Reminder That Being Against Ai Also Means Being Against Character.ai And Not Using Character.ai And Not

It is 4 am and Mad Phosu going full “Pathetic” mood from Ch. 90 is all I can think about.

“You need me? I don’t need anyone at all”

I keep seeing critics talking about the fnaf movie being poor but i literally isn't for them. I saw someone else saying the movie's a love letter to the fandom and i WHOLEHARTEDLY agree.

This is how i took it: We, the fans, are Anton Ego, the critic from Ratatouille; the ratatouille was special to us because it was our childhood. I hate ratatouille (the food), but to Anton Ego it was everything. Critics don't like the fnaf movie because they only have the movie as context, but to fans, the fnaf movie is everything and we love it even though it's a little cringey. In fact we love it BECAUSE it's cringey in some cases.

Like no new viewers would get the chica's magic rainbow part, or the MatPat reference, or the whole ongoing bit about Dream Theory sucking, or understand how hype the whole ending part was.

I was lucky to be in a cinema full of fnaf fans, and we were cheering and laughing, and screaming at the references. People got up when the movie ended and SAT BACK DOWN when the living tombstone came on. We shouted the letters of the code, and screamed when Matpat said his line. People clapped and cheered at the end, and people were crying at the parts where they were treating the animatronics with love and affection.

No critics would understand how much fans want to interact with the animatronics in a positive way, or understand how much importance the five seconds of its me on the mirror means in implications of the lore. They wouldn't understand because they haven't been waiting a good part of a decade to see this movie. They came, they saw, and that's it, it was a second of their life, but to us it was everything. This is our ratatouille, made to impress us, not the other people in the restaurant. This was our movie, a love letter to the fandom, not the critics.

I like the changes to the story, because it puts us back at square one. We're fumbling to rearrange lore and timelines. We have to rearrange names, and start with a blank slate, and it feels like a homecoming where to critics, it might feel a little messy.

We've been given a chance to start the journey all over again and i fucking love it so much. Because i'm an adult, and all of a sudden, i'm twelve years old again and we're trying to figure out if phone guy is chica, and struggling our way through whatever the fuck was happening in fnaf 3 to get the good ending. The critics don't get this.

They don't understand how hype the midnight motorists reference is, nor did they care about the references on the chalkboard. Or the code at the end, or the song choices, or the lore implications. They don't understand the sudden lore drop of william afton, or the way he's acting, but we do. They don't understand the vengeful spirit, but we do. Nothing is explained to the audience, because we don't need it to be explained.

This is our ratatouille, and we love the rats in the kitchen.

R!Ciel & O!Ciel

Kuroshitsuji

Me: Did you know that medieval cathedrals weren't actually supposed to be dark and rundown places with only stained glass as color? They were bright places full of light... the reason they look like that now is because of the centuries of accumulated grime and dust, here look at this restoration of the Cathedral of Chartres in France:

It's based on actual paint from the times, and when you think about it, it makes a lot more sense, after all a church is supposed to be a bright place of hope. Yet when we think about the middle ages we think about grimy and dark cathedrals. I wonder how much of our conception of history is shaped by our current visions of historical buildings.

My Goth GF: listen, I don't think this thing between us is working,

g*d i love drawing laphos

WHA fandom is like: Here's a great manga that deals with teaching children and respects them as people and has wonderful art and handles delicate topics respectfully and has interesting thoughts about the world and the what and how needs changing as well as a well developed world and deep and complex characters also if all of that doesnt pique your interest here is qifrey he's a slut

The Summer Hikaru Died and onomatopoeia

I've wanted to gush about this topic for a while and i have no organized thoughts but a lot of feelings i need to get out. First and foremost being "Holy shit this manga is so damn loud" which is a weird feeling to have since manga is generally understood to be a silent medium.

And yet the Mangaka MokuMoku Ren has filled their work to the brim with sound. Now comics using onomatopoeia (words that echo a noise ie: crunch) is nothing new the sound of a fist hitting it's target and walls being wrecked is nothing new. But usually onomatopoeia is worked into whatever action is resulting in the noise

adding both a sense of motion as well as sound. Which is what makes The Summer Hikaru Died's use of it so unique and compelling. To utilize onomatopoiea you have to give up on space that could otherwise be going to deatil work in the background or foreground. Now this is fine with smaller unobtrusive effects like Wolverine's claw extending, and there's numerous example's where a sound will take up large portions of the page to show how loud something like a bomb going off is. But i've yet to see another comic western or otherwise so consistently use this facet of the medium to instill such claustrophobia and dread. As a slower paced horror manga The Summer Hikaru Died builds it's suspense mostly through atomosphere, the supernatural happenings weighing on the surrounding evironment until they break the surface

The use of sound is heavy, it's harsh, it's a vehicle to show how wrong things have gotten from the whisper of "it's coming" heard in the ringing bell of a train crossing to the omnipresent call of birds, bugs, and frogs that pushes in on the paneling shrinking the world with their cacophony.

the way sound shrinks the world making reader and character both feel suffocated by the drone is matched by how the manga uses silence as a way to make the characters feel exposed and vulnerable. the page is now empty of distraction the world of the story on full display and it still feels wrong it's agorophobic, at least amidst the din there was some sense of anonymity being just one voice among hundrends.

even the speech bubble feels out of place as it wanders off desperate to fill the space. The manga is full of these moments of sound and silence in some dance with eachother always too much or too little, never comfortable. It adds a lot to the horror of the manga, and is just one part of many that makes The Summer Hikaru Died such an excellent manga, every chapter I can feel my skin crawl as the setting becomes more hostile to the charactres while they uncover more of the truth of their circumstances.