#*this isn't actually true on reflection

[millidew]

i fw this heavily

[mad-hunts]

[sskk-manifesto]

ಥ‿ಥ

[the-hilda-librarians-wife]

YOOO UR BIO HAS UR NAME NOW?? I’m so proud of you for coming out to the fandom, this is a monumental occasion <3

KJSFKJSHKJFHSDKJFHDF coming out to the fandom as a real person who exists beyond being married to Kaisa 😍😍

[daz4i]

anyone else just really really really frustrated, constantly, all the time

[lunarheslwt]

.

[britneyshakespeare]

i am like. unreasonably mad right now.

[rxttenfish]

tbh no one can convince me that, if miranda got everything she wanted, fully and properly respected as a princess and complete rule over a kingdom or more, that she wouldn’t be absolutely miserable.

[harvestmoss]

 💫 Why Protection Magic Is Useful (even if you have no enemies)

A lot of witches will tell new witches (baby witches) that they should start by learning and using protection magic. However, I've started to see a lot of witches say that protection magic is not as important as other witches claim it to be. Saying that they don't have anyone coming after them or an enemy in real life to warrant a spell of protection.

I think this may also be due to how I've not personally come across anyone really explaining why a witch may want to use protection magic all the time.

Now, it is true that there's no need to be paranoid all the time and have protection up 24/7. But here's a list where you may use it, find it useful, or haven't thought protection magic could be included.

An actual person -- This one is obvious, you have an enemy in real life or on the internet and you need protection magic to protect you from their curses.

A malevolant spirit -- They can come from your windows, mirrors (including tv screens, computer screens, and other reflective surfaces maybe), they seep through floor cracks, hanging onto your coats from outside, etc. Just like how you'd use garden gloves to avoid dirt up your nails being trapped there. Protection magic is just like putting on those gloves.

An energy -- Say you have a neighbour who's arguing with someone. They're yelling and screaming and it can be heard through the apartment walls. That negative energy is seeping into your home and your energy. So it may be worth protecting your home and energy from that sour neighbour's energy. (ever been scolded by your mother and your mood is sour? it's kind of like the same here.)

Your own spell -- Now a self-love spell is probably not something you should protect yourself from. But let's say you're doing a curse. It would be a smart idea to make sure you're protected before beginning such a spell. Much like how you'd wear an apron to protect your clothes from stains when cooking food. You may not always spill your food when cooking, but damn it is it annoying when you do and the stain won't wash off. It's the same with a spell.

Unintentionally -- Sometimes things can happen that's out of our control and it's a good idea to be a little prepared. A black cat suddenly running across the street? Bad luck. Someone got jealous when you told them something good? Evil Eye. Think of it as going to the store with an extra bag for your groceries. You may not need it, but isn't it handy when you at one point do need it?

Protection magic doesn't have to be elaborate or grand or be convoluted. Protection magic is powerful but also extremely simple. All you need is a horseshoe above the door, a little talisman in your pocket, a sigil for your car, etc.

So don't dismiss the importance of protection magic. It may help to improve your spellwork and your energy.

[pankiepoo]

idfk what im doing. thank u @fansblogs for helping with some dialogue editing

Transcript v

Suitcase: Fan?

Fan: Oh- H-Hey Suitcase!

Fan: So- how's it feel to be the season 2 winner, huh?

Suitcase: Heh, it feels… strange- yet… nice. But- are you alright?

Fan: Oh, I'm fine… all fine… except the fact that I'm- y'know, not real! Hah… I just… can't help thinking- was I just made to like the show? How am I even supposed to process that! I'm not sure how I didn't even notice- and I was… well- made to pay attention to the show… or so I thought.

Fan: Just- just look! Ha-ha, oh- an actual fan is ALSO a fan of the show! I mean- my- my first appearance was…. just a little gag. From how they(the viewers) viewed us- to what everyone else was made for- I had been right- we all were just some characters! Just… scripted, and, well- fake. But- but with this whole… "what's real" question, uh… you… did put on a very good speech.

Fan: I dunno. I just- well. I tried to keep the show from being practically- uh… everything? But, I still…

Suitcase: It's... still very important to you. I get that.

Fan: I- ...yeah.

Fan: Even if I know there's more... I'm still kind of- well... I'm still the biggest fan, right? Like- go ask Marshmallow and she's completely cutting ties with it! But- I can't give up the show like that. Would that be fake? To keep that purpose...?

Suitcase: Well... you've put a lot of time and effort into the show, and you still do.

