bluejai

No everyone stop stop right the fuck now and

LOOK AT THE SHADOW

The way Dan is turned away from Gabe but in his shadow he is faced toward him and their hands are almost touching

And the way that Dan's shadow is distressed and crying out and Gabe's shadow is INSIDE Dan's shadow and on his chest doing the same thing

his version of gabe is so much more sympathetic and that doesn’t take away the anger or the slightly sinister vibes of the character, but wow every time you look at gabe even when he’s not the one singing or talking, something is always going on with his face and body,

She is far more like Elon Musk. She is a radicalized person with an extreme amount of social and financial power, and for YEARS she has been using that power to try to influence her government into hurting vulnerable people, on purpose. And she has succeeded. THAT is the problem with her, and THAT is why spending money on her books is so dangerous, not because her books aged badly.

“He'd come to the Foxhole Court every inch a lie, but his friends made him into someone real.”

I’m not gonna lie it’s borderline embarrassing how long I’ve worked on this that I’ve spend 2 days tryna figure out how to caption it to make it less embarrassing but oh well. It also made me realise the banner says exy ncaa instead of ncaa exy but at this point that’s none of my business

Short of being inside Nora’s head here is a (mostly) (I think) biblically accurate and to scale model of the Foxhole Court and Nora I have a several questions.

Also rendered so many images of this I had like 50 cameras in the scene would y’all care if I just did a photo dump.

God I have so many things to say about working on this I had to restart like 8 times it was a mess but if I start I won't be able to stop Imao though if anyone's interested in a breakdown of all the sections and materials I would be more than happy to make a post yapping about it.

Viewport renders below

Like, despite what parodies might say, Katniss is nowhere near the stereotypical “unqualified teenager chosen to lead a rebellion for no good reason”.  The entire point is that she’s not leading the rebellion. She’s a traumatized teenager who has emotional reactions to the horrors in her society, and is constantly being reined in by more experienced adults who have to tell her, “No, this is not how you fight the government, you are going to get people killed.” She’s not the upstart teenager showing the brainless adults what to do–she’s a teenager being manipulated by smarter and more experienced adults. She has no power in the rebellion except as a useful piece of propaganda, and the entire trilogy is her straining against that role. It’s much more realistic and far more nuanced than anyone who dismisses it as “stereotypical YA dystopian” gives it credit for.

And the misconceptions don’t end there. The Hunger Games has no “stereotypical YA love triangle”–yes, there are two potential love interests, but the romance is so not the point. There’s a war going on! Katniss has more important things to worry about than boys! The romance was never about her choosing between two hot boys–it’s about choosing between two diametrically opposed worldviews. Will she choose anger and war, or compassion and peace? Of course a trilogy filled with the horrors of war ends with her marriage to the peace-loving Peeta. Unlike some of the YA dystopian copycats, the romance here is part of the message, not just something to pacify readers who expect “hot love triangles” in their YA. 

The worldbuilding in the Hunger Games trilogy is simplistic and not realistic, but unlike some of her imitators, Collins does this because she has something to say, not because she’s cobbling together a grim and gritty dystopia that’s “similar to the Hunger Games”. The worldbuilding has an allegorical function, kept simple so we can see beyond it to what Collins is really saying–and it’s nothing so comforting as “we need to fight the evil people who are ruining society”. The Capitol’s not just the powerful, greedy bad guys–the Capitol is us, First World America, living in luxury while we ignore the problems of the rest of the world, and thinking of other nations largely in terms of what resources we can get from them. This simplistic world is a sparsely set stage that lets us explore the larger themes about exploitation and war and the horrors people will commit for the sake of their bread and circuses, meant to make us think deeper about what separates a hero from a villain.

Neil has his hackles up all the time around her, trying to find her angle, trying to figure out why Andrew hangs out with her, pulling out his little tinfoil hat over how she exists

Andrew is interrogating her and breaking into her room and stealing her knives.

Jean sees her as his savior, his one that got away, a source of strength, a symbol of hope, a tether in a storm