbye, she never once tries to grill him about what’s going on. She lets Marc know that she’s here to support him, but she’s not here to pry about his mental health.

And then … just the way that she is with Steven. The way that she recognizes his autonomy. The way she values him as a person. She sees him.

“Marc, we need Steven. He understands all of this. I really think it's worth giving him a shot.”

And:

“I don't need protection. What I need is honesty. That's more of a ‘you’ thing, isn't it? ... Being honesty.”

Layla is probably the first person that Steven has ever interacted with, other than Marc, who really sees him. Who accepts him. Who values him. And Steven and Marc are in a bit of a rocky place at this point, so for Steven, Layla really is the first: “I know I'm not alone. I know I'm bloody not alone. I've got Layla. She's got my back.”

Layla models the kind of calm stability and understanding that is so important for the audience to see. That when you’re interacting with someone who’s dealing with the effects of neurodivergence and mental illness, you need to let them lead. Don’t push. Don’t pry. Listen.

And May Calamawy worked with Oscar and Mohamed to make sure this came across. She is so consistently present, and engaged, and responsive to the energy she’s getting from Oscar when he’s portraying Marc and Steven. She knows how to listen as an actor, and she has a soft strength that comes through so beautifully.

If I say too much about May Calamawy, I’m going to gush embarrassingly. And my eyes will turn into two giant hearts that will bug out of my face like a cartoon. I just … think she’s really neat.

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(banging on my keyboard some more)

So, is Layla angry at Marc? Of course, and she deserves to be. And is she confused and concerned at first by Steven? Again, of course she is. But I come back to my premise that she is the caring, grounded, understanding, genuine, forthright, and KIND neurotypical friend that we all need.

She calls Marc out for his behavior. She expresses frustration, anger, and sadness that she doesn’t really know him, even after ten years. She is beside herself with fury and disappointment when she finds out that Marc was there when her father was murdered, that he led a killer to her father’s dig site … when she realizes that the reason they met was because he tracked her down out of a guilty conscience. And then he fell in love with her. And he just could never bring himself to tell her. (And you’d better believe that he DESPISES himself for it.)

And she should be furious and disappointed at what he has chosen to do.

Marc has done terrible things. But Layla never judges Marc as a bad person (in the way that Wendy, Harrow, and Ammit do). She understands that his actions don’t define his essence, and that he can always take a different path. That is why her line at the end of Episode 6 is so important: “Marc! You have a choice. You are free.”

Layla is able to be angry, confused, concerned, and sad without being judgmental.

She is the antithesis of Ammit ... and Wendy. She believes wholeheartedly in Marc’s free will and his ability to change.

So, both within the world of the show and within the external world of the audience, Layla models how to hold people accountable for what they have done without judging them for who they are.

And that’s why she’s the best. I don’t make the rules.

[theunfairfolk]

I noticed that the Cretan Bull was created by Poseidon, the circumstances of the Minotaur's birth was orchestrated by Poseidon, and then Theseus is also characterized as a demigod son of Poseidon. This isn't really a full thought, but I thought it was interesting how involved Poseidon is to each of the parts of the labyrinth myths. He created the Minotaur, and he'd create his killer too. Also I don't think Poseidon is brought up in the Icarus myth, but he did meet his end drowning in the sea.

aye right? from a doylist perspective it’s cause crete is an island nation so the sea is pretty important to them and Poseidon as a result was a commonly invoked god. to clarify, Poseidon sent Minos the bull as a sign of his favor with the expectation Minos would sacrifice the bull to Poseidon (think abt buying yarn for someone with the express purpose for them to make u a sweater). Minos really liked the bull tho so he didn’t sacrifice it like he promised (he might have killed another bull as a fake out iirc, but ofc Poseidon was like bruh i can tell).

greek myths are big on uhhh dramatic irony? hubris? what’s the technical term for “the punishment fits the crime”. like tantalus fed the gods his son, so his punishment is No More Food, Forever. Poseidon’s also known to be temperamental (like the sea, get it?) and HATED being slighted (when he lost the city of Athens to Athena he fucked their shit up big time) and i mean, most of the gods had tempers on them (Hestia excluded) but Poseidon could get Nasty. and since Minos was Zeus’… thinks for a minute grandchild? (his dad Asterion was sired by Zeus, wait for it, in bull form) it makes sense that Poseidon would be the one cursing him rather than his Pappy (not that zeus wouldn’t fuck up his descendants lmao i just mention it bc of the lineage thing and that Zeus was the Bull Guy in general).

but yeah the whole “gods solving the problems they create” thing is pretty common. Athena made Medusa and also gave Perseus the shit he needed to kill her. people joke about gods like Loki having to damage control their own shit but tbh that’s Most Of The Gods. immortals cause problems, man.