Fan: O-Of course I do! I just- I don't know if that's just... some reflection of MePhone- a-and, y'know, as the #1 fan, that should be a dream come true, right? But- it's kind of... taking away any individuality to the point where I'm- I'm apparently just-

Fan: ...Something to be projected onto- like the egg... gosh, that's really making it hurt.

Suitcase: Even then- you've still built around that. You're more than that.

Fan: I- I know! But- MePhone left to- who knows where! Inanimate Insanity finally ended- and how am I supposed to deal with that?! If- If I was initially made to love the show- and- and there's no chance of continuation- then what do I do now?! I- I can't just- well, just... just...

Suitcase: I'm... sorry, Fan, but- you have to accept that the show... is over, and... that really isn't all you are... you know that.

Fan: I... I guess.

Test Tube: Fan! I need your help!

Fan: Oh- c-coming, Test Tube! See you, Suitcase!

Suitcase: Bye... Fan.

[astralprisms]

Xa'rok's guardian is an unfamiliar but ultimately friendly face amidst a sea of unfamiliar people - a tether to an old piece of themself they lost when they were exiled from their home creche - and one who seems to understand the allure and potential in illithid culture. They trust the guardian implicitly, at first because he's friendly and open-minded, quick to reassure and encourage, and later because his actions continue to prove his words true.

He looks like a githyanki, but the face the Guardian wears in this guise is actually a Githzerai, one [redacted] met briefly during his imprisonment at Moonrise Towers many, many years ago, before that body was destroyed and its mind caged, to be found, coincidentally, by a curious adventurer, who was given a boon for its release. By then the mind had forgotten the outline of its mortal shell, sustaining itself on the fortified psionic resolve inherent to all githzerai. But perhaps within the prism a spectator stirred, when Xa'rok took that mind up in conversation. It was a smart guise to take, as it gave the Emperor reason to caution his foolhardy savior to avoid the creche, not that they listened. After all, githzerai were the only beings the githyanki hated beyond even their former illithid masters.

Ironic that Xa'rok would fall for them both. But then, Xa'rok was never exactly a typical gith.

OG Guardian look back when Xa'rok was a short-lived Durge, though I didn't write down his skintone/specific hair sliders combo and fucked up attempting to color pick in screencaps when remaking him, much to my continued ire. Much more golden and saturated, I love the way the scar stands out starkly against this skin tone.

Tav Question

What does your guardian look like? (Submitted by @spacebarbarianweird)

[feathersandblue]

So, full disclosure, I haven't been a Solas fan before.

I am now.

And that's because of Veilguard and the many, many ways in which I felt let down by this game.

The aspect that bothers me most is the reduction of nuance and complexity.

Rook's hero's cakewalk (because “journey” really isn't the right word) is a ready-made path that offers no deviation at all and never challenges the player in any meaningful way.

Sure, you can spend some time pondering the pros and cons of saving Treviso or Minrathous. Ultimately, it makes no difference. Rook does their best, they just can’t be in two places at once.

Same with the companion character arcs. What does it mean if you decide to you turn Emmrich into a lich? For the most part, it's idle musing. Indulgence. He’ll be happy either way, there are no real stakes. Yeah, your actions do have consequences, just not the sort of consequences that make a substantial difference. It’s the illusion of choice – reduced to cosmetics.

The problems with decisions that cost nothing is that they don’t feel like an accomplishment. They also don’t allow for character growth. Rook doesn’t change, they remain static. Even the section in the Fade where Rooks faces their regrets is easy and comparatively lightweight. Varric was killed by Solas, Harding resp. Davrin died in combat and either Bellara or Neve was abducted by Elgar’nan. It’s not like Rook’s decisions actually caused these events, it’s not like Rook actually failed through a choice they had to make that turned out to be the wrong one. Everyone was there willingly and volunteered to fight the good fight. Rook’s regrets are not about real guilt, they are about feeling sad and guilty. And that – it needs to be said – is not the same thing. At all.

At the same time, the story carefully avoids any kind of true ethical dilemma.

It's not even about the lack of mean or edgy dialogue options; that’s just a symptom. The cause is the writers’ unwillingness to let realism intrude in Rook’s fairytale – the lack of anything that would require Rook to compromise on morals, or fight temptation. Rook is never faced with any sort of moral conundrum, or allowed to act out any kind of vice that realistic characters have. In its straight-path simplicity, Rook's story is apparently written for children and people who remain child-like in their yearning for simple, uncontested truths.

Of all the sorts of conflicts that a story can offer, Veilguard carefully avoids the most realistic and (in my opinion) interesting ones: Character vs. self and character vs. society, aka, politics. The game firmly refuses to go there. To the point where it creates a completely unrealistic consensus on all sides that eliminates yet another sort of conflict: character vs. character.

