I love how Cecil described himself as innocent and kind.
It’s like in “One Year Later” where Carlos describes Night Vale (and Cecil, I refuse to believe he wasn’t partly or mostly talking about Cecil) as being “pure and innocent” underneath.
It’s not naivety - I don’t think anyone can seriously think that Cecil is naive, especially after things he’s said in episodes like “Missing” - but there is a certain innocence to Cecil. And he is kind. It’s one of his quieter character traits, but one of the more fundamental ones.
Kindness seems to me to be one of those character traits that’s often framed as softer or somehow ‘weaker’ than other ones; as though in order to be strong, you cannot be kind. As though in order to be successful, you cannot be kind.
I remember a tweet that one of WTNVs writers made about how we’re put on this planet for a short period of time, and how it’s not our job to make things more difficult for others. Or it was something like “let’s not make it more difficult than it is”. I can’t remember exact wording, but there’re implications there about the absolute necessity of kindness.
How kindness shows itself out in human interactions is such a nebulous concept but to me there’s something of that recognition, that the other person is a human being and of their experience and worth and value and struggle. Cecil is a kind person. And innocent not in the naive sense like you said, but in certain ways where he loops his narratives back to those essential shared human experiences of terror and comfort and community, because at the end of all things we’re living together in some highly specific (and often literal) ways.
I love that Cecil described himself as these things as well, because they’re such important and strong and meaningful character traits, and they’re desirable and so so so important.
Yes, yes, and yes.
Cecil has often been shown as a kind character - he comforts people, he cares about them, and he believes in them. At the end of “Street Cleaning Day” he speaks gently, reassures people that the danger has passed and that they are safe, and encourages them to rejoice in their humanity: "Look at us. Look at us out in the honey light of the finished day. Look at us and rejoice in our sheer being!"
After the Sandstorm, even though he’s been through a trauma of his own, he does the same thing: "We are healing.Those of us, whoever we are, who survived. Those others of us, whoever we are, who conquered. Whoever you are now, you are home. We are home, Night Vale! You and I are together again! My mouth, your ears, we have each other!" Something awful has happened and his instinct is to reassure, to offer comfort, and to be there for Night Vale citizens in the way he knows best. ”I hope you are safe. I hope we all live to see tomorrow’s sunrise…or whatever day the next sunrise is.”
Whenever something terrible happens in Night Vale, Cecil is there to reassure. Like you say, he loops everything back to shared humanity, and he recognises the inherent value in the people he speaks to, in their struggles and their survival.
He believes in people. He believes in Tamika, “Our bold, brilliant, missing girl”, and in Dana, who has always been important, and in all of Night Vale. In “Missing” he calls for people to learn for themselves, to reflect on what he says and what he doesn’t say - he believes, ultimately, in people.
In this show, kindness, empathy and humanity are strengths, and they’re why Night Vale must ultimately win out.
Jack is hardcore as fuck
scare me like one of your french girls
For money money, the most interesting thing about this confrontation is how completely it inverts the final scenes of a typical Disney film. In most cases, the hero is physically and/or supernaturally outmatched, and triumphs through determination and ingenuity; here, the villain spends the the whole fight running scared, while the protagonist casually no-sells everything that’s thrown at him. And there’s no ironic Disney Death keeping the protagonist’s hands clean, either. Jack just straight-up murders Oogie with malice aforethought while Oogie is running away - and by having Santa Claus himself strike the final blow, the film legitimises Jack’s killing of Oogie as the morally correct course of action.
You don’t fuck around with the motherfucking pumpkin king
Woo I just had a brownie for breakfast. I should probably start doing Stuff though. Today I need to
Contemporary Art Week!
Leo and Diane Dillon
Leo and Diane Dillon were one of the greatest illustration teams in the history of Fantasy Art. Books that have used their illustrations for cover or inside art include an edition of the Narnia books, Garth Nix’s Sabriel, Lirael and Abhorsen, Her Stories and The Girl Who Spun Gold by Virginia Hamilton, The Earthsea Trilogy by Ursula K. LeGuin, Aida by Leontyne Price, The Girl Who Dreamed Only Geese by Howard A. Norman, and many, many more.
There is a blog dedicated to archiving their work here.
Okay no but why is no one talking about Steve visiting Peggy. That scene is 800 times more important than y’all shipping him with every male in the movie.
i can’t talk about it i’m in too much pain
(no but what if Peggy’s dementia isn’t natural/due to old age, but was induced by Hydra scientists because she knew too much and they needed her to start mentally deteriorating)
(do you see why i am in so much pain)
Better idea lets never speak of this again just forget I ever brought it up
I literally just about started crying in the theater
the whole movie was already super fucking sad and they just had to throw that inf or good measure to be 100% sure they had emotionally destroyed us.
(the hydra theory makes sense though but still so painful)
just listened to the newest episode of WTNV
the fuck just happened
HUNTER’S RAD ALMOST 3K FOLLOWERS GIVEAWAY
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The giveaway ends April 30th