I really like the line "And I'll dream each night of some version of you / That I might not have but I did not lose" from Stick Season by Noah Kahan. It's a very good line just illustrating the way you replay the events of a relationship after a break-up, I presume (never been in a relationship). But I think outside that, it is also a good line that illustrates the way we re-construct people after any kind of parting-of-ways. We create a version of that person in our head that's still around but y'know is distorted in various ways because of the human faulty memory and where we put them in the great globe of our conceptualization of everyone we've ever known.
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I love this line in particular from The Pitch as itâs a great tool to examine Christian and Andre (the duke) and their individual relationships with Satine. Both offer her a great many things she has not had before but only one of them is unlike the rest.
The duke feels the need to preface in his private introduction to her that âIâm not like the men youâve known before, I wonât just toss coins [âŚ]â He starts off with how different and special he is and thus how special heâll make her feel. Now it is true that he does not treat her typically, he showers her in gifts and affection, he doesnât outright leave. However he does treat her more like a pet, expecting it to be a exchange for her affection. In this, he is directly like all the men she had seen before.
When he leaves satine sits sullen at her mirror âI can see every part, nothing hides in their heart to hurt meâŚâ She can see straight through a man like him and know whatâs expected of her. Satine knows when to squeal, when to smile and act gracious to men who think theyâre kind.
Christian on the other hand makes no attempt to differentiate himself from the other men. While he may want her love and not her body, he did fall for her the same way. Watching her show, that quick jolt of physical attraction and in fact he makes no attempt to hide this! Heâs also aware that Love and Sex arenât divorced from one another- hell the man starts an affair!
He proves heâs unlike any man sheâs met before through his actions. He doesnât leave her, he doesnât expect her to stay either ( âyouâre free to leave me but, just donât deceive me.â ) Hell in the beginning he even begs for chance to be loved by her. âLive your life. Be with the duke. Only, let me love you.â / âI want every moment I can have with you, stolen or not.â
Here is a man who loves her beyond her looks, beyond the act she puts on. Here is a man who loves the woman beneath the rouge. Here is a man who does not pay, who loves and asks for nothing but love in return.
It really is a testament to Satine and Christianâs relationship. They fulfill each other, they teach the other that theyâre full of worth and deserve love. Together they can believe in happy endings even if thatâs not in store for them.
Considering the animatronics in SL thought Michael was William at one pointâŚ
That must mean âI know it was an accidentâ was referring to Liz getting scooped. And âIsnât this why you came here? To be with me/her again?â was a guilt trip lure for William, not Michael. Ennard was using lines that could cloud Williamâs judgment, if things were different.
It could have worked for Michael, if he probably wasnât trying to figure out what in the world happened in this place. I can actually see him processing things while trying to keep them at bay. Absolutely confused as to what âLizâ is referring to, since she mightâve been too young/wasnât there during the Bite of â83. Then it hits him.
His father wasnât innocent when it came to robotic accidents either.
I was messing around on the official English website of Twisted Wonderland (https://disneytwistedwonderland.com/) and I noticed a little phrase. âWelcome to Twisted Wonderland. Let us show you the real happily-ever-after.â After doing some digging I found that the same phrase also appeared at the end of several of the game's trailers. Because of this Iâm referring to it as the gameâs slogan. I thought Iâd analyze/theorize about it since I really couldnât find where anyone had talk about this line. I may have just missed it though... As per usual Iâd love to hear others thoughts on this line and what it may mean or imply about the game/characters. The rest is under the cut cause it got a bit long.
So, the first part of the phrase, âWelcome to Twisted Wonderland,â is exactly what it says. There really isnât much to analyze or theorize about it. The line Iâm interested in is the second one, âLet us show you the real happily-ever-after.â There are really two versions of this line, the one I used above from the English Twisted Wonderland website and the fan translation. The fan translation I found, âIâll show you a real happy endingâ has some interesting differences from the other that make for a slightly different meaning.Â
Firstly, the fan translation is far more personal, using âIâllâ instead of âLet us.â This means that the speaker is far more important in the fan translation version of the line. This is because the speaker is the only one making this promise of sorts. From what Iâve seen of the trailers it seems to typically be Malleus but I could be wrong. In the official English version of the line itâs like the whole cast is making the promise.
 More notable differences between the two is that in the fan translation it says âA real happy ending,â in the other one it says âthe real happily-ever-after.â There are two main differences here. The fan translation says âA real happy ending,â in the official translation it says âThe real happily-ever-after.â The fan translation implies there are numerous ârealâ happy endings and the speaker is just going to show you one of them. The official translation implies there is only one true happily-ever-after and that's what they are going to show you. The secondary difference is that fan translation says âhappy endingâ while the official translation says âhappily-ever-after.â I didnât actually notice this difference at first but as I worked on this analysis I spotted it. A happy ending is just that, an ending that is happy. Happily-ever-after is a type of happy ending, itâs one where the happiness is everlasting. Happily-ever-afters are often viewed as dangerous things because they can be misleading. Many say that it teaches little ones to believe that theyâll be eternally happy which is, unfortunately not true. There will be sad times. I for one donât think the phrase âhappily-ever-afterâ is exactly bad, after all fairy-tales arenât necessarily the most realistic things anyway. Anyway, the fan translation is offering a happy ending, not necessarily an everlasting one but hey, itâs still happy. The official translation is saying the happiness offered will be eternal.
Typically happily-ever-after or the happy ending is reached after the villain is defeated. If thereâs a couple they end up together and boom, the end. The villain does not take part in this ending. In fact, they are often dead. According to this phrase though, our villains at NRC are promising to show us a/the real happily-ever-after/happy ending. This implies that all those others weâve seen arenât the real deal. So this begs the question, what is the real deal? I think that is entirely up to the person speaking. People have different things that make them happy or that they deem perfect. So in this case, I think weâre being offered their version of what they believe the real deal is. What that means is hard to say, each one of them is going to have a different view that may or may not coincide with the players or each other. That takes us back to the âIâllâ versus âLet usâ difference. Can a group of people show you the same happily-ever-after/happy ending when they all most likely have different views of what happy is?Â
Another thing to note about this line is that itâs almost mocking the heroes of the story that do reach the happy ending. Itâs kind of like the NRC squad is saying, âYou only think that was a happy ending/happily-ever-after. Iâm gonna show you the real deal and itâs going to blow you away.â
random, but in kaeya's voiceline 'kaeya's troubles', do you have any idea who he's complaining about? i love kaeya but i've never seemed to figure out who 'nags him all the time' LMAO and i wanted to get others opinions :3
hiya! sooo there are a couple of interpretations that I have of this line!Â
so for a while I thought he was making a joke - if you just read the line:Â
Lonely? Me? Not with someone here nagging me all the time, that's for sure.
it sounds like he might be making a joke about the traveler - like a jest, but he says it with annoyance which makes me think heâs referring to Jean or possibly Lisa (both of which are known to ask him to do work, which he finds boring)
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I'm sharing a quick rant about the line I wasn't sure how I felt about when first including it but now it belongs among my top favourite lines in the story.
This is a line spoken by Wukong when he admits having feelings for MĂĄrgerdra to Bajie.
It became my favourite since here Wukong proves his own character and the line also indirectly foreshadows or points out how people view MĂĄrgerdra.
As a wolf demoness and being rather sensual in nature, she is often view as a seductress created to feed on another one's life energy, taking one's wealth or being a slave that is good for nothing else than pleasing the others (the last on shall be most likely mentioned or at least implied in City of False Gods).
Opposed to this, there were people who would've put MĂĄrgerdra on a pedestal, nearly making her pose as a goddess given her unearthly beauty and powers as a witch.
Both sides relied on MĂĄrgerdra describing her solely by her beauty and nothing else.
However, Wukong is here breaking this cycle with this line as he recognizes that MĂĄrgerdra is neither of those and while he does admit in the story that she truly is alluring, she is ultimately beyond her looks. MĂĄrgerdra with her complicated past, heart-breaking present and unnerving future, given strengths but also flaws despite not being a human, is just that. A woman who wishes to live but has been tested by the fate too many times. Although she is broken, she still hasn't bent.
By saying he doesn't want her to be broken even more is Wukong's wish not only to help her but also to see his beloved stand upright once again since both of them are more similar than they are different. He wants to be there by her side whne it happens since she basically did the same for him.
In his eyes, she is the strange ordinary thing that made his heart beat, the one that made him realise he indeed has a soul and admit he matters. Now, he wants her to realise the same for herself.
In this fashion ad by Gucci, there are five models dressed in their clothes, but only three are fully shown. The overlapping interaction between the two models on the right is interesting because their line of sight is also in the same direction. They are both looking down at the ground in front of them. The girl who is peeking in from the left, while not looking at the same subject as the other two, is glancing at that same direction. The photograph is interesting in that Gucci is confident enough in their brand and clothing that by obscuring two models does not make a difference. The scene had to be semi-candid in order to the get flow of fabric and hair the way that it is. Starting from the line of sight for the girl on the left, there is a straight line of declining movement, going from her head, through the next model's elbow, through the other manâs hips, and out to the womanâs leg. That takes the eye and brings it down into the right corner. The movement line that starts at the top of her head and goes through the other model's shoulders; it also corresponds to the foliage in the back, connecting the background and the foreground. The way the modelâs hand all the way to the right is casually pointing to her right and connects to the manâs foot gives us another united point. As the audience would typically read the image from left to right, having the two models on the right much closer reverses the way in which we read the picture. The patterns on the actual clothes themselves also link together each model, even if they are not standing together. An interesting aspect of this advertisement is that none of the five models are looking at the camera, with most of them looking down at the ground. This brings much more attention to looking at the whole ad top to bottom as well; getting the full effect of the brand's fashion line. Gucci is such a prominent name that they do not need to put in much effort to be successful â the clothes are doing all the âspeakingâ for the models. The muted colors as well give a nostalgic aesthetic to the photo; viewers feel reminiscent of a past they may not have even been a part of. Though it may not be the most exciting advertisement, I feel it is successful in conveying the message that is what Gucci stands for, nonchalant sophisticated glamor. A bit of not trying too hard, but posing just enough to let the viewers know that they are not just some random assortment.