If Rook and their companions would talk politics, they’d all be on the exact same side. In a two party state, they’d all cast the same vote.

I am sure that there are many players who feel comforted and reassured by that fact, who sincerely believe that this is how stories should be written. That stories should reflect the world not as it is but as they think it should be. But for everyone who likes their stories a little more realistic, that lack of meaningful interpersonal conflict, that lack of real diversity which comes not from appearance but from different cultures and opposing viewpoints amounts to a frankly cringe-worthy, artificial and juvenile surface-level interaction between characters. Or, to phrase it differently: the diversity remains skin-deep and doesn’t extend to the philosophical, and even in the few instances where it does, it shies away from the political.

Which means that the only conflicts that remain are the most boring and stereotypical ones: character vs. monsters resp. the supernatural, where all foes are evil in the blandest way (Supremacist Venatori! Fascist renegade qunari! Power-hungry necromancers!). These conflicts are resolved through exploring maps and endless, repetitive combat.

The only thing that brings a bit of nuance to the game is Solas’s story. And there is an element of character vs. character in Rook’s and Solas’s relationship, but the sad truth is that what could have been a fascinating mirrored character journey falls flat for all the reasons already explained – because where Solas is a character as layered and controversial as it gets, Rook is anything but.

Solas’s story shows how even people with the best intentions and the greatest integrity are ultimately broken by what life throws at them, both by the decisions that are forced upon them and the choices they make on their own. It shows how a prolonged war is always a sunk cost fallacy: I’ve gone this far, if I stop now, it was all for nothing.

Rook’s victories, on the other hand, come without a cost – both in terms of moral corruption and in accountability. The guilt Solas bears is real. The fight against the titans, followed by his war against the Evanuris, requires compromising his own morals, one day at a time, one century after another, he’s trying to save the world yet doomed to fail. Sacrificing the spirits to win a battle after the war has gone this far? Every single war leader around the globe would make the same decision. In fact, all of them do: They do sacrifice the lives of others if it will help them win, they do send soldies into the trenches to die, whether these soldiers want to or not, and they are rarely, if ever, truthful about the reasons why.

In a certain way, the story of the spirit of wisdom turned flesh is reminiscent of the biblical Fall of Man: the original sin. Solas has fallen, and he’s broken. In trying to heal the world, he’s trying to heal himself. The burden is too heavy, the responsibility to great, the knowledge that he is responsible for all of it too devastating. Solas’s greatest conflict is character vs. self. It has the potential to be great. In a way, it is. It’s the single redeeming quality that, depending on your interpretation of what went on behind the scenes, the writers managed to salvage from the original concept of Dreadwolf or the lone pillar that withstood all their attempts to bring it down.

Only sadly, infuriatingly, in the end, that fallen hero’s ending is put into the hands of a protagonist who judges him from the perspective of someone who has never even stumbled – not because they are wiser, braver, or kinder. No, just because the writers were gracious – or cowardly? – enough to never let them fail.

The game gives Rook a moral high ground which isn’t earned in the slightest because Rook never had to walk even a quarter of a mile in Solas’s shoes. They don’t know what they would have done in his stead, they have no idea what it actually means to see the sorry shape the world is in and know that it was your hands that shaped it. And even where Rook might actually be culpable – the interruption of Solas’s ritual that freed the remaining Evanuris – anyone is quick to assure Rook that it wasn’t their fault.

Whatever regrets Rook carries, they’re born from self-doubt and trauma response. Survivor’s guilt, mostly. When compared to Solas’s immense guilt, Rook’s regrets are, for lack of a better term, insignificant. That Rook manages to face them doesn’t mean that they are more truthful or emotionally mature, it just means that Rook’s story is a tale for children and Solas’s is not.

It’s not that I’m necessarily opposed to the idea that the player decides Solas’s fate through their actions. It’s the injustice of it all that bothers me: The player is led through a game that provides a safe space for their character, one that is devoid of any interpersonal conflict and any ethical quandary. Rooks succeeds through kindness and heroism and taking their companions on team bonding exercises.

As if Solas could have won the war against the Evanuris if he’d taken the time to take his companions on coffee dates.

The juxtaposition – Rook vs. Solas – fails, simply because of this deep divide. Rook’s story is detached from reality and yet Rook gets to be Solas’s judge, jury, and executioner. On what grounds?

As I said, right in the beginning, I haven’t been a Solas fan before. But by the end of Veilguard, I was firmly, irrevocably, Team Solas, just because I was so annoyed that the narrative put Rook in a position of moral superiority. I detested my own character. Jesus, what a goody two-shoes! I was rooting for Solas simply because his story was so much more: a genuine tragedy, a study in complexity. Rook, on the other hand, remains bland, snotty, unchanged. Untried.

The thing is, I don’t believe that my reaction was one the writers had intended. I strongly feel that they didn’t mean for me to pick up on their double standard, that they expected me to walk away fully satisfied, convinced that Rook and The Team were the Good Guys because they went on picnics and petted the griffon, their final victory well-earned and just. If only Solas had had a Team and taken care of their emotional needs – he could have taken down the Evanuris with nary a scratch!

It’s all so very disingenuous.

Rook and, by extension, the player exist in a bubble of sanitized content. That is clearly deliberate. The player is meant to like it there. (In that sense, it’s only logical that they changed the title from Dreadwolf to Veilguard.) And clearly, it does resonate with a certain kind of their player base: mostly with people, I think, who would like their real life to be a bubble too and whose only experience with moral corruption is when they find it in others.

[thehollowwriter]

I actually adore how twst represents different families that aren't just "loving mother and father and their biological children"

Azul's mother divorced and remarried. Azul clearly loves and respects his stepdad, as opposed to the "They're abusive" or "You're not my real dad" trope that is often used. Azul isn't ashamed of the fact that his mom got a divorce, nor is it framed as something shameful. He doesn't focus on or lament about his "real" father because his stepdad is his real father, and he loves him.

Deuce's mother is a single mom. There's no "Oh, I wish I knew my father." Or "I need to find my dad, and I'll be complete." Or "Woah, Deuce, you only have a mom. Where's your dad?" and, even better, Deuce's delinquent years were not blamed on not having a father. Deuce's is mom Dilla (? I've seen so many different spellings] Spade, and he loves her so much and is willing to do anything he can to make her happy and make up for his past actions. Who his dad is or might be doesn't matter.

Like Deuce, Vil has a single parent, his dad! Single fathers aren't often represented, and even less so in a healthy way. Vil clearly loves and respects his father, and has made it quite clear he doesn't know who his mother is and doesn't care to know. Obsessing over who is mother is and trying to find her, like a lot of media makes characters do, won't "make him whole" or "make him understand himself" because Vil knows who is he is and a parent who's never been there anyways isn't something that will change him in some grand way.

Ruggie is raised by his grandmother! Book 7 aside, we have little mention of his parents, and it's not something constantly brought up or pitied. Book 7 itself still works, as Ruggie has accepted his mother's death, but still wishes his father would return. However, his grandmother is not framed as a "lesser" parent. Grandma Bucchi is someone Ruggie loves very much and is the person who raised and cared for him.

Silver is, as we all know, Lilia's adopted son. We do get to meet his biological father in book 7, but it isn't framed as a "Silver's TRUE REAL father" reveal, nor does Silver reject Lilia as his father just because they aren't blood related. Lilia is Silver's father, and there's no doubt about it.

Riddle's parents are married, but it's been made quite clear that they do not have a happy marriage. This isn't portrayed as "See one parent beats the other" as is often the go-to, it's more subtle and is a quietly festering problem that Riddle has noticed.

So yeah. Thanks twst for giving us parents or parental figures that are actually diverse and reflect the real world. I do wish we got queer parents, though unfortunately this is a Disney game so T.T

[snapscube]

so i don't know if this is a post i'm gonna keep up cause, like i said, i don't really like talking candidly about aspects of my personal identity often these days, and lord knows i especially hate talking about legal identity and all the dissonance that entails. but this week was a pretty big one for me and i can't shake the desire to share my enthusiasm for even just a fleeting moment.

my name has been a sticking point in my mind for a long time. i've adopted many different ones. first, middle, last, you name it. i've been searching most of my life for a moniker that represented my true self socially, and a surname to distance myself from someone in my life who hurt me very badly and never really learned how to stop.

obviously for a long time now I've been Penny Parker to 98% of people who know me, and for the past couple that number has been bumped up to a solid 99% with a few stragglers. it's a name that is so mundane and assumed at this point that tbh I've even come to resent certain aspects of it. which to me is actually beautiful. i find that mundanity, that nuance, extremely telling of how it encapsulates my life. it's a fully three-dimensional reflection, smudges and sparkles and everything in between.

of course, i only just moved out on my own 3 years ago. and unfortunately that had to be the starting point to make this social and personal progress i've been sitting on for half a decade at least now official, tangible, legal. i've been playing a game of catch-up i didn't sign up for, but it's one that does have a silver lining in that i feel more in resonance with who i am and who i want to be than i ever did before being granted this independence.

and as of this week, i have the pleasure of entering an era of my life where the dissonance between who i am in speech and who i am in contract is nonexistent. my name is Penny Olivia Parker. i'm the same as i've always been, but getting better every day at it. soon i'll even have a license to match!

sometimes more of an Olivia Parker in brief moments nowadays tbh but i haven't worked out the details yet. nothin you need to stress over, ill take care of it. the full set is just fine and legally recognized, which is all i've wanted for as long as i can remember.

this isn't the end of my journey, both excitingly and unfortunately haha, but this is yet another huge milestone for me and in certain respects it's one of the biggest i've managed. i'm so happy to still be here. if you're reading this, thank you for being here too.

also those of you who watched my direct reactions the other day might have a little more insight as to why i was so emotional that the day after a judge signed my legal name change a new game by the Sonic Mania devs was announced called "Penny's Big Breakaway" LOL, it was a lot to handle for me but i wasn't sure how much i wanted to say just yet.

[tanadrin]

The actual reason we need a revolution is because it's the only way to ever get an English spelling reform done

You are wrong for six reasons:

English is an official language in 67 different countries. You will not successfully coordinate a revolution in 67 different countries.

The lack of an official English orthography is good, actually. Academie Francais-style attempts at language planning are cringe as hell, and often ineffective. They are not the product of sensible policy, they are the product of head-up-your-ass nationalism, and their decrees usually reflect that fact.

English spelling is fine. English orthography correctly predicts the sound of words in the vast majority of cases; where it fails, it's usually because a vowel isn't reduced quite enough. It's true that you can't really reverse pronunciation to get spelling, but in almost all orthographies there are multiple spellings to a single pronunciation.

Where English spelling is truly irregular, it's typically to preserve etymological transparency, which is actually a good thing in a writing system.

English orthography is complex, but it must be so: there are more phonemic consonants in English than there are consonant letters in the alphabet used to write it, and many more phonemic vowels than there are vowel letters. If this displeases you, take it up with the Romans and their shitty alphabet; it's not the fault of English.

English orthography is also conservative, but this is also a good thing: it means it's possible to read texts written in Early Modern English, and even in some forms of Middle English, with only moderate effort. If (for instance) we used a purely phonetic writing system, English of only 300 years ago would look very strange on the page, and English of 600 years ago would be nearly incomprehensible. As it stands, a fluent English speaker can read Shakespeare with only light editing, and can read Chaucer with the help of a few footnotes. That's pretty good for a phonetic script!

[sunderwight]

thinking more about a scenario where Bingge's world is just, fundamentally unstable.

because the System mostly created him for the punishment protocol. before that he actually only did exist as a book character, and the "real" PIDW world was the SVSSS world. but then after manifesting Bingge the System created a reality where he did exist, except it doesn't have the same degree of substance or cohesiveness as the SV world. plus, it has all the narrative asspulls Airplane was increasingly worse about as his writing devolved, and all of the contrivances and plotholes that never made it into the SV world and subsequently never threw anything out of alignment either. the SV world was built from Airplane's most stable creative phase, and went on and diverged from there. but Bingge's world was created from the final PIDW canon, which is a mess.

so it's just like... not at all stable. it's not just that Bingge himself is also a wildly unstable guy, his entire world reflects this in that it is a mess of interwoven contradictions that is constantly folding in on itself and collapsing in places. stuff like, in some chapters Airplane messed up and got certain wives confused, but he confused them consistently for big portions of the story. thereby completely muddying the waters of which wife actually had which backstory or personality. so there's this segment of Bingge's harem comprised of these eldritch abomination interchangeable women-shaped entities that have no true sense of individual self, instead constantly melting and merging into one another.

combining the realms would be the watsonian explanation for why Bingge's dimension is so fucked up, of course. but even if that hadn't been part of PIDW canon it would still be an intensely weird situation.

Bingmei lying awake at night, deeply disquieted because all he told his husband about his trip to the other world was that he woke up in a strange place with a lot of women, and unless he's got a good reason that's what he's gonna leave it at because that place was freakier than the Abyss and Shizun already gets upset just contemplating Binghe trapped there. also he isn't sure how to explain the concept of six overlapping skies and the labyrinthine palace that was many places in one and the spots where it seemed like reality just ended and opened in a great, yawning void that none of the other people around him even seemed to notice.

his very own cosmic horror misadventure that he's pretty sure is what would have become of the world if he hadn't met his husband. lol. he's just like, sure on an emotional level it would make sense that reality would lose all cohesion in that case, but he's also pretty sure it's not literally supposed to do that?

Bingmei trying really hard to figure out the potential impact of comphet on physics.