The end of the rainbow is colored in blood

Bussi😘

actually I think his shoulders and arms only look so wide cause his bottom half is so skinny :o I think they’re like normal for his height. then again there are videos of him and Joonas working out 🤨🤨

The most obvious reason why he registers as lanky is that a good part of his body is simply Leg. It’s hard to tell how much exactly because he loves his long shirts and tunics and it’s hard to tell where exactly his torso ends and his legs start, but he’s quite long-limbed. The fact that said legs are very slim (anon, you gotta give me proof of the big thighs before I believe it…okay that came out wrong) is more easily noticeable than his shoulders and arms. In general the vertical lines in his body are more easy to spot than the space he takes up sideways, which is in part due to…

Point two: silhouette! Here’s where it gets interesting, because I think another reason why Joel gets perceived as a lanky beanpole is the way he dresses. For one, this man loves his head-to-toe black outfits. Wearing one color from head to toe creates one long, cohesive line, which in turn makes you look longer and taller.

(Which, if you’re already long and tall to begin with, just makes you look like a freaking beanpole.)

In addition, his iconic tunics add to the illusion—the way they’re cut off at the shoulders creates a narrower, more rectangular silhouette for his torso, with his arms being sort of separate from the long all-black line of his outfit. The tunics are also quite long—once again, vertical lines over horizontal. To top it off, the shoes he usually wears tend to hit pretty high at the ankle, drawing the eye up and creating the illusion that his legs start at a higher point to begin with.

Personally I’d argue that the way Joel usually stands makes him look more lanky too: feet close together, legs fairly close together, further hammering home how slim they are. That being said, he is still genuinely skinny for a guy his height, strong shoulders and (upper) arms notwithstanding—try this pic for size:

I know, I know, height difference, but that’s not the point here. Look at the shape difference: Aleksi is way more square while Joel is long and rectangular. They seem about the same width, but on Joel it’s stretched out over a visibly longer frame.

Christopher Diaz!

And Chris with his fathers at pride:

RADISHN’T: Prithee, which one of you had planned to tell

Of diff'rent flavours gained by simple act

Of brewing tea with water hot, not cold?

MOTHMAN: Egad! you poured the water cold? Wherefore?!

FROG: An answer from you, Radish, I must beg.

RADISHN’T: Indeed I did, dear friends - why does this shock?

Without the guide of others I assumed

That heat was merely added for the sake

Of expediting this solution’s brewing!

Half a decade I have spent, or more,

Not questioning this worldview I had made.

In fact, I am myself a bit surprised

That you might think that I, your dearest friend,

Might have a patience of sufficient stock

To wait until a pot of water boils.

FROG: Three minutes overtaxes patience so?

The microwave will beep when it is done!

CATS'N: My friend, this answer vexes me the more!

Can it be true that thou dost boil by nuke?!

FROG: Are you in turn, my friend, so shocked to know

That I have not the patience, like our Root,

To boil upon the stove our favour’d drink?

CATS'N: It takes less than a minute!

FROG: On what plate?

Perhaps your dinner cooks atop the sun?

CATS'N: How long can take your stove to fill the task

Of boiling but a single cup alone?

FROG: In minutes?

CATS'N: Yes!

FROG: I counted seven, once.

CATS'N: Perhaps you ought to have your timepiece checked!

If on a middle heat you place the cup

You soon will have the scalding drink you crave.

Two minutes, in a mug upon the plate

Or even less, if you should have a pot.

FROG: You cause me tears - is this how thou dost live?

You place upon the iron stove a mug?

A mug, ceramic, filled with water cold?

How do these flames, though medium in height,

Not shatter like a glass this fragile thing?

Surely, then, your kitchen is bewitched

With magicks far beyond the mortal ken!

(The FOUR realise they have wandered into the THRONE ROOM. The ROYAL COURT watches with fascination.)

The fact that nearly every line is so metrically considered- near perfect iambic pentameter witb the occasional trochee for emphasis, but usually retaining a strong sense of rhythm nonetheless. And then the king comes in at the end, so wound in his disbelief that his response is reduced to prose.

And the even better thing about this is how easy it would have been to structure the king’s line into iambic pentameter: it is effectively already said as such because of the way wizardlyghost has phrased it, yet they haven’t!! They did not break the line, rendering what, by all typically of both Shakespearean canon and other periods context should be the character with the most command and authority in the whole play. If there was ever a more effective way to convey a genuine “what the fuck??”, I know of it not.

But it gets better!! Shakespeare regularly uses meter in order to represent class divide; the nobility usually speak in iambic pentameter, save for a few particularly chosen moments (e.g. Lady Macbeth’s descent into madness, Othello’s realisation of Desdemona’s “betrayal”) or just lines where Shakespeare needs to suggest high emotion or when a character is lost in thought. Supernatural characters like the fairies in A Midsummer Night’s Dream and the Witches in Macbeth usually speak in trochaic tetrameter, an inversion of iambic pentameter. Lower class characters, particularly those used for comic relief (usually under the influence of alcohol), speak with no structure at all: their language is plain prose. Therefore, if this is a conversation between these types of characters, as the prompt from silvergirachi suggests, why the hell are the characters speaking so eloquently???

Now, this is Tumblr. It is subsequently logical to assume that this may have merely been a humorous recreation (and a very good one at that) of the Shakespearean style in a way that is widely recognisable to an audience that may or may not have read a great deal of Shakespeare, which is understandable. However, logic is boring so I’m going to probe further into this to the point where future historians will look to this as an example of overanalysing.

The inherent eloquence of the characters here suggests an unusual subversion of the roles typically assumed in Shakespearean comedy. This could be interpreted along two major avenues: firstly, that the rhetoric displayed by the speakers is fundamentally representative of how truth can be expected even from the most seemingly pointless or ludicrous discussions. Furthermore, it could suggest that it matters not how well constructed your speeches are: if you talk bullshit, it’s going to sound that way despite your attempts to hide it.

This is similar but not identical to the second avenue of interpretation: there is the implication that the noblemen in the play are in fact the comic relief characters, therefore implying that the “common people” of the play are the ones whose influence, though not expressed in such a highly spoken manner, makes a lot more sense than whatever the hell this is. If this was a real Shakespeare play, I would call it a subtle exploration into the innate corruption of the rich and powerful. Well done, op